Danish architecture studio BIG has created an experimental stage set for Danish pop trio WhoMadeWho’s world tour.
A suspended silver orb formed the centrepiece of the immersive audiovisual design, which was created for the tour that began in November. It is BIG‘s latest inflatable structure and was informed by the floating 26-metre-diameter, mirrored sphere it created for Burning Man in 2018.
“Our design for WhoMadeWho’s stage draws from our previous ventures into inflatable creations like SKUM and The Orb [at Burning Man],” BIG partner Jakob Lange explained.
“With maximum visual impact, the inflatable sphere serves as a canvas for captivating three-dimensional video projections, elevating the concert experience to a new level.”
The orb was integrated with controllable lights and visuals, but was also designed to reflect the surrounding scenography to give its presence a multimedia dimensionality.
Three futuristic silver pods were positioned below the sphere to be occupied by each band member and the stage was framed by an expansive LED screen background.
BIG’s stage was brought to life with immersive visuals from the creative teams of Flora&faunavisions, LA-based EyeMix Studio and animator Christopher Mulligan.
Using AI and other advanced visualisation tools, the artistic teams sought to combine BIG’s stage set with cutting-edge imagery that can respond in real-time to WhoMadeWho’s performances.
The stage system will reach audiences across cities such as Paris, Los Angeles, London and New York City as WhoMadeWho – comprising of Tomas Høffding, Tomas Barfod and Jeppe Kjellberg – continue their world tour in 2024.
Founded in 2005 by Bjarke Ingels, BIG is one of the world’s most influential architecture studios with headquarters in both Copenhagen and New York. The studio recently unveiled its masterplan for a 1,000-square-kilometre development in Bhutan and its design for a cascading, luxury residential building near Athens.
Promotion: in 2023 Bentley Motors launched an architecture and design-centred travel experience around Scandinavia, with highlights that included a stay at Wingårdhs’ forest hotel in Sweden and a tour of BIG’s studio in Copenhagen.
The Extraordinary Journey Scandinavia tour was one of a series of curated travel experiences presented by Bentley in 2023, offering the opportunity to explore attractive destinations from behind the wheel of its luxury cars.
The five-day, four-night tour started in Stockholm, where guests were collected from the airport in a chauffeured Bentley and taken to their first night’s stay in the world-renowned Ett Hem hotel.
With interiors created by designer Ilse Crawford, the hotel is known for merging luxury with a feeling of home, with spaces that encourage guests to relax and mingle as if at a manor house.
The hotel hosted a welcome reception, dinner in the library and a nightcap for the small party of guests on day one to get to know each other.
On day two, attendees took the wheel of one of several Bentley models on offer and began the journey south through Sweden’s forests, with Scandinavia’s finest architecture and design destinations guiding the way forward.
For lunch, the tour stopped at Naturehouse, a sustainability-focused lakeside spa by Tailor Made Arkitekter that merges the forms of a barn and a greenhouse, before continuing to reach the Trakt Forest Hotel in Småland in the afternoon.
Designed by Wingårdh architecture studio, the hotel features just five suites that are raised high into the treetops on stilts, giving guests the chance to feel immersed in nature.
The suites are “a true representation of Bentley’s design values of sustainability, materiality, and innovation” said the brand, and guests had the opportunity to relax in the sauna or hot tub before joining the hotel owners Sandra and Mattias Sälleteg at a drinks reception.
The evening also included dinner in a forest near the hotel, which was made by Michelin star chef Niklas Ekstedt and celebrated natural ingredients coming together “to create something greater than the sum of its parts”.
Day three saw the group continue the drive south through Sweden’s forests and stop for lunch at Wanås Hotel and Sculpture Park, built around two converted stone barns with interiors by Kristina Wachtmeister.
They then drove on through Malmö and across the Öresund Bridge, the longest bridge in Europe, connecting Sweden and Denmark, before switching to chauffeured transport once again for the final stretch of the journey to Copenhagen.
With accommodation at the Nimb Hotel in Tivoli Gardens, guests had ample opportunity to explore Copenhagen, including dinner at a world-renowned Nordic restaurant and then a city tour hosted by the Danish Architecture Centre.
There was also a tour of Bjarke Ingels Group’s studio, hosted by a member of the team who gave insights into their creative practice. Lunch was also held within “the beating heart” of the office.
