Drosscaping Tripoli’s International Fairgrounds

Drosscaping Tripoli’s International Fairgrounds Designing spatio-cultural crossovers to mend the broken promise of a secluded, unfinished and contested modernist legacy as built sign of connectedness and citified affordances

Dana Alsayegh Designing from Museumisation to Hardcore Heritage 2020-2021

Drosscaping Tripoli’s International Fairgrounds Master Dissertation Project Designing spatio-cultural crossovers to mend the broken promise of a secluded, unfinished and contested modernist legacy as built sign of connectedness and citified affordances Academic promoter: Prof.dr.ach. Marc Dujardin’ Joint design studio: ArCsus & RAAAF Author: Dana Alsayegh Master of Architecture KU Leuven, Faculty of Architecture Campus Sint-Lucas Ghent 2020-2021 All rights reserved under International Copyright Conventions.

All non-referenced pictures, diagrams and sketches are the work of the author.

Acknowledgment I wish to express my sincere appreciation to my dissertation promoter, Professor Marc Dujardin, who with his unmatched dedication, passion and support made sure to spark motivation in me throughout every step of the way to be a better architect.

To every person who inspired me and helped me realise my research and design, thank you.

CONTENT Abstract TRI-POLIS Time Marches on...

Third Node in the Making Sculpting Architecture SCARRED MEMORY THE PROMISE- A Modernist Manifesto Instrument of Social Change Designing Negative Space-Even for Women Destined for Doom THE BROKEN PROMISE To What Scale Does it Relate?

Social Dichotomies All About the Un-Fair Grounds Urban Dichotomies Death of the Street The Right to the City-A Luxury Under Lock-down Revival Attempts Productive Activity- A Call for Resurrection A City of Waste-scapes ...From Negative Space to Positive Ibirapuera Park by Oscar Niemeyer & Roberto Marx

URBAN WILDERNESS - Reverting Nature Breaching the Perimeter Infiltration = Greenification Landscape as Infrastructure Let There Be Water Into the Wild...

Landscape Infrastructure MENDING THE BROKEN PROMISE Why? Daily Struggle of Survival How? Back to the Roots - Revisiting Vernacular Typologies 1-Courtyards 2- Souks Towards Good Public Domain - The Tripoli Narrative Tripoli’s Third Node...

Book References

1- Adib Chowdhury, Maarad: A Tale of Three Cities, International Fairgrounds of Tripoli Experimental Theatre Interior, accessed 14th January 2021, https:// avauntmagazine.com/maarad-a-tale-of-three-cities/

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Abstract The International Fairgrounds of Tripoli, a project by Oscar Niemeyer that time has marched on and left it an abandoned static vacancy...

Once intended as an instrument of social change and a promise of prosperity, so now this is an attempt to unmask the potential and affordances of this site to mend the broken promise and reclaim the Fairgrounds of Tripoli back to its citizens.

2-Styliane Philippou,Oscar Niemeyer International Fairgrounds, Tripoli: Open Air Theatre, Restaurant Tower, accessed 3rd December 2020, https://www.greekarchitects.gr/en/degrees/oscar-niemeyer%E2%80%99s-permanent-international-fair-intripoli-id3105

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TRI-POLIS

An Introduction The city of Tripoli is considered the second major coastal capital of Lebanon with a strategic position in the Middle East and Mediterranean Sea...

The name Tripoli is derived from when the Ancient Greeks settled in the city calling it Tripolis, meaning “three cities”. Later the Arabs called it Tarābulus.

Today, Tripoli is also known as Al Fayha, which is a term derived from the Arabic verb faha which is used to indicate the diffusion of a scent or smell, the smell of pollen from Orange trees flowers....

Time Marches On...

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Felix, Mary & El-Daghar, Khaled. (2019),Holistic zoning of El Mina and Mamluk in old Tripoli, shown as two small separated cities (Gulick 1963). Historical Urban Fabrics and the Effect of New Building Shadings on Social Activities—Case Study Tripoli Lebanon.

Third Node in the Making Through different eras Tripoli developed over 3 Nodes. Al-Mina and Inner Tripoli.

After Receiving independence, Lebanon was ruled by a new regime aiming to form a country true to the identity of Lebanon towards an ambition of decolonization. President Fouad Shehab was determined to initiate a Global National Development strategy, the project designated for Tripoli was the International Fairgrounds.

Due to his radical ideas influenced by Le Corbusier Oscar Niemeyer was invited to design the fairgrounds especially after his renowned urban designs along with Costa in Brazilia.

Considering the Fairgrounds to be another opportunity to carry on with his communist ideas with many underlying goals in mind...

Oscar Niemeyer, International Fairgrounds, Tripoli, preliminary sketch,accessed 3rd December 2020, https://www.greekarchitects.gr/en/degrees/oscar-niemeyer%E2%80%99s-permanentinternational-fair-in-tripoli-id3105

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The fairgrounds was intended to form a Third Node in Tripoli, the most prominent modernist manifesto guiding the city and its citizens towards a modern civilised urban life...

Empty Land between the two historical cores of Tripoli, before 1964, the site of the Fairgrounds was chosen to the west,Personal archives of a citizen of Tripoli Oscar Niemeyer, International Fairgrounds, Tripoli, 3D model,accessed 3rd December 2020, https://www. greekarchitects.gr/en/degrees/oscarniemeyer%E2%80%99s-permanentinternational-fair-in-tripoli-id3105

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Sculpting Architecture

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Oscar Niemeyer, International Fairgrounds, Tripoli: Portico, Lebanese Pavilion, Experimental Theatre, Open Air Theatre, Housing, Main Pavilion, Secondary Entrance,Space Museum, Restaurant, Administration (respectively), Greek Architects, date accessed: 15th November 2020, https://www.greekarchitects. gr/en/degrees/oscar-niemeyer%E2%80%99s-permanent-international-fair-intripoli-id3105

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SCARRED MEMORY Initiation of the Project Assigning Oscar Niemeyer Implementation of National Development Plan

Construction Phase, the contractors consultants performing a site visit

Lebanese Civil War - Halting of the Project Syrian Occupation Lasting until 2005 Using the Fairgrounds as military base

Minor Renovations done in the Fairgrounds

Total Abandonment and deterioration of the site

Occasional Usages Symbolic Events and Visits

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THE PROMISE-A Modernist Manifesto

Plano Piloto de Brasília, architect Lúcio Costa, accessed 28th January 2021, https://vitruvius.com.br/revistas/read/arquitextos/04.040/6511

Instrument of Social Change A Critique of Brazilia - Applies to Tripoli’s Fairgrounds.

Niemeyer intended to replicate his modernist instrument all over the world. The most complete form of the CIAM city is Brazilia. A great similarity is seen between this case and Tripoli’s.

Perhaps, Brazilia shows the modus operandi that could have taken place in Tripoli had the project been completed as Oscar imagined?

Many of James Holston’s ideas in The Modernist City-an Anthropological Critique of Brazilia are implemented in this research.

Performing a dialectical criticism rather than a dogmatic one...

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Designing Negative Space- Democracy Even for Women!

Nieymer’s design comes as a response to his inspections of the existing urban fabric of Tripoli during his 2-month stay in the city, he identified the most prominent issues to be the lack in comfortable housing especially in the highly dense historic center which in turn misses public open spaces. His criticism mainly focused on the non-compliance to the modern life.

