REVITALIZING THE HISTORICAL ESSENCE OF THE G.E.M. AREA THROUGH LITERARY ARCHITECTURE

GRADUAT I ON PROJ ECTI IT HES I S ARCN481

S pr i ng2021

Pr of .AhmadAbdel Ghaf f ar Dr .Ni hal Abdel Gawwad

Dr .Ni hal Abdel Gawwad

REVI T AL I Z I NG T HEHI S T ORI CAL ES S ENCEOFT HEG. E. M.AREA T HROUGHL I T ERARYARCHI T ECT URE NohaHat em Mos t af a 1164018

REVITILIZING THE HISTORICAL ESSENCE OF THE GEM AREA THROUGH LITERARY ARCHITECTURE NOHA HATEM MOSTAFA

REVITALIZING THE HISTORICAL ESSENCE OF THE G.E.M. AREA THROUGH LITERARY ARCHITECTURE Noha Hatem Mostafa Architecture & Engineering Technology Credit Hour Program, Faculty of Engineering, Cairo University

Abstract The Grand Egyptian Museum (GEM) is an unprecedent historical asset to the influential area of the Pyramids Plateau. The current working cultural facilities in the area conjoin the activities present inside the plateau from individual to group educational site visits. GEM’s main aim is to incorporate the historic site with knowledge, culture, increased touristic presence and boost tourism economy.

The development plans of the Greater Cairo Region (GCR) show an expected increase in tourism by the year 2030. This will heighten the focality of the World Heritage Site and bring back Egypt’s glory in tourism. However, the haphazardness with which the urban fabric has sprawled around and over the buffer zone of the plateau, with no architectural identity whatsoever, will taint the image of Egypt’s most renowned sites. This will negatively affect the user experience despite the increased efforts to provide cultural and educational facilities through GEM. The objective of this research is to introduce the approach of literary architecture in order to proliferate historic knowledge and create a non-verbal communication between architect and user. This will be achieved through designing a bibliotheca complex in a cultural park which encloses various typologies that heighten the economic and social aspects of the GEM area.

The methodology begins with data collection using qualitative and quantitative data gathering methods.

The research will verify the validity of the proposed argument that literary architecture creates expressive forms and spaces. This will be shown by studying the effect literature has on architecture and vice versa. As well as, introduce philosophical theories that accentuates the necessity of merging the two forms of arts. The research will set a detailed and refined program through practical analysis and case studies that implement the aforementioned theories in architecture design. The expected outcome of the analysis is the practical implementation of the theories of literary architecture in the design drawings and details of bibliotheca complex.

Key words Literary Architecture, Hejduk’s Chronotope, Spatio-temporal Theories, Expressive Forms in Architecture, Metaphor in Design, GEM, Bibliotheca

REVITILIZING THE HISTORICAL ESSENCE OF THE GEM AREA THROUGH LITERARY ARCHITECTURE NOHA HATEM MOSTAFA

Thesis Outline

Abstract ............................................................................................................................... 1 Key words ........................................................................................................................... 1 Thesis Outline ..................................................................................................................... 2 1.

INTRODUCTION ..................................................................................................... 5

1.1.

1.2.

1.3.

1.4.

1.5.

Problem Overview ................................................................................................................ 5 Objectives............................................................................................................................... 5 Approach ............................................................................................................................... 6 Limitations ............................................................................................................................. 6 Context Overview.................................................................................................................. 6

2.

INTELLECTUAL CONTEXT ................................................................................ 7

2.1. Integration between Architecture and Literature ............................................................. 8 2.1.1.

Expressive Architectural Forms through Creative Writing............................................. 8 2.1.2.

Architecture Movements in Literature ............................................................................ 9 2.2. Hejduk’s Chronotope ......................................................................................................... 10 2.2.1.

Literary Chronotope ...................................................................................................... 11 2.2.2.

Relation between Chronotope and Architecture ........................................................... 11

3.

CASE STUDIES ...................................................................................................... 12

3.1. Case Study 1: The Jewish Museum; Berlin, Germany .................................................... 12 3.1.1.

General Overview ......................................................................................................... 12 3.1.2.

Architecture Treatments ................................................................................................ 13 3.1.3.

Narration by Architecture ............................................................................................. 14 3.2. Case Study 2: Calgary Central Library, Calgary, Canada ............................................. 15 3.2.1.

General Overview ......................................................................................................... 16 3.2.2.

Contextual Design ......................................................................................................... 16 3.2.3.

Symbolism in Design .................................................................................................... 16 3.3. Theoretical Framework ...................................................................................................... 17

4.

PROJECT DESCRIPTION ................................................................................... 18

4.1. Context Overview................................................................................................................ 18 4.1.1.

Direct Context ............................................................................................................... 19 4.1.2.

Site Analysis ................................................................................................................. 20 4.1. Conceptual Design .............................................................................................................. 21 4.2. Form Generation and Development .................................................................................. 22 4.3. Design Tools......................................................................................................................... 23 4.4. Design Development............................................................................................................ 24 4.5. Design Interventions ........................................................................................................... 26

5.

Project Contribution ............................................................................................... 29

References ......................................................................................................................... 30 Appendix A ....................................................................................................................... 33