Bentley‘s Extraordinary Journey continues in the UK in 2024 with a programme where attendees will experience a scenic route starting at Crewe, the home of Bentley Motors, to The Macallan Estate in Speyside, Scotland. The UK programme runs from 19 to 22 August and 2 to 5 September.
For more information and to register interest, visit the Bentley website.
Partnership content
This article was written by Dezeen for Bentley as part of a partnership. Find out more about Dezeen partnership content here.
This week on Dezeen, we reported that BIG completed its first supertall skyscraper, a 66-storey commercial high-rise wrapped with a series of stepped terraces.
Located along New York’s High Line, The Spiral reaches 314 metres-high and its footprint reduces towards the top as the ascending terraces cut into the building.
Studio founder Bjarke Ingels described the building as combining “the classic ziggurat silhouette of the premodern skyscraper with the slender proportions and efficient layouts of the modern high-rise.”
Also in architecture news, the Pyramid of Tirana in Albania reopened as a cultural hub with a stepped roof and colourful boxes designed by Dutch architecture studio MVRDV and local studio IRI Architecture.
Originally built in the 1980s as a pyramid-shaped museum dedicated to Albanian dictator Enver Hoxha, the building’s form was retained with sections of the sloping concrete roof kept as a slide.
Dutch Design Week was in full swing this week, with events and exhibitions taking place across Eindhoven including a pop-up shop where customers exchanged urine for soap in a bid to encourage more ethical consumption.
Elsewhere at the festival, design student Willem Zwiers showcased marbled furniture made from salvaged second-hand books and designer Emy Bensdorp exhibited her proposal to clean PFAS “forever chemicals” by firing contaminated soil into bricks.
In other design news, product design engineer Jasper Mallinson aimed to bridge the gap between man-made and robotic construction with a lightweight, wearable CNC machine named Mecha-morphis.
Mallinson hopes that in the future, the device will be used on worksites to help realise parametric designs with “superhuman precision”.
Also this week, American architecture critic Aaron Betsky wrote about his views on the lack of exciting architecture projects built in the Netherlands in recent years.
To Betsky, Dutch architecture has lost the sparkle it once had, comparing OMA’s 1987 Netherlands Dance Theater with the “box festooned with fluted columns” that replaced it (pictured above).
Popular projects this week included a home in British Columbia with fluted pillars made by pouring concrete into fabric formwork and a Mexican seaside resort with wooden guesthouses raised on stilts.
Our latest lookbooks featured dining rooms with built-in seating and bathrooms where subway tiles lined the walls and surfaces.
This week on Dezeen
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Insulated glazing revolutionized architecture as we know it. Throughout history, windows let in light but also cold and heat. In the 1930s, a refrigeration engineer created the Thermopane window, featuring two panes of glass with a layer of air in between, it could better control temperature. From that moment on, architects began to utilize larger glazing, eventually creating the modern glass skyscrapers we see today.
Known for innovations in architecture and materials, OKALUX has been a leader in the glass manufacturing industry for more than 50 years. OKALUX originated from Heinrich Otto KG, a weaving and textile spinning company based in the South of Germany during the 1960s. Now headquartered in Marktheidenfeld, Germany, with an office in New York, OKALUX continues to redefine materials for a wide range of applications. They continue to develop and supply insulating glass for daylighting, shading and insulation. Featuring products that enhance the efficiency of facades and interiors, the following projects represent OKALUX glazing around the world. Together, they showcase how glazing can help make the most of light, reducing energy consumption and creating more comfortable places to live, work and unwind.
Des Moines Library
Designed by David Chipperfield Architects, Des Moines, IA, United States
As the centerpiece of the Des Moines Western Gateway Park urban renewal project, this public library was sited between the center of the city and a newly designed public park. As well as library facilities, the building contains a flexible activity space, education facilities, children’s play areas, a conference wing and a cafeteria. In plan, it responds to the orthogonal nature of the city blocks to the east while stretching out into the park to the west. This plan is extruded vertically with a glass-metal skin, which gives the building its distinctive appearance.
The triple-glazed panels incorporate a sheet of expanded copper mesh between the outer panes. The three-dimensional quality of the copper mesh reduces glare and solar gain, ensuring that views from the inside into the park are maintained at all times. The project uses OKATECH, an insulated glass unit. A wide variety of metal meshes can be placed within the glass cavity for a distinctive aesthetic. At the same time, the mesh faces the sun and screens out high solar gain.
