The Freedom Pavilion

Basic information

Project Title

Full project title

Pavilion We Stand for World Peace Free Ukraine - Freedom Pavilion in the Royal Łazienki in Poland

Project Description

The pavilion is a joint project by architects and architecture students. The project is an expression of solidarity with Ukraine fighting for freedom. The architectural object was realised with respect for human values and the environment.

Geographical Scope

National

Project Region

Poland

Urban or rural issues

Mainly urban

Physical or other transformations

It refers to other types of transformations (soft investment)

EU Programme or fund

Description of the project

Summary

The Freedom Pavilion (official name Pavilion We Stand for World Peace Free Ukraine) was created as an initiative by the academic community of the Faculty of Architecture at the Warsaw University of Technology to respond to the challenges of contemporary architecture in the context of the war situation in Ukraine. It was realised by 21 students just about to defend their diploma under the direction of architects Prof. arch. Anna Maria Wierzbicka (leader of the project); PhD land. arch. Kinga Zinowiec-Cieplik; MSc arch. Maciek Kaufman; MSc arch. Szymon Kalata, together with branch consultants.
The main objective of the completed building, the Freedom Pavilion, is to regain a sense of belonging. This is contained in the social, environmental, and aesthetic layers - following the principles of the New European Bauhaus.
In the social layer, the pavilion is a lesson in cooperation, empathy, tolerance, commitment and the courage to express one's views. The principle of using ecological materials and technologies was adopted in the environmental layer. The process was geared towards respecting the environment and the climate, minimising the carbon footprint. In the aesthetic layer, it was crucial to give the building a symbolic meaning and place it in its historical context - the neighbourhood of Poland's highest class of historical buildings.
Students engaged in the process: Jasmina Aboulker, Weronika Adach, Natalia Andrzejak, Małgorzata Bonowicz, Kamila Chodoła, Roxana Dziurowic, Julia Jędrys, Joanna Kasica, Anna Kieloch, Bartosz Ligwiński, Julia Lipińska, Maciej Makuszewski, Nelli Markhai, Marta Miszczak, Maria Mitrzak, Natalia Okruszek, Karolina Padło, Szymon Pawelczuk, Aleksandra Snopkowska, Natalia Trzaskowska, Maria Wito.

Key objectives for sustainability

Sustainability goals were prioritised throughout the entire life cycle of the building - from the process phase of inventing, constructing, and building to relocation (temporary object, possibility of choosing a new location) and reaching the end of functioning in a given architectural form. The choice of a temporary form was a deliberate decision acting in favour of the environment. The pavilion can be moved to other locations, so it realises it fits flexibly into different contexts and locations.
Everyone was concerned with minimising energy and raw materials in the design process.
The original location of the pavilion - the royal garden - imposed formal requirements to fit into the given natural environment. The new building has not adversely affected the natural processes of the site.
The main building material is wood harvested from local forests, which Poland abounds in. This has had the effect of minimising transport. The elements of the pavilion are of a size that is easy to move to another destination.
The pavilion indirectly promotes construction inscribed in the vernacularity of the place.

Key objectives for aesthetics and quality

Aesthetic goals were pursued by giving a symbolic form in line with the idea of the Freedom Pavilion. On the wooden, light structure, strands of white fabrics flutter, revealing a sliver of the multi-coloured secret hidden inside. Approaching closer, the patches begin to take a specific form, but only after entering the center do we feel the full impact of the circle, from which colorful sunflowers interspersed with millet pour out. The pavilion's architecture is a kind of transition to a space where everyone is equal. The sun slides over the roof facing inwards, directing all attention to the symbolic garden - hope. The play of light and materials is supposed to help put the user in a reflective mood. Thanks to the circular shape, when sitting on a platform or on a swing, we look not only at the flowers - but also at each other, which is to remind us all that together we can resist any oppression.
In the ideological background, there was also room for contemporary architectural thought, which is to care for the second life of the object, or respect for the historic greenery and the environment in which the temporary structure was erected. Modularity, unification and minimization of cross-sections are some of the tools used by the students. The object consists of twelve identical spans. A row of multi-branch poles on the outer perimeter supports the funnel-shaped roof. The rings around the perimeter make the whole thing work like an inverted dome.

Key objectives for inclusion

The circular form found its location in Łazienki not without a reason on the axis of the Hermitage - in this place there used to be a fountain of a similar shape, thanks to which the building fits into the composition of the historical complex and treats it with due respect.
The project is an expression of solidarity with Ukraine fighting for freedom. The circular form of the pavilion symbolizes unity and, in the context of the war in Ukraine, also security. The sunflowers that fill the interior of the wooden, openwork installation are a reference to the yellow color on the Ukrainian flag. The roof made of white canvas evokes a sail expressing freedom. The circular form found its location in Łazienki not without a reason on the axis of the Hermitage - in this place there used to be a fountain of a similar shape, thanks to which the building fits into the composition of the historical complex and treats it with due respect.

The pavilion is a lesson in empathy, a symbolic expression of unity with the Ukrainian people in their struggle for freedom. It also promotes tolerance, commitment and the courage to express one's views without infringing on the rights of others.

