Museum in Fatimid Cairo | Bachelor Thesis 2020 by Nada Waleed

MUSEUM OF CRAFTSMANSHIP A MUSEUM IN FATIMID CAIRO Bachelor Thesis 2020 Nada Waleed

German University in Cairo | Architecture and Urban Design Program

Bachelor Thesis 2020 A museum for fatimid Cairo Author:

Nada Waleed Al-Sayed

Supervisor

Prof. Dr. José Manuel Pagés Madrigal

Teacher Assistants

B.SC. Mahmoud Samir B.SC. Nada Wadidi B.SC. Sarah Mansour

Examination Committee:

Assoc. Prof. Frank Eiffort Prof. Dr. José Manuel Pagés Madrigal Assoc. Prof. Ruairi O’brien Assoc. Prof. Dr. Wafaa Nadim

Examination Date Submission Date:

19/09/2020 30/07/2020

German University in Cairo | Architecture and Urban Design Program

This is to certify that: 1. this thesis comprises only my original work towards the Bachelor Degree 2. due acknowledgement has been made in the text to all other material used

40-0915

Signature and ID of the Author 30.07.2020

Contents

Table of Contents Abstract Introduction The site

07 09 10 12

Analysis (Urban Morphology) 1.Street Network 2. Urban Identity

14 28

Urban Strategy 1. Intangible Heritage 2. Strategy 3. Set of Rules

44 48 60

Site Selection 1. Location Significance 2. Urban Interventions

80 82

The Museum 1. Wekalat Qaytbay 2. Rehabilitation

106 116

The Building . Space Program 1. Museum as an Entity 2. Vocational School 1. The Program

124 126 130 134

Tectonics 1. Structure 2. Materiality 3. Lighting 4. Ventillation

154 162 166 174

Design References List of Figures Bibliography

180 182 184

“The traces coming from the past are neither inert and petrified relics, nor simple objects to confine to a museum. They rather need to be read as sort of sparks able to set alight the fuse of the explosive material placed in what has already been (das Gewesene). Sparks able to build constellations rich with future in which past meets present. “ -W. Benjamin

KEYWORDS: URBAN REGENERATION MUSEUM REHABILITATION CULTURE INTANGIBLE HERITAGE HISTORICAL URBAN CENTER

Abstract

This paper explores issues of Urban Regeneration, Rehabilitation, and intangible heritage, through working within the borders of the old city of Cairo, commonly referred to as Fatimid Cairo.Within the face of rapid economic fluctuation, growth, people’s increasing needs and changing lifestyles, most historic centers have experienced problems in making the required adjustment and adaptation to the present needs and changes. The aim of this project is to propose inserting a museum within the densely built fabric of the city, and using it as a means of providing knowledge to individuals, and participating within the reclamation and activation of the city. Furthermore, the museum located in an existing historical entity rather than building on external land highlights topics of rehabilitation and adaptive re-use.

“The intangible heritage is a set of traditions and living experiences transmitted from one generation to another.” -UNESCO 2003 Convention.

Introduction

The project is situated in Fatimid Cairo, which is the historic urban center of the city, which plays a serious role in highlighting the identity, culture and memory of the place. ranging from the 20th century, urban development in historic cities has become the basis of today’s world of socio-economic and political changes. A variety of authors discussed the role of cultural heritage as a main catalyst for economic and cultural development. Primarily focusing on Al- Gamaleya region, and linking together both tangible and intangible heritage, this study explores the thought of urban regeneration within a highly dense area with great imbedded culture within the identity of the place and therefore the identity of the inhabitants. A main goal I attempted to attain is to grasp the connection between the heritage and art, and the way to showcase something as intangible as culture and craft and history. Attempting to present intangible heritage as a form of art, and simultaniously attempting to regenerate the historical urban center of Cairo. The project suggests that creating a museum situated in Fatimid Cairo has the capacity to bring all that together, a museum which will offer a platform to the locals to present their craft, to encourage the youth to be included within the creation process of their local craft, and to present these invaluable items to visitors of the museum. What I propose is a museum that in itself could act as an object of display, that not only does it host crafts and valuable items, but the museum building is also an element of the exhibition process, and the way I achieved that is through facilitating a current historical building in partial ruins, to be rehabilitated and transformed to an exhibition space.

The Site

FIGURE 1: AERIAL VIEW OF SITE

URBAN MORPHOLOGY 1. STREET NETWORK 2. URBAN IDENTITY

STREET NETWORK: • BRIEF HISTORY OF DEVELOPMENT • COMPARATIVE ANALYSIS • CLOSE UP TO AL-MUIZ STREET & STREET HIERARCHY

Analysis

In order to properly understand the city, I had to analyize the different elements of the city, what constitutes it. The different layers of the space, on an urban scale best show the development of the city, through the street network development, the urban fabric and architectural identity, all of them are analyzed primarily based on the history and therefore the different eras that passed through Fatimid Cairo. Each era presented its own set of rules and regulations and each governance had a special impact on the urban identity and urban development. Through this analysis, an urban strategy is devised containing a set of rules defining the proper action that could be taken to develop the city through urban regeneration.

AL RASHIDUN (632-61): Amr ibn Al-As conquered Egypt in 641. Built His own mosque and established Al Fustat, a garrison town meaning “the camp” to the north east of Babylon, as the first Islamic Settlement in Egypt. ABBASIDS AND TULUNIDS ( 750-935): Every ruling power taking over Egypt established new capitols to secure their rulership and establish a new military force. meanwhile, the Abbasids founded Al-Askar (750). Egypt was ruled by governors appointed by Baghdad, one of them Ahmed Ib-Tulun, later made himself independent and founded a short-lived dynasty (870-905) known as Tulunids. Moreover, established a new capitol “Al-Qatai’i (870). He left many outstanding landmarks including the Nilometer, Mosque of Ahmed ibn-Tulun.

FATIMIDS (969-1171): Fatimids were the first family which took the rule of Egypt to themselves separating it from the Islamic Capital in Baghdad. In 969 A.D., Jawhar Al-Siqilly, the general of the followers of the Shi’ite branch of Islam arrived to Egypt from Tunisia and overtook power in Egypt.

• He proceeded to lay-out a new rectangular, more glorious princely city on the flat land north to Al-Qata’i and named it Al-Qahira, Cairo (the defeater).

New

• The city was a reproduction of the Fatimid town of Al-Mahdiya in North Africa. Unlike other medieval or islamic cities, the palatial complex of the Caliph stood midway along the artery that cut the city into two unequal parts, while the congregational mosques outlined the city walls from each Northern-South border, connected to each end of the artery.

• Correspondingly, Al Fustat endured and grew to become the productive economic centre of Egypt, It was an unplanned agglomeration that later crystallized into a true urban form that similar of Qayrawan in Tunisia.

Cana l

• AL-Qahera became the seat of power, a ceremonial, residential center where the Caliph dwelt together with his court and military. The city had originally a division of 340 acres, 60% of which were residential quarters (Harat),30% were royal palaces and their gardens.

Or iginal Walls

W a ll s

AL- Qasa bah

• This doesn’t mean that Al-Qahira excluded any enterprise, on the contrary, just some specialized productions and services passed off to serve the elite. The social organization that was translated into physical order, affected the structure of the commercial activity. Specialized markets-were distributed within the city and on its streets. Each market was related to a specific quarter where the assembly and distribution of a particular commodity took place. The pattern of commercial organization dictated by a social order had a great influence on the shape the city was to take.

m a li

Walls of S alah Al-Din

A l- J a

AL-JA MALYA

y Bad r

Analysis

• Through examining Al-Qahera’s plan, which was the reflection of its social hierarchy and its physical order. The Caliph’s palace occupied the central core of the city, surrounded by a number of other palaces, and then came the residential quarters on the outer circle.

Consequently, Fatimids even widened the narrow streets of Fustat. It is possible to assume that the streets of Al-Qahira had their widest width in the time of the Fatimids specially main roads as Al Qasabah & Bayn Al-Qasrayn, emphasizing the visual aspect to viewers visiting the road. These major streets were a simple network that tied the palaces to the gates of the city. The largest space and most important node was that of Bayn Al-Qasrayn. The spaces ahead of Al-Hakim and Al-Azhar Mosques were next in size and importance; they acted as nodes of public activity. Finally, walls had played a political role in protecting the city, however by the middle of the 11th century, Al-Qahira had expanded outside its walls and a new wall was built by the Wazir Badr al-Jamali. The new walls surrounded the Al-Hakim Mosques’ exterior. Moreover, the outer routes\streets that surrounded the old wall are yet dominant and consistent up till now. The gates also played a role in the definition of many routes and directions from and to Al Qahera, such that the Western gates where directed towards Al Maqs Port, Northern Gates welcomed out-comers and exit to northern farmland, Eastern Gates to the cemetery, while Southern Gates to the adjacent city of Al-Fustat. Positions of gateways as well as the wall directions where altered by the course of the parallel canal that shaped the western wall, moreover gates opened towards the narrowest width of the canal and the closest to the wall.

“The same dual reasoning dictated that the farmers’ markets be outside the city walls. Other industrial. activities like the tanners, dyers and blacksmiths were located in conformity with their industrial needs. As a result of this organization, the student in a madrasa, the worshipper in a mosque, or the shopper in a bazaar could go about his affairs undisturbed by any of these activities.” - Streets of Islamic Cairo, Nezzar M. Alsayyad.

AYYUBIDS (1171-1250): The dynasty of Salah Al-Din Yussif ibn Ayyub. A Kurd from Syria, Salah Al-din became Wazir (Prime Minister) of Fatimid Egypt in 1169. His main ambition was to convert Egypt back to a Sunni Islam. Consequently, was assigned by the Abbasid Caliphate to take control over Egypt. He defeated the Crusades in 1187 and introduced the practice of importing slave troops, known as Mamluks. Salah Al-Din made Major developments to Egypt: • The extension of the northern wall of Al-Qahira to the Nile at Al-Mags forced the expanding city to go west. • He opened the previous princely city of Al-Qahira to the masses who began building in its spaces and gardens, changing the old functions of the city. • The citadel that was built a little later on the nearby Moqattam hills became the true seat of government during the reign of the Ayyubids. • The key palaces were torn down and replaced by schools and mosques and the former Fatimid villas were converted into commercial structures. • The new madrasas, khanqahs, and hammam’s built during the Ayyubid rule contributed to shaping the form the city and its streets were to have. •Al-Qahira had undergone an enormous amount of development during the dynasty of the Ayyubids, and that the masses that moved in started construction everywhere within the wide streets, maydans and gardens of the former princely city. It is possible to conclude that the narrow streets of Al-Qahira now could be attributed to the spontaneous development that took place.

Analysis

MAMLUKS (1171-1517): Eventually the rising army took control over Egypt, known by Mamaluk. Major developments occurred in the Western and Northern edge of Al Qahira: • During Baybars’ reign, most of Cairo’s development was mainly within the northern section. The development of Al-Zahir mosque in that section was considered by some scholars as a trial to form a brand new core for a new Mamluk capital. He also converted a number of the Agricultural land to Elite Palaces. • Sultan al-Nasir Muhammed (1293-1341) was cairo’s greatest medieval architectural and Urban patron. His urban developments included a canal west of the Khalig Al-Misri known as Khalig Al-Nasiri which eventually encouraged the development of the Western Suburbs. • The Nile edge was moving westward, too, exposing new land. While the old Al-Maqs port was covered over, a new port by the name of Bulaq emerged and took its place. • The division of the city into quarters was pretty much strengthened during the Mamluk’s rule. Streets during this period represented a social manifestation of the structure of the society. • The wekalas tended to be located in a single quarter at the city’s edge (like the wekalas around Al-Hakim Mosque) for there was no need to disturb the tranquility of the inner city by introducing wholesale activity there.

MUHAMMAD ALI (1805-1952) Napoleon invaded Egypt in 1798, however failed to seize power and the Ottomans drove him out and appointed Muhammed Ali, an Albanian mercenary officer, In 1811, Muhammed Ali massacred the leading Mamluks and founded his own dynasty. Main Urban changes included: • The Canals and gardens where filled, creating Gardens and new routes • The direction towards westernization and modernization was prominent at the time, Avenues such as Sharia Al-Muski and Sharia Muhammed Ali where made (connecting the new Attaba to the old historic center), destroying both monuments and parts of the historic fabric of the city. • They confined new architectural and Urban projects towards the eastern and western banks of the Nile.

