The American University in Cairo The Architectural and Construction Engineering Department
AENG 491 THESIS II
CITY AND HERITAGE MUSEUM
Process Report | Aya Fayez
5/31/2014
TABLE OF CONTENTS List of Figures .................................................................................................................................................. 3 The City Heritage Exposure ............................................................................................................................ 4 Importance to the Cluster .......................................................................................................................... 4 Evolution of Museum Functions ................................................................................................................ 4 Present Museums in Cairo ......................................................................................................................... 5 Location of the Plot .................................................................................................................................... 7 Site Problems ............................................................................................................................................. 8 Concept Statement .................................................................................................................................... 8 Problem Definition ..................................................................................................................................... 9 Proposed Functions.................................................................................................................................... 9 Open Museum through the surrounding heritage .............................................................................. 11 Exposing Each of the Heritage Buildings .............................................................................................. 20 The City Museum ................................................................................................................................. 21 Interlinks .................................................................................................................................................. 33 Users ........................................................................................................................................................ 34 Sustainability Methods ............................................................................................................................ 35 Design report ................................................................................................................................................ 41 First Design Stage Proposals ......................................................................................................................... 41 Dealing with the Heritage Building .......................................................................................................... 41 Connecting to the Garden ........................................................................................................................ 44 The Technological Display Areas .............................................................................................................. 45 The Infrastructural Connection ................................................................................................................ 47 Second Design Proposal ............................................................................................................................... 50 Third Design Proposal ................................................................................................................................... 52 The New Cultural House .......................................................................................................................... 52 The City and Heritage Museum................................................................................................................ 54 The Layout ........................................................................................................................................... 54 The Floor Plans..................................................................................................................................... 55 Interior Experience .............................................................................................................................. 58 Six Design Aspects .................................................................................................................................... 59 Users Behavior ..................................................................................................................................... 59 Form ..................................................................................................................................................... 60 Sustainability........................................................................................................................................ 60 1|P a g e
Structure .............................................................................................................................................. 62 Technology ........................................................................................................................................... 63 Contextually ......................................................................................................................................... 63 Fourth Submission ........................................................................................................................................ 66 The Layout ................................................................................................................................................ 66 The Observatory ....................................................................................................................................... 67 Context Studies .................................................................................................................................... 67 The Museum ............................................................................................................................................ 68 Pre-Final Submission .................................................................................................................................... 69 Final submission ........................................................................................................................................... 73 Final Plans ................................................................................................................................................ 73 Studies ...................................................................................................................................................... 77 Structure .............................................................................................................................................. 77 Illustrated Reality theatre .................................................................................................................... 78 Circulation ............................................................................................................................................ 78 Loading Bay .......................................................................................................................................... 79 Light Tubes ........................................................................................................................................... 80 A Detailed Galley Space ....................................................................................................................... 81 Scenes from the project ........................................................................................................................... 82 ADA Compliance (The American Disabilities Act) ......................................................................................... 84 Stairs and Handrails ................................................................................................................................. 87 References .................................................................................................................................................... 89
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LIST OF FIGURES Figure 1: Near-by Museums in the Surrounding Area .................................................................................... 6 Figure 2: Location of the Museum within the Cluster .................................................................................... 7 Figure 3: Current Condition of the plot .......................................................................................................... 7 Figure 4: Short route tour ............................................................................................................................. 15 Figure 5: Medium tour route ........................................................................................................................ 16 Figure 6: Wide tour route ............................................................................................................................. 17 Figure 7: Diagram Showing the Design Main Components ........................................................................ 25 Figure 8: Zone 1 on site ................................................................................................................................ 29 Figure 9: Zone 2 on site ................................................................................................................................ 30 Figure 10: Overview of Project’ .................................................................................................................... 35 Figure 11:Site Plan ........................................................................................................................................ 36 Figure 12: Pictures showing different views of the New Cultural House ..................................................... 41 Figure 13: Plan view of the New Cultural House .......................................................................................... 42 Figure 14: A Schematic prespective showing the augmented reality hall .................................................... 46 Figure 15: Snap shot of the submission poster ............................................................................................ 50 Figure 16: Snap shots of the second submision ........................................................................................... 52 Figure 17: the New cultural House Proposed Plans ..................................................................................... 53 Figure 18: THE nEW cULTURAL hOUSE pRESERVED elEVATION WITH THE observatory behind ................. 53 Figure 19: inspiration for the interior spaces ............................................................................................... 53 Figure 20: Layout .......................................................................................................................................... 73 Figure 21: Plan at level -3.5 m ...................................................................................................................... 74 Figure 22:Plan at level -8.0 m ....................................................................................................................... 74 Figure 23: Plan at level -12.5 m .................................................................................................................... 75 Figure 24: Section AA.................................................................................................................................... 75 Figure 25: Section BB .................................................................................................................................... 76 Figure 26: Section CC ................................................................................................................................... 76 Figure 27: Section DD ................................................................................................................................... 76 Figure 28: Experiential Section ..................................................................................................................... 77 Figure 29: Fatimid Exiition Hall Illustrated ................................................................................................... 82
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THE CITY HERITAGE EXPOSURE IMPORTANCE TO THE CLUSTER The cultural economic approach, as mentioned before, comprises four groups: heritage, arts, media and functional creations. Cultural heritage is identified as the origin of all forms of arts and the “soul� of cultural and creative industries. Thus to the Creative Economy theory, having a cultural significance.
