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Floating theater Lyon on French television

Experience a unique cultural space in Lyon with the Theater L’Île Ô, Europe’s first floating theater, and a remarkable architectural masterpiece. This hybrid cultural space perfectly complements the river, serving as a symbol of Lyon’s cultural and environmental dynamism, making it a must-visit destination for years to come.

Constructed using modern and sustainable building material called Cross-Laminated Timber (CLT), the Theater L’Île Ô boasts a stunning interior that showcases the natural beauty of wood. The playful design of six volumes reflects wooden blocks that add a sense of whimsy to the overall aesthetic, while the prismatic white facade beautifully reflects sunlight and creates a dazzling display of light and shadows. The reflection in the water surrounding it adds to the unique character of this cultural space.

The Theater L’Île Ô launches an artistic, eventful, citizen, and educational project. With a primary focus on awakening and training children and young people to the wonders of theater, this public interest project has gained the attention of Voies Navigables de France, the manager of the river public domain, which selected L’Île Ô as part of the project call reviewed in 2020, allocating a location on the Rhône in the city center of Lyon.

The theater has several spaces, including modular ones, to accommodate all the activities of the venue, such as two performance halls with 78 and 244 seats adapted for people with reduced mobility (PRM), 245 m2 of modular spaces spread over three levels for catering, artistic workshops, professional training, and corporate events, and a 140 m2 rooftop.

The Theater L’Île Ô promises to deliver an exceptional cultural experience to all its visitors, showcasing the perfect fusion of modern construction techniques, playful design elements, and sustainable materials. Don’t miss out on the chance to be part of this unique and memorable experience.

荷蘭漂浮城市 為未來家居定立新概念 創意、型格又環保

By Katrina Y
2021.January.24

香港地少人多令土地問題久久未能解決,但在地球的另一端,地大脈博的荷蘭同樣面對另一個長遠影響房屋供應的問題,那就是氣候變化。據外國傳媒資料顯示,荷蘭有超過一半的人居住在低於海平面的地區,而不斷上升的水位就成為了迫在眉睫的問題。可幸的是,憑著建築界的前瞻性,荷蘭發展出“Floating City”——「漂浮城市」,並以可持續發展與環保為設計前題,令人與海洋能相依共處,當中更帶來不少富未來性的漂浮屋設計。

荷蘭建築師Koen Olthuis(i29 Studio)

荷蘭建築師Koen Olthuis(Waterstudio)

於2010年起,荷蘭已經有不少建築師在構想漂浮城市的可行性;談及推動此概念成真的表表者,就必需認識荷蘭建築師Koen Olthuis。專注於水上建築設計的他,相信為人們提供更多居住空間不一定只有建立人工島、填海造地這單一辦法,反之好好利用水上空間帶來的彈性和流動性,才是更長遠可行的方案。他與他的Waterstudio團隊抱著這個信念,在成立超過10年的期間,已在世界各地完成了200多個水上建築項目;其中於阿姆斯特丹的Ijburg,更成為了全球發展得較成熟的漂浮城市。

Ijburg漂浮屋(Water Studio)

Ijburg漂浮屋(Water Studio)

除了Ijburg之外,近年於荷蘭亦相繼發展出不同的漂浮社區,例如由 Space&Matter打造的Schoonschip,它位於阿姆斯特丹北部前工業區的Johan van Hasselt運河上,容納著100個住戶。屋主可以自行請來心儀的建築師來打造自己理想的漂浮屋,而今次帶大家看看由i29 Studio設計的作品,相信是不少人心目中的理想家居。

位於阿姆斯特丹北部前工業區的Johan van Hasselt運河上Schoonschip(SPACE&MATTER)

位於阿姆斯特丹北部前工業區的Johan van Hasselt運河上Schoonschip(SPACE&MATTER)

以深色木材為外層的漂浮屋,遠看感覺型格冷酷,內裡卻充滿明亮溫暖感。屋內分成三層,以一條樓梯貫穿不同樓層;為了提升屋內的空間感,設計師特意於每層保留一部份的開放空間,無論置身於哪層都能夠與其他樓層的人連結起來;除內觀景開揚,設計師特意安排一扇L型的落地大玻璃,讓住戶能享受到更廣闊的運河景觀。

深色木材為外層的漂浮屋,遠看感覺型格冷酷。(SPACE&MATTER)
深色木材為外層的漂浮屋,遠看感覺型格冷酷。(SPACE&MATTER)

與Schoonschip其餘開發項目一樣,設計師同樣遵從可持續發展與環保的概念,在此家居中加入了節能設施,包括能從運河水中提取熱量的水泵,為房屋一年四季提供熱能,以及提供電力的太陽能電池板,當中取得的電力更能夠存儲於國家能源網中,令建築成為推動環保能源的一份子。

Schoonschip內裡卻充滿明亮溫暖感,跟外牆建築形成強烈對比。(SPACE&MATTER)
Schoonschip內裡卻充滿明亮溫暖感,跟外牆建築形成強烈對比。(SPACE&MATTER)
Schoonschip內裡卻充滿明亮溫暖感,跟外牆建築形成強烈對比。(SPACE&MATTER)
Schoonschip內裡卻充滿明亮溫暖感,跟外牆建築形成強烈對比。(SPACE&MATTER)
+3

了解過荷蘭因另一種的土地問題而發展出來的「漂浮城市」,未知能否激發大家對於香港未來城市規劃的新構想呢?

 

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Waterstudio.nl - Tiny Floats

Morsowanie w architekturze, czyli budynki na wodzie

By JS
Labe
2021.January.19

W 2020 roku wszyscy piekliśmy chleb, w tym morsujemy. Zawsze pozytywnie reagujemy na trendy, które niosą za sobą korzystne skutki, np. zdrowotne, a morsowanie niewątpliwie zalicza się do tej kategorii. W architekturze również mamy do czynienia z czymś w rodzaju morsowania – mowa tu o budynkach na wodzie. Poniżej przedstawiamy najciekawsze przykłady tego rodzaju architektury.

Autor: JS

Zdjęcia: i29/Ewout Huibers, Waterstudio.NL/Arkup, Waterstudio.NL/tinyfloats

Unoszący się dom

Unoszący się dom (ang. Floating home) zlokalizowany w Amsterdamie, zaprojektowany przez architektów ze studia i29 jest częścią Schoonship – wioski składającej się z 46 gospodarstw domowych. Celem projektu jest stworzenie najbardziej zrównoważonej ekologicznie społeczności zamieszkującej domy na wodzie w Europie. Dzielnica zakłada pełne wykorzystanie energii wodnej, minimalizację odpadów i tworzenie warunków sprzyjających rozwojowi różnorodności biologicznej.