M osque of Baybars

gA l-

sir

Bulaq 1

Bir k at 5 Al A zbakeya

Fatimid Cairo

ali

gA l-M

isr

ali

Nor ther n Cemetr y

5 Bir k at Al Fil M adrasa of Alsultan Hassan M osque of 4 I bn Tulun

Dar b 2 AL-Ahmar Street

The Citedel

Al M uiz Street 3 M osque of Amr I bn Al-As

1 Bulaq Por t emerged and new routes where generated to and for th Bulaq as a result 2 Foundation of a new dominant route k nown as Dar b -AlAhmar, connec ting the Citadel to the hear t of old Cairo 3 AL M uiz Street Ex tending nor thwards towards mosque of Baybars, which housed Syr ian refugees displaced to Cairo af ter the M ongol D evestation of Syr ia 4 New concetr ic commercial ceenter 5 Ponds created as a result of the ooding of the new canal, was an attrac tion point for elites to build their palaces around.

Analysis

M osque of Baybars

lia

Str

Bulaq

1 M uhammed Ali Street, Al-M usk i Streets, New routed cutting through the ur ban fabr ic, connec ting the citedal and old cairo to the new c entre of A zbakeya G arden

A zbakeya G arden

Al-

ski

1 Muh amm

2 D evelopment of the New cit y fabr ic. Accrodingly, M uhammed Ali was said to develope the cit y with wider streets in order to allow passage ca r iages. of the new car

e li S tr ed A et

D a r b A L-Ah m a r

M adrasa of Alsultan Hassan

M osque of I bn Tulun

iz Mu

Str

The Citedel

Ram

ses

Str

eet

Fat i m i d Ca i ro Al-A

M a p I l l u s t rat i n g Ca i ro N ow

St re e t s t h at co nt i n u e to ex i s t

zha

r St re

Analysis

et Ja m al ya St re et A l- M ui z St re

B oth maps, Although almost a thousand year appar t, however do share many similar routes, most probably indicating its prominance then, clear ly seen in streets as Al-M uiz and Al-Jamalya. M any routes that still exist accompany histor ical monuments which its existance, anchored the street till now. S ome other routes ser ve a func tional pur pose now and then, such STREET NETWORK: that th exist West words towards Bulaq • BRIEF HISTORY OF DEVELOPMENT • COMPARATIVE ANALYSIS • CLOSE UP TO AL-MUIZ STREET & STREET HIERARCHY

A l- M ui

B oth maps, Although almost a thousand year appar t, however do share many similar routes, most probably indicating its prominance then, clear ly seen in streets as Al-M uiz and Al-Jamalya.

Analysis

M any routes that still exist accompany histor ical monuments which its existance, anchored the street till now. S ome other routes ser ve a func tional pur pose now and then, such th exist West words towards Bulaq that

et Ja ma lya St re

J a m a ly

et Al -M ui z St re

A l- M u iz

S tr e e t

t a Stree

Connec ts Wazirs palace to Bab Al-Nasr

re e t

Connec ts Wazirs palace to Bab Al-Nasr

STREET NETWORK: • BRIEF HISTORY OF DEVELOPMENT • COMPARATIVE ANALYSIS • CLOSE UP TO AL-MUIZ STREET & STREET HIERARCHY

Analysis

Fatimid Cairo being primarily a gated city with a very distinct urban fabric and street network forming a promenade, has changed significantly over time leading to a complex street network. However, the main axes of Al-Muizz Street (left) and Al Gamaleya Street (right) continue to hold their significance and link the city through both main gates present at the beginning of the city, Bab Al Fotouh (left) and Bab al Nasr (right). Ayyubid and Mamluk streets had mixed functions and were divided into different segments, each street constituted in itself a separate district. Even Al Mui’zz Street was consideredas one entity with different, mixed functions inside. Important buildings were located round the major spaces and these spaces were scattered along the trail. The street segmentation remains present till now, however tending to be more touristic, as the central educational/ religious center is historic as well as all the other monuments scattered along the spine, attracting visitors from around the world. The zuqaq as a street typology holds the most important and historic value being the cul-de-sac linking the residential buildings together through hidden or back doors which helps keep the identity of the neighborhood, being only understood and recognizable and used by the local residents of the area.

FIGURE 2: DIAGRAM OF AL MUIZ STREET

It is difficult to assess the qualities of the different urban fabric simply by viewing at the general overview and composition of the plots and buildings within them, however, a more accurate understanding of the urban fabric could be analysed through the different “Shyakhat” which are the forth layer of subdivision, which is the Neighborhood Subdivision. A survey has been conducted by the URPHC (Urban Regenration Project for Historic Cairo), the following details concerning the different shyakhat has been part of the results of that survey. The survey graded each shyakha based on the value and status of the available architectural monuments, the quality of the built environment, and the street alignment quality.

URBAN IDENTITY: •URBAN FABRIC • ARCHITECTURAL MORPHOLOGY

Analysis

“Qism al-Gamaleya is found inside the Cairo city fortifi cations and includes a major part of the Fatimid nucleus of al-Qahira, built in the 10th century. The area is distinguished by architectural masterpieces, interesting vernacular architecture, specialized traditional markets and a concentration of handicraft workshops along the main spines of al-Muizz and al-Gamaleya streets and surrounding alleys. It was strongly affected by the earthquake of 1992, after which several families left their houses and the neighbourhood. The earthquake had a major impact on its historical urban fabric: several buildings of heritage value were damaged while the collapse of some buildings created space for newer, low quality constructions. As a result, the built environment is now a mixture of old and historic houses, and a number of new buildings, as well as integrated mausoleums, reminiscent of former burial grounds. Nonetheless, the urban fabric of al-Gamaleya has one of the highest integrities recorded in the site, influenced by interventions carried out by the Supreme Council of Antiquities since 2000. These works are still ongoing and create some difficulties in accessing the area. The area has increasingly attracted labour from rural parts of Egypt because of the opportunity for employment in workshops and retail industries. Around 80 percent of the workers in the area reside in al-Gamaleya and are merchants, workshop owners or labourers. Many units are used by more than one family simultaneously and incorporated with labour activities. There is a high concentration of shops selling spices and textiles materials, as well as home appliances, gifts and shoes. The biggest crafts today are copper, metal, tin work and the production of shishas. However, heavy workshop production has increased the problem of waste disposal in the area. Waste management is also administered differently in residential and work areas, and tourist areas, creating strong discrepancies in the level of environmental hazards within the area. The qism consists of 17 shyakhas included in the World Heritage Property, including the Bab al-Nasr cemeteries.”

Cemetries

New Fabric between 1948 - 2006

Fabric between 1888 - 1948

1. SHYAKHAT AL MANSOREYA This shyakha is considered within the World Heritage Property of Historic Cairo. The area was originally developed for social housing, therefore its architectural value is rather low. However, it hosts part of the archeological and excavation site for the eastern wall by the IFAO (French Institute for Oriental Archaeology in Cairo). Morever, the street alignment is rather low which is different than the typical Pre-modern urban fabric. The activities hosted there are very minimal, localized and of low quality, except for the vegetable market that serves all the residents of the area, the total grade given to the shyakha is 4 which is below average. AREA : 0.451 KM POPULATION : 5,435

2. SHYAKHAT EL OTOUF This shyakha has the qualities of a typical residential area, with few empty blocks. Despite one of the areas within it having a high architectural value dues to its proximity to the historic wall and the existence of several buildings of high historical significance, the shyakha continues to have a grade of 5.5 which is below average and that is due to its current degrading state, with plenty of buildings in ruins, and the low quality of life offered in the area. AREA: 0.055 KM POPULATION : 4,030

3. SHYAKHAT EL GAMALEYA The value of this area is considered of average quality or grade of 7 even though there is a high concentration of historical monuments of high value. Despite the shyakha being busy with workshops of traditional handicrafts, the activities were low within the internal plots that were surveyed. AREA : 0.074 KM POPULATION : 3,381

Analysis

4. SHYAKHAT BAB EL FOTOUH Due to the high concentration of monuments ranging from mosques to rab’s and houses in this area, beginning from the historical wall and the gate, it has affected the total architectural value of the area scoring it a total grade of 10.5 which is rather high. Moreover, the streets have had very little change, which contributes to the high value of the area, along with the concentration of workshops and local craft and trade in the area. AREA : 0.087 KM POPULATION : 1,971

5. SHYAKHA EL SHARANI Although this shyakha includes several streets which have high architectural value with high concentration of monuments, the remainder of the streets have badly affected the general score of the area due to the constant replacement of the built environment. However, the plots and street alignments have had few changes across the years, and the activities and local crafts are considered average even though there is a high concentration of local trade and traditional market available which leads to a full grade above average of 8.5 scored to this shyakha. AREA : 0.170 KM POPULATION : 7,630

6. SHYAKHA QASR EL SHOUK Although the area has a concentration of monuments, they area does not have a high value due to the constant replacement of the built environment. However, the street alignment for the area is considered high, with few setbacks in some streets. Despite the concentration of workshops and markets in some of the streets, the activities occurring were average leading to a total average grade of 7.5 AREA : 0.057 KM POPULATION : 3,322

7. SHYAKHAT EL MASHHAD EL HOSSEINY The architectural value in this shyakha is well above average due to the existence of historic domestic architecture and the concentration of monuments especially in certain streets. The shyakha also hosts the mosque and mashhad of el hossein. Moreover, the street alignment is high, with very few modifications in most of the streets. However, the activities in the shyakha were average, mostly with community oriented commercial activities granting the shyakha a grade of 8.5. AREA : 0.072 KM POPULATION : 1,259

8. SHYAKHAT KHAN EL KHALILI Although one area has a very low architectural value, the rest of the streets showed a rather high value and concentration of monuments leading to a high average value. The street alignment is also rather high, and the activities as well, due to the concentration of workshops and traditional markets. The shyakha hosts the famous khan el khalili tourist market leading to a high grade of 10. AREA : 0.086 KM POPULATION : 1,002

9. SHYAKHA AL KHORONFESH Although the built environment of one of the areas has been replaced, the architectural value of the shyakha is considered to be high. Moreover, the activities are high, with a concentration of traditional workshops and metal workshops leading to a very high grade of 11. AREA : 0.054 KM POPULATION : 650

Analysis

10. SHYAKHA BEIN EL SOUREIN The architectural value of this shyakha is considered high due to the concentration of monuments and khans. However, one of the area’s built environment has been totally changed. Even though, the street alignment for Port Said Street has been modified greatly causing a very low grade, the overall grading of the shyakha is above average of 10.5 AREA : 0.085 KM POPULATION : 2,594

5 4

6 8 10

9 7

Moving on to the Architectural aspect of the city, an analysis of the different architectural styles is crucial for understanding the spatial composition of this settlement and understanding how the architecture influences the understanding of the city and how it responds to the urban fabric. We can further break it down to the different building types and the residential typology as a whole. In order to understand the different architectural fabrics, identifying the history and the different eras that passed Cairo is crucial. We can conceive that the history could be divided into three main periods, the medieval period (647 A.D. – 1798 A.D.), the modernization period (1798 A.D. – 1952 A.D.) and the contemporary period (1952 A.D. till now). The medieval period is further broken down into the Early Islamic period (647- 969) which is mainly the Umayyad, Abbasid, and Ikhshidy Dynasties. Followed by the Fatimid era (969-1171), the Ayyubid era (1171-1250), the Mamluk era (1250-1517) and the Ottoman era (15171798).

URBAN IDENTITY: •URBAN FABRIC • ARCHITECTURAL MORPHOLOGY

Analysis

The landmarks within Fatimid Cairo can be separated into different eras and I chose to focus on the characteristics of residential buildings as an case study of how the different eras affected the architecture of housing in Fatimid Cairo, and how the presence of certain elements can help identify that.

The following examples show the differences in residential buildings typology across the different eras, followed by a series of sketches showing changes in different architectural elements.