EVOLUTION OF MUSEUM FUNCTIONS Topics of global importance that challenge, upset, intrigue and attract are now legitimate areas for museum investigation, and for public display through exhibitions and other programs.1 Internationally, ongoing tensions are continuously questioning the social, cultural and political status of a country are increasing and this heighten the need for civic spaces where diverse communities might learn about and debate issues of contemporary relevance and importance. Within over the last 15 years some democratic western countries have experienced a rise in museum controversies and political debates. Many of these struggles have centered on exhibitions and questions about what museums should exhibit, the choice of topics and collections and how they should be interpreted, and who has the power to make editorial decisions. Examples include interpretations of colonialism (The West as America at the Smithsonian's National Museum of American Art; frontier conflict at the National Museum of Australia and slavery at the National Maritime Museum, UK), war (The Last Act Enola Gayexhibition at the Smithsonian's Air and Space Museum) and genocide (Crimes against Humanity at the Imperial War Museum, London), sexuality and representations of the human body (Robert Mapplethorpe: The Perfect Moment at the Institute of Contemporary Art of the University of Philadelphia and Body Art at the Australian Museum).2 Egypt, being a society where citizens demand greater participation in decision making, where power is shifting from older hierarchical forms to coalitions, fundamental questions are raised about the roles and functioning of museums in the 21st century.
What are the civic and social responsibilities of museums in this climate of contestation, in creating debate and for democratic decision making? 1
Cameron, Fiona Historic Towns Initiative
2
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PRESENT MUSEUMS IN CAIRO TABLE 1 : SHOWIING SOME OF THE MUSEUMS IN THE GREATER CAIRO
Museum
Location
Scope
Means for Display
6th of October Panorama
Heliopolis, Cairo
1973 War Documentations
Abdeen Palace
Qasr el-Nil Street in eastern Downtown Cairo, Egypt. The Nile Cornice, Giza part of Cairo
The architectural building itself as well as the possessions of Khedive Ismail Ahmed Shawki’s Possessions
Rotating platform to get a panoramic view of the war which is documented on a huge mural. There are also 3D figures of the wall while a narrator describes the war. Display Windows
EgyptianMuseum
Tahrir Square, downtown Cairo
Helwan Wax Museum
The suburb of Helwan, in Cairo, Egypt, close to the Ain Helwan Metro station
Manial Palace and Museum
Sharia al-Saray area in the El-Manial district of southern Cairo
Mohamed Mahmoud Khalil Museum
Greater Cairo, in the Giza area, Egypt
Museum of Islamic Art
Bab Al Kahlq, Cairo
Mainly Exhibiting the Ancient Egyptian history; the pre dynastic era along with the 30 dynasties with their most significant Kings and Queens It contains exhibits of wax sculptures demonstrating important figures from Egyptian history and idealized traditional Egyptian culture. Some figures shown include Salah El-Din El-Ayoubi(Saladin), , Cleopatra and President Gamal Abdel Nasser. The palace and estate has been preserved as an Antiquities Council directed historic house museum and estate, reflecting the settings and lifestyle of the late 19thand early 20th-century Egyptian royal prince and heir apparent The Museum houses a fine collection of Impressionist paintings, mainly collected before 1928, which alone rivals most European National Collections The museum has displayed about 2,500 artefacts in 25 galleries,[1] but it houses more than 102,000 objects,
Ahmed Shawki
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A statue of the poet as well as hos books, bed, table and various belongings Display Windows exhibiting Ancient Egypt Artifacts
Mainly Wax Sculptures which exhibit visible damage and signs of repeated touchups
public art and history museum, with historical gardens, and forested nature park
Paintings and Artifacts
Exceptional collection of rare woodwork and plaster artefacts, as well as metal, ceramic, glass, crystal, and
with the remainder in storage. Museum of Islamic Ceramics
Zamalek district on Gezira Island in the Nile, just west of Downtown Cairo