REVITILIZING THE HISTORICAL ESSENCE OF THE GEM AREA THROUGH LITERARY ARCHITECTURE NOHA HATEM MOSTAFA

List of Figures Figure 2 GEM Area map with Zones Analysis, ...................................................................................... 7 Figure 1 Master Plan of Aten Cultural Park, (Author, 2021).................................................................. 7 Figure 3 The Creative Process of Architecture and Literature (Namita,2020) ....................................... 7 Figure 4 Students of The Laboratory of Architecture interpreting Ernest Hemingway's "Hills Like White Elephants" into a physical form (Wang et. Al,n.d.) ........................................................................ 8 Figure 5 The Laboratory of Architecture Students interpreting Amy Hempel's "The Harvest" into a physical form (Boushira et. Al, n.d)................................................................................................ 9 Figure 6 Royal Ontario Museum, by Daniel Libeskind (ROM, 2019) ................................................. 11 Figure 7 The Jewish Museum in Berlin (Pavka, 2010) ......................................................................... 13 Figure 8 Aerial View showing The Old Baroque Building with The Jewish Museum (Bianchini, 2019) ...................................................................................................................................................... 13 Figure 9 The Entrance of The Jewish Museum from The Old Baroque Building (Pavka,2010) .......... 14 Figure 10 The Axis of Exile and The Axis of the Holocaust (The Libeskind Building, n.d.) .............. 14 Figure 11 The Holocaust Tower (Bianchini, 2019) .............................................................................. 15 Figure 12 Different Views from The Garden of Exile (Bianchini, 2019) ............................................. 15 Figure 13 Calgary Central Library (Baldwin, 2020)............................................................................. 16 Figure 14 Calgary Central Library's Layout showing its half-moon structure (Baldwin, 2020) .......... 16 Figure 15 Elevation treatments of Calgary Central Library (Baldwin, 2020) ...................................... 17 Figure 16 Entrance of Calgary's Central Library (Baldwin, 2020) ....................................................... 17 Figure 17 Aerial View of Aten Cultural Park's Land Lot ..................................................................... 19 Figure 18 Proposed Master Plan of Aten Cultural Park (Author,2021) ................................................ 20 Figure 19 Site Analysis of Bibliotheca Seshat (Author, 2021) ............................................................. 21 Figure 20 Inspiration for Seshat Bibliotheca from the Sun disk and the Orion Constellation alignment with the pyramids .......................................................................................................................... 21 Figure 21 Conceptual Form of Seshat Bibliotheca (Author,2021) ....................................................... 22 Figure 22 Form Generation of Seshat Bibliotheca, Author 2021 ......................................................... 22

REVITILIZING THE HISTORICAL ESSENCE OF THE GEM AREA THROUGH LITERARY ARCHITECTURE NOHA HATEM MOSTAFA Figure 23 Prominence of Sun Disk (Author, 2021) .............................................................................. 23 Figure 24 Results of Online Survey conducted by Author ................................................................... 23 Figure 25 Results of Online Survey Conducted by Author .................................................................. 24 Figure 26 First Stage of Conceptual Design (Author,2021) ................................................................. 24 Figure 27 Second Stage of Design Development ................................................................................. 25 Figure 28 Layout of the conceptual sketch and stage 3 of design development ................................... 25 Figure 29 Bird's Eye View of the Final Design of Seshat Bibliotheca ................................................. 25 Figure 30 Ground Floor Plan of Seshat Bibliotheca (Author,2021) ..................................................... 26 Figure 31 First Floor Plan of Seshat Bibliotheca (Author, 2021) ......................................................... 27 Figure 32 Library Entrance (Author, 2021) .......................................................................................... 27 Figure 33 Cultural Centre Entrance (Author, 2021) ............................................................................. 28 Figure 34 Sun Disk Treatment as a centralized point in Landscape ..................................................... 28 Figure 35 Longitudinal Section (Author, 2021).................................................................................... 28

REVITILIZING THE HISTORICAL ESSENCE OF THE GEM AREA THROUGH LITERARY ARCHITECTURE NOHA HATEM MOSTAFA

1. INTRODUCTION The historical essence of the GEM area is amplified by the presence of the Pyramid Plateau in close proximity to the museum. The novelty in facilities and services introduced to the area through GEM, increases touristic attraction to an already focal attraction point. According to (MHUUC & GOPP, 2012), touristic presence will increase by 132% by the year 2030 following the development plans of GCR. However, the existing unplanned urbanization of the GEM area north and east of the Pyramid Plateau has led to losing the architectural identity of the region (de Noronha Vaz et al.,2011, p.13).

Aten Cultural Park is a complex that holds five projects with five different typologies; a bibliotheca, a youth start-up centre, a business and retail centre, a recreational facility and a wellness centre. It lies on the direct axis of al Haram street leading to the Pyramid Plateau and lies within the surrounding context of GEM. This complex transcends the region into a hub of knowledge, entertainment, wellness, economy and futuristic youth. This research focuses on the bibliotheca and how the culture and knowledge offered along with its modernized historic architecture increases the significance of the renowned area. It also acts as an annex to GEM’s Rare Books Library alongside its Main Library which cover 450 m2 and 2500 m2 respectively (Hill International, EHAF). The expected impact Bibliotheca Cairo will have on the region is a parallel to the impact Bibliotheca Alexandria had when it opened its doors in 2002. Bibliotheca Alexandria welcomed 1.4 million visitors between the years 2009-2010, which upped economy, tourism and culture by facilitating and enhancing the experience of researches (Emerald Publishing, n.d.)

The thesis flows by highlighting the problems facing the GEM area, followed by stating the objectives and expected impact of Bibliotheca Cairo on the region, then stating the approach and hypotheses for this dissertation and literature review and finally laying out the limitations regarding the research and findings of this thesis. Case studies are then analysed to better understand the practical implementation of discussed theories on architecture.

1.1. Problem Overview As previously mentioned, the unplanned urbanization in the GEM area negatively affects the value of the region. This is also magnified by the interference in touristic flow due to the sprawl of roads and urban areas on the buffer zone of the Pyramid Plateau. The World Heritage Site is congested with traffic and unplanned urbanization that is peaked by the continuous damage caused by Nazlet Al Semman and Kafret Al Gebal to the renowned archaeological site (Shetawy et al., 2009, p.2) This deterioration of the architectural identity and the lack of historical integrity threaten the world image of the Pyramid Plateau especially with the expected increase of touristic attraction towards the GEM area. The problem facing Bibliotheca Cairo is its inapproachability by both tourists and locals alike due to the retrogression of the social and cultural aspects and knowledge of the historical essence of the region.

1.2. Objectives Bibliotheca Cairo creates a form of escapism to its users; to the readers and the non-readers visiting its walls in order to seek knowledge and culture. Jan van Ballegooijen states in his book “Beyond the Surfaces” that “The city is not exposed as a unity but a wide range of emotions, memories, secrets, histories and connections, that can be found in the reality around us.” (Balleogooijen, 2011). The

REVITILIZING THE HISTORICAL ESSENCE OF THE GEM AREA THROUGH LITERARY ARCHITECTURE NOHA HATEM MOSTAFA experience created through the history of a city or a building or a space is what piques the interest of users and marks a place as icon to architecture and history.

This thesis aims at exploring trends and theories that can invigorate an architectural product that articulates history for locals and tourists alike, thus, enhancing the world image of the GEM area. It studies approaches that can heighten the interest of visitors to the Pyramid Plateau increasing the revenue of touristic economy. It explores ways of incorporating historical integrity of the Pyramid Plateau along with the needs and interests of modern and future users to produce meaningful architecture that tells the history of the region.