Właściciel pragnął, aby dom wyróżniał się wyjątkowym kształtem, co bez wątpienia się udało. Atutem tego budynku jest jego zmieniająca się forma zależnie od strony, z której na niego patrzymy.

Jednocześnie widok z wewnątrz domu jest bardzo różnorodny, bo zapewnia dostęp do krajobrazu z kilku stron.

Mimo surowości budynku wynikającej z kształtu i koloru elewacji, wykorzystanie do jego budowy desek oraz ulokowanie budynku na wodzie sprawia, że jest w tym projekcie pewne ciepło. Dom niewątpliwie wyróżnia się na tle sąsiadujących budynków, ale jednocześnie doskonale się z nimi komponuje.

Willa Arkup

Oprócz faktu, że ten wyjątkowy budynek pływa i tym samym może łatwo zmieniać swoją lokalizację, jest odporny na huragany. Kwestia ta jest szczególnie istotna z uwagi na położenie willi w Miami, czyli w miejscu, w którym problem występowania huraganów nie jest obcy jego mieszkańcom.

Projekt Koena Olthuisa z Waterstudio jest odporny na sztormy dzięki możliwości podniesienia budynku na ponad 3 metry nad poziom wody, co sprawia, że znajduje się wtedy poza zasięgiem silnych fal.

Nie sposób pominąć faktu, że w wyniku ocieplenia klimatu wielu miastom grozi zalanie przez wrastający poziom wody. Takie budynki jak willa Arkup mogą być jedną z odpowiedzi na ten problem.

Hortusboatanicus

Projektanci z Waterstudio patrzą w przyszłość również w przypadku tego domu. Architekt Koen Olthuis, autor projektu, na swoim Instagramie podpisał zdjęcie tego budynku słowami: „Wyhoduj sobie swój obiad na dachu”.

Niewątpliwie umożliwia to dom na wodzie ze szklarnią stworzoną na dachu budynku.

Podkreśla taką możliwość przewrotna nazwa projektu, czyli Hortusboatanicus, która została zaczerpnięta od Hortus Botanicus Amsterdam, czyli jednego z najstarszych ogrodów botanicznych na świecie, założonego w 1638 roku. Zastąpienie słowa „botanicus” na „boatanicus” trafnie oddaje charakter tego wyjątkowego domu. Smacznego!

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Un théâtre flottant dédié au jeune public va émerger sur les berges du Rhône à Lyon

By Odile Morain
France news live
2021.January.19

La construction de ce nouveau lieu culturel insolite doit débuter mi-mars. L’île Ô, c’est son nom, prendra place sur les quais du Rhône, près du pont Gallieni au sud de Lyon.

Alors que le secteur culturel traverse une longue période de doute, il y a ceux qui ne perdent pas espoir et imaginent des projets fous. C’est le cas de Jean-Philippe Amy qui attend avec impatience la naissance de son nouveau lieu culturel à Lyon : un théâtre flottant sur la rive gauche du Rhône baptisé L’île Ô. 

Un projet innovant

Jean-Philippe Amy n’est pas un inconnu dans le milieu culturel lyonnais. Il dirige depuis seize ans le Patadôme à Irigny, un théâtre qui a mis au coeur de sa programmation l’accompagnement des jeunes spectateurs. Avec son équipe, il souhaite poursuivre son travail dédié au théâtre jeune public, ici sur le Rhône. C’est l’agence d’architectes néerlandaise Koen Olthuis – Waterstudio.NL, qui a été choisie pour la conception et la réalisation du projet. Spécialisée en construction flottante auprès de l’UNESCO, elle signera, à Lyon, son premier ouvrage en France. “C’est un projet vraiment innovant, la grande première c’est de créer un bâtiment ambitieux qui va faire onze mètre de large et 45 mètres de long pour en faire un vrai théâtre, ça n’a jamais été fait”, détaille Jean-Philippe Amy.

 

Projet du théâtre flottant de Lyon, conception Koen Olthuis – Waterstudio. NL (France 3 Aura / Koen Olthuis – Waterstudio. NL)

 

Redynamiser un quartier en devenir

Amarré sur les berges du Rhône entre le pont Gallieni et le viaduc SNCF, l’établissement culturel flottant accueillera, entre autre, un théâtre de 220 places, une salle avec gradins de 75 places, un espace de restauration et une terrasse panoramique, le tout sur une surface de 1200 m2. A terme, L’île Ô pourrait devenir un centre de création régionale dédié à la petite enfance. L’objectif de ce nouveau lieu est de renforcer l’offre culturelle dans la partie sud de la ville et répondre, selon la mairie, à la nouvelle sociologie du quartier. Le projet de deux millions d’euros est financé à 100% par des capitaux privés. Les portes de l’Ile Ô ouvriront au début de l’année 2022

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Grüne Stadterweiterung auf Wasser

By Elisabeth Schneyder
UBM Magazin
2020.Oct.01

In immer dichteren Städten bleiben Flora und Fauna auf der Strecke. Das Büro Waterstudio will das Dilemma mit dem „Sea Tree“ lösen: Naturreservate auf schwimmenden Türmen sollen für grüne Stadterweiterung sorgen. Für Menschen unzugänglich – aber im Dienste ihrer Gesundheit und Zukunft.

Zutritt verboten, Nutzen garantiert

Die Idee zu „Sea Tree“ steht schon seit Längerem auf Waterstudios Agenda. Ähnlich wie futuristische Pläne des visionären Architekten Vincent Callebaut oder seines italienischen Kollegen Luca Curci, harrt sie jedoch der Umsetzung. Genau wie viele andere, spannende Konzepte für mehr urbanes Grün und Umweltschutz, von denen sich „Sea Tree“ allerdings in einem zentralen Punkt unterscheidet: Den Entwicklern geht es nicht um neue Erholungszonen für geplagte Städter. Der gestapelte „Meeresbaum“ soll für Menschen sogar unzugänglich sein. Er soll schwimmende Naturreservate schaffen. Im Namen von Biodiversität und Umweltschutz. Weil beides Gesundheit und Zukunft aller Lebewesen dieses Planeten dient.

 

 

 

Teil der Stadt und trotzdem ungestört: „Sea Tree“ soll Tieren und Pflanzen neue Lebensräume schaffen. (Bild: Architect Koen Olthuis, Waterstudio)
Teil der Stadt und trotzdem ungestört: „Sea Tree“ soll Tieren und Pflanzen neue Lebensräume schaffen.