ceramics and ceramic art mean art objects such as figures, tiles, and tableware made from clay and other raw materials by the process of pottery
Prince Amr Ibrahim Palace
Cairo's Zamalek island
It was built on the orders of Prince Amr Ibrahim (1903– 1977), member of the Muhammad Ali dynasty
textile objects of all periods, from all over the Islamic world Elements of ceramic art, upon which different degrees of emphasis have been placed at different times, are the shape of the object, its decoration by painting, carving and other methods, and the glazing found on most ceramics. Dominant styles of the Muhammad Ali dynasty in terms of its architectural and decorative style, marble fountain decorated with blue ceramics
FIGURE 1: NEAR-BY MUSEUMS IN THE SURROUNDING AREA
Although there are many museums in the Greater Cairo, the scope of each museum remains within a limited range and obsolete communication and display means. The Azbakeya Area being a node for cultural awareness and interaction sets an amazing context for such message to be delivered.
The Need for a City Museum ‌ Documenting its history 6|P a g e
To achieve the vision of having a well-maintained heritage, which can be properly presented, as well as displaying the history of the Greater Cairo, two paths has to be taken into consideration. 1. An open path which exposes and polishes the existing heritage in the area 2. A City Museum which gets the public aware of the history of one of the oldest cities in the world.
LOCATION OF THE PLOT
FIGURE 2: LOCATION OF THE MUSEUM WITHIN THE CLUSTER
FIGURE 3: CURRENT CONDITION OF THE PLOT
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SITE PROBLEMS
Blocking Al Gomhoreya Street
Street Vendors Attack
Deteriorating World Heritage Building
Heavy Traffic, and Metro Station
Visual and aesthetic pollution as well as being a transportation node
CONCEPT STATEMENT 8|P a g e
Shrinking and deterioration of the Azbakeyia garden (in size and in quality of plants left)
With the Micro thesis statement being
“The Creative Habitus: An Anchor for Development” The city and heritage museum being part of the cultural industry strives to reach in for surrounding heritage to commemorate and educate the people about Cairo and its history as well as the proposed cultural cluster, to achieve:
“Cultural Exposure; Reaching IN for our Heritage” PROBLEM DEFINITION 1.
Heavy Traffic
2.
Transportation Issue
3.
Rubbish Piles
4.
The street Vendors by Al-Azbakeya Fence
5.
Connecting to the deteriorating Botanical Garden
6.
Reviving the surrounding deteriorating heritage
7.
The need to rehabilitate the New Cultural House world heritage building
PROPOSED FUNCTIONS In order to achieve the moral of the proposed function, such division is proposed: 1. 2. 3.
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Open Museum through the surrounding heritage Exposing Each of the Heritage Buildings The City Museum
An open museum, In which the Vendors are accomadated
Reaching out for the Economic Cluster as
Exposing the heriatage buildings
Botanical Garden
Leading to the City Museum
Understanding the City
Cairo's History Augumented
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Exposing the Context
Rehabilitating the Heritage Showing off the history
Open Museum Street Vendors
Integrate it through the
Public Awareness
OPEN MUSEUM THROUGH THE SURROUNDING HERITAGE L OCAL P RECEDENT : EL-M OEZ S TREET
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R OME AS AN O PEN M USEUM
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E DO -T OKYO O PEN A IR A RCHITECTURAL M USEUM IN K OGANEI P ARK
The Edo-Tokyo Open Air Architectural Museum ("Edo Tokyo Buildings Garden") in Koganei Park, Tokyo, Japan, is a museum of historic Japanese buildings. The park includes many buildings from the ordinary middle class Japanese experience to the homes of wealthy and powerful individuals such as former Prime Minister Takahashi Korekiyo, out in the open in a park. The museum enables visitors to enter and explore a wide variety of buildings of different styles, periods, and purposes, from upper-class homes to pre-war shops, public baths (sentĹ?), and Western-style buildings of the Meiji period, which would normally be inaccessible to tourists or other casual visitors, or which cannot be found in Tokyo.
