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Port Report from Bratislava

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Industrial monument in the shadow of the future
Tamáska Máté

It's easy to get through the control gate at Bratislava port, the porter's booth hasn't been used for years. Only the guardrails are a reminder of the former workers' entrance. Cars parked next to the buildings - their owners enter with a magnetic card - show the present.

Built between 1897 and 1907, the double-pool winter harbour, which later became the pride of the first Czechoslovak Republic, is now in need of renovation. It could, of course, be more accurately described as closure and demolition.

One only needs to glance at the huge contrast between the harbour, which is still in use (and which seems to keep the boats in good order), and its cosmopolitan dreamland surroundings. If it is true of Budapest that it tries to appear bigger than itself, it is doubly true of Bratislava. The industrial town behind the port has seen tower blocks rise from the ground over the past decade. Some of them are Singaporean leaning, London ovoid and seem like the successors of the late socialist flattened office blocks. Some are clustered in groups, others stand alone as a single signpost.

At night, coloured stripes of light run along the facades, so that their dancing can be seen from Bratislava Castle.

As American as this may seem, it is not. Even when it comes to building skyscrapers, the locals stick to the rules, so they're almost all the same height. And the green space between the giants is a surprisingly welcoming urban space.

At the foot of the skyscrapers, the warehouses of the port are strung out like the old rows of condemned Old Town houses next to the first panels. At a glance, it is difficult to tell which are still in use and which are not. The listed house of the sailors (Starý dom lodníkov, Július Lehocký, 1940-1942) is one of the latter. It is a modernist building, but in a slightly more popular style than the main hall. The rounded side façade, reminiscent of a ship, and the 'stern' above the roof are architectural expressions that are easy to grasp. Its entrance is shaded by substantial pine trees.

They are a sight to behold, but also an ominous sign that they will be the first victims of the future redevelopment.

The port is still alive and well, despite the abandoned buildings. I close my eyes, because the industrial landscape has not only a sight, but also a sound. The engine of a push boat whirs twice, then its huge load sloshes towards its destination, making tiny waves. From the other side of the basin, the rhythmic clatter of locomotive whistles and freight wagons can be heard. These are the great, one might say celebratory sounds. Next to me, however, there is a constant clatter that almost dictates the rhythm: the grabs against the cargo, the rattle of metal ropes, the turning of the Ganz crane, the rattle of ropes again, and then the fast spinning drumbeat of the cargo as it is unloaded over the ship. A crow caws angrily. There are no seagulls, no pigeons - if from nowhere else, this is how you know they don't load grain here. I move closer to the blackened hills beneath the crane. I am surprised to find that they are not coal but rattling iron balls. Of course you could have known this from a distance, as the coal would have painted the area black.

When the winter harbour was born in the 1900s, it was impossible to imagine the river bank without coal. Despite competition from the railways, steamships were still thriving. But despite - or perhaps because of - the economic dreams, ports have always had to be redesigned. No sooner had the winter basins for the safe storage of ships been completed than the idea of converting the whole area into an industrial port was mooted. This was finally done during the First Czechoslovak Republic.

The Bratislava shipping scene was in its heyday as it sought to replace Vienna and Budapest. Warehouses were built, twenty-three kilometres of railway track were laid and cranes were put into service.

On the initiative of the Hungarian-speaking economist and politician Kornel Stodola (1866-1946), the annual international fair called the Danube or Eastern Markets (Mezinárodni Dunajský Veletrh) was held from 1921 onwards, with the express purpose of positioning Czechoslovak trade towards the eastern regions of the Danube. In the same decades, the coal-based economy began to shift to crude oil. Until the Second World War, the new raw materials were typically transported by tanker. The economic role of ports is reflected in the destruction caused by the war, which was similar to that caused to rail infrastructure. Under Soviet rule, the Danube regained its strategic role, which was reflected in the opening of the new basin east of the city (Prístav Pálenisko) in the 1970s. No doubt, if the city continues to expand at the current rate, in a few decades' time there will be a need to redevelop it.

From this brief sketch, we can see that the stories are just a few decades in the making, with grandiose plans, not exactly modest achievements, but then rapid decline. If you take out the postcards advertising the port at the turn of the century, you will find, apart from the pools, virtually only one stable architectural feature: Bratislava Castle, towering in the distance. But the walls of the harbour warehouses were not structurally weak. According to architectural historian Uta Hassler, former head of the Department of Historic Monuments in Zurich, the disappearance of old buildings is primarily a social issue. It is not the technical condition of the building that is deteriorating, but the lack of will to repair it, or in more common terms: 'it is not worth spending money on'. On the other hand, it is more profitable to build a tower block in Bratislava today than to stack iron balls.

There are serious debates about the old Bratislava harbour. In addition to economists, monument preservationists are also making their voices heard, with half a dozen sites already on the national list of historical monuments.

It is not easy for those who cry for protection here. Few people would say that the warehouses, mostly in classical and late modern styles, are beautiful.

In addition, even for professionals, the fact that we are talking about hybrid constructions, semi-machines, where the walls are fused with the rails, hoists and conveyors that run in front of them, and often out of them, is a challenge. For those who still do not appreciate the logic of the industrial landscape, there is still something to admire: the blue waters of the pool. Indeed, this is what makes the area so attractive to property investors.

You don't have to go far to see the future, as the river part of the port has already been redeveloped. There is no point in talking about rehabilitation, as almost nothing remains of the former world. The new row of houses on the Danube does show some conscious historicisation, at least in the sense that the designers have tried to evoke the scale of the old townscapes, even if they have actually added three or four storeys. The vitality of the street is created by the ground floor shops. However, with the addition of shopping malls, the street has become a series of restaurants, pubs and cafés, with a density that puts resorts to shame. In this 21st century themed cityscape, with all its details, the so-called Warehouse 7 (Karel Skorkovský, 1920-1922) has been saved, albeit cramped, 'decorated' with balconies and grey and white, not exactly a monumental cladding. The sunken foundations of the mobile barrier protecting the promenade run around the building, as if it were surrounded by a symbolic monumental boundary. But the details are secondary to the disproportionately small size of the building itself in its new setting. Yet it even has a tower, as if it were a church rather than a warehouse, a kind of shrine to the industrial past. It is political news of the day that the building, which was intended to be a cultural centre when the renovation began, was rented by a ministry, allegedly overcharging the local area. But that's another story...

Opening photo: the warehouse is surrounded by machinery, with the New Times building in the background 
Photos: by the author

This text is an AI-generated translation from the Hungarian of Máté Tamáska's article published on 8 May 2025. You can find the original text at the following link:

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