Als eine Art „City App“ soll der „Meeresbaum“ in Häfen, an Fluss-, Ozean- und Seeufern, vor Inseln, aber auch nahe an Industriezonen auf freiem Wasser ruhen. Als schwimmendes Objekt, das zu 100 Prozent für Flora und Fauna gebaut und konzipiert ist. Die grüne Stadterweiterung kann in Höhe und Tiefe dem jeweiligen Standort angepasst werden. Denn die Konstruktion berücksichtigt Bedingungen wie Wassertiefe, Wellen, Gezeiten und Strömungen. Wie ein Baum im Wald, soll sich der „Sea Tree“ sanft mit dem Wind bewegen. Halt findet der Turm durch ein am Meeres-, Fluss- oder See-Boden befestigtes Kabel- und Verankerungssystem.

Öl-Türme für Umweltschutz

Das Gerüst des vielschichtigen Turms ist aus Stahl. Und es wird, so Waterstudio, unter Verwendung neuester Offshore-Technologie gebaut. „Sea Tree“ nützt von Öllagertürmen im offenen Meer erprobte Technik: „Die Ölgesellschaften haben diese schwimmenden Lagertürme seit Jahren benutzt. Wir haben ihnen nur eine neue Form und Funktion gegeben“.

Und geht es nach den kreativen Architekten, kommen Ölkonzerne auch auf ganz andere Art ins Spiel: Sie sollen beweisen, dass sie bereit sind, zum Schutz der Umwelt beizutragen. Schließlich verfügten sie sowohl über hilfreiches Wissen, als auch über passende Ressourcen. Anders gesagt: Her mit den Türmen – aber künftig ohne Öl.

 

 

 

Grüne Stadterweiterung auf Wasser. New York könnte von der Idee der niederländischen Architekten profitieren – mit einem „Sea Tree Wald“ rund um Manhattan. (Bild: Architect Koen Olthuis, Waterstudio)
New York könnte von der Idee der niederländischen Architekten profitieren – mit einem „Sea Tree Wald“ rund um Manhattan.

Entsprechend heißt es in der Projektbeschreibung des Waterstudio-Teams: „Sea Tree bietet den Ölgesellschaften eine Möglichkeit, ihre positive Einstellung gegenüber der Umwelt umzusetzen“. Das „schwimmende Produkt“ könne Städten hinzugefügt werden wie eine App einem Smartphone: „Der Ölkonzern bleibt Eigentümer und die Stadt stellt einen Standort zur Verfügung“.

Was für die Unternehmen vermutlich feine Image-Pflege wäre, würde Umwelt und Allgemeinheit tatsächlich nützen. Vor allem, wenn es nicht bei einem einzigen „Meeresbaum“ bleibt. Denn dass die grüne Stadterweiterung Biodiversität fördern, die Luft in Ballungsräumen verbessern und dem Klimawandel entgegenwirken könnte, liegt auf der Hand.

 

 

 

Grüne Stadterweiterung auf Wasser. Die schwimmenden, für Natur reservierten Wolkenkratzer sollen CO2 „schlucken“ und weit über ihren Ankerplatz hinaus für gesündere Umwelt sorgen. (Bild: Architect Koen Olthuis, Waterstudio)
Die schwimmenden, für Natur reservierten Wolkenkratzer sollen CO2 „schlucken“ und weit über ihren Ankerplatz hinaus für gesündere Umwelt sorgen.

Immerhin spielt langfristig ungestört gedeihende Vegetation eine gewichtige Rolle bei der Absorption von CO2 aus der Atmosphäre. Und da, wo „Wildnis“ keinen Platz mehr hat, bemüht man sich, auf „kultivierte“ Art vom Mehr an Grün zu profitieren. Nicht umsonst setzen Architekturbüros und Stadtplaner in aller Welt zusehends auf dicht begrünte Fassaden, Dächer und Gebäude. Projekte wie der „Mandragora-Wohnturm“ für New York, der Düsseldorfer „Kö-Bogen 2“ oder Koichi Takadas riesiger „Urban Forest“ in Australien sind nur ein kleiner Auszug aus der aktuellen Beispielliste.

Umdenken gefragt

Bedenkt man, dass Erdölkonzerne selbst zu den größten CO2-Produzenten der globalen Wirtschaft zählen, klingt Waterstudios „Sea Tree“-Vorschlag noch recht kühn. Allerdings könnte das Projekt mittlerweile doch mehr Gehör finden. Schließlich betonen inzwischen auch Unternehmen wie BP, ihren Kohlendioxid-Ausstoß verringern zu wollen. Und der Druck der Öffentlichkeit, es nicht bei bloßen Ankündigungen zu belassen, wächst.

 

 

 

Grüne Stadterweiterung auf Wasser. Viele Ebenen für viele Arten: Ziel des Projekts ist es, dem bedrohlichen Verlust natürlicher Vielfalt Einhalt zu gebieten. (Bild: Architect Koen Olthuis, Waterstudio)
Viele Ebenen für viele Arten: Ziel des Projekts ist es, dem bedrohlichen Verlust natürlicher Vielfalt Einhalt zu gebieten.

Die grüne Stadterweiterung nach Waterstudio-Modell könnte kilometerweite Zonen positiv beeinflussen. Weit über den Standort jedes „Sea Tree“ hinaus. Auf die Idee zum originellen Entwurf kamen die Architekten durch Ökologen: Gefragt war ein Konzept zur Schaffung eines ungestörten Lebensraums für Pflanzen. Für die Niederländer lag es nahe, Wasser als schützende Barriere zu nützen, die Menschen von den geplanten Oasen fernhält. So, dass etwa auch Vögel und Insekten wieder eine Heimat finden. Auch dort, wo dichte Ballungsräume keine störungsfreien Plätze mehr für Nest und Bienenstock lassen.

Neuer Lebensraum, auch unter Wasser

Inspiriert von norwegischen Öl-Lagern wurde an einer Strategie gefeilt. Auch die Kronen mächtiger Bäume standen Pate. Ebenso, wie städtische Parks: Das Team unterteilte solche Grünzonen in Abschnitte. Diese wurden im Entwurf vertikal über einander geschichtet.

Der grüne Turm soll allerdings nicht nur über der Wasseroberfläche Natur erblühen lassen. Das Konzept sieht vor, dass auch darunter Vielfalt wachsen kann: Dort soll der „Meeresbaum“ Lebensraum für kleine Wasserlebewesen schaffen. Passen die klimatischen Bedingungen, könnten dort sogar Korallenriffe entstehen.

