From Calatrava's Oriente station down the fair's long avenue, around the Oceanário's dock, under Siza's hanging concrete, past the arena and the Garcia de Orta gardens to the Vasco da Gama Tower and the bridge.
Start · Gare do Oriente: Calatrava's Canopy
Directions
Gare do Oriente: Calatrava's Canopy
Calatrava's steel trees roof a station, built over arches cut through the railway embankment that once shut this district off from the river.

Alameda dos Oceanos: the Sun Man
A steel giant is mostly air. Jorge Vieira's Sun Man stands about twenty meters tall on the fair's long avenue.

Water Volcanoes on the Alameda
Six tiled cones were built to erupt, along this avenue, on a timer the water may no longer keep.

Passeio de Ulisses: The Tower They Kept
One refinery tower was kept. When the land was cleared, the steel, concrete and cobbles of what stood here went into the district around it.

Jardim das Ondas
The ground is cut into waves, in this garden, a small piece of land shaped to the ocean's rhythm beside the Tagus.

Pavilhão do Conhecimento
It was meant as a pause, a plain white pavilion, a quiet building at a loud fair that became the science center planned for it.

Oceanário Across the Doca dos Olivais
It stands in a former flying boat dock, seen free across the water, with one great tank inside its closed body.

Pavilhão de Portugal: Siza's Concrete Veil
A concrete sheet hangs over a plaza, between two porticoes by Siza, like paper on two bricks, beside a building that waited more than twenty years for its new life.

Rossio dos Olivais: MEO Arena, Built as Utopia
Timber ribs hide inside this arena, under its outer shell, the building whose architect refused to fake them in steel, seen across the basin.

Lago das Tágides
Marble nymphs play around a Tagus boat, in a lake by the arena, named for the Tágides of Camões's epic.

Jardins Garcia de Orta
Riverside plots are planted by distant region, named for a physician of the plants of India, with most plants given by Portuguese-speaking countries.