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A L A ZBAKEYA O PEN M USEUM
New Cultural House An Overview for the project
Eden Palace
Sidnauoi Department Store Building
Continental Palace/hotel
Tiring Department Store Building
Street Exposure
Abdeen Palace
Attaba Square
Al-Gomhoreya Theatre
Fire Department Building
Old Cinema Opera
The Postal Office
Ismail Pasha Statue
Theatrical House The Botanical Garden
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FIGURE 4: SHORT ROUTE TOUR
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FIGURE 5: MEDIUM TOUR ROUTE
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FIGURE 6: WIDE TOUR ROUTE
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I NTERVENTION T ECHNIQUES
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EXPOSING EACH OF THE HERITAGE BUILDINGS
Reaching In for the surrounding heritage local community and others to develop a vibrant center for learning, working, social enterprise and leisure via intervention techniques as shown in the pictures.
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Preserving the faรงade inside Food Outlet Gift Shop Portal for the Open route Small Gallery Info Center THE CITY MUSEUM S ITE S TUDIES
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D ESIGN C RITERIA 1.
“organic” connection to the landscape
3
3
Palace of Aiete / Isuuru Arquitectos
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2.
creating individual passes
3.
close to the human scale
4.
flat surfaces that come to house the “debris� within space
5.
the new buildings blend in with the existing built context
6.
Sustainable design
D ESIGN A PPROACH
Reaching
IN
Exposure
Blending in the Landscape
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T HE P ROJECT ’ S C OMPONENTS
Figure 7: Diagram Showing the Design Main Components
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Zones
Area Assigned (m2)
Total Area of Plot
5000
Zone 1
900
Zone 2
900
Zone 3
900
Services
500
Zone 4 (Outdoor Botanical Garden)
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800
Space Zoning 21%
28%
Zone 1 Zone 2 21%
9% 21%
Zone 3 Services Botanical Garden
B OTANICAL G ARDEN
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Exhibiting the Tree Heritage
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Social Gathering
Rare Plantations Section
Reviving the Cultural Activities
Z ONE 1 Monument Intervention
FIGURE 8: ZONE 1 ON SITE
Z ONE 2
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Fatimid (Establishing Cairo)
Post the 52 revolution
25th of Jan Revolution
Ottomans Era
52 Revolution Period
Post the revolution
Pre Ismail Era
Khedive Ismail Period
FIGURE 9: ZONE 2 ON SITE
Augmented reality (AR) is a live, copy, view of a physical, real-world environment whose elements are augmented (or supplemented) by computer-generated sensory input such as sound, video, graphics or GPS data. It is related to a more general concept called mediated reality, in which a view of reality is modified (possibly even diminished rather than augmented), by a computer. As a result, the technology functions by enhancing one’s current perception of reality. Various technologies are used in Augmented Reality rendering including optical projection systems, monitors, hand held devices, and display systems worn on one's person.
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Services Include: • • • • • • •
Computer room Operating Room, Projector Room Maintenance Area Reflection Planes Wet Areas Food Outlet
This was an AR / mixed reality test scene for live theatre with Augmented Reality with musical called "Tun Mahathir Muzikal". The reason for them to use this was for live acting was, it was lot cheaper to create 3d and AR planes and we could change it when is needed. It was safer too as flying a plane set like this would be more risky.
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Z ONE 3
Amphitheatre
Multiple Gathering Spaces
Quite Areas
Interactive Water Features
Food Outlets
Children’s Area
Kahwa
Outdoor Performances
Sports Areas
S ERVICES
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Offices 100 m2
Conservation Department 100 m2
Electronic Database 100 m2
Storage Area 500 m2
Archives 100 m2
Wet areas and other 100 m2
INTERLINKS
Activity Promenade Market Fair: Hall of Fame
Festivals
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USERS
Scholars Tourists Children Visitors
Residents
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SUSTAINABILITY METHODS Piezoelectricity Generates Electricity where the Board made of Crystal produces small electric currents when a user bounces … by frequent motion they are turned into batteries.
