German University in Cairo | Architecture and Urban Design Program Building Technology and Design
Bachelor Thesis
Egyptian Film Museum Downtown Cairo
Shahenda Amr I Class 2016
Shahenda Amr Ismail Mossalam
German University in Cairo | Architecture and Urban Design Program Building Technology and Design
Bachelor Thesis Egyptian Film Museum | Downtown Cairo
Author:
Shahenda Amr Ismail
Supervisor
Prof. Thomas Loeffler German University in Cairo
Examination Committee:
Prof. Hebatalla Abouelfadl Architecture Department Faculty of Fine Arts Alexandria University Prof. Michael Eichner MARCHI – Moscow State Academy Architectural Institute Prof. Thomas Loeffler Department of Building Technology and Design German University in Cairo Prof. Martin Saehlhof Department of Architecture and Urban Design German University in Cairo
Shahenda Amr I Class 2016
Examination Date
28.06.2016
Submission Date:
30.06.2016
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German University in Cairo | Architecture and Urban Design Program Building Technology and Design
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
Shahenda Amr Ismail Mossalam 30.06.2015
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Contents
1. Abstract 05 2. List of figures
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3. Introduction & Space Program
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4. Design References a. Historical and cultural references 12 b. Urban Context 13 c. Location/Site 19 d. Architectural context 20 e. Environmental issues (noise, heat, sun, traffic) 21 f. Elaborated research 24
5. Project Design - Proposal a. Problem definition b. Conceptual development -- Phase I -- Phase II -- Phase III -- Phase IV -- Phase V -- Phase VI c. Final proposal
28 29 29 32 36 40 41 46 47
6. Critical review on work and process
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7. Summary and Conclusion
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8. Recommendations
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9. References
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10. Appendix a. Project presentation sheets b. Model photos
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Abstract
The Egyptian cinema cultural history is an enormous encyclopedia of sumptuous number of films. Egypt’s filming industry was and still is one of the leading film production countries in the Middle East. These facts necessitate the existence of an Egyptian Film Museum to document, archive and collect all related data and information, as well as, to present them to the public community. The selected site is at the border of the two distinctive opposing Cairo city planning patterns. It is also in the heat of the city between Opera Square and Attaba Square (most crowded, most noisy, most commuted). The design presented is based on the concept of layering illustrated through diagrams and info graphs of urban and cinema culture analysis. The idea is to synchronize with the existing mixture of urban development (i.e. the area’s layers of Islamic Cairo pattern, Khedivial Downtown grid and the transportation layer). This concept was further developed through series of sequential sketches and physical modeling, guided through problem definition and proposing solutions. Therefore, the museum was designed as an additional layer to integrate with the existing layers. The challenges posed were diluted through attentive steps by integrating the museum with the context visually, physically and functionally, while considering the resultant impact of the outcome. For instance, the lack of public spaces and pedestrian routes was treated by studying the context of the area, reviewing its TIS - Traffic Impact System and thus designing a spacious public platform connecting Attaba Square to the museum, in addition Attaba Auditorium.
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List of Figures
Figure 1, Satellite image of the site Figure 2, Historical Opera and Attaba Square images Figure 3, Collage of Emad El Din Street Figure 4, Oum Kalsoum Figure 5, Old image of Studio Misr Figure 6, Naguib Mahfouz Figure 7, Youssef Chahine Figure 8, Egyptian Film Festivals Figure 9, Cairo International Film Festival Figure 10, Functions and Uses Figure 11, Nodes and Landmarks Figure 12, Solid and Void map Figure 13, Street Pattern Figure 14, Street hierarchy Figure 15 (part1), Cinema and historic buildings Figure 15 (part2), Cinema and historic buildings Figure 16, Satellite image of the site Figure 17, Site Collage 1 Figure 18, Site Collage 2 Figure 19, Traffic Diagram Figure 20, Noise Diagram Figure 21, Psychrometric Chart Figure 22, Cairo climate graph Figure 23, Sun path diagram Figure 24, Sun path diagram on site Figure 25, Climate graphs Figure 26, Actors graph Figure 27, Film production Figure 28, Average actors per film data Figure 29, Average actors per film Figure 30, Street pattern Figure 31, The different layers of street planning patterns Enclosing the site Figure 32, Silhouette of site collage Figure 33, Site Section Figure 34, Concept layer diagram Figure 35, Problem definition Figure 36, Concept section diagram Figure 37, layers sketches Figure 38, concept mass and functional zoning diagram Shahenda Amr I Class 2016
09 09 09 12 12 12 12 12 12 13 14 15 16 16 17 18 19 20 20 21 21 22 22 23 23 23 24 24 24 24 25 25 25 25 26 28 29 30 30
