KEEPING IT MODERN

MODERN HERITAGE
UNDER PRESSURE
PERSPECTIVES FROM THE GLOBAL SOUTH

Edited by Aziza Chaouni

with Dana Salama
 Copyright © 2023 by Aziza Chaouni

All rights reserved. No part of this book may be reproduced in any

form on by an electronic or mechanical means, including information
storage and retrieval systems, without permission in writing from the
publisher, except by a reviewer who may quote brief passages in a
review.

ISBN 0-313-17652-4

Published by the University of Toronto

John H. Daniels Faculty of Architecture,
Landscape, and Design

1 Spadina Crescent
Toronto, ON M5S 2J5
Canada

Edited by Aziza Chaouni and Dana Salama.

With assistance from Hasan Hirji, Batoul Faour, and Kira James.
Design: Dana Salama with assistance from Saaraa Prejmi.
Cover Photography (front and back) by Andreea Muscurel.
Cover Design: Anna Toshkova
2
 CONTENTS
PROLOGUE 10

INTRODUCTION 12

CONSERVING MODERN HERITAGE PLACES UNDER PRESSURE 32

THE ROLE OF CONSERVATION MANAGEMENT PLANS

Sheridan Burke

OSCAR NIEMEYER’S INTERNATIONAL AND PERMANENT FAIRGROUND OF LEBANON 58

CHALLENGES OF CONSERVING A UTOPIAN VISION

Maya Hmeidan

SIDI HARAZEM THERMAL BATH STATION 97

THE GENESIS OF A POST-COLONIAL MODERNIST LEISURE GROUND

Aziza Chaouni

THE KOSOVO NATIONAL LIBRARY 132

SHAPING NATIONAL IDENTITY WHILE PRESERVING A MODERN ICON

Bekim Ramku

THE METU FACULTY OF ARCHITECTURE 166

CONSERVATION BY RAISING AWARENESS

Ayşen Savaş
08
THE GANDHI BHAWAN 198

ASSESSING MODERN HERITAGE SIGNIFICANCE

AND DEVELOPING CONSERVATION POLICIES

Shikha Jain

THE PAROCHIAL CHURCH OF ATLÁNTIDA 236

A TRANSNATIONAL REHABILITATION

Ciro Caraballo and Rodrigo Sáinz Lara

AFTERWORD 270

Mohamed Elshahed

IMAGE CREDITS 278

BIOGRAPHIES 286

09
OSCAR
NIEMEYER’S
INTERNATIONAL
AND
PERMANENT
FAIRGROUND
OF LEBANON
THE CHALLENGES OF
CONSERVING A UTOPIAN VISION

MAYA HMEIDAN, LEBANON

MAYA HMEIDAN
OSCAR NIEMEYER’S INTERNATIONAL AND PERMANENT FAIRGROUND OF LEBANON
The Challenges of Conserving a Utopian Vision

1
INTRODUCTION
In the early 1960s, the infamous Brazilian
modern architect Oscar Niemeyer designed The
International and Permanent Fairground of Lebanon
[later renamed Rachid Karami International
Fair (RKIF)] to accommodate a state-of-the-art
international and permanent exhibition that could
host cultural events. These ambitions were short-
lived. The modernist complex of exhibition pavilions,
theatres, museums, and residences never achieved
its intended function. Instead, it became a site that
has faced repeated misfortune.

Construction of the Fairground began in 1964. Upon

its completion, the Lebanese Civil War erupted in
1975. In the early 1990s—over fifteen years following
the end of the conflict—the complex was still in a
state of ‘absent presence’ (fig. 1). Fortunately, large-
scale development proposals which would have
deformed the building’s concept (as envisioned by
Niemeyer and the Lebanese State) were halted.
Following these events, efforts to regenerate the
complex, (even to accommodate less ambitious
functions) were in vain. Niemeyer’s architectural
masterpiece has been threatened by an absence
Figure 1: General view of Rachid Karami International Fair in Tripoli, c. 2003.
of care, expertise, and most importantly—a sound
vision for its protection and development. In the same year, UNESCO’s Beirut Office was
awarded the Getty Foundation’s Keeping It Modern
Recently, an awareness of the inherent architectural
grant to develop a conservation management plan
and design values of Niemeyer’s complex has been
(CMP) for the International Fairgrounds at Tripoli.2
rising among the general public. This is largely
due to the efforts of interest groups, NGOs, and UNESCO began the data collection phase for
concerned individuals. In 2018 the complex was the Fairground in February 2019. This included
added to UNESCO’s World Heritage Tentative List. archival research to develop an understanding
The listing describes Niemeyer’s complex as one of of the context and its significance. The initial
the major representative works of twentieth century research phase led to a determination of the site’s
modern architecture in the Middle East, due to “its significance through various lenses, taking into
scale and the richness of its formal expressions.”1 account the needs of a variety of interest groups.
60
Since 2019, UNESCO has been collaborating with
a team of national and international experts in the
fields of architectural research and conservation to
develop the best conservation approach for Oscar
Niemeyer’s International Fairgrounds in Tripoli. The
approach prioritizes conservation strategies that
are compatible with the architectural, aesthetic,
and design values of the place in addition to the
socio-economic needs of the city and its people.