P RECEDENTS D ANISH N ATIONAL M ARITIME M USEUM
FIGURE 10: OVERVIEW OF PROJECT’
Placed in a rich location of unique historic and spatial context; between one of Denmark’s most important and famous buildings and a new, ambitious cultural center, this museum had to expose what is above and beyond it. 35 | P a g e
FIGURE 11:SITE PLAN
Leaving the 60 year old dock walls untouched, the galleries are placed below ground and arranged in a continuous loop around the dry dock walls – making the dock the centerpiece of the exhibition – an open, outdoor area where visitors experience the scale of ship building.
The direct exposure of the museum to what is above and beyond it, having the visitors descends into the museum space overlooking the majestic surroundings The long and noble history ofthe Danish Maritime unfolds in a continuous motion within and around the dock, 7 meters below the ground. All floors – connecting exhibition spaces with the auditorium, classroom, offices, café and the dock floor within the museum – slope gently creating exciting and sculptural spaces.
B UK S EOUL M USEUM OF A RT
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Relatively lacking cultural facilities, the North-eastern part of Seoul required a new cultural space that would provide citizens with equal opportunities to enjoy cultural lives.
Reviving the memories of Nowon which used to be a field of reeds, the design team visualized a cultural hill that would harmonize with the gallery park. Like a serene white mass integrated into the hill, Buk Seoul Museum of Art revitalizes the region which is mostly composed of monotonous high-rises apartments and provides a naturefriendly cultural space in which the green flow of the park integrates with the art museum to become a single entity. In particular, diversified circulation patterns create a space of ‘connectivity’ where various elements of people, nature, and art converge to create new possibilities in communication & collaborations.
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Besides the exhibition galleries which are located on various floors around a central atrium, the basement floor is planned for educational and multi-purpose facilities which involve active communication and exchange of ideas with local citizens. On the first floor, library, multimedia facility, exhibition hall for children and teenagers are located for easy access. On the top floors and the rooftop gardens, an outdoor sculpture park is connected directly to the surrounding landscapes to create an extension of the museum into the park.
A Mixed Use Building with separate and connected functions highly integrated together and with the outdoors
E CORIUM OF THE N ATIONAL E COLOGICAL I NSTITUTE
This park design is an initiative to preserve the natural environment of the region and to create a national hub to gather various ecological valuables for advanced research and exhibition in Korea.
Ecorium is composed of various greenhouses and controlled environments in order to reproduce the global ecosystem of five different climatic zones ranging from the tropical to the polar regions. Designed with the concept of ‘Nature’s Odyssey’, the
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individual climate zones are grouped by a linear podium which also functions as the main exhibition circulation path providing various experiences to visitors.
This complexplays an important role in providing an opportunity for visitors to have a hands-on experience of the various ecological environments around the world and teach us the importance of our natural environments.
L ILLE M USEUM OF M ODERN , C ONTEMPORARY AND O UTSIDER A RT
The main aim to this project is to restructure and extend the Musée d’Art Moderne of Lille, which stands in a magnificent park at Villeneuve d’Ascq, with the existing buildings have already acquired historic landmark status.
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The main aim of the brief was to reconstitute a continuous and fluid museum space, this while adding new galleries in a travelling progression to the existing galleries, to house a superb collection of Art brut works. It also entailed a thorough restructuring of the existing buildings, certain parts of which needed to be redefined. Envelopes are sober: smooth untreated concrete, with moldings and openwork screens to protect the bays from too much daylight. The surface concrete has a slight color tint that varies according to intensity of light.
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DESIGN REPORT FIRST DESIGN STAGE PROPOSALS This stage is an experimental stage where three proposals mainly concerned with the general concepts of design should be studied such that each one of them is more connected to one main aspect of design. In the case of this museum three main aspects are to be further studied; the connection to the garden, the technological advances in the exhibition halls as well as the connection to the infrastructure.
DEALING WITH THE HERITAGE BUILDING Being in such a rich context, a sub-terrain architectural approach is needed in order to create a frame for the work and not compete with the context. In the design proposal there is a heritage building right in front of the museum plot, which is the New Cultural House.
FIGURE 12: PICTURES SHOWING DIFFERENT VIEWS OF THE NEW CULTURAL HOUSE
In all the alternatives, the heritage building is to be preserved. Since the general state of the building according to the field survey is very bad and the faรงade is deteriorating, the faรงade is to be exhibited and preserved as an exhibition piece inside 41 | P a g e
the building. Incasing the faรงade and creating platforms on the outside looking at the different scenes in the history of the city of Cairo.