Figure 39, Schematic Site Section 30 Figure 40, Schematic Site Section in Context 30 Figure 41, Model pictures 31 Figure 42, Extracting shapes 32 Figure 43, Extracting layers as section slabs 32 Figure 44, Model pictures 33 Figure 45, Development sketches part 1 34 Figure 46, Development sketches part 2 35 Figure 47, Site plan 36 Figure 48, Form Visualization 01 36 Figure 49, Form Visualization 02 36 Figure 50, Phase III plans 37 Figure 51, Phase III Elevations and section 37 Figure 52, Functional Concept 38 Figure 53, Exhibition concept 38 Figure 54, 3D section view 38 Figure 55, Model pictures 39 Figure 56, Model pictures 40 Figure 57, Site plan 41 Figure 58, 3D Visualizations 41 Figure 59, Prespective Section 1 41 Figure 60, Prespective Section 2 41 Figure 61, Phase V plans 42 Figure 62, Exhibition Concept 43 Figure 63, Split axonometric 43 Figure 64, Circulation Prespective view 1 44 Figure 65, Circulation Prespective view 2 44 Figure 66, Circulation Prespective view 3 44 Figure 67, Phase V Elevations 44 Figure 68, Phase V Section 44 Figure 69, Model pictures 45 Figure 70, Phase VI Elevations 46 Figure 71, Conceptual Diagrams and development 47 Figure 72, Site plan 48 Figure 73, Massing and perspective sections 48 Figure 74, Bird eye view 49 Figure 75, Exterior visualization 49 Figure 76, Ground floor plan 50 Figure 77, 3D Split axonometric 51 Figure 78, Underground floor plan 52 6
List of Figures
Figure 79, Section A-A 52 Figure 80, Main exhibition floor 53 Figure 81, Exhibition visualization 53 Figure 82, Special exhibition features 54 Figure 83, Section B-B 54 Figure 84, Special exhibition floor 55 Figure 85, The Urban Stage 55 Figure 86, Section C-C 55 Figure 87, level +26.00 floor plan 56 Figure 88, Interior visualiztion 56 Figure 89, East elevation 57 Figure 90, North elevation 57 Figure 91, South elevation 57 Figure 92, Concrete panels detail 58 Figure 93, North elevation detail 58 Figure 94, Detail wall section 58 Figure 95, 1.1000 Model Pictures 77 Figure 96, 1.500 Model Pictures 77 Figure 97, 1.500 Model Pictures 78 Figure 98, 1.200 Model Pictures 79 Figure 99, 1.200 Model Pictures 80 Figure 100, 1.200 Model Pictures 81 Figure 101, 1.200 Model Pictures 82
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Introduction and Space Program
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wo adjacent major road tral business district. The quare, the one- direction harwat Streets, are among mmercial spines in downstructed 2001), is a major Opera square and Cairo’s
other types of transporta-
from Shoubra al-Khayma res, up to Cairo University
e extending from the east wards the west (at Giza: This line is still under conperational by 2012. Thus, rchange station between
ges; Opera Garage (1150 ge (650 parking spaces). ministrative and commeroned.
minal located in the ground out 30 lines of buses and nal at Azbakiyya Garden ed that micro-buses use g and unloading passen-
Introduction
Cairo is considered the hub of the Middle Eastern film culture; for the Egyptian cinema history dates back to 1896, when it began as projections in cafes. Such an opulent hisEgyptian Film Museum tory must be collected yet also conveyed to the community. Downtown Cairo Thereby, the situation calls for the existence of an Egyptian Film Museum; to disentangle the layers of the complex Egyptian film industry and serve it to the public. It shall act as the means to process and conclude an educated deep comprehension of the urban scene of the city. Films do not In 1869 Khedive Ismail gave instructions to build an Opera only exist for the public entertainment, theof contrary, House on theon occasion the inauguration ofthey the Suez Canal. It was called Khedivial (Royal) Opera House. The exist to show, frame and capture the and urban Khedive used social this occasionlife to lay the foundation of an eloquent and durable symbol of the art of acting. This was situation of places at different times. Movies actwhich aswasan invaluthe Khedive Opera House, constructed in only six months to the design of two Italian architects, Avoscani able documentation of the layersandofRossi. the social level, Outstanding specialists withpolitical wide experience in theater construction were brought to Egypt to carry out the work. situation and lifestyle and all the components that a place Before theto building was complete, the Khedive passes through and struggles with end up the way started we to prepare a great performance for his project that should reflect glimpses of Ancient Egyptian history. He selected perceive it now.
Attaba Square, connected to the Opera Square, forms a 1 major node and landmark in Cairo. This is for its former fame of housing the old Opera building, as well as being a main Opera Square – History transportation hub; both in the past, having the tram network passing through Attaba Square, while that can still be seen now in the numerous bus stops, in addition to the bridges and tunnels networks. Furthermore, the Attaba Square has also been featured in movies (ex: Al Attaba Al Khadra) which emphasizes on its deep relation to the topic
Mariette Pasha to prepare a story about the Egyptian history that could form the nucleus of the poem play. Mariette Pasha commissioned the Italian poem Gialanzoni to write the libretto, and the musician Verdi was commissioned by the Khedive to compose the music. The result was the famous opera, Aida, with its patriotic subject and passionate song and superb music, a masterpiece from the hands of these three geniuses. However, Aida had not been ready by the inauguration of the Opera House. Therefore, andperformed Transportation another masterpiece by Verdi;Traffic Rigoletto was on the occasion. Opera Aida itself was performed two years later. The Opera House was the first in Africa, where famous world Opera and symphonic masterpieces were performed. In the early morning of October 28th 1971, the great Royal Opera House was tragically burned down. Nothing was left except two statues made by the Egyptian artist Mohamed Hassan (1892-1961).