1.3. Approach This dissertation and literature review will study the design approach of literary architecture and its effect in producing an architectural product that interprets words into expressive forms. Paul Ricoeur, a French philosopher, argued that architecture and narrative are complimentary opposites. They are both used to tell stories, where narrative perceives stories in a spiritual and mental sense while architecture builds stories in space (Grice, 2017). When both literature and architecture are combined, they produce a physical emotional story, that can be seen, lived and experienced. This, in turn, creates a contextual historical identity to the GEM area through an architecture that speaks to the user.

The project will address, based on evidence and existing case studies, the importance of the emotional experience of the user and how an architect can convey their meanings by interpreting their written intentions and emotions into expressive spaces. The results of the creative process of literary architectural design will be implemented in Bibliotheca Cairo to enhance the literary experience of users inside the library complex.

1.4. Limitations The creative process and the architectural outcome are purely subjective; the concepts implemented in order to create the architectural space or experience may vary due to the different interpretations and ideologies of each individual. Also, even though literary architecture is quite popular in theory, only a few numbers of architects use these theories in practice.

1.5. Context Overview The main economic resource of the GEM area comes from tourism, retail, manufacturing and business as it appears in the zone analysis in figure (2). However, the deterioration of the social context due to the decrease in employment rate and increase in sexual harassment is negatively affecting the safety of tourists, thus, lessening the touristic presence in the area (Experts Group Meeting: GLOBAL STATE OF METROPOLIS 2020 Regional and Metropolitan Planning Unit -RMPU, 2019.) GEM, as a novel facility in the area, aims at enhancing the aforementioned social, culture and economic problems. The services include exhibitions, museum, libraries, workshops, …etc. in order to help locals find employment, education and learn their historical background as well as enhance the world view through attracting the touristic interest. The project is located in Aten Cultural Park where figure (1) shows the detailed master plan of the project that encloses the five typologies.

REVITILIZING THE HISTORICAL ESSENCE OF THE GEM AREA THROUGH LITERARY ARCHITECTURE NOHA HATEM MOSTAFA

Bibliotheca Youth Start-up

Business and Retail

Wellness

Recreational

Figure 1 Master Plan of Aten Cultural Park, (Author, 2021)

Figure 2 GEM Area map with Zones Analysis, (MHUUC et al., 2019, pp. 10–26)

2. INTELLECTUAL CONTEXT This intellectual context of the thesis studies the creative process and practical implementation of turning literary works into expressive forms. Literature, on its own, depicts the verbal string of art to build a story with time. On the other hand, architecture builds stories with space, leaning towards the visual representation of art and the expression depiction of emotions. (Grice, 2017) Their similarities lie in the creative process leading towards the final product as it shows in Figure (3). Both literature and architecture rely on concept and theme in order to steer the product on the path that the writer or the architect want to convey to the user. Dynamism is another analogue for both forms, the flow of words on paper and the flow of the story are complimentary to the flow and relationship of spaces.

(Namita, 2020).

Figure 3 The Creative Process of Architecture and Literature (Namita,2020)

REVITILIZING THE HISTORICAL ESSENCE OF THE GEM AREA THROUGH LITERARY ARCHITECTURE NOHA HATEM MOSTAFA The following section will discuss the process and product of merging and integrating architecture and literature through studying various creative writings turned into expressive forms. It is followed then by showing the effect architectural movements has on literary works. The second section will introduce theory of “Chronotope Architecture” which will be discussed in depth according to the definitions and works of philosophers and architecture theorists.

2.1. Integration between Architecture and Literature Philosophers argued that both architecture and literature are interdependent where it shows that architecture can act as an incentive for literature and literature can be translated into spatial forms of architecture where both lead to a unified approach of expressive forms called literary architecture.

Literary Architecture is the bi-product of literature and architecture. It is an ideological study of architecture design that focuses on two contrasting yet complimentary forms of art; architecture and literature (Chan, 2019). As Matteo Perocoli, founder of The Laboratory of Literary Architecture, stated “it’s a cross-disciplinary exploration of literature as architecture.” (Stein, 2013) Therefore, this argument shows the effect each of these forms of art has on each other.

2.1.1. Expressive Architectural Forms through Creative Writing This approach is conducted by the founder of The Laboratory of Literary Architecture, Matteo Perocoli.

As a writer and architect, his workshop incorporates between creative writing and architecture. Colum McCann, a student of Perocoli, stated that “The process of adding word to word is much the same as adding brick to brick…I can’t think of a better course where the purposes of two arts are so finely blended.” Perocoli’s class mantra is “literary. Not literal.” It encourages students to get their favourite books, chapters, short stories ...etc. and extract expressions, metaphors or feelings to interpret into physical forms. (Stein, 2013) A project that used Ernest Hemingway’s short story “Hills Like White Elephants” as an incentive for their model, depicted Hemingway’s symbolism of a never-ending misunderstanding and miscommunication between a married couple who cannot see eye to eye into a model that has the user moving around in circles. (Prescott, 1988) Ernest’s literary piece ended before the conversation between the couple was done because their perspective was never the same, so the story metaphorically showed the never-ending cycle. Perocoli’s students interpreted this struggle as it appears in Figure (4) into a physical model with a fragmented circle that when looked at, at first, seem tangled, however, they do not meet, similarly to the mentioned couple. (Wang et. Al, n.d)

Figure 4 Students of The Laboratory of Architecture interpreting Ernest Hemingway's "Hills Like White Elephants" into a physical form (Wang et. Al,n.d.)

REVITILIZING THE HISTORICAL ESSENCE OF THE GEM AREA THROUGH LITERARY ARCHITECTURE NOHA HATEM MOSTAFA Another project from the workshop interpreted Amy Hempel’s “The Harvest” from her short story collection “At the Gates of the Animal Kingdom”, as it is shown in Figure (5), into a changing structure with different angles and plane. Amy Hempel’s piece was to readjust the truth, to show that exaggeration plays a big part of our stories, so she kept changing the story; same story, different angles, different truths and facts. (Hempel, 1995) The students interpreted her changing truths into four tangled and intersecting planes, showing where part of her stories intersected with some truths. (Boushira et.

Al, n.d)

Figure 5 The Laboratory of Architecture Students interpreting Amy Hempel's "The Harvest" into a physical form (Boushira et. Al, n.d)

The aforementioned theories and interpretations showed the effect literary works has on architecture; how with a few keywords, emotions, struggles and thoughts could be conveyed through a visualized space. The following sub-section will discuss the opposite effect, how architecture affects literature.

