Posted in ENERGY, ENVIRONMENT, LAM ONLINE, OCEANS, POLLUTION, REGION, RESEARCH, RESILIENCE, WATER, tagged 2050 - An Energetic Odyssey, climate change, H+N+S, International Architecture Biennale Rotterdam, LAMcast, Netherlands, North Sea, Northern Europe, renewable power, wind energy on April 13, 2017|
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While most renewable energy advocates push for an inclusive “all of the above” approach that embraces solar panels, geothermal, and tidal power, there’s usually one method around which all others orbit. In Northern Europe and the North Sea, that’s wind power.
Dutch landscape architecture firm H+N+S has a plan to harness this potential by installing 25,000 wind turbines in the North Sea across 22,000 square miles, the focus of this month’s cover story, “Power Play 2050.” Over the next 33 years, they say the North Sea can generate 90 percent of power demanded.
H+N+S’s plan, dubbed “2050 – An Energetic Odyssey” and featured at the 2016 International Architecture Biennale Rotterdam, is an economic development plan as well as a climate change plan. They predict booming and expanded ports (including an entire island dedicated to the manufacture and construction of wind power infrastructure) and a net gain of jobs, even after accounting for job losses in fossil fuel industries. It would be an incomparable build-up of energy infrastructure, but there’s also a conscientious sense of economical re-use and environmental sensitivity. As described in the video, oil pipelines will be co-opted for carbon sequestration, serving the fossil fuel burners that remain. And wind turbines will have to be designed so that they act as welcoming habitats for underwater plants and animals. These towers will be 12 miles out from shore so that they don’t ruin anyone’s seaward view, far enough away so that the curvature of the earth makes them mostly imperceptible.
“It can be done,” intones the video’s calm, precise BBC-documentary-style narration, “but only when a tailwind can be organized in the shape of realistic pricing or taxation of carbon dioxide that would provide the invisible hand of the market with green gloves.”
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BY JESSICA BRIDGER
Visitors roam the Urban by Nature exhibits on opening day.
The landscape architect Dirk Sijmons wants to make a double point with the name of “his” biennale—the 6th International Architecture Biennale Rotterdam (IABR)—which opened in late May. Sijmons called the event Urban by Nature to suggest both that it is in our nature to be urban (implying a certain inevitability to our urbanization, now at an unprecedented and alarmingly fast rate) and that our urban areas are, in fact, natural. To Sijmons, humans are undeniably as natural as the world’s flora and fauna, and so are carbon emissions and border crossing checkpoints—it is time to acknowledge as much and to become more explicitly responsible actors in this unified scheme. This is integral to the work of Sijmons and the ethos of the biennale, and it is reminiscent of the epigram on Stewart Brand’s final Whole Earth Catalog: “We can’t put it together. It is together.”
The IABR is a research biennale, where projects are meant to fulfill the curator’s, in this case, Sijmons’s, position or point of view. The research focus also lets the IABR have a scope and effect beyond the biennale’s boundaries—as opposed to what commonly goes on at the Venice Architecture Biennale or a conference. The research comes from an open call for projects and from the IABR’s own test labs or “Project Ateliers.” These test labs investigate and propose ways to tackle issues at specific sites, this year in Texel, BrabantStad, and Rotterdam. Work from the Project Ateliers appears in the biennale along with work chosen from more than 500 international submissions. It’s this continuity between the test sites and the outside work that gives the IABR its lasting quality and that benefits the broad abstract topics the biennale tends to tackle, such as 2009’s Open City or Making City in 2012.
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