The target of this bachelor project is to design an Egyptian Film Museum in order to both preserve and present the rich Egyptian film history. The challenge was initially to find ways and ideas to exhibit film, to find the balance between the contradicting requirements of documenting and exhibiting. The second challenge was to design in the assigned existing situation, lying between Opera Square and Attaba Square in Downtown Cairo.
Cosmos Cinema
Nageub ElRihany cinema
El Kahira Cinema
Emad El D
Reinssance cinema
Odeon cinema owned by Sherihan -
Dunia Cinema
a famous egyptian actress
The Khedivial buildings
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Figure 3, Collage of Emad El Din Street 3
The key objectives of the project are to house exhibition and collection halls with the intention of communicating the rich history of the Egyptian cinema culture in addition to Sednawy Building having temporary and special halls for keeping the exhibition Windsor Hotel up to date and in line with any cinema culture related event. The museum also includes screening halls to host cinematic events and film festivals. Moreover, the idea is to also include a library and archives to save and document the immense Abdel Moneim Madboly Theater data available, in addition to having workshops and a digitalization lab to promote the education of cinema industry.
The design intentions are to host cultural, touristic, public and educational museum; that would revive the surrounding Figure 2, Historical Opera and Attaba Square images context and regain Attaba and Opera squares’ former glory Diana Palace Hotel Within the urban context of the site, i.e. within a maxand importance. To give the area back its attraction factor GUC Building Technology Bachelor Project | February 2015 9 Figure 1, Satellite image of the site imum of an 800 meters radius, the area is considered and shed the light on the unique situation it occupies; that nucleus for cinema architecture historically, for example connects the past cinema related hosting spaces to the the Diana Palace Theater, Odeon Cinema (near the khe- future. divial complexes) in Emad El Din Street; which is full of ATTABA SQUARE clustered cinema halls, most of which still operates now. The thesis report is structured in three sections: Thereby, this deems the site to be the most reasonable Section I – includes design references about the Egyptian Cosmos Cinema Nageub ElRihany cinema El Kahira Cinema yet best matched for housing The Egyptian Film Museum. cinema culture and urban analysis. It also includes the conCinema Nageub ElRihany cinema El Kahira Cinema 1 ceptualCosmos basis and focus on specified references. OPERA SQUARE Section II – includes transformation of the conceptual into architecture and the consecutive phases of development through the design process. Section III – includes the final achieved solution and design Emad El Din Street containing details and materiality. Reinssance cinema
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Odeon cinema owned by Sherihan -
Dunia Cinema
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a famous egyptian actress
Reinssance cinema
Odeon cinema owned by Sherihan -
a famous egyptian actress
Dunia Cinema
Em
Project Program
Public Entrance Reception desk/ticket counter with back office restrooms+wardrobe/lockers
4185 m2
Library Mediatheque Sound Archive
total ca. 2000 m2
total ca. 1350 m2
Education and Workshops Digitalization Labs Seminar rooms Workshops/studios Rentable film studio
2635 m2
Event Space indoors Lobby / hall
total ca. 800 m2
Cafeteria/Restaurant incl. Service and kitchen
total ca. 800 m2
Screening/Cinema
2160 m2
7700 m2
Administration Offices administration Offices for 20 Employees General Manager & Secretary Meeting room big and small
450 m2
Services and supporting facilities Storage Technical rooms Prayer room
1550 m2
Total
18680 m2
Outdoor space
Exhibition and Collection Exhibition space temporary/special Exhibition space permanent Film Archive Books and Magazines Photography Film Posters Sketches and Drawings Costumes Technical Devices and properties
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total ca. 6350 m2
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Design References a. b. c. d. e. f.
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Historical and cultural references Urban Context Location/Site Architectural context Environmental issues (noise, heat, sun, traffic) Elaborated research
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Design References Historical and cultural References
The Egyptian cinema history dates back to 1896, when it started as projections in cafes. There are many layers that shaped the rich Egyptian film industry. At its early years, the Egyptian movie genres were limited to romantic movies and targeted the middle social class. In 1927, the first fully Egyptian crew movie was screened (Leila); in so doing Egypt became the most significant center for film industry in the Arab world.
movies since the fifties in diverse genres but in the main he makes realistic movies crammed with social criticism. The main film festivals held annually are the Cairo International Film Festival which was established in 1976, Alexandria Mediterranean Countries International Film Festival that has lasted 32 years until now, and Luxor African Film Festival that will hold its 5th edition in 2016. Figure 6, Naguib Mahfouz
Figure 4, Oum Kalsoum
Evolving through the eras, new movie genres were featured. During the thirties, talking movies were invented and they were renowned for being musical comedies (ex. Al Warda al-baida’ i.e. The White Rose). This era was a vital milestone; that lead to the popularity of legendary singers through musical movies (ex. Oum Kalthoum). In 1935, Studio Misr was constructed, which in time grow into one of the leading production firms in Egypt.
The forties and fifties were defining epochs in the Egyptian cinema culture; at that time the most dominant movie genres were realism and social criticism like El Boassa (The Misserables) and Gharam wa intiqam (Love and Revenge). These times were later on called the Golden Age of Egyptian film history; for their deep linking to the reality of ordinary people’s lives. Furthermore, scenarios were written by domineering novelists like Naguib Mahfouz; who was later awarded a Nobel Prize for his realistic novels. At the present time, many films are still produced based on those narratives. During the sixties and seventies, due to the 1967 war, the cinema industry experienced a notable decline and the overriding movie genres of the time were commercial movies and imported American films. Later on, in the eighties, a new trend began to emerge with various film makers and rising acting stars. Through the years after, the Egyptian cinema became more diverse in its movie genres not being restricted or dominated by a single theme.