 

 

 

 

Grüne Stadterweiterung auf Wasser. Das „geschichtete“ Naturschutz-Konstrukt soll auch unter dem Wasserspiegel buntes Leben fördern. (Bild: Architect Koen Olthuis, Waterstudio)
Das „geschichtete“ Naturschutz-Konstrukt soll auch unter dem Wasserspiegel buntes Leben fördern.

„Wir haben Experten der renommiertesten Institute Hollands konsultiert“, versichert das Waterstudio-Team in der Beschreibung des Projekts. Der Entwurf basiere auf aktuellsten Forschungsergebnissen um optimale Bedingungen für Flora und Fauna zu bieten. Die Errichtungskosten seiner Wasser-Wolkenkratzer bezifferte Waterstudios Chef-Architekt Koen Olthuis in der Entwicklungsphase – vor wenigen Jahren – mit etwas mehr als einer Million Euro.

Sein Traum: „Sea Tree Wälder“ vor Manhattan und anderen Metropolen in Uferzonen. Überall dort, wo Raumnot kaum noch oder gar keinen Platz mehr für Naturreservate lässt, könnte die grüne Stadterweiterung auf dem Wasser für mehr Lebensqualität sorgen. Als grüner „Blickfang“ und effiziente Umweltschutz-Maßnahme.

Mehr als ein „Fantasie-Projekt“

Die ausgefallene Idee als Vision eines Fantasten abzutun, wäre zu kurz gedacht. Immerhin gilt Architekt Koen Olthuis als Spezialist für wasserbasierte Entwicklungen. Das „Time Magazine“ setzte ihn bereits einmal auf die Liste der einflussreichsten Personen der Welt. Und das französische „Terra Eco“ ehrte den Holländer schon 2011: Im Ranking der 100 „grünen“ Personen, die die Welt verändern werden.

 

 

 

Spannende Zukunftsvision: Grüne Stadterweiterung mit ufernahen „Sea Tree“-Wäldern. (Bild: Architect Koen Olthuis, Waterstudio)
Spannende Zukunftsvision: Grüne Stadterweiterung mit ufernahen „Sea Tree“-Wäldern.

Zudem klingt bestechend logisch, was Olthuis propagiert: „Prognosen gehen davon aus, dass bis 2050 etwa 70 Prozent der Weltbevölkerung in urbanisierten Gebieten leben werden. Die Tatsache, dass etwa 90 Prozent der größten Städte der Welt am Wasser liegen, zwingt uns, die Art, wie wir mit Wasser in der verbauten Umwelt umgehen, zu überdenken“.

„Planung für den Wandel“

Künftige Entwicklungen und Bedürfnisse sind unvorhersehbar. Deshalb sei „Planung für den Wandel“ nötig, meint der Waterstudio-Chef: „Unsere Vision ist, dass schwimmende Großprojekte in städtischer Umgebung eine greifbare Lösung bieten, die sowohl flexibel als auch nachhaltig ist“. Ideen dazu hat er viele. Zum Beispiel den „Meeresbaum“, der Tieren und Pflanzen – die schließlich auch fürs Wohl der Spezies Mensch vonnöten sind – verlorenen Lebensraum zurückgibt.

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Solar powered yacht – sails and moors for off-grid escape

By Karing Kloosterman
Green Tech and Gadgets
2020
.Aug.19

solar powered home yacht can moor like a barge in Amsterdam

A movable home that can plunge its support deep into the water against hurricanes, or be brought on land to live off-grid.

I grew up as a Dutch girl in Canada. Among part of our family’s storytelling and legends was the tale about the Dutch boy who plugged a dyke with his thumb to save his town, the country, the world? from an encroaching sea. The flatlands people of Holland or The Netherlands as you might call them are at home with the idea of climate adverse consequences.

artuk's solar power house boat roams to any city

The houseboat reimagined

The national psyche is built on man against nature or man with nature, and for that the Dutch people have been reasonably doing unreasonable things against climate change and for helping the environment. See our article on the extraordinary city of Rotterdam, the home to one of resident writers, or Boyan Slat, who boldly plans to clean up the seas with his plastic-corralling invention.

fly in with your helicopter to this solar powered house boat

Whatever floats your boat. Call it a yacht, a barge, a houseboat, but it’s not a tiny home.

While Americans might rather escape to Mars with Elon Musk, the Dutch are battening down the hatches and are offering more reasonable approaches to dealing with Mother Nature, or an angry Mother Nature. Consider the Dutch firm who has designed a solar powered yacht that can lower stilts for a more permanent mooring.

Like the modern trailer also known as the #tinyhome or #vanlife, this yacht appeals to a certain eco personality that might also want to settle like the barge dwellers in Amsterdam. It is not your father’s houseboat.

solar power houseboat

Full speed ahead

The solar powered boat is created by the Dutch architecture studio Waterstudio.NL for the yacht maker Arku in Miami, with an option of it becoming an off-grid home.

The craft is 75 feet long, is fully solar-electric, mobile and self elevating. This turn-key vessel is furnished and decorated in style by the acclaimed Brazilian furniture company, Artefacto.

interior design of solar power houseboat yacht

Interior designed to be as fancy as this concept houseboat

The first one is for sale at a cool price of $5,500,000.

iconic looking housboat

Have the captains drooling. This does not look like a houseboat. Transforms into stilted urban getaway at the port.

Arkup is a Miami, US-based company founded in 2016, to pioneer next-generation floating homes. The company rethinks life on water with its fully solar-electric, mobile and self-elevating livable yachts they call “future-proof blue dwellings.”

Weather and future proof, rain harvesting too

These livable yachts feature zero emission and silent electric propulsion which provide mobility and maneuverability. An automated hydraulic lift system, allowing the vessel to put down a stable foundation in up to 20 feet of water, ensures stability and hurricane resilience.

sailing away solar powered yacht into the sunset

Sail away with me. Or anchor for the night?

The livable yacht has four bedrooms in 2,600-square-feet of indoor space, with 4,350-square-feet in total, including its terraces and balconies. To achieve its sustainability objectives, the Arkup design is 100 percent solar-powered and has systems for harvesting and purifying rainwater, for complete independence.

With Covid and potentially other climate change disasters facing us, let’s start saving? The other option might be our collective thumbs in the dyke.

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Waterstudio.NL designs yacht villa that can be raised out of the water

By Cajsa Carlson
News Break
2020.Aug.18

Dutch architecture studio Waterstudio.NL has created a solar-powered electric yacht-cum-villa with retractable stilts that allow it to be raised fully out of the water to become an off-grid home.