This paper will highlight the various challenges

encountered during the initial phase of data
collection and analysis, including the challenges
resulting from the current socio-political and
cultural contexts at play in Lebanon, and Tripoli
more specifically. For instance, one of the major
challenges faced by this project is related to the
gathering of the unwritten or undocumented
histories, in addition to the diverging views and
perceptions of Lebanese and Tripolitan people
towards the Fair project. Before delving into
these challenges, the first section of this paper
exposes the changing nature of the valuation and
appropriation processes at work on the Fair’s site
through a diachronic approach. It is followed by a
brief presentation of the different components of the
conservation management plan being developed
by UNESCO Beirut Office. 61
MAYA HMEIDAN

2
CONTEXT focusing on regional and peripheral socio-economic
Following his election as the president of the development. As a result, Lebanon’s second-largest
Lebanese Republic in October 1958, General city, Tripoli, was selected to house the fairground
Fouad Chehab (1958-1964) embarked upon a in November 1959.5 This decision, which became
program of administrative, social, and economic effective on the 7th of May 1960,6 was facilitated by
reform intended to strengthen and modernize pressure from Tripolitan politicians, trade circles,
the Lebanese state. To achieve his general policy and civil society. Tripoli also held an advantage due
of geographically-distributed social development to the availability of unbuilt agricultural lands which
across Lebanon, Chehab called upon the IRFED could be expropriated at relatively low prices.
(International Institute for Research and Training,
Amado Chalhoub, a friend of Tripolitan Prime
Education and Development) mission (1959-1964)3
Minister Rachid Karami, was appointed the first
headed by Father Lebret, a French-Dominican
Fair Director on January 4th 1962. As a member
priest, social scientist, and philosopher. President
of the Lebanese diaspora in Brazil, Chalhoub was
Chehab decided to accelerate the implementation
of reforms and socio-economic projects which
resulted from studies conducted by the IRFED
delegation and other experts. As a result, large-
scale projects — some of which addressed regional
interests—were launched across the country.4 The
Conseil Exécutif des Grands Projets (CEGP) was
then established to implement major government
infrastructure and development projects—one of
which was a Fair in Tripoli. Thus, the early 1960s was
a transformative period in Lebanon, witnessing the
birth of new projects, regulations, and institutions
that Lebanon had never seen before. This period
is considered the golden age of the country by the
Lebanese majority.

It is worth noting that the idea of establishing an

international fair in Lebanon was born in 1958
before Chehab’s election as president. At the time,
the Exhibition Committee’s recommendation to
the Ministry of Planning was to hold an annual
international fair in the capital, Beirut. After
President Chehab’s election in 1958, a policy which
Figure 2: Ferdinand Dagher (1st left) and other members of the
prioritized political decentralization was adopted, CEGP welcoming Oscar Niemeyer (2nd left) at the Beirut Port in
July 1962.
62
Figure 3: Niemeyer’s proposed urban plan for a third urban core
based around the fair (in black) in addition to the old city of Tripoli
and Al Mina (hatched).

63
MAYA HMEIDAN

7
5
1
3

Figure 4: General plan of the Permanent and International Fair of Lebanon in Tripoli as proposed by Niemeyer, 1963.

Legend
1 main entrance plaza 9 water tower
2 guest house 10 reflecting pools
3 merry-go-round (playground) 11 model residence
4 main exhibition pavilion - grand cover 12 housing museum
5 lebanon pavillion 13 collective housing
6 experimental theatre 14 administration
7 helipad and space museum 15 customs/ fire brigade/ depots
8 open-air theater
64
 15

14

12

13

8 8 10

11
9

familiar with Oscar Niemeyer’s reputation7 after In Niemeyer’s own words, it was the “first to be
the completion of Brasilia and recommended that based on a criterion of unity and plastic equilibrium”
he leads the design of the fair. Shortly thereafter (fig. 4).10 Instead of following the common trend
Niemeyer was commissioned by the Lebanese of designing freestanding exhibition pavilions to
government to design Tripoli’s International and represent different countries, Niemeyer unified all
Permanent Fairgrounds.8 Niemeyer seemed an of the pavilions beneath a large canopy formed by
appropriate choice for a young postcolonial nation a simple reinforced concrete structure. The 'Grande
looking to secure its reputation regionally and to Couverture' is an astounding 750 m in length and 50
compete in global trade and tourism markets. m in width. This boomerang-shaped hall is the Fair’s
main building (figs. 5, 6).
Following his visit to the city of Tripoli in July 1962,
Niemeyer proposed an entire city quarter along the At the Fairground, Niemeyer scattered meticulously
coast with the fairground as its focal point (figs. designed modern concrete pavilions throughout the
2, 3). The press described Niemeyer’s design and site, all facing the concave side of the Grand Cover,
concept for a permanent exhibition and cultural and connected through a series of green landscapes
complex as a “revolutionary” avant-garde concept, and reflecting pools. The small structures dispersed
and as an example for future international fairs.9 throughout the site reference characteristic curves
65
MAYA HMEIDAN

Figure 5: Niemeyer’s drawing of the Main Exhibition Pavilion or the “Grande Couverture.”

Figure 6: The Main Exhibition Pavilion or the “Grande Couverture”, 2019.

66
 Figure 7: The Lebanon Pavilion, 2019 .

Figure 8: Niemeyer’s drawing

of the Lebanon Pavilion.

6
Legend 5
1 ground floor
2 elevation 3
3 top view
4 cross section
5 arcade unit
4
6 perspective
67
MAYA HMEIDAN

and geometric forms employed in other Niemeyer reserve 18,000 m2 of the Fairground to house their
works; namely Ibirapuera Park and Brasilia. These pavilions.12
structures include the 'Lebanon Pavilion'—a square
The construction of Tripoli’s International Fair
structure surrounded by pointed arcades (figs.
started in early 1964. By 1965 various access roads
7, 8), the dome-shaped Experimental Theatre,
to the site were enlarged, and the government
the “Space Museum” with its heliport, an Open-
allocated a budget for the construction of a coastal
Air Theatre accessed through a ceremonial ramp
highway connecting Tripoli in the north to Saida in
under a monumental concrete arch, a daycare with
the south, passing through Beirut. Unfortunately,
a conical form, and many others (figs. 9, 10).
budget deficits and a lack of state funding delayed
The ideals embodied in Niemeyer’s designs were the implementation of major infrastructure
fully embraced and high hopes were placed on the projects including the coastal highway and Tripoli’s
project.11 Shortly after laying the foundation stone International Fair. The inauguration date for the
on October 1st 1963 (fig. 11), the United Kingdom Fairground was consecutively deferred until
and Australia announced their plans to each 1976.13 The project’s slow execution fueled criticism

Figure 9: : The Day Care (1st left), Experimental Threatre (Dome), Lebanon Pavilion, Helipad
and the Ramp and Monumental Arch leading into the Open Air Theatre, 2019 .
68
 Figure 10: Open Air Theatre (center) with the Grand Cover (left) and the Water Tower (right). Notice
the Quality Inn hotel in the background- previously the Collective Housing (see figure 16).

