vol.3 - Issue 3 - 2015 by FuzedMagazineEgypt

JUNE 2015

Trophies given to all attendees of the 9th Saint-Gobain Gypsum International Trophy on June 2014 in Berlin -Gaermany Saint-Gobain Gyproc organizes National Trophy competition for projects completed between 30th April, 2013 and 31st August 2015. The purpose of this competition is to select projects where SaintGobain gypsum products and accessories were installed Gyproc. The projects must contribute to highlight contractorsâ&#x20AC;&#x2122; knowhow and to the development of techniques used in plaster professions. Projects entered in the competition must be fully executed using only Gyproc Egypt products and accessories for the work concerned by the Trophy. Installation of the products must be in accordance with the generally accepted rules of the art and comply with the Gyproc Egypt technical instructions. The competition is open upon reception until 31st, July 2015. For more info please contact us: Email: dl-sgge-info@saint-gobain. com Website: http://www.saint-gobaingyproc.com/

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‫عز العرب تطلق سرتوين إليزيه‬ ‫يس يف مرص‬ ‫مليون‬ ‫‪4‬‬ ‫ملسافة‬ ‫اختبارها‬ ‫بعد‬ ‫كيلو مرت‪ ..‬اآلن السيارة الفخمة تلبي‬ ‫احتياجات األرس املرصية‬ ‫تستمر مجموعة رشكات عز العرب‬ ‫لسيارات‬ ‫الحرصي‬ ‫الوكيل‬ ‫للسيارات‬ ‫سيرتوين يف مرص يف تقديم أفضل‬ ‫أنواع السيارات للسوق املرصي وذلك‬ ‫سيرتوين‬ ‫لسيارة‬ ‫طرحها‬ ‫خالل‬ ‫من‬ ‫إليزيه يس‪ ،‬واستنادا عىل ‪ 90‬عاما من‬ ‫االبتكار والتميز تطل علينا سيرتوين‬ ‫بالسيارة الفخمة إليزيه يس املزودة‬ ‫بكل املميزات التي تقدمها سيرتوين‬ ‫سواء يف التكنولوجيا والتصميم‪.‬‬ ‫واآلن تتوافر السيارة سيرتوين إليزيه‬ ‫يس يف مرص من خالل معارض‬ ‫مجموعة عز العرب وشبكة موزعيها‬ ‫الواسعة يف مرص‪.‬‬ ‫ورصح هاىن لحظى كالينى‪ ،‬املدير العام‬ ‫لرشكة ألفا عز العرب‪ ،‬بقوله‪ :‬تعرب‬ ‫السيارة إليزيه يس عن التقنية اإلبداعية‬ ‫التصميم‬ ‫ومعايري‬ ‫سيرتوين‬ ‫لسيارات‬ ‫الفرنسية‪ ،‬وألنها سيارة صالون حديثة‬ ‫وقوية فإن السيارة سيرتوين إليزيه‬ ‫يس تلبي احتياجات األسواق العاملية‬ ‫ونظرا‬ ‫العائالت‪،‬‬ ‫احتياجات‬ ‫وكذلك‬ ‫وتنوع‬ ‫ومتانتها‪،‬‬ ‫الخالب‪،‬‬ ‫لتصميمها‬ ‫استخداماتها فإننا عىل ثقة من أنها‬ ‫ستنال استحسان قائدي السيارات يف‬ ‫مرص‪.‬‬ ‫(‪)www.citroen-egypt.com‬‬

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Prof. Dr. ALY RAAFAT

Professor and Previous Head of Department of Architecture, Cairo, University

Architecture Nile Award - Winner

Housing From Socialism to capitalism is not a urban solution

the sixties of the last century following 1952 revolution socialism was the adopted paradigm. This policy favored the proletariat as the working class deserving to get all human needs in housing, education, health, cultural, entertainment and activities etc. Egypt witnessed social housing in projects of mass production, Blocks of this form of housing showed up all over the country. Models for the unit were composed of one room and entrance with L.E350 as cost. They were of very low urban tissue. Rows of paralleled identical blocks with rectangular narrow streets that provide no privacy self identity or character. They even failed to satisfy minimum functional requirements of an expanding typical proletariat family. No place for washing, storage or space for breading household husbandry. These were placed in existing balconies, kitchens, or in added rooms in internal or external courts. As expected these projects turned to slums, neglected landscaped areas, higher crime rates, In uplifted neighborhoods ground floors were transformed to shops and typical floors to offices; Ain el sira, Gammet el Dowal and Ameyreya are just examples. From the seventies till today, a shift from socialism to capitalism, open market policy as its paradigm controlled the market. The Bourgeosie uplift foreign and local investments as means to create jobs with promised higher standards of living for the proletariat. However such investment reached as far as the rich and didn›t go down to the poor. These stayed as they were and even worst. Other categories of housing were for the high and middle class levels of the Bourgeosie .These were given units of two to three bedrooms and a hall in Cairo, Alex. till Aswan. Companies cooperating in public and private sectors were entrusted to build these different levels of housing. New cities were built dependent on Cairo such as 10th

JUNE 2015

of Ramadan, 6th of October Sadat city & &New Cairo, They raised on public land with governorates working as land merchants and auctioneers not developers. Towers & compounds raised in big cities and suburbs adding to Cairo housing & traffic problems. Government employees became the lowest income groups with professionals creating a new group with high personal incomes. Emigrants to the gulf started coming back shifting to higher income status and asking for special type of palaces. Renting units were replaced by ownershop « Tamleeck» with prices going higher & higher, New Cairo which was designed as ten Cairo service .industrial cities turned to be dependent rich saberbs . Slums in mother cities increased in number and decreased in quality. Cooperative building activities that prevailed in the turn of the century disappeared due to administrative bureaucratic restrictions on movements as a result of irregularities by few cooperatives. These chances for young families to save regularly in cooperative to gain at the end an affordable house disappeared – There was nothing left except in social housing far from work with unaffordable down payments wasting hours in crowded and dangerous traffic. The result was catastrophe marriage delays with complaints of sex abuses and crimes. We can conclude that strong relations showed up between the ruling paradigms and resulting architecture. This relation showed up in both socialistic & capitalistic policies. Both private and governments ventures adopted the polices of investors and not developers. They choose to invest beside large cities to make use of existing jobs and services thus poured petrol on fire. More, of traffic, education, energy and health problems are added. Unfortunately these policies are still controlling our governmental strategies, selling building lets and not actual developing in jobs, housing and services.

JUNE 2015

Khedive›s Cairo; the title of Khedive means «Viceroy» during the Ottoman Empire era, is one of the most important places, whose remaining areas are located in Downtown Cairo, visited by both Egyptians and tourists to escape sometimes from the rapid daily life and crowded streets of Cairo governorate. In Khedive›s Cairo, you can breathe the smells of history; as this district is redolent of beautiful historic places that remain there with their architecture maintained by their inhabitants; including the old times-pulsating walls and mosques. We often yearn for such historic old places, but the options are limited.

Revives&Revitalizes

Cairo governorate has managed to give Khedive›s Cairo the kiss of life once again, in addition to granting the Egyptians another place away from the noise of daily life. Accordingly, Cairo governorate officials have revived the splendor of Khedive›s Cairo in the heart of Cairo. The officials used Pasha›s Chair ((Korsi el-pasha) «Pasha» is a word derived from Persian pādšā and it was a higher rank in the Ottoman Empire political and military system and one of the highest titles in prerepublican Egypt), Khedive›s Fez ((Tarboush el-Khedaiwy) «Fez» is a man›s felt cap in the shape of a flat-topped cone, usually red with a black tassel hanging from the crown, worn during Khedive›s era), Suit of Afandina «Suit of our Efendi» (Efendi is a title of nobility meaning a Lord or Master and is a title of respect or courtesy, equivalent to the English Sir, which was used in the Ottoman Empire), and the character of Bashkatib (a word means head clerk or something like chairman) and hairstylist. Such old elements have been used for restoring and reviving the spirit of Khedive›s Cairo in al-Alfy Street and Orabi Square in Downtown Cairo. Happiness and joy prevailed among people present in al-Alfy Street during its opening ceremony, where some persons acted to perform the characters of Isma›il Pasha (Isma›il Pasha, was the Khedive of Egypt and Sudan from 1863 to 1879, when he was removed at the behest of the United Kingdom), Afandina, Bashkatib and hairstylist wearing the costumes of these characters, while some ladies wore yashmak (yashmak is a type of veil or niqab worn by some Muslim women to cover their faces in public during the Ottoman Empire era). Moreover, people started to take photos celebrating such memories amid this joyful climate, while several old Egyptian songs were sung, notably «Bawabet el-Halawani» song (it is an old song of old Egyptian series called «Bawabet el-Halawani» sung by the Egyptian singer Ali al-Haggar) performed by an Opera House band to welcome the attendees. The opening ceremony was conducted by Eng. Ibrahim Mahlab, Egyptian Prime Minister, in the presence of Adel Labib, Local Development Minister, Ashraf al-Arabi, Planning Minister and Dr. Galal el-Said, Cairo governor. Dr. el-Said honored Dr. Sohair Hawas, Consultant of Development Project of al-Alfy Street and Orabi Square, Major General Attif Abdel Mone›m, head of al-Azbakiyah district, Dr. Reham Arram, Supervisor of general administration for protecting Cairo heritage and coordinator of the ceremony, Said el-Bahr, Project Manager, and Arab Contractors Company›s personnel who are responsible for this development project. In her interview with FUZED, Dr. Sohair Hawas, Consultant of Development Project of al-Alfy Street and Orabi Square, said: «This development project aims at reviving and revitalizing the civilized face of Khedive›s Cairo with its unique features and deep-rooted and old history. The Project also aims to restore the aesthetic shape of buildings› facades and remove deformation, which accumulated, in addition to getting rid of infringement that occupied a large part of the streets› pavements.» Hawas praised the efforts exerted to raise the efficiency of all services and take all possible steps required for this phase, so that the Egyptian citizen can enjoy quiet places to sit therein and feel the beautiful life of the old ages.

JUNE 2015

«Cairo landmarks already speak several languages «French, Italian and Austrians› language», where Cairo is a mixture of many different cultures from the midnineteenth century until the early 20th century,» Hawas said, noting that «Cairo can compete with other countries to win international awards.» Dr. Reham Arram, Supervisor of general administration for protecting Cairo heritage and coordinator of the ceremony, pointed out that the ceremony was inspired by the spirit of the past times to show the beauty of real estate in opening the project of revival and restoration of the civilized face of Khedive›s Cairo. Arram noted that the works included the restoration of the buildings and shops with a view to restoring the original state without removing or adding any changes such as decorations. Arram also stressed that the development works are on to include the streets of Qasr al-Nil, Talaat Harb and Abdeen district. Said el-Bahr, Project Manager, noted that there are more than 350 buildings registered as heritage sites in Downtown Cairo and the development of al-Alfy Street is the actual beginning of Khedive›s Cairo development, which will be extended to include Downtown area completely. El-Bahr pointed out his admiration for the development proposal since it was offered, praising the role of Dr. Sohair Hawas played in the development of the place, whose costs amounted to EGP1015- million, which were mostly contributions from insurance companies, banks› consortium and some property owners in the region.

areas in Egypt and is redolent of history, especially since this part of the governorate had received many global awards for being one of the most beautiful places of the world in the early years of the last century. Eng. Sadany also noted that «all designers and Egyptians wish to see Downtown Cairo as even pedestrian areas instead of being just streets. This area is worthy to be respected for its history, in addition to further presence therein by the masses admiring for going on picnic in this region.» Eng. Sadany said she has a major project and initiative, through her foundation, on this subject under the name of «THE FACE OF EGYPT», through which she pays attention to the development of Egypt and its streets and squares, in addition to carrying out huge architectural projects to try to put Egypt on the creativity map in architecture and urban planning it deserves in terms of its deep-rooted and old history and heritage status. Eng. Sadany went on to say «There should be deterrent laws to be applied to all members of the society to keep this region clean and beautiful and even Egypt entirely; as the Egyptian people deserve living in a clean, beautiful and proper environment. If the government has initiated the first step of development, then the civil society should pay attention to protect these places; as the Egyptian people hold the biggest part of responsibility for the protection and maintenance of these places and even development from time to time.»