Therefore the functional program of the complex extended beyond exhibitions and expos. It is safe to say that the “negative space” was intended and designed by the architect and not an aftermath of eventual abandonment...

The vast landscaped were to contrast the over populated historic centers where the only public open spaces were mosque squares, the Serail, cafes and other less significant collective spaces which were the exclusive destination of men, women hadn’t the liberty to access these spaces comfortably, even to date of this research these spaces are still subjected to gender marginalization.

The fairgrounds thus proposed an alternative modernistic modus of new public spaces. This negative space is the core potential of this project, by efficiently re-utilizing these areas the problem previously denoted by Niemeyer can be resolved.

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“Fahim” Coffee shop in old Tripoli: Public space dominated by men (historic photo, exact date unknown). Archives of the citizens of Tripoli.

Instrument of Social Change and Democracy Towards Modern Society...

International Economic and Cultural Landmark

Uniting the world under One Roof

Achieving Social Equality

The start of new Modern Urban Era in Tripoli

A compensation for open public spaces

Modernistic Node of Tripoli

Arab Center for Architecture (Archive). Prime Minister Rachid Karameh presenting the model of the “modern urban core” composed of the fair complex along with surrounding neighborhoods and extensions. 1962.

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Destined For Doom Mentouri University of Constantine1 University (1969-1972) ALGERIA

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NICK , Oscar Niemeyer in Algeria: Modernism in the Maghreb. Concrete and Kitsch. May 2019. date accessed 22nd February 2021. https://www.concreteandkitsch.com/2019/05/26/niemeyer-algeria-modernism/

Following the same principals of designing architecture as an instrument of social change and democracy, Niemeyer desgined several buildings in Algeria in the late 1960s. The plan for one, La Coupole, a sports arena in Algiers, was made on a napkin which is a strong indicator of the role of architects back then. Mekki Damerdji, an architect and professor in Algiers, says Mentouri University in the city of Constantine, is a favorite of his for its stark contrast to the more traditional buildings that dominate the country’s landscape. “We’re not used to seeing this shape in our country,” Damerdji says. “We haven’t anything like this in Algeria. It’s very beautiful. It’s like a bird.”

The disappointment of Oscar was yet to occur again with the halting of the project due to similar political circumstances to that of Tripoli...

The Campus lies abandoned inaccessible by the public due to restricted governmental supervision and occupation in the case of Algeria.

Therefore, these instrument never saw the light and it is hard to test whether their obsolesce is due to the architecture itself or the surrounding factors. However, it is no secret that Niemeyer applied his ideologies regardless of the context in the hope of his utopia to be realized, but all we see now is Dystopia...

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AA BROKEN BROKEN Urban Scale of the Fairgrounds forming an Island, a node of dichotomy. Adopting Modern Architectural style disregarding the important relation between citizens and their city which they knew for decades. Implementing a car oriented plan focusing on highways and isolating the site from other past layers.

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PROMISE

Modernist planning of dehistoricising the city and blocking historic context. The Fairgrounds is Niemeyer’s instrument of socio-cultural change and a starting point towards a more civilised urban life, starting from a clean slate disregarding architectural heritage and the identity of Tripoli...

Tripoli is well known to be one of the richest citiest in architecture, holding valuable protected heritage which are still in use. These architypes provide a glimpse of what the citizens concieve of a real city rather than a borrowed alienating plan.

Dr. Wassim Naghi Archive, Different architectural styles and typologies found in Tripoli (Souks, Khan, Street, Mosque)

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To What Scale Does it Relate?

The Scale of the project has always projected an obstacle as it is hard to control such a large area with relatively new architectural heritage. Concrete Elements Scattered Horizontally with no fundamental link between them except geometrical axis, emphasizing the Top-Down development of the Fairgrounds.

These vacant and aesthetic structures hold great affordances that can serve the city greatly and let the fairgrounds step out of the pathological monument role into a propelling element involved in the urban context.

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Isaura Daniel, Pictures of different elements of International Fairgrounds, Tripoli, Lebanon to hold exhibition about Niemeyer’s work, 28/01/2019, accessed 5th December 2020, https://anba.com.br/en/lebanon-to-hold-exhibition-aboutniemeyers-work/

Social Dichotomies The Fairground was promoted by planners and government as an Ark carrying Tripoli towards the shore of economic and political strength. For a short period this hope was valid, until the project was stopped and political conflicts prevailed to render the project abandoned where each adaptive reuse attempt was faced with political manipulation against the greater good of the people of Tripoli. This Mass disappointment and alienation from the fairgrounds is the result of years waiting for this project to be for the people and not exclusive for events they can only view from the creeks of the concrete fence...

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Tripoli Inner City-River Banks

An Unequal and Biased Development.

In order to build the fairgrounds, all city’s resources and powers were poured onto this site expecting the fairgrounds to refund this investment and provide job opportunities and overall prosperity of Tripoli.

As a result of neglecting other parts of Tripoli along with internal political and social conflicts, the city fell under urban sprawl, insufficient infrastructure and public facilities.

Urban growth took the shape of suburbs, urban villages and camps.

The city contains 2 major refugees camp acknowledged by the UNRWA, which in turn subject extra pressure on the city as a whole.

The inner city is inhabited by the poorest, as a result total urban chaos is observed where historic layers overlap with unidentified illegal expansions...

Synne Bergby, Different historical typologies overlapping in the urban core of the inner city in Tripoli, UN-Habitat (2016)

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Landscape of Abou-Ali river midst the historic medeival core of Tripoli before 1968 riverbanks project, Personal archive of a Citizen of Tripoli C Bteish, Current state of the river, Abu Ali River Landscape Rehabilitation, date accessed 8th January 2021, http://www.unit44.net/practice/landscape/project-57bb6b6be9bcf6-59523425

Fairgrounds Area

The development of the fairgrounds and adopting new zoning strategy by the municipality assigning luxurious residential areas to surround the area of the fairgrounds.

Today we observe that to the east of the Fairgrounds a large number of mid rise buildings (average of 10 floors) inhabited by middle class and rich citizens.

Better infrastructure are provided in these areas in addition to centralisation of public facilities.

Picture of the upper&middle-class residential area, Archives of Al Khayyat Family, date accessed 17th December 2020, http://www.tripoli-lebanon.com/photos17.html

Anthony Saroufim, Pictures of different elements of the Fairgrounds, See Oscar Niemeyer’s Unfinished Architecture for Lebanon’s International Fair Grounds, archdaily 2016, date accessed 8th January 2021, https://www.archdaily.com/793154/see-oscar-niemeyers-unfinishedarchitecture-for-lebanons-international-fair-grounds

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Al Mina Area - The Port

Al Mina is a vibrant part of the city as it is the main port of the city where fish markets happen and fishing families rely on this port for a living.

This area is inhabited by poor citizens (fishermen and their families) along middle class families that live in relatively better situations than others. The urban fabric drastically changes between the two areas.

Omar Majzoub, photographs showing the Souks, Port area and inner city street typology of Tripoli.

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ALL ABOUT THE un-FAIR GROUNDS What scale does this project address? How does it relate to its neighbourhood and national context?

What were the original intentions behind the fair and what factors shaped the result we see now? How did it introduce modernism urban planning into Tripoli and Lebanon?