Named Arkup 75, the craft was designed for yacht company Arkup with a hybrid foundation that allows it to float when moving, be semi-supported when alongside a dock or fully raised up from the water.

“The design was inspired by the way flamingos stand in the water,” Waterstudio.NL founder Koen Olthuis told Dezeen. “Only a leg in the water and the body untouchable above the surface.”

Arkup 75 yacht villa by Waterstudio.NL
The yacht villa can be raised entirely out of the water on stilts

When it’s not travelling, the 22-metre long vessel can be anchored by four 12-metre steel spuds, which lower to the bottom at depths of up to 7.6 metres to keep it stable.

“As the Arkup is floating it can handle normal waves, but when the stilts are activated the house pushes itself out of the water,” Olthuis added.

“Now the waves can only hit the stilts, which makes it a hurricane-proof building.”

Arkup 75 yacht villa by Waterstudio.NL
The villa can also sail like a regular yacht

Along with the hybrid foundation, a solar-powered electric system, and a rain-harvesting and purification system make it capable of operating off-grid.

A solar array covers the entire roof to provide electricity for air conditioning, appliances, lighting, propulsion and all other operating systems on board.

Arkup 75 yacht villa by Waterstudio.NL
When raised on stilts it is described as a “hurricane-proof building”

Arkup 75, was designed to resemble a smooth, white frame that presents the ocean view as a picture, with glass-fibre walls, a retractable terrace and large sliding-glass windows.

It has a total living space of 404 square metres, is self-propelled and can, in theory, stay in open water indefinitely as long as there is enough solar power to provide energy.

Arkup 75 yacht villa by Waterstudio.NL
Arkup 75 can be fully lifted out of the water

Olthuis believe the yacht’s off-grid system will come in useful in the future, as he thinks sea-level rise and urban growth will lead coastal cities to develop on the water.

“Not just yachts but especially floating structures will take advantage of the space on water around our cities. These buildings are portable and can react to known and unknown changes in the demands of near future society,” he said.

“Covid is such an unknown change that has suddenly raised the popularity of off-grid, off-shore independent living.”

Arkup 75 yacht villa by Waterstudio.NL
The yacht-cum-villa can operate as an off-grid home

The architect added that Arkup is aiming to use the craft to demonstrate features that can also be applied to larger, high-density floating housing that could be built in the future.

According to Olthuis this is something that Waterstudio.NL has been advocating for almost two decades.

Arkup 75 yacht villa by Waterstudio.NL

“The water is being paved for water-based, high-density developments in cities threatened by sea-level rise and urbanisation,” he said.

“Each project is a small step towards those floating neighbourhoods.”

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Seasteading: il futuro è vivere come un baccello nel mare

By Paola Piacenza
IO Donna
2020.July.25

Sono i nuovi pionieri. Ma questa volta la frontiera che vogliono conquistare è liquida e le case, ipertecnologiche ed ecosostenibili, sono su palafitte. Per i seguaci della filosofia nata in America negli anni ’80, un nuovo capitolo si sta per scrivere nelle acque panamensi. Per chi vuole prenotare, meglio pagare in Bitcoin

La desalinizzazione delle acque, il giardino di coralli artificiali, l’alimentazione a pannelli solari e le colture idroponiche sono dettagli. Significativi, ma dettagli. La vera novità nel progetto che sta prendendo forma nelle acque territoriali panamensi a firma Ocean Builders è la visione del mondo (e del mare) che lo nutre.

Essere autosufficienti in mare aperto

All’origine c’era un’idea, e un movimento, nato negli anni ’80, sviluppato nei ’90, ora reso tangibile, chiamato Seasteading, dalla fusione di sea, mare, e homesteading, prendere possesso di una proprietà per viverci in maniera autosufficiente.

Nel rendering, due SeaPod sottocosta.

Finora lo sfruttamento di alcune piattaforme petrolifere o di navi da crociera abbandonate è tutto ciò che ha prodotto. Al più ambizioso dei progetti, la Freedom Ship, una barca lunga un miglio per 50 mila persone che alla fine degli anni ’90 avrebbe dovuto circumnavigare il mondo («Ci stanno ancora lavorando….») aveva preso parte anche il Ceo di Ocean Builders, Grant Romundt che, dall’Idaho, via zoom, racconta a iO Donna a che punto sono i lavori per la costruzione della fabbrica che produrrà i giganteschi “SeaPod”, i baccelli marini, unità di misura dei villaggi su palafitte che stanno per nascere al largo: La pandemia ci ha rallentato, ma non ci siamo mai fermati. La fabbrica ospiterà la più grande stampante 3D dell’America latina, in grado di realizzare un modulo in un week end.

L’acqua e gli architetti olandesi

Il primo prototipo di SeaPod, disegnato dagli ingegneri, era brutto, racconta Grant, che si definisce «un amante dell’acqua e della tecnologia». Perciò è stato coinvolto lo studio di architetti più all’avanguardia quando si tratta di costruire sull’acqua, gli olandesi di Waterstudio. Il loro motto è: “Il futuro sostenibile sta oltre il lungomare”. «Ho incontrato Koen Olthuis di Waterstudio a Singapore, e subito ci siamo messi a disegnare come due bambini». Il risultato sono le strutture che vi mostriamo nei rendering in questa pagina, «degne dei Jetsons», il cartoon di Hanna e Barbera – da noi erano I pronipoti – protagonista una famiglia del futuro. Nessun angolo vivo, tre piani attrezzati issati su un palo in grado di resistere al moto ondoso: «Nella versione da alto mare, i test sono stati fatti su onde di cinque metri, ma per ora lavoriamo sottocosta» spiega Grant.

Il flop thailandese

Così era stato in Thailandia, il capitolo precedente nella storia dei Sea Builders. Ma l’idea che una città galleggiante potesse sorgere al largo di Phuket e che, un giorno, i suoi residenti potessero reclamarne la sovranità aveva spaventato le autorità di Bangkok e l’ingegnere capo del progetto era stato costretto a levare le ancore in grande fretta. «Le novità spaventano» chiosa Grant. «Ma vivere sul mare è un’ambizione che l’uomo ha da sempre, simile a quella che spinse i pionieri verso l’America. Anche questa in fondo è la conquista di una frontiera, il mare è una finestra da spalancare, ricca di opportunità per chi ha spirito imprenditoriale. Potrebbe trattarsi di un cambiamento epocale. E noi, che disponiamo dei mezzi necessari per realizzarlo, siamo gli unici in questo momento a lavorarci».

Il bagno del SeaPod.

