Infrastructure, industry and extraction have greatly reshaped the North Sea over the last five decades. These specific elements played and still play a vital role in the growth and evolution of the North Sea and its adjacent countries. Among all the fishing and oil industry have become highly governmentally influenced machines and are imposing structural injustice on those in contact with its multi scalar impact. Both industries appear seemingly very different from each other however, both take part in the imposition in terms of pollution, territorial claims and impacts on identity and culture. This role has its direct effects on people closely linked to these systems, but also to those far beyond the boundaries of the North Sea. Their lives forever changed, with a low possibility to ever act against. One of the main reasonings behind this imposing role are the detached positions of these industries in relation to their territorial specificities. The lack of integration in terms of site specific entities such as climate, flows and culture are enhanced by its alienated and detached appearance directly result in the separation of man, machine and territory. Unfortunately, these industries are currently indispensable for our present-day lives, without them we couldn’t live as freely and developed as we do now. To act against the structural injustice imposed by the industries a new type of industry must be introduced and by means of it an energy transition. Allowing for maintaining benefits, yet without the imposed disintegration known from our current state of existence. The duality imposed by these industries is clearly notable in Bergen, Norway. Being Norway’s largest centre of sea based extraction, production, transportation, research and education Bergen has greatly benefitted from the extraction of oil and fish however always correlated by strong cases of structural injustice. On the other side of the industry stands Bergen’s unique landscape and its territorial specificities unlike any other city surrounding the North Sea. Together they embody a topography of chance suitable for this new type of industry, which is set to initialise an integrated and coalesced energy transition. Its result is a new approach to an equilibrium between all related subjects and objects, while providing a bodily experience embedded in and exposed to territory, flows and machine. The new type of industry entails a series of interventions linked to a multi scalar energy transition in terms of production and utilisation by means of direct linkage between man, machine and territory. The proposition consists of three main elements: a hydrogen production facility, a fuelling station and a bath house. Each individual element plays a critical role in the integration and coalescence of production, flows and territory to create an integrated and sustainable energy transition. The hydrogen production facility as the manifestation of integrated production and service to the city by means of both product and waste. The fuelling station as the long term solution and the possibility of reterritorialization of fjordic waters by local fishermen. And lastly the bath house as a social proposition of full process exposure, tangibility and integration. These elements make various appearances ranging from: the uncovering of present-day systems to the management of site specificities, use and enhancement of cultural aspects and the utilisation of clean energy and waste. Furthermore, a moment of reflection on the self and the structural injustice imposed by the governmental machines which we currently heavily rely on. Together acting as a statement of minimal intervention to maximise territorial use and therefore the activation of structural justice by means of integration.

While technological development and the rising Second Machine Age are already firmly affecting the notion of labour and the consequent disposition of our cities and territories, the remote island of Hammerfest, in the Arctic regions of Finnmark, prefigures the conditions for a radical rebirth. The full extents of automation, resulting in a post-labour organisation of economy, envisions the return of the homo ludens and enhances play as fundamental base of the new society. The explosive decentralisation of production and distribution suddenly wipes out the city, the core centre of our consumerist lives, and promotes the return to the landscape, where new pillars of society are established. On this island of utopian playground, individuals are now fully capable of engendering the shape of their existence, clustering around the ludic elements and interacting with each other in playful activities, while machines take care of their fundamental needs. Among the elements, the Theatre represents the highest form of play and, therefore, the most essential component of public life. Facing the growing automated port and the perished city, the machine of the theatre is a bridge between land and sea, on the particular conditions of a site that constantly changes under the cyclical variations of the tide. In front of the spectacle of automation, what humans stare at is the activity that has been taken away from them, the agency of their actions. A new kind of theatricality is therefore needed. Since the demise of labour invests anyone with the possibility of becoming actors of the play, the sense of spectatorship itself is questioned. Far from the optical relation of the theatron (sight), that has so far embodied its cornerstone, the theatre has now to be subjected to another relation, suggested by the word drama (action), thus endowing the becoming performative of production. The Theatre of Automation is therefore a social endeavour, aiming at bringing the theatrical performance to the level of a collective form of life, where the role of the spectator merges with the one of the actor. In other terms, the machine of the theatre takes active part in the transformation of the site, unfolding and accelerating the artificial manipulation of the territory at the hand of technology. As an act of formation, first, of physical, cultural and ultimately of political nature, the Theatre measures the pace of changes, interpolating the urgency of human artifex with the rhythm of natural systems. When climate change and sea level rise will set the eventual limit of the Machine, interrupting its floating dance on the tides, the Theatre will come to its final act. Rich with the collective memory of the site, it will close its stage and set sail towards new destinations, bearing the paradigm of a new society, on the threshold between human, machine and nature.

Within the main geographical contexts of the North Sea and the Scheldt estuary, the Doelpolder area stands out for the conflictual relationships between human settlements, environmental crisis, and man-made infrastructures, which are all paradigms of the so-called Anthropocene era. The site comprises the village of Doel, the natural reserve of Saeftinghe, the nuclear power plant of Doel and the largest dock of the Port of Antwerp in a 2 km long prone-to-flooding area, which is currently facing some anthropic phenomena such as pollution, infrastructural expansion of the harbor and dismantlement of the nuclear power plant. In its process of northbound expansion at the expense of the estuarine territory and the polder-land, the Port of Antwerp has turned Doel into a ghost town by means of expropriation and economic pressure, while the flora and fauna of Saeftinghe are endangered by the alteration of their brackish habitat caused by pollution and water level rise due to both infrastructural growth and climate change. This everlasting dichotomy between natural and anthropized processes poses here the dualistic problem of extinction/preservation and if/how can architecture depict a self-healing survival scenario for this specific site in the Post-Anthropocene, attempting at climate change mitigation and nature metabolism at the same time. The project first addresses the aforementioned issues within a regional strategic and energetic plan which foresees the “de-polderization” of the area, its transformation into a controlled tidal zone for soil and water recovery and the simultaneous expansion of the natural reserve. Moreover, the thesis wants to takes a position regarding the future re-use of (parts of) the nuclear power station starting from 2025 (the date Belgium is supposed to start the phase out of nuclear energy). On the architectural scale, the building here implemented is a “knowledge ark” with laboratories and academic-related spaces, a facility which can exploit not only the world-level Port infrastructure for an optimized logistic (coldchain) but also the proximity of the natural reserve and the former agricultural vocation of the area. This repository building consists of a seed vault and a frozen zoo for the conservation of species through cryopreservation technique, but most importantly is an architectural object designed to resist or accommodate time and territorial transformations, for guaranteeing a possible rebirth of both nature and culture. To do so, the architecture imagined for the Doel site is physically linked to the water-level-rise process. When/if the level of the Scheldt rises above 2 meters (worst case scenario), the whole area will be flooded and any human survival unlikely. In these circumstances, the water will trigger the self-destruction of the facility, spreading the seeds contained in the vault all over the area and thus favouring the rebirth of nature in unpredictable climatic conditions. In the end, the Seed Vault/Frozen Zoo constitutes, like Doel, the nemesis of the Port but, also like Doel, will eventually evolve into a ruin in case of loss in the fight against, pollution and climate change.