In order to understand the International Fairgrounds on Tripoli (RKIF), multi-layered readings and analysis must be performed mainly tacking political scale, economic scale and social scale.

Being one of the very first witnesses of modernity in Lebanon, this project has faces both praise and criticism. However, what are these “reviews” based upon? How can we simply acknowledge a project or urban intervention to be successful or not taking the extremities of evaluation disregarding the references of these aspects to one another, as surely the fairgrounds addressed some issues while obliterating others intentionally and not.

In the beginning of the 1960s, Lebanon witnessed an institutional renaissance this era marked the most developed institutional and governmental formation that even up till today this era is referred to as the golden age of Lebanon. Released from the French mandate, Lebanon attempted to leave the forced colonial identity behind and tried to reform the identity of a modern nation. For the sake of this goal groundbreaking institutional plans and reports emerged to calibrate the imbalance inflicted by the previous decades of division and zoning of Lebanese territories, one of them being the first 5-year spatial planning report to be published.

On a more specific example of the national attempt to resurrect Lebanon is the RKIF, commissioned by the government under the presidential term of Camile Chamoun under the national vision of regaining the nation’s national and international influence and shifting the economic and political potencies from Beirut the capital to include Tripoli.

The commission was given to the renowned Brazilian modernist architect Oscar Niemeyer to design an international fairground to reflect Lebanon’s modern image, reaffirm the city’s commercial and economic role and introduce modern urbanity to the city.

Niemeyer was known for his communist views therefore saw this project as an opportunity to shape social and economic justice helping a city achieve a system of redistribution of goods. These views went coherent with the institutional vision of the city and the country as a whole.

RKIF was based on a new concept of ruling an institution, Niemeyer taking the geopolitical circumstances as a motive for the project addressing the latter with symbolic geometries, infrastructure and axis along a pivotal section of the city in order to formalise unity in a paradoxical and raw national ambition through spatial and material means. The project very neatly combines and poses architecture against itself delivered from colonial times, using monumentality, articulate geometry and baroque oriented perspectives redirecting these elements to reflect the to-be-established modern nation that will be directed towards industrialization and a new era of urbanity… However, there exists a social dilemma around the intentions of the project and more precisely the communist architect’s principles and the outcome of the project coupled with his inputs in Brasilia which was an attempt by its president back then Juscelino Kubitschek to reform a new node for development apart from the coastal cities; having similar intentions in Tripoli with the ambition of achieving a modern Utopian urban ideal that a new modern society can be shaped by modern architecture shaped by government and the creative elite -which will later justify Nieymer’s pedagogical conception of the project- thus reflecting the contradiction between urban development held under a political reality of close governmental and class limiting authority and the leading intention of democratic formation of a modern urbanity… which further refutes the simplistic evaluation approach of a design or an urban plan declaring it successful or not as it surely combines paradoxical states of rationality.

Paul Goldberger. Photograph of Oscar Niemeyer. Remembering Oscar Niemeyer: The Architect Who Gave Modernism a Little Samba Flair(2012). date accessed 6th March 2021. https://www.vanityfair.com/culture/architecture/2012/12/remembering-oscar-niemeyer-architect-who-gave-modernism-samba-flair

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There was no chance to test this modern urban ideal in Tripoli, with the civil war flare up in 1975 lasting 15 years which hindered and diminished any development in Lebanon and Tripoli in specific. Dramatically referred to series-of-misfortunate-events that tackled Lebanon never seeming to give the country and citizens a break, this expression may imply that these incidents were by accidents while reality proves otherwise, each obstacle served a certain political and economic agenda… The embarking of the war and its long lasting period refrained citizens from an urban life, retreating back to familial and communal cults based on sectarian and secular affiliations which were further stratified by political parties exploiting social dichotomies.

Adding to internal disputes, regional conflicts contributed to the worsened state of Lebanon, with the Israeli’s occupation of Palestine the PLO took Lebanon as a base for their political and military operations. These factors were a joined cause for the state’s contraction and abandoning of the previous visions, when government retreated from controlling the economy, leaving social services and struggle with electoral reforms which was never actually rectified to date… This pushed economy back to the individually driven interest, the capitalist economic system of “laissez-faire” in which gave total freedom to investors and foreigners to articulate economic investment in any way other than the benefit of the state itself; this shift directly affected institutional attempts such as the Fairgrounds of Tripoli that once was aiming to configure a regional economic significance backing up national economy and social services to be an abandoned island, a vacancy.

MORE INTO THE ECONOMY OF THE CITY...

The scale of the project, when seen from an aerial view a large elliptical shape is quickly distinguished covering an area easily compared to the old city port in size. To fully grasp to what extent this scale relates to an analogy can be formed with the economic scale and the goal behind the project and its precise design. Tripoli witnessed a succession of occupations (Assyrian, Phoenician, Persian, Roman, Byzantine, Caliphate, Crusader, Mamluk, Ottoman and French Empires), each era adding a new layer to the existing fabric of the ever evolving city. The evolution of the city took place in 2 main nodes: the port and the inner city first established by the Byzantine occupation (Citadel still standing), the axis connecting these 2 nodes serves as a grid guide line for further city expansions, to the southern west side of this axis lays the fairground site.

The original plans by Niemeyer clearly show that he included a central road passing from the Southern entrance up to the Northern end passing in the middle of the site along the expo curve. Through introducing modernist urban planning to the city a shift is intended to change the city from a centralized entity symbolizing power and civic space to a flexible spatial model whose operating mode is focused on circulation, in addition to two roads added to the side facing the shore specified for residential development as a means of a tool to control city expansions in the light of the new fairgrounds. Hence, the principle road planned serves a

main purpose of circulation, this road being a motorway and a train track intended to link Beirut to Tripoli and Syria consequently, so that to make the project scale more on a national level taking a major role in mobility, economy and commerce; this point which subjected the project to many critics mainly challenging modernism urban planning as a whole and not only the RKIF.

The fairgrounds being an explicit implementation of modern urban planning focusing on the utopian functionality of the city on a national level, providing a socio-economic initiator of change towards a more urban life, it evidently disregards its close more direct context of neighbourhoods, when looking at the multilane high speed road planned to cross the city it brings the questioning of what is happening on the scale of street and social interactions that are supposed to happen there. Proving the prominent problem of the scale of the fairgrounds that’s focused on promoting homogeneity of society and diminishing social differences instead leading to further dichotomies and unequal development of the city precisely in the case of Tripoli this model contradicts with the

presence of accumulation of the historic city layers because it isolates the latter and treats the city as a placeless landscape ready for new urban interventions as if on a clean slate.

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Then again Lebanon brings another particularity due to its geopolitical and social compositions, what kind of neighbourhood(s) must be integrated or regarded in such a project? As previously mentioned, societal compositions are mainly based on communal and familial groups bonded together by sectarian and religious identities, as to not go into the sectarian composition of the city, and others shaped by social class and wealth; these groupings leading to socially gated neighbourhoods. With the everlasting absence of legitimate constitution, people further divert from urban life towards isolation given that this is further inflicted by the ruling sectarian parties. However, in the original aim of the project remain to enhance social coexistence in the shadow of secular identities.

