Like in the Waterpod, where Mattingly's composition resides on watered bodies, Tomás Saraceno envisions architecture, in the form of platforms or pods, in the air. One of his most well-known pieces, the Museo Aero Solar, is a solar-powered floating balloon made of reused plastic shopping bags that continually grows in size each time it travels to a new part of the world.

One of Saraceno's installations, 32SW stay green/Flying Garden/Air-Port-City (2007), consists of inflatable, self-sustainable spheres, which sustain the growth of grass through irrigation powered by solar panels that capture energy from existing light sources.

Image courtesy walkerart.org via the artist

All of Saraceno's works combine architecture with engineering to exemplify the overarching themes behind the Air-Port-City, which is his vision of a floating metropolis that "seeks to challenge today’s political, social, cultural, and military restrictions in an attempt to re-establish new concepts of synergy.”  Several of Saraceno's works are currently on display at the Walker Art Center. 

By having these works travel to cities around the world, a modern-day international dialogue is created that questions concepts of boundaries, property, and immobile architecture.  How will current policy be altered in the future to incorporate permissible construction and implementation of waterbound and airborne habitations?