Liquid City: A Radical New Masterplan in Rotterdam Embraces the River for Resilience
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Popular with hip foodies and craft beer lovers, Fenix Food Factory’s generous outdoor seating area overlooks Rijnhaven. An old industrial harbor, over decades, it has seen shipping disappear under the boot of urban development.
After docklands moved west towards, and now into, the North Sea, a new district has sprung up in this corner of Rotterdam, extending the city center. Shops, residential blocks, floating structures housing offices and hospitality have replaced redundant warehouses and cranes.
The stunning Hotel New York overlooks all of this new development. The iconic building dates to the late-19th century, when it housed Holland America’s headquarters. The ocean liner route to Hoboken, New Jersey, carried close to 500,000 passengers from mainland Europe in its first twenty-five years of operation, and some will be immortalized when the FENIX Museum of Migration opens in 2024.
At the closed end of the quay, early signs of Rijnhavenpark are materializing — if you know what to look for. A large section of the harbor is cordoned off with buoys, and machinery has arrived to start the mammoth task of filling in one-third of the basin to create a huge public park, partly built on dry land, part floating on water, connected by walkways. The scheme is just one of several remarkable undertakings by the municipality of Rotterdam, transforming how the city interacts with its riverfront.
Rijnhaven, Rotterdam by Ossip van Duivenbode/Rotterdam Partners
Artist’s impression of Rijnhavenpark by City Projects/Rotterdam Partners
A delta town, the surrounding region of the Netherlands is home to the huge Rhine-Meuse-Scheldt delta, and has seen vast amounts spent on flood defences as a result. Known as Delta Works, modern protective infrastructure first broke ground in 1954 and construction only finished around 1997. Rotterdam’s Maeslantkering was one of the final pieces in a jigsaw of sluices, locks and dams. An enormous floodgate that took six years to build, it remains one of the planet’s largest moving structures.
A new masterplan comprising a series of large scale City Projects for central Rotterdam, many of which actively embrace the river itself, serves as a clear reminder of how vulnerable a city is when large parts lie below sea level — however, it also serves as a source of inspiration for design ingenuity. This scheme includes planting flora at different tidal levels, meaning that green spaces change with the time of day and actively supporting aquatic life, mammals and birds in the process.
In total, eight sites have been approved, but the initial series could be the start of something far bigger — a vast ‘central park’ running down both river banks. This vision was creatively displayed on the inside of a disused shipping barge during June’s Rotterdam Architecture Month for the Liquid City exhibition. Should that ever materialize, the network of green waterfronts would line downtown and a good chunk of the former docklands that made up Europe’s largest port.
Interconnected green spaces are shown on the banks of the Meuse at Rotterdam Architecture Month by Martin Guttridge-Hewitt
“Four and a half years ago the decision was made that we need more green, and a lot more. Not just around the Meuse, but everywhere. Of course you can’t do it everywhere. So we were told there would be eight locations in the city centre, and to go away, do some homework quickly as possible, and present a study, with numbers for what it might cost,” explains Emiel Arends, urban planning specialist on City Projects who also works as part of Rotterdam’s climate adaptation programme, WeerWoord [Weatherwise]. “We only had four months to prepare, pitched it, they said OK, here’s €350 million ($387 million), go make it happen as soon as possible.”
In addition to riverside sites, City Projects also include the elevated Hofbogenpark, a narrow 1 mile (2 kilometer) micro-intervention on a former railway viaduct, and Hofplein, where urban greening will transform an already-busy square. Arends’ colleague, Pieter de Greef, senior planner and a key architect of the river-as-park masterplan, says the biggest challenge is Nelson Mendelapark. In partnership with US waterfront specialist SWA/Balsley, work has begun on an area the size of ten soccer fields at Maashaven harbour. Once complete, this will comprise hills, trees, lawns, an event space, and various tidal features, including a pathway designed to help people understand the river’s natural flow and ecosystem.