On a more personal level, there were pedagogical aims behind the project according to Niemeyer subtly laid in his schemes. The first concentrating on housing typologies that he introduced 2 typologies inspired by Le Corbusier a collective housing block and another individual residence block typology; strategically positioning them at the end of the perspective enhanced by the exposition curve as to emphasize the importance to be given to residential modules in modern urban planning. Notably, the curve pavilion is used as a navigating tool directing motion throughout the whole landscape ending with the residential part.

The second aspect is orchestrating the mass of citizens of Tripoli, using the international fairgrounds to shape a modern urban society.

Such articulating projects of international exhibitions have the influence on citizens which was employed as an influencer towards teaching citizens how to act and behave in an urbanized context (eg: Crystal Palace); RKIF falls under this pedagogical framing by utilizing the spatial qualities of the built environment and the landscape as a whole, where “the crowds would see themselves seeing and see themselves being seen” as an act of self-reflection, thus there is a cultural shift and a civilizing burden on this project.

Finally, another unique quality of the project is that it takes exhibitions beyond the mono-dimension of the program to include cultural production and social performance; providing the site with spaces for self-expression and artistic performances in various pavilions and theatres…

Exploring the rationality that guided the project into the elements we see today gives a wider understanding beyond the poetics of space and the personal experience of tThe RKIF, as these lay the foundation on which further explorations can be depicted beyond geopolitics, scale and economy and further deep into the elements and expos of the fairgrounds.

This reflection combines handpicked ideas from THE MODERNIST CITY-An Anthropological Critique of Brasilia by James Holston, and Adrian Lahoud’s “Architecture, the city and its scale” reading of the Fairgrouds.

As this project can be regarded as an example of a Middle-Eastern attempt of Brasilia stemming out of the same principles and ideology of Niemeyer. Being more familiar with the precedents and aftermaths of the fairgrounds, the socio-cultural and economic matrix are clearer to be tackled. An accumulation of URBAN dichotomies, ECONOMIC systematic unjustice, POLITICAL conflicts and an ARCHITECTURAL dilemma awaiting to be revived to once again resume its intended role of bringing economic and cultural prosperity into the city of Tripoli.

-Adrian Lahoud. Architecture, the city and its scale: Oscar Niemeyer in Tripoli, Lebanon.The Journal of Architecture (2013). 18:6, 809-834, DOI: 10.1080/13602365.2013.85693 -James Holston. The Modernist City An Anthropological Crtique of Brasilia. University of Chicago Press (1989). https://books.google.be/books?id=Syc2y5QhgQgC}

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Urban Dichotomies

In a quick stroll through the city; social, economic and urban differences are clearly observed. Where the Fairground serves as a landmark not just for its architectural significance but as a border dividing the city with a major highway road surrounding the Fairground.

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Morphological differences between the urban fabric of the inner city and the Fairground Area. The Inner city and Al Mina are an accumulation of many urban planning phases that revolved around central public spaces and narrow streets. Ground floor level of the street is the most vibrant and rich in mixed use. The most prominent use is the markets and Khans, a typology widely found in Tripoli’s Inner City.

THE DEATH OF THE STREET

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The Streets designed by Niemeyer are car oriented with big spans cutting the Fairgrounds axially eliminating the possibility of street corners and usages that are necessary in a city like Tripoli.

Le Corbusier, La ville radieuse, Modern urban planning of repetitive units and wide streets, 1930-31, date accessed 8th January 2021, https:// urbannext.net/relationshipsbehaviours-interfaces-andmodes-of-operation/

An obvious influence by Le Curbosier is found in Oscar Nieyemer numerous projects, the Fairgrounds is no exception as the architect intended to have streets similar to the vision of La Cite Radieuse with future expansions of this Node.

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Urban Island

The Fairground is mainly accessible by vehicles that can freely circulate in the highway of 3 and 6 lanes. Pedestrian Access is very limited to view crossing paths with low safety measures.

The road ranging from 20m of width to 100m further isolates the Fairgrounds from the city and its citizens who no longer think of the fairgrounds as a part of their everydayness.

Paul Saad, Photograph of the highway ring around the Fairgrounds in Tripoli

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Public Spaces evolved with different eras that ruled over Tripoli providing a rich palimpsest of public urban spaces dating back to the Mamluks era when public spaces were found in the courtyards and the mosques squares. To take the shape of squares and gardens in the Ottoman era (Al Tal Square), and then the public gatherings took place in streets and corners in the French mandate period where Azmi Street is a well known place for meetings along many activities. The Fairgrounds was to serve one of the biggest public space especially with the vast landscape areas and installations.

This Public Space is still usurped from its people while the city is in a crucial need for public green spaces due to the overloaded urban fabric seen in the currently inhabited areas. The Fairgrounds thus remain Under Lock-down for decades granting no one an access. This research comes in parallel with a global pandemic leaving entire cities under lock-down; therefore, now more than ever, the situation of Tripoli is more evident, its citizens surviving throughout impossible conditions while a vacant affordances are staring them in the eye.

Under Lock-down 32

The perimeter of the Fairgrounds is approximately 710000sqm, a linear border which was never meant to be a physical and visual barrier. As the government feels a threat from its own citizens against looting and trespassing. This border consists of around 3,095 pieces of concrete bunker walls.

Paul Saad, Photograph of the CONCRETE RING around the Fairgrounds in Tripoli. Google photos Lionel Cironneau/Associated Press , Berliners celebrate on top of the wall as East Germans flood through into West Berlin at Potsdamer Platz. date accessed 3rd March 2021. https://www.theguardian.com/world/2019/nov/03/berlin-wall-30years-on-five-german-writers-assess-bernhard-schlink-franck-geissler-ohler

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Ingimage ,At the Berlin Wall memorial in Germany, sections of the wall on display. date accessed 3rd March 2021. https:// now.tufts.edu/articles/complicated-legacy-berlin-wall-s-fall

Learning from similar past experiences...

The Wall around the Fairgrounds holds close resemblance to the Berlin Wall, a structure that once divided a city and segregated its people.

In Tripoli this same structure divides the city and prohibits citizens from entering the Fairgrounds, the wall is used by citizens as Canvas for their Graffiti arts along the walls of random houses.

These Concrete Blocks serve a better purpose as public canvas, relocating the pieces into the landscape to be used by these artists and exhibited as a statement against the government’s unmatched measure of isolating citizens from their own Right to the City...

|| THE WALL ||

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-JOSEPH EID / AFP . Anti-government protesters sit under graffiti depicting Lebanese politicians with joker faces sprayed on a wall in downtown Beirut on November 12, 2019.

-JOSEPH EID / AFP . A graffiti reading “Revolution...even if you try to silence us” is sprayed on a wall on November 5, 2019.

-JOSEPH EID / AFP .A woman walks past a graffiti drawn on the wall of a building at the al-Nour Square in the northern port city of Tripoli on November 7, 2019.

------------------------------------------------------------------------date accessed 3rd March 2021. https://www.albawaba.com/ slideshow/beirut-speaks-graffiti-lebanese -reminder-not-lose hope-1321586

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Revival Attempts The fairgrounds have long been a dream for Lebanese and International architects to design interventions on such an iconic monument. A series of proposals and schemes were initiated, but none came to realization.

Countless proposals to convert the fairgrounds into an amusements park, a Disneyland of the Middle East and an innovation and business center. The last being supported by the government as a development plan for Tripoli and Lebanon, for that a design competition was held in 2019. Over 700 proposals were submitted to implement a new Innovation center on the Northern-Western side of the fairgrounds, on the condition of preserving the existing architecture of Niemeyer.