Pash`s Chair, Fez, Bawabet el-Halawani…Memories make Egyptians happier once again Dr. Sohir Hawas pointed out that the implementation was on the highest levels, adding that «Since a long period, we hear about the system of rainwater drainage, while such systems have been implemented here among many schemes to protect this street. The most difficult challenge was to convince the owners of buildings and shops that they should remove the facades to have a unified shape, especially as a large number of these owners have spent huge sums of money on their buildings and shops. After we convinced them and completed the development phase, the owners thanked us and were very happy with the civilized shape that dominated the region and attracted everyone›s attention.»

JUNE 2015

Eng. Dalia Sadany, President of the International Association of Designers (IAD) headquartered in Italy and Adviser to Cairo Governor for the Affairs of Squares› Development, stressed the importance of development carried out by Cairo governorate to develop Khedive›s Cairo and the role played by the governor Dr. Galal elSaid. All efforts aimed at trying to restore the glories of this region, which is one of the oldest and most important

JUNE 2015

International

RIBNICA

example of architecture›s ability to develop children skills and capabilities ..

KINDERGARTEN IN

he floor plan of the building roughly forms a shape of two ‘U’ letters or two pockets or bays, each having a different orientation. The building’s line is strongly zigzagged and adapted to the child’s size as well as the plot’s features. Orientation of certain rooms is optimised for each room separately, depending on exposure to the sun, views, noise, etc.

he conviction of the authors, when contemplating a kindergarten’s position in the modern world, is that a safe, warm place is a precondition for successful development of a child. This place should enable the child to get acquainted with the world and society in peaceful and relaxed manner. Therefore, rooms of the kindergarten were designed to embrace the playground in the middle, imitating hands embracing the child and forming a safe, warm place and environment.

JUNE 2015

Similarly, in kindergarten draft

individual rooms (playrooms) follow one another around the common playground. Each is different yet optimal for a concrete location, functioning as a part of the whole. The same principle has been used for designing the roof, namely individuality and difference within the big entity. Authors tried to combine the principle and shapes known to inhabitants of Ribnica for centuries with modern, contemporary principles of architecture.

urther, great care has been taken at placing the buildings in space, taking into account existing buildings in the surroundings as well as natural characteristics. The inspiration was found in the existing network of buildings in the centre of Ribnica, where individual houses, one by one, follow the road. There are small gaps between individual houses as well as slightly different roof heights. Altogether they form a long network of irregular shapes. Every individual house, adapted to its owners needs, differs from the neighbouring one and yet blends in and belongs to a bigger entity.

Design layout of the administrative-commercial building

Building is designed as a simple cube acting as a

contrast to noticeably varied children’s building. Correct geometric body functions as a hard, serious basis/starting point around which wings of children’s building playfully twist.

Design layout of children’s building

hildren’s building has been designed to contrast with the administrative-commercial building. Rooms for children are designed in a much playful, crumbling, and attentive manner. Therefore, they follow each other, under different angles, and forming together two big bays or pockets that surround and form a quality playground environment in the middle.

JUNE 2015

Architectural

elements – on the floor plan as well as on the façade and roof – meet each other under different angles, in different ways and jointly creating an architectural play. Thus, architecture provides us with as much material as possible for feeding our imagination. The corridors have been designed along broken playroom wings providing light (northern light) and facing the nature. At the same time, their variable width can serve as a playroom. Moreover, the indoor ceiling follows the line of the roof, thus creating rooms with different heights.

et the kindergarten become a place where an architect’s play with space blends with a child’s play. We are presenting the newly built kindergarten in Ribnica which is the biggest kindergarten in Slovenia. The project won the first prize on a architectural competition. It is built with natural materials and it is an almost zero-energy building. The new kindergarten designed by Bojan Mrežar, Renato Rajnar and Peter Rijavec has twenty four playrooms and measures 4,500 m2. 400 children is playing and learning in it.

ooms, intended for children of early ages, almost fully embrace the child, while a hug of the rooms, guarding children of later ages, is less closed and points to the child’s leaving for a big, wide world when the time comes.

eiling lowers in cloakrooms and toilets, whereas rises in playrooms to open the space. In the highest part of the playroom, we have placed a folding platform giving additional appeal to the room. At breaking points of the wings the corridor widens considerably, making space for central area. A part of central rooms’ floor descends terrace-like and creates a theatre environment. The long side of the façade opens central area into the park. Both the interior and exterior is designed with variety of shapes, colours, materials, textures, lights, etc. It creates a very rich environment to provide the child with diversity of experience.

herefore, authors earnestly hope that the feeling of safety and warmth, given to the children in the kindergarten, will accompany them throughout life.

JUNE 2015

‫روضة أطفال ريبنيكا‬

‫ولذلك‪ ،‬يأمل فريق املعامريني من كل قلوبهم‬ ‫والدفء‪ ،‬الذي وفروه يف الروضة‪ ،‬لألطفال يف جميع مراحل الحياة‪.‬‬

‫أن‬

‫يصاحب‬

‫الشعور‬

‫باألمان‬

‫مثال لقدرة العامرة عىل‬ ‫تنمية قدرات الطفل‬ ‫املهندسني املعامريني‪ :‬مكتب «أرهي‪ -‬تورا» للهندسة املعامرية‪ ،‬ليوبليانا‬ ‫موقع املكتب عىل شبكة اإلنرتنت‪HYPERLINK «http://www.arhi-tura.si» http://www.arhi-tura.si :‬‬ ‫املوقع‪ 3 :‬مينيكوفا‪ ،‬ريبنيكا‪ ،‬سلوفينيا‬ ‫فريق التصميم‪ :‬بويان مريزير‪ ،‬ريناتو رينار‪ ،‬بيرت ريافيك‬ ‫املساحة‪ 4,500 :‬مرت مربع (‪ 48,438‬قدم مربع)‬ ‫العام‪2014 :‬‬ ‫الصور‪ :‬يورج سيجار‪ ،‬فريق التصميم‬ ‫استشاري تنسيق املناظر الطبيعية‪ :‬الندسكيب‪ ،‬ليوبليانا‬ ‫املهندس اإلنشايئ‪ :‬ايجرا‪ ،.‬سيزانا‬ ‫منفذ الجوانب امليكانيكية للمرشوع‪ :‬يب كاي كاي بريو‪ ،‬ليوبليانا‬ ‫منفذ كهرباء املرشوع‪ :‬يب كاي كاي بريو‪ ،‬ليوبليانا‬ ‫استشاري تصميم اإلضاءة‪ :‬سونسيسنكا‪ ،‬تربنجه‬ ‫استشاري املباين الخرضاء‪ :‬ميتيا كوسري‬ ‫مقاول البناء‪ :‬ريكو‪ ،.‬ليوبليانا‬ ‫تكاليف البناء‪ :‬حوايل ‪ 8‬مليون يورو‬

‫تُعترب روضة أطفال ريبنيكا بسلوفينيا مثاال رائعا لروضات‬ ‫املختلفة وتكييفها لتصبح املكان األفضل للعب واستمتاع‬ ‫املعامري يف مدينة ريبنيكا التابعة لبلدية ريبنيكا‪ .‬وقد حاز‬ ‫مواد بناء طبيعية والتي تنتج طاقتها بنفسها وال يخرج منها‬ ‫مريزير وريناتو رينار وبيرت ريافيك‪ ،‬أربع وعرشين قاعة مخصصة‬ ‫لهم جوا رائعا من اللعب والتعلم‪.‬‬

‫يرى فريق مكتب «ارهي‪-‬تورا» للتصميم املعامري بأنه‬ ‫عند التفكري يف بناء روضة لألطفال يف العرص الحديث‪،‬‬ ‫فإنه ينبغي أن يحرص املصمم عىل توفري أكرب قدر من‬ ‫األمان والجو الدافئ‪ ،‬وهذان العنرصان معا يشكالن رشطا‬ ‫أساسيا من أجل نجاح عملية تطور قدرات الطفل ومتكينه‬ ‫من التعرف عىل العامل واملجتمع بطريقة آمنة ومريحة‪.‬‬ ‫ولذلك‪ ،‬حرص فريق «آرهي‪-‬تورا» عىل تصميم غرف الروضة‬ ‫بحيث تحتضن امللعب يف الوسط‪ ،‬وكأنها أم تحتضن‬ ‫طفلها لتوفر له األمان والدفء‪.‬‬

‫‪47‬‬

‫‪JUNE‬‬ ‫‪2015‬‬

‫األطفال ‪ ,‬حيث تظهرفيها قدرات املهندس املعامري عىل اللعب باملساحات‬ ‫األطفال‪ .‬تم تصميم هذه الروضة عىل يد مكتب «ارهي‪-‬تورا» للتصميم‬ ‫املرشوع عىل الجائزة األوىل يف أحد املسابقات املعامرية ‪ ,‬حيث تم استخدام‬ ‫أية انبعاثات ملوثة للبيئة‪ .‬وتضم هذه الروضة‪ ،‬التي صممها املعامريون بويان‬ ‫للعب األطفال‪ .‬وتبلغ مساحتها اإلجاملية ‪ 4,500‬مرت مربع وتسع ‪ 400‬طفل توفر‬

‫لألطفال‬ ‫املخصصة‬ ‫الغرف‬ ‫وتتميز‬ ‫أقل‬ ‫بتصميمها‬ ‫مبكرة‬ ‫سن‬ ‫يف‬ ‫يف املساحة لتوفري قدر كبري من‬ ‫تتميز‬ ‫حني‬ ‫يف‬ ‫لألطفال‪،‬‬ ‫الحامية‬ ‫الغرف التي تضم األطفال األكرب سنا‬ ‫لتعطي‬ ‫وانفتاحها‬ ‫مساحتها‬ ‫بكرب‬ ‫الطفل فرصة لتكوين خربة والتعرف‬ ‫عىل العامل الذي سيحتك به عندما‬ ‫يحني الوقت لذلك‪.‬‬

‫املخطط التصميمي للمبنى اإلداري التجاري‬ ‫املخصصة‬ ‫الغرف‬ ‫صممت‬ ‫كام‬ ‫مبساحة‬ ‫مبكرة‬ ‫سن‬ ‫يف‬ ‫لألطفال‬ ‫أقل ‪ ,‬لتوفري قدر كبري من الحامية‬ ‫الغرف‬ ‫تتميز‬ ‫حني‬ ‫يف‬ ‫لألطفال‪،‬‬ ‫التي تضم األطفال األكرب سنا بكرب‬ ‫الطفل‬ ‫لتعطي‬ ‫وانفتاحها‬ ‫مساحتها‬ ‫فرصة لتكوين خربة والتعرف عىل‬ ‫العامل الذي سيحتك به عندما يحني‬ ‫الوقت لذلك‪.‬‬ ‫كام تم تصميم غرف األطفال كل‬ ‫غرفة عىل حدى مبا يناسبها حتى‬ ‫يتسنى لكل منها الحصول عىل قدر‬ ‫كاف من أشعة الشمس و تقليل‬ ‫الضوضاء كذلك رؤية مساحة كافية‬ ‫مبلعب‬ ‫الخرضاء‬ ‫املساحات‬ ‫من‬ ‫و غريها من األشياء التي‬ ‫الروضة‬ ‫تهدف اىل توفري أكرب قدر من الراحة و‬ ‫االستمتاع بالوقت داخل الروضة ‪.‬‬

‫عالوة عىل ذلك‪ ،‬فقد تم الحرص‬ ‫الشديد عىل اختيار أفضل األماكن‬ ‫يف املساحة اإلجاملية يف الروضة‬ ‫لتشييد املباين‪ ،‬بحيث يجري مراعاة‬ ‫وكذلك‬ ‫بالروضة‬ ‫املحيطة‬ ‫املباين‬ ‫استوحى‬ ‫وقد‬ ‫الطبيعية‪.‬‬ ‫الخصائص‬ ‫فريق التصميم شكل الروضة من‬ ‫شبكة املباين القامئة يف وسط مدينة‬ ‫ريبنيكا‪ ،‬حيث ترتك مساحات صغرية‬ ‫بني كل منزل واألخر كذلك اإلختالفات‬ ‫البسيطة يف إرتفاع أسقفها لتكون‬ ‫شبكة طويلة غري نظامية تتناسب‬ ‫مع احتياجات أصحابها ولكنها تبقى‬ ‫يف النهاية متآلفة مع بعضها البعض‬ ‫و تنتمي اىل كيان أكرب ‪.‬‬