The project was nearing completion

when it was seized by the Syrian Army
in 1976. Using the site as a military
base and detention center brought
the modern project to a complete
halt, killing both the great dream
for a modern developed nation and
Niemeyer's utopian socialist vision for
Lebanon.
69
MAYA HMEIDAN
Figures 11a, 11b, 11c: Articles from 1962-63
reporting the launch of the fair; Excerpt from Le
Commerce du Levant; an excerpt from the Arabic
newspaper Al Inchaa; Grand Projects Executive
Council document from CEGP booklet (top to
bottom).
70
Figure 12: The state of deterioration and neglect for some buildings at the RKIF, such as the Administration building, 2019.

Figure 13: Graffiti at Niemeyer’s Guest House, reminiscent of the site occupation period, 2019.
71
MAYA HMEIDAN

Legend

A Ground Floor
1 garden
2 rooms
3 services, kitchen, offices
A
B First Floor
1 void
2 bedrooms
3 bathrooms

C Cross Section
B
D Perspective

Figure 14: Niemeyer’s design of the Collective Housing (compare with figure 10).
72
against political leaders in successive governments. under a Build-Operate-Transfer (BOT) agreement
Widespread disappointment was shared by (fig. 14). Niemeyer’s remaining futuristic phantom
the general public and project stakeholders—in sculptures became the silent witnesses to the
particular economic organizations, local investors, erosion of the postcolonial modern condition which
and ex-land owners—whose hopes for an equitable brought them into existence (figs. 15, 16).
future for Tripoli were further dashed by the
Consecutive government strategies failed to
outbreak of the Lebanese Civil War in 1975.
reinstate the Fairgrounds’ original function as
Niemeyer’s Fairground was nearing completion “the only international and permanent exhibition
when it was seized by the Syrian Army in 1976. in Lebanon.”15 Several large-scale development
Using the site as a military base and detention proposals that aimed to reuse and revive the complex
center brought the modern project to a complete were halted due to the political instability in the
halt—killing postcolonial ambitions for a developed region, or through public campaigns16 opposed to
nation and Niemeyer’s utopian socialist vision for unsympathetic designs and additions to the original
Lebanon. Above all, Tripolitans came to associate complex which would have dramatically impacted
the Fairground with negative memories of the war the site. For instance, in 2004 a project known as
until the site was completely evacuated in 1998 Cedar Land proposed to transform the Permanent
(figs. 12, 13). International Fair into a tourist village which would
accommodate millions of visitors a year based on
Despite the long years of war, misuse, theft, and
the Disneyland model.17 Another project known as
neglect, the Fairground’s structures remained in
China Max proposed a permanent exhibition for
fairly good shape. The general composition of the
Chinese products and a tax-free exhibition area for
Fair is intact and the forms of the buildings still
Chinese goods.18
appear in all their plasticity. Nevertheless, the Fair
has been in a state of gradual degradation due to the In the past few years, the Rachid Karami
lack of post-war public spending, use, and vision. International Fair (RKIF) Administration Board has
changed its attitude towards the Fairground. Given
The partial rehabilitation that was introduced
the delicate condition of the exposed concrete
to selected structures in 1994 (such as the Open
and the partial collapse of some concrete roofs,
Air Theatre, part of the Grand Cover, Collective
the RKIF Administration Board opted to accept
Housing, the Lebanon Pavilion, and the Portico)
project proposals that included the rehabilitation
allowed for the occasional use of the Fairgrounds
and adaptive reuse of one or many of the onsite
by local commercial entities as well as arts
structures. Unfortunately, some of these proposals,
programming from 1995 onwards.14 In 2000,
such as the Knowledge and Innovation Centre
one of the most dramatic transformations was
(KIC project) were put in place, in the absence of
inflicted on the residential slab building known as
aa master plan or a clear vision.19 This patchwork
'Collective Housing' when it became 'the Quality
approach to protecting the site threatens the
Inn'—a three-star hotel leased to a third party
integrity and authenticity of the complex, as well
73
MAYA HMEIDAN

Figure 15: Aerial view of RKIF in 1974 prior to the outbreak of the civil war.
74
Figure 16: Aerial view of RKIF in 1999 after the end of the civil war and the partial
rehabilitation of the site. Notice the major change in the walkways, the additional parking and
the changes in the area of the collective housing. Also the urban expansion of the city around
the RKIF.
75
MAYA HMEIDAN

Figure 17: The status of the ceiling of the first basement at the Open Air Theatre, June 2019.

as Niemeyer’s concepts of unity and harmony of processes which promote the conscious restoration
the site. Reactive decision-making will not only and reuse of this outstanding modern complex.
lead to the fragmentation of the complex between
different users, but may also ruin the important

3
attributes embodied in the design of the complex. THE CONSERVATION MANAGEMENT
Unfortunately, while the idea of introducing PLAN FOR TRIPOLI’S FAIRGROUND
additional structures to the Fairground has been
The Niemeyer-designed Tripoli buildings have
widely accepted, a comprehensive masterplan for
experienced deterioration due to weathering over
the modern complex remains absent.
the last fifty years (fig. 17). Therefore, the preparation
As an outstanding manifestation of modernity and of a CMP is an important step to ensure that both
modernism in Lebanon and the Middle East, Tripoli’s repairs and future development are carried out
Fairground has made its way onto the UNESCO’s within the framework of considered conservation
World Heritage List in Danger in January 2023 due policies. Such policies would guarantee compatibility
the deteriorated state of its conservation. Today, with Niemeyer’s architectural expression along
efforts should concentrate on addressing the most with the existing landscape of the Fair.
urgent conservation issues and challenges. The site
merits special attention and care when considering
potential development options. For this reason,
the development of a Conservation Management
Plan (CMP) for Tripoli’s International Fairground
is a critical tool that can guide decision-making
76
Figure 18: Cover page of Niemeyer’s article on the Tripoli Fair in Módulo, Oct.1962.
77
MAYA HMEIDAN