The general attitude when dealing with this project has been strictly preservationist, where the existing concrete elements are left intact, some reclaiming their original functions while others left simply empty.

Winning proposal by MDDM a Beirut based firm, for Knowledge Innovation Center (KIC) which is a part of the Tripoli Special Economic Zone (TSEZ).

The majority of the intervention is subterranean, which the architects saw as the minimal disruption possible to design the KIC

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MDDM, Design Winning Proposal for Oscar Niemeyer’s Fair in Tripoli. Christele Harrouk, September 2019. date accessed 25th April 2021. https://www.archdaily.com/924476/ mddm-designs-winning-proposal-for-oscar-niemeyers-fair-in-tripoli

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For the same competition, a design proposed by SCA architects.

A rather bold intervention that not only overshadows the existing architecture but hardly communicates with it, despite a well established program deployed in the added horizontal skyscrapers as referred to by the architects.

SCA , KIC Tripoli,Rendered vie and drawings,2019. date accessed 25th April 2021. https://www.samerchamoun.com/KIC-Tripoli

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Ibda Design created a concept that offers a new campus paradigm for Tripoli, centering on sustainability, flexibility and cost-efficient architecture. Ibda’s KIC design consists of new buildings as well as a renovation strategy for Niemeyer’s structures. The added structure is of light translucent materials to minimize disruption and create a more visible connection to the existing architecture.

Ibda Design, Ibda Design creates proposal to revive abandoned modernist site in Lebanon, Rima Alsammaraek, August 2019. date accessed 25th April 2021.https://www. admiddleeast.com/ibda-design-creates-proposal-to-revive-abandoned-modernist-site-inlebanon

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Unit 44, designed a flexible intervention based on placing modular containers under the main wing. This proposal was given an honorary mention in the competition as it interacts the most with the existing architecture.

All architectural interventions and designs focused on honouring Niemeyer, as other artists and architects designed numerous memorials dedicated to this project and Niemeyer. Construction Studio along with Dr. Wassim Naghi one of the most prominent actors advocating the necessity of reviving the International fairgrounds,designed a memorial monument to take place in the fairgrounds as a token of respect and admiration for this project.

These interventions, despite being different in the design process and outcomes, have a thing in common which is a totalitarian preservation and severely guarding the symbolic value of the architecture. Perhaps, that is affected by the probability of enlisting the project under the UNESCO list of protected world heritage sites.

However, this provides a foundation for approaching the project with a new eye, valuing the existing architecture in a way that revives the elements from the core, reclaiming them as an essential part of the city and not just a place for architectural pilgrimage and museumization. This project with such a scale has the potential to play an essential role in guiding the development of the entire city of Tripoli and becoming the actual third node of the city; a vision that has been perceived decades ago can come to realization by carefully and consciously reusing the

dilapidating architecture of Niemeyer.

Unit44, Design Winning Proposal for Oscar Niemeyer’s Fair in Tripoli. Christele Harrouk, September 2019. date accessed 25th April 2021. https://www.archdaily.com/924476/ mddm-designs-winning-proposal-for-oscar-niemeyers-fair-in-tripoli

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Construction Studio, Oscar Niemeyer Monument, 2018. date accessed 25th April 2021. http://contruststudio.com/projects.html

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-Anthony Rehayyel, Photo of the inner markets (Souks) of Tripoli (2020) -Omar Mjazoub, Photo of Temporary market strolls (2019).

-Picture of Soap Souks in Tripoli (khan). date accessed 15th February 2021.https://www.touristtube.com/ Things-to-do-in-Tripoli#2

Where with Our Our Stuff?

Stuff?

Where Should Should We Go with These pictures pictures depict depict both These both the the welcoming welcoming and and spontaneous spontaneousbottom-up bottom-up environment that is found in the markets and traditional factories known environment that is found in the markets and traditional factories known under the name of (khans). This freindly and human-scaled typomorpholunder the name (khans).ofThis friendly human-scaled ogy shapes theofidentity Tripoli, butand these spaces falltypo-morphology behind when it comes to efficient and sufficient complex or evenwhen simpleit producshapes thebeing identity of Tripoli, but thesefor spaces fall behind comes to tion. The narrowand spaces also makes it hard to the products, usually being efficient sufficient for complex or display even simple production.

The this takes place on the outer part of the store on streets which is evidently narrow spaces also makes it hard to display the products, usually this takes store on is the merchants in Tripoli, of them resort to place thesituation outer partofofmost the store on streets which some is evidently problematic. monable carts as street vendors which get destroyed the agovernment The lack of space and of financial means to own orbyrent store is the without providing an alternative... Interviews done with vendors after their situation most merchants in Tripoli, some of themshould resort we to movable carts getofdestroyed respond helplessly “ where go with carts our as street vendors which get destroyed by the government without providing stuff!”. an alternative... Interviews done with vendors after their carts get destroyed respond helplessly “ where should we go with our stuff!”.

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Productive activites, crafts and handmade products are widely known to tal=ke place in the inner city Souks of Tripoli. With each market having the name of the corresponding product you can find. ( Souk El-Nahhaseen, translates to the market of Coppersmiths where one can find all handmade copper containers and artistic artifacts).

Productive activities, crafts and handmade products are widely known to take place in the inner city Souks of Tripoli. With each market having the name These Souks date back to the Mamluki Era, mainteofnance the corresponding product you can find. ( Souk ifElare made from an individual initiative Nahhaseen, translates to the souks market ofinCoppersmiths ever done. Since then these are deteriorating shape.

It is find important to note that the manufacwhere one can all handmade copper containers turing process usually takes place in the same and artistic artifacts). shop in a small corner or in the upper floors of the same space, these manufacturing spaces are These Souks date back to the Mamluki Era, ciousness that essential productions. maintenance areis made fromforansuch individual initiative if ever done. Since then these souks are in deteriorating shape. It is important to note that the manufacturing Tripoli is well known for its hand-made products process takes place to in the shop in a rangingusually from gastronomy the same manufacturing small corner or in the upper floorsThis of the same soaps and crafts from scratch. sector asspace, vital for the city as it is spaces has been victim of neglect these manufacturing arethe ill-equipped, lacking for decadesfacilities that theand second and thirdthat generations technology, spaciousness is essential of the craftsmen are no longer interested in taking for such productions. upon their anscestors’ skills as there is a null profit in the end.

Tripoli is well known for its hand-made products ranging from gastronomy to the manufacturing soaps The crafts fairgrounds in fact was desgined

by Niemeyer and from scratch.

This sector as vital for the city baring in mind this property of Tripoli as the fairasgrounds it is has was been meant the victim of neglect for decades that to host these productions the second and third generations craftsmen are while international expos were ofnotthetaking place. no interested in taking and uponre-assigning their ancestors’ Solonger it is a matter of reclaiming the fairgrounds to profit what in it was intended to do, a skills as there back is a null the end. space of creative production giving space for citizens to buy, sell and learn the skills and manuThe fairgrounds in fact was designed by Niemeyer facturing products... baring in mind this property of Tripoli as the fairgrounds was meant to host these productions while international expos were not taking place. So it is a matter of reclaiming and re-assigning the fairgrounds back to what it was intended to do, a space of creative production giving space for citizens to buy, sell and learn the skills and manufacturing products...