‫تم تصميم هذا املبنى ليأخذ شكل املباين‬ ‫املكعبة العادية‪ ،‬لذلك يبدو عىل النقيض متاما من‬ ‫مبنى األطفال الذي يتميز بتنوع ملحوظ يف شكله‪.‬‬ ‫ويرمز شكل املبنى الهنديس إىل وظيفته الجادة‬ ‫يف إدارة الحضانة‪ ،‬لكنه يف الوقت ذاته يبقى محاطا‬ ‫مببنى األطفال الذي يضمه بني ذراعيه‪.‬‬ ‫متثل هذا الروضة رمزا لقدرة الهندسة املعامرية‬ ‫عىل أن توفر لنا أكرب قدر ممكن من العنارص التي‬ ‫تغذي خيالنا‪,.‬كام تم تصميم كل من املنطقة‬ ‫الداخلية والخارجية بأشكال وألوان ومواد وملمس‬ ‫وأضواء متنوعة‪ ،‬وهو ما يخلق بيئة ثرية جدا لتزويد‬ ‫الطفل مبجموعة متنوعة من الخربات‪.‬‬

‫وباملثل تم تصميم قاعات لعب‬ ‫األطفال بشكل فردي حول أرضية‬ ‫اختالف‬ ‫مع‬ ‫املشرتكة‬ ‫امللعب‬ ‫األسقف ‪.,‬حيث حاول فريق التصميم‬ ‫بأشكاله‬ ‫املبدأ‬ ‫هذا‬ ‫بني‬ ‫املزج‬ ‫مدينة‬ ‫لسكان‬ ‫املعروفة‬ ‫املعامرية‬ ‫ريبنيكا منذ عدة قرون واألساليب‬ ‫للهندسة‬ ‫واملعارصة‬ ‫الحديثة‬ ‫املعامرية‪.‬‬

‫‪JUNE‬‬ ‫‪2015‬‬

‫‪46‬‬

Interview

In exclusive interview with Architecture is the face of the nation. It is we that build peoples civilizations. The best manifestation of success is to be told that you helped change the whole course of somebody›s life.

Rebellion is the mother of creativity…To be an «Egyptian» is a valued gift that many do not fully perceive.

«Architecture is for Rebels»…It is the motto that served as the basis for Dr. Ahmed Mito`s career after he had once heard from one of his professors. The motto means that architects are rebellious, and nobody can dictate to them what they should do or how they should do anything. There should always be a space for creativity and rebellion against rules, or rather, Architecture should be governed by rules.

JUNE 2015

Dr. Ahmed Mito is one of the most famous and prestigious architects in Egypt. He graduated from Ain Shams University, School of Architecture. A few years later, he got his master›s and PhD degrees in Architecture. Dr. Mito occupied several official positions, including architectural advisor at the Ministry of Culture and director of the Egyptian Academy of Arts in Rome. He also represented Egypt in a big number of events, such as the Venice Biennale 2010 as a commissioner and general coordinator. Surrounded by pencils, charcoal, sketches and drawings spread on the desk, Dr. Mito sits in his «MA Studio Architecture and Planning» firm headquartered in Heliopolis, Cairo, where he works in harmony with his tools while lovely melodies of a recorded piece of light music is played. He describes his relation with the firm in a short phrase, «I am like a fish that dies if taken out of the water.» Q: As a child, everybody dreams that someday he/she would enter a certain profession; did you dream of Architecture during your childhood? A: Like all my friends, I dreamt of being a pilot. I never thought to be an architect. Like everything in our lives, it was sheer coincidence that I joined the Faculty of Engineering. In Egypt, coincidence is the norm that governs the future career of most of Egyptians. Such a fact has kept bothering me in both my personal life and career. In developed countries, there are the so-called «Technology Incubators», which help discover and develop the kids› capabilities, tendencies and hobbies, as well as predicting their future professions, which is exactly contrary to what happens in Egypt. I had never dreamt of joining the Faculty of Engineering, and I wished I could study at the High Cinema Institute. However, my family insisted that I should join the Faculty of Engineering, Department of Civil Engineering. One day, a colleague of mine, studying at the Department of Architecture, invited me to attend a lecture with him as a recreational activity to refresh. During the lecture, a professor asks students to do a project on the Islamic Royal Court, laying down some rules that all students should abide by, threatening to punish anybody who would disregard them. Being a student at another department, I seized the chance and did a project that broke all rules. I got A+ in the project. The professor asked my colleague to invite me to meet him. When the professor saw me, he said, «Did not you hear me when I said that everybody should abide with rules?» I replied, «And also said that you would punish violators, (would you punish me?)» He said the phrase, which attracted me to Architecture, «Architecture is for Rebels.» At that moment, I realized that it was a mistake to join the Department of Civil Engineering, and moved to the Department of Architecture.

JUNE 2015

Q: Did any of your professors predict that you would be a great architecture? A: Many professors felt that I was different and distinguished from my colleagues. They also thought that I am bohemian and full of great passion for Architecture. I have never let the architectural profession enslave me. I am, therefore, keen on carrying out the project I like with people I like. This attitude is quite unacceptable in the Architecture field, so I would argue that I am more an amateur than a professional. Q: What was the first project you carried out? How was it met? A: It was a competition for designing a children›s library. At that time, I did not even get the membership card for the Engineer Syndicate. In collaboration with one of my friends, who kept photographing my hand movements while making different solid shapes out of the Lego and Rubik›s Cubes, I participated in that competition. Based on those shapes, we carried out the design of the children›s library, which won the admiration of everybody.

JUNE 2015

Q: When did you first experience failure? How did you overcome such experience? A: I always have a restless dissatisfaction with my works even those admired by people and awarded during competitions. The worst fears strike men when I get an award or be spotlighted by the media. On the contrary, I feel safe when somebody criticizes my works, because criticism pushes me into developing my future projects. This is very healthy, because one should continue learn until end of life, and I still need to learn more. Q: How do you treat your students? A: Students are not allowed to strictly comply with what I say. I only respect those students who defy rules and frankly express their opinions while having a discussion with me. I always try to implant the sense of rebellion in my students. A big part of them has already turned rebellious, especially after the Revolution.

Architecture is the Face of the Nation Dr. Ahmed Mito says Architecture always reflects certain spatial and temporal characteristics, and is closely correlated with the principles and ideas affecting the Architect›s personality, who designed such works and projects. Dr. Mito describes such argument as the «Architectural Temporal-Spatial Localism». Q: Which project you think expresses your personality most? A: All buildings reflect my personality. Through a quick look at any building, one can easily identify the Architect who designed it. Even if a number of buildings were different from each other or did not look alike, you would find a certain link as if they captured a part of the designer›s soul and personality. The designer›s personality is always manifested in each project. However, if the Architect›s personality is schizophrenic, one will notice a clear difference between his works, and even in the same design. Anybody who is closely related to art; a director, a painter, a fashion designer, a sculptor or a musician, can

easily discover the characteristics of each building, as well as type of the designer›s personality. Q: Is there a link between an era and its architecture? A: Of course, there is a strong relation, especially with the political aspect. Architecture is very expressive of politics and the political mode dominant during a certain era. There are different political-related types of architecture, such as antiregime, fascist and capitalist. In Egypt, You can see the 1970s open-door-policy Architecture dominant during Sadat›s era; the communist Architecture prevailing during Nasser›s rule; and the featureless Architecture dominating during Mubarak›s era, who completely razed our identity and tried to make it submit to globalization. Each political regime tries to spread its ideologies through several channels; architecture is one of them.

JUNE 2015

Q: Which one of your designs you were dissatisfied with? A: All of them. If you reconsidered a design of a project a year after implementation, you would find that you could do better thanks to development of your thought and style. I always evaluate my projects according to the basis; «I could do better.» However, some experiences may be close to your heart, then, regardless of the years elapsed, you would say, «At time of the design, it was very good.»

Egypt…7,000 Years of Civilization Egypt has once a great civilization that culturally and artistically influenced the whole world. Egypt has always carried the torch of leadership in Engineering and Architecture. Q: What about the design of the Supreme Constitutional Court? A: The Court project was one of a political nature. I entered the contest held for choosing the best design. When the President of the Court took a look at the different designs submitted, he said, «Those designs are inappropriate, you should call it clubs rather than courts.» I interrupt him, saying, «What do mean by ‘clubs’?» He reservedly looked at me and said, «Judges of foreign countries, whose civilizations are quite modern compared to ours, still wear wigs to maintain their old traditions and history. As for us, sons of 7,000year civilization, we design modern buildings.» Frankly speaking, his vision was absolutely right. The competition was reorganized, and I produced a pharaonic-inspired design. Those who created modern designs fiercely criticized me, arguing that I betrayed the Architect›s principles, which should take into account the temporal (20th Century) and spatial (Egypt) factors. I did not submit to their criticism, and forge ahead with my design with its fourteen columns at the entrance symbolizing the Ancient Egyptian laws of Wisdom and Justice. The design won the admiration of both the Court›s judges and observers. It was a valuable experience, but, I will not repeat it again. Q: What was the most challenging job? A: The Egyptian National Library and Archives project. There were a big number of foreigners participating in the competition, which created a climate of tension due to the big difference in architectural education, as well as ways of dealing with Architects. They were also experiencing a period of cultural stability. However, my designs proved that Egypt has the original secrets of Architecture. At that time, I was still young and hardly known among the architectural community. Now, I am afraid of repeating such experience, as I would be fiercely criticized if I made even a simple mistake.

JUNE 2015

Q: Your most criticized job? A: It was the Supreme Constitutional Court project. There was a conflict between two teams; the civil society and architects. However, the happiest moment of my entire life was when the juror selected my design in spite of the fact that he adopts a different attitude of architecture. The best manifestation of success is to be praised a person who adopts ideas and ideologies that are completely different from yours. The same thing happened in later contests. Unprecedented Failure to invest the North Coast Egypt›s major problem lies in the way of dealing with its wealth, let alone the ruthless attempts on the part of the corrupt administration system to frustrate anyone who introduces new ideas. I had a bad experience with the civil society, especially when I tried to make new proposals. Strikingly, when I held official positions, all development initiatives were doomed to failure. When I held the position of the head of the Egyptian Academy of Arts in Rome, I felt that Egyptians know nothing about efforts I was making there, while lights were shed on the Academy in Italy. I, therefore, felt the need to return to my firm, because «I am like a fish that dies if taken out of the water.» Q: As head of the Egyptian Academy of Arts in Rome, did you launch any cultural exchange programs between Egypt and Italy? A: Of course I did. As soon as I arrived in Rome, I brought a prism in the shape of a pyramid, and then let white light go through it. The glass pyramid breaks up white light into seven different colors. I told the audience that the different colors represent the glimmer of hope coming from Egypt, announcing that the Academy would organize seven events merging the Egyptian culture with its Italian and European counterparts. I designated a team for each event. Each team was made up of Egyptians and Italians. I selected some topics that are closely related to Egypt, especially the postRevolution Egypt, to test the West›s view of us and our view of ourselves. Those events participated in big festivals, but, Egyptians knew nothing about them. Q: What do you think of the current way of investment of the North Coast region? A: Over the last 18 years, I have repeatedly talked about the different ways of investment of the North Coast region, especially the hinterland area. There is clear randomness in carrying out investments to the tune of 300 billion Egyptian pounds to build scattered housing units or resorts that are used only one month throughout the year. I wonder; why does not government fully exploit such a huge region through the establishment of huge real estate projects, including resorts, hotels, housing units for rent, and universities? Students and workers will rent those housing units, thus, help make use of the region throughout the year. We can also develop beach investments in collaboration with Spain and Greece, with whom we can exchange tourist groups. This will bring in huge revenues.

JUNE 2015

Q: What do you think of the design of the new administrative capital? A: The project is quite unrealistic. There are missing links that we know nothing about. The question is; will all the Egyptian people move to the new administrative capital? Will the new residents be able to cope with the high prices there at a time when a big section of the Egyptian people struggles to keep the wolf from the door? There many questions that should be answered.

The Egyptian people have the ability to achieve anything if they wanted If everyone loved their work, he/she would greatly benefit Egypt. If only 50% of the Egyptian people gave due attention to their work, they would put Egypt on an equal footing with Japan and China. I love my work and continuously innovate, so I benefit Egypt. When you see the Egyptian people in national events, you get assured that they can achieve anything if they wanted. Egyptians were able to topple a whole regime in just 18 days, and made it again and toppled another regime in just three days. Q: Why did not you think of traveling abroad? A: Frankly speaking, many people warned me that I would not be able to carry out my projects in Egypt, and that I must travel abroad. However, I turned down scores of offers simply because I love Egypt and will never travel abroad. To be an «Egyptian» is a valued gift that many do not fully perceive. Egypt is a great country that should not accept charities from anybody. To cut a long story short, «If philosophers change peoples, it is Architects that make those people›s civilizations.» We should, therefore, pay more attention to architectural art and engineering. Architecture establishes the identity of any nation, and reshapes the mental and psychological system of any society. Architecture also reshapes civilization of some societies as is the case with Dubai.