Artists impression of Nelson Mandelapark by SWA/Balsley
“If you want square meters, Tidal Park Feyenoord is bigger. But that’s all about biodiversity, greening rivers, giving nature new places in the city… it’s not for picnics and other activities,” says de Greef of the largest approved City Projects development. “Mandelapark is much more mixed. There’s a lot of social housing around there, which is good but they do not have many balconies or public spaces. The streets are narrow, filled with asphalt and stones. This project gives 16,000 households a large green space within 10 minutes walk.”
Unsurprisingly, considering the neighborhood’s urgent needs, de Greef says the most significant achievement with Nelson Mandelapark has been keeping all available land public. Other schemes in City Projects have integrated private interests to help finance. For example, at Rijnhavenpark three large residential blocks will deliver 4,500 homes, bringing in revenue to realise the vision. Elsewhere, water companies support schemes where green-blue infrastructure can ease pressure on overloaded drainage systems.
“Each part of the City Projects has a slightly different focus,” says Arends. “So within the inner city, on the north side, a little bit further away from the river, it’s about water storage and heat reduction. Tidal Park Feyenoord is all about biodiversity, but you can walk there as well. There are actions specific to each of the parks. It’s an insane programme. I’ve never seen this before, in any city.”
Hero Image: Rotterdam’s Maeslantkering flood defences by Guido Pijper / Rotterdam Partners
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How can an abandoned railroad be reused by the citizens of New York City? Connecting the Meatpacking District with the Hudson Railyards, 1.5 miles (2.5 kilometers) of elevated rail tracks have been transformed into the High Line project: a public park that stands as an agricultural oasis amidst the franticness of the big city. Prior to the project’s realisation, the deserted railroad had already been “reclaimed” by nature. Consequently, when James Corner Field Operations and Diller Scofidio + Renfro designed the High Line they celebrated these natural diversities, by employing the strategy of “agri-tecture”. Irregular paving patterns and planting beds form a series of asymmetrical pathways, allowing the people of New York to experience the city through a different, more impromptu, type of lens.
Built in 1891, the Terminal Warehouse is an iconic post-industrial ruin of New York. No longer needing the traditional warehouse in West Chelsea district, the Terminal Warehouse is gradually being transformed into a collection of biophilic office spaces. As part of their design strategy, COOKFOX Architects have preserved the building’s historic architectural typology and used its masonry structure as an infrastructure for supporting a series of gardens and green terraces. Additionally, through a set of rail tracks, the Terminal Warehouse is directly linked with Hudson river. The disregarded railroad becomes an opportunity for reuse and is transformed into a pedestrian route that reestablishes the link between city and water.
Located in a beach-front site in the Rockaways, the F.R.E.D. proposal introduces a new type of pairing between nature and infrastructure. Ennead Architects used the iconic Row House typology and the local sand dunes as the two components for designing a resilient infrastructure system. Their aim was to create a flexible strategy, which could be easily repurposed for other waterfront sites with the same characteristics and expand upon the research on “infrastructuring nature”.
For two hundred years, Hunter’s Point was a series of wetlands on the East river. Later on, the site was turned into an industrial hub and rail station. Eventually, it was diminished to a post-industrial ruin filled with decaying piers and steep landfills, inaccessible to the wider public. Finally, in 2018 it became one of the most transformative and ecologically driven projects in the city. A coastal park, a footbridge, a cantilevered overlook and even a landfill peninsula transformed what used to be an empty industrial site into an adaptable infrastructural system that reinvented the once iconic water edge.
Enclosed by the Hudson and East rivers, the island of Manhattan is naturally surrounded by many raw, uninviting concrete piers. Fortunately, the Pier 35 proposal transformed one of these flat blocks of artificial land into a much needed esplanade project. Pier 35 is literary “infrastructuring nature”. It consists of a folded landscape that gradually slopes down to the surface of the water. Its crinkled form interacts with the varying tidal currents, while replicating the physical characteristics of the East river shoreline. Above the water, a series of landscape lawns, dunes and inclined plant-covered screens form pedestrian walkways filled with vantage points towards Brooklyn and Manhattan bridge.