PRODUCTIVE ACTIVITY a call for resurrection

Dr. Wasssim Naghi, Maria Bitar, Omar Majzoub and Fouad Kilani. Photos of the Souks and Craft shops in Tripoli.

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1

7 9

3

8

5 2

4

1- Souk El- Bazerkan

6- Souk El- Tarbi’aa

2- Souk El-Nahhaseen

7- Souk El-Haraj

3- Souk El-Sayyagheen

8- Souk El-Saboun

4- Souk El-Qameh

9- Souk El-Khayyateen

5- Souk El-Aattareen

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The current state of Tripoli is evidently lacking well established infrastructure and facilities that can support productive activities and crafts which will be a main target of this project. As there are vast areas of wastespaces with wild green cover, the city strives for well established public spaces that can act as a breather for the city and the surrounding context.

International fairgrounds

Recreational-Tourism

Empty green fields

Unbuilt Area

Green public spaces

Industrial

Commercial-Tourism

Port-Fishing Area

Residential

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A CITY OF WASTE-SCAPES

Chawki Farhat. International Fairgrounds Complex in Tripoli, Lebanon. 2018.

Residential, commercial and empty lands consist the major landuse of Tripoli. Urban Sprawl takes place mainly in the inner side of the city, around the Fair Grounds waste-scapes are abundant. The underdevelopment of this zone due to the Fair Grounds is a blessing and a curse as citizens consider it as a major failure. However, these waste-scapes including the fairgrounds are a potential node for sustainable urban and landscape development targeting not only a multifunctional program, but also circular urbanism, infrastructure and economy.

The current state of Tripoli is evidently lacking well established infrastructure and facilities that can support productive activities and crafts which will be a main target of this project. As there are vast areas of wastespaces with wild green cover, the city strives for well established public spaces that can act as a breather for the city and the surrounding context.

A project associated with negative space and an abandoned vacancy,can be a positive space.

The Bless of an urban island, safeguarding the land from urban sprawls and reckless interventions.

The potential of preserved lands can then be explored by conscious and more sustainable designs.

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ARTS

MUSIC

ART

CARPENTRY

COPPER

IRON

POTTERY GLASS

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GASTRONOMY

TS

AGRICULTURE

SOAP MANUFACTURING

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...from Negative Space to Positive

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Chawki Farhat. International Fairgrounds Complex in Tripoli, Lebanon. 2018.

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Ibirapuera park by Oscar Niemeyer & Roberto Marx A public green space that serves as a breather to the city of São Paolo.

Visited for its rich landscapes and cultural activities, exhibitions and arts.

A project that expresses the aesthetics of the dialect between Niemeyer’s designs and nature.

Fernando Stankuns. Parque do Ibirapuera, São Paolo.

2008. date accessed 14th April 2021 https://www. wikiwand.com/en/Ibirapuera_Park

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Isa Fumoy. All come together at Ibirapuera Park. date accessed 14th April 2021 https://gettripsbrazil.com/ all-come-together-at-ibirapuera-park-2/

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Roberto Burle Marx, Oscar Niemeyer.Ibirapuera Park project, São Paulo, Brazil (Site plan).1953. date accessed 14th April 2021. https:// www.moma.org/collection/works/252 Oscar Niemeyer, International Fairgrounds, Tripoli: Project model, Greek Architects, date accessed: 15th November 2020, https:// www.greekarchitects.gr/en/degrees/oscar-niemeyer%E2%80%99spermanent-international-fair-in-tripoli-id3105

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The preliminary design schemes show a distinctive missing element; while the Ibirapuera project of Niemeyer had distinguished landscape design by Burle Marx, The International Fairgrounds of Tripoli had minimal concern to landscape and perhaps only the obvious green cover and trees were maintained. Apart from that, a ghostly ambiance of emptiness rules over the experience.

A visitor is then left to compare themselves to the mounting scale of the concrete buildings.

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URBAN WILDERNESS Revert Nature

Green Surface Distribution between high and low foliage...

A Protected Jewel Symbolic Architecture

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Reversing the modernist design of Niemeyer that overlooked human scale and nature as an essential element rather included as a decorative element.

While the concrete elements are scattered over the oval island, a reversed conception of the Fairgrounds highlights the real potential of the reserved landscape. Therefore, the buildings are viewed as VOID and the empty landscape as SOLID. Simplifying the approach of such complex components.

The SOLID consists of an interactive green layer, reacting to the surrounding buildings in terms of height, density and kinds; each zone inflicts its properties on this surface to highlight the features of the concrete buildings.

Extending Neighbourhood Streets as corridors

Human scale is reintroduced to the fairgrounds as users relate to trees and vegetation across the whole land, instead of being overwhelmed by the vast emptiness and the large scaled elements.

Landscape is then highlighted and no longer marginalised, as the Fairgrounds poses a large scale green public space that can serve the entire city which currently severely lacks the quality of public spaces that encompasses quality and phenomenological experiences with natural elements.

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BREACHING Dissolving the Parameter HOW? THE PERIMETER

re-orienting car accessibility

urban connector Green Receptor

Bridge

Green Receptor Section

Parc Start

Bike Lane

Pedestrian Street

Main Entrance

Neighbouring bldg

existing landscape designed by Niemeyer

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Infiltration = Greenification 62

Green Surface Distribution between high and low foliage...

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Landscape as Infrastructure Landscape strategies have tendencies to challenge bureaucratic authority and explore new possibilities presented by specific qualities of the site which in turn provide the modus and raw material for new projects.

Eliminating the “uncertainty” when it comes to future developments and ensuring a more sustainable cycle to take place rather than arbitrary urbanization especially with the absence of urban rationales in the case of Tripoli...

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...Wastescapes or Drosscapes as referred to by Alan Berger propose a potential space amidst former industrial areas or urb

areas, the application of this concept is initiated in the Fairgrounds; if we consider the leftover undeveloped landscape as a positive entrepreneurial-ism, and longterm environmental recovery. By that the element if Wilderness and connectedness to the free nature is es design. Wilderness becomes a welcomed intrusion!

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This landscape urbanism model of the Fairgrounds will act as a guiding manual to other areas, especially the large drosscape ad improvement.

A SUSTAINABLE CHAIN-REACTION

ban sprawl which are widely spread in Tripoli and in vast continuous property of the project and implement it in the form of inventiveness, ssential and no longer perceived as a secondary or tertiary factor of a

djacent to the Abou Ali river that can witness a radical environmental 70

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-MEoW&UNDP. Map of the distribution of groundwater sources in Lebanon (2014).

-tMEoW&UNDP. Map of the distribution of Springs and Rivers in Lebanon (2014).

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Lebanon lies on a water-saturated basin, with relatively

Rich Unmanaged-Water high inrates of precipitation, groundwater, wells and

rivers...However for such richness ironically all areas of Lebanon suffer from water shortage.

Lebanon lies on a water-saturated basin, with relatively high ratesinofTripoli, precipitation, groundwater, wells rivLikewise with its main river Abou Aliand suffering ers...However for such richness ironically all aread of with extreme pollution (chemicals, solid waste).