Analysis

RESIDENTIAL BUILDINGS •PRE-FATIMIDS: 1. Houses rose up to 4 stories 2. Mashrabeya was one of the most prominent elements 3. Ornaments on wood with repetitive openings •FATIMIDS: 1. Detached houses 2. Luxury of being built with stones and bricks •AYYUBID: 1. Same as earlier Fustat and Tulunid houses 2. Iron grills in outer part of the window for protection 3. Woodwork for interiors 4. Emphasis on entrance, being heavily decorated •MAMLUK: 1. New buildings had to be squeezed into irregular spaces between existing structures and streets 2. New houses and palaces adopting the Qa’a plan type •OTTOMAN: 1. House become more luxurious and had a prototype of Hammam- Courtyard- Salamlek- Haramlek- Majlas on different layouts according to location and size of land plots.

FIGURE 3: TYPES OF PLANS

Analysis

FIGURE 4: TYPES OF ARCHES AND WINDOWS

FIGURE 5: TYPES OF MINARETS AND EXTERNAL DOME SUPPORTS

Analysis

FIGURE 6: TYPES OF INTERNAL DOME SUPPORTS

URBAN STRATEGY 1.INTANGIBLE HERITAGE 2. STRATEGY 3. SET OF RULES

Urban Strategy Concluding from the previous analysis an understanding of Fatimid Cairo and the different compositions of the city which hence generates a set of rules to the development of the city. The urban strategy I have chose to conduct primarily depends on the urban regeneration of the city through a set of rules. The proposal for the development starts with Al Gamaleya region, and with its success, the proposal would continue to the rest of Fatimid Cairo ( as will be shown in the masterplan). Primarily we must understand the value of intangible heritage and its presence in the city before we decide on how to re-introduce it back to the local community in a way that they would value and understand.

The proposal is based on bringing back a part of the intangible heritage of the area, to reintroduce craftsmanship and workshops back into the area, and giving the local community the platform to share their work, and have it glorified as a new touristic destination. Focusing primarily on metal production being the main trade that the area is famous for. While also promiting their creative process in order to produce art, and eventually providing them a controlled or specific selling point which would bring back the spirit of the place and allow them a platform where they feel that they are valued in the community. The museum building that would be created would also aid in that vision where it promotes the regeneration of crafts and contributes to the local spirit in a slightly different manner, but however aiding in the full urban regenration of Fatimid Cairo.

Historic urban centers play a significant role in enhancing place identity, memory and belonging. additionally, they have a tendency to create an urban identity for the remainder of a city and the adjacent districts In the following statement, UN Habitat stressed the importance of the cultural heritage in present cities; “As a result, planning is being required to preserve and promote cultural heritage, tangible and intangible, of the communities living in cities, since heritage has been recognized to have a role in shaping the city’s identity”. This statement brings about the role of regenerating cultural heritage as a way to bolster a city’s uniqueness and distinctiveness. While change may be a law of life; in sensitive areas with fragile historic resources, it is important that change should be gradual and not radical to avoid as was named by Jacobs “the sacking of a city”. Slow rather than radical change can prevent major displacement and gentrification of local inhabitants as stated by Lynch “if change is inevitable, then it should be moderated and controlled so as to prevent violent dislocation and regenerate a maximum of continuity with the past”. Therefore, it is important to conserve the built heritage while not undermining the intangible values, to keep a robust continuity with the past.

It is my belief that the job of architects is to create participatory projects that have a role in bringing the community together and involving them in certain activities that would regenerate the area and even help set a path for the youth to understand and take part in their own heritage in perhaps a more contemporary approach. We have often been told that to discover the new, we need to study the old, and to invent the future, we need to have a grasp on the past. Thomas Eliot also helped us in understanding the connection between the contemporary and the past. All in all, we need to bring heritage to life. We also have to consider that present cultural heritage is under a relentless, urgent state of threat. Because of this situation, new forms of research and mainly management are implemented so as to permit people of contemporaneity to enjoy the heritage of the past. nowadays, we are facing examples of politically deliberated and motivated destruction of heritage: what is happening in Syria and Iraq. Heritage is also under the risk of being destroyed by climate change or also by natural disasters. Then there are, after a war, for example, looting and theft. After a war, the invader robs and destroys the cultural heritage, taking, to their own country, the heritage of a specific site, and this is happened during the Second World War, but it is still happening in contemporary life. In a way, we are able to say that heritage is under the risk of being destroyed and destructed. Therefore, thanks to this urgency, new tools and new styles of management and, at the same time, research must be implemented in order to convey and provide a proper experience for the visitors of a museum, heritage site, and/or archaeological site.

Urban Strategy

Thomas Eliot wrote that, “Tradition cannot be possessed, it needs to be reinvented and, mainly, rediscovered.”

In 1972, the convention UNESCO stated what natural heritage is and what cultural heritage is. Cultural heritage consists of tangible heritage and intangible heritage. Among the tangible heritage, we can identify monuments; groups of buildings; and sites, like in this case, an archaeological site. However, intangible heritage, according to UNESCO, is a set of traditions and living expressions that we inherited from our ancestors and we transfer to our descendants. These kinds of traditions and living expressions can also be defined in terms of oral traditions; performing arts, so all of the world of the theater, the way to express art through performing; social practices; rituals; and also festive events. Elements of something that is intangible and not physically concrete like a monument or an archeological site must be conserved and safeguarded so as to forestall this tradition that was built for hundreds of years to fade and to be destroyed in our next future. Intangible heritage then has a vital aspect to be considered which is its social impact. The social impact of the presence of intangible heritage in a country and/or community is, of course, important for the niche, for the group of those who hold this tradition, but also for the mainstream community that is around it. Also, preserving intangible heritage, per UNESCO, is vital not just for developing countries but also for developed ones. In the case of intangible heritage, instead, there is a form of bottom-up approach. It is the community based activity that starts the process. When the community feels that there is a desire of preserving and safeguarding a tradition, performing art, ritual, and/or festive event, they ask UNESCO to acknowledge this important part of their own community and list it in the list of intangible cultural heritage of humankind.

Intangible cultural heritage, therefore, is not only the cultural manifestation on itself but is something more, it can represent the wealth of knowledge and tradition and skill of a country.

Historic Cairo was inscribed on the World Heritage List in 1979 recognizing its “absolutely unquestionable historical, archaeological and urbanistic importance”. Upon ICOMOS (International Council on Monuments and Sites) recommendation, the Inscription was based on the following criteria: 1. Several of the great monuments of Cairo are incontestable masterpieces 2. The historic center of Cairo groups numerous streets and old dwellings and thus maintains, within the heart of the traditional urban fabric, varieties of human settlement, which date back to the middle ages. 3. The historic center of Cairo constitutes an impressive material witness to the international importance on the political, strategic, intellectual and commercial level of the City during the medieval period.

Crafts in Historic Cairo World Heritage property represents a crucial aspect of the city’s heritage values and living traditions; however, they are threatened due to social and economic pressures. To safeguard traditional crafts and community- oriented production activities, it is important to understand their background, problems and potentials, as well as their relation to the historical urban fabric. It is also important to raise the social profile and capacity of craftsmen and transmit their knowhow to future generations living in the site.

URBAN STRATEGY: •INTANGIBLE HERITAGE • STRATEGY •SET OF RULES

Urban Strategy

The strategy is built on the findings of a previously conducted sector study that explored the community- oriented socio-economic and cultural activity patterns in public spaces, which concluded that the potential for revitalisation with reference to community-oriented activity patterns in their socio-physical totality is high in Historic Cairo. Also Concluding that the positive gains resulting from certain existing activity patterns that in effect serve the sustainability of one or more values of Historic Cairo, whether tangible or intangible or both. Findings also included identifying several critical issues that serve as a background reference for the preparation of the set of rules with which the development of the Urban Strategy was determined: CRITICAL ISSUE 1: Retaining the WORK-HOME proximity, a valuable characteristic of sustainable neighbourhood, this necessitates sustaining the residential population of craftsmen which is a heritage pattern of Historic Cairo. CRITICAL ISSUE 2: Saving the traditional crafts from extinction and acknowledging community- oriented activity patterns related to their production and sales as invaluable part of the tangible part of Historic Cairo. CRITICAL ISSUE 3: Sustaining and reinforcing the intangible heritage of Historic Cairo and those who cognize it, and practice it. This could be done partially by discovering, acknowledging and enabling/ supporting activity patterns within historical roots in the locale. CRITICAL ISSUE 4: Involving local communities within the historic fabric and monuments of Historic Cairo by capitalizing based on social, cultural and psychological values perceived by the community and adding to their awareness other dimensions of value such as historic knowledge. CRITICAL ISSUE 5: Institutional reform and awareness raising at societal level to reverse the contextual factors that pose a threat on the sustainability of Historic Cairo.

Urban Strategy

Based on a research project conducted by URHC (Urban Regeneration Project for Historic Cairo), where they analysed and gather information regarding the current state of the craftsmanship in the nearing historical district of Al Khalifa, they provided a framework of the program with a set of regulations and rules which was modified to focus on the identification and evaluation of workshops, industrial units, and community-oriented production activities in the study area. To evaluate their compatibility with the World Heritage Property, and to measure their importance and potential for sustainability as a living tradition and a source for income generation for the local community.

Activity Pattern

Sustainable Gain to the Values of Historic Cairo

Heritage perception as 1. Mosque use protects the monument from complete neglect community- oriented 2. Thematic markets 3. Value to watch Handicraft production (Kheyameya and Khan el activity patterns Khalili till 1970s) Public Space Appropriation(Home/ Workshop Spill-out) condition

1. Sustains pedestrian dominance 2. Sustains traditional housing and consequently the traditional fabric

1. Saves energy (Environmental Sustainability) 1. Activity Network 2. Workshop Network 2. Sustains social networks/ sup-port (Social Sustainability) 3. Saves money (Economic Sus-tainability) 3.(Materials-Production-Market) proximity Home–Work proximity 1. Saves energy (Environmental Sustainability) 2. Sustains social networks/ support (Social Sustainability) 3. Saves money (Economic Sustainability) Walkability

1. Slows down vehicular traffic 2. Minimize traffic pollution 3. Increase perceived and actual safety

The study outcomes are directed to feed into the management plan exploring alternative and innovative economic assessment criteria that would sustain multi-dimensional values and consequently result in economic development scenarios that are not destructive to the massive potential that Historic Cairo has over other historic cities. It also outlines venues for the much needed awareness raising to valorise current community practices and capacity for conservation. It identifies all those involved in the shaping of the built environment, the local community, and sets a clear map to what needs to be done to mobilize local community as well as society at large to invest and actively participate in the rehabilitation, development and conservation of Historic Cairo.

Steven Vertovec, head of the Max Planck Institute for the Study of Religious and Ethnic Diversity, points out some interesting changes within the subject of migration and urban processes related to it. In accordance to him, processes of overpopulation now happen at a higher rate than ever before. They create long lasting flows of ideas, symbols, and meanings that are being conveyed. In the case of Al-Gamaleya region, there is a noticable increase in migration patterns, based on an on-site research I have conducted, I have concluded that there is a large number of Syrian political refugees, south east asian students and kurds, which is seen to contribute to the economic state of the area, as for example most Syrian refugees are known to participate in wholeselling of clothes, bringing clothes into Fatimid Cairo and selling it elsewhere. However beneficial that may be, general terms of globalization has poor effects on existing historical cities or historic urban centers with current vulnerable connection with their heritage and culture.

Urban Strategy

FIGURES 7,8,9: LOCAL CRAFTSMEN

LANDUSE ANALYSIS

Urban Strategy

STREET HIERARCHY ANALYSIS

The problem we will focus on is the current state of craftsmanship in the study area, based on a field study I conducted, I came to the conclusion that, primarily due to economic factors that originated starting post the Egyptian Revolution of January 2011, and the inflation of the economy, led to financial issues faced by the workshop owners and craftsmen. The raise in pricing of raw materials, machinery maintenance and general overhead costs, coupled with decrease in tourism to the area and decrease in sales lead to most workshop owners finding themselves in positions where they felt the need to either get an early retirement and shut down their business, to switch their business trade to other fast earning trades or to relocate to other districts with minimal overhead and rent costs, to a business district of some sorts.