Figure 8, Egyptian Film Festivalsr
All things considered, there is an urge to build an Egyptian Film Museum that can gather and house such an invaluable cinema culture which is over 100 years old. The museum shall archive, collect and convey to the public the evolution of film making in terms of filming tools, different movie genres and their development along the cinema history, and even the history many famous remarkable figures to immortalize their acting skills. This is not only to present the past but also to exhibit the future and celebrate imminent events and festivals. Figure 9, Cairo International Film Festival
Figure 7, Youssef Chahine
Figure 5, Old image of Studio Misr Shahenda Amr I Class 2016
Youssef Chahine is the superlative recognized filmmaker internationally at the current time. He has been making 12
Design References Urban Context
ANALYSIS Figure 10, Functions
and Uses
Functions and Uses ANALYSIS Functions and Uses
Mixed Use Mixed Use Commertial , offices and Banks Commertial , offices and Banks Hotels Hotels HistoricalBuildings Buildings Historical Parkings Parkings Facilitiesand andGovernmental GovernmentalBuildings Buildings Facilities Cinemas Cinemas Theatre Theatre Services,Schools Services,Schoolsand andHospitals Hospitals Religious Religious Green Green Areas Areas
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Scale 1.5000 Scale 1.5000
2
2 13
Design References Urban Context Figure 11, Nodes
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and Landmarks
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Design References Urban Context
Solid and Void emphasizing the contrast between masses and spaces and highlighting the fact that the project site (at the center of the circle) is a huge void in its urban context.
Figure 12, Solid and Void maps Shahenda Amr I Class 2016
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Design References Urban Context
Street Pattern
Street hierarchy
This map points out clearly that the site lies on the border between the two opposing planning strategies i.e. the grid downtown pattern and the irregular Islamic Cairo pattern.
Showing the hierarchy of road distribution from main streets to secondary and pedestrian streets, as well as the transportation nodes and metro stations.
ANALYSIS
Street hierarchy and Accessability
Metro Stations Bus/Microbus Stops Main Streets Secondary Streets Pedestrians Streets
Metro Stations Bus/Microbus Stops
Figure 13, Street Pattern Shahenda Amr I Class 2016
Main Streets Secondary Streets Pedestrians Streets
Figure 14, Street hierarchy
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ANALYSIS
Cinemas and Historical Buildings
Design References Urban Context
Cinemas and Historic Buildings This diagram maps significant historic buildings and also focuses on cinemas and theaters in the adjacent areas. The result indicates the richness of the context with complexes related to the cinema culture.
Figure 15 (part1), Cinema and historic buildings
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1
Cosmos Cinema
Nageub ElRihany cinema
El Kahira Cinema
Design References Urban Context
Emad El Din Street
Reinssance Figure 15 (part2), Cinema andcinema historic buildings
Odeon cinema
Dunia Cinema
owned by Sherihan -
a famous egyptian actress
The Khedivial buildings
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5
3
4
7
6
The Grand Continental
Sednawy Building Windsor Hotel
ma
Nageub ElRihany cinema
Tiring Building
5
Abdeen Palace
7
6
El Kahira Cinema
The Grand Continental
Abdeen Palace
Abdel Moneim Madboly Theater
Emad El Din Street
Odeon cinema owned by Sherihan -
Dunia Cinema
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a famous egyptian actress
9 Garden View Hotel
The Khedivial buildings
Diana Palace Hotel
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9 4
Omar Eendi
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9 Garden View Hotel
Sednawy Building
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Tiring Building
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Al Bostah St.: Old Hotels/Motels currently either closed or mixed used.
11 Cairo Cinema
Omar Eendi
Al Bostah St.: Old Hotels/Motels currently either closed or mixed used.
11 Cairo Cinema
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The National Theater
Grand Hotel
Eden Palace Hotel
The National Theater
Grand Hotel
Eden Palace Hotel
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10
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Design References Locatio/Site
The project location is between Opera and Attaba Squares that are collectively considered a main transportation node in Cairo’s central business district; connecting Khedivial Cairo to Al Attaba’s and Al Azhar’s markets. The Northern verge of the site is occupied by the Azbakeya Garden which is currently intruded by a number of buildings, a garage and a bus stop. To the South and East directions, administrative use dominates the area in addition to a large historic market. On the other hand, mixed usage ranging from offices and residential to commercial in addition to heritage complexes, are the leading treatment on the western and south western borders. Administrative Govern- Opera Multi storey Parking Garage mental Building Opera Square
Attaba Square
Figure 16, Satellite image of the site Shahenda Amr I Class 2016
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Design References Architectural Context
Azbakeya Garden
Figure 17, Site collage 1
National Theater Post Office
Fire Station and Police Station
Opera Parking Garage
Figure 18, Site Collage 2 Shahenda Amr I Class 2016
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Design References Environmental Issues
The Traffic Diagram -
Shows the direction of vehicular movement around Attaba and the site, in addition to the direction of movement up and down the bridge and the tunnel. This diagram will help in determining the access to and exit from the museum
Noise Diagram -
The noise intensity is at its peak at the Attaba square due to the car movement and as there are two transportation hubs around the square in addition to that noise intensity is again raised for the many activities occurring at the space involved in trading actions (open public market).The collage is an illustration of the noise source and intensity of the site location.