Water Lebanon suffer from water shortage.

is provided in an unsustainable manner, storm water is not collected nor is the waste water treated. These go Likewise in Tripoli, with its main river Abou Ali suffering straight to thepollution sea and(chemicals, the effect issolid seenwaste). to be Water the death with extreme is of marine biodiversity, polluted water. provided in an unsustainable manner, storm water is not collected nore is the waste water treated. These go striaight to the sea and the effect is seen to be the death of With sea level rising, saltywater. water is bound to infiltrate marine biodiversity, polluted

the groundwater underneath the Lebanese coastal cities.

With sea level rising, salty water is bound to infiltrate the While theseunderneath challengesthecan be systematically groundwater Lebanese coastal cities. and

gradually treated. The concept of wetlands is adopted in this research in order to provide a solution for pollution, While these challenges can be systematically and graducircular agriculture and sustainable urbanism. ally treated.

The concept of wetlandslandscape is adopted in this research inorder to provide a solution for pollution,

-Shaban, . Diagramsand assessing water sources and demands in Lebanon. circularAmin agriculture sustainable landscape urbanism.

Shared Water Resources of Lebanon (2017). 10.1007/978-3-030-48717-1.

-C Bteish, Current state of the river, Abu Ali River Landscape Rehabilitation, date accessed 8th January 2021, http://www.unit44.net/practice/landscape/ project-57bb6b6be9bcf6-59523425

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Let There Be Water

Black and gray water can be seen from an aerial view how it infiltrates the sea water with the sludge forming covering the first few meters of the water.

Water sources coming from Abou-Ali river and Bahsas Channel in addition to the sewage network can be naturally treated in the wetland The FairGrounds Wetlands

system. Another urgent issue is the necessity to link a storm-water system to be reused and directed towards the fairgrounds wetlands, as mentioned that Lebanon holds heavy winters while the streets usually flood due to weak or no storm-water channels, the solution lies in Black and gray water can be seen from an aerial view how it infiltrates the sea water with the sludge forming covering the first few meters of collecting the water. it and re-purpose it into a more sustainable use.

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Water sources coming from Abou-Ali river and Bahsas Channel in addition to the sewage network can be naturally treated in the wetland

Why Wetlands?

The concept of wetlands is to filter contaminated water resulting in reusable water source when treated can be easily used for irrigation. Offering at the same time a chance to establish balanced biodiversity and healthy regeneration of thelands all in landscapes that can serve as captivating landscapes. For all these reasons, and for the successful previous applications of wetlands, the mechanism is applied here...

-Horsley Witten Group. Diagram of Vegitation of wetlands. The Wet and Wild World of Constructed Wetlands (2019).

-Abdel-Shafy, Hussein & El-Khateeb, Mohamed & Shehata, M.Shehata. (2017). Mechanism of Wetlands, Desalination and Water Treatment. 71. 145-151. 10.5004/dwt.2017.20538.

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Claud Cieutat. Paris Zoological Park / Bernard Tschumi Urbanists Architects + Veronique Descharrieres.Archdaily 2014. date accessed: 31st March 2021. hhttps://www.archdaily.com/550663/paris-zoologicalpark-atelier-jacqueline-osty-and-associes?ad_source=search&ad_ medium=search_result_projects

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Into the Wild...

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Bridging over the highway of 100 meters and infiltrating into the vast landscapes of citrus and wilderness, moving from a bustling speed highway into the calming aroma of citrus trees and flowers.

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Mending the B

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Broken Promise

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Why? The majority of Tripoli’s population are considered young. Tripoli’s is one of the poorest city’s on the coast of the Mediterranean and it has been this way since the breakout of the Civil War. With no development carried out in this city, poverty still escalates and affects youngsters who would rather subject their lives to danger of drowning by traveling illegally to nearby countries by sea.

This youth needs an opportunity and a space that provides the necessities for production which is completely out of their current reach...

Tripoli is well known for its productive activities and is the house for exceptionally traditional crafts and handyworks and skills. These products that are the main source of income are produced with minimal resources and need an equipped space to be manufactured and displayed.

The current markets and shops are overcrowded and in bad shape. The vacant Fairground’s design provide a possible productive activity hub Ensuring economic, social and cultural development.

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DAILY STRUGGLE OF SURVIVAL

Al mina is a vibrant part of the city as it is the main port of the city where fish markets happen and fishing families rely on this port for a living.

This area is inhabited by poor citizens (fishermen and their families) along middle class families that live in relatively better situations than others. The urban fabric drastically changes between the two areas.

-UN Habitat, Socio-economic Sitaution of Tripoli, Tripoli City Profile (2016). https://unhabitat.org/ tripoli-city-profile.

-CGTN, Protesting the current living situation, Violent protests continue for third night in Tripoli (2020). date accessed 15th January 2021. https://newsus.cgtn.com/news/2021-01-29/Violent-protestscontinue-for-third-night-in-Tripoli-Lebanon--XqYZQORZW8/index.html

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The wing that stands as a threshold , dividing the Fairgrounds into an eastern and western part posing as a visual barrier and a physical obstacle in between the two sides; holds immense affordances in terms of spatial properties and scale. This wing can host complex usages and provide adequate spaces necessary for productive activity to take place.

As the majority of elements can reclaim their originally intended functions (theatres, exhibitions, administration...); The main focus targets the main pavilion “the wing” as it poses Therefore, the intention is to challenge this structure, while exploring its spatial affordances and overcoming its limiting a true problematic acting as a threshold that festers the fairgrounds into two eastern and properties... western halves posing both physical and visual barriers which mainly turns a blind eye to the western part of the site due to an absent program.

Administration Cultural and Arts Hubs Residential 87

Productive Activity Wing

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Arts & Cultural Hub The hub mainly reclaims the original functions of the existing theatres and exhibition spaces that are still in good structural standing.

The Green surface engulfs relatively low rise structures to emphasize the delicate and artistic relation to the curvilinear shapes.

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How?

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Challenging this structure is done by flying the wing over and levitating it by 10 meters to dissolve the threshold and free the ground-floor level, creating direct passages and visual connections under this canopy and in turn giving space for vertical connections (stairs and ramps) that connect the various spaces and programs occupying the wing to the rest of the site.

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Back to the Roots Revisiting Vernacular Typologies

An intimate place that once was an exclusive private space previously dedicated to compensate the lost right of women to public spaces is now a PUBLIC intimate place resembling the welcoming environment of the traditional courtyards in the vicinity of a modern context emphasizing the presence of safe public environments away from gender exclusivity.

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M.Z.Alabidin.Traditional Courtyard Houses.2008. date accessed: 31st March 2021. http://www.abbis.photo/portfolio/traditional-courtyards/

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Traditional Courtyard Typology in Khans - Central Circulation

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1- Courtyards

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light

circulation 97

Introducing this typology to the wing is introducing a very intimate and familiar relation between people and architecture, where the modernity of the wing is contrasted with a vernacular approach, hanging the architecture of the past on the wall of the present and carrying it into the future all in one place.

The traditional elements of the courtyards (greenery, light and circulation), are abstracted and reformed in a way that compliments the space and enriches the wing with different sources of light and creates vertical connections between the wing and the entire Fairgrounds.

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Commercial and Productive activities are concentrated in the inner part of the city specifically in the old souks. These souks that are scattered in the dense urban fabric of Tripoli have a very distinctive linear typology in which stores and workshops are distributed along a main spine emphasized by repetitive arches harbouring the main source of zenithal light necessary for ventilation and light along the entirety of the souks.