JUNE 2015

Mito

STUDIO

JUNE 2015

Contrack FM

Facilities Management SAE The first leadingFacility Management Company in Egypt We manage

Nile City Towers & Smart Village projects Mr. Gerhard Meyer, Contrack FM Chief Operating Officer

Contrack

FM Facilities Management is a Facility Management Company that has in a relatively short time successfully managed to introduce best practice physical asset management into the Egyptian and North African market. ContrackFM Facilities Managementhas been able to win the trust of many firms and individuals who had a need for professional Facility Management services for their assets, especially where these assets represented substantial investment in immovable property assets. In the last few years property owners have invested in assets that required a high level of Facility Management expertise, so as to safeguard their investments, to obtain and maintain the reason for which they were developed. Although it is not yet common practice for building owners or investors to bring a Facility Manager onboard at the very initial design stages of projects, which would allow a much more optimized operating cost for the asset, ContrackFM Facilities Management nevertheless applies best practice when appointed for the Facilities Management of an asset.

Contrack FM Facilities Management has the capacity and capability toassist building owners right from the commencement of a new project to the final finished product. Possibly due to being perceived as a new discipline in Egypt ContrackFM Facilities Management mostly assume responsibility for new projects, representing quite large investments, where ContrackFM Facilities Management could have saved the building owner substantial future operating costs, and unfortunately find that certain design criteria employed then does not meet the owners criteria for the investment. As a result ContrackFM Facilities Managementhas included services specifically for addressing these needs of

JUNE 2015

building owners, to put in place those changes that will bring the asset in line with the investment objectives the owner desires. ContrackFM Facilities Management provides the more traditional hard engineering services aimed not so much as “to maintain”, but rather to provide owners with a systematic preventative program that allows much higher availability and the reliability of the systems that causes high consequences of failure for the building owner, or the occupants of the asset. ContrackFM Facilities Management also provides high quality soft services, making sure the assets are clean safe and friendly to the occupants, visitors and the public. All services are provided in strict compliance to the Occupational Safety and Health legislation, as well as compliance to the labour law, and NEBOSH standards.

Contrack FM

Facilities Management was established in April 2004 as the first integrated facility management company headquartered in Egypt. ContrackFM is an affiliate of the Orascom Construction group of companies. The company has invested in, and acquired in-house international expertise in the facility management field, now well entrenched with best practice build into every procedure and process necessary to manage physical asset correctly, and cost effectively.After the establishment of «Nile City» Towers, «Orascom»decided to create a facility management company to manage this high value project. Initially, «Orascom» faced difficulties due to the absence of suitable and professional hard and soft services providers in the Egyptian market, and was forced to make the decision to create the expertise in-house. Since then, the successful introduction of the services performed by the company has been welcomed by other major asset owners, which allowed ContrackFM to expand to the company it is today.

had an interview with Mr. Gerhard Meyer, Contrack FM Chief Operating Officerto answer some questions related to his Company and its future plans, at there headquarters situated in New Cairo: Q: When was «ContrackFM» established and how has it been developed to reach such success and achievements? A: ContrackFM(CFM) was established in April 2004 as the first integrated facility management company headquartered in Egypt, as an affiliate of the Orascom Construction group of companies in the field of facility management, based on a direct need they had for professional Facility Management services for the newly completed «Nile City» Towers. The establishment of the company and its initial success with managing Nile City very soon made the need for professional Facility Management services in Cairo quite obvious, and it did not take very long for other asset owners to enquire, and then appoint CFM to also take care of their expensive capital projects, to standards that they wanted for the assets in question. The company had identified a need in the market, which was simply the provision of consistent and reliable best practice Facilities Management. Currently ContrackFM SAE is concentrating on obtaining the best market share available from the fast growing Egyptian market, and has no immediate plans to expand to the GCC countries, (while always keeping an open door for the right opportunity) and at the same time keeping a close eye on the increasing economic activities happening south-wards in Africa.At commencement, the company had a staff compliment of about 70 staff members which has grown to almost 3,000 permanent staff members which has doubled for most of the last few years annually. Q: What are the most important projects managed by «ContrackFM» in Egypt? A: Our most important projects were obviously the «Nile City» towers› management, as our first appointment. From this early beginning we then expandedand have for many years now had a productive and mutually satisfying business relationship with Smart Villages. We have also focused on the management of private sector›s banks, such as CIB, HSCB, ENBD, QNB, NBK, NBAD and Mashreq Bank, in addition to a long standing relationship with the CBE. ContrackFM has also build a delivery program not just for the geographically wide spread banking sector, but also for the retail market, and we are proud to be delivering Facility Management services to the major brands under the Al Shayaa portfolio, as well as the well-known ADIDAS brand.

Q: What are your current projects? A: The most recent major contracts are those of the Cairo Festival City Mall owned by Al Futtaim, where CFM provides the hard Facility Management services as well as the IKEA, where we provide both the hard and soft services. A notable addition is the new Credit Acricole Egypt Head Quarters in New Cairo, where CFM provides both the hard and soft services. Q: How has the company managed to meet the needs of the market in a short period? A: ContrackFM are fully aware that we are providing the kind of services that is needed by owners of high engineering content buildings, and that our specialization in this field had built a reputation in the market. This market is expanding, and we are continuously improving our services delivery models to firstly stay in touch with new technologies, and also making sure we understand the changing needs of the asset owners. Q: What are the most significant problems faced by «ContrackFM» as one of the largest Facilities management companies in Egypt? The biggest challenge in today’s Facilities management world is the continuing gap that exists between the newly completed projects, and the reality of operating it. The obtaining of the information that must be exchanged from the professional teams who designed and managed the contractor building the asset to when it finally reaches the Facility managers desk is an arduous one, and still not up to expectation. New incentives like the “Cobie” program that seek to place the information directly into a computer aided Facilities management system is still a bit of a dream, but will hopefully be realized soon, because from an IT point of view, it is already possible. The other issue is quality staff seeking a career in Facilities Management. Egyptian Universities currently does not provide for a BSc (FM) degree. This is something that we would like to work on with the relevant authorities, to realize Facilities management as a new career path for interesting students, in this quickly growing discipline. Q: What are the desired objectives for «ContrackFM» in the future? A: Penetrating other regions in the Middle East and further south in Africa will always have unique challenges. CFM are open to any business opportunity that makes sense, and will add value for our shareholders and owners. Our philosophy is to have an open mind, and look at each opportunity in terms of its own merits and assessing the risks involved realistically.

JUNE 2015

Contrack FM commenced its first operations back in April 2004. It provides integrated facilities management services covering the Middle East and North Africa region successfully serving several segments of the market, and currently has contracts for facilities in the commercial, retail, health care, and business parks with special focus onthe banking sector. The Company’s scope of work includes hard engineering, civil and architectural repair & maintenance services, as well as soft services inclusive of housekeeping,deep clean hygiene services, and specialist façade cleaning, landscaping, pest control, catering and waste management & recycling services in addition to security services forIndustrial Health & Safety, Civil Defense and Evacuation control services for large commercial properties. Contrack FM is an Affiliate Company of the empire of Orascom

Construction group of companies headquartered in Cairo Egypt, and with offices and affiliates in Africa, the Middle East, Asia, and North America.OC is one of the largest construction companies in the Middle East and North Africa, with operations across the globe, along with its fully owned European based affiliate BESIX. Together they rankamongst the world’s largest general construction contractors. Orascom Construction specializes in large industrial and infrastructure projects and known for its huge success. Many of ContrackFMkeys technical staff are individual members of the International Facility Management Association IFMA; the world’s largest and most widely recognized international association for professional facility managers, supporting more than 19,000 members in 60 countries. All our junior operational staff is working towards initially obtaining the PFM (Professional Facility Manager) followed up with CFM (Certified Facility Manager) accreditation.

Contrack FM has, through a commitment to applying the best international standards, coupled with local knowledge, best procedures and practices managed to successfully concluding Facility Management contracts with some of the most successful local and well-knownMulti-National Companies in various business sectors across Egypt such as Multinational and local corporations, industrial complexes, Retail facilities and warehouses, hospitals, banking sector and many more. We are proud to say we are partners with our clients rather than serving them and we serve them with honour.

Scope of work covers the following: Hard services - Electrical Power reticulations - Air Conditioning and Refrigeration - Domestic and Fire Water reticulations - Water treatment - Sewerage management and treatment - Light Current Engineering, Building management systems, CCTV security systems - Telecommunications, data and business continuity plan implementation (BCP) - Architectural preservation and building maintenance services - Civil Maintenance repairs and maintenance - Energy management (to single source of supply buildings) Soft Services - House Keeping and hygiene services - Specialist façade cleaning - Pest Control - Security and Fire Safety Services - Landscaping - Cold Catering and beverage management Corporate Services - Space Management and Tenant Installations - Stationery Control - Mail Room and Courier Services - Receptionist and Telephone - Network Management - Logistic& transport services - Bulk soft services consumable supplies - Facility Management Consultancy for new developments - Immovable asset management - Development, mechanical & electrical equipment advice, and life cycle costing. - Location advice, Property & lease management& Tenant mix (retail)

Contrack FM

comprehensive facility Management services include the many unique requirements for each of our niche markets and address areas.ContrackFM creates effective workplaces by integrating people, operating the facilities and technology. It is a Total solutions company, which is capable of supporting its clients by undertaking any and all the non-core services the client requires to be supported with. These noncore services constitute the outer most circles of support services concerned with the infrastructural operations.

JUNE 2015

Nabil Ghaly…

the Architect who has revived the old heritage with modern taste "I swear to God that your love is coupled with my breath whenever the Sun rises in the east or sets in the west" these words are engraved by the artist architect Nabil Ghaly in Arabic frilly handwriting of the authentic heritage of "Hallaj" literature on the walls of El Ain Gallery. We have excerpts from the literary heritage decorating the internal and external parts of the place, in addition to the heritage decorative inscriptions that embellish the walls and doors. All such decoration and arts evidence a genuine artist, whose body and soul are completely inspired by the architectural heritage everywhere. Everything inside the place takes you on a tour to explore the details of heritage and traditions that are no longer seen nowadays.