Figure 19, Traffic Diagram
Figure 20, Noise Diagram Shahenda Amr I Class 2016
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Design References Environmental Issues
Climate Analysis Temperature - Precipitation - Wind - Humidity Cairo, Egypt is at 30°08’N, 031°24’E, 64 m (210 ft.), having a subtropical desert / low-latitude arid hot climate (Köppen-Geiger classification: BWh)meaning that temperatures at the day time are constantly warm while cool at nights. According to the Holdridge life zones system of bioclimatic classification Cairo is situated in or near the subtropical desert biome. There are two different seasons, a lengthy hot summer from May until October and a mild winter from November to April. The average temperatures during summer and winter are 35° and 8° respectively and the mean annual temperature is 21.4 degrees Celsius (70.5 degrees Fahrenheit). Average monthly temperatures vary by 14 °C (25.2°F). This shows that the continentally type is oceanic, subtype truly oceanic. Cairo has very low probabilities of rain; receiving approximately 26 mm (1 inches) of annual precipitation which is equivalent to 26 Liters/m² (0.64 Gallons/ft²). On average there are 3451 hours of sunshine per year.
Psychrometric Chart
Psychrometric Chart with status point in summer (Red) & Winter (Blue).
Figure 21, Psychrometric Chart Shahenda Amr I Class 2016
Status Point in Summer Status Point in Winter
Figure 22, Cairo Climate graph
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Design References Environmental Issues
Sun Path Diagram -
The sun direction throughout the year is concentrated on the southern side with the annual peak azimuth and elevation at 190 and 80 degrees respectively.
Figure 23, Sun Path Diagram
Figure 24, Sun path diagram on site Shahenda Amr I Class 2016
Figure 25, Climate Graphs
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Design References Elaborated Research
In order to gain more insight and inspiration from the contextual situation, A deep research was conducted on the Egyptian cinema culture to collect more information and data.
Avg
20s actors 4 7 5 2 2 4 2 5 3 3
30s actors 40s actors 50s actors 60s actors 70s actors 80s actors 90s actors 2000s actors 2010s actors 6 3 5 6 3 6 33 6 11 2 9 7 5 5 10 5 20 45 2 5 6 8 6 15 6 8 13 2 5 4 6 15 8 4 15 10 4 6 5 5 8 14 43 25 38 2 3 6 8 3 16 4 13 27 2 6 7 6 6 8 7 6 13 3 6 6 6 18 12 17 28 11 2 4 7 15 25 13 13 80 20 4 14 6 14 27 15 10 4 36 4 3 6 6 8 12 12 14 21 22
Figure 28, Average actors per film data
Figure 26, Actors graph
This info graph is formed through creating a list of about 100 actors and actresses which is then used to mark each one’s life span. The result is interesting to find out that at absolutely all times innovative famous actors and actresses; seen through the overlaps of the graphic lines. This proves how splendid is the Egyptian film culture and reasons its leading role in the Arab film industry.
Figure 29, Average actors per film
The most dramatic result was that of this diagram that illustrates the average number of actors/actresses in each movie. Data is collected through obtaining the number of actors in over 10 films per era. Repeating this from the 1920s through the 1930s, 1940s, 1950s, etc. until the 2010s, the average is calculated for each era and then all the data is collected and plotted. The pattern, as expected, starts just 4 and then keeps constantly rising until it seems to be reaching a steady stage. The most likely justification is that this increase is owed to the evolution and development of the filming and editing tools.
Figure 27, Film production
This diagram is the plotting of the statistics of the number of films produced along the years. The idea was to explore if there is a certain hidden pattern but it is amusing to find that the pattern has no regular theme; the entire graph is a continuous series of peaks and troughs.
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In addition to the cinema industry data and graphics, distinctive urban context features were extracted and illustrated.
Design References Elaborated Research
Figure 32
Figure 30
The street pattern of the urban context is quite unique; combing the grid Downtown Cairo planning pattern and the irregular organic Islamic Cairo pattern. This diagram is an abstract of the street pattern, showing only the main streets of the area. Main streets are obviously more in number and is divided on the western grid side of the diagram. On the other hand, main roads are much longer in length and fewer in number in the Islamic Cairo region on the Eastern side of the diagram.
Looking more closely, on the architectural context of the site location, the site collage combines all the surrounding buildings and elements surrounding the site. The skyline of this collage is most clearly noticed through a silhouette; focusing on the diversity of the surroundings. The silhouette demonstrates the components of the surroundings of buildings including the post office, fire station and police station, the multi storey parking garage and the national theater . They also include massive street elements consisting of the bridge and other street fabrics.
Figure 33
This diagram is an abstract urban section showing the regularity of the multi storey opera parking garage. It also shows the various and contradicting directions of vehicular networks; consisting of the normal street level, the upward movement to the bridge and the downwards movement towards the underground tunnel network.
Figure 31, The Different Layers of Street Planning Patterns Enclosing The Site
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Design References Elaborated Research All these data act as layers that form the urban scene we perceive. Whether these layers are visible and tangible elements and buildings or if they are invisible intangible data and statistics, both definitely contribute to the formation and completion of the current urban scene that we pass through, live in, observe, and even wonder about. The idea is to use these diagrams in poetic sense, as a reference and a base for the design of the Film Museum.