Social values were also taken into account through the very form of the project's implementation, which involved many parties working together. The pavilion accompanied the opening of the international conference "Architecture of Challenges - Rebuilding Ukraine" with the participation of partners from five Ukrainian universities, state agencies, the patronage of ministries of the Polish government and the Ukrainian ambassador. The conference was attended by more than 500 people, also via online broadcast. The pavilion was promoted by the media and open to the public throughout the summer.

Results in relation to category

The pavilion was created as a place for meetings and exchange of experiences in a natural and historical place - this corresponds to the category of regaining a sense of belonging - to a place, city, nature, history, values.
This place was visited by many thousands of people from all over the world - it is one of the most important points on the tourist map of Warsaw.
Many distinguished guests participated in the events accompanying the pavilion's opening - including the architect, Shigeru Ban (winner of the Prizker Prize).
The message of Freedom remains valid - it is possible to move the pavilion to another place.

How Citizens benefit

In addition to its symbolic dimension, the pavilion has a useful form. It provides a place of recreation in the public royal garden, which many people visit. During the summer, it was a place of respite. Suspended canvases acted as swings, which were an attraction for children and beyond.
During the design process, the students presented the individual results of their design work at open reviews, following successive phases. The reach of these activities encompassed the scale of the university. External critique and open discussion were provided at this stage. It was essential to discuss the pavilion's form with Ukrainian students and academics and how they perceive its symbolism. The construction process itself was of great importance, which influenced the name of the activity, "stawiamy" which means "we put up". Underneath this was branding and sharing the results from the build via social media.
The construction process involved workers qualified as volunteers for specialised activities.

Physical or other transformations

It refers to other types of transformations (soft investment)

Innovative character

In the design of the pavilion, it was essential to take a stand against the ongoing war in Ukraine and to stand in solidarity with the citizens of the invaded country. Such was expressed in architectural form. The project was realised for the first time based on studies, concepts and solutions carried out as part of the course work, meaningfully motivating the students. The opportunity to work in a prestigious environment also mattered and influenced the final results. In the work, students were confronted with real-life performance problems and solved them, improving their competencies. The model for such an activity could be called 'learning through design' - interaction was important for developing interpersonal relationships and responding to changing situations. The work was also demanding because of the schedule - working under time pressure is usual in the architectural profession. In each phase, processes were monitored for efficiency and sustainability.
A major innovation was that the pavilion was created in tangible form and was accompanied by additional activities such as building site marketing. The creatives were able to see its success, which was reflected in the users' reactions.

Disciplines/knowledge reflected

Architecture - the architectural concept forms the basis of the entire project, including its semantic layer. The project was carried out within the Architecture of Technology and Structure specialisation.
Civil Engineering and Construction - the building was designed in detailed design. Static calculations of the structure and architectural details were required for the building design.
Landscape Architecture - planting in the central part of the pavilion is an element of the project. It was necessary to set the project in a landscape context.
Urban planning - the project was carried out within a significant historic palace and park setting. The pavilion's location was chosen so as not to detract from the idea of a historic garden.
Heritage - the project required an analysis of the site's past and identity, as well as agreement with the conservation officer, who permitted the building to be constructed on this site.

Methodology used

The project was part of the Technology and Structure Architecture specialisation for final-year Master's students. As part of the first phase, they produced individual concepts, one of which was selected for the final solution. The project was led by experienced architects Prof. arch. Anna Wierzbicka, Dr. land. arch. Kinga Zinowiec-Cieplik; arch. Maciej Kaufmann and arch. Szymon Kalata. The class included open reviews, industry consultations and discussions with the public. During the class, a mock-up of part of the royal garden was created with the designed pavilion. During the design phase, formal agreements were necessary - e.g., with the monument's conservator and the director of the Royal Baths, who lent the land, thus becoming the site's host.
The pavilion became a material element of the human experience.

How stakeholders are engaged

Despite its relatively small scale, the design and implementation had several levels of stakeholder involvement. The first level was the idea's origin in the Department of Architectural and Urban Design and convincing the faculty and university authorities of the notion of an implementation effort. The next level was the involvement of external stakeholders, signing an agreement with the Royal Lazienki Museum in Warsaw, which offered a location and a partnership in this initiative, which was developed into an international conference.
Stakeholders and sponsors were needed to carry out the project, as the initiators did not have funds at the beginning of the project. Some companies offered to help with the work and tools. Professional consultants from various sectors were asked to contribute to the project: construction MSc eng. Mariusz Wrona; PhD arch. Ewelina Gawell; urban planning PhD arch. Paweł Trębacz.

Global challenges

The project is in keeping with the NEB concept of beauty, sustainability and together. The latter is most strongly expressed in this project. Interaction, commitment and motivation influence the ultimate effectiveness of achieving goals. The pavilion project was initially an idea with no financial backing. Thanks to persuasive action, many people and companies decided to participate. Ultimately, it had a supra-local dimension, as it was visited by our partners from Ukrainian universities and beyond. The pavilion carries a universal message of freedom.

Learning transferred to other parties

Creating small forms that express the identity of place, a connection to nature, connecting people in interaction and enriching with an empathetic approach to design.
Creating an object in a short time spanning a semester is logistically challenging. This form will be repeated in subsequent years. The described project is pioneering on a Polish scale.
The architectural object has become a sign and identification element during the conference events. The students developed its functioning by being drawn into virtual space and social media.
Collaboration with companies, and organisations around this project resulted in other projects, thus consolidating good relationships.