Vero, lo storico movimento che oggi fa riferimento al Seasteading Institute, alla nostra richiesta di intervista, nella persona della Development director Carly Jackson, ha risposto così: «Siamo una piccola organizzazione no profit, non intendiamo progettare e costruire sistemi da soli. Il nostro ruolo è stato tradizionalmente quello di ricercatori e non abbiamo ingegneri nel nostro personale». Ocean Builders tra i propri finanziatori, in compenso, ha Rüdiger Koch, un ingegnere aerospaziale tedesco in pensione che, ci spiega Grant, «punta a esplorazioni ancora più radicali»: per Koch le piattaforme di seasteading rappresentano il perfetto trampolino per il progetto di “launch loop”, un cavo per lanciare, letteralmente, oggetti nello spazio.

Alla portata dell’americano medio

I talenti visionari non mancano, ma nemmeno il senso degli affari fa difetto. Il sito dei Sea Builders offre numerose opzioni di acquisto, affitto o multiproprietà (i Bitcoin sono il mezzo di pagamento preferito, «ma accettiamo anche versamenti via Paypal, e puntiamo, dopo i primi tempi, ad abbattere i costi fino a 195 mila dollari per un modulo, un prezzo alla portata dell’americano medio» spiega Grant).

La cucina, con vista, del SeaPod.

Per essere uno cui non manca il senso pratico e che sta scommettendo su un’idea di futuro da film di fantascienza, Grant però esita a delineare il tipo di società che ha in mente per gli abitanti dei SeaPod. «Persone diverse sono attratte dal progetto per ragioni diverse. Alcuni apprezzano l’aspetto libertario (tra i fondatori del movimento c’era Patri Friedman, anarco-capitalista e nipote del premio Nobel per l’economia, Milton Friedman, ndr). Altri vi hanno visto un’opportunità dopo che in alcuni Paesi il lockdown ha rivelato aspetti autoritari». Per ora, sostiene, loro puntano soprattutto allo sfruttamento turistico: «Decidere di vivere sul mare a tempo pieno è un grande passo, meglio andare per gradi». Chi si occuperà di mantenere l’ordine, dare le linee della governance (o almeno il regolamento di condominio), fornire i servizi essenziali è ancora da definire. E se non dovesse funzionare? «Il nostro sarà diverso da un villaggio terrestre dove le case sono piantate nel terreno. Se costruisci sull’acqua ogni aspetto della vita comunitaria si presta alla sperimentazione. Una comunità può organizzare la raccolta dei rifiuti coi droni, un’altra con le barche. Se penso alla vostra Venezia… credo proprio che potremmo darvi una mano».

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What lies beneath: our love affair with living underwater

How the 1960s craze for oceanic exploration changed our relationship with the planet

By Chris Michael
The Guardian
2020.Jun.08

In November 1966, the Gemini 12 spacecraft, carrying two astronauts, splashed down in the Pacific. The four-day mission was a triumph, proving that humans could work in outer space, and even step into the great unknown, albeit tethered to their spacecraft. It catapulted the US ahead of the USSR in the space race.

From then, Nasa’s goal was to beat the Russians to the moon. That meant weeks rather than days in space, in an isolated, claustrophobic environment. There was one perfect way to prepare humans for these conditions: going underwater. The world was gripped. If we could land people on the moon, why not colonise the ocean as well?

Nasa scientists were not the first to dream of marine living. Evidence of submarines and diving bells can be found as far back as the 16th century. The literary grandfather of all things deep, Jules Verne, popularised the idea of a more sophisticated underwater life with 20,000 Leagues Under the Sea in 1872, but it was in the 20th century that the fascination really took hold.

In the 1930s, American naturalist William Beebe and engineer Otis Barton collaborated on experimental submersibles called bathyspheres which set records for deep diving and opened up the underwater realm of plants and animals to science. Swiss physicist and oceanographer Auguste Piccard created the bathyscaphe (which used floats rather than surface cables) in 1946, and his son, Jacques, was on the record-breaking voyage to explore the Mariana Trench, the deepest place on Earth, in 1960. Auguste also created the mesoscaphe – the world’s first passenger submarine – in 1964.

Jacques Piccard in the mesoscaphe
 Jacques Piccard in the mesoscaphe, the world’s first passenger submarine, which his father, Auguste Piccard, created in 1964. Photograph: Keystone-France/Gamma-Keystone via Getty Images
Dr William Beebe with a bathysphere.
 The bathysphere was invented in the 1930s by Dr William Beebe and was used to explore the ocean floor. Photograph: Chris Hunter/Corbis via Getty Images
The craze for living in the depths, rather than merely visiting, started in the 1960s, when Jacques-Yves Cousteau – inventor of scuba, wearer of red woolly hats and inspiration for ze French Narrator in Spongebob – brought the ocean vividly to life for millions around the world through his documentaries about life aboard his vessel Calypso.To Cousteau, the life subaquatic was, above all, for living. “Being French, he made sure his diving never got in the way of mealtimes,” writes author John Crace of Cousteau’s documentaries. “In fact, food and wine take almost equal precedence with the oceans in these films. No one is ever without a pipe or cigarette in their mouth, either. Except underwater, of course.”Cousteau channelled this vision of oceanic life into his underwater habitats, known as Conshelf (Continental Shelf Station). George F Bond, the father of saturation diving and head of the US navy’s Man-in-the-Sea programme, approached Cousteau with funding from the French oil industry: they wanted manned colonies at sea in order to help with future exploration.

Still from The Undersea World of Jaques Cousteau. The 1960s TV show chronicling Cousteau’s undersea explorations aboard the ex-Royal Navy minesweep, The Calypso
 The Undersea World of Jacques Cousteau, the 1960s TV show chronicling Cousteau’s undersea explorations aboard the ex-Royal Navy minesweeper Calypso. Photograph: ABC Photo Archives/Walt Disney Television via Getty Images
Jacques Cousteau’s 1964 documentary World Without Sun.
 Jacques Cousteau’s 1964 documentary World Without Sun. Photograph: Kobal/Rex/Shutterstock
Together, Bond and Cousteau built three Conshelfs. The first, in 1962, was suspended 10 metres under the water off the coast of Marseilles, but Conshelf II was a starfish-shaped “underwater village” that sat on the seabed proper, 30 metres down in the Red Sea off Sudan. It contained all the accoutrements of la vie louche, including television and radio. Cousteau used it as a base to explore the ocean in his yellow submarine, descending to 300 metres to capture the deepest footage yet recorded.His team spent 30 days beneath the waves, and in the process changed humanity’s relationship with the ocean by proving that “saturation diving” could allow people to spend long periods underwater. By diving to a certain depth, divers saturate their bodies with the inert gases in air. This allows them to exist at the extreme pressure of the ocean floor. It typically involves breathing a mix of helium and oxygen, to avoid the possibility of the bends and nitrogen narcosis.Conshelf sparked a craze. Sealab, Hydrolab, Edalhab, Helgoland, Galathee, Aquabulle, Hippocampe – more than 60 underwater habitats were dotted across the seabeds in the late 60s and early 70s from the Baltic to the Gulf of Mexico.