Halley VI Antarctic Research Station
Designed by Hugh Broughton Architects and AECOM, Antarctica
Harkening back to the beginning of insulated glazing itself, the Halley VI Antarctic Research Station was designed for polar research. As the world’s first re-locatable research facility, it was constructed by Galliford Try for the British Antarctic Survey (BAS). The project aimed to demonstrate ground-breaking architecture characterized by a compelling concept, but also a structure that’s executed with careful attention to detail and coordination.
As the team explains, the Antarctic Research Station sought to push the boundaries of design in a life critical environment. The designers created a beacon for sustainable living in the Polar Regions to draw attention to some of the most significant science conducted on our planet. The central module accommodates the majority of the stations social areas; it consists of double height space with a large east-facing window made of OKAGEL. The insulating glass system features an inter-pane cavity filled with translucent Nanogel, a special noncrystalline solid.
Damesalen
Designed by MIKKELSEN Architects, Copenhagen, Denmark
Extending an existing university gymnastic hall with a testing laboratory, the Damesal project was designed with a new building on top. The project offered an opportunity to explore an architectural concept where the geometry of the additional floor is designed with a simple box shape in glass. The architectural and functional variation happens as the glass façade responds to the program and functions within the building. The building’s envelope embodies design and performance as a collaboration between the architect and the supplier of the customized glass solution.
Working closely with Dow Corning led to a strategy that deals with the local energy frame, and at the same time takes orientation and solar exposure into account. Both horizontal and vertical layouts were studied and calculated, as well as solutions integrating OKALUX components redirecting daylight while creating a level of shading. By positioning an insulating material in the cavity of the triple glazed units, there was an opportunity to experience the same material inside and outside.
Greenpoint EMS Station
Designed by Michielli + Wyetzner Architects, Brooklyn, NY, United States
The Greenpoint Emergency Medical Service (EMS) Station was designed as a two-story facility that supports FDNY ambulance crews and vehicles. The project was made with a strong, distinctive form occupying a prominent site in the rapidly developing neighborhood. The station’s requirements led to a four-part division of the facility. Because the space for housing vehicles called for a higher ceiling height than the rest of station, one side is taller than the other. This change organizes the building’s functions.
The first floor’s different ceiling heights create different levels at the second floor and that shift in levels repeats at the roof line. This shift and programmatic division is marked with a skylight extending from the front to the back of the building. The 90-foot-long, second-story translucent glass wall appears to float above the ground and contributes to the building’s strong identity. This works with the transparent staircase by OXALUX that connects the entrance to the second floor. It is framed by a glass façade with OKATECH Expanded Mesh. The aluminum inserts act as a design element while providing effective sun and glare protection.
David H. Koch Center, New York-Presbyterian Hospital
Designed by Pei Cobb Freed & Partners, New York, NY, United States
The Koch Center was designed to provide advanced integrative healthcare and complex outpatient services. Patient-centered and family-centered care is at the forefront of the building’s medical program, announced by a triple-height lobby that offers respite from the surrounding streets. Infusion and radiation oncology areas, as well as diagnostic imaging, typically found in basement areas, are located on upper floors. This gives patients and staff the benefit of natural light.
Functional and clinical program areas are set back from the building perimeter, so patients and families travel along light-filled corridors. This strategy also gives the curtain wall a consistent level of opacity across the facade, whose appearance subtly shifts in response to the changing light throughout the day. The curtain wall owes its rich architectural character to the OKALUX wood screen inserted into its triple-glazed assembly — the first such application on this scale — and to the undulating frit pattern applied to the inner surface of the outer pane.
Cité de l’Ocean et du Surf
Designed by Steven Holl Architects, Avenue de la Plage, Biarritz, France
SHA designed the Cité de l’Océan et du Surf museum to raise awareness of oceanic issues and explore educational and scientific aspects of the surf and sea. Centered around leisure, science, and ecology, the project was made in collaboration with Solange Fabião. The design includes the museum, exhibition areas, and a plaza, within a larger master plan. The building form derives from the spatial concept “under the sky”/“under the sea”.
A concave “under the sky” shape creates a central gathering plaza, open to sky and sea, with the horizon in the distance. The convex structural ceiling forms the “under the sea” exhibition spaces. This concept generates a unique profile and form for the building, and through its insertion and efficient site utilization, the project integrates seamlessly into the surrounding landscape. The project utilized KAPILUX by OKALUX, an insulating glass which incorporates a capillary slab within the glass cavity. This capillary slab is comprised of honeycombed, clear or white tubes.