This typology is reinterpreted in the Wing by introducing a linear spine along which productive activities are distributed. Zenithal light is similarly induced supported by repetitive concrete arches stripped from traditional ornamentations. Hence, the dimness of the 44meters deep wing is broken by a delicate source of light giving different ambiances and experiences throughout the day.

This restructuring and re-inclusion of the souks typology into the wing not only helps in dividing space and orienting circulation but also serves as a mental and sentimental connection to the original place of production that have fostered production in Tripoli for centuries, thus giving a sense of familiarity to users and dissolving the existing alienation between them and the wing.

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2- Souks Vernacular Souks in the vicinity of Dense Urban Fabric

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Towards a Good Public Domain The Tripoli Narrative Towards a Good Public Domain - Tripoli Narrative Achieving a good public domain is what RAAAF referred to as the main aim behind the Trusted Strangers intervention. Inspired by this intention of social cohesion and the unraveling of social affordances to dissolve social estrangement between people of different socio-cultural backgrounds under one landscape of blocks each representing a social group allowing a crossover amongst each other. Citizens of Tripoli, although historically stemming from similar socio-cultural background, have drifted apart due to clashing political, religious and social oppositions. However, a common ground is found in the productive activity of the city where people unite over their source of living despite all dichotomies.

Therefore, the trusted strangers blocks can be reinterpreted in the Tripoli narrative as zones of production, in which each zone represents a productive activity along the wing, united by the intermediary linear spine, giving reoccurring opportunities of crossovers between the different zones through which the wing is not only viewed as an instrument of social change but as a think tank towards further development of the various productions and in turn a cultivated development of society away from social intolerance...

Through this scenario, the historic intention of Niemeyer that advocated the Fairgrounds as an instrument of social change resurfaces to introduce an instrument that serves the current and futuristic needs of the city away from baggy slogans of international cohesion.

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Screenshots from RAAAF’s Trusted Strangers Animated Film. dat accessed April 11th 2021. https://vimeo.com/205663543

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Breathing Life into the Dead

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Gastronomy & Culinary Zone

Lemon Tree Products Zone

Soap Production Zone

Fabric Production Zone

Hardware & Blacksmiths Zone

Furniture Production Zone

Mechanical Zone

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Uniting Productive Micro-environments, Exploring the affordances of the wing.

An Instrument of Social Change by combining traditional and modern technologies of Tripoli.

Reviving endangered skills and providing opportunity for its development and expansion by communicating with other skills and cross-expertise.

The wing gives a new adequate space that enables citizens to practice their production freely and in a more equipped environment compared to the overly crowded spaces of the inner city.

Employed

Unemployed 112

Abel Erazo. Woods of Net / Tezuka Architects / TIS & PARTNERS. December 2009. date accessed 24th March 2021. https://www.archdaily.com/39223/woods-of-net-tezukaarchitects Karen Karam. The Art of Weaving. 365 Days of Lebanon .October 2016. date accessed 24th March 2021. https://365daysoflebanon.com/2016/10/17/the-art-of-weaving/

Spatially arranging the wing according to skill groups, each zone promotes the specific productive activity which serves as a theme for the entire environment.

By that, environments change in terms of materiality, products, furniture and lighting as people explore the wing, a natural exchange and public familiarity happens, further emphasizing the role of the wing and its affordances as an element of social change and a condenser of productive activity.

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Fabrics Zone.

An environment of vibrant fabrics and textiles, where production openly takes place, products directly displayed and is part of the experience.

Furniture and decorative elements are also a part of the fabrics theme, can be changed and modified replacing fabrics or displaying ever changing products.

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Furniture Zone.

Closely related to the fabric production, an example of how skill-crossover can take place. Exchanging expertise from both sides to come up with innovative designs taking into consideration different procedures of production.

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Soap Zone.

Where different phases of saponification materialize this zone and shape the experience under the wing with fragrant aromas and textures of soap.

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Picture of Soap Souks in Tripoli (khan). date accessed 15th February 2021.https://www. touristtube.com/Things-to-do-inTripoli#2

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The suggested zones are subjected to change, as different production can take place therefore the wing can easily transform to suit the ever-changing usages. By equipping the space with flexible and multipurpose partitions that can be used as storages for equipment, transformed into furniture and flipped from one zone to the other.

These partitions can also be the product of the skill in place, whether it is carpentry, blacksmithing, fabrics... Giving the wing another dimension of appropriation and a sense of belonging to the space where the users can have their touch and say in dividing the space.

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The Fairgrounds, and in particular the wing embrace the intense experiences and properties of the urban wilderness of surrounding nature. This wilderness that constantly changes its scenery, renders different experiences with time and seasons. The wing stands as an element of communication between architecture, heritage and nature to once again step over the static and sleeping state the fairgrounds have been subjected to over the decades...

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The secluded and contested legacy, Tripoli’s International Fairgrounds comes to life, breathing wild nature into the space, introducing programs and functions that act as a sponge providing vibrant public spaces and well equipped and flexible productive environments where Tripolitians from different socio-cultural backgrounds can unite and overcome all the barriers inflicted upon them in a space that ensures their needs and gives them a breathing space, a break from sprawl and chaos.

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Tripoli’s Third Node This design proposal is an attempt to truly explore the spatiocultural affordances of the Fairgrounds. Drosscaping, away from museumisation and nostalgia. Transforming this

abandoned and contested legacy into a hardcore heritage that is a crucial urban component and no longer an alienated island.

Bringing the people of Tripoli, that have long been segregated, together under one roof in a space that sustains future development of the city and its inhabitants.

The visions of Niemeyer were noble, although they were a top down approach borrowed from foreign experiences they never got the chance to see the light in Tripoli. Now these visions are put in context and in sync with the city, perhaps stepping forwards towards mending the broken promise...

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Book References Bélanger, Pierre. “Landscape as Infrastructure.” Landscape Journal, 2009: Vol. 28, No. 1, pp. 79-95.

Berger, Alan. Drosscape: Wasting Land in Urban America. New York: Princeton Architectural Press, 2006.

Erik Rietveld, Ronald Rietveld, Janno Martens. “Trusted strangers: social affordances for social cohesion.” 29 December 2017.

Holston, James. THE MODERNIST CITY: An Anthropological Critique of Brasilia . Chicago: The University of Chicago Press, 1989.

Jan Gehl, Dr.Litt. “Public Spaces for a Changing Public Life.” n.d.

Kareman, ZUS: Zones Urbaines Sensibles Elma Van Boxel and Kristian. Re-Public. NAi Uitgevers, 2007.

Kiverstein, Erik Rietveld & Julian. “A Rich Landscape of Affordances.” Ecological Psychology, 2014: 26:4, 325-352.

Lahoud, Adrian. “Architecture, the city and its scale: Oscar.” The Journal of Architecture, 2013: 18:6, 809-834.

Lebanese Republic, Ministry of Energy and Water and UNDP. “Assessment of Groundwater Resources of Lebanon.” 2014.

Lynch, K. Good City Form. MIT Press, 1981.

Shaaban, Amin. Water Resources of Lebanon. Texas: Texas A&M University, 2017.

Shannon, Kelly. From Theory to Resistance: Landscape Urbanism in Europe. n.d.

UN-Habitat. Tripoli City Profile. UN-Habitat, 2016.