Political flood images

In Germany, the imagery of flood or flooding and of Noah’s Ark is frequently used in the political discourse to refer to undesired migration. Since the 1990s this dehumanizing topos was in high demand and was used by mainstream media and radical political parties alike. The following are covers of Germany’s biggest news magazine from 1991 and from 2006, fifteen years apart. The main headline is identical: “Ansturm der Armen” which translates as “storm (or onrush) of the poor”.

Political extremists picked the imagery up instantly, as illustrated by this add by a right-wing party from 1991 and another recent cover from a right-wing political magazine:

The Wave in Architecture

It’s a rather popular architectural motif, particularly of course in coastal and riverside cities. I wonder if there ever has been a historical study of the wave in architecture. Here are a few random examples from Europe:

Dessauerstraße, Hemshof Ludwigshafen, Germany. I couldn’t find out about the architect nor he date of these buildings.

Built over the course of more than a decade and finished in 2018: The Wave in Vejle, Denemark, designed by Henning Larsen.

Elbphilarmonie in Hamburg, Germany. Opened in 2016, by architectural firm Herzog & de Meuron.

Inside of Multihalle, in Mannheim, Germany, built by Frei Otto in 1975.

Tides (2021)

Tides” (alternative title “The Colony”) is a sci-fi movie from 2021 about a post-apocalyptic world at the moment the first human communities are about to re-settle again. The only territory suitable is a coastal strip that is covered by tides twice a day. The area is a tidal zone, not quite land and not quite sea, with little to no vegetation and natural shelter for the people to build a more permanent habitat.

The landscape and weather in the story are the same as on the location, the movie was filmed. “Tides” was largely filmed outdoors on the small island Neuwerk in the German Tidelands, situated between the estuaries of the rivers Weser and Elbe.

Neuwerk during low tide

Director Tim Fehlbaum explained in an interview how this landscape inspired the movie plot in the first place:

“For the outdoor scenes we went to the German Tidelands, which was where the idea for the film started. I’m a very visual director and my ideas often have a visual trigger. I had never been to the Tidelands and having grown up in the Swiss mountains being at the low point of Germany was eye-opening. Looking out at this expanse of water was so interesting because in an hour or so, everything you just saw becomes covered in water. The floods in the film are real, and they come in twice a day. Shooting there was exceedingly difficult because we could never shoot much longer than two or three hours, and I always wanted to keep shooting, but it becomes a question of minutes before the water is at your knees and suddenly up to your chest.”

You could say, the movie is really an exploration of this landscape and the living conditions and the atmosphere in tidal zones. That human renewal after the partial retreat and ecological meltdown takes place in such a tidal zone is interesting as it references this landscape as a realm of opportunity, transition and change – a liminal space full of potential rather than decay.

I find this inspirational in regard to our current situation of ecological and social transformation. Author Kim Stanley Robbinson made a similar reference to the “intertidal” as a space of opportunity and renewal when sketching his “Super Venice” in the post-apocalyptic novel “New York 2140” four years earlier. It is striking how both works are set in tidal zones, how both interpret them as spaces of renewal, and yet how radically different they paint this landscape. You can read my post on Robbinson’s book here.

Flood Memorabilia

In Germany as well as in many other countries, images of extreme floods often found their way on postcards. Here is a selection of postcards. (click on the image to find the online source)

1909

1910

1914

1920

1920

1929

2002

undated postcard from Tokyo, Japan

undated postcard from Panama, probably 1924

Street Scene on the Rhine

A street in the city of Bonn with the Rhine river in the background, January 2024.

Vesuvius – the most beautiful disaster

The erupting mount Vesuvius in Italy is one of the most popular motives in modern art history, particularly throughout the 18. and 19. Century – at least as far as disasters go. Between 1766 and 1779 the volcano erupted several times, giving artists occasions to witness the event personally. The topic and it’s visual representation have played a major role in Europe’s public imagination of natural disasters.

Here are a couple of examples, mostly taken from the 2018 exhibition “Entfesselte Natur” (Nature Unleashed) at Kunsthalle Hamburg, Germany.

above: Pierre-Henri de Valenciennes (1750–1819): “Eruption of Vesuvius with the death of Plinius”, 1813

above: Michael Wutky (1739–1822): “Vesuvius Eruption”, around 1796

Joseph Wright of Derby (1734–1797): “Eruption of Vesuvius”, between 1776 and 1780.

Pierre Jacques Volaire: “The Eruption of Vesuvius”, 1771

Jakob Philipp Hackert (1737 – 1807): “Vesuvius Eruption in the year 1774”, 1774

For more information and the philosophical ideas behind the eruption of mount Vesuvius in art history see my post here.

Kota Ezawa: Flood (2011)

Kota Ezawa (*1969)Flood, 2011
© Courtesy the artist and Galerie Anita Beckers, Frankfurt a.M.

Nürnberg flooded, 1909

The Bavarian city of Nürnberg (Nuremberg) has been flooded quite often over it’s history. The flood of 1909 is particularly memorable and the most severe flood that has been documented in photography. The visual similarity to Venice, apparent in pictures like these, has been noted quite often by contemporaries.

Are floating cities a remedy for over-crowded coastal cities, land subsidence and rising sea level?


As this documentary from German TV from 2022 clearly shows, designing floating cities is one thing, wanting to live there is quite another. I guess instinctively we all prefer “stability over floating flexibility”, as director Kristin Siebert says, land over sea, grounded houses over floating houses. As desirable living by the sea might be, living on it, is a different matter.


The film does a fine job connecting and juxtaposing places and communities from the global south and global north, sharing similar fate and trying out similar solutions.


If floating cities are a real future option for communities challenged by climate change like Malé, the capital of the Maledives, we need to look at the socio-cultural and emotional aspects of what makes people feel at home. And that might be essentially the same in the Pacific as in Germany or Holland. Breaking with a culture of habitation of several thousand years is no easy task!

(thanks to Janina Kriszeo for the lead!)

Click on image for video link!

Cohabitation and technical failure

Berlin once had the biggest, cylindric aquarium in the world, the Auqua Dome. In fact it was a hotel lobby dome, a modern cathedral with a giant tank filled with over 1.500 fish in the middle. The architectural concept is a twist on the submarine city, as we can find them in countless sci-fi ilustrations. (Or Jacques Cousteaus Conshelf habitat)

In December 2022 the tank ripped open and 250.000 gallons (1.000 m3) of well tempered salt water burst out into the – luckily then empty – lobby and through the doors into the street. The hotel is located right next to one of Berlin’s many canals, so countless fish probably found their way into the cold sweet water of the canal before dying.

Very few press photos show any of the unfortunate inhabitants of the aquarium. Never the less it’s a rare moment of unexpected human-animal interaction on a massive scale, a na-tech-disaster that did not really involve nature as we know it, but a domesticated, high-tech fantasy of nature.

all pictures are from: https://www.rbb24.de/panorama/beitrag/2022/12/aquarium-berlin-zerplatzt-schaden-wasser-hotel.html