3.1 APPROACH TO IMPLEMENTING THE conditions of the buildings will be undertaken to

SCOPE OF WORK determine their significance and identify general
vulnerabilities or threats. At the same time, a
The Fair’s CMP concept was developed based on
detailed structural assessment and material
a belief that a thorough understanding of 'Place'
analysis for one particular structure (chosen in
is essential to determining both the cultural
consultation with the RKIF Administration Board
significance and a Statement of Significance agreed
members and the UNESCO team members) will be
upon by all stakeholders. In addition to capturing
completed.
the essence of the 'Place,' the CMP identifies
vulnerabilities that can potentially impact the With the absence of local conservation guidelines
site’s heritage value, while outlining policies to for modern heritage buildings in Lebanon, the
protect the site’s significant features from those Conservation Management Plan will be prepared
vulnerabilities. following the ICOMOS international guidelines20
while also considering the specificity of the local
The first step in the process of developing the CMP
context.
would be to gather information by studying the
buildings onsite and consulting archival material. Given the unique importance of the International
Then, the project team develops an analysis of Fair at Tripoli and its prominent sense of place, the
the architectural fabric of the Fair, establishing project team will simultaneously address the issues
an inventory of components for each building and of buildings and site to ensure that all character-
noting their changes over time. The CMP shall then defining features and qualities of the property are
provide a structure for considering future proposals protected, and their integrity is maintained. The
for repair and development and for formulating complex represents a cultural landscape that will
mitigation strategies as needed. be considered holistically by the CMP.
The understanding of 'Place' shall cover the
historical development of the International
Fairgrounds for Tripoli from the inception of the
idea by Oscar Niemeyer and the City of Tripoli,
through to its construction and its condition during
and throughout the war. This assessment places
the Fairgrounds within the context of its original
purpose and its importance within Niemeyer’s
overall body of work.

The Fairground complex is a large site composed

of more than twenty buildings. Therefore, a general
structural assessment which identifies the physical
78
Figure 19: Excerpt from the Arabic newspaper Al Hadara (31 December 1966).

Figure 20: The Grand Cover during construction, 9th of July 1965.
79
MAYA HMEIDAN

3.2 WORK PLAN

The steps for accomplishing the tasks necessary to

prepare the CMP include the following:
• Data Collection: Preliminary review of
documentation, in-depth archival research,
onsite visits, visual observations and
discussions, laboratory testing, and community
surveys.
• Analysis of Data: Identifying significance and
assessing threats and vulnerabilities.
• Developing conservation policies and specific
guidelines for future use and development.

Figures 21a, 21b: The site during construction circa 1966-1967.

80
It is important to note that, this paper will focus on
the methodologies applied for the first phase of the
work plan–the data collection phase–including the
primary analysis of data to understand the context
and the associated challenges.

3.3 CHALLENGES FACING THE PROJECT

IMPLEMENTATION

Since the inception of the CMP process in 2019,

several external impediments were encountered,
which added to the usual challenges of implementing
a CMP in a Global South context:
3.3.1 Short-sighted vision and absence of
strategic planning:
The RKIF is owned by the State and it falls
under the authority of the Ministry of Economics
and Trade. However, its daily operation and
administration have been entrusted to a Director
General and a small team (made of around eighteen
employees, twelve of whom are security guards).
An administrative board comprised of a president
and six members (elected every three years) is
responsible for putting forward the overall policies
for the operation of the Fair in coordination with
the Minister of Economics. Over the years, the
Fair suffered from weak governance, especially
that the board positions were intermittent and not
remunerated (unlike the Director’s position which
is for life) and the Ministry in charge always had
other priorities to tend to.
81
MAYA HMEIDAN

As such, the future of the Fair has been uncertain

as it lies in the hands of decision makers with
diverging views and short-sighted visions and
policies. This precarious situation is exacerbated
by the absence of any long-term holistic planning
that may preserve the integrity and authenticity of
the site.

The Fair’s dilettante governance was certainly a

factor which delayed the development of the site,
but it also worked to protect the Fairground from
total obliteration. Nevertheless, the recent State
interest (after the site's inscription on the World
Heritage List) in preserving Niemeyer’s work
can be seen as a major opportunity to the CMP
development process and the implementation of its
guidelines.
3.3.2 Urban/building regulatory tools within
the surroundings of the complex:
No urban planning or building codes exist to regulate
In Lebanon, modern architectural heritage is still the empty parcels surrounding the Fair which have
generally undervalued compared to the cultural been expropriated by the government for future
heritage of earlier periods. This is quite evident in extensions. The lack of knowledge and awareness
the absence of modern heritage protection from the of the damaging impact insensitive development
current urban planning regulations and the weak will have on the Fairground heightens the risk of
enforcement of the current Law on Antiquities poorly conceived interventions on surrounding
concerning twentieth-century heritage.21 This land parcels.
explains the absence of any modern heritage
Given the complexity of the situation, UNESCO
building from the national heritage inventory list—
advocated for early consultation with its CMP
including the Fair. Until recently (2022), the absence
team prior to any major decision or on site
of legal protection was a major obstacle for the CMP.
intervention. The terms of the agreement were
Current urban policies which encourage piecemeal
that no interventions would happen onsite without
development are proceeding faster than the CMP,
consulting the working group. Simultaneous
jeopardizing the team’s work and posing a major
negotiations took place with the Ministry of
challenge to the CMP’s future implementation.
Culture to facilitate and expedite the listing of the
Fairground on the national heritage register.
82
 Figure 22a (top): The complete set of execution drawings
for the Portico as well as the other structures studied by
the Associated consulting Engineers ACE

Figure 22b (right): An excerpt of the Portico’s

Architectural drawing executed by ACE after Oscar
Niemeyer’s plans in Oct 1964.