The urban strategy presented here is based on the Urban Regeneration of Al-Gamaleya region through bringing back, a key element of the making of the city, the local craftsmanship. Reviving the workshops in this Historic Urban Center of Cairo, I believe, is the contemporary solution to the extinction of the craftsmanship. This could be achieved by attempting to provoke tourists to visit these workshops, to actively participate in the creation process, or to go through through art galleries and exhibition space where a contemporary approach of using these materials into creating artwork and sculptures is highlighted. What I have presented here is the opportunity that tourists might in fact be interested in seeing the process of creation of these products, that perhaps the art of creation has more value. This journey that they will take will also bring together the historical precedents and background, along with engaging the local community.

The decision to base the urban strategy on the revival of craftsmanship stems from the value of the intangible heritage belonging to the community. However, this strategy is only successful through the set of principles that guide the design proposal, which were based on the findings of the previous researches conducted, whether on site, or the findings of the projects made by the URHC in other historic centers in Cairo.

Urban Strategy

PROJECT STRATEGY

Urban Strategy

RULES OF THE DEVELOPMENT 1.WORKSHOP CLUSTERING

Reviving workshops within the city by enhancing the conditions of the workshops and creating a path to connect them together. Clustering is based on trade type and location selection is based on the current or historical concentration of that trade in the respective area. Within each cluster, is a collection of different workshops dedicated for the different phases of the production process to provide maximum efficiency.

URBAN STRATEGY: •INTANGIBLE HERITAGE • STRATEGY •SET OF RULES

Urban Strategy

CATEGORY 1: SCALE OF WORK: •TRADITIONAL WORKSHOP •INDUSTRIAL/ HEAVY MACHINERY •LIGHT INDUSTRIAL PRODUCTION •SERVICE PROVIDER CATEGORY 2: CLIENT TYPES: •CITY SCALE/ REGIONAL •EXPORT •DARB EL AHMAR/ HATTABA •TOURISTS •LOCAL CLIENTS CATEGORY 3: PRODUCT TYPES: •SADAFEYA •MASHRABEYA •ARABESQUE •CARPENTRY •COPPER/ ALUMINIUM/ TIN •GOLD/ SILVER •KHEYAMEYA •LEATHER CATEGORY 4: PRODUCT STAGES:

CATEGORY 1: SCALE OF WORK:

•RAW METAL •SPINNING (MAKHRATA) •ENGRAVING (NA’SH + TAFREEGH) •POLISHING (DAA’) •COATING (TELA) •FURNACE

•TRADITIONAL WORKSHOP •INDUSTRIAL/ HEAVY MACHINERY •LIGHT INDUSTRIAL PRODUCTION •SERVICE PROVIDER CATEGORY 2: CLIENT TYPES: •CITY SCALE/ REGIONAL •EXPORT •DARB EL AHMAR/ HATTABA •TOURISTS •LOCAL CLIENTS CATEGORY 3: PRODUCT TYPES: •SADAFEYA •MASHRABEYA •ARABESQUE •CARPENTRY •COPPER/ ALUMINIUM/ TIN •GOLD/ SILVER •KHEYAMEYA •LEATHER CATEGORY 4: PRODUCT STAGES: •RAW METAL •SPINNING (MAKHRATA) •ENGRAVING (NA’SH + TAFREEGH) •POLISHING (DAA’) •COATING (TELA) •FURNACE

Urban Strategy

The reallocation of the workshops is a phenomenon that lead to huge downsides to the locals, by saving rent costs and transportation of raw materials, they were forced to spend more money and time in daily commute. More importantly, this gravely affected the general state of Al- Gamaleya, in terms of intangible heritage being compromised, and in terms of the slow decline leading to the loss of the general ‘zeitgiest’ of the place. The area is being transformed into an area with no spirit, the loud bustling narrow streets have now become dead ends leading to residential blocks. The local youth no longer understand the connection to their heritage and history. The loss of this relation leads to the misconception that the craftsmanship holds no real value in the modern time, in the contemporary world it is only the means in order to reach a final product that can easily be made through heavy machinery and mass production, purely to satisfy the market need for trade.

These different paths that the local craftsmen are taking, put together, leads to the area becoming a huge Bazaar City, where the main concern and way of making a living has now been diverted to attracting tourists and make quick money by selling souvenirs and cheap goods to tourists, making the value of the area revolve around the touristic destinations of Al-Muizz Street, along with a few ‘lucky’ shops surrounding this major axis, while the rest of the city becoming purely residential with a few past workshops becoming storage space for their respective workshop that has been relocated to the newly founded workshop clusters elsewhere.

The main craft I chose to focus on in the following proposal is the Metal craft, which has proven to be the craft with the most historical background and significance in the area, along with being the main trade generating the highest source of income in Al- Gamaleya. Beginning with the Fatimid Era, the different crafts used to cater for the caliphats and the elite society that lived within the walls of the city. The trades and the crafts started to grow and diversify with the constant growth and evolution of the city, and the shift towards the focus on the production of metals began. Copper started as an ornamental object used in palaces but then grew to accomodate for the residents needs for different ornaments, soon followed by Aluminium mostly used for cooking pots, and rather recently the introduction of Tin as a cheap metal used for hookah parts. On the side is Gold and Silver also being a huge influence on the economy and the trade of the area.

Urban Strategy

WORK:

OP ACHINERY ODUCTION

PES:

TABA

TYPES:

TIN

STAGES:

AFREEGH)

Urban Strategy

BEFORE

AFTER

RULES OF THE DEVELOPMENT 2.NODES Creating appropriate open spaces at the junctions which guides visitors from the entire city towards Al Gamaleya area, transforming them into points of attraction. Along with creating a ‘portal’ structure which mimics historical portals, and these portals could also be transformed, and urban furniture pieces could be created from them.

Urban Strategy

RULES OF THE DEVELOPMENT 3.OPEN SPACES The voids between buildings or the ruins of buildings provide room for miniature interventions to provide quality spaces. These spaces would primarily serve the locals and provide them with much needed places for interaction and would also serve as a revival to the current urban situation even at the scale of the neighborhood.

Urban Strategy

4. 1.

Urban Strategy

4.RE-ADAPTIVE USE OF EXISTING BUILDINGS Part of the plan to regenerate the historic urban center, extensive work ought to be done on the existing structures and focus is put on two building typologies, 1. Single storey Buildings 2. Historical Buidings 1. SIngle storey buildings with capapcity to be transformed to workshops, need restoration and porper maintenance, provided a set of rules to guide this strategy. 2. Historical buildings form a core system of the masterplan vision, hence restoration and adaptive re-use are the basis for the development. Wekalat Qaytbay is a manifestation of that strategy which will be a focus in this paper.

Urban Strategy

“Architects easily forget that one must follow the style of the place rather than that of the time.” -Gunnar Asplund

2. WEKALAT KAHLA, a case study and an inspiration to the project, is an example of re-adapting the use of the historic typology of a wekala building. The project taken on by FEDA (Federation for Economic Development Associations), part of the plan to empower small businesses to bridge the gap between the small producers and the clients. In an attempt to improve living conditions of the inhabitants of the local community, they started offering a platform for craftsmen to host their crafts within the confines of the wekala building while offering the youth of the community a chance to become their apprentices. The project was very successful at the start, encouraging the youth to learn a part of their heritage, while giving them incentives of weekly allowance to attend the workshops, and helping them secure a job and a skill they could benefit from after they finish school. The workshop owners also had benefits of having access to certain privileges. However, FEDA being a non-profit organisation, after the inflation started post the Egyptian Revolution, the prices of the raw materials rose, and workshop owners could no longer afford to keep their businesses, and FEDA could no longer afford paying allowances to the youth, the workshop cluster fell, and was later re-apprehended by the Ministry of Antiquities, which did not carry on the mission, but continued to provide certain rooms for rent to workshop owners, however, the only surviving entity that still functions, is an Arabic teaching center which provides services to local immigrants.

Urban Strategy

SITE SELECTION 1.LOCATION SIGNIFICANCE 2. URBAN INTERVENTIONS

SITE SELECTION

In relation to the urban strategy, and to the analysis conducted, the chosen site to be the focus of the project being the starting point of the urban strategy of the urban revival of Al Gamaleya district. Wekalat Qaytbay presents a great opportunity to be transformed to a museum to fulfil some of the needs of the local community and to serve as an educational entity as well as being a contemporary approach to a cultural beacon in the Historical Urban center, Fatimid Cairo. However, being situated in a complex urban setting requires an analysis of the different elements that constitutes the macro scale of the museum development. Followed by preparing several urban interventions that highlight the relation of the museum with its surroundings, and creating a dialogue between the different elements 1. Wall 2. Ruins 3. Open space

CURRENT BAB AL FOTOUH

CURRENT BA

PREVIOUS BAB AL NASR PREVIOUS BAB AL FOTOUH

SITE SELECTION: •LOCATION SIGNIFICANCE •URBAN INTERVENTIONS 1. THE WALL 2. THE RUINS 3. OPEN PUBLIC SPACE

WA WA WA

AB AL NASR

SITE SELECTION WALL: First, General Jawhar al-Siqilli built first a wall dated from 969–971 to safeguard the city of Caliph al-Muizz, al-Qahira, “the Victorious”. This wall was made from rammed earth and stone gates with semicircular towers. Later,Badr al-Jamali built a brand new city wall and the gate of Bab al-Nasr, dated to 1087. This wall started at Bab al-Nasr towards the south and makes a quick bend towards the east, blocking the archaic gate. The new enclosure was only slightely bigger than the primary, and the new gates carried the identical names of the first they replaced. Finally, Salah al-Din built a brand new city wall in front of the two Fatimid fortifications. The Ayyubid Wall possesses unusual and archaic characteristics that most likely originate from 1171 to 1173, indicating that this section of the wall pre-dates the eastern city wall of Sultan Salah al-Din.

ALL OF GAWHAR ALL OF BADR EL GAMALI ALL OF SALAH EL DIN

500

1000 m.

SITE SELECTION

FIGURES 10, 11: PICTURES OF WALL FROM SITE

TO WEKALA EXTENSION

ABSTRACT CIRCULATION

TO WEKALA EXTENSION

SITE SELECTION The current existing wall, partly the wall of Badr el Gamali, partly the wall of Salah el Din, has a historical significance to the identity of the city. Previously used for fortification to the city, now lays abandoned and is only used as a monumental figure for mobility and orientation purposes, or used as lodging for drug users. As part of the urban renewal plan, the wall is to be regenerated and rediscovered, becoming part of the educational and touristic plan for the city. A promenade is created within the wall, going through the different elements, through the gallery level, and ending at the open public square, or continuing within the gallery, reaching the ruins of the old wall.

However, this is only the base for the development, starting with the part of the wall directly related to the Wekala building, but the proposal has the capacity to extend to enclose the entire wall of Fatimid Cairo. An installation is proposed on the part of the wall closest to the museum, as part of the continuation of the gallery function. The pavilion installation contrasts the historic wall by its materiality and color, symbolising the portals created around the city in different contexts, proving to be an element that can touch the wall directly, while still maintaining the feeling of a floating pavilion on top of the wall. The interior passage is meant to host part of the temporary exhibition in the museum building, while providing an interesting space where light is filtered and a space of contemplation and rest is created.

TO RUINS

TO OPEN SPACE INTERNAL ELEMENT CIRCULATION

TO WEKALA EXTENSION

SITE SELECTION TO RUINS

TO OPEN SPACE INTERNAL ELEMENT CIRCULATION

GENERAL OVERVIEW OF THE WALLOVERVIEW AT BAB AL NASR GATEAREA OF THE

FIGURE 12: RUINS INCLUDED IN

SITE SELECTION: •LOCATION SIGNIFICANCE •URBAN INTERVENTIONS 1. THE WALL 2. THE RUINS 3. OPEN PUBLIC SPACE

SITE SELECTION

What remains of the previous walls is but ruins, indications of what used to exist. Focusing on the area between Bab Al Nasr, Al Otoof Street, reaching Al Bakry Mosque, excavations have been in progress since 2006 till this day. Based on the study program made by Pradine and oversighted by the French Instite for Oriental Archaaeology (IFAO), and the Aga Khan Trush for Culture (AKTC) together with the Supreme Council of Antiquities (SCA), has shown that the priliminary excavation conducted was not supervised, no proper research was conducted, leading to parts of the walls being destroyed, leading to the area being destroyed. However, the Chief Inspector of this area of Fatimid Cairo, Mr. Ashraf Fahmy, procceeded with building a wall protecting this important archaeological site, which remains to this day present. Creswell and Pradine, through a series of different analysis conducted through the years, with the help of documents found, were able to identify the different unidetified elements including the Observation Towers of the past walls, and the old Bab El Nasr and Bab EL Fotouh gates.