2.1.2. Architecture Movements in Literature Poets, by nature, have an affinity and admiration for all kinds of art, and as aforementioned, architecture is a visualized string of art. Gerard Manley Hopkins, a leading Victorian poet was enthralled by architecture and used various buildings and structures as inspiration for his poems. Hopkins never went into the architectural description of the buildings inspiring his pieces; however, he takes them as inspiration of setting, architectural details; the parts rather than the whole, as it appears from his description of Windsor Palace. “As we approached Windsor the London smoke met us rolling up the valley of the Thames. Windsor stood out in the evening light: I think there can be no place like it—the eye-greeting burl of the Round Tower; all the crownlike medley [sic] of lower towers warping round; red and white houses of the town abutting on these, gabled and irregularly jut-jotted against them, making a third stage or storey.”

(JP, 256, 1874) He was also an enthusiast for the architecture and designs of William Butterfield, where he wrote a poem named “To Oxford” based of Butterfield’s Balliot’s Chapel, University of Oxford.

The following excerpt is from said poem: (Robichaud, n.d.)

REVITILIZING THE HISTORICAL ESSENCE OF THE GEM AREA THROUGH LITERARY ARCHITECTURE NOHA HATEM MOSTAFA Thus, I come underneath this chapel-side, So that the mason's levels, courses, all The vigorous horizontals, each way fall In bows above my head, as falsified By visual compulsion, till I hide The steep-up roof at last behind the small Eclipsing parapet; yet above the wall The sumptuous ridge-crest leave to poise and ride.

None besides me this bye-ways beauty try.

Or if they try it, I am happier then: The shapen flags and drillèd holes of sky, Just seen, may be to many unknown men The one peculiar of their pleasured eye, And I have only set the same to pen.

Hopkins wasn’t the only poet inspired by architecture, also, Gothic architecture was a huge influence on the literary works of Geoffery Hill. Hill’s fascination with the intricate details of Gothic Architecture encouraged him to introduce these details in his poems using them as a work of art. The following excerpt is from one of his literary works. (Robichaud, n.d.)

Between the sterile ornaments Under the pasteboard baldachins As, in the young-time, in the sap-years Between the living floriations Under the leaping arches (Anathemata 49) The continuation of integrating literature with architecture opened doors to more theories and approaches that intertwine these two forms of art together. The effect literature and philosophy held over architecture continued to show, especially through the works of renowned architect and theorist; John Hejduk.

2.2. Hejduk’s Chronotope John Hejduk is an architect and theorist who introduced new ways of thinking regarding spaces. He saw architecture through a dark lens, trying to interpret the emotional context in his works. Modern day theorists study his works and theories in order to learn and implement from them (Goodwin, 2017). One of the most studied theories is “Hejduk’s Chronotope” which is a field of study that encourages merging space and time in architecture, making it spacio-temporal, affecting the process of creating space.

Hejduk’s inspiration for this field of study was following the claims and arguments of philosopher Mikhail Bakhtina. (Smith, 2003)

REVITILIZING THE HISTORICAL ESSENCE OF THE GEM AREA THROUGH LITERARY ARCHITECTURE NOHA HATEM MOSTAFA 2.2.1. Literary Chronotope “Chronotope” as first introduced by philosopher Mikhail Bakhtin is “a unit of analysis for studying language according to the ratio and characteristics of the temporal and spatial categories represented in that language; spatiotemporal framework and particular worldviews or ideologies in a novel.”

(Chan, 2019). Mikhail’s main concept is that narrative should not just consist of a sequence of events and acts (time) but should also be constructed within a fictional world (space). His theories were highly influential in literary philosophy which encouraged John Hejduk as an architectural theorist, to relate the thoughts of Mikhail to architecture. (Bemong et al, 2017) 2.2.2. Relation between Chronotope and Architecture Hejduk’s theories of “Chronotope Architecture” were semantic; his designs followed a sort of narration using signs and linguistics in order to adjust the spatial configuration of his projects. He considered himself a scenographer where he dramatized scenarios and isolating certain scenes in order to depict the emotions through spaces and forms. He called this “impressionist chronotope”. (Smith, 2003) His views and theories intertwined literature and architecture in a way that encouraged more architects to follow in his footsteps. Daniel Libeskind and Peter Eisenman are two renowned architects that work with literature, emotions and the humanitarian aspects in mind. Daniel Libeskind argued that symbolism in design creates a sort of analogy of ideas in the conception stage. By creating a multi-disciplinary approach to the project; with literature, music, art…etc. this connects the user to the soul and mind of the project. For example, Libeskind’s Royal Ontario Museum is based on the idea of having a lumionous beacon set in the corners of Toronto. That’s why his design took the form of interlocking prismatic forms. The crystalline structure is all but right angles using light and deconstruction as a way to achieve the purpose of standing out as it appears in figure (6).

Figure 6 Royal Ontario Museum, by Daniel Libeskind (ROM, 2019)

Even though, Peter Eisenman takes other philosophers like Jack Derrida, Piranesi and Marcel Proust as influence for his intellectual designs. His approach is the same. He uses words, scenarios, literature,

REVITILIZING THE HISTORICAL ESSENCE OF THE GEM AREA THROUGH LITERARY ARCHITECTURE NOHA HATEM MOSTAFA narration, emotions in order to relate a certain experience to the user. One of Peter Eisenman’s mantra is that “Architecture is written” which is why he relates his designs to narrations. (Chan, 2019)

The following section will discuss the practical designs implementing the mentioned theories and approaches to emphasize the depiction of human emotions and linguistics in their forms and spatial configurations. It starts with a detailed analysis of The Jewish Museum by Daniel Libeskind and then followed by Calgary Central Library by Snohetta to analyse the spatial configuration of libraries in the enhancement of user experience.

3. CASE STUDIES In order to better explain the practical implementation of the aforementioned theories, two case studies will be discussed in this section of the thesis. The analysis focuses on the user experience in buildings and how unique spatial configurations and forms are created in order to convey certain emotions and experiences to the user. The section starts first with The Jewish Museum in Berlin that practically conveys meanings and words within its features and walls and then followed by Calgary Central Library which better explains the optimization of circulation in libraries.