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Architecture firm BIG has constructed a mass-timber Passivhaus factory in a Norwegian forest for outdoor furniture maker Vestre, which features a green roof and solar panels as well as an exterior slide.
Instead of being hidden away on an industrial estate, The Plus factory development is nestled in 300 acres of woodland near the village of Magnor on the Swedish border.
The cross-shaped building consists of four double-height wings, each housing a different stage of Vestre‘s production process and radiating out from a central office area with an internal courtyard at its heart.
Constructed in just 18 months, the 7,000-square-metre factory is made mostly from wood and stores 1,400 tons of carbon dioxide in its structure made of PEFC-certified cross-laminated timber (CLT) and glued-laminated timber (glulam), Vestre said.
The building combines energy-efficient Passivhaus strategies with a streamlined, robot-assisted production line, which according to Vestre reduces its energy consumption by 90 per cent compared to a conventional factory.
Its energy and heating demands will be partly met with the help of 900 rooftop solar panels, 17 geothermal wells and heat pumps hidden behind the walls to capture excess heat from the production process.
Taken together, Vestre says this makes The Plus the “world’s most environmentally-friendly furniture factory”, generating 55 per cent lower emissions from energy and materials than a comparable building.
The company claims this also makes the project “Paris-proof”, bringing it in line with global targets set out in the Paris Agreement to halve emissions by 2030.
However, this assessment does not account for emissions generated during the building’s whole lifecycle including those related to Vestre’s production process.
Overall, The Plus falls short of achieving net-zero emissions, which every building both old and new would have to reach by 2050 to help limit global warming to 1.5 degrees Celsius in accordance with the Paris Agreement.
Instead, the project is reportedly on track to become the first industrial building in the Nordic countries to reach the highest rating in the BREEAM environmental certification scheme, which is only awarded to the top one per cent of projects.
“There are no industrial buildings that have even come close to the highest standard, not even the second-highest,” BIG design lead Viktoria Millentrup told Dezeen. “So BREEAM-wise, there was not even an example building we could follow.”
“It’s untraditional for a factory to focus so much on sustainability,” agreed lead architect David Zahle. “For a lot of companies, production is about keeping costs low and hiding it away.”
In comparison, the interior of The Plus is laid bare by huge windows running up its charred-larch facade and by the glazed courtyard punctuating its centre, both of which are accessible to the public using huge exterior staircases.
In this way, Vestre says The Plus is meant to bring ideas about more sustainable building and production methods to the general public and “build a bridge between the Greta Thunberg generation and industrialists”.
“The project is very transparent, almost open-source both in terms of how the products are made but also in how we’ve opened up the facade to bring people closer,” Zahle said.
“You invite people to play and you invite people to walk up on the roof and you create a park around it so that even a factory can become part of creating a good life.”
Each of the Plus’s four wings is topped with green roofs grown from seeds that were collected from the surrounding forest and solar panels that together will produce 250,000 kilowatt-hours of renewable energy a year.
Underneath, the roofs are held up by giant glulam girders spanning up to 14 metres and weighing up to five tons, bent into a double-curved structure using “long screws and a lot of force”, according to Magnus Holm Andersen, project manager at timber supplier Woodcon.
“As far as we know, this has never been done before,” he added.
From the central roof, visitors can take a yellow spiral staircase down past glazed office spaces and into the internal courtyard, which is supported by recycled reinforced steel beams and centred on a lone Norwegian maple tree.
Alternatively, a 14-metre long slide – reportedly Norway’s tallest – winds its way around the side of the building and back down onto the forest floor.
The square roof above the office area is one of only two concrete elements in the building alongside the foundation, both made from a mixture of high-strength and low-carbon concrete to minimise emissions and material use.
On the inside, the factory is clad in light pinewood that stands in stark contrast to the exterior’s charred black finish.
Each of the four wings – housing Vestre’s woodwork and powder-coating workshops, as well as a warehouse and an assembly station – features colour-coded equipment and flow-chart-style floor markings designed to help visitors follow the production process from above.
The production line itself combines efficient machinery and artificial intelligence, which Vestre says helps it to “manufacture faster, greener and less expensively”.
In the colour workshop, for example, two industrial robots named after Norway’s first female engineers are powder-coating metal components using AI and object recognition, and are capable of changing colours in seconds rather than minutes.
Hidden behind the walls of each wing is a technical corridor, in which waste products from the manufacturing process are recycled for reuse.