Also known as “The Big U,” this conceptual 10-mile-long (16 kilometer) protective ribbon around Manhattan was imagined in the wake of Superstorm Sandy. Ultimately, it was deemed unfit to respond to the challenging weather conditions that increasingly threaten the city. Subsequently, the Dryline is a project that redesigns lower Manhattan’s water edge, proposing a series of components that will aid to both the physical and social infrastructure requirements of the neighboring districts. More specifically, the project consist of a continuous protective element that also operates as playful street furniture, an elevated pathway and finally, a series of overarching greenways. In short, the Dryline project has essentially become the blueprint for effectively designing social as well as physical infrastructure strategies for coastal cities, providing new insights for “infra structuring nature” practices.
While the gaming and entertainment industry were early adopters of VR, it has been used across project types in architecture. The Suspension House was created by Kilograph to work with the natural environment around it, rather than fighting against it. To illustrate this relationship, their Virtual Reality experience portrays the house in nature’s many states. The user is taken on a trip through different key locations as the weather time of day changes. They created hand-sketched storyboards and a cinematic trailer rendered in real-time in Unreal Engine.
Mixed Reality (MR) integrates both VR and AR. It blends real and virtual worlds to create complex environments where physical and digital elements interact in real time. Here, both kinds of elements and objects are interacting with one another, and it usually requires more processing power than VR or AR. Mixed reality is gaining traction alongside wearable technology to create immersive environments in a whole new way.
Sited in San Sebastián de los Reyes, GGA’s soaring cactus complex is an infrastructural design between highway and forest, harboring a “twin oasis for cactus exhibiting and growth” with a mixed eco-cultural program. The project showcases sustainable and ecological approaches alongside educational spaces. At Desert City‘s heart is a large garden and greenhouse that house a range of leisure activities and presentations to small conventions, workshops and exhibitions.
GGA designed the project alongside builder Isolux Corsán, as well as structural engineer Felipe F. Sanz and the greenhouse roof engineer Arenas Ingenieros. Together, they created a cloister-like cactus garden and a cable roof inspired by tensegrity structures for a “billboard-building” alongside the highway. As architect Eduardo Prieto noted, the design features a “powerful steel bridge that extends 40 meters above the cacti, its span constituting the most spectacular moment of the building. The bridge synthesizes the building’s main argument: the image of a machine hovering over the garden to produce a picturesque, if not Surrealist, contrast between opposing geometries.”
Desert City is a large complex that includes an exhibition and sales space, as well as a restaurant, shop, storage, and office areas. It is organized internally by a sequence of symmetries around the cactus garden, which receives newcomers, and the greenhouse space. As the team notes, despite its hybrid program, the complex’s construction is systematized through repetition, modulation and prefabrication of elements.
The structure takes on the form of a huge, abstract and stretched out skeleton. The idea was for the building to communicate its inner workings and the veiled presence of greenery as seen from the passing car through a tinted, watery glass façade. As the team explains, the architecture incorporates sustainable solutions such as transparent photovoltaic glass, geothermal power, water recovery systems, solar controls, and extensive plantings in the site, which was originally a wasteland.
Overall, the project was designed to overlap activities that range from the exhibiting, growing and breeding of cactus from around the globe. As GGA stated, the overlapping of apparently excluding situations, such as “commercial exploitation of leisure events vs. exemplary “green” business; building as sole infrastructure vs. atmospheric and “soft” finishes; size vs. fragility; and oasis by the highway” created a new opportunity. It also includes a significant commitment to R&D, undertaken in collaboration with international universities.
An interplay between light, structure and cacti, Desert City embodies a highly refined and well-executed approach. The building has become a filter between the harsh infrastructural condition of the highway and the limit of the huge green pocket formed by the Parque Regional de la Cuenca Alta del Manzanares on the other side. In turn, it showcases how architecture can be inspired by nature while being created for and with it.
