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Post-event re-revitalization. Expo’98 i Lizboński Park Narodów

Kantarek A. A.

Czasopismo Techniczne. Architektura

2012

R. 109, z. 3-A

33--37

Artykuł przedstawia przykład rewitalizacji obszarów postindustrialnych do realizacji zagospodarowania terenów dla potrzeb Wystawy Światowej w Lizbonie w 1998 r. Założone od początku i szczegółowo zaprojektowane etapy przekształceń zaniedbanych obszarów nad estuarium Tagu są świetnym przykładem urbanistycznego myślenia, które umiejętnie wpisuje międzynarodowe wydarzenie w nurt planowania o charakterze operacyjnym. Wiele wydarzeń o zasięgu globalnym (wystawy światowe, olimpiady) zostało wykorzystanych dla realizacji programów zagospodarowania i rozwoju fragmentu przestrzeni zurbanizowanej lub całego miasta czy aglomeracji. Stąd obserwacja zjawiska, które można nazwać post-event re-revitalization.

It is about an example of revitalization of postindustrial areas – the realization of Expo’98 in Lisbon and repeated revitalization of the site. Established from the very beginning and carefully planned transformation phases of neglected grounds on Tagus estuary are an excellent example of this sort of urban thinking which skillfully inscribe international event in operational planning. A lot of international events (Expo, Olimpic Games) is used to introduce master plan of urban revitalized space crucial for city or metropolitan development. That’s why we can say about post-event re-revitalization.

Pawilon Polski na światowej wystawie w Paryżu 1937 r.

Dybczyńska-Bułyszko A.

Kwartalnik Architektury i Urbanistyki

2005

T. 50, z. 3-4

143-162

The first world exhibition in London (1851), being a strictly commercial project, introducing the principles of free trade, took the form of a purely engineering construction of the "Crystal Palace" by J. Paxton. The change of form, to detached national pavilions, proposed at the "Decorative Art'' World Exhibition in Paris (1925), resulted in a wider perception of the goals of great exhibitions by the message of national ideas, at that time reflected mainly by architectural form. The subsequent decade turned out to be crucial for the development of exhibition architecture, from urban solutions, via looking for spatial and formal relationships appropriate to the function of temporary exhibitions, to experiments with new means of expression. The General National Exhibition in Poznań opened in 1929, is a perfectly documented example of such a phenomena on the territory of the Second Republic of Poland. The significance of the contemporary relationship of the exhibition to the city was questioned by modern ideas brought by the French "Expo '37" contest, such as the proposition of a division into simultaneously operating parts situated in lager French cities. The organisers, counting on a repeat of the success of 1925, did not take these ideas into consideration. The last of the great exhibitions, gathering the elite, taking place in the centre of a European capital - the World Exhibition in Paris - was organised in 1937 with the slogan "Art and technique" in the traditional form of national pavilions. Poland, as one of the first countries, confirmed its participation. In 1936, a closed competition for the conceptual project of a pavilion resulted in the creation of solutions including: R. Gutt - an open garden composition referring to a park allotment and B. Lachet in the form of a structure embedded in the ground. The court entrusted the performance to B. Pniewski and St. Brukalski, whose pavilions with geometric forms and symbolic accents better met the expectations. In the chaos of forms, scales and stylistic concepts presented at the exhibition in Paris, the group of pavilions with typical exhibition feature, represented by the pavilions of Sweden, Switzerland, the Netherlands, Finland and the "Pavillon des Tempes Nouveau" (Designed by Le Corbusier) stands out. The Polish pavilion adopted the form of a "garden interior", including two contrasting cubages: an honorary rotunda with monumental architecture features (designed by St. Brukalski and B. Pniewski) and the exposition pavilion itself (designed by St. Brukalski, B. Pniewski, B. Lachert and J. Szanajca) referring to forms of avant-garde architecture. The Polish pavilion was appraised very well by both Polish and foreign artists, mainly for the original concept, professional quality, culture, and refined exhibited interiors. This was confirmed by the highest prize of A. Perret, the Exhibition Commissioner. In the meantime, Polish non-architectural circles strongly criticised it for lacking the dominant features of a superpower. As a matter of fact, the structure's authors did not make an unequivocal decision, and the solution's ambivalence must have attracted attention amongst the uniform blocks of other pavilions, in particular those of Germany and Russia. From today's perspective, the Polish pavilion of 1937 is interesting evidence of the level of our interwar architecture, its autonomy, innovation and also the dynamic development of though and cooperation skills formed in the pluralistic society of the Second Republic of Poland.