The Hong Kong startup combines 3D-printed reef tiles, biodiversity monitoring and long-term data to help companies manage their impact on marine ecosystems.
Updated
August 7, 2026 4:10 AM

Young corals growing on Archireef's 3D-printed terracotta reef tiles beneath the sea. IMAGE: ARCHIREFF
Anyone who has snorkeled over a coral reef has probably admired its vibrant colours and the marine life swimming between its branches. What is less visible is how easily these ecosystems can be damaged. Rising ocean temperatures and pollution continue to put reefs under pressure, while coastal development creates another threat. Construction can stir up sediment that settles on corals, blocking the sunlight they need and making it harder for damaged reefs to recover.
Protecting marine ecosystems is becoming a shared responsibility. Alongside scientists, governments and conservation groups, businesses whose operations affect the ocean are increasingly expected to understand, manage and reduce their environmental impact. They must also show regulators, banks and investors that they are meeting their environmental commitments.
Archireef helps businesses meet those demands. Founded by Vriko Yu, the Hong Kong-rooted B2B startup specializes in marine ecosystem restoration and ocean nature risk management. Drawing on years of research at the University of Hong Kong, Yu built the company to help organisations understand, measure and reduce their impact on marine ecosystems.
Yu describes Archireef as an “end-to-end ocean nature risk management company”.
“What we offer them is a credible way to meet those obligations and stand behind the results,” she says.
One of the company’s main tools for restoring damaged marine ecosystems is its flagship 3D-printed terracotta reef tile. The tiles provide a stable foundation where young corals can attach, grow and survive over time.
Archireef chose terracotta instead of concrete and other conventional materials because it is pH-neutral and does not release harmful chemicals into the water. Its surface also gives corals a suitable place to attach naturally.
Before placing a single tile in the ocean, the team studies the proposed restoration site to determine whether recovery is possible. It assesses the water quality, biodiversity and general health of the ecosystem. As Yu explains, restoration should begin only where nature has a realistic chance to recover.
“Restoration isn’t about replacing nature or engineering a reef into existence. It is about removing the barriers and giving a degraded system the conditions it needs to begin recovering on its own”, she says.
Once the team selects a site, divers carefully place the tiles on the seabed. Their curves, ridges and crevices imitate the structure of a natural coral reef, creating sheltered spaces for marine species. The design also helps limit sediment build-up, which can block sunlight and smother young corals.
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Archireef adjusts the shape of its reef tiles for each project.
“There’s no universal reef, so there’s no universal tile”, Yu says.
Instead of producing one standard model, the company adapts each design to the coral species, water conditions and surrounding marine environment. A coral restoration project in Hong Kong may therefore require a different tile from one in Saudi Arabia, even when the same manufacturing process is used.
“The biggest adaptation from site to site is usually the match between design, species and environment, not the manufacturing itself ”, Yu explains.

Although the reef tile is Archireef’s most recognizable innovation, Yu sees it as one part of a much broader service.
“The reef tile gets the attention because it’s tangible,” she says. “But the real product is the proof — defensible, audit-ready evidence of nature recovery that an organization can put in a disclosure and stand behind under scrutiny”.
Producing that evidence requires years of biodiversity monitoring. Long after the reef tiles have been installed, Archireef continues to track coral survival and the health of the surrounding marine ecosystem. Its monitoring methods include ecological surveys, AI-assisted species recognition, photogrammetry and environmental DNA testing.

Photogrammetry uses photographs to produce detailed 3D models of the reef. These models allow the team to measure changes in coral growth and reef structure over time.
Environmental DNA, commonly known as eDNA, offers another way to monitor marine biodiversity. Traditional ecological surveys often depend on divers recording the species they can see. eDNA testing instead examines traces of genetic material left in the water by marine organisms, including skin cells, mucus and waste.
By analyzing these traces, Archireef can detect species that may be hidden, difficult to identify or absent during a dive. This gives the company a more complete picture of the ecosystem and how it is changing.
For Archireef, the success of a coral reef restoration project is determined by what happens several years after installation.
“The indicators that matter aren’t the ones that look good on deployment day”, Yu says. “They’re the ones that show, two, three and five years on, whether a genuine ecosystem is establishing and sustaining itself”.
At the company’s first restoration site in Hoi Ha Wan, Hong Kong, around 90% of the transplanted corals remained alive four years after deployment. The long-term survival rate suggests that the ecosystem is recovering rather than simply appearing healthy during the early stages of the project.
Results like these have helped Archireef move beyond academic research and secure collaborations across the public and private sectors. In Hong Kong, the company has worked with government departments and public organisations responsible for coastal infrastructure and marine conservation.
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A Hong Kong pilot explores how creator-led distribution could reshape livestreaming for global competitions
Updated
May 1, 2026 2:25 PM

A dance crew performs in sync on stage at World of Dance under spotlights. PHOTO: WORLD OF DANCE HONG KONG
On January 22, 2026, World of Dance Hong Kong became the first global event to pilot Mitico’s community-based livestreaming model. The idea is simple: rethink how live competitions are shared in a digital-first world.
Instead of relying on a single official broadcast, the event was produced as one centralised live feed. It was then distributed across multiple creators and influencers, each hosting the stream for their own audience.
This gave creators room to add their own commentary, adapt the language and bring in cultural context that suited their communities, while the production remained consistent behind the scenes.
“Dance is a universal language”, said David Gonzalez, President of World of Dance. “Our collaboration with Mitico to produce an international, creator-led livestream in Hong Kong allowed a regional competition to reach a global audience. With personalised commentary from hosts in different languages, we can begin to see how regional events may connect through global communities”. This approach points to a shift away from traditional broadcaster-led distribution and toward creator-led amplification.
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Mitico’s approach begins with a familiar industry challenge: the high cost of production and licensing, which often makes it difficult to livestream cultural and sports events at scale.
“Many cultural and sports competitions are never livestreamed because traditional broadcasting is too costly and complex”, said Chengcheng Li, Founder of Mitico. “By distributing a centralised production feed through creators and community hosts, regional events can reach global audiences while maintaining a unified production workflow”.
World of Dance (WOD) offered a natural test environment. It started as a global dance competition platform before entering a television partnership with NBC, which later produced four seasons of the World of Dance reality series. While the television programme concluded in 2021, the competition business has continued to expand through an international network of partners. Today, World of Dance competitions are represented in more than 72 countries, producing nearly 100 events each year, with a digital audience of more than 34 million followers across platforms
Despite that scale, many competitions are not livestreamed due to the high production costs and technical demands associated with traditional broadcasting. The Hong Kong event was selected to assess whether a community-led distribution model could offer a more scalable alternative for live coverage.
While no changes to World of Dance’s broader distribution strategy have been announced, the Hong Kong pilot offers an early indication of how global competitions may rethink livestreaming in an increasingly creator-driven media environment.