The aquatic environment has always fascinated dreamers and researchers. Around 1960, in the midst of the fierce space race of the Cold War, French explorer Jacques Cousteau developed equipment such as the Aqualung to unravel the depths of the sea, which remained as unexplored as outer space itself. He even stated that in 10 years we could occupy the seabed as “aquanauts” or “oceanautas,” where it would be possible to spend long periods extracting mineral resources and even growing food. Sixty years later, the seabed is still reserved for few, and mankind has been more concerned with plastic in the oceans and rising sea levels than colonizing the ocean floor. But being close to a body of water continues to attract most people. Whether out of interest or in response to risks of flooding and over-population, some have turned to utopian proposals and floating architecture, examples of which have been featured in the ArchDaily project archive. But what are the fundamental differences between building houses on land versus on water, and how do these buildings remain on the surface rather than sinking?
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Why Doesn't Floating Architecture Sink?
Putucos: What A Indigenous Technique Can Tell Us About Sustainability
As a part of the XV Taller Social Latinoamericano architectural conference that took place in Puno, Peru, we visited the Iruito Tupi zone in Huancané province alongside Francisco Mariscal, Director of the Puno Cultural Center. For the conference, Mariscal gave a presentation on the history of putucos, pre-Columbian houses made with a mixture of earth and grass.
History has the habit of repeating itself; using the same script, just with different names, figures, and places. Some 10,000 years ago, the Altiplano and the Titicaca lake basin, wedged between modern day Peru and Bolivia, became home to hunters and gatherers who subsisted on the herds of llamas and vicuñas as well as the bounty of birds and fish.
Piedras Bayas BeachCamp / MORAES
The Totora Cube Investigates the Techniques of Incan-Era Craftsmanship
Developed by the architects of the "think-act tank" Archquid, in connection with the indigenous community and other institutions of the parish of San Rafael de la Laguna (Otavalo, Ecuador), this project revolves around the material research of the totora plant, a subspecies of the giant bulrush sedge. The Totora Cube project deepens the understanding of the art and craft with which these fibers have been used since pre-Inca times.