Artistic architect Nabil Ghaly graduated from the Faculty of Fine Arts in 1962, after spending five years when he tasted and was schooled and fully inspired by distinguished group of professors. He spent such years inside the faculty›s walls to produce work and designs that have revived the spirit of the past among us but with modern taste. Ghaly has carried out many projects of the most important ones in Egypt and Arab world, such as «El- Sheikh Zayed Village in Sharm el-Sheikh, Midan El-Wosoul (Arrival Square) in Hurghada and the Palace of Queen Noor». Ghaly tells us about his career saying: «My life began from the moment I entered the Faculty of Fine Arts where I was taught by Hassan Fathy and Ramses Wissa Wassef. We (I and my colleagues) were always dazzled by Fathy and Wassef›s thoughts and styles, so, we did not have any opportunity to think differently in comparison with their perfect thoughts and ideas. We were always their top and chief concern, unlike current professors, and they spent most of their time with us inside the faculty. Hassan Fathy was coming at night carrying the violin to play until the early morning explaining the relationship between music, violin and architecture, while we were recording his lectures to hear them again.» If you see Ghaly›s office, you will think that it is one of the Fatimid houses of Cairo, but it lost its way to settle in one of the streets of luxury district of Dokki. At the office, you will find oriels adorning the entire place, while the contents of the office of marble, pottery and copper artifacts will take you to the spirit of the past. The sayings of supplications and invocations are woven and hung on the walls. All these dream-like decorations are not surprising for an artist schooled by the most prominent architects and artists who have been affected by the old heritage: «Hassan Fathy and Ramses Wissa Wassef» whose personal photos occupied part of the office. With regard to Ramses Wissa Wassef, Ghaly noted that he was also speaking a little, but he has the ability to teach a person how to see and analyze what he sees and how to check and note the minute details. Ghaly talks about his educational period saying: «We are a generation envied for being schooled and taught by Hassan Fathy and Ramses Wissa Wassef.» Ghaly failed to pass the aptitude test for the first time, after he was asked to draw a «wall supported on the Ionian style», while he did not realize its meaning, so he could not join the Department of Architecture. However, this failure did not make him abandon his dream, but he continued his free study at the faculty for more than seven months. Then, he was helping «Baba (father) Latif» give architecture lessons for the students. At the beginning of the new academic year, he applied once again to do the aptitude test and successfully passed the test to join the Department of Architecture. Ghaly›s father, who was head of the Institut d’Égypte, did not mind that his son spent a year in free study; as the father believed that a person should not do a profession he

JUNE 2015

‫املعامري الذي أعاد إحياء الرتاث‬ ‫القديم بلغة عرصية‬ ‫عامرتنا تنبع من تراثنا‪..‬‬

‫« والله ما طلعت شمس وال غربت إال وحبك مقرون بأنفايس « بخط عريب‬ ‫زخريف أصيل‪ ,‬نقشت هذه الكلامت من تراث أدب « الحالج « عىل جدران‬ ‫جالريي « العني « للفنان املعامري نبيل غايل‪ ,‬مقتطفات من الرتاث األديب‬ ‫زخرفت أنحاء املكان داخله وخارجه‪ ,‬نقوش زخرفية تراثية متأل الجدران‬ ‫واألبواب‪ ,‬إن دلت عىل شئ دلت عىل فنان أصيل تشبع جسده وتغذت‬ ‫روحه بالرتاث املعامري يف كل مكان‪ ,‬كل يشء بالداخل يأخذك يف جولة‬ ‫لتفاصيل وتقاليد تراث مل نعد نراه اآلن‪.‬‬ ‫إن رأيت املكتب الخاص به تظن أن أحد بيوت القاهرة الفاطمية قد ضل‬ ‫طريقة ليستقر بإحدى شوارع الدقي‪ ,‬مرشبيات تزين املكان بأكمله‪,‬‬ ‫محتويات املكتب من رخام وفخاريات ومشغوالت نحاسية تأخذك إىل‬ ‫روح املايض ‪ .‬تواشيح وابتهاالت نسجت وعلقت عىل الجدران‪ ,‬وهذا كله‬ ‫ليس بغريب عىل فنان تتلمذ عىل أيدي أهم الفنانني املعامريني الذين‬ ‫تأثروا بالرتاث القديم وهم « حسن فتحي ورمسيس ويصا واصف «‪ ,‬والذين‬ ‫احتلت صورهم الشخصية جزء من املكتب‪.‬‬ ‫تخرج الفنان املعامري نبيل غايل من كلية الفنون الجميلة عام ‪,1962‬‬ ‫بعدما قىض ‪ 5‬سنني ارتوى فيهم بالفن الرتايث املعامري عىل يد مجموعة‬ ‫متميزة من األساتذة‪ ,‬حياة بأكملها قضاها داخل جدران الكلية‪ ,‬ليخرج‬ ‫علينا بأعامل وتصميامت أحيت فينا روح املايض ولكن بنكهة عرصية‪,‬‬ ‫نفذ العديد من املشاريع يف مرص والعامل العريب أهمها « قرية الشيخ زايد‬ ‫برشم الشيخ وميدان الوصول بالغردقة وقرص امللكة نور»‪.‬‬ ‫مل ميانع والد الفنان نبيل غايل والذي كان رئيس املجمع العلمي املرصي‬ ‫أن يقيض إبنه سنة من حياته يف الدراسة الحرة حيث كان مؤم ًنا بأنه ال‬ ‫يجب عىل أحد أن يعمل مبهنة ال يحبها‪ ,‬فاإلنسان يقيض ‪ %80‬من وقته يف‬ ‫الشغل وإذا كان كار ًها عمله سيقيض بقية عمره كار ًها لحياته‪ ,‬لذلك كان‬ ‫ينصحه دامئا بأن يبحث عن ما يحب‪.‬‬ ‫عالقة وطيدة جمعت بني الفنان نبيل غايل وطالب من أقسام أخرى‬ ‫داخل كليته‪ ,‬جميعهم اجتمعوا عىل حب الفن‪ ,‬كان كل منهم يضيف‬ ‫لألخر مام تعلمه‪ ,‬قضوا كل أوقاتهم داخل الكلية اىل ان حدثت اضطرابات‬ ‫الحركات الطالبية فقامت إدارة الكلية مبنع مبيت الطلبة‪ ,‬فاحتج الجميع‬ ‫عىل هذا القرار فأصدرت الكلية قرا ًرا بالسامح باملبيت ولكن تحت إرشاف‬ ‫أحد األساتذة والذي كان « بابا لطيف «‪ ,‬كانت كل مجموعة من األقسام‬ ‫املختلفة تقيض أوقاتها سواء بالرسم أو النحت أو التصوير أو العامرة‪,‬‬ ‫فتعرف خاللها عىل أدم حنني وشادي عبد السالم والذي جمعته بهم‬ ‫قائل ‪ « :‬ذهبنا يف أحد املرات لهرم سقارة وقمنا‬ ‫ً‬ ‫ذكرى يحيك عنها‬ ‫بالتجول داخله‪ ,‬فقاموا بسؤايل ماذا رأيت ؟‪ ,‬فقلت بأنه يشء مبهر حقا‪,‬‬ ‫فأعادوا السؤال مرة أخرى وأنا ال أعرف ماذا أقول‪ ,‬فقاموا بتوبيخي وعلموين‬ ‫يف هذا اليوم كيف أشاهد وأفهم وليس مجرد النظر إىل اليشء فقط «‪,‬‬ ‫مضيفًا أن هرم سقارة من أغرب املعامر الذي أكتشفه‪ ,‬فطريقة بنيانه‬ ‫كانت مفاجأة للجميع أثناء الحملة التي تم اختياره لها لتقييم حالة الهرم‬ ‫أثناء ترميمه‪ ,‬فقد أكتشف أن الهرم عبارة عن حوائط مائلة عىل بعضها‬ ‫بشكل رأيس وليست أفقي كام إعتقد الجميع ‪.‬‬

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‫‪JUNE‬‬ ‫‪2015‬‬

‫« نحن جيل يحسد عىل‬ ‫تتلمذه عىل يد حسن فتحي‬ ‫ورمسيس ويصا »‬

‫‪criticized my silence and taught me on this day how I can see‬‬ ‫‪and understand anything instead of just looking at it.» Ghaly‬‬ ‫‪explains that the pyramid of Saqqara is one of the strangest‬‬ ‫‪architectural buildings he found out because the way of its‬‬ ‫‪structure was a surprise for all during the campaign when‬‬ ‫‪he was selected to assess the state of the pyramid during its‬‬ ‫‪restoration. Ghaly has discovered that the pyramid is made‬‬ ‫‪of vertically slanted walls not horizontal ones as everyone‬‬ ‫‪thought.‬‬

‫‪does not love because the person spends %80 of his life time to‬‬ ‫‪perform his/her job. If the person hates his/her profession, he/‬‬ ‫‪she will spend the rest of his time suffering the hatred of his‬‬ ‫‪life, so the father was always advising Ghaly to search and do‬‬ ‫‪what he loves.‬‬ ‫‪There was a good close relationship between the artist‬‬ ‫‪Nabil Ghaly and students from other departments within his‬‬ ‫‪faculty, when the common factor among all of them was‬‬ ‫‪the love of art. They were sharing with each other what they‬‬ ‫‪learned. They spent all their time inside the faculty until the‬‬ ‫‪disorders of the students› movements occurred, when the‬‬ ‫‪college management decided to prevent the overnight‬‬ ‫‪stay of students. Nevertheless, everyone protested against‬‬ ‫‪this decision, thus the college issued a new decision to allow‬‬ ‫‪overnight stay but under the supervision of a teacher who was‬‬ ‫‪«Baba (father) Latif». Each group of the different departments‬‬ ‫‪spent time through doing painting, sculpture, photography or‬‬ ‫‪architecture. During that period, Ghaly got acquainted with‬‬ ‫‪Adam Hanin and Shadi Abdel Salam, who have a memorial‬‬ ‫‪moment narrated by Ghaly saying: «We went one day to‬‬ ‫‪visit Step Pyramid of Djoser in Saqqara and walked around‬‬ ‫?‪its internal part. Then, they asked me «what have you seen‬‬ ‫‪«It is really something impressive,» I replied. They repeated‬‬ ‫‪the question again and I do not know what to say, but they‬‬

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JUNE 2015

Interior Design

Egyptian Ambassador of Design

Dalia Sadany`s new «Masterpiece»

White board turns into a painting by holding the iconic painter set colors and brush to come out full with a piece of art of their own making «.. Thus was the case likewise with Dalia Saadany engineered which has converted the white flat empty into what lies to say her» masterpiece «, was the product of four months of work and creativity and design, whole days spent alone inside the apartment meditate every inch the bearing fantasies and visions of what it will be to come out at the end of this creative design. Apartment in the Heliopolis area of 360 meters, has been working on it for 4 months continuous from the ground up, where she engineered Dalia Saadany design every part of it manually, beginning to choose paint colors and add some manual work on it, and design chandeliers and furniture and charted their own and asked specially manufactured. Where it was not just a choice of decoration magazines or exhibitions, but has actually drawing every part of the apartment and its implementation, so it came to buy the property rights of some of the paintings and the re-painted in different colors even in line with the paint colors and furniture. always prefer to use the contrast in colors to attract the eye and the fascination and focus in detail, as well as must break the dark colors with light colors or decorations containing makeup and reflection to give more special place in confined spaces space, and although the design of the place in a contemporary style «Modern «However, the colors used and

JUNE 2015

the manual additions to give the place a classic touch hinted at first glance. Engineered Dalia Saadany see that the design must be based on understanding of customer preferences and orientations and know all the details of his life and experience the full day for a long time, until you can repeat determine the design that would bring him psychological comfort serves him then within his future plans, and despite that an important client in the design view, however, can sometimes be his opinion is not appropriate, and here we must convince him that what he wants will achieve his desire for a short time and not long-term, and in the case of his insistence on something specific, there are of course other methods to circumvent the request and add some touches that will satisfy the desire of the client and check the designerâ&#x20AC;şs point of view also . Engineered Dalia Saadany able to implement the design for each section of the apartment both individually as used, design of the master bedroom is different from the design and colors of childrenâ&#x20AC;şs rooms is different from the design of the living room, but in spite of the difference must remain there what connects them all so as not to Feel the static contrast, it has also been taken into account during the design of the Egyptian traditions and customary habits, In terms of Inadmissibility that the bedroom be in the face of the living room

JUNE 2015

‫« لوحة بيضاء تحولت إىل لوحة فنية عىل‬ ‫يد رس املنزل مبنطقة مرص الجديدة‬ ‫يبلغ مساحته‪ 360‬مرتًا ‪ ,‬تم العمل عليه‬ ‫ملدة ‪ 4‬أشهر متواصلني من األلف إىل‬ ‫الياء ‪ ,‬حيث قامت املهندسة داليا‬ ‫السعدين بتصميم كل جزء فيه يدويًا ‪,‬‬ ‫بداية من إختيار ألوان الدهانات و إضافة‬ ‫بعض العمل اليدوي عليه ‪ ,‬و تصميم‬ ‫النجف و األثاث بنفسها و رسمه و طلب‬ ‫خصيصا له ‪.‬‬ ‫تصنيعه‬ ‫ً‬ ‫حيث مل يكن األمر مجرد إختيار من‬ ‫مجالت الديكور أو املعارض بل قامت‬ ‫املنزل‬ ‫من‬ ‫جزء‬ ‫كل‬ ‫برسم‬ ‫فعليًا‬ ‫و تنفيذه ‪ ,‬حتى وصل األمر إىل رشاء‬ ‫حقوق امللكية لبعض اللوحات الفنية‬ ‫و قامت بإعادة رسمها بألوان مختلفة‬ ‫حتى تتامىش مع ألوان الدهانات و األثاث‬ ‫املتواجد ‪.‬‬ ‫دامئا ما تفضل إستخدام التناقض يف‬ ‫األلوان لجذب العني و اإلنبهار و الرتكيز‬ ‫يف التفاصيل ‪ ,‬كذلك يجب كرس األلوان‬ ‫الغامقة بألوان فاتحة أو ديكورات تحتوي‬ ‫عىل مرايات و إنعاكاسات لتعطي مساحة‬ ‫أكرب للمكان خاصة يف األماكن الضيقة‬