THE PROPOSAL

The Fatimid mud-brick wall was restored by AKTC from 2010 to 2012 it’s the sole place in Cairo where it’s possible to work out this impressive eleventh-century wall still preserved up to four metres high. The mud-brick wall is additionally present on all the sites that we excavated, at Bab al-Tawfiq, Bab al-Gedid, Burg al-Zafar in eastern Cairo and at Bab al-Nasr and al-Mashtal to the north. Hopefully, in a very near future, of these parts are going to be protected by a conservation project and showed the general public. Meanwhile, further remains of Fatimid fortifications are still buried under several metres of debris, waiting to be discovered by future archaeologists.

FIGURES 13, 14: PICTURES OF THE RUINS

SITE SELECTION

SOME OF THE MAIN FEATURES OF THE WALL INCLUDE : 1. Three arrow-slit embrasures were identified consecutively on the curtain wall between B and C towers. The openings of those arrow-slits were re-used as latrine cascades in Mamluk houses, which were built on top of the wall.

2. Facing of the curtain wall is decorated with an impressive large V-shaped herringbone motif consisting of small header columns on the facing. This motif is situated between Towers C and D and all include five white marble columns, the lowest located 3m above the level of the walkway ( where the foundations start) The other three are octagonal-section columns, one measuring 18cm from the side and the two others 17cm. An ornamental motif on the façade is the only one located on the Cairo town walls and has probably never been seen before in the medieval Near-East.

3. The primary western tower, towards Bab Al Nasr signifies different stylistic and physical compostion of thoose towards the east. This Tower, semi-circular in shape, rests on a square base and features a moulded salient on its eastern side, similar to that of the Bab al-Futuh Gateway. The foundations of the semi-circular tower are deeper and are different than those of the curtain wall that it is connected to. The semi-circular tower would be the dual tower of the first Bab al-Nasr.

The towers are written down, from west to east under the labels B, C, D, E (beneath the mosque).

What is proposed here is to create a series of platforms and trails covering certain portions of the ruins and merging with the existing wall, creating a different experience that the visitors could experience, where they would be able to touch these ruins of the previous walls at their current state, without being restored to. Part of the ‘value’ of the historic wall is the relation between the wall with the place that surrounds it, which in this case is the ruins of the previous walls, and the interesting void spaces inbetween that were generated from the excavation processes made.

The proposal aims to enhance the strategic position of the wall, making the promenade of the visitors through the different parts interesting. They are allowed vertical circulation at specific areas where change happens, simultaniously being allowed access to the ruins themselves, to touch them and walk on them at other spaces, making the promenade interesting and interactive in a way, while still having visual connection to the main pathway.

The access to and fro the location of the ruins, is through either the top of the current wall, through a doorway connecting to the galleries within the wall, or simply one of the edges of the open pbulic space infront of Wekalat Qaytbay. Which proves how versatile and interchanging this journey can be. The ability to understand this historical landmark can be generated through different means leading to an inclusive journey and creating a dialogue with this historic entity.

SITE SELECTION

FIGURE 15: MASSES REACTING TO INTERVENTION

FIGURE 16:

TOWER B

SITE SELECTION

TOWER C

SECTION SHOWING THE LEVEL CHANGE

TOWER D

The open public square present opposing the Wekala building was originally made to host artistic performances or other public events that needed to be held at this strategic location opposite one of the main gates of the city. Being at the start of the main spine of Al- Gamaleya district means that this specific open space is where the locals gather and socialise, and the children play. During my many visits to the site, I have observed that it is, in fact, a place where the local community tends to gather. A community that still values and understands what constitutes a good public space, living within a dense area, desperately needs a public place. The main weakness of this particular open space is, besides being well designed with a good base for additions provided by the stakeholders of the area, is the lack of public participation to enhance it. leading to poor vegetation state, and more importantly, lack of proper shading or seating elements that would attract visitors.

SITE SELECTION: •LOCATION SIGNIFICANCE •URBAN INTERVENTIONS 1. THE WALL 2. THE RUINS 3. OPEN PUBLIC SPACE

SITE SELECTION

What I proposed to create is a simple intervention, in order to not take away from the attention I intend on keeping on the Wekala museum building itself. Hence, the proposal consists of seating shaded areas along with temporary exhibition portals,mimicing the portals on top of the wall and the ones dispersed along the area as part of the urban strategy, containing items that would provide a short insight on what will be seen within the temporary exhibition within the actual museum building. The portals are also aligned in a way that directs the visitors to go through them, leading them to the entrance of the museum building, or to the access to the ruins of the wall.

ABSTRACT CIRCULATION ABSTRACT CIRCULATION

100

WALKTH

SITE SELECTION

SIGNIFICANCE OF ITEMS

VIEWING ART

MEETING POINT

GUIDE DIRECTION

PAUSE PROMENADE

WALKTHROUGH ART PROTOTYPE

SEATING AREA PROTOTYPE

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ABSTRACT CIRCULATION

BEFORE

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SITE SELECTION SIGNIFICANCE OF ITEMS

SIGNIFICANCE OF ITEMS

VIEWING ART

MEETING POINT

GUIDE DIRECTION

PAUSE PROMENADE

WALKTHROUGH ART PROTOTYPE

SEATING AREA PROTOTYPE

AFTER

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SITE PLAN

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SITE SELECTION

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THE MUSEUM 1.WEKALAT QAYTBAY 2.REHABILITATION

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THE MUSEUM

Mamluk history is divided into two periods based on different dynastic lines: the Bahri Mamluks (1250- 1382) of Qipchaq Turkic origin from southern Russia, named after the location of their barracks on the Nile (al- bahr, literally “the sea”, a name given to the great river), and the Burji Mamluks (1382- 1517) of Causasian Circassian origin, who were quartered in the citadel (al- burj, literally “the tower”). Endowed public and pious foundations was favoured like previous dynasties. Major commissions within the early Burji period in Egypt included the complexes built by Barquq (1382- 99). However, during the last half of the fifteenth century, the arts thrived under the patronage of Qaytbay, the greatest of the later Mamluk sultans. In Cairo, Wekalat Qaytbay within the Northern division of Fatimid Cairo is deemed one of his greatest and most impactful creations.

Based on the previous analysis, this lead to my decision to locate the museum within Wekalat Qaytbay due to its historic and cultural significance. However, a detailed analysis of the history and identity of the building is conducted, along with understanding its current state. This leads to identifying the appropriate measures to be taken to allow this building to be transformed to a museum that serves both the local community and the visitors of the area.

Wekalat Qaytbay, being an important building with great historical significance and relation with the Mamluk era, it ought to be treated with a level of care and attention, it requires keen sensitivity to spot and acknowledge the historical value of pre-existing elements – thereby deciding what will endure over time and what will be replaced by new features, according to the current program. When reflecting on recycling, sustainability, measures to require, and innovative technological solutions, one cannot help but think that there are familiar approaches that ought be taken into consideration. In fact, when examining the impact of the built environment on the climate, one notes that in many countries, 80% of the buildings that will exist in 2050 have already been built. The most effective form of sustainability may, therefore, be saving energy by eliminating or minimizing new constructions, and by avoiding the demolition of existing structures. That is what rehabilitation stands for: instilling a brand new purpose on an existing “leftover building.” In the case of architecture, we want the built environment to tell our history and to stay untouched in time, often without considering the real use and meaning of the building in the present.

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“…immediately on your right upon entering the city through Bab el Nasr, is a large wekala, one of the few remaining from the Mamluk period. It is a ruined example of a commercial warehouse whose plan did not change significantly over the following centuries. Although it is now inhabited as a tenement, it still shows the main features of these commercial structures: the façade with its fine doorway contains shops on the ground floor and living units above. Inside, a large rectangular open courtyard, the animals were unloaded—storerooms were located at the ground level. The rooms leading off the gallery on the upper floors lodged travellers and merchants.” -(Hillenbrand, 1985)

The wekala (or caravanserai) of Qaytbay is taken into account as a model for other caranserais in the Mamluk period, including storage and commercial areas to sell merchandise, still providing accommodation for merchants and their clients. It was built as an inn by Sultan Qaytbay (AD 1480), and it was called the Dishisha inn, translating to “crushed corn or barley”. People named the inn dishisha because after the pilgrimage season, Qaytbay built the inn and decided that with the profit generated, he would buy crushed corn or barley and distribute it to the poor.

An especially illuminating example of the tendancy of one building type to merge with another is provided by the wekala. Its layout has little to differentiate it from a typical rab’ or tenement block of the type inhabited by the poorer people of the city, for it has the identical open courtyard surrounded by apartments on two storeys, the lower level being reserved for storage space and therefore the upper one for living accommodation. In the case of Wekalat Qaytbay, an additional refinement is introduced, is that the living accommodation on the upper floor is itself of a split level design, which operated in each separate apartment. The upper level in each case, features a room with a view over the qa’a or reception hall below, which itself has an iwan which gave onto the road. A kitchen, latrine, and tiny bedroom completed the layout on the lower level.

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THE MUSEUM

109

110

THE MUSEUM One of the most significant features of this wekala, being dedicated to the poor society, used basic materials and basic architectural language in its design and making, the simple rectangular plan and the lack of the extra refinements generated by other wekala buildings, like the rooms dedicated to animal lodging. The minimal use of ornaments and extensive use of materials can also be observed. The main elements used in the building were, stones, bricks, and wood. The use of limestone for external walls, and the internal walls overlooking the central courtyard, however, mud bricks were used for the internal walls, especially for the service area. Meanwhile, wood elements were used as structural beams supporting the weight of the slabs, and for windows and mashrabeya elements on the façade. Besides being natural materials used abundantly during that time, they have great added value to the vernacular architecture with their great ability to withstand climatic and environmental factors and provide the required thermal insulation. The residents of the wekala had the extra privilege of looking through the mashrabeyas, overlooking “Bab el Nasr square”, to view artistic performances or other public events hosted at the open public space opposite the main wekala’s gate. FIGURE 17

The façade of the building overlooks Bab-el Nasr Gate, and divided into three horizontal levels. The entrance occupies the center of the façadeto the right and left of the portal are five shops, hovering above each of the shops is a turned-wood window grille, known as Mashrabeya. On top the mashrabeyas, is a row of windows provided with networks of iron grills. The entrance consists of a recessed wall containing an opening for the door. It is crowned by a tri-lobed arch whose height extends to the level of the window openings located on the sides of the entrance. The spandrel of the arch is decorated with carved, stone vegetal motifs. On the upper corners of the arch is a projecting stone ornament consisting of two rows of muqarnas. Above the entrance arch is a band of inscription, carved in Mamluk thuluth script stating the rationale for building this edifice.

FIGURE 18

111

112

PROPORTIONS: THE RED GRID HINTS AT THE

THE MUSEUM

CURRENT BUILDING CONDITION

DESIGN PRINCIPLE USED, WITH THE GOLDEN RATIO PUT INTO ACCOUNT

113

A number of concerns arise upon studying the state of Islamic Monuments in Cairo. Among these concerns is the factors resulting to their deterioration. Also how the deterioration is pronounced is of im-portance, since that might indicate what variety of restoration would be required. Sources of damage range from physical problems such as ground water related issues to problems caused by lack of maintenance and inappropriate previous repair attempts. Several signs of deterioration exist such as structures with collapsed elements, cracks and de-composing stone or other materials.

114

DECOMPOSITION OF MORTAR (Revealing gravel fill)

The current state of the wekala, behind the deteriorated state, co agents affecting most historical, Is present in Cairo.

Following the 1992 Earthquake, the zation made a listing of damages re Monuments in Cairo. Many cracks collapse of the upper parts of sever of damage appear on many of the m all due to the earthquake.