Torre Vasco da Gama and the Bridge
Both were built for 1998, a sail-shaped tower and a long bridge, on the wide water of the Tagus.
Any day, in daylight. An afternoon puts the light behind you at the Oceanário view (stop 7); in the morning you look toward the sun. The river strip has little shade and takes the wind, so bring water in summer and a layer in winter. The Pavilhão do Conhecimento is closed on Mondays; the Oceanário is open daily. Event nights at the arena and trade fairs bring crowds to stops 9 and 10. Checked 2 November 2026.
Travel advisory: Exercise Normal Precautions (Level 1).
Go deeper on what you'll see, hear, and walk through.
The full story of Parque das Nações: Built Out of What It Demolished, in words. Prefer to listen? Play it narrated, from home or on location.
Lisbon, the capital of Portugal, held its world's fair in nineteen ninety-eight on an unlikely stretch of river front. In nineteen ninety-three, it held a refinery, fuel tanks, thousands of useless containers, an abattoir, an armaments depot and a waste tip.
The builders took it apart and used it. The steel went to the furnaces, the concrete was crushed into gravel for the new streets, and the old cobbles were laid again. Then they built with a second life in mind: a station, pavilions, gardens and a tower, planned to outlast one summer and become a new quarter of the city. Most became what they were built to become. One waited more than twenty years.
Three people will help you read it: Santiago Calatrava, who designed the station; Álvaro Siza, who hung a sheet of concrete over a plaza; and Garcia de Orta, a sixteenth-century physician whose name is on the riverside gardens.
The walk is twelve stops over about two point eight kilometers, a mile and three quarters, and takes about seventy-five minutes. It is flat, with one short flight of steps inside a garden and a river path that skips it. The Oceanário and the science center are ticketed, and every stop works from outside. The walk begins across the avenue from Oriente station and ends at the Vasco da Gama Tower, on the river.
Welcome to Parque das Nações, the Park of Nations. Walk to the edge of the pavement and look across the avenue at Gare do Oriente, the East Station.
Read it from the bottom up, because two things are stacked there. Lower down, a glazed shell covers the entrance hall, with a great fan of white steel ribs on each side, like wings. Above it runs a line of white railing and glass, which is the level of the platforms. Above that, along the whole top of the view, white trunks branch into pointed vaults of steel and glass.
Those are the trees. Santiago Calatrava's office calls them that: steel and glass trees, interlocked into one continuous roof on a grid of about seventeen meters. The city's archive offers two ways to see them, a wood of metal trees or the columns of a Gothic cathedral.
The bigger idea is underneath. The railway here ran on an embankment, a wall between the Olivais district and the river. Calatrava went past the competition brief and proposed cutting through it. He lifted the platforms onto a bridge, on five rows of twinned arches, about seventy-eight meters wide and two hundred sixty long, which is why this building lets you through instead of stopping you.
The station opened on the nineteenth of May, nineteen ninety-eight, three days before the world's fair opened to the public. It was the fair's main entrance, and the mall behind you stands where the main gate stood. The fair closed that September, after more than ten million visits. The station stayed, because it was never only for the fair.
Follow the route along the side of the mall, where delivery vans cross the path. Then you reach the next avenue, the Alameda, and cross its local road on two zebra crossings with no lights, each with a cycle lane beside it. Watch for bikes as well as cars.
Finish crossing the zebras and stop on the far pavement, clear of the cycle lane. This is the Alameda dos Oceanos, the Avenue of the Oceans. Now look up the avenue, the opposite way from where this walk goes, between the end of the mall and the low office block, for a thin, dark, spiky figure on two legs, rising from a pale paved plaza.
That is the Homem-Sol, the Sun Man, made for the fair. It is about twenty meters of weathering steel and about fifteen tons, in the shape of a person, and so full of gaps that most of it is air. One account of the fair calls it a sort of testament of its sculptor's work. The rust is on purpose. That is what this kind of steel is made to do.
Now look at what it stands on. The avenue runs for more than two kilometers, and the fair lined it with water and art. A practice called Risco drew the general plan of the whole site, and with a landscape architect it laid out this avenue in stretches. Along this stretch, the central strip was planted with lines of pin oak, dotted with coral trees.
An avenue like this has two jobs to do, one after the other. In the summer of nineteen ninety-eight it had to carry the crowds. After the fair closed, it had to become an ordinary street in a neighborhood that did not yet exist. Ask the same of everything from here on: what was it built to become, and did it?
You will hear what lies under this street a little further on.
Cyclists share the strip, so keep an eye out. With your back to the figure, follow the route down the avenue. Next is a cone of colored tile.
Walk on down the pavement and stop when you are level with a tall cone of colored tile, across one lane and a cycle lane. In leaf, the trees may screen it until you are close. There is no need to cross. The view is from here.
This is one of six water volcanoes, the Vulcões de Água. You have already passed another. Look at the skin first: small glazed tiles in rings, deep red at the base, going through magenta and violet to blue at the top, from the ceramics house Viúva Lamego. Around the cone is a square of dark stone, meant as a mirror of water, and then a long tiled channel, pink, white and turquoise.
It was built as a machine on a timer. Every twenty-five seconds the water was meant to rise about three meters, burst, and send two waves along the channels: sixteen hundred eruptions a day, for a fair about the oceans.
The water may well be off as you listen. A local architecture firm wrote at the end of twenty twenty-three that nothing was working, the basins were dry and the cladding was breaking. Photographs of this cone from March twenty twenty-five show it dry in the morning, and with water running down its sides by early afternoon. We found nothing newer.
A fair needs a set piece for five months, and a neighborhood has to pay for it every year after that. The tile keeps its color either way.
Now look at the long building beside you, on your side of the avenue. The dock is just behind it. This walk goes on down the avenue, around the bottom of that block, and back up along the water on the building's far side: a U, with hardly a step walked twice.
Follow the route on down the avenue. Next is what this land used to be.
Walk on to the corner where the avenue meets Passeio de Ulisses, and stop on the pavement, clear of the zebra crossing. Look straight on down the avenue to its far end, just past the corner of the office block with a big fan-shaped dish on its roof. If the trees allow, you will see a lattice of steel with galleries, standing far off, not the thin white mast nearer by. If it stays hidden, that is fine, because the story is under your feet.
That tower belonged to the old refinery. It is Torre da Galp on the map, and the city's archive dates it to nineteen thirty-nine. The refinery started work on the first of January, nineteen forty. A giant flame came from the tower, and people said that if it ever went out, there would be an explosion. That is only what people said.
You heard the fair's own list of what stood on these three hundred forty hectares in nineteen ninety-three.
They took it apart and used it. About thirty-five thousand tons of steel went to the furnaces. About one point one million tons of concrete was crushed into gravel, and under these streets is gravel made from what stood here. A hundred thousand square meters of the old granite cobbles were laid again.
The soil is the part still argued over. About four hundred thousand cubic meters of contaminated soil went into sealed cells. In twenty nineteen, an environmental group reported a new hydrocarbon deposit in the district, and a residents' association said most of the soil was never treated.
One piece of the refinery stayed, its base a gate for the fair and its top a viewpoint.
Follow the route along Passeio de Ulisses, the top edge of the Jardins da Água, the Water Gardens. Look among the palms for a white giraffe, stooping to a tall mirror.
Walk on along the path at the garden's edge and stop. On the river side, the ground rises and falls in long curves. This is Jardim das Ondas, the Garden of Waves. It is small, eight-tenths of a hectare, between the Oceanário and the Tagus river, and it has one idea. An artist…
Full narration for this stop unlocks with the tour.
Walk on into the square and stop when a big white concrete building is close beside you. This is the Pavilhão do Conhecimento, the Pavilion of Knowledge, now a science center. Going inside is ticketed, and it is closed on Mondays. The details are on this stop's card, and the…
Full narration for this stop unlocks with the tour.
Walk on along the quay and stop by the rail, looking across the water at the building standing in the dock. That is the Oceanário, Lisbon's aquarium. It is ticketed, and its way in is back at the forecourt you just came through. The details are on this stop's card. The view from…
Full narration for this stop unlocks with the tour.
Walk on along the quay until a huge, pale sheet of concrete sags across the sky beside you, and stop at its edge. This is the Praça Cerimonial, the ceremonial plaza of the Pavilhão de Portugal, by Álvaro Siza. Cars are sometimes parked under it and an event may close it, but you…
Full narration for this stop unlocks with the tour.
Walk on along the Rossio and stop where you can look across the long basin to the pale, curved flank of the arena, beyond the flags and poplars. Look down first. Those bold black and white waves underfoot are a pavement made in the manner of Lisbon's early twentieth-century…
Full narration for this stop unlocks with the tour.
Walk on along the path beside the lake and stop, with the arena's wall close behind you. Look across at the marble figures in the water, with the Tagus beyond them. This is Lago das Tágides. They are nude women at play in the water, around a falua, a traditional boat of this…
Full narration for this stop unlocks with the tour.
Walk on into the garden and stop among the plants, with the river beyond them. If you came by the river path, stop where you are, because the garden is beside you. These are the Jardins Garcia de Orta, and this plot is Goa. Garcia de Orta was a sixteenth-century Portuguese…
Full narration for this stop unlocks with the tour.
Walk on to the river's edge and stop, clear of the cycle path. This is the end of the walk, with two things to see. The tower is close, so tip your head back, or step away, to see all of it. This is the Torre Vasco da Gama, about a hundred forty meters high, with a metal frame…
Full narration for this stop unlocks with the tour.
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