3.3.3 Local technical expertise in modern

conservation:

One of the major criteria for the selection of the

working members was to ensure a multidisciplinary
team. However, the lack of local technical
expertise in modern concrete conservation and the
preparation of CMPs necessitated that the positions
of the conservation engineer, the conservation
architect, and the cultural heritage specialist were
assigned to international practitioners who were
already involved in similar projects.22

On the other hand, the tasks related to data

collection, archival research, and understanding
the context were allocated to local practitioners.
Team members were carefully selected based
on their previous professional experience and
research interests in both modern architecture and
83

the history of the Fairground.

MAYA HMEIDAN

Figure 23: Ferdinand Dagher (1st left) and Oscar Niemeyer (7th left) on the construction site of the Tripoli Fair during his 2nd visit to Lebanon
between December 1966 and Januray/February 1967.
84
4
APPROACH TO UNDERSTANDING THE
CONTEXT AND THE CHALLENGES
FACED

Three methods were employed to collect the relevant

data for understanding the project’s context: (1)
archival research, (2) fieldwork, onsite workshops,
and stakeholders’ consultation meetings, and (3)
community surveys.

4.1 ARCHIVAL RESEARCH

Archival research involved the review of all

available documentation on the history of the RKIF
in Tripoli, including its construction, subsequent
alterations, and relevant information related to
its current condition. In addition to Niemeyer’s
sketches and the detailed construction drawing sets
produced by his office, our team consulted execution
drawings developed by local consultants and some
as-built drawings produced by local contractors
which enriched our understanding of the Fair’s
buildings and landscape. Moreover, the CMP team
led meetings with local architects, engineers, and
other professionals, who were involved in the
original design and construction phases.

Consequently, all the potential archival records

available in Lebanon and Brazil were identified and
the quality of their data was assessed. There were
two research phases: (1) a preliminary research
phase (February-June 2019), ending with an onsite
working meeting which included all team members
(June 2019), and (2) an in-depth research phase to
fill knowledge gaps after the aforementioned onsite
meeting (July-October 2019).
85
MAYA HMEIDAN

When the research team was convened to assess construction is also available (fig. 20). Several
the quality of available documentation and to draft articles appeared in the popular press and online
a work plan for the research, it became obvious after the cessation of hostilities in 1990, but
that good quality documentation existed but was these mainly pertain to a proposal that worked to
dispersed between different institutions and transform the site into a theme park, or mentions
individuals in Lebanon and abroad. Some of these of events taking place onsite. Partial drawings of
documents have been digitally archived and can the Fair exist in the Niemeyer’s archive, the RKIF
be easily accessed after permissions are secured, archive, and at some local consultants’ archives
such as through the Niemeyer Foundation in Brazil, (igs. 21, 22). Post-war surveys of the buildings and
the Arab Center for Architecture in Lebanon, and ground conditions and architectural plans of the
local newspapers. Other sources of information rehabilitated structures were also available through
had to be collected and properly archived such the RKIF archives. However, other documentation
as governmental archives (including the RKIF’s such as engineering drawings of the site’s structure
archives), as well as archival documents from local and as-built drawings have yet to be found.
consultants and contractors who implemented
Scholarly work on the Fair remains limited. A few
Niemeyer’s design, and individuals who were
research-based articles were published between
involved in the construction of the Fair and its
2012 and 2014 by Lebanese architects and urban
management over the years. For this purpose,
planners.24 One Ph.D. dissertation discussing the
several interviews with local consultants,
problem of scale in architecture included a whole
contractors, and their descendants were conducted
chapter titled Spatializing Co-Existence (around 30
and testimonies and memories were recorded in
pages), analyzing the Fairground.25
order to develop a further understanding of the
project’s context (figs. 23, 24). Based on the available budget, a strategy to
selectively collect key archival documents was
Unlike Niemeyer’s other projects, his work in
devised; prioritizing architectural and structural
Lebanon is the least known. Niemeyer’s Fairground
drawings, as well as old photographs. The team’s
in Tripoli remains underrepresented in his own
main research efforts focused on consulting the
records; the Fair is briefly described in few pages
RKIF’s un-digitized archives to ensure relevant
of Modulo, a journal established by Niemeyer to
material was made accessible to all team members.
document Brazilian architecture (fig. 18),23 with a
A common digital repository was formed to collect
brief mention in his autobiographical notes.
digital documents, including scanned plans and
Several local newspapers documented the project, drawings. These documents were made available
beginning with the initial invitations sent to Oscar to the entire team prior to the first onsite visit.
Niemeyer, the design and implementation phases, Additional data and documents collected by the team
and personal interviews with Niemeyer (fig. 19). could subsequently be added to this repository.
A critical photographic record of the site during
86
Figure 24: Amado Chalhoub, the Fair’s director, on site presenting a file on the project to President Charles Helou and Rachid Karami.

87
MAYA HMEIDAN

The most challenging aspect of data

collection was the lack of security
and political instability across
the country since the end of 2019.
The worsening socio-economic
conditions experienced by most of
the Lebanese population led to a
civil uprising, mass protests against
the ruling political class, and wide-
spread accusations of corruption.
This crisis resulted from unsound
economic policies and entrenched
corruption that have plagued
Lebanon’s post-civil war decades.
88
As the team proceeded with archival research, For the first site visit, the following documents were
further challenges appeared along the way. In made available to the team members:
addition to what has been previously mentioned, • Copies of architectural, structural, and building
the team found that the unfinished state of the systems drawings;
buildings and the absence of some important
• Specifications for the original building and its
technical/execution drawings made it harder to
systems;
assess the original design intentions. In addition to
the fact that, some key individuals were not willing • Photographs of the buildings at various dates in
order to assess the extent of its deterioration;
to share information about the site or their personal
archives. • Information on alterations, changes, and
extensions to the buildings over time; including
drawings and specifications of recently
4.2 FIELDWORK, ONSITE WORKSHOPS, refurbished structures;
AND STAKEHOLDERS’ CONSULTATION
MEETINGS • Condition reports commissioned after the
original construction;
The project team conducted several site visits to
• Copies of master plans and other relevant
the Rachid Karami International Fair in Tripoli. The
planning documents;
initial site visit by the entire team took place during
the first workshop held at the RKIF from June 10- • Photographs, maps, and plans of the site and its
setting.
14 2019. The aim was to:

1. Allow the research team to present and share Activities during the first site visit included start-up
preliminary historical data they collected with meetings to discuss the logistics of operating on the
the technical team. site and procedures for conducting archival work, to
review issues of concern and problems facing the
2. Undertake a visual assessment of the Fair’s
structures and the site, and to consult the drawings,
structures; including additional physical data
specifications, and other documents held at the
and evidence to develop the technical team’s
RKIF in Tripoli. Project team members inspected
understanding of the site.
the buildings and site to understand the as-built
3. Meet the Fair’s administration and discuss the construction, alterations, present conditions, and
challenges of preserving and developing the factors which impacted deterioration. Defects
Fairground complex. and deficiencies were observed and recorded
using photographs and field notes. Project team
4. Meet with major stakeholders with interests
members conducted meetings during site visits
in the site in order to develop the team’s
with key stakeholders identified by UNESCO. In
understanding of previous, current, and future
addition to the main project stakeholders (RKIF
development interests for the complex.
administration), the team met with additional groups
5. Finalize a strategy to achieve the CMP document. such as the Directorate General of Antiquities,
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the Tripoli Special Economic Zone,26 the Order of of the Fairground and the impact of these issues
Engineers and Architects in Tripoli and Beirut, as on future conservation and development efforts.
well as potential investors27 to discuss and further For example, until the approval of the new law
understand the issues at stake. no.274/2022 for the reorganization of the RKIF,
rental income from events and exhibitions at
Additional presentations and guided visits took place
the Fairground is required by law to be sent to
with special interest groups Expertise France and
the national treasury. In return, the Fairground
East Architecture who, in 2017, conducted partial
received an annual budget from the Ministry of
rehabilitation works to transform Niemeyer’s Guest
Finance which barely covers operating costs and
House into the Minjara Platform28 and the NGO
salaries. In order to receive additional funding
Niemeyer’s Heritage in Tripoli which represents
for repairs and rehabilitation work, the RKIF
the interests of part of the local community. These
administration required further approval from two
meetings were key to building relationships with
bodies: the Ministry of Economy and Trade, and
locals, and helped the team better understand their
the Ministry of Finance. In turn, both ministries
concerns and aspirations for specific site elements.
must gain approvals from the Council of Ministers
These meetings also allowed the project team for an extra-budgetary allocation—a complex task
to understand the challenges faced by direct given the government’s long list of priorities.
stakeholders such as the RKIF administration, Consequently the administration has been
users, and others. Stakeholders shared their incapable of undertaking simple tasks necessary to
preliminary observations and concerns towards ensure the adequate maintenance of structures, let
proposed developments for the site. This research alone rehabilitating them.
and a set of general recommendations were
In addition to legal challenges, underfunding, and
shared through a report addressed to the RKIF
staff shortages, no comprehensive future vision
administration and the ministry in charge. The
for the RKIF complex has been developed—leading
significance of the Fairground was highlighted in
to the absence of a master plan. The result is a
the report, including an outline of key Niemeyer
fragmented approach to the conservation and
design elements that should be protected in future
development of the complex.
developments. A summary of the workshop’s main
findings, preliminary observations, concerns, and On the positive side, visual structural assessments
a set of recommendations by the project team and a review of the available documentation
(following the stakeholder meetings and field revealed that the precarious structural elements
assessments) were also enclosed.29 onsite are repairable. Recommendations by the
project’s conservation engineer ask the RKIF
By involving the RKIF administration throughout
administration to prioritize the implementation
the process, the project team developed an
of safety interventions—the removal of loose and
understanding of the legal, financial, and
unsound concrete from all buildings, shoring
administrative challenges inherent to the operation
structures as required, and restricting public
90
access to areas such as the Open Air Theatre, Grand it is certainly possible to collect data until the
Cover, and Space Museum. The next step, according end of the RKIF CMP process, this cannot take
to the project’s engineer, is to undertake detailed precedence over other phases. Unfortunately, the
assessments of building conditions, and to develop data collection phase was interrupted and delayed
appropriate repair methodologies accordingly. In by many external factors, one of which is related
parallel, a mock-up program should be considered to the lack of security and political instability that
to demonstrate methodologies for concrete repairs. prevailed in the country since October 2019. The
worsening socio-economic conditions experienced
4.3 COMMUNITY SURVEYS by most of the Lebanese population led to a civil
uprising, mass protests against the ruling political
To guarantee a more inclusive bottom-up class, and widespread accusations of corruption.
conservation approach, an online public survey was This crisis resulted from unsound economic policies
launched by the end of 2020.30 This survey targeted and entrenched corruption that have plagued
sample populations from Lebanon in general and Lebanon’s post-civil war decades. These events,
Tripoli in particular to assess their relationships followed by the confinement measures taken to
with the Fair, the site’s significance to them, and fight the COVID-19 pandemic since February 2020,
their aspirations for its future development. have prevented the team from carrying out their
tasks and have delayed the whole CMP process.31
While it is easy to gauge the views of institutions
and NGOs, collecting this information from local
inhabitants is more complex. Decisions which