MISSING ELEMENTS (Interior ele

THE MUSEUM

unclear to the exact reason ould be the result of many slamic architecture buildings

Collapsed elements, cracks, separation of elements, decomposition of mortar and stone, rotting of wooden elements, excessive deflection, and missing elements is only part of the long list of these damages encounters.

e Egyptian Antiquities Organieported in Islamic and Coptic were reported as well as the al minarets. Other indications monuments, but they are not

Wekalat Qaytbay is no exception to the different problems that Islamic monuments face in Cairo today, checking off most of the items on that list, some of the problems are physical and others are more subtle to notice.

ements of courtyard is missing)

DETERIORATION OF STONES

115

Rehabilitation: “Transforming and renovating buildings to make them more efficient, beautiful and sustainable, making them favorable to the welfare of the community that inhabits them”

We need to acknowledge that present cultural heritage is under a continuing, urgent state of threat. Because of the situation, new styles of research and management are implemented so as to permit people of contemporaneity to enjoy the heritage. Using creative thinking and design to avoid wasting and incorporate old or historic buildings that currently exist, within the present and future of our cities, by adapting them through creative and sensitive treatments. To conserve a building without updating it or rethinking its functions can result in wear and tear, freezing it in time and preventing it from adapting to an ever-changing society. Adapting the old building to its new use required a technique that would add a replacement layer to a structure that has undergone many changes during its long existence. This had to be done in a minimally invasive way, with small interventions that will eliminate additions to the initial fabric and highlight hidden elements.

THE MUSEUM: •WEKALAT QAYTBAY •REHABILITATION

116

THE MUSEUM

The passage of time alter, erode, and in most cases, degrade any architectural structure. Whether this be the results of climate, adaptation, misuse, or maybe even war, all buildings are subject to the carbon life cycles of steady, or extreme, decline. In recent decades, “rehabilitation” has gained significant traction as a method of breathing new life into an old structure, offering an often complex challenge for architects and everyday users, who walk a fine line between a respectful restoration of history, and significant adaption for contemporary needs.

This trend has not only become a contribution towards the densification and revitalization of underserved sectors but has also allowed families who had been displaced to the periphery to inhabit city centers and improve their quality of life.

Rehabilitation: • It is a way of keeping memories, history and identity intact. • There is more to it than simple pragmatism. It is a very effective way to achieve poetic complexity. The most compelling buildings bear the marks of different eras and design ideologies. • Gives the property a new compatible use by repair, alterations, and additions and can maintain the features which give the building historic, cultural and architectural value. • It is important to note that “the ultimate use of the building determines what requirements will have to be met, some potential uses of a historic building may not be proper if the needed modifications would not preserve the building’s historic character.

Existing buildings can often be energy efficient through their use of stable ventilation, durable materials, and spatial relationships. A direct advantage of older buildings is that a building already exists; therefore energy is not necessary to demolish a building or create new building materials and the infrastructure may already be in place. Minor modifications may be made to adapt existing buildings to compatible new uses. Systems are often upgraded to fulfil modern building requirements and codes.

117

Choosing the foremost appropriate treatment for a building requires careful decision making about a building’s historical significance, as well as taking into account a variety of other considerations: Level of Importance: Properties important for his or her interpretive value may be candidates for Preservation or Restoration. Rehabilitation, however, is that the most typically used treatment for the bulk of historic buildings Reconstruction has the most limited application because so few resources that are not any longer extant may be documented to the degree necessary to accurately recreate the property in an exceedingly crucial manner that conveys its appearance at a particular point in history. Physical condition: Preservation could also be appropriate if distinctive materials, features, and spaces are essentially intact and convey the building’s historical significance. If the building requires more extensive repair and replacement, or if alterations or a new addition are necessary for a brand new use, then Rehabilitation is probably the foremost appropriate treatment. Proposed use: Many historic buildings can be adapted for a new use or updated for a continuing use without seriously impacting their historic character. Code and other regulations: Regardless of the treatment, regulatory conditions must be addressed. But without a sensitive design approach such work may damage a building’s historic materials and negatively impact its character. Therefore, because the ultimate use of the building determines what requirements will have to be met, some potential uses of a historic building might not be appropriate if the mandatory modifications would not preserve the building’s historic character. This includes adaptations to deal with natural hazards as well as sustainability.

118

THE MUSEUM

CURRENT STATE OF THE WEKALA BUILDING

119

Four Treatment Approaches: Preservation is the act or process of applying measures necessary to sustain the present form, integrity, and materials of a historic property. Work, including preliminary measures to shield and stabilize the property, generally focuses upon the continuing maintenance and repair of historic materials and features instead of extensive replacement and new construction. The limited and sensitive upgrading of mechanical, electrical, and plumbing systems and other code-required work to make properties functional is acceptable within a preservation project. However, new exterior additions are not within the scope of this treatment. The Standards for Preservation require retention of the greatest amount of historic fabric along with the building’s historic form. Rehabilitation is the act or process of making possible a compatible use for a property through repair, alterations, and additions while preserving those portions or features which convey its historical, cultural, or architectural values. The Rehabilitation Standards acknowledge the requirement to change or boost a historic building to satisfy continuing or new uses while retaining the building’s historic character. Restoration is the act of accurately depicting the form, features, and character of a property as it appeared at a selected period of time by means of the removal of features from other periods in its history and reconstruction of missing features from the restoration period. The limited and sensitive upgrading of mechanical, electrical, and plumbing systems and other code-required work to produce functional properties is within a restoration project. The Restoration Standards allow for the depiction of a building at a particular time in its history by preserving materials, features, finishes, and spaces from its period of significance. Reconstruction is the act or process of depicting, by means of latest construction, the form, features, and detailing of a non-surviving site, landscape, building, structure, or object for the aim of replicating its appearance at a particular period of time and in its historic location. The Reconstruction Standards establish a limited framework for recreating a vanished or non-surviving building with new materials, primarily for interpretive purposes.

120

THE MUSEUM

121

122

123

MUSEUM OF CRAFTSMANSHIP

Entrance 465 m² Entrance, Waiting Area, Ticket Office, Lockers, Tour Guides Administration Area Administration Offices, Meeting Room, Lounge

68 m²

Pedagogic areas (Vocational School) Different Workshops

450 m²

Temporary Exhibitions Eventual subareas

323 m²

Exhibition Areas Galleries, Work Showroom, Projection Rooms

1,937 m²

Resting Areas Outdoor Terrace, Lounge Area

173 m²

854 m²

Circulation Corridors Circulation Stairs, Emergency Stairs, Elevators

124

195 m²

Space Program

Technical areas Mechanical Room

4 m²

Public Toilets Leisure Areas Coffee Shop, Gift Shops

300 m²

Research Areas Library, Research Lab

113 m²

Laboratories Restoration Labs, Storage

103 m²

Services Kitchenette

20 m²

Exit Area

Net Floor Area Gross Floor Area

234 m²

25 m²

5,264 m² 6,665 m²

125

THE BUILDING 1. MUSEUM AS AN ENTITY 2. VOCATIONAL SCHOOL 3. THE PROGRAM

126

THE BUILDING

“A museum is a non-profit organization open to the public with the aim of acquiring, conserving, researching, exhibiting and communicating works of art, so tangible and intangible heritage, with the main goal to educate, study and entertain visitors and the society.” -ICOM.

Departing from the ‘Bilbao effect’ and only focusing on the resurgence of a societal function of cultural heritage, we discuss the thought of the museum as a societal engine through this case study. The main focus is on the creation of the museum of craftsmanship and its role of social enhancement through the organization of small- and medium-sized cultural events within the historical urban centre. The role played by the museum, the density and the different events are investigated. The resulting picture is that of a proactive museum located at the centre of a network of—mostly local—institutional actors that have effectively contributed to the re-vitalization of knowledge domain and education along with the relations with the citizenship and territory, therefore representing a valuable example of a societal enhancement of culture.

127

A particular aspect of museums’ activity is connected with the recreation. So we had on one side “docere and delectare”- so teach and enjoy.

The benefits that people are looking for when entering a cultural institution can be implicit or explicit. Explicit is to understand a piece of art pleasure is an explicit benefit that visitors are looking for, understanding the history of Cairo across the ages or understanding the importance of the work of art, the painting, or collection and also the relations of the people of these ages. Then we even have implicit benefits, hence the willingness of escaping, for instance, their routine, their reality; being at peace; self-identification, the self-identity that is also important when getting into contact with the work of art.

128

THE BUILDING

“Art for art’s sake.” Does it still work? How important is the role of visitors to a museum or an audience in a theatre for defining an institution’s cultural offering?

According to the Rand Model, there are two different groups of benefits: The instrumental benefits along with the intrinsic benefits. The instrumental benefits are the more concrete ones, they are functional benefits that are related to the performance of the individual. ‘I increase my knowledge so in a way I increase my own performances’. And if we move and switch to the community and the public benefits, we enter the definition of the cultural capital of the society. People who are more performing, people that have a higher level of knowledge on certain topics.

Intrinsic benefits relate to wellbeing. When considering an intrinsic benefit of the individual, there is the pleasure, there is the involvement, the engagement. Intrinsic benefits of the society are the social bonds, the connections that are established in the community while participating or to entering with art.

This is important, not only if we speak about young visitors, so children who need enjoy being in that place, and understand the meaning of the various parts of the history of art, but also within the relation with traditional adult consumers and visitors, that, so as to experience, find, and live a satisfactory experience, they have to feel their relation with the museum along with the art that is taught and explained in a way that is entertaining.

129

Promoting craftsmanship goes beyond showcasing it as objects of display, it is important to allow the youth of the local community to get a platform to learn these crafts, in order to give them a chance to take part in this artistic trade that has a cultural base in the identity of the place. What I propose is to create a vocational school within the museum itself, located in the new extension, to allow it to be imbedded in the atmosphere of the museum, while still maintaining some distance or separation. This vocational school provides a total of 8 workshops teaching different crafts, all arranged around a central courtyard and a lounge, which marks a departure from the norm only to return with a rejuvenated approach to advancing ideologies of culture and tradition during a rapidly developing country. The journey of the visitors through the museum allows an open channel/ access to the workshop area to view the creation process on a daily basis. However, a weekly event is hosted in the vocational school which allows a chance for anyone, not just the youth, to take part in the learning process and be able to generate their own products. This helps create an active participation or co-creation leading to understanding and learning the crafts of Historic Cairo, enhancing the idea of a “Participatory Museum”.

THE BUILDING: •MUSEUM AS AN ENTITY •VOCATIONAL SCHOOL •THE PROGRAM

130

By taking Wekalat Kahla as a case study, one can guarantee that workers can continue to have jobs, as the museum entity can provide them steady income, which is money generated by the earnings of the museum itself, tickets sold, revenue of the cafe, and the weekly workshops open to the public can provide enough income for maintenance of the museum while still supporting the local craftsmen.

Values satisfied by the museum: o Experiential value o Psychological value o Social value Why co-creation: o To give space for interaction o To provide education and skill development o To give voice to local communities

Visitor participation in the museum: o Contribution (Museum controls all and contribution is external) o Collaboration (The visitor is playing an active participation in a spec o Co-creation (Consumer and the institution itself are playing tog role in the agenda of the museum). o Hosting (Museum hosts things made by visitors)

THE BUILDING

cific project.

gether on a

FIGURES 19, 20, 21: LOCAL CRAFTSMEN

131

132

133

The design decisions taken regarding the museum building itself is based on the analysis of the context, the culture and heritage of the city, and based on the understanding of the museum as a typology or entity. The choice to dedicate the museum to craftsmanship stems from the deeply imbedded connection of the local community with their identity of being craftsmen. Hence, Wekalat Qaytbay is a collection of art on one side, but it is also a description of the way people lived in the Mamluk period in the center of the city. Despite the Wekala being under comprehensive restoration since late 2015 by the Ministry of Antiquities, the project aims to restore, refurbish and rehabilitate the Wekala building to transform it into an object of display by itself.

STORAGE

Certain areas of the building ought to be restored to their original state, especially in terms of facades and basic composition of rooms and circulation in order to preserve the ‘zietgiest’ of this historic building. RESTORATION LABS

The main constraint of a cultural institution, or an institution that is providing and dealing with art and heritage, is first of all the complexity of the product, the work of art, itself.

Main tasks to be implemented in the museum: o Aggregation of a particular community. o Forms of innovation for experiencing art

I chose to focus on two selected crafts, ones that were not included in the revival plan of the urban strategy due to their complete disappearance from the area despite their huge influence on the local community.