FIGURE 13: PLAN VIEW OF THE NEW CULTURAL HOUSE
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These pictures show different architectural approaches towards underground architecture whether horizontally, vertically or in a rather organic form.
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CONNECTING TO THE GARDEN The first alternative deals with the connection between the garden and the museum structure. Pavilion like structures, with kinked ceiling and green are proposed such that they blend into the topography of the garden. The picture on the right shows how the relatively high slabs can be integrated into the green context.
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Studying the wall section of plant-able facades, the green aspect on the elevation not only reduces the heat gain of the faรงade but also helps in blending in and reducing the intervention effect of the built up area.
THE TECHNOLOGICAL DISPLAY AREAS The second alternative deals with having the display and the museums functioning using a technology called Augmented Reality. Instead of replacing reality, augmented reality adds cues onto the already existing real world. Computer graphics are embedded into the real world and ideally the human mind would not be able to tell the difference between computer-generated images and the real world. This can take various forms, some of which are described below in Implementation.
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FIGURE 14: A SCHEMATIC PRESPECTIVE SHOWING THE AUGMENTED REALITY HALL
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THE INFRASTRUCTURAL CONNECTION The main concept of this alternative is creating a metro station museum. Metro Museums can be found in only a few European, US and Japanese cities, having the museum, a collection of display panels, historical photographs and exhibits.
The Louvre metro station is rather a unique one worldwide. Many users report that simply passing by the station gives them the feel of the museum. Some locals also report that this station is always a reminder of their history.
Another example of similar structures is in the United Arab Emirates, Dubai. The largest mall there is connected to the metro station though a super structure through which the main attractions of the city can be seen. 47 | P a g e
Utilizing the concept of integrating the infrastructure in the design for the general awareness of the public, an initiator for the visits and acting a continuous reminder on how the city holds a valuable heritage that should be acknowledged.
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These are several glimpses of the experience of the planes and their display of the exhibits.
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FIGURE 15: SNAP SHOT OF THE SUBMISSION POSTER
SECOND DESIGN PROPOSAL Developing more on the third alternative, of the infrastructural design and mixing it with the idea of people’s awareness and the visual and physical connection to the public. The main lines guiding the design came from the master plan design causing a fragmented three areas of the museum; the main city museum, the augmented reality area and the botanical garden.
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FIGURE 16: SNAP SHOTS OF THE SECOND SUBMISION
THIRD DESIGN PROPOSAL Considering the previously mentioned notes, several design decisions were made:
The New Cultural House o The preservation of the existing faced using window techniques where The City and Heritage Museum o Considering the main guide lines from the existing new cultural house. o Connecting the botanical garden to the rest of the green spaces
THE NEW CULTURAL HOUSE This heritage building façade dates back to the khedival era, registered being a NOUH building, it is considered of a great historical value to the area. The idea of the building is to act as a main portal for the museum with some exhibition spaces, retail areas and an observatory to overlook the different scenes of the city.
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FIGURE 17: THE NEW CULTURAL HOUSE PROPOSED PLANS
FIGURE 18: THE NEW CULTURAL HOUSE PRESERVED ELEVATION WITH THE OBSERVATORY BEHIND
FIGURE 19: INSPIRATION FOR THE INTERIOR SPACES
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THE CITY AND HERITAGE MUSEUM THE LAYOUT
The layout connects the vital pats around it through a network of 3 pedestrian walkways reaching the six main components in the area which are namely; 1. 2. 3. 4. 5.
Al Gomhoreya Street Botanical Garden Centre of Al Azbakeya Garden The nearby Press and Publishing Centre The (Media Treasure) which connects the museum to the book market and the publishing center through the providing a reading space and an area with interactive panels 6. Ali Al Kassar Street There is also a spine connecting the three projects that are inside the garden which houses a series of nodes, each with a different identity according to its location.
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THE FLOOR P LANS The Floor Plan at the -3.5 m level
Steeped Greenery to act as the beginning of the Botanical Garden on the master plan, emerging for the exhibition space of khedive Ismail who first developed Al-Azbakeya Area Recreational Areas of Cafes, quite Areas, gathering spaces and food outlets Administrative Zone of Offices, Archives, Electronic Database and Conservation Department Augment Reality Theatre Projection rooms. The Entrance space has the ticketing booths, information desk and rooms for the visitors’ handbags that they will leave at the entrance and take them at the exit
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Emergency Exits and Wet areas This floor houses the first six exhibition spaces in the history of Cairo 1. 2. 3. 4. 5. 6.