Figure 34, Concept layers diagram Shahenda Amr I Class 2016
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Project Design - Proposal a. Problem definition b. Conceptual development -- Phase I -- Phase II -- Phase III -- Phase IV -- Phase V -- Phase VI c. Final proposal
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Project Design Problem Definition The multi storey parking garage is a bulky intrusive mass; thereby I intend to extend part of the museum above the existing parking garage. In this manner utilizing the space and integrating the museum and the garage with the context.
Figure 35, Problem definition
I plan to create a connection between the Attaba Square and the museum; for the Attaba Square is currently fenced, closed and neglected. The idea is to create an attraction factor to the public to revive Attaba Square and attract museum visitors. This could be through a landscape intervention in Attaba Square and an underground connection to the museum.
The main design aim on the urban scale is to connect Opera Square and Attaba Square. The idea is to introduce some modifications and intervention in order to attract people back to the area and offer public attraction facilities. This would then enhance the urban scene and attract visitors to the museum. It is also important for touristic and safety reasons; for Attaba Square is currently fenced and unused as it is unfit for the public needs. In addition possible reuse of the ground floor of the multi storey parking garage could promote the situation. A huge defect in the situation is that there are no enough safe and planned pedestrian routes. These routes could also be diffused on all road network levels; i.e. it shall extend underground and through the museum. The whole design is bound under the concept of layers that form the entire scene and urban image. These layers are different design elements, solutions and planning techniques that are all referenced to the diagram I created from the combined cinema culture data and urban analysis.
The mega scale traffic network of bridges and tunnels are imposing on the entire urban situation. I believe that this calls for a planned pedestrian route that would give back the area its former glory
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Undefined situation that seems to be two incomplete squares or nodes
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Project Design Conceptual Development Using the analysis diagram, I started to mark outlines and create silhouettes; to come up with a more abstracted version of the diagram in an attempt to transform a diagram into architecture. On top of that, I duplicated the abstracted silhouettes in a different scale laid above the original one; for that is a metaphorical emphasis on the idea of layering that completes the full image. The result is of interesting patterns that I tried to use as a diagrammatic conceptual zoning section. This idea is the base that was the reference to the conceptual design decisions and guidance for the development of design phases.
Figure 36, Concept Section diagram Shahenda Amr I Class 2016
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Project Design Conceptual Development
Phase I In this attempt, I tried to convey the zoning diagram into a conceptual functional layout of slabs. The idea here was to transfer the relations of functional spaces into a building. This trial translates layers as slabs yet the circulation is not a direct route but series of ramps that create an interesting logical journey. The major problem with this attempt is that the mass turned out as boxes stacked above each other. This does not give the impression of the dynamic patterns seen in the reference silhouette zoning diagram.
Figure 37, layers sketches
Figure 38, concept mass and functional zonning diagram
Figure 39, Schematic Site Section
Figure 40, Schematic Site Section in Context Shahenda Amr I Class 2016
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Project Design Conceptual Development
Figure 41, Model Pictures
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Project Design Conceptual Development
Phase II In order for the design process to flow in a logical manner, in this attempt I went back to the conceptual silhouette diagram and started to work on it. For the design to be inspired and coherent from the diagram, it shall be actually extracted and worked through from the diagram itself. In doing so, I began to extract lines and shapes that are the most significant and would most convey the theme and dynamics of the diagram. This way is again related to the metaphoric relation of layers that form the urban scene, is reflected in this process; for the extractions act as layers in their nature of being one of the layers in the diagram itself and it is just my role to extract, refine and abstract what is relevant to fulfil an image, a vision or a scene for the museum. In addition to that, the idea of layers is again seen in the results of the extraction process. The lines produces act as layers of slabs and functions that overlay to formulate a full scene of a museum. So the entire idea is about layers that are components that form the image we see; this image being an urban scene, a diagram, or a museum. In this way the design flow is controlled and guided by the idea and the diagram working in a planned process, yet the whole design completely flexible in terms of the possibilities of giving the impression in various ways and even changeable if needed.
Figure 42, Extracting Shapes
The extraction process was initially through abstracting shapes; however the shapes were not flexible enough. The solution was to extract lines which are much more illustrative and flexible. An important point worth considering is that the extracted lines are to work on the entire design scheme i.e. the film museum, the extension to the Attaba Square and the connection to the multistory Opera parking garage. In this way, the diagram together with the idea of layers, both create the connection to relate Opera Square and Attaba Square passing through the Egyptian Film Museum.
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Figure 43, Extracting Layers as Section Slabs
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Project Design Conceptual Development
Figure 44, Model Pictures
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Project Design Conceptual Development
I started to use the extracted lines working as layers, in an urban section; to work on integration and development within the urban situation. The first issue I worked on was the entrance situation and accessibility to the museum, in addition to working on the revival and reuse of Attaba Square and its connection to the museum, also on the connection and coherence of the entire urban situation from Opera Square till Attaba Square. The development of the design then works in a sequence of sketching, spotting the problem, relating it to the diagram and then re-sketching with modifications and the process repeats. The main challenge was working and designing in section; for the section is the design tool that is the most appropriate in this case for translating the diagram into architecture. Designing in section also allowed me to pay attention to the connections and circulations between the slabs /layers of the museum. In this way the building circulation is being planned together with the slab. This makes sure that the entire design is cohesive and working well as a whole system. The nature of the diagram and its dynamics is best translated when the movement in the diagram is also the circulation and movement within the museum. This movement is best exhibited in the circulation through ramps. Movement using ramps are also most suited to the film museum; as it allows for interesting visual connections and lets the visitor move smoothly in a natural organic movement.