THE BUILDING: •MUSEUM AS AN ENTITY •VOCATIONAL SCHOOL •THE PROGRAM

134

EMERGENCY STAIRCASE

TEMPORAR

THE BUILDING

TEMPORARY EXHIBITION LOCKERS

TOUR GUIDES

RESEARCH LAB

MECHANICAL ROOM

MAIN STAIRCASE W.C

W.C

LIBRARY

ELEVATOR

ELEVATOR +0.00 +0.00

CAFE

RY EXHIBITION

TEMPORARY EXHIBITION SECURITY CHECK

+6.20

STAFF LOUNGE KITCHENETTE

ENTRANCE +0.00

EXIT

+0.00

+9.70

ADMIN OFFICES

1:200 4m

GROUND FLOOR PLAN

12m

16m

20m

135

CRAFT (CHOSEN FOR THIS FLOOR): MASHRABEYA

136

(CLOCKWISE) FIGURES 22, 23, 24, 25, 26

THE BUILDING

Chosen craft #1 MASHRABEYA A dying craft that used to exist in Al Gamaleya region and now relocated in Al Darb Al Ahmar region. Generally, the woodwork trade has historical significance being used in windows and ornamental work. The existing elements of windows and mashrabeyas in the wekala serve as an object of display. The ability of the visitors to get close and touch it, and understand how natural light interacts with it sheds light on the artistic value of this craft.

The galleries host a selection of items showing: 1. Different Patterns that can be achieved showing the versatility of the craft. 2. Historical Items or Replicas of Items showing how the elements of the mashrabeya was imbedded in the daily use. 3.Paintings featuring mashrabeya highlighting its significance in the art form. 4.Contemporary apporach to how the craft can be reproduced.

137

WORKSHOP IV +4.60

+7.40

WORKSHOP IV +4.60

+7.40

WORKSHOP IV

WORK SHOWROOM +4.70

WORKSHOP III W.C

ELEVATOR GALLERY

W.C

+4.70

MAIN STAIRCASE

ELEVATOR

WORKSHOP III

W.C

WORKSHOP III

ASSEMBLY UNIT

ELEVATOR

+0.00

COURTYARD

ASSEMBLY UNIT

W.C

PROJECTION ROOMS

WORK SHOWROOM

+0.00

ELEVATOR

+7.40

COURTYARD

+0.00

ELEVATOR

+0.00

+7.40 +0.00

COURTYARD

LOUNGE

+0.00

COURTYARD

+4.70

EMERGENCY STAIRCASE

+0.00 +7.40

DRILL UNIT

ASSEMBLY UNIT

DRILL UNIT

DESIGN UNIT

COURTYARD

+4.70

+0.00

+7.40

WORKSHOP I

+7.40

ASSEMBLY UNIT

+7.40

DRILL UNIT

UNIT WORKDESIGN SHOWROOM

DRILL UNIT

LOUNGE

DESIGN UNIT

LOUNGE WORKSHOP II

COURTYARD +0.00 +7.40

+4.60

+6.20

+4.70

WORKSHOP I

WORKSHOP II

WORK SHOWROOM

+7.40

WORKSHOP I

+4.60

+6.20

WORKSHOP II

+4.70

+6.20

+4.60

GALLERY

+9.70

1:200 4m

1:200 4m 1:200

4m 0

12m

16m

12m

FIRST FLOOR PLAN

16m

20m

16m

20m

WORKSHOP IV +4.60

+7.40

WORKSHOP IV +4.60

+7.40

+4.60

WORKSHOP IV

WORK SHOWROOM

+7.40

W.C

WORKSHOP III

WORK SHOWROOM W.C

W.C

ELEVATOR

WORKSHOP III

WORK SHOWROOM ELEVATOR ASSEMBLY UNIT ELEVATOR

WORKSHOP III ELEVATOR +0.00

COURTYARD

ASSEMBLY UNIT

W.C

+0.00

ELEVATOR

+7.40

COURTYARD

ASSEMBLY UNIT

+0.00

ELEVATOR

+0.00

+7.40 +0.00

COURTYARD

LOUNGE

+0.00

COURTYARD

+7.40

+0.00 +7.40

ASSEMBLY UNIT

DRILL UNIT

DESIGN UNIT

+7.40

+0.00

WORKSHOP I

+7.40

ASSEMBLY UNIT

+7.40

DRILL UNIT

UNIT WORKDESIGN SHOWROOM

DESIGN UNIT

ASSEMBLY UNIT

DRILL UNIT

DRILL UNIT WORK SHOWROOM

DESIGN UNIT

DESIGN UNIT +7.40

+4.60 +7.40

LOUNGE WORKSHOP II

COURTYARD +7.40

+4.60

+7.40

LOUNGE

COURTYARD

+0.00

WORKSHOP I

+6.20

+7.40

WORKSHOP II

WORKSHOP I

+6.20

WORKSHOP II

WORK SHOWROOM +6.20

+4.60

+9.70

1:200 4m

1:200 4m 1:200 4m

138

0 4m

4m 8m

8m 12m

12m 16m

16m 20m

FIRST MEZZANINE PLAN 4m

12m

16m

20m

THE BUILDING

139

CRAFT (CHOSEN FOR THIS FLOOR): MOTHER OF PEARL

140

(CLOCKWISE) FIGURES 27, 28, 29, 30, 31, 32, 33

THE BUILDING Chosen craft #2 PEARL INLAY Pearl Inlay represents a lavish craft that was mainly used to decorate furniture and other everyday items. The decline of the craft led to workshops relocation to Hattaba Region. An added value to this craft is that items look significantly different from other mother-of-pearl items produced by different cultures, hence highlighting its visual identity.

The galleries host a selection of items showing: 1. Traditional items using pearl inlay capturing the zeitgeist of the different historical eras that used this craft. 2.Paintings featuring mashrabeya highlighting its significance in the art form. 3.Modern Mosaic panels allowing visitors to touch and observe the material and how it interacts with light. 4.Modern Mosaic panels showing different patterns that can be achieved.

141

WORKSHOP IV +4.60

+7.40

WORKSHOP IV +4.60

+7.40

WORK SHOWROOM +10.40

W.C

PROJECTION ROOMS

WORKSHOP III

WORK SHOWROOM

+10.40

W.C

ELEVATOR

MAIN STAIRCASE

WORKSHOP III

W.C

W.C ELEVATOR

GALLERY

ASSEMBLY UNIT

ELEVATOR

+0.00

COURTYARD

ASSEMBLY UNIT

+0.00

ELEVATOR

+7.40

COURTYARD

+0.00

ELEVATOR

+0.00

+7.40

+0.00

COURTYARD +0.00

LOUNGE COURTYARD

+10.40

EMERGENCY STAIRCASE

+0.00 +7.40

DRILL UNIT

ASSEMBLY UNIT

DRILL UNIT

DESIGN UNIT

COURTYARD

+10.40

+7.40

+0.00

WORKSHOP I

+7.40

ASSEMBLY UNIT

+7.40

DRILL UNIT

UNIT WORKDESIGN SHOWROOM

DRILL UNIT

LOUNGE

WORKSHOP II

COURTYARD

DESIGN UNIT

+0.00 +7.40

+4.60

+10.40

WORKSHOP I

+6.20

+9.70

WORKSHOP II

WORK SHOWROOM

+7.40

+6.20

+4.60

+10.40

+6.20

+10.30

GALLERY

+9.70

1:200 4m

1:200 4m 1:200

12m

16m

SECOND FLOOR PLAN 4m

12m

20m

16m

20m

WORKSHOP IV +4.60

+7.40

WORKSHOP IV +4.60

+7.40

+10.30

+13.10

WORK SHOWROOM W.C

W.C

WORKSHOP III

WORK SHOWROOM W.C

WORK SHOWROOM

W.C

ELEVATOR

WORKSHOP III

W.C

W.C ELEVATOR ASSEMBLY UNIT

ELEVATOR

ELEVATOR +0.00

COURTYARD

ASSEMBLY UNIT

+0.00

ELEVATOR

+7.40

ASSEMBLY UNIT

COURTYARD

+0.00

ELEVATOR

+0.00

+7.40

+0.00

COURTYARD +0.00

LOUNGE COURTYARD

+13.10

+0.00 +7.40

ASSEMBLY UNIT

DRILL UNIT

DESIGN UNIT

+7.40

ASSEMBLY UNIT

+7.40

DRILL UNIT

ASSEMBLY UNIT +7.40

UNIT WORKDESIGN SHOWROOM

DESIGN UNIT

DRILL UNIT

DRILL UNIT WORK SHOWROOM

DESIGN UNIT

+0.00

WORKSHOP I +7.40 COURTYARD

WORKSHOP II

+0.00 +7.40

+4.60

LOUNGE

COURTYARD

DESIGN UNIT

WORKSHOP I

+10.40

WORKSHOP II

+6.20

+9.70

+6.20

+4.60

+13.10

WORK SHOWROOM

+6.20

+10.30

+9.70

1:200 4m

1:200 4m 1:200

142

0 4m

4m 8m

8m 12m

12m 16m

16m 20m

SECOND MEZZANINE PLAN

12m

16m

20m

THE BUILDING

143

144

145

An important part of the museum experience is the availability of AN IMPORTANT PART OF THE MUSEUM EXPERIENCE IS the different options for the visitors to experience the museum, THE AVAILABILITY OF DIFFERENT OPTIONS FOR THE ranging from periodic visits to quick tours to more inclusive VISITORS TO EXPERIENCE THE ones. MUSEUM, RANGING

FROM PERIODIC VISITS TO QUICK TOURS TO MORE Connecting art experiences with the vocational school, the more INCLUSIVE ONES. informal functions like the lounges along with the urban context represented in the historic wall and the public space. CONNECTING ART EXPERIENCES WITH THE VOCATIONAL SCHOOL, THE MORE INFORMAL FUNCTIONS LIKE THE LOUNGES ALONG WITH THE URBAN CONTEXT REPRESENTED IN THE HISTORIC WALL AND THE PUBLIC SPACE.

ON CTI E J O ON . PR 1 . CTI 2 E J O .PR 1 . 1 K OR W . 3 2. ERY L L .GA 2.2 K OR W . 1.3 RY LLE A .G 1.2

146

RY LLE A .G 2.2 RY LLE A .G 1.2

THE BUILDING

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The typical circulation of the museum galleries allow for viewing, firstly, the projection rooms, displaying the historical precedents of the craft, followed by the access to the galleries showing samples of the crafts, in different stages and showing different manifestations of the craft, followed by vertical access to the mezzanine floor featuring craftsmen displaying different stages of the craft producing a single item.

THE TYPICAL CIRCULATION OF THE MUSEUM GALLERIES ALLOW FOR, VIEWING FIRSTLY, THE PROJECTTION ROOMS, DISPLAYING THE HISTORIC PRECEDENTS OF THE CRAFT, FOLLOWED BY THE ACCESS TO THE GALLERIES SHOWING SAMPLES OF THE CRAFTS, IN DIFFERENT STAGES AND

147

148

THE BUILDING

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2• TEMPORARY EXHIBITION + HISTORICAL WALL TEMPORARY EXHIBITION + HISTORICAL WALL FOR REGULAR VISITORS OF THE MUSEUM, EG: THE LOCALS, MORE INTEREST MIGHT BE FOR THE For regular visitors of the museum, for example the locals, more interest TEMPORARY EXHIBITIONS CONSTANTLY CHANGING, SO A PATH IS INCLUDED WHERE VISITORS WOULD might be for the temporary exhibitions constantly changing, so a path ONLY ACCESS THE GORUND FLOOR WHERE THE is included where would TEMPORARY EXHIBITIONS ARE,visitors HOWEVER, STILL only access the ground floor where the HAVINGtemporary THE ABILITY TO ACCESS THE are, WALL,however, AND exhibitions still having the ability to access the PERHAPS REST AT THE MUSEUM CAFE.

wall, and perhaps rest at the museum cafe.