Here, the water needed for washing metal components is cleaned and filtered so that 90 per cent of it can be cycled back into the process, while wood chips and sawdust are collected and sent off to a biomass power plant to be burned for electricity.
Meanwhile, heat pumps capture excess energy from the process of drying the components and convert it into heat that is then fed back into the production line and used to warm the building.
“Since there’s one owner, it’s easy to do that,” said project manager Jan Myrlund. “Normally, one company owns the plant and another the inside and they deliver their own systems.”
Reducing waste and emissions was also a key consideration in the construction phase, with all equipment powered either by electricity or biodiesel and all felled trees reused as part of the building’s structure or stored for use in Vestre’s furniture.
The building’s footprint was deliberately rolled back to leave as many trees standing as possible and where the forest floor was removed, it was preserved and put back in so that greenery hugs the building on all but two sides.
“Normally, when we construct a building in the middle of the forest, we would take a lot more trees away,” said the project’s design manager Sindre Myrlund.
“Originally, we drew a line 10 metres away from the factory, which is more normal. And Vestre moved the line five metres in and said: if you need to remove more trees, you need to ask and get it approved.”
Vestre has previously claimed to be the “first furniture manufacturer in the world” to declare the carbon footprint of all its products.
These figures were prominently displayed on the brand’s award-winning stand at the 2020 Stockholm Furniture & Light Fair, which was later disassembled and reused to form an installation at Milan design week.
Click here to read the Chinese version of this article on Dezeen’s official WeChat account, where we publish daily architecture and design news and projects in Simplified Chinese.
While some large-scale builders still cling to huge home floor plans and many upscale buyers still demand them, there is a rapidly growing interest in smaller homes. Small homes use less energy, require a lower carbon input, and cost less to maintain than the typical suburban estate. If you’re building a new home, you have many options for reducing size and living very comfortably (link to Part I). If you’re buying or living in an existing small home, you also have opportunities to make it live bigger without ripping into walls or raising the roof. It’s amazing how creative interior design can expand the visual space and increase the comfort and utility of a small home. Here are some tips.
Interior Design
Keep it light. Paint the walls a light color. Various shades of white or beige are classic choices. If you’re more adventurous, consider light yellow or pastels. Accent walls of brighter hues can add interest. To make a room seem brighter, select an eggshell finish that is slightly more reflective than flat wall paint. Use semi-gloss paint in bathrooms to reflect light and reduce vapor diffusion into walls.
Choose flooring material. Using the same flooring material for connected spaces will tie the spaces together visually and make them look larger. For example, a kitchen and dining area could have the same tile flooring. Using different materials, distinguishes spaces without actually interrupting the view. A living room next to the dining area can be defined with a hardwood floor, but not blocked off.
Install mirrors. Reflecting light and extending interior views can be accomplished with strategically placed mirrors.
Occupy window sills. Most zero energy homes have thick walls, which brings the added benefit of wide window sills. Consider enhancing their interest with bold sill material, such as stone, tile, or another unique finish. Make the most of these built-in shelves to grow houseplants or display decorative items.
Enhance trim and detail. High-quality trim and detail can be a key focus of a small house. For example, high-quality hardware and moulding, and other aesthetic touches, can draw attention to the details creating more visual interest with less need to clutter the room with knick-knacks.
Add a focal point. Each room should have one attractive attention-getting feature. This can be a building element, such as built-in furniture, a work of art, or an intriguing light fixture.
Furnishings
Choose quality. Too much clutter makes homes seem small. Small homes should have small comfortable furniture or a smaller amount of carefully selected larger furniture.
Open up. Select chairs and sofas with open legs instead of those with enclosed bases. These pieces seem lighter and offer a bit more visual space in the room because you can see below them.
Include storage. Some furniture pieces come with storage, such as an ottoman or footstool, that opens up and contains storage. Some bed frames come with storage below the mattress, either in drawers or the mattress itself may lift.
Make it tall. Well-designed small homes have high ceilings. Much like clothes with vertical stripes make people look taller, tall furniture pieces will accentuate tall ceilings and draw the eye upward. Similarly, a tall plant will reach into the higher spaces and create visual interest.
Fold it. Find furniture that transforms to different uses. A coffee table can become a dining table. Tables that hinge down from the wall will allow them to be deployed without moving objects sitting on the floor. The classic space-saving transformer is the Murphy bed. This allows the bedroom to have a day job, too.
Hidden offices. There are many “hidden” desk ideas that allow for a home office to be discreetly hidden or camouflaged in a living area or bedroom.