3.1. Case Study 1: The Jewish Museum; Berlin, Germany The Jewish Museum is an extension of The Old Baroque building that opened its doors in 1933 to depict Jewish history but was closed off under Nazi rule. The Old Building opened its doors once again in 1975. The one-of-a-kind design by Daniel Libeskind is interpreting the emptiness and loss of the expulsion of Jews from Berlin. He turned that journey into an architectural experience that is unprecedent in its uniqueness. (The Libeskind Building, 2021) 3.1.1. General Overview The Jewish Museum in Berlin finished construction in 1999 and officially opened its doors in 2001.

Designed by studio Libeskind for a competition in 1988 on an area of 15,500 m2, the extension of the original Baroque building is officially called The Jewish Museum yet Daniel Libeskind refers to it as “Between the Lines”. Because his concept was to recount the Jewish-German invisible history through two lines of thinking which are organization and relationship. Figure (7) shows the exterior architecture of Libeskind’s building. (Pavka, 2010)

REVITILIZING THE HISTORICAL ESSENCE OF THE GEM AREA THROUGH LITERARY ARCHITECTURE NOHA HATEM MOSTAFA

Figure 7 The Jewish Museum in Berlin (Pavka, 2010)

3.1.2. Architecture Treatments Libeskind’s general approach towards his architecture is how to depict certain feelings and stories through his circulation, spatial configuration, exteriors, …etc. He utilized different architectural elements to emphasize his stance. (The Libeskind Building, n.d.) a) Layout of the building: Libeskind mapped out the houses of prominent Jewish and non-Jewish Berliners. By connecting the lines of their coordinates, he formed the layout of the building as in figure (8). b) Exterior Façade: In order for the building to stand out beside its Baroque counterpart, it’s covered in titanium zinc cladding to contrast with the setting.

Figure 8 Aerial View showing The Old Baroque Building with The Jewish Museum (Bianchini, 2019)

c) Start of the Journey: The building has no external entrances, in order to start the journey of the Jews, visitors must first go through The Old Building descending a long staircase that carries them from light to darkness as it appears in figure (9)

REVITILIZING THE HISTORICAL ESSENCE OF THE GEM AREA THROUGH LITERARY ARCHITECTURE NOHA HATEM MOSTAFA

Figure 9 The Entrance of The Jewish Museum from The Old Baroque Building (Pavka,2010)

Libeskind also introduced in his design, not only seen features but the intangible manipulation of emotions through these features. He mastered the narration of the aforementioned history by elements like light, voids, spatial configuration and prominence of materials to create feelings of anxiety, disorientation and insecurity.

3.1.3. Narration by Architecture In order to narrate the history of German Jews during the Nazi rule into architecture that is seen and felt by visitors from different ethnic backgrounds, Daniel Libeskind translated that journey into a chronological story; expulsion from Germany, the holocaust and finally the continuity of Jews till this day. a) Stories through Circulation and Light Libeskind created three axes for his chronological story, as it appears in figure (10), the fork separates the journey of exile from the journey of the holocaust. Each of the three axes tell the stories of Jews who were oppressed during the Nazi rule (Pavka, 2010)

Figure 10 The Axis of Exile and The Axis of the Holocaust (The Libeskind Building, n.d.)

REVITILIZING THE HISTORICAL ESSENCE OF THE GEM AREA THROUGH LITERARY ARCHITECTURE NOHA HATEM MOSTAFA The axis of the Holocaust leads to the “Voided Void” or “The Holocaust Tower” as it appears in figure (11) which is a prominent structure that stands out at an incredible height from outside, yet the building’s floor is underground. Its unheated concrete walls disorient sounds and muffle them while gives off a feeling of anxiety by the narrow slit of light in the ceiling of the tower.

Figure 11 The Holocaust Tower (Bianchini, 2019)

The other axis however leads to “The Garden of Exile” in figure (12) where 49 concrete stelae in a 49 m2 area. The purpose behind this space was to cause disorientation and instability to visitors by the narrowness of space, exaggerated height and give hope through the branches of trees shown from the top of the structure.

Figure 12 Different Views from The Garden of Exile (Bianchini, 2019)

b) Voids and Prominent Materials Voids are the result of intersecting a zigzagging line and an invisible straight line. The voids are concrete shafts that has minimal lighting, no air conditioning or heating, it symbolizes the physical emptiness of the holocaust and make the loss tangible through architecture. Daniel Libeskind stated in an interview that it’s a space of absence. (The Libeskind Building, 2021) The aforementioned analysis showed the indirect usage of literary architecture in Daniel Libeskind’s design. The whole point of his process is to utilize raw feelings and emotions to enhance the user experience in his buildings. In order to better understand the effect of these methods on a similar function to the project; the next section studies Calgary Central Library.

3.2. Case Study 2: Calgary Central Library, Calgary, Canada

REVITILIZING THE HISTORICAL ESSENCE OF THE GEM AREA THROUGH LITERARY ARCHITECTURE NOHA HATEM MOSTAFA In order to further study the effect symbolism has on architectural features as well as the use of circulation to enhance user experience. Calgary Central Library in Canada is a balanced example combining between both aspects of analysis.

Figure 13 Calgary Central Library (Baldwin, 2020)

3.2.1. General Overview Calgary Central Library was constructed in 2018 by the esteemed Snohetta office. The architects responsible for the design of Calgary Library is the same office that was in charge of the design and construction of Bibliotheca Alexandria in Egypt. The library is located in Calgary, Canada, where it’s adjusted to suit the heavy urban fabric with an area of 24,000 ft sq. (Gonzalez, 2018) 3.2.2. Contextual Design In order to adjust to an existing light rail transit line; the library’s form took on a half-moon structure that is constructed above the underground sector of the train as it appears in figure (14). The light rail divides two neighbourhoods but the structure of the library unites them again by an elevated entrance that serves an entrance plaza to cover the seam of the division. (Baldwin,2020)

Figure 14 Calgary Central Library's Layout showing its half-moon structure (Baldwin, 2020)

The unique approach solving the problem of the train created an unprecedent experience of having a sense of continuity from the outdoor to the indoor.

3.2.3. Symbolism in Design a) Metaphoric Patterns: To amplify the sense of visual continuity, the elevation treatments took a guided harmonious combination of triple glazed glass and modular hexagonal patterns that visually connects the outside to the inside. The complex design of the elevation metaphorically

REVITILIZING THE HISTORICAL ESSENCE OF THE GEM AREA THROUGH LITERARY ARCHITECTURE NOHA HATEM MOSTAFA shows the turning of a page, snowflakes or interlocking houses. Treatments are similar in all four sides since it’s a prominent elevated building as to avoid having a front and back of the project; to have a united front as in figure (15).