5
CONCLUSION
impact demographic representation make the data
collection process challenging. For these reasons, The Chehab regime’s ideal of an international
a one-to-one survey based on a carefully selected and permanent fairground in Tripoli
percentage of the local community to ensure their has seemingly evaporated from the strategic
engagement throughout the CMP process. development plans of consecutive post-war
governments. While Niemeyer’s modern structures
The data retrieved supported both the Statement
remain as phantom sculptures in a largely vacant
of Significance and recommendations for the
landscape, a majority of stakeholders consider
Fairground’s future use. The project team worked
the International and Permanent Fair program as
to the best of their ability to ensure that the opinions
obsolete given the geopolitical and socio-economic
of those impacted by the site are represented in the
contexts of Tripoli and Lebanon. Most believe
final outcome.
the Fairgrounds should be better integrated into
In fine, data collection and archival research are Tripoli’s urban fabric, reinvigorating the site’s
a simultaneously tedious, daunting, and alluring function for the city and its people.
task. If prolonged, this phase may consume the
project’s remaining time and resources. While
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MAYA HMEIDAN

Current political and financial instability in

ACKNOWLEDGMENTS
Lebanon impedes the likelihood of any project I would like to thank all the project team
implementation, at least in the short term. members; Mousbah Rajab (urban planner), Fares
El Dahdah (architectural historian), Mazen Haidar
With the RKIF’s identification as a World
(conservation architect), Maroun Kassab (architect),
Heritage Site, the tension between the advocates
Kyle Normadin (conservation architect), Paul
of development at any cost—supporters of
Gaudette (conservation engineer), Pamela Jerome
megaprojects or smaller scale investments and
(cultural heritage consultant), Joseph Kreidi (project
those who request the preservation of the Fair
supervisor) and Fadia Jardak (administrative
is mounting. In this ambiguous context, the CMP
assistant), in addition to the project interns; Nadim
has an important role to play in meditating the
Zaidan (graduate engineer), Rawan Deeb (graduate
two visions—showcasing that a balance between
architect), Nai Zakharia (graduate anthropologist)
development and conservation can still be achieved
and Jessica Rai (graduate architect) for their direct
within the framework of international standards
and indirect contribution to this paper.
and regulations.

Our hope is that the RKIF’s CMP process and ENDNOTES

document contribute to informed decision-making, 1. "Tentative List," UNESCO World Heritage Centre, https://
and future plans for the site and its context that whc.unesco.org/en/tentativelists/6357/.
preserve its authenticity and integrity—ensuring 2. "Keeping It Modern: Grants awarded 2018," Getty:
Resources for Visual Art and Cultural Heritage,
the successful management of the RKIF as a The Getty Foundation, https://www.getty.edu/
World Heritage Site, a crucial step towards the foundation/initiatives/current/keeping_it_modern/
reactivation of the site, directing its future towards grants_awarded_.
3. The Institut de Recherches et de Formation en vue
well-balanced and sustainable development de Développement (IRFED) is a French organization
priorities that place public interests and heritage specialized in the study of social and economic conditions
conservation requirements over local politics and in underdeveloped countries, headed by Father Louis
Joseph Lebret.
individual gains. 4. Kamnal, Salibi, "Lebanon Under Fouad Chehab 1958–
1964," Middle Eastern Studies 2, 3. (1966): 211-226,
http://www.jstor.org/stable/4282160.
5. Chloe, Kattar, "Chronology and Facts on the Rachid
Karami International Fair," in Cycles of Collapsing
Progress Exhibition Booklet (Tripoli, Lebanon: Rachis
Karameh International Fair by Beirut Museum of Art and
STUDIOCUR/ART, 22 September – 23 October 2018), 9.
6. Presidential decree, no. 4027, May 7, 1960.
7. In an interview with Niemeyer in Le Commerce du Levant,
Saturday, 15th September 1962, Niemeyer was asked
to describe how he accepted the commission for the
International Fair in Tripoli. His answer was: “I received a
letter from the Management of the Fair of Tripoli, asking
me if I was disposed to take on the planning of this Fair.
92
 On his side, the Brazilian Ambassador recommended that need of preservation. World Monument Fund, www.wmf.
I accept this offer. I accepted with even more enthusiasm org/prject/international-fairground
since I have many friendships within the Lebanese 17. The proposed scheme envisaged a 'program of 60,000 sq.
community in Brazil [illegible] the management of the meters of exhibition space, 200,000 sq. meters of leisure
Fair, without imposing any conditions or retributions”. and recreation space, a 170,000 sq. meter nautical center
Text translated from French. with pools, three international hotels, a "model Lebanese
8. "Oscar Niemeyer l’architecte de <<Brasilia>>, participerait village" constructed on axis with the Lebanese Pavilion
il à l’établissement des plans de la Foire de Tripoli?" of Niemeyer [with] artisan shops, additional commercial
L'Orient, March 22, 1962, 3 ; and "Pour La Foire de Tripoli, and restaurant spaces, all of which [will] be connected
l’architecte de Brasilia : Oscar Niemeyer," L'Orient, April by a "tourist" train', in Al Tamadon Newspaper, 06 August
28, 1962, p. 1, L’Orient Le Jour Archives. 2004 , p.12.
9. Niemeyer, O., “L’Architect Doit Toujours Rechercher une 18. In Al Tamadon Newspaper (19, June 206), the project
Solution Nouvelle,” L’Orient newspaper, September was described as being based on four points: (1) A tax-
16, 1962, 1. See also L’Orient (1962, September 4) and free zone for imported Chinese goods; (2) a permanent
L’Orient (1966, December 24). exhibition for advanced technical and electronic
10. Niemeyer, O., “Feira Internacional e Permanente do inventions; (3) the rehabilitation of existing structures
Líbano em Trípoli,” Modulo 7, 30 (1962) ; and "Conseil for local craft exhibitions, building an amusement park,
Exécutif des Grands Projets," in Foire Internationale & equipment of dancing fountains, planting the public
Permanente du Liban à Tripoli, (booklet produced on the gardens; and (4) a community for festivals and tourism.
occasion of laying the foundation stone, October 1, 1963) See also Al Tamadon Newspaper, 06 May 2006, p.1,3,4.
11. In the Local News Agency, 29th of November 1968, 19. The Knowledge and Innovation Center - KIC project
p.4, it was predicted that the Fair would attract more - aims to develop a technology hub on a parcel of
than 2 million yearly visitors and that annual revenues the Rachid Karami Fairground in Tripoli in order
would equal 7.5 million LBP. See also Katter, C. (2018) to contribute to the development of the knowledge
“Niemeyer Lost in Translation”, Visitor Guide of the economy in Lebanon and to revitalize the economies
exhibition “Cycles of Collapsing Progress”, Beirut of Tripoli and the North. Tripoli Special Economic Zone,
Museum of Art, http://www.bema.museum/Library/ https://tsez.gov.lb/kic, accessed 21 February 2019. The
Assets//Gallery/PDFs/Visitors-Guide-English.pdf project will rehabilitate and use two structures (the
12. “Grande-Bretagne, Australie réservent 18.000 mètres administration and the customs buildings) and will add
carrés à la Foire Internationale de Tripoli,” L'Orient, other structures in the empty space behind them.
November 8, 1963, p. 3, L’Orient Le Jour Archives. 20. Such resources include Kerr, J. (2013). Conservation
13. The original inauguration date was set June 1966. The Plan, 7th edition, Australia ICOMOS, https://australia.
fair’s opening was rescheduled for 1969. In 1967, the icomos.org/publications/the-conservation-plan/; The
opening was delayed two more years until 1971. See: Burra Charter: The Australia ICOMOS Charter for Places
L’Orient. (1967, August 3). Karame Annonce : La Foire of Cultural Significance, 2013, https://australia.icomos.
de Tripoli sera achevée en 1969. L'Orient, p.6; L’Orient. org/wp-content/uploads/The-Burra-Charter-2013-
(1968, June 11). La Foire Internationale de Tripoli sera Adopted-31.10.2013.pdf, accessed 18 February 2019. ;
inaugurée en 1971, en même temps que l’autostrade. ICOMOS International Scientific Committee on Twentieth
L'Orient, p.6, L’Orient Le Jour Archives; and Katter, C. Century Heritage, Madrid-New Delhi Document:
(2018) “Chronology and Facts on the Rachid Karami Approaches to the Conservation of Twentieth - Century
International Fair”, Visitor Guide of the exhibition “Cycles Cultural Heritage (2017), https://isc20c.icomos.org/
of Collapsing Progress”, Beirut Museum of Art, http:// policy_items/madrid-new-dehlidoc/#:~:text=The%20
www.bema.museum/Library/Assets//Gallery/PDFs/ final%20text%3A%20Approaches%20for,English%20
Visitors-Guide-English.pdf for%20comment%20and%20discussion.(accessed 23 May
14. “Dernaika: The rehabilitation works at the International 2022).
Fair in Tripoli started,” Al Rakib Newspaper, July 30, 1994,
title translated from Arabic.
15. Ministerial Decision, no. 86, 1995.
16. In 2006, the World Monument Fund placed the Fair on
its annual watch list of the 100 most endangered sites in
93
MAYA HMEIDAN