Fatimids Ayyubids Mamluks Ottamans Mohamed Ali Pre-khedival Period
The dual path of the museum has the modern essence of the historic period, exhibiting the applications of the different eras.
The Floor Plan at the -8.0 m level The botanical garden can be seen from almost any part of the museum due to the designed porosity of the cable structure hanging it. Recreational Areas of Cafes, quite Areas, gathering spaces and food outlets The underground pedestrian walkway eventually lading to the metro station coming from right in front of the building plot. Emergency Exits and Wet areas At this point of experiencing the space, some options come to the horizon but designed not to distract the user from the main experience of the place. There is an entrance to the museum from this tunnel i case a random passerby is interested in entering the museum after having glimpses of it through the walkway
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The Floor Plan at the -12.5 m level The botanical Garden can be accessed from this level and the user may choose to continue to Al-Azbakeya Garden from there. The Augmented Reality theatre acts as a pivot between the monarchy and the republic of Egypt. Emergency Exits and Wet areas This floor houses the last five exhibition spaces in the history of Cairo 7. Khedive Ismail 8. Post khedive Ismail 9. The 1952 Revolution 10. Post the 1952 Revolution 11. The 25th of Jan. 2011 revolution 12. Post that
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The path at this level should take the user to the center piece of the museum where is exposed to most of the museum spaces and would have the time to reflect
INTERIOR EXPERIENCE
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SIX DESIGN ASPECTS USERS BEHAVIOR There were many levels for the study of the user experience, a series of spaces ranging from public to private ranges.
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FORM Being of a subterranean nature, the form is mainly generated from the layout as well as the cut and fills in the ground. The openings in the layout were designed such that each one overlooks a space inside where the people can be exhibited to provoke those in the public area.
SUSTAINABILITY
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Attempting to evaluate the building at the worst case scenario where the whole structure is at the -13.5 m, only ventilated through the roof structure and not taking into consideration the potential side opening. As shown in the studies on the side the space as it is has continuous natural day light, the first diagram is at 12:00 am and the diagram below is for the 03:00 pm analysis.
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STRUCTURE The different Structural Systems in the building depend mainly on the surrounding elements to the slab:
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Area 1 would be dealt with as a cantilever to the diaphragm wall with any of the proposed details Area 2 would be supported by standalone frame column with a slab Area 3 would have a regular column module The Roof would be selfsupported by the slight slope in its elements
TECHNOLOGY  The use of the Augmented Reality Theatre as a pivot between the monarchal Egypt and the governmental one.  The use of the technological aspects in the exhibiting route on the backward route. CONTEXTUALLY As stated before, the approach in the project is to Blending in with the garden in the main concern of the layout and the
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FOURTH SUBMISSION This stage was pivotal in terms of the design of the New Cultural House and the observation tower, the proportions and the position of the tower were an issue regarding their impact on the context.
THE LAYOUT Inspired by the tensile structure available on site, triangular shading elements are placed in the layout to continue that feature into the site.
The initial implementation of the elements are as below.
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THE OBSERVATORY CONTEXT STUDIES
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The need for such function in the area was due to the rich heritage found on site with the deteriorating value buildings of neglected history.
THE MUSEUM The initial design was modified to accommodate more space for the landscape integration with the zero level through three pits of stepped greenery.
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PRE-FINAL SUBMISSION
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The tower needed to be modified for more integration with landscape and the common element we have on site. These scenes were taken in the process.