Figure 45, Development sketches part 1 Shahenda Amr I Class 2016
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Project Design Conceptual Development
While working in this process, it is also important that the resultant shape and appearance, is logical and workable as a functional architectural section without wasting spaces. Furthermore, the appearance of the shapes should not be weird looking connections. The design decisions that I achieved through this process are: - The museum entrance shall be facing Attaba Square - The black voids in the diagram must be reflected; by: - extending the building underground using ramps and semi-public functional use of space. - Creating a gap between the upper layers of the museum. - The connection to Attaba Square is an extension from the underground part of the museum. - The main circulation throughout the museum is through ramps. - To integrate withe the museum extends design physically. In floor of the garage to
multistory Opera parking garage, above the garage to integrate the addition, I will reuse the ground join with surroundings functionally.
- The master center piece of the entire section i.e. the slabs shaped as a continuous series of connected ramps, houses the main exhibition halls. Figure 46, Development sketches part 2 Shahenda Amr I Class 2016
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Project Design Conceptual Development
Phase III This proposal is the fulfilment and outcome of the decisions achieved through trials of sketching and physical modeling. The translated idea is that the Attaba Square houses a mega scale outdoor auditorium and performance space that is dedicated for public use acting as a tribute to the urban situation. The outdoor auditorium is connected through a pedestrian underground tunnel that extended to the underground level of the Film Museum. This underground level is dedicated to semipublic activities including a restaurant and an event hall. The main entrance to the museum is on the ground floor with an 8 meter high entrance hall. Through this hall the visitor reaches an exhibition hall at the level +8.00 from the street level. The exhibition spaces are designed as 5 enclosed halls on a ramped slab connected through direct paths and stairs. The aim is to give an impression of having an open ramped slab not enclosed by an envelope and used as a base that houses enclosed boxes of exhibition halls. This slab is connected through a ramp to a panorama level that overlooks the exhibition slab downwards and is used as a transitional space. On that same level the slabs continue to merge with the last floor of the Opera parking garage to include a temporary outdoor exhibition space and the museum’s mega screening hall with a foyer. The screening hall is built on the parking garage utilizing one of its ramps. The other floors of the museum include a closed temporary exhibition and collection hall in addition to the last floor consisting of the library, mediatheque and sound archive.
The major issues and points of criticism in this proposal are: •
The Attaba Square auditorium needs to be design.
•
The underground pedestrian tunnel that connects Attaba square to the museum, intersects with the existing vehicular tunnel.
•
The entrance situation is not best controlled and not direct.
•
The exhibition slab boxes are too scattered and the ides of openness and not being enclosed is not functional, in addition to being irritating for visitors to have to circulate through a series of alternating indoor and outdoor spaces.
•
The enclosed upper mass connection to the administrative building behind the parking garage.
Figure 47, Site plan
Figure 48, Form Visualization 01
The main building mass components are the auditorium in Attaba Square, in addition to the continuous mass that starts ate the entrance floor through the exhibition slab and to the closed temporary exhibition and collection hall. The final building mass component is the upper enclosed monumental mass that acts as the perfectly fitting mass that completes and binds the entire building and give is the image as a whole. Figure 49, Form Visualization 02 Shahenda Amr I Class 2016
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Project Design Conceptual Development Event Hall
Restaurant
- 4.00
- 4.00
Core
Foyer
Figure 51, Phase III Elevations and section
Entrance Hall +/- 0.00
Workshops and Educational Filming Studio
Core
+/- 0.00
Core
Exhibition Hall 4 (The "Now")
+ 8.00
Exhibition Hall 3 (The Transition / Shifting)
+ 4.00
Temporary Exhibition + 8.00
Core
Exhibition Hall 2 (The Evolution / Golden Age)
+ 6.00 Exhibition Hall 1 (The Beginning)
+ 8.00
Core
+ 14.00
Screening Room
Foyer + 14.00
Temporary Exhibition / Public outdoor screening + 14.00
Core
Temporary Exhibitions and Collection + 18.00
Core
Core
Library, Mediatheque, Sound Archive + 22.00
Figure 50, Phase III plans Shahenda Amr I Class 2016
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Project Design Conceptual Development Figure 52, Functional Concept
Exhibition Hall 4 (The "Now")
+ 8.00
Exhibition Hall 3 (The Transition / Shifting)
+ 4.00
Temporary Exhibition
Exhibition Halls
+ 8.00
Core
Exhibition Hall 2 (The Evolution / Golden Age)
+ 6.00 Exhibition Hall 1 (The Beginning)
+ 8.00
Core
Circulation
Figure 53, Exhibition concept
Figure 54, 3D section view Shahenda Amr I Class 2016
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Project Design Conceptual Development
Figure 55, Model Pictures
Shahenda Amr I Class 2016
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Project Design Conceptual Development
Figure 56, Model Pictures
Phase IV During this stage, the enhancing and solving
goal the
was to previous
work on proposal’s
developing, problems.