American aquanaut Berry L Cannon inside Sealab II
 American aquanaut Berry L Cannon inside Sealab II, developed by the US navy during the 1960s. Photograph: Abbus Archive Images/Alamy
The Cousteaus and their crew
 The Cousteaus and their crew relax after work on Conshelf II, in the Shaab Rumi reef in the Red Sea. Photograph: Robert B Goodman/National Geographic Creative
The craze even inspired two British teenagers, Colin Irwin and John Heath, to raise £1,000 to build Glaucus in 1965, which was little more than a cylindrical steel tank weighed down by old railway ties. “We all thought at the time, ‘This is the future’,” Irwin told the BBC on Glaucus’s 50th anniversary. “We may not populate the moon, but we’re going to have villages all over the continental shelf, and we thought it’s about time the British did the same thing.” They dropped it in the waters of Plymouth Sound and spent a week inside.It is the Nasa missions, however, that remain the most iconic of the 60s underwater living experiments. This is in large part due to the marine biologist Sylvia Earle, one of the most famous explorers of her generation. In 1969, Earle made history with Mission 6, when she and an all-female team of scientists spent two weeks on Nasa’s habitat Tektite (named after meteor remnants on the seabed). This Virgin Islands research facility was for studying aquatic life – marine science, engineering and construction underwater – and small-crew psychology in extreme conditions. The research was for the Apollo missions and the moon landing was just months away.Built by General Electric, Earle and her team would enter Tektite through what she calls an “underwater door” – emerging as if from a swimming pool into the deep-sea two-up, two-down apartment. It was dry, climate-controlled and comfortable, with carpets, bunks and a hot freshwater shower to wash off the salt. It even had a microwave.“Nasa had a team of psychologists watching to get insight into behaviour of living in isolation,” says Earle today. “We were there as guinea pigs: our research was on the oceans, their research was on us.”But Tektite wasn’t just a research station – it was a vision of stylish underwater living. With their scientific gear and Charlie’s Angels wetsuits in their Bond-villain lair, Earle and her team caused a media sensation.

“They called us the aquababes, the aquanaughties, all sorts of things,” Earle recalls with a snort. “We speculated what they would say about the astronauts if they were seen the same way – would they be the astrohunks?”

Habitats such as Glaucus, Conshelf and Tektite were built as tributes to humankind’s abilities, but their true achievement was to spark an entirely different understanding of marine animals. “Back then we could only explore using nets, and just saw dead bodies – not living creatures. Having the continuous interaction allowed us to get to know individual animals,” Earle says. “[In underwater habitats] we could stay, the way you look at bears or birds: we were there for the long haul, 24 hours a day or night. It was possible to see how a little group of damselfish reacted when a predator tried to swipe their eggs, for example.

Peggy Lucas with team leader Dr Sylvia Earle
 Engineer Peggy Lucas and team leader Dr Sylvia Earle in Nasa’s Tektite habitat in the Virgin Islands. Photograph: Bettmann Archive
Artist’s cutaway view of the Tektite II habitat.
 Cutaway model of Nasa’s Tektite II habitat. Photograph: NOAA Central Library Historical Fisheries Collection
Dr Sylvia Earle diving.
 Dr Sylvia Earle diving off Magic Point, New South Wales, Australia, with a Port Jackson shark in 2004. Photograph: The Sydney Morning Herald/Fairfax Media via Getty Images
“You look at a school of fish and they all look alike, but when you really look at them – well, it’s like a bunch of people getting on the New York subway: a fish would say they all look the same, but we know they’re different. Getting to appreciate the individuality of creatures other than humans was a breakthrough for me – it reinforces that you can’t just lump them all together.”But, in 1973, the world was shaken when Opec declared an oil embargo. Energy prices in the west skyrocketed. At first, the oil shock fuelled even wilder fantasies of a watery future, straight out of science fiction. Architects and designers imagined whole cities underwater, fed by hydropower stations, with deep-sea mining using freight submarines.Much like living in space, though, it’s extremely difficult to live underwater. Aquanauts spending months in saturation suffered intense pressures on their body tissues – their brains, nervous systems. There were also interpersonal problems. As the marine biologist Helen Scales notes in her 2014 radio documentary The Life Sub-Aquatic:“If you’ve ever lived in a house with anyone, the first thing you do is storm out if you have a quarrel. You’re not going to do that [underwater].”Advances in robotics changed the game. Much of the research being done by Earle and her colleagues could be more efficiently performed by humans operating devices remotely from the surface. By the end of the 70s, the US government pulled back on its efforts. The moon missions were over. So, it seemed, were the ocean habitats.A few people refused to let the dream die. One was Australian Lloyd Godson. His habitat, BioSub, experimented with sustainability. Fuelled by solar panels, it featured a support system adapted from work by American high school students, with algae removing the CO2 from his exhalations and creating oxygen. In 2007 he moved in. It worked – sort of. “By day 12 I was lethargic, getting really irritated with people asking questions,” he told the BBC. “My wife told me to call it a day.”

In 2010 Godson spent 14 days underwater at the Legoland aquarium in Germany and used a fixed bicycle to set a world record for generating electricity underwater.

The SeaOrbiter designed by French architect Jacques Rougerie
 The SeaOrbiter, designed by French architect Jacques Rougerie. Photograph: Jacques Rougerie
Better funded is the French architect Jacques Rougerie, who has built a career designing underwater habitats and environments. “I had the pleasure of going on Cousteau’s Calypso, participating in expeditions, talking to the crew – and what he created was a fascination for underwater living,” Rougerie says from his office in Paris. “The early explorers opened the chamber of the possible for humanity. When you are underwater you feel like you’re in a new dimension – floating in space, like an astronaut.”Citing Leonardo da Vinci as an inspiration, Rougerie designs sea museums, underwater laboratories and habitats, and his foundation hosts an annual competition for students to conceive of underwater villages. Rougerie himself has twice lived for long periods underwater, and both times he didn’t want to return to land. “Sadness invades you,” he says. “I was happy to come back and see family, but the first thing you think of is the next experience.”Rougerie’s ultimate goal remains that old 1960s dream: a proper underwater village, housing up to 250 people. In his vision, these aquanaut settlers would live in osmosis with the ocean, in a self-sufficient, autonomous community running on renewable marine energy such as tidal power, wave sensors and ocean thermals.Perhaps most ambitious of all is SeaOrbiter, Rougerie’s take on the International Space Station for the ocean. It looks like a floating seahorse: two-thirds of its 51 metres are submerged, with panoramic windows, the lower section acting to stabilise a huge sail-shaped portion above water.“The goal, above all, is to help the climate and biodiversity by exploring across the grand currents of the ocean,” he says. “To float 24/7 on a permanent structure, a combination of men and robots with a scientific purpose.”