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RKS

WEEKLY WORKSHOP/ DAILY YOUTH ENTRANCE

3• WEEKLY WORKSHOP/ DAILY STUDENTS EVENTHOUGH THE VOCATIONAL SCHOOL IS MOSTLY DEDICATED TO THE YOUNG LOCALS OF THE AREA TO LEARN CERTAIN CRAFTS, THESE WORKSHOPS HOST WEEKLY WORKSHOPS WHICH ALLOW VISITORS TO

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PROJECTION ROOM

ART GALLERY + WORK SHOWROOM

KEY MAP

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THE BUILDING

STUDY OF THE GALLERIES In order to provide a sufficient museum experience, different galleries were created serving different functions easily identifiable by the location change and atmosphere change. As mentioned before, each floor hosts a different craft, within each floor is three types of showrooms which best explain the craft. •PROJECTION ROOMS: Hosting documentaries and short videos showing the historical significance of the craft and how it ws used. •GALLERIES: Traditional physical items showcased, however showing different manifestations of the crafts ( as mentioned in the craft analysis), separated by visual cues (e.g.: circulation forcing visitors to exit the room to access the other.) •WORK SHOWROOM: Hosting craftsmen displaying a set of steps reaching the final product, located in the mezzanine floor accessed within the gallery space itself. Creating a vertical circulation and highlighting the dialogue between private and public spaces (which is the historical composition of these rooms), and the dialogue between the quiet and loud aspects of these crafts and their artistic qualities.

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PROJECTION ROOMS

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THE BUILDING

ART GALLERY + WORK SHOWROOM

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TECTONICS 1. STRUCTURE 2. MATERIALITY 3. LIGHTING 4. VENTILLATION

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TECTONICS

In order for the historic building (Wekalat Qaytbay) to be rehabilitated and to be able to host new functions, that means that certain measures must be taken in order to transform that building. A museum with its contemporary approach must contain certain cutting edge technologies. However, in order to adapt existing buildings to compatible new uses, minor modifications can be made. Systems can evolve and meet modern building requirements and codes.

The re-articulation of the traditions within the contemporary realm requires the additions to the historical building as ground alterations to be designed and constructed so that the character defining elements of the past, the site, and the context are not negatively impacted.

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COMPARISON BETWEEN STRUCTURAL SYSTEMS AND TECTONICS

TECTONICS

BEFORE

AFTER

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WEKALA: 1• BARREL VAULT: This is the primary system that carries most of the load of the building. •Ground Floor •Typical Floor (specific rooms that used to host different functions) 2• STONE ARCHES: This existed to carry the load of the mezzanine floor (private rooms), replacing a wall of the mezzanine with arches to highlight them. •Typical Floor (Specific rooms that host different functions) 3• WOODEN BEAMS: This supports the weight of the slabs of the typical floors. Adding more as extra reinforcement to support the live load of the museum visitors. •Typical Floor

EXTENSION: • FLAT SLAB+ COLUMNS: The different system allows most flexibility in this new area with no fear of compromising the foundation of the existing historical elements surrounding it.

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TECTONICS

SECOND FLOOR

FIRST FLOOR

GROUND FLOOR

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GROUND FLOOR PLAN

The red and yellow plan, comparing the difference between the old and the new, where the red indicates the demolished walls, the yellow for the new construction, and the black for what overlaps. Certain qualities of the rooms were kept to preserve the spirit of the place, however, some walls need to be removed to make room for the museum functions.

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TECTONICS

FIRST FLOOR PLAN

It is also safe to assume that, since the wekala building is in bad condition, that most of the interior walls have been demolished over the years, so in fact, not many walls will be removed in this proposal. Imprints of the demolished walls will be imbedded in the polished concrete floor (and covered by a layer of glass), highlighting them as objects of display and part of the museum experience, so the visitors can fully understand the original state of the historical building.

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With this rehabilitation project, some elements are to be restored to their original state in order to preserve the spirit of the place, however, the addition of the new materials means that at certain areas, there will be a juxtaposition of the old and the new, where they merge together and interlock.

• New elements introduced to the renovation project should be compatible, but it is also highly important that it is differentiated from the original construction itself. That way brand new elements do not become poor impersonations. • Materials and decoration either painstakingly accurate to the past or unabashedly contemporary.

TECTONICS: •STRUCTURE •MATERIALITY •LIGHTING •VENTILLATION

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TECTONICS

•EXISTING MATERIALS: T R

•NEW W MATERIALS: L

LIMESTONE

CONCRETE O

MUD D BRICKS

GLASS L

O WOOD

WHITE H PAINTT

•WALLS ON TTHE STREET. • A M •WALLS OF VAULTED ROOMS. •WALLS ON TTHE COURTYARD. A

•INTERIOR WA WALLS. •WALLS ABOVE V FIRST FLOOR. O

•WINDOWS. E •MASHRABEYAS. A JOISTS. •STRUCTURAL

•POLISHED D FLOOR. •COLUMNSS IN EXTENSION. O

•WINDOWS W IN EXTENSION. S •HANDRAILS. A

•WALLS IN N EXTENSION..

IMAGE OF THE CURRENT STATE OF THE BUILDING SHOWING HOW DIFFERENT ELEMENTS INTERLOCK

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LIMESTONE

MUD BRICKS

MEZZANINE AREA. POLISHED CONCRETE FLOOR GLASS HANDRAIL

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WOOD DOORS

POLISHED CONCRETE FL

LOOR

TECTONICS

WHITE PAINT LIMESTONE

LIMESTONE MUD BRICK

FALSE CEILING

TRANSITION OF WALLS.

WALL RUINS. POLISHED CONCRETE

GLASS LIMESTONE (WALL FOOTING)

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NATURAL LIGHT: 1• COURTYARD: Lighting directly the entrance and the cafe areas, highlighting their significance. Also shedding some light on the corridors connecting the galleries to provide a ‘break’ from the atmosphere indoors.

2• MASHRABEYA + WINDOWS: Rooms in the first and second floor overlooking the street have this quality which allows natural light to enter the rooms, while the mashrabeya provides interesting shadow which elevates their value as objects of display within the museum.

TECTONICS: •STRUCTURE •MATERIALITY •LIGHTING •VENTILLATION

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TECTONICS

NATURALLY LIT AREA

GROUND FLOOR

FIRST FLOOR

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SUN PATH DIAGRAM

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TECTONICS

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RECCESSED FLOODLIGHT [BY: ERCO]

FIGURE 34

PRODUCT DESCRIPTION: •VERY WIDE ROTATIONALLY SYMMETRICAL •OR AXIALLY SYMMETRICAL LIGHT DISTRIBUTION •LED MODULE •24W - 30W

ARTIFICIAL LIGHT:

•1900lm - 3300lm

1• IN GALLERIES + WORK SHOWROOMS: Recessed floodlights are added to directly shed light on the artifacts to highlight them, and to ensure that light enters far into the room where natural light does not reach. Light cables are concealed within elements cladded with wood to resemble the wooden beams existing.

2• IN PROJECTION ROOMS + TEMPORARY EXHIBITION: Vaulted rooms act differently, and a different approach must be taken in order to preserve the quality of the Barrel Vault. An extrusion is made where the cables for the lights and ducts for the Air Conditioning system are hidden, and openings are made at the bottom where the reccessed floodlights are located. With the projection rooms, the projector devices are located on the opposite side of the rooms, hence an extension of the cables are made across the room along the location of the demolished walls that used to link the rooms.

EXTRUSION ADDITION

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TECTONICS

SHAFT SHAFTFOR FOR VERTICAL VERTICALCIRCULATION CIRCULATION

MECHANICAL MECHANICALROOM ROOM

GROUNDFLOOR FLOOR GROUND

FIRST FLOOR

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LIGHT CABLES PASSING

FROM MECHANICAL ROOM

RECCESSED FLOODLIGHT

PROTOTYPE OF TEMPORARY EXHIBITION

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TECTONICS

LIGHT CABLES FROM MECHANICAL ROOM

PROJECTOR

RECCESSED FLOODLIGHT

PROTOTYPE OF PROJECTION ROOMS

PROTOTYPE OF ART GALLERIES

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NATURAL VENTILLATION: 1• COURTYARD: The primary source of ventillation in the historical buildings of this typology. The addition of another courtyard in the extension allows air and light to enter that area.

2• MASHRABEYA + WINDOWS: Rooms in the first and second floor overlooking the street have this quality which allows natural air to enter the rooms, while the mashrabeya helps regulate the quality and temperature of the air entering.

TECTONICS: •STRUCTURE •MATERIALITY •LIGHTING •VENTILLATION

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TECTONICS

NATURALLY VENTILLLATED AREA

GROUND FLOOR

FIRST FLOOR

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TECTONICS

DIAGRAM SHOWING FLOW OF NATURAL VENTILLATION

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MECHANICAL VENTILLATION: 1• CENTRAL AIR CONDITIONER: A mechanical room is instilled at the far side of the building which pumps cool air in rooms with no access to natural air (e.g.: vaulted rooms), this air is passed through ducts located in the extrustion made in the wall. When reaching the new extension, these ducts have freedom to move within the false ceiling reaching all rooms not open to the courtyard.

EXTRUSION ADDITION

DUCTS PASSING

FROM MECHANICAL ROOM

COOL AIR OUTLET

HOT AIR OUTLET TO COURTYARD

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TECTONICS

SHAFT FOR VERTICAL CIRCULATION

MECHANICAL ROOM

GROUND FLOOR

FIRST FLOOR

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1. BIOAROMA MUSEUM & EXPERIENCE STORE -Architects: KAAF | Kitriniaris Associates Architecture Firm (ÁGIOS NIKOLAOS, GREECE) 2. COLONIAL HOUSE RECOVERY ON 64TH STREET -Architects: NAUZET RODRIGUEZ (MERIDA, MEXICO) 3. RESTORATION OF CASTELLO DEI DORIA A DOLCEACQUA -Architects: LD + SR architetti (DOLCEACQUA, ITALY) 4. REHABILITATION ANCIENT ROYAL BUTCHER XVI CENTURY -Architects: PABLO MANUEL MILLAN MILLAN (PORCUNA, ITALY) 5. AFRICA MUSEUM -Architects: STEPHANE BEEL ARCHITECTS (TERVUREN, BELGIUM) 6. THE DOMES OF THE CATHEDRAL OF MALAGA -Architects: MARINA UNO ARQUITECTOS (MALAGA, SPAIN) 7. MALAGA MUSEUM -Architects: PARDO TAPIA ARQUITECTOS (MALAGA, SPAIN)

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DESIGN REFERENCES

8. CHANGJIANG ART MUSEUM -Architects: VECTOR ARCHITECTS (TAIYUN, CHINA) 9. RIJKSMUSEUM -Architects: CRUZ Y ORTIZ ARQUITECTOS (MERIDA, MEXICO) 10. RESTORATION OF CASTELLO DEI DORIA A DOLCEACQUA -Architects: LD + SR architetti (AMSTERDAM, THE NETHERLANDS) 11. MORITZBURG MUSEUM EXTENSION -Architects: NIETO SOBEJANO ARQUITECTOS (HALLE, GERMANY) 12. CORACERA CASTLE REHABILITATION -Architects: RIANO + ARQUITECTOS (SAN MARTIN DE VALDEIGLESIAS, SPAIN)

13. CASTELLO DI RIVOLI -Architects: ANDREA BRUNO (TURIN, ITALY)

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List of Figures

FIGURE 1, (Aerial View) Google Earth.

FIGURE 2, (Diagrams of Al-Muizz Street) 11 Source: Streets of Islamic Cairo, Configuration of Urban Themes and patterns, Nezar AL Sayyad. FIGURE 3-6, (Architectural Elements) 18-19 Source: Islamic Monuments of Cairo, Caroline Williams.

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FIGURE 7-11, (Pictures from Site) Source: Abdullah El Hawary

24,40

FIGURE 12, (Ruins in Plan) Unknown Source.

FIGURE 13,14, (Pictures of Ruins) Unknown Source.

FIGURE 15,16, (Overlayed Pictures of Ruins) Unknown Source.

FIGURE 17,18, (Pictures of Wekalat Qaytbay) Source: Comité Bulletins.

References

FIGURE 19-21, (Pictures from Site) Source: Abullah El Hawary

FIGURE 22,24, (Painting) Unknown Source

FIGURE 23,26, (Mashrabeya Wall) 66 Source: Khaled ElAdawy for Shutter Stock FIGURE 25, (Mashrabeya Wall) Source: MET Museum Collection

FIGURE 27,33, (Pearl Inlay Jewelery Box) Unknown Source

FIGURE 28,31,32, (Pearl Inlay Object) Source: MET Museum Collection

FIGURE 28,29, (Pearl Inlay Object) Source: MWNF Galleries

FIGURE 34, (Recessed Floodlight) Source: ERCO Lights

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