‫و عىل الرغم من تصميم املكان‬ ‫عىل الطراز العرصي « املودرن « إال أن‬ ‫األلوان املستخدمة و اإلضافات اليدوية‬ ‫كالسيكية‬ ‫ملسة‬ ‫تعطي‬ ‫املكان‬ ‫عىل‬ ‫تلمحها من الوهلة األوىل ‪.‬‬ ‫التصميم كام ترى املهندسة داليا يجب‬ ‫أن يقوم عىل فهم ميول العميل و و‬ ‫توجهاته و معرفة كافة تفاصيل حياته‬ ‫و معايشة يومه بالكامل لفرتة طويلة‬ ‫‪ ,‬حتى تسطيع تحديد التصميم الذي‬ ‫يحقق له الراحة النفسية و املعيشية‬ ‫و ما يخدمه بعد ذلك ضمن خططه‬ ‫املستقبلية ‪ ,‬و عىل الرغم من أن رأي‬ ‫العميل مهم يف التصميم إال أن يف‬ ‫بعض األحيان يكون رأيه غري مناسب ‪,‬‬ ‫و هنا يجب إقناعه بأن ما يريده سيحقق‬ ‫رغبته لفرتة قصرية و ليس عىل املدى‬ ‫الطويل ‪ ,‬و يف حالة إرصاره عىل شئ‬ ‫معني فهناك بالطبع أساليب أخرى و‬ ‫تحايالت عىل ما طلبه و إضافة بعض‬ ‫اللمسات التي تريض رغبة العميل و‬ ‫تحقق وجهة نظر املصمم أيضً ا ‪.‬‬ ‫السعدين‬ ‫داليا‬ ‫املهندسة‬ ‫إستطاعت‬ ‫تنفيذ التصميم لكل قسم من املنزل‬

‫كالً عىل حدى حسب إستخدامه ‪ ,‬فتصميم‬ ‫غرفة النوم الرئيسية يختلف عن تصميم‬ ‫وألوان غرف األطفال يختلف عن تصميم‬ ‫غرفة املعيشة ‪ ,‬ولكن عىل الرغم من‬ ‫اإلختالف يجب أن يظل هناك ما يربط بهم‬ ‫جميعا حتى ال يشعر الساكن بالتنافر ‪,‬‬ ‫كام وضعت يف الحسبان أثناء التصميم‬ ‫املتعارف‬ ‫العادات‬ ‫و‬ ‫املرصية‬ ‫التقاليد‬ ‫عليها ‪ ,‬من حيث حرمانية األماكن فال‬ ‫ميكن أن تكون غرفة النوم يف مقابلة‬ ‫غرفة املعيشة ‪.‬‬ ‫ّام مبدع ممسكًا مبجموعة ألوانه و‬ ‫فرشاه ليخرج بقطعة فنية كاملة من‬ ‫صنع يديه « ‪ ..‬هكذا كان الحال باملثل مع‬ ‫املهندسة داليا السعدين التي إستطاعت‬ ‫أبيض خاوي إىل ما يكمن‬ ‫تحويل منزل‬ ‫القول عنه « تحفة فنية « ‪ ,‬والتي كان نتاج‬ ‫‪ 4‬أشهر من العمل و اإلبداع و التصميم ‪,‬‬ ‫يو ًما بكامله تقضيه مبفردها داخل املنزل‬ ‫تتأمل كل شرب فيه واضعة تخيالت و‬ ‫تصورات ملا سوف يكون عليه لتخرج يف‬ ‫النهاية بهذا التصميم املبدع ‪.‬‬

‫داليا السعدين‬ ‫سفرية التصميم املرصية‬ ‫ترسم لوحة فنية جديدة‬

‫رسام مبدع ممسكًا مبجموعة ألوانه‬ ‫« لوحة بيضاء تحولت إىل لوحة فنية عىل يد ّ‬ ‫و فرشاه ليخرج بقطعة فنية كاملة من صنع يديه « ‪ ..‬هكذا كان الحال باملثل مع‬ ‫أبيض خاوي إىل ما يكمن القول‬ ‫املهندسة داليا السعدين التي إستطاعت تحويل منزل‬ ‫عنه « تحفة فنية « ‪ ,‬والتي كان نتاج ‪ 4‬أشهر من العمل و اإلبداع و التصميم ‪ ,‬يو ًما‬ ‫بكامله تقضيه مبفردها داخل املنزل تتأمل كل شرب فيه واضعة تخيالت و تصورات‬ ‫ملا سوف يكون عليه لتخرج يف النهاية بهذا التصميم املبدع ‪.‬‬

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‫‪JUNE‬‬ ‫‪2015‬‬

‫‪74‬‬

Architect/Architecture & Interior Design Business Unit Leader

Dina El Khachab

Interview

We aim to create special eternal designs and believe in understanding client`s needs

1. Have you spent your whole life abroad? I was born and raised in Montreal, Canada, and moved to Egypt when I was 23 years old. 2. Undoubtedly, there is clear differences between the education methods in Egypt and abroad, Could you tells us about your study abroad and what are the most significant matters that attracted your attention? What I really appreciated being in Canada was the independence I had and the self-sufficiency that was required from an early age. You are given a lot of responsibility in school and I think this what allowed me to grow. I also think the education abroad teaches you how to think for yourself, for the most part. 3. Have you wished, anytime, to come back to Egypt to study here? No not really, I didn’t really consider this an option until I was older, my whole family was in Canada.

Eklego is a word rooted in Greek that means «eclectic». This word was selected by Dina El-Khachab and Hedayat Islam, who are among the most famous décor designers, to be the name of their project and its aim at the same time. Eklego means selecting the best of all cultures and methods in order to create a piece which expresses the spirit and objective of the office. Moreover, Eklego depends upon integrating the modern methods with local traditions to create special eternal masterpiece just with the aim to satisfy the clients› desires.

JUNE 2015

4. You have recently come back to Egypt after studying Artist Hassan Fathy›s work, why do you choose this artist, in particular? When I graduated from McGill University, I was given a grant to study a topic of my choice, the topic I chose was Hassan Fathy. I chose him because I believe that he was a great architect that tried to maximum nature and its elements to live in the most comfortable way possible, without depending on modern day inventions and technologies. And although he was considered “An architect for the Poor,” I think his theories and philosophies should be applied to almost all small-scale architecture, whether is be for the poor or for the rich.

JUNE 2015

5. What are the most important things that attracted your attention when you were studying Artist Hassan Fathy›s work? Have you felt, at any moment, that your study under Fathy supervision would have been better? I think the thing that most stands out is that his architecture is minimally decorated and still stands out as beautiful and very comforting to be in. As well, his philanthropic vision for the architecture of the country was inspiring. 6. Have you impressed by Fathy›s work and style in your career later on? We do little architecture work, therefore we do not use any of his techniques but his lessons remain with me always. 7. Why have you not completed your career abroad? When I moved to Egypt, the plan was to stay for 2 years and then to go back to Canada, but I ended up loving the country and the people I work with and all my friends so I decide to stay. 8. Have you studied the Egyptian Islamic Heritage Art abroad? No I took a few classes in AUC when I moved but nothing abroad. 9. How do you get acquainted with Hedayat Islam and start partnership with her in Eklego? Hedayat Islam was a friend that I had made short after my arrival to Egypt and we decided to do some freelance projects together for a few years, we really enjoyed working together and after 3 years we got an office and began the company officially. We have another partner who joined us in 2009 and is a graduate of Harvard business school and is responsible for growing the Retail Business Unit. 10. Why have you decided to open Eklego in Egypt? This is just what happened as we were both living here at the time.

JUNE 2015

12. What is the first project you carried out in Egypt and what is your feeling at that point? The first project Hedayat Islam and I did together was a Private Residence in Kattameya Heights. Hedayat was doing interiors before we became partners. 13. What is the largest or most important project that Eklego was tasked with its implementation in Egypt? The largest project to date that Eklego was commissioned to do was Forty West in Sodic’s Westown. 14. The understanding of clients› needs is an important matter for the process of design… So, how do you deal with this challenge and how do you handle the clients in case they are hesitated or do not know their needs specifically? We go a through a series of different brainstorming sessions where we look at photos or discuss places they may have visited and liked, etc. from this we are able to understand more or less what they want and are able to convince them. In the case where they are still hesitant we resort to full size mock-ups where the client can see things built in real life and usually this erases all the hesitation.

15. Eklego depends upon collecting, designing and manufacturing furniture… So, what is the type of furniture you are collecting? We mainly design and produce our own collection of contemporary furniture and sometimes we look to collaborate with different companies. When we do approach companies we approach companies that have great contemporary and unique designs. 16. Eklego is a Greek word that means «eclectic», which indicates that you always choose the best things in everything you do? What is your favorite heritage? Eklego actually is rooted in Greek but means “eclectic.” This means that we take inspiration from many different places and style and make it all work together in one space. We get inspired by a lot of different things that we all love equally and that’s why this word describes us very well. 17. Have you developed and presented projects for showing Egyptian heritage abroad? We use elements of Egyptian heritage in a lot of things we do but very subtly. For example we can take a pattern from the Fatimid times or from the Pharaonic times and we can re-interpret it and embed this pattern in a Plexiglas table or tray. These tables have been sent to London and sold in “Jam Space,” a new concept store in London, currently managed and owned by Hedayat Islam. 18. Are you happy with your achievements in Egypt so far or do you still have more and more to provide in Egypt? We are extremely proud of what Eklego has become today and we hope to continue to grow in both fields. We would like to become a complete interior design and decoration service one day. From A-Z for all different styles of clients.

JUNE 2015

Coverage

Milan Furniture Fair in the eyes of Egyptian Designer Dr. Khaled Mehrez

Professor of Furniture Design Milan Furniture Fair is one of the most important and famous international fairs of furniture as this fair is held in Italy. Italy is the country of art and beauty which has recently become a fashion center and a source of ideas and innovative lines of the design in all fields related to the world of design, in general, and furniture, furnishings and lighting, in particular. I try to visit this fair regularly from year to year. On the sidelines of Milan Furniture Fair, several conferences and scientific seminars of design are held, where some halls are allocated to discuss the ideas of junior designers of university students and the academies of art and design. Such efforts aim at encouraging these designers and discover their talents and creative ideas, in addition to giving opportunities to major industrial companies to lend a hand to the applicable ideas.

various carvings and decorations. Moreover, there are luxurious fabrics with the use of gray colors. In some cases, there is emphasis on the technical subject through using a certain color underlying the character of product, such as nickel chrome coatings that add glitter on the final metal products with gray, brown, beige and white with its degrees, silver and golden sometimes. Furthermore, certain colors are used, such as the main important lines between the said colors, that create a state of harmony and emphasize the character of the place. Additionally, attention is paid to the minute details of design and the integration between the choice of lighting, carpets, furniture and accessory that helps to see the proposed topics as a whole. The most important exhibiting companies that gained my interest was Giorgio collection Gianfranco ferre la contegruppotomasellacalligarisp rianera reflex Tosco ticcia

Milan Fair 2015 is more powerful and important; as it is characterized by the technological progress and innovations, whether at the technical level, machine or modern materials. The Fair was also characterized by the ability to implement all imagined designs accurately and elaborately, in addition to having the fine lines and diversity of creative methods. The most important characteristics of the Fair are represented in order, good coordination and the planning of exhibition halls according to the defined specialty. I am usually interested in visiting the halls of the design and classical furniture; as well as modern furniture halls. The lines of 2015 Fair is also marked by using different types of ebony veneer and glossy coatings and blending them with bright colors, in addition to using raw materials such as multi-color leather with

JUNE 2015

Perfume bottle designs for The Garden of Wonders Karim mekhtigian design studio Concept The concept was inspired by the idea of creating a flacon without any references to a brand or scent. With this in mind, we focused on the scent as the main concept with its elusive and volatile nature. The flacon designs followed the same idea that is expressed in their attempt to defy gravity in form and shape. Linking this concept to the olfactory experiences of every person, the subtle combination of top, middle and base notes of a future scent will unleash memories that are deeply rooted in the treasury box of our minds.

Designerâ&#x20AC;&#x2122;s Note Developing the flacon design posed a big challenge for me because I had no direct reference to a brand, scent or perfume with its own physiognomy. I had to create a perfume container in the abstract while trying to be very innovative and utterly scent-less. The glass is cut in a way that creates reflections of light that accentuate the material used. I distilled my character into the flacon with the base notes of my personality and will use it with anticipation as the decanter of the golden liquid.