Despite Rougerie’s claims that he has secured Chinese investment, SeaOrbiter appears no closer to pushing off.

Indeed, after all the projects of the past 50 years, only one permanent underwater habitat remains on the entire planet: Aquarius Reef Base, a research station run by Florida International University and which sits 20 metres down on the seabed off the Florida Keys.

Fabien Cousteau waves from inside Aquarius Reef Base, a laboratory 63 feet below the surface in the waters off Key Largo, Florida in 2014
 Fabien Cousteau waves from inside Aquarius Reef Base, an ocean-floor laboratory off Key Largo, Florida in 2014. Photograph: Wilfredo Lee/AP
Aquarius plays host to a stream of people – scientists, film-makers, astronauts, even Jacques Cousteau’s grandson Fabien – who want to experience time underwater. As part of Nasa’s Extreme Environment Mission Operations (Neemo), the Canadian astronaut Chris Hadfield, famous for singing David Bowie songs aboard the International Space Station in 2013, used Aquarius to train.But Aquarius is still just a small research station, with room for just six people. In the 21st century, underwater “living” has become almost exclusively the preserve of hotels and resorts that sell “experiences” to guests via underwater glass ceilings and fish windows. The world’s largest underwater restaurant opened in Norway in 2019. Submerged hotels in the Maldives, Fiji, Dubai and Singapore use elevators to take guests below the waterline, and feature amenities such as Poseidon’s undersea chapel (“for a wedding ceremony or vow renewal truly unlike any other”), and are a lot more comfortable than Tektite ever was.Instead, the architects and scientists who still look to aquatic habitation spend most of their time thinking not about underwater cities, but floating ones. Long the refuge of the poorest city dwellers, such as the vast Makoko floating slum of homes on stilts in Lagos, houses on water have become newly popular as waterfront property prices – and sea levels – have risen across the world.So far, most of this effort to colonise the water has gone into land reclamation projects, such as the Odaiba island in Tokyo, or South Korea’s Songdo “smart city”. Architects in Dubai even tried to create a scale model of the entire Earth off its coast. However, reclamation is expensive, and requires constant maintenance to keep the ocean from reclaiming the space. Japan’s Kansai airport is sinking.

Under in Lindesnes, Norway, is the world’s largest underwater restaurant
 Under in Lindesnes, Norway, is the world’s largest underwater restaurant. Photograph: Jonathan Nackstrand/AFP/Getty Images
Exterior view of Under
 Exterior view of Under: the restaurant is 5.5 metres beneath the sea. Photograph: Tor Erik Schrøder/AP
Architect Koen Olthuis thinks it’s more natural for cities to spread by floating. His firm Waterstudio builds floating buildings, mainly in the Netherlands, to help cities be more resilient. Recently, Olthuis started adding submerged levels to his structures. “In Holland the licences for dwellings on the water are small, but they say nothing about living underwater.”The goal is partly ecological, Olthuis says. “Ten years ago, it was about proving that a structure did not have a negative effect – but now it’s about also having a positive effect.” He points to the “rigs to reefs” principle where abandoned oil rigs have been transformed into habitats for ocean life. Waterstudio’s Sea Tree builds on that concept: it’s a platform that attracts birds, bees, fish and water plants into a single dense floating structure that can be moved between cities. He says the first Sea Trees have been commissioned by a Chinese developer in Kunming, who was asked to create a tourist attraction after a dam permanently altered the landscape.The Bjarke Ingels Group last year revealed a concept for a buoyant municipality called Oceanix City – a modular system of floating islands clustered in multiples of six to form a kind of archipelago. Meanwhile, the Seasteading Institute, founded by PayPal’s Peter Thiel and the grandson of the economist Milton Friedman, continues to pursue its libertarian goal of floating communities living outside the boundaries of national law. The Chinese construction giant CCCC has a design similar to Oceanix City, while the architect Vincent Callebaut has imagined a city called Lilypad with a series of oceanic skyscrapers that would house 50,000 people.“I see blue cities,” says Olthuis. “Not floating cities. Just a city growing over water, taking advantage of the floating structures but in the same pattern as on land – a kind of Venice but floating, that can be used in New York, Miami … any city that’s threatened by water.”

An artists’ rendering of the Sea Tree project – a structure to attract fish and other wildlife to an area.
 An artist’s rendering of the Sea Tree project by Dutch architects Waterstudio. Photograph: Waterstudio
OceanixCity – a modular system of floating islands clustered to form an archipelago. Concept by Bjarke Ingels Group
 Oceanix City – a proposed modular system of floating islands form an archipelago. Photograph: BIG-Bjarke Ingels Group
Aerial view of Oceanix City
 An aerial view of Oceanix City. Photograph: BIG-Bjarke Ingels Group

The craze for deep-sea living wasn’t entirely folly, though. Rougerie says that time beneath the waves changes our outlook on the planet, helping inspire the environmental movement. It’s why continues to sponsor the competition to design underwater cities. “The biggest threat to our ocean is man: pollution, chemical and plastic. But I’m convinced that the young have a conscience and they’ll do everything in their power – they’re totally committed and willing to find a solution.”

Sylvia Earle, too, believes that man’s understanding of the universe has been changed by underwater exploration. “In the last 50 years,” she says, “two major things have happened: the expansion of our technology into the skies above – which has given us great insights into the blue speck in the universe that we couldn’t understand any other way – and going deep in the ocean, which has also changed everything.

“It has taught us that life exists everywhere, even in the greatest depths; that most of life is in the oceans; and that oceans govern climate. Perhaps because we’re so terrestrially biased, air-breathing creatures that we are, it has taken us until now to realise that everything we care about is anchored in the ocean.

“It’s the ocean that drives planetary systems – and we have done more harm to our life-support system in the last 50 years than we have in all previous human history,” she says. “If we fail the ocean, nothing else matters.”

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