Figure 15 Elevation treatments of Calgary Central Library (Baldwin, 2020)

b) Enclosure through spaces: The sense of enclosure is accentuated in the entrance plaza in figure (16) which uses façade patterns until they give off to a wooden archway that encapsulates visitors with outside to inside visual connection of the atrium. The atrium is an oval ellipse that serves as a guidance to the circulation of the library.

Figure 16 Entrance of Calgary's Central Library (Baldwin, 2020)

c) History in designs: The use of exposed concrete structures is a reference to the stoa of ancient Greek because they were used for social gatherings and knowledge exchange

3.3. Theoretical Framework The methodology of realizing a design based off the studied research results in constructing certain keywords and phrases relative to the presence of the Bibliotheca in close proximity to the Pyramid Plateau. Literary Architecture is all about having meaningful words that help construct a narration of

REVITILIZING THE HISTORICAL ESSENCE OF THE GEM AREA THROUGH LITERARY ARCHITECTURE NOHA HATEM MOSTAFA experience through its spaces. In order to choose the right keywords, the context will be studied thoroughly; in terms of urban fabric, history, heritage, culture and typology.

The interpretation of the chosen keywords will not only have an effect on the external form, but through all aspects of architectural design; elevation treatments, internal and external spaces, colour palettes and interior design choices, …etc.

4. PROJECT DESCRIPTION According to Egyptian mythology, “Seshat” is the goddess of the written word, the deity responsible for inventing writing, keeping records and is a symbol of wisdom and knowledge. The biproduct of incorporating the mythology surrounding writing with the previously studied theories of turning words into architecture in section (2) of the thesis is “Seshat Bibliotheca”. It translates into “Library of the written word”. (Mark, 2019) The symbolism in naming the project is to emphasize the aim of narrating history, culture and heritage of Egypt through turning their descriptive words into architectural elements and expressive forms. The interpretation of Egypt’s heritage within the walls of Seshat is approached through using modernized representations of Pharaonic architectural elements and by giving the user this history through a story narrated by the spatial configuration and overall experience of the project.

The direct context surrounding Seshat is considered a major asset in order to achieve its historical and cultural objective in alleviating the iconic essence of the GEM area. It is located in Aten Cultural Park which has a direct view of the Pyramid. The Park acts as miniature representation of the GEM area where it encloses a catalyst of three circular platforms representing the Pyramids that are surrounded by contrasting elements of five different typologies which represent the urban fabric of the area. Bahiti Business and Retail Centre, Ma’at Youth and Social Justice Centre, Lotus Recreational Centre and Wellness Centre sit alongside Bibliotheca Seshat to transcend the deterioration of social and cultural aspects in the area. Therefore, the full experience of Seshat is amplified by the services of the surrounding direct context.

The Bibliotheca recreates the history of Egypt by dividing the space into three main elements; a library, a cultural centre and an underground piazza. As much as the three elements might seem primitive to create a unique experience yet by incorporating the history with the architecture, it gives a narration that is seen as much as felt within its walls. The complex has two underground levels that are veiled by the piazza, the library takes three levels and the cultural centre takes two. The library takes up the greatest number of floors in order to dominate the land lot with the knowledge and history it gives. It introduces new technologies in order to facilitate the conveying of knowledge through a virtual museum and a digital library. It also incorporates workshops, educational facilities and recreational ones.

The following section studies the context in depth in order to make optimum use of the site’s assets while designing Bibliotheca Seshat.

4.1. Context Overview The overall site enclosing Bibliotheca Seshat as it appears in figure (17) within Aten Cultural Park is directly affected by The Pyramid Plateau and the newly constructed GEM. It varies in urban treatments varying between formal and informal residential areas. The context is analysed according to the services present near the land lot and by studying the factors directly affecting the land lot of the Bibliotheca in regards to accessibility, environmental characteristics and nearby services.

REVITILIZING THE HISTORICAL ESSENCE OF THE GEM AREA THROUGH LITERARY ARCHITECTURE NOHA HATEM MOSTAFA

Figure 17 Aerial View of Aten Cultural Park's Land Lot

4.1.1. Direct Context Aten Cultural Park is enclosed by two main streets; Al Haram Street from the south and Mashaal street from the East as it appears in figure (18). It has a direct view of The Pyramids due to the low topography of the Golf Course overlooking The Pyramid Plateau. The GEM area lacks any cultural or historical facilities that serve the iconic area of the Pyramid Plateau. Transportation to the park is facilitated by having different transportation methods like buses, taxis and cars and the accessibility of the park to all of them. The Park incorporates different typologies that serve the objective of the Bibliotheca; Bahiti Business and Retail Centre, Ma’at Youth and Social Justice Centre, Lotus Recreational Centre and Sekhmet Wellness Centre. It encloses three platforms acting as the catalyst of the park surrounded by the five typologies to symbolically show the contrast between The Pyramid Plateau and the urban fabric surrounding it.

REVITILIZING THE HISTORICAL ESSENCE OF THE GEM AREA THROUGH LITERARY ARCHITECTURE NOHA HATEM MOSTAFA

Bibliotheca

Youth Start-up

Business and Retail

Mashaal Street Wellness

Recreational

Al Haram Street

Figure 18 Proposed Master Plan of Aten Cultural Park (Author,2021)

4.1.2. Site Analysis a) Accessibility: Seshat is in direct contact with the wellness centre and Ma’at Youth Centre. It’s accessible through the land lot’s ring road, pedestrian entrance and a cul-de-sac that is connected to the centre of the park as it appears in figure (19). b) Environmental Analysis: The land lot is advantaged by having direct uninterrupted northern light and wind which is considered a huge asset in providing the library with maximum natural light and ventilation. The southern sun rays will be interrupted by the typologies in the cultural park, therefore, the heat reaching Seshat will be minimized.