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FINAL SUBMISSION FINAL PLANS
FIGURE 20: LAYOUT
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FIGURE 21: PLAN AT LEVEL -3.5 M
FIGURE 22:PLAN AT LEVEL -8.0 M
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FIGURE 23: PLAN AT LEVEL -12.5 M
Final Sections
FIGURE 24: SECTION AA
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FIGURE 25: SECTION BB
FIGURE 26: SECTION CC
FIGURE 27: SECTION DD
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FIGURE 28: EXPERIENTIAL SECTION
STUDIES Form Generation
STRUCTURE
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ILLUSTRATED REALITY THEATRE
CIRCULATION
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LOADING BAY
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LIGHT TUBES
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A DETAILED GALLEY SPACE
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FIGURE 29: FATIMID EXIITION HALL ILLUSTRATED
SCENES FROM THE PROJECT
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ADA COMPLIANCE (THE AMERICAN DISABILITIES ACT) Compliance with ADA standards in all the bathrooms, stairs, doors, ramps and lifts, so that the physically challenged would easily access every area in the space of the project. From the ADA standards book: Doors •
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Automatic Door. A door equipped with a power‐operated mechanism and controls that open and close the door automatically upon receipt of a momentary actuating signal. The switch that begins the automatic cycle may be a photoelectric device, floor mat, or manual switch (see power‐assisted door). Revolving Doors and Turnstiles: Revolving doors or turnstiles shall not be the only means f ibl l Requirements of passage at an accessible entrance or along an accessible route. An accessible gate or door shall be provided adjacent to the turnstile or revolving door and shall be so designed as to facilitate the same use pattern. Clear Width: Doorways shall have a minimum clear opening of 32 in (815 mm) with the door open 90 degrees, measured between the face of the door and the opposite stop.
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Maneuvering Clearances at Doors: Minimum maneuvering clearances at doors that are no automatic or power�assisted shall be as shown in the fig. The floor or ground area within the required clearances shall be level and clear.
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Thresholds at Doorways: Thresholds at doorways shall not exceed 3/4 in (19 mm) in height for exterior sliding doors or 1/2 in (13 mm) for other types of doors. Raised thresholds and floor level changes at accessible doorways shall be beveled with a slope no greater than 1:2
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STAIRS AND HANDRAILS •
Handrails are continuous along both sides of stairs. The inside handrail on switchback or dogleg stairs shall always be continuous.
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If handrails are not continuous, they shall extend at least 12 in (305 mm) beyond the top riser and at least 12 in (305 mm) plus the width of one tread beyond the bottom riser. At the top, the extension shall be parallel with the floor or ground surface. At the bottom, the handrail shall continue to slope for a distance of the width of one tread from the bottom riser; the remainder of the extension shall be horizontal.
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The clear space between handrails and wall shall be 1-1/2 in (38 mm). Gripping surfaces shall be uninterrupted by newel posts, other construction elements, or obstructions. Top of handrail gripping surface shall be mounted between 34 in and 38 in (865 mm and 965 mm) above stair nosings.
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Ends of handrails shall be either rounded or returned smoothly to floor, wall or post. Handrails shall not rotate within their fittings. Outdoor Conditions: Outdoor stairs and their approaches shall be designed so that water will not accumulate on walking surfaces. Proving stair lifts in the green steps on site. o Powder coat outdoor paint that protects all aluminum and steel surfaces o Seat cushions made from exterior marine-grade vinyl o Tested for use in weather temperatures ranging from 15ºC to 52ºC o 400 lbs/181.5 Kg weight capacity
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REFERENCES "Archaeology." Historic Towns Initiative. The Heritage Council, n.d. Web. 01 Nov. 2013. <http://www.heritagecouncil.ie/archaeology/our-initiatives/historic-townsinitiative/>. "Buk Seoul Museum of Art / Samoo Architects &Engineers." ArchDaily. N.p., n.d. Web. 10 Nov. 2013. <http://www.archdaily.com/406753/buk-seoul-museum-of-artsamoo-architects-and-engineers/>. Cameron, Fiona. "Open Museum Journal :: Vol 8." Open Museum Journal :: Vol 8. AMOL, n.d. Web. 01 Nov. 2013. <http://hosting.collectionsaustralia.net/omj/vol8/editorial.html>. "Civvih.icomos.org." Civvih.icomos.org. N.p., n.d. Web. 01 Nov. 2013. <http://civvih.icomos.org/>. "Ecorium of the National Ecological Institute / Samoo Architects & Engineers Grimshaw Architects." ArchDaily. N.p., n.d. Web. 10 Nov. 2013. <http://www.archdaily.com/423255/ecorium-of-the-national-ecologicalinstitute-nbbj-in-collaboration-with-samoo-architects-and-engineers-grimshawarchitects/>. "Palace of Aiete / Isuuru Arquitectos." ArchDaily. N.p., n.d. Web. 10 Nov. 2013. <http://www.archdaily.com/104259/palace-of-aiete-isuuru-arquitectos/>.
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