JUNE 2015

I want to capture a collection of olfactory memories that mirror the connection between sense and scent. Perception and philosophical understanding of the perfume will be elevated when it is put in relationship with olfactory stimulation. Being stuck in the luxury brand and fashion context, no time is spent contemplating the perfume for its very own beauty and the message it carries inside its molecules. Nowadays, too much importance is attached to the packaging and brand image as opposed to the molecular personality of the perfume itself. The marketing aspect has robbed most of todayâ&#x20AC;&#x2122;s perfume creations of their organic message it tries to evoke by connecting it to very personal memories.

KYME Black earth C A I R O

Alchemy JUNE 2015

JUNE 2015

International

ElĂas Rizo revives architectural style of Casa RO

Casa RO

Before the Casa RO restoration, the building had undergone several failed interventions and had deteriorated considerably over time. However, there was much that could be rescued. We began by demolishing some of the adjacent areas of the house and working to preserve most of the ground floor intact. From there we proceeded to intervene the building in a chirurgical fashion to make way for the new program.

Project Located in a well-established residential area Casa RO in Guadalajara, Casa RO is the product of a Project description meticulous restoration undertaking. The original

house was built in the late 60s in the international style and had once featured all the aesthetic concerns that dominated the architectural production of its day. Its orthogonal geometry, its frank distribution, its openness to the exterior and the materials used in its construction were some of the cues from which we initiated the arduous process of intervention. The main challenge was to adapt this aged shell of a house to suit the needs of a contemporary young family, without altering its essence.

JUNE 2015

The intervention favors comfort, durability and habitability over avant-garde architectural expression. Throughout the house, space breathes modestly through clean lines and little obstruction, and allows materials to take on a more prominent role. We find wood, in various formats, hues and textures, dressing many of the surfaces of the house and providing warmth and softness where it is needed. We used stone in various shapes, sizes and finishes, to harmonize with the existing marble floors, which we worked to preserve as best we could. Furniture too plays an integral role in the house; this is especially evident in the living spaces and the vestibule.

JUNE 2015

The design of the house envelope responds to orientation and climate comfort. Operable wood screens slide on invisible rails past the windows in the back spaces of the upper level, to reveal or conceal the master dormitory.

Casa RO

The new project organizes the program of the house to revolve around two central areas; a double height vestibule by the entry and an outdoor terrace at the back of the house. The former was preserved in its original condition and designated as an open, transitional space, populated by a series of drift wood sculptures; the latter had to be created to provide a large, flexible space for the family to gather at various times of the day.

JUNE 2015

Casa RO

Project

Casa RO

JUNE 2015

‫" إليا ريزو" تعيد إحياء طراز منزل‬

‫منزل كاسا رو‬

‫‪Casa RO‬‬

‫مل يهتم برنامج التجديد بالرتكيز‬ ‫عىل إدخال أحدث فنون الطراز‬ ‫املعامري ‪ ،‬بل مال إىل تحقيق عدة‬ ‫عنارص أهمها الراحة‪ ،‬وتعزيز قدرة‬ ‫املبنى عىل التحمل والصمود أطول‬ ‫للسكن‪.‬‬ ‫والصالحية‬ ‫ممكنة‪،‬‬ ‫فرتة‬ ‫كام حرص عىل زيادة الفضاء داخل‬ ‫املنزل من خالل تقليل املعوقات‬ ‫وإعطاء الفرصة للخامات التي أدخلت‬ ‫يف عملية التجديد لتعرب عن نفسها‬ ‫ُيكن ملن‬ ‫وتظهر للعيان‪ .‬وهكذا‪،‬‬ ‫يتجول داخل املنزل أن يرى بوضوح‬ ‫الدور البارز للمواد الخشبية التي‬ ‫تظهر يف أشكال وألوان ومالمس‬ ‫مختلفة لتغطي العديد من األسطح‬ ‫حيثام‬ ‫والنعومة‬ ‫الدفء‬ ‫وتبعث‬ ‫ذهب أفراد األرسة داخل املنزل‪.‬‬ ‫باألحجار‬ ‫االستعانة‬ ‫جرى‬ ‫كام‬ ‫وتشطيباتها‬ ‫وأحجامها‬ ‫بأشكالها‬ ‫أرضيات‬ ‫مع‬ ‫لتنسجم‬ ‫املختلفة‬ ‫الرخام املوجودة من األصل‪ ،‬والتي‬ ‫سعى برنامج التجديد للحفاظ عليها‬ ‫بأفضل طريقة ممكنة‪ .‬كام لعب‬ ‫األثاث أيضا دورا أساسيا ومكمال يف‬ ‫املنزل‪ ،‬والذي ظهر بوضوح يف غرف‬ ‫املعيشة والردهة‪.‬‬

‫يقع املنزل يف واحدة من أعرق املناطق السكنية يف مدينة غوادالخارا املكسيكية‪.‬‬ ‫وقد ظهر «كاسا رو» بهيئته الحالية بعد عملية ترميم وتجديد غاية يف الدقة ‪,‬‬ ‫حيث تم بناء املنزل يف أواخر ستينات القرن املايض عىل الطراز املعامري الدويل‪،‬‬ ‫والتي متثلت فيه جميع مظاهر جامليات العامرة التي سادت يف ذلك الوقت‪.‬‬ ‫وقد اعتمدت عملية التجديد عىل‬ ‫عنارص عامرته األساسية ‪ ,‬املتمثلة‬ ‫يف األشكال الهندسية ذات الزوايا‬ ‫املتساوي‬ ‫والتوزيع‬ ‫املتعامدة‬ ‫‪,‬‬ ‫أقسامه‬ ‫كافة‬ ‫بني‬ ‫ملساحته‬ ‫كذلك انفتاح داخله عىل خارجه‪،‬‬ ‫املستخدمة‬ ‫املواد‬ ‫إىل‬ ‫باإلضافة‬ ‫يف عميلة البناء‪ .‬ولكن كان التحدي‬ ‫الرئييس الذي واجه عملية الرتميم‬ ‫هو كيفية تجديد الهيكل القديم‬ ‫للمنزل مبا يتوافق مع احتياجات‬ ‫دون إدخال أية‬ ‫العائلة املعارصة‬ ‫تغيريات عىل جوهره األصيل‪.‬‬

‫‪93‬‬

‫‪JUNE‬‬ ‫‪2015‬‬

‫محاوالت عديدة تم تنفيذها إلحياء‬ ‫املنزل مرة أخرى ‪ ,‬والتي مل تزد‬ ‫األمر اال سوءا ‪ ,‬حيث بائت جميعها‬ ‫بالفشل و تسببت يف إالحاق الرضر‬ ‫باملبنى مع مرور الزمن ‪ ,‬لذلك قام‬ ‫مكتب « إليا ريزو للعامرة « مبحاولة‬ ‫إنقاذ ما تبقى من الهيكل الرئييس ‪,‬‬ ‫وبدأت عملية التجديد بإزالة بعض‬ ‫مع‬ ‫للمنزل‬ ‫املجاورة‬ ‫املساحات‬ ‫الرتكيز عىل الحفاظ عىل معظم‬ ‫مساحة الطابق األريض سليمة دون‬ ‫أرضار ‪ ,‬وتم ترميم املبنى بطريقة‬ ‫دقيقة تهدف اىل افساح املجال‬ ‫لتنفيذ الربنامج الجديد الذي جرى‬ ‫إعداده خصيصا لهذا املنزل‪.‬‬

‫متحور برنامج مرشوع التجديد حول منطقتني رئيسيتني هام ‪ :‬الردهة ذات السقف مزدوج االرتفاع واملجاورة للمدخل‪ ،‬والرشفة‬ ‫الخارجية التي تقع يف الجزء الخلفي للمنزل ‪ ,‬وكانت الردهة لحسن الحظ مازالت محتفظة بشكلها و حالتها ‪ ,‬حيث جرى تصميمها‬ ‫كمساحة مفتوحة تربط بني خارج املنزل وداخله وتحتوي عىل عدد من املنحوتات الخشبية ‪ ,‬أما الرشفة فقد صممت بغرض توفري‬ ‫مساحة واسعة تجتمع فيها األرسة خالل أوقات اليوم املختلفة‪.‬‬ ‫‪JUNE‬‬ ‫‪2015‬‬

‫‪92‬‬

Jasper and Jeroen:

simplicity, depth and attention attracting are our goals of design

We are Jaspar Jansen (1970) and Jeroen Dellensen (1972) In ‘01 we joined forces and a year later i29 l interior architects was born, a creative and versatile interior design studio. Our aim is to create intelligent designs and striking images. Space is the leitmotiv, the result always clear, with a keen eye for detail. Our approach is practical yet based on strong ideas articulated in clear concepts. We try to get to the core of things but keep it looking simple. Our clients are open minded and involved. It is most important to us to enjoy the process together and to get everything out of it!

We are not alone in our voyage. In a short period of time many projects have been realized for a wide variety of clients, both private and business. We’ve been nominated several times for awards like the Rotterdam Design Award, dutch design awards, LAI awards and The Great Indoors award. We won the Dutch Design Prize for best interior design and The Great Indoors Award for best office design. Our projects have been published in (inter) national magazines and books.

jury rapport The Great Indoors Award 2009 / interior design firm of the year: «The fact that this firm has been nominated twice before, in the categories Concentrate & Collaborate and Serve & Facilitate, illustrates the convincing power of the projects of i29 Interior Architects. In the jury’s eyes, this firm shows how capable it is of linking architectonic components with intensive studies of surfaces that gain maximum impact through the use of a colour or typography. This firm represents a method in which architecture and interior architecture come together in a model combination».

This single-family apartment for four people is situated in a stately building in southern Amsterdam, NL. The original structure, with rooms for staff, a double hall and long hallways with lots of doors has been transformed into a spacious, transparent dwelling full of light and air. A kitchen in combination with cabinets from floor to ceiling has laser-cut front panels, all spray painted white. This pattern results in a dynamic mixture of open and closed cabinets, the holes also function as integrated handgrips. The transparency of the object’s skin gives depth to the volume which is complimented by furniture like the Grcic chair one. An atrium with open staircases brings natural light from a large roof light into the living area. Along the open staircase a wall of two stories high is covered with clear pine wood, and connects the two levels. Upstairs the master bedroom is situated next to a large bathroom with a finish of structured tiles from Patricia Urquola, glass, and wooden cabinets. JUNE 2015

jury rapport The Great Indoors Award 2009 / Serve & Facilitate: (school 03) After years of disqualification based on typology, suddenly the school seems to be once again the focal point of interest of architects and interior designers. The level of interest has led to an interior architecture that revisits the interface of optimum education and an optimal spatial environment. The jury was deeply impressed by this project by i29 interior Architects and Snelder Architects, in which they see an extraordinarily

jury rapport The Great Indoors Award 2009 / concentrate & collaborate: (office 03) «Temporality and sustainability are concepts difficult to reconcile. This is an observation that certainly holds true for the interior, and raises an important question for the future, given that many interiors do not last longer than five years. This design for a temporary office seems to have formulated an answer to the call for identity and the demand for sustainability. With this simple manoeuvre, by which all individual elements are connected by the colour black and a simple zoning system, i29 Interior Architects formulates an intriguing answer to this demand, and presents an outstanding case study».

mature touch that articulates a variety of spaces in a remarkably focused way. But at the same time, the interior manoeuvres used in this project demonstrated a focused specificity in both the unique furniture designs and the service of the school’s educational mission. The jury appreciates the way in which every aspect of the interior design was approached to produce a clear image vocabulary.