REVITILIZING THE HISTORICAL ESSENCE OF THE GEM AREA THROUGH LITERARY ARCHITECTURE NOHA HATEM MOSTAFA

Figure 19 Site Analysis of Bibliotheca Seshat (Author, 2021)

4.1. Conceptual Design The conceptual design of Bibliotheca Seshat stemmed originally from two aspects; Pharaonic Architecture and the urban approach of Aten Cultural Park. Firstly, taking inspiration from Egyptian Mythology while naming the project unto choosing certain theories and beliefs to work with. One of these beliefs is inspired by the mythology of the god “Aton” or the sun disk. Aton was revered in ancient Egypt where temples used to open their doors wide in order to welcome the sun in the morning so that “Aton” would bless their religious rituals. Other theories point at the Pyramids being aligned with the Orion Belt constellation at a 38-degree as in figure (20)

Figure 20 Inspiration for Seshat Bibliotheca from the Sun disk and the Orion Constellation alignment with the pyramids

Taking the previous beliefs into consideration and emphasizing the urban approach of Aten Cultural Park of having a centralized catalyst dominating the area; the concept revolved around having an alignment of fragmented sun discs that enclose a centralized structure to emphasize its focality as it appears in figure (21). The driver of the conceptual design focused on six keywords; fragmentation, focality, dispersion of light, symbolism, alignment and narration.

REVITILIZING THE HISTORICAL ESSENCE OF THE GEM AREA THROUGH LITERARY ARCHITECTURE NOHA HATEM MOSTAFA

Figure 21 Conceptual Form of Seshat Bibliotheca (Author,2021)

4.2. Form Generation and Development The form plays an important role in narrating the history of Egypt and in turning said history into expressive forms as per the theories of Literary Architecture. The steps of generation the form starts with the centralization of the circular sun disk as it appears in figure (22) in stage 1. The rays of knowledge disperse from the sun disk as it appears in stage 2 and 3 of figure (22) ; the underground piazza, generating fragmented circles to form a curvilinear hub of knowledge as it appears the final stage of figure 22. The linearity of the cultural centre is aligned with the Orion Belt constellation. The incentive for having the library take on a curvilinear form while the cultural centre takes a linear form is because knowledge is ever changing while culture and heritage is consistent.

1

2

3

4

Figure 22 Form Generation of Seshat Bibliotheca, Author 2021

In order to achieve the dominance of the cultural park over the Bibliotheca; the fragmented sun disks and rays of the library and cultural centre are stacked on top of each other in a stepped overlapping elements representing the gradual increase in The Pyramids heights and to show that the complex is a product of the park and not the other way around as it appears in stage 4.

Also, to accentuate light as a key element in form generation, when designing the underground piazza, the influence of the sun disk is prominent in the shape of its cover, a perforated circular roof that disperses light penetrating the underground levels. The inclination towards the south acts as natural

REVITILIZING THE HISTORICAL ESSENCE OF THE GEM AREA THROUGH LITERARY ARCHITECTURE NOHA HATEM MOSTAFA harbour harmful southern sun light while welcoming the northern light for maximum natural lighting as it appears in figure (23)

Figure 23 Prominence of Sun Disk (Author, 2021)

4.3. Design Tools On starting the research phase of the bibliotheca, the author conducted an online survey on 55 people, targeting readers and non-readers. The survey concluded methods of design that will enhance the users’ experience while visiting the Bibliotheca.

Firstly, the main guiding question for readers was asking them to elaborate their reading experience; what they love the most about reading or why they read in the first place. The following chart shows the 39.4% of interviewed readers seek reading for the escapism they provide which is generated due to the mystery or enigma of books. 36.8% seeks it for knowledge enhancement and 23.9% for entertainment as it appears in figure (24) One interviewee explained that “It gives the comfort of the company of the written word.”

Knowledge

Escapism

Other

The answers of readers influenced the idea of getting to tell them Figure 24 Results of Online Survey conducted

by Author a story through architecture because that’s what they originally seek in books; to narrate the history and knowledge through forms and spatial configuration instead of on paper.

Secondly, the question to non-readers was to state the facilities that if present will quench their lack of interest in books and encourage them to visit a library complex. Their choice of cultural and educational facilities as it appears in the following bar chart (Figure 25) is what influenced the program of this

REVITILIZING THE HISTORICAL ESSENCE OF THE GEM AREA THROUGH LITERARY ARCHITECTURE NOHA HATEM MOSTAFA project, see Appendix A. It also amplified the need to visually narrate the history and knowledge through architecture because they will not seek that knowledge in a written format.

Figure 25 Results of Online Survey Conducted by Author

Taking the aforementioned studies, surveys, beliefs, keywords and approaches into consideration, the following step was to start with clay models. They form guiding conceptual designs that combine all discussed theories in expressive architectural forms; turning words into architecture.

4.4. Design Development The initial idea as it appears in figure (26) is to centralize the fragmented circles as a connector to the linear library and cultural park, however, this showed the connector as the dominant element instead of the hub of knowledge. That’s why in fig (27), the idea moved to gradually increasing the height of the building until it reaches the maximum height on reaching the library. This created a contrasting element by crashing the curvilinear structure with the linearity of the cultural centre, it also accentuated the concept behind having the building born from the cultural park by being subservient to it.

Figure 26 First Stage of Conceptual Design (Author,2021)

REVITILIZING THE HISTORICAL ESSENCE OF THE GEM AREA THROUGH LITERARY ARCHITECTURE NOHA HATEM MOSTAFA

Figure 27 Second Stage of Design Development

The following layout shows the initial stages of the conceptual sketches and the clashing functions of the library and cultural centre revolving around the piazza.

Figure 28 Layout of the conceptual sketch and stage 3 of design development

The previous design considerations and developments lead to the outcome of the Seshat Bibliotheca as a product of all the studies theories, case studies, conceptual sketches and inspirations. Figure (29) shows the final result of the project with the accentuation of the centralized area as well as the revolving of knowledge (the library) and cultural linearity (the cultural centre) around the sun disk.