Seek niche storage. Look for the small empty spaces that can hold your stuff and reduce clutter. Cabinets can hide less attractive household items, while open shelves can display your treasures. Examine the back side of the closet and pantry doors. Is there space for wall-mounted storage baskets or hooks that will be out of site, but easily accessible?
Few small homes will use all these ideas, but each one has its merits. Apply the ones that make sense for your situation to make your small home look and live bigger. Be proud that your small home reduces your carbon footprint, has less upkeep, and saves you money without sacrificing comfort.
Architecture studio BIG has completed six curved housing blocks that combine to form a spiral shape at the Sneglehusene development near Aarhus, Denmark.
Containing 93 homes, the Sneglehusene housing for developer Taekker Group forms part of the Nye neighbourhood to the north of Aarhus and was created using a modular system developed by BIG and contractor CJ Group.
The six curved blocks, which vary from one to four stories, spiral out from a central park designed by BIG Landscape surrounding a small pond.
The overall design for Sneglehusene, which translates as the snail houses in reference to the developments’ spiral form, was based on the Dortheavej Residence housing that BIG and CJ Group previously created in Copenhagen.
“As an architect, one typically only gets to build a house once,” said BIG partner Finn Noerkjaer. “With the Sneglehusene, we were given the opportunity to evolve our housing concept from an earlier project, while also developing the buildings’ own identity.”
“Our modular concept has made it possible for us to maintain simplicity in the execution despite the construction’s complexity, and we have been allowed to improve the concept with all our experience,” he continued.
The development has a similar aesthetic to the Copenhagen housing, with the blocks broken up to create a “porous wall”.
As at Dortheavej Residence, a distinctive checked pattern was created by stacking two modular structures with the indented modules having 3.5-metre high ceilings and the protruding ones 2.5-metre high ceilings.
A series of balconies were placed within the indented spaces, while the blocks step down at the ends to create larger outdoor terraces.
The development contains townhouses, multi-bedroom apartments and studios that range in scale from 50 square metres to 150 square metres.
The building’s concrete structure was clad with timber boards on its facades to express the modular pattern, while it was exposed in the apartment’s ceilings.
All of the homes are dual-aspect with windows facing inward and outward, while the studio aimed to open up interior spaces with minimal internal walls.
Founded by Danish architect Bjarke Ingels in 2005, BIG is one of the world’s best-known architecture studios. It has recently completed a cantilevering housing block over IJ lake in Amsterdam and is developing BIG and Samoo unveil design for a “flood-proof” floating city Oceanix Busan.
Ingels is also the co-founder of a housing startup named Nabr that intends to revolutionise the sector. “Architects or designers are, in a way, the last ones to get involved [in housing] so it becomes very hard to be part of a more fundamental transformation of the industry,” Ingels told Dezeen in an exclusive interview.
“This is basically an attempt to apply design, not just to the final product, but to the entire process that delivers our homes.”
Architect: BIG Client: Tækker Group Collaborators: Mads Gjesing, Cj Group, Spangenberg & Madsen, COWI Partners-in-charge: Bjarke Ingels, Finn Nørkjær, David Zahle Project manager: Joos Jerne Design lead: Nanna Gyldholm Møller, Høgni Laksafoss BIG Landscape: Alexa Haraga, Anders Fønss, Camille Inès Sophie Breuil, Giulia Genovese, Lasse Ryberg Hansen, Ulla Hornsyld BIG Engineering: Andrea Hektor, Andreas Bak, Andrew Robert Coward, Bjarke Koch-Ørvad, Cecilie Søs Brandt-Olsen, Duncan Horswill, Ewa Zapiec, Ivaylo Ignatov, Jesper Kanstrup Petersen, Jonathan Otis Navntoft Russell, Kaoan Hengles De Lima, Kristoffer Negendahl, Mikki Seidenschnur, Peter Andres Ehvert, Timo Harboe Nielsen, Tristan Robert Harvey Team: Norbert Nadudvari, Wiktor Kacprzak, Axelle Bosman, Liliane Wenner, Christine Mulvad, Joanna Jakubowska, Johanna Schneider, Richard Garth Howis, Xinying Zhang, Mikkel M. R. Stubgaard, Katarina Mácková, Sean Edmund Deering, Søren Aagaard, Pawel Bussold, Mantas Povilaika, Espen Vik, Lucian Tofan, Jesper Bo Jensen