Ocean House

We worked with a range of partners and stakeholders in the ocean space and beyond to design, curate and deliver twenty-six events over the course of three days.

As we built the programme, it became apparent that our approach needed to be twofold. On one hand, we wanted to ensure our programme was reflective of the themes explored at the main conference, enabling therefore those conversations to continue beyond the negotiation halls. On the other hand, Ocean House also gave us an opportunity to explore important and urgent topics such as deep sea mining which we felt would have benefited from being featured more prominently at UNOC.

Overall, our ambition was to create an inclusive, inspiring and dynamic environment for people to learn, challenge ideas, and collaborate towards ocean action. Our choice of venue offered our ocean advocate guests some precious time by – and sometimes, in! – the water, cementing Ocean House as a space in and for nature, underpinned by genuine connections and meaningful dialogues outside of the formal negotiation setting.

Our programming covered topics such as system-disrupting ocean financing, Antarctic protection with the launch of the Antarctic Avengers, High Seas Treaty ratification, coral restoration, sustainable food systems, underwater noise pollution, and the integration of science with traditional Indigenous knowledge. From morning till night, event formats ranged from immersive ocean-based experiences with guided breathwork in the water, expert roundtables, film screenings, high-level dinners, panels, receptions, nightcaps and more – bringing together a community of policymakers, activists, scientists, heads of states, artists, and other ocean champions from around the world.

Art and music were central to Ocean House, weaving culture throughout the programming and creating a cohesive visual and sonic experience. Musical performances punctuated the programming, featuring Māori sonic weaver aeotora WHAIA, DJ and producer Auntie Flo, vocalist Bernard Fowler (associated with the Rolling Stones), folk singer Sam Lee, and experimental electronic duo NYX. WHAIA’s contributions connected most directly with the house’s themes, bringing the indigenous sounds from communities we were passionate to spotlight—voices that carry deep cultural resonance in coastal waters. At nightfall, American-Cuban artist Frankie Batista’s ocean ripple projections brought the cliffs to life, casting moving patterns across the stone face and the club stairway roof, blurring the line between the digital and the natural landscape.