21. Several local initiatives working to enhance conservation Lebanon Pavilion into a high end restaurant.
law, find urban planning solutions, and spread interest 28. Expertise France is implementing the Private Sector
and awareness on the values of Lebanese Modern Development Project (PSD-P) in Lebanon, funded by
architectural heritage are taking place. For instance, the European Union. They rehabilitated one building of
the Directorate General of Antiquities submitted a the Rachid Karami International Fairground in Tripoli in
law proposal on Heritage Building Protection to the 2017 – the Guest House – to be used for their Minjara
Lebanese Parliament in 2007. The proposal was amended Project within the PSD-P project. Learn more about
and re-submitted to Parliament in 2015. Moreover, a the Minjara project here: www.minjara.com; and the
Lebanese chapter of DOCOMOMO was establishment by rehabilitation project by East Architecture here: https://
the Arab Center for Architecture (ACA) in August 2012, www.eastarchitecture.net/project/trp-the-guest-house/.
with the aim of building a national registry of Modern 29. As a result of the discussions during this workshop,
architectural sites, and to spread awareness on the the Tripoli Special Economic Zone management
need to protect it. These are necessary steps working to became aware of the issues at stake concerning the
change perceptions of Modern heritage, and to safeguard new development and its effect on the RKIF’s integrity
these sites for future generations. However, a lot more and authenticity. They promised to consider the site’s
need to be done. heritage value when choosing a winning design for the
22. This aspect has reduced the budget that could have been KIC competition, in addition to keeping the channels
dedicated for parallel activities, such as implementation of communication open during the forthcoming design
of awareness activities to engage the general public, the process.
translation of the CMP into Arabic, or others.
23. Niemeyer, O., “Feira Internacional e Permanente do
Líbano em Trípoli,” Modulo 7, 30 (1962): p.2-3,7,9-10.
http://www.niemeyer.org.br/obra/pro096.
24. “Une Expérience Collective,” Suspended Spaces 2, 2012;
and “Inachever la Modernité’” Suspended Spaces 3,
2014; and Lahoud, A., “Architecture, the city and its scale:
Oscar Niemeyer in Tripoli, Lebanon,” The Journal of
Architecture 18, 6 (2013).
25. Lahoud, A., (2012). “The Problem of Scale: The city, the
territory and the planetary,” (Unpublished doctoral
dissertation at the University of Technology, Sydney).
26. The Tripoli Special Economic Zone (TSEZ) has been
awarded through a presidential decree part of the
RKIF site—75000 square meters that include the
Administration and Custom Buildings designed by O.
Niemeyer, in addition to some free land to invest as the
Knowledge and Innovation Center for a period of 30
years https://www.tsez.gov.lb/kic/; Over the course of
2019, the TSEZ launched an international architecture
competition, and the winning design was announced two
weeks after the UNESCO CMP workshop on the 28th of
June; https://www.tsez.gov.lb/kic/competition.
27. Investors, such as Tripolism International and the
Construction and Rehabilitation Center (CRC), exposed
two development project proposals respectively; the
first is concerned with the Experimental Theatre being
restored to be used as a theatre, opera and concert
space and the second focuses on transforming the
94