Architecture on the water: 10 projects to discover

Zaishui Art Museum, Junya Ishigami, Rizhao, 2023 - Ph. Arch-Exist

Zaishui Art Museum, Junya Ishigami, Rizhao, 2023 - Ph. Arch-Exist

Some buildings gaze at the water from above, others allow it inside; still others descend beneath it, and there are even those that float on it all through the summer. Ten buildings, from 1935 to the present, tell the story of the many ways design engages with an element that is never still

Submerged, suspended, floating, overlooking, flooded: in water architecture finds a design material it can dialogue with. Those who build on water or near water know that part of the project will be decided by something else. The tides ebb and flow, the cove freezes over in winter and the river overflows when least expected. We’re interested in the different ways projects cope when faced with this instability. Some keep the water at a distance, limiting themselves to gazing at it from above; some let it into the ground level and design a course for it; some use it as a floor, and some plunge beneath it to observe it from within. Then there are those who build a whole neighborhood on top of the water, while more modestly others float on it through the summer. 

We have selected ten projects that express these different approaches. Some are cornerstones of twentieth-century architecture: Wright, Scarpa, Siza, Ando. Others are recent buildings or temporary experiments. Not all of them are even buildings in the strict sense. One of the most interesting works we will encounter is a swimming pool that fills itself with the undertow, while another is a collective space set up beside a disused airport. 

Fallingwater — Frank Lloyd Wright, Bear Run (Pennsylvania), 1935 

The client asked for a house overlooking the waterfall, and Wright built it right on top. The concrete terraces jut out from the rock over the waterfall, which the owners almost never see. They only hear it, since the murmur of the stream passes through the whole house. In the living room, a staircase descends directly to the surface of the water and leads nowhere. 

Fallingwater, Frank Lloyd Wright, Bear Run (Pennsylvania), 1935 - Ph. lachrimae72 / Wikimedia Commons 

Fallingwater, Frank Lloyd Wright, Bear Run (Pennsylvania), 1935 - Ph. lachrimae72 / Wikimedia Commons 

Fondazione Querini Stampalia — Carlo Scarpa, Venice, 1963 

Scarpa tackled the supreme Venetian problem by giving in to it. Instead of sealing the ground floor against acqua alta, he equipped it to embrace the water. Channels, basins and Istrian stone surfaces accompany the tide when it enters, letting it flow out as it ebbs. Periodic flooding becomes part of the project, and the interior is filled with light glancing off the water. 

Fondazione Querini Stampalia, Carlo Scarpa, Venice, 1963 - Ph. Alberto Sinigaglia, © MIBACT

Fondazione Querini Stampalia, Carlo Scarpa, Venice, 1963 - Ph. Alberto Sinigaglia, © MIBACT

Piscine de Marés — Álvaro Siza, Leça da Palmeira, 1966 

Here the architecture is reduced to a minimum. Some concrete walls complement the rocks already present on the Atlantic coast, forming two pools that the ocean fills with the tide. Siza adds nothing to the landscape except the paths and changing rooms, subterranean and invisible from the road, so that as you arrive you see only the sea. 

Piscine di Marés, Álvaro Siza, Leça da Palmeira, 1966 - Ph. Fernando Guerra| FG+SG 

Piscine di Marés, Álvaro Siza, Leça da Palmeira, 1966 - Ph. Fernando Guerra| FG+SG  

Church on the Water — Tadao Ando, Tomamu (Hokkaido), 1988 

Ando built the chapel overlooking an artificial basin fed by a stream, and designed the wall behind the altar as a huge sliding window. When it opens, nothing remains between the faithful and the landscape. Then the cross is not set inside the building but isolated on the water, opposite the pews. In winter, the basin freezes all around. 

Church on the Water, Tadao Ando, Tomamu (Hokkaido), 1988 - Ph. Hirofumi Inaba. Courtesy Hoshino Resort

Church on the Water, Tadao Ando, Tomamu (Hokkaido), 1988 - Ph. Hirofumi Inaba. Courtesy Hoshino Resort

Opera House — Snøhetta, Oslo, 2008 

The building emerges from the fjord like an ice floe, clad in white granite and Carrara marble. The roof is the centerpiece: a sloping, walkable surface that slopes seamlessly from its summit into the waters of Bjørvika. The public can climb over it, sit there, and without realizing it stroll into the harbor.

Opera House, Snøhetta, Oslo, 2008 - Courtesy Snohetta 

Opera House, Snøhetta, Oslo, 2008 - Courtesy Snohetta 

Floating University — raumlaborberlin, Berlin, 2018 

The water here is not a lake or a river, but the rainfall retention tank of the former Tempelhof airport: a contaminated concrete basin behind a fence that collects runoff from the runway. Raumlabor has set up a temporary campus on scaffolding, modeled on oil platforms. In the driest summer ever recorded in Berlin, the pool is dry. 

Floating University, raumlaborberlin, Berlin, 2018 - Ph. Victoria Tomaschko

Floating University, raumlaborberlin, Berlin, 2018 - Ph. Victoria Tomaschko

Under — Snøhetta, Lindesnes, 2019 

A sloping concrete monolith slides off the cliff and sinks into the North Sea, five meters below the surface. Inside it is a restaurant, and the back wall is an eleven-meter-wide window overlooking the seabed, with the light changing with the times and seasons. The structure also functions as an artificial barrier: mollusks and algae are now colonizing it. 

Under, Snøhetta, Lindesnes, 2019 - Ph. Ivar Kvaal

Under, Snøhetta, Lindesnes, 2019 - Ph. Ivar Kvaal 

Little Island — Heatherwick Studio, New York, 2021 

On the remains of Pier 54, destroyed by Hurricane Sandy, Heatherwick planted one hundred and thirty-two tulip-shaped concrete pillars of different heights in the Hudson River. On top of it rests a public park with artificial hills, an amphitheater and a grove. The river continues to flow beneath visitors’ feet, visible through the gaps between one support and another. 

Little Island, Heatherwick Studio, New York, 2021 - Ph. Timothy Schenck

Little Island, Heatherwick Studio, New York, 2021 - Ph. Timothy Schenck

Sluishuis — BIG and Barcode Architects, Amsterdam, 2022 

This project warps Amsterdam's traditional courtyard city block in two directions: toward the city it is stepped, so that visitors can climb up to the roof; toward Lake IJ it rises cantilevered, opening a portal under which boats enter to dock in the inner courtyard. In the apartments under the cantilever, a window in the floor frames the boats passing below the house. 

Sluishuis, BIG e Barcode Architects, Amsterdam, 2022 - Ph. Ossip van Duivenbode

Sluishuis, BIG e Barcode Architects, Amsterdam, 2022 - Ph. Ossip van Duivenbode

Zaishui Art Museum — Junya Ishigami, Rizhao, 2023 

Inside an artificial lake, Ishigami built a concrete roof almost a kilometer long and just over a meter high at some points, resting on 300 columns. At the base of the windows are fissures and the water enters, flooding the floor, and in winter, when the surface of the lake freezes, the water under the ice seeps inside and lingers until spring. 

Zaishui Art Museum, Junya Ishigami, Rizhao, 2023 - Ph. Arch-Exist

Zaishui Art Museum, Junya Ishigami, Rizhao, 2023 - Ph. Arch-Exist

17 July 2026
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