JUNE 2015

‫جاسرب و جريوين ‪:‬‬

‫البساطة ‪ ,‬العمق ‪ ,‬لفت اإلنتباه‬ ‫هدفنا يف التصميم‬

‫شقة مخصصة ألرسة واحدة مكونة من أربعة أفراد ‪ ,‬تقع يف‬ ‫مبنى فخم يف جنوب أمسرتدام يف هولندا‪ ،‬تم تحويل هذا‬ ‫الهيكل اإلنشايئ األصيل والذي يحتوي عىل غرف للموظفني و‬ ‫صالة مزدوجة باإلضافة إىل ممرات طويلة بها العديد من األبواب‬ ‫‪ , .‬إىل مسكن فسيح شفاف ميأله الضوء والهواء‬

‫كام يحتوي املطبخ املدمج بخزانات ممتدة‬ ‫من األرضية حتى السقف عىل ألواح أمامية‬ ‫تم تقطيعها بالليزر‪ ،‬و التي تم طالئها كامالً‬ ‫باللون األبيض‪ .‬مام نتج عن هذا النمط مزيج‬ ‫دينامييك من الخزانات املفتوحة واملغلقة‪ ،‬و‬ ‫الفتحات أيضً ا كمقابض متكاملة‬ ‫استخدمت‬ ‫لفتح األبواب‪ .‬ذلك باإلضافة اىل العمق الذي‬ ‫مبا‬ ‫املوجودة‬ ‫األغراض‬ ‫شفافية‬ ‫تعطيه‬ ‫يتكامل مع األثاث مثل كريس غراسيك‬ ‫«‪ .»Gracic‬كام تعمل الدهاليز ذات السالمل‬ ‫الطبيعي‬ ‫الضوء‬ ‫تدفق‬ ‫عىل‬ ‫املكشوفة‬ ‫ملنطقة املعيشة من خالل فتحة السقف‬ ‫الكبرية املتواجدة ‪.‬‬

‫‪97‬‬

‫‪JUNE‬‬ ‫‪2015‬‬

‫كذلك تم تغطية السلم املكشوف عىل‬ ‫إرتفاع الطابقني بخشب الصنوبر ناصع اللون‬ ‫لربط الطابقني ببعضهام ‪ ,‬حيث يوجد يف‬ ‫األعىل غرفة النوم الرئيسية إىل جانب حامم‬ ‫كبري تم تشطيبه باستخدام بالط باتريشيا‬ ‫اوركيوال «»‪ Patricia Urquola‬مع الزجاج‬ ‫والخزانات الخشبية‪.‬‬ ‫كل هذا تم تصميمه عىل يد جاسرب جانسني‬ ‫و جريوين ديلينسني مؤسيس مكتب أي ‪29‬‬ ‫الذين‬ ‫‪,‬‬ ‫الداخليني‬ ‫املعامريني‬ ‫للمهندسني‬ ‫أنشأوا هذا املكتب بعد أنضاممهم لقوات‬ ‫الجيش بعام ‪ ,‬و هو عبارة عن أستوديو‬ ‫تصميم داخيل إبداعي هدفه األسايس إنشاء‬ ‫تصميامت ذكية و صور الفتة لإلنتباه ‪ ,‬من‬ ‫خالل منهج علمي قائم عىل افكار قوية و‬ ‫مفاهيم واضحة يتم التعامل فيها مع جوهر‬ ‫األشياء مع الحفاظ عىل بساطتها ‪.‬‬ ‫”‬ ‫كام تم ترشيحهم مرتني من قبل لجائزة‬ ‫‪ , « the great indoors‬والتي قالت عنهم لجنة‬ ‫التحكيم املسئولة عن منح هذه الجائزة ‪ ,‬أن‬ ‫ترشيحهم مرتني يوضح مدى القوة اإلقناعية‬ ‫التي تقدمها مشاريع آي ‪ 29‬للمهندسني‬ ‫املعامريني الداخليني ‪ ,‬و مدى قدرتها عىل‬ ‫والتنشيطية‬ ‫املعامرية‬ ‫املكونات‬ ‫بني‬ ‫الربط‬ ‫مع الدراسات التوسعية للمساحات الخارجية‬ ‫وإستخدامها لأللوان والطباعة لزيادة التأثريات‪.‬‬

‫كام متكنت الرشكة خالل فرتة قصرية من إنجاز الكثري من املرشوعات ملجموعة متنوعة من العمالء عىل‬ ‫املستوى الخاص ومستوى النشاط التجاري ‪ ,‬وتم ترشيحهم مرات عديدة لجوائز كثرية مثل جائزة روتردام‬ ‫للتصميم وجوائز التصميم الهولندية وجوائز اليا «‪ »LAI‬وجائزة ذا جريت إندورز «‪ .»The Great Indoors‬وجائزة‬ ‫التصميم الهولندية ألفضل تصميم داخيل وجائزة ذا جريت إندورز «‪ »The Great Indoors‬ألفضل تصميم مكتبي‪.‬‬ ‫باإلضافة إىل ذلك‪ ،‬تم نرش مرشوعاتهم يف املجالت والكتب املحلية والدولية‪.‬‬

‫‪JUNE‬‬ ‫‪2015‬‬

‫‪96‬‬

espacio

AS-BUILT DESCRIPTION: “THE ARCHITECT’S CABIN” In this project we tried to build our “cabin”, a shelter to make us feel comfortable to develop our work as architects. With this aim we tried to arrange a typical ground floor of the XVIII century’s center of Ferrol. A narrow and elongated plot (5x16 m.), with few sunlight hours. The whole container (walls and ceiling) was painted in dark grey, in contrast with the stark whiteness of the floor and the lacquered MDF surfaces of the cabin. Indirect ambient LED lightning provides clearness to the, initially, dark space. Besides, this allows cutting down the energetic waste.

espacioAS-BUILT

Nature" is the best design" option for architects for comfort

All the construction is made with dry joint, with a system similar to the American’s “balloon frame”, due to a framework of red pine wood (70x100 mm.) covered (and braced) with MDF strips (19x150 mm.) white lacquered.

Therefore, we created an “upside down keel board”, a white long structure to cover us, where our work will be developed. This structure is displaced of the façade, creating a lobby to receive clients and to gaze at the cabin. Here, a tree-shape performance welcomes us. It is made with geometric white plastic glasses. In reference to The Tree as the primary human’s shelter against Nature, which will be transformed in the future into The Cabin…

The walls in the rest area (out of the shell of the cabin) are coated with a warmer material, OSB panels (16 mm.), in contrast with the dark grey walls and ceiling. All the wiring is hidden behind the cabin.

espacio

AS-BUILT 98

JUNE 2015

‫« الطبيعة »‬

‫خيار املعامريني يف التصميم للشعور بالراحة‬

‫جميع ما يف املبنى مصنوع من‬ ‫مواد جافة عىل نظام مامثل لــ‬ ‫«إطار منطاد البالون» األمرييك‪،‬‬ ‫حيث يتكون من إطار خشبي‬ ‫من صنوبر أحمر اللون ( ‪100 × 70‬‬ ‫مليمرت) تم تغطيته و تقويته‬ ‫بألواح من خشب ليفي متوسط‬ ‫الكثافة «‪»MDF‬‬ ‫‪ )150 × 19‬مليمرت) مطيل بورنيش‬ ‫أبيض اللون ‪.‬‬ ‫كذلك تم طالء الجدران يف‬ ‫باقي املساحة خارج املقصورة‬ ‫بطبقة من مادة تحقق دفئًا أكرث‬ ‫مع استخدام األلواح املجدولة‬ ‫(‪ 16‬مليمرت) عىل العكس من‬ ‫اللون‬ ‫ذي‬ ‫والسقف‬ ‫الجدران‬ ‫الرمادي الداكن ‪ .‬يف حني يتم‬ ‫خلف‬ ‫األسالك‬ ‫جميع‬ ‫إخفاء‬ ‫املقصورة ‪.‬‬

‫« مقصورة « لتكون مأوى لهم مينحهم الشعور‬ ‫كمهندسني معامريني ‪ .‬و يف إطار ذلك قاموا برتتيب‬ ‫غرار وسط فريول والذي يعود تاريخه اىل القرن التاسع‬ ‫‪ )16‬مرت ‪ ,‬والذي يدخله أشعة الشمس‬ ‫مساحة (‪5x‬‬

‫قام مجموعة من املهندسسني ببناء‬ ‫بالراحة مام يساهم يف تطوير عملهم‬ ‫عملية إنشاء دور أريض منوذجي عىل‬ ‫العارش ‪ ,‬حيث يقام هذا املرشوع عىل‬ ‫ساعات قليلة من اليوم ‪.‬‬ ‫وبنا ًءا عىل ذلك تم إنشاء « لوحة عرض مقلوبة « لتكوين هيكل إنشايئ طويل أبيض اللون‬ ‫ليكون غطا ًءا و مأوي لهم يف سبيل تحسني عملهم و تطويره ‪ ,‬كام يعترب هذا التصميم‬ ‫معزوالً عن الواجهة ‪ ,‬حيث تم إنشاء مدخل إلستقبال العمالء‪ ،‬مبا يجعل إهتامم الشخص‬ ‫يتجه اىل املقصورة‪ .‬والتي صممت عىل هيئة شجرة للرتحيب بهم ‪ ,‬كام تم استخدام زجاج‬ ‫هنديس بالستييك أبيض اللون لرتمز هذه الشجرة اىل املأوى البرشي األسايس األول للحامية‬ ‫من الطبيعىة ‪ ,‬والذي سيتحول فيام بعد اىل مقصورة ‪.‬‬ ‫كام قاموا بطالء الجدران و السقف بلون رمادي داكن عىل عكس اللون األبيض الناصع يف‬ ‫األرضية و الخشب الليفي متوسط الكثافة « ‪ « MDF‬املتواجد يف األسطح ‪.‬‬

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FUZED MARKET

Tends

HTM EL REDA

Automatic sliding gate & Road Barrier And industrial rolling shutter

ACCESS CONTROL

AUTOMATIC & FIXED BOLLARDS

ROLLING SHUTTER DOORS

WHETHRE YOU NEED A COMPLEX ACCESS CONTROL SYSTEM, OR A SIMPLE STAND-ALONE DEVICE. WE HAVE ALL THE PRODUTCTS TO MEET YOUR NEEDS. WE PROVIDE A COMPLETE LINE OF ACCESS DEVICES INCLUDING CONTROLS, CARD READERS, KEYBOARDS, FINGER PRINT, ELECTRIC AND MAGNTIC LOACKS AND FULL LINE OF COMPLEMENTAR PRODUCTS TO MEET YOUR SPECIFIC REQUIRMENTS.

EL REDA HAS THE RANGE OF AUTOMATIC & FIXED BOLLARDS INCLUDES A WIDE SELECTION OF ITEMS WITH DIFFERENT MECHANICAL DIMENSIONAL CHRACTER STICS TO MEET ALL MARKET DEMANDS, FROM THE OPERATION OF THE SINGLE PARKING SPACE TO ANTITERRORISM PROTECTION.

EL REDA OFFER WIDE RANGE OF INDUSTRIAL ROLLING SHUTTER DOORS - GALVANIZED STEEL PROFILE ( SOLID AND BRIGHTENING ) - ALUMINUM PROFILE (ISOLATED) THAT PROVIED A HIGH LEVEL OF SECURITY TO THE OPENING OF ANY APPLICATION GARAGE, FACTORIES, BIG HANGAR, SHOPPING MALL, WAREHOUSES AND ANY APPLICATIONS ELSE.

ELECTRIC

LED MR16 Lamp 7Watt – 220VAC Power factor: >0,9 Efficiency: >85% Efficacy: >103 lm/Watt @ CCT=5600K CRI: 85 (Warm White) Reliability: ≥25,000 hours Powered by: Soule semiconductor – Korea. Assembled in EGYPT – by EGYLED.

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‫طقم مفتاح ايكو‬ ) ‫ بيج‬- ‫ يتكون من لونان ( أبيض‬: ‫ املفتاح‬1‫ يتكون من ثالث موديالت‬: ‫ الوش‬- 2 ‫ لون‬50 ‫وأن كل موديل متوفر من حوايل‬ . ‫ فرصة إختيار‬150 ‫بإجاميل‬ ‫تأسيسا عيل ذلك فإن فرص اإلختيار أمام‬ ‫املستهلك من طقم املفتاح إكو حوايل‬ ‫ فرصة إختيار من‬300 = ‫ لون وش‬x 150 ‫ لون‬2 ‫رشكة ساس‬

‫طقم مفتاح كريف‬ - ‫ يتكون من ثالث ألوان ( أبيض‬: ‫ املفتاح‬- 1 . ) ‫ بالتيني‬- ‫بني ميتالك‬ ‫ يتكون من ثالث موديالت وأن‬: ‫ الوش‬- 2 150 ‫ لون بإجاميل‬50 ‫كل موديل يتكون من‬ . ‫لون‬ ‫تأسيسا عيل ذلك فإن املستهلك أمامه‬ 600 = ‫ لون وش‬x 150 ‫ لون مفتاح‬4 ‫حوايل‬ ‫فرصة إختيار من طقم املفتاح كريف من‬ . ‫رشكة ساس‬

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