Figure 29 Bird's Eye View of the Final Design of Seshat Bibliotheca

REVITILIZING THE HISTORICAL ESSENCE OF THE GEM AREA THROUGH LITERARY ARCHITECTURE NOHA HATEM MOSTAFA

4.5. Design Interventions Upon studying the conceptual design, the approach and concept behind the design of Bibliotheca Seshat, the detailing and interventions done in the design are essential to enhance the full experience of the project and to have traces of the original idea and form generation in the details of plans, sections, elevations and overall user experience inside and outside the project. Detailing of design in this section will be explained in depth in subpoints to better elaborate each feature. a) Architectural Plans and Landscape Analysis: As aforementioned, the main design idea stemmed from having a centralized dominant element that connects the two functions from the underground as well as with bridges above ground, that’s why it was taken into consideration that the landscape has paths, stairs and ramps that point directly to the underground piazza. The water elements leading to the piazza are an interpretation of the River Nile reaching The Pyramids in yearly floods. The form outline has traces in the circulation of plans where the fragmented circular discs of the library revolve around the piazza until it contrasts with the linear rays of the culture park. There are three entrances to the project, an entrance leading to the library from the ring road north-west of the land lot, a pedestrian path dividing between Ma’at Youth Centre and Seshat Bibliotheca and the main entrance is from Aten Cultural Park itself from the cul-de-sac leading to it as it appears in figure (30) and (31)

Cores Library Cultural

Figure 30 Ground Floor Plan of Seshat Bibliotheca (Author,2021)

REVITILIZING THE HISTORICAL ESSENCE OF THE GEM AREA THROUGH LITERARY ARCHITECTURE NOHA HATEM MOSTAFA

Figure 31 First Floor Plan of Seshat Bibliotheca (Author, 2021)

b) Elevation Treatments and Symbolism: The use of deconstructed pylons as a symbol of pharaonic architecture that accentuates entrances and main architectural components. The history and heritage are imprinted through calligraphic illustrations on the walls of the pylons as in figure (32). The contrast and aim at contemporizing the building as not to stand out in an inharmonious sense, the pharaonic inspired treatments are woven with curtain walls and curtain wall bridges that connect the different functions together. Thick columns were used as well as a symbol of the hypostyle halls edged with columns in pharaonic temples as in figure (33).

Figure 32 Library Entrance (Author, 2021)

REVITILIZING THE HISTORICAL ESSENCE OF THE GEM AREA THROUGH LITERARY ARCHITECTURE NOHA HATEM MOSTAFA

Figure 33 Cultural Centre Entrance (Author, 2021)

c) Sun Disk of Underground Piazza: The perforated sun disk is inclined to prevent the southern sun and get in the natural northern light. It’s perforated in small pharaonic text openings. The treatment of material is similar to the pylons and columns to emphasize the pharaonic presence in design as it appears in figure (34).

Figure 34 Sun Disk Treatment as a centralized point in Landscape

d) Different Levelling The history and heritage regarding pharaonic architecture show that buildings are stepped, have podiums and stairs and ramps leading to them in order to elevate it from the ground. The levelling used in the circulation inside the building and outside present the same experience.

Figure 35 Longitudinal Section (Author, 2021)

REVITILIZING THE HISTORICAL ESSENCE OF THE GEM AREA THROUGH LITERARY ARCHITECTURE NOHA HATEM MOSTAFA

5. Project Contribution The experience present in libraries across Egypt are almost non-existent for the exception of Bibliotheca Alexandria. They are mostly having stacks of shelves and books and nothing else. That’s why the approach of Bibliotheca Seshat is to create an unprecedent experience that doesn’t just attract readers but non-readers as well. It gives them the opportunity to learn through architecture, to see the stories and live through them and find themselves content and excited to visit a place that gives them new experiences on each visit. The original dilemma facing the GEM area was and still is the deterioration of social and cultural aspects, with Bibliotheca Seshat however, the ability for locals and tourists to check their heritage and learn about their culture through not just reading about them but through living through them. Seshat gives the opportunity to illiterate people as well to learn their culture without struggling to read through it. And maybe the knowledge they gain will be the incentive for them to develop their literacy aspects.

REVITILIZING THE HISTORICAL ESSENCE OF THE GEM AREA THROUGH LITERARY ARCHITECTURE NOHA HATEM MOSTAFA

References -

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Kunika Gehlot, Soma Anil Mishra, and Kavya Trivedi. (2018). “LITERARY ARCHITECTURE.” International Journal of Research Granthaalayah, 6(10), 121-129. https://doi.org/10.29121/granthaalayah.v6.i10.2018.1169. Accessed 12 May 2021

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REVITILIZING THE HISTORICAL ESSENCE OF THE GEM AREA THROUGH LITERARY ARCHITECTURE NOHA HATEM MOSTAFA

Appendix A

Papyrus Hall

Library

Educational

Cultural

Bookshelves

Bane Hall

Event Hall

Exhibition Hall Cores Evacuation Stairs IT Room Utilities Wet Area Cafes

Recreational

Entrance Foyer

A reading area where different Different kinds of Seatings, Public Reading Area people sit close by and read Cafeteria A reading area where it's quiet Different kinds of Seatings, a help Private/Quiet Reading Area and people can sit alone to read yourself coffee corner An area for bookworms to meet Different kind of seatings that and discuss different books Book Discussions could suit groups together A librarian or an older reader Entrance foyer - Kids' library, would pick up a children's book Kehanni Lounge Storytelling Area for Kids attached to a story telling area and start reading for the kids and the outdoor playground present Readers would access the digital Screens with a barcode to scan archives of all the books present the book you want, spaced and they purchase/rent through Digital Library between the bookshelves their phone or tablet and read the according to genres library's e-books Readers would leave a book they recommend and take another Book Exchange … that is left/recommeded by someone else Where readers can buy books The Last Word Bookstore Side entrance instead of just borrowing them Outdoor Reading terrace in upper Reading Terraces … floors An outdoor space where readers Outdoor Reading Area … can enjoy the cultural park Where people can work/study in Co-working Space private rooms or in a large public includes a small cafeteria space A space where talks and lectures Needs a foyer as a waiting area are held whether by public figures between halls - Side entrance for Seminar Halls or university professors lecturers A writing lounge where writing workshops are held a tribute to Seshat Workshop Author's Workshops ancient egypt's scriptorium A museum that showcases its art/stories on the walls and Phantasmagoria Museum Projected Museum ceilings using projectors

Audiotorium

Services

Display of shelves for browsing

Plaza Botanic Garden Playground For Children

A space where cultural events are held like book signings/book talks A place for audiences to watch stage theatre or documentaries An exhibition for rising artists/photographers, ..etc. to showcase their work Elevators and Main Staircases Stairs for evacuation, specs from fire code Security room All electromechanical needs along with janitors rooms Toilets spread across the complex Some carts or cafes to serve coffee, snacks or brunch for readers Outdoor multi-functional Plaza A garden dedicated solely to selling plants An outdoor space for children to play

Backstage, performer's resting area, entrance for performer, entrance for audience, foyer, tickets booth Special lighting

Spread across the bibliotheca complex acts as an entrance as well as an outdoor area partially closed

Manager Secretary Adminstration Financial Department Law Department

Needs a different entrance than educational or cultural