The first issue to solve was the Attaba Square auditorium and its connection to the museum; which calls for strategic decision on the urban situation. Thereby, I decided to block the car movement in the street between Attaba Square and the museum location; in this way this vast space will be urbanely designed for public activities and meetings and it will also act as a more reasonable area in front of the Film Museum entrance. Concerning the Attaba Auditorium, I decided that it will be entirely open with no roof, and it will be in the shape of very wide seating stairs reaching 12 meters below the street level. The auditorium will be overlooking a performance space that can host various kinds of events for public attendance. Moreover, at the -12.00 level there is a ramp that connects the auditorium to the arcades at the ground floor of the Opera parking garage; thus providing a pedestrian route to opera square. In doing so, this part of the design (i.e. the Attaba Auditorium + the public space in place of the street), is the tribute to the public and the enhancement factor that will revive the urban situation. The space will act as a major public and tourist attraction, in addition to giving the entire area a unique identity. Considering the connection of the massive enclosure at the top with the Administrative building behind the parking garage, I decided to continue the building mass to blend with the Administrative building’s mass. Another issue was the scattered exhibition masses. The proposed solution is that the masses are combined as three major large enclosed masses that are continuous throughout the building mass; from the ground floor until it connects with the upper massive part of the building. However, there is still the problem of the open space of the exhibition space; concerning its functionality. This is a major issue sense the reason behind its nature is that it acts as a transition for the museum’s visitors with the idea of overlooking the urban scene at the Attaba Square and the surrounding urban situation and activities; thus connecting the building visually with the urban situation. On the other hand, the functionality here is at risk, in addition to being uncomfortable for visitors to have to pass through the outdoor stage to move between the exhibition halls.
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Project Design Conceptual Development
Phase V The challenge in this proposal was to find a way to enclose the exhibition slab yet preserve the appearance and impression of the form. The best solution was a transparent envelop that difference according to the shape of the slab. The technique is to keep a 2 meter setback at all slabs that the glass enclosure passes through; this way would give the possibility to be outdoor if needed yet the entire space for circulation and movement between the exhibition halls is enclosed inside a building a see through skin.
Figure 57, Site plan
Furthermore, the glass envelop ends at the roof of the exhibition slabs that then acts as a floor utilized as an urban stage. The idea of the urban stage is that it is the grand open area for waiting, relaxing and entertainment of the museum visitors, and at the same time it gives full visual connection to the urban scenes around the museum including Attaba Square.
Figure 58, 3D Visualizations
Figure 59, Prespective Section 1 Shahenda Amr I Class 2016
Figure 60, Prespective Section 2
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Project Design Conceptual Development
Figure 61, Phase V plans A
A
Themed Exhibition Hall +20.00
-12.00 Screening Area Performance Space /
-4.00 Restaurant Backstage
Exhibition Hall 5 +10.00
A Kitchen
A
-4.00 Event Hall
+8.00
Exhibition Hall 4 +10.00
A
A
A
+26.00
+12.00
+20.00
Rented Film Studio / Seminar Hall +/-0.00
Exhibition Hall 6 +16.00 Car Cinema
Lockers
A
A Reception Office
Entrance Hall +/-0.00
A
A
A
A Individual Headsets of screened scenes
Group Screening
Adminstration Department +26.00 Screening Hall
Digitalization Lab +/-0.00
Open Workshop Space +/-0.00
Open Workshop Space +/-0.00
Open Workshop Space +/-0.00
Foyer +22.00
Outdoor Temporary Screening/Exhibition +22.00
Outdoor Open Temporary Exhibition +14.00
Library +26.00
Outdoor Temporary Exhibition +16.00
Individual Screening
Technical Room for Sound Archive Meeting Room (large)
Meeting Room (small)
Sound Archive +26.00
+4.00
Mediatheque +26.00
+8.00
+6.00
Cafeteria / Waiting Area +4.00 The Dark Void Exhibition (For 3D movie scene projection)
+8.00
Walk In Movie Scene +6.00
Exhibition Hall 3 +4.00
Exhibition Hall 1 +8.00
A
Exhibition Hall 2 +4.00
+8.00
A
Screening Cubicle +6.00
Screening Cubicle +6.00
Screening Cubicle +6.00
Walk In Movie Scene +8.00
Walk In Movie Scene +4.00
+4.00
Shahenda Amr I Class 2016
+12.00
+6.00
+8.00
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Project Design Conceptual Development
Figure 62, Split axonometric
Figure 63, Exhibition Concept Solid upper Mass binding the Museum together
Exhibition Slabs (including temporary and permenant halls)
Special Exhibitions (Walk-in movie
scenes and screening cubicles)
Shaded Glass box for-
ming enclosed spaces yet
Circulation systems (inclu-
ding cores and ramps
and
Outdoor Auditorium in Attaba Square
Shahenda Amr I Class 2016
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Project Design Conceptual Development Figure 67, Phase V Elevations
Figure 64, Circulation Prespective view 1
Figure 65, Circulation Prespective view 2
Figure 66, Circulation Prespective view 3
Adminstration Department
Sound Archive
Mediatheque
Library
Foyer
Screening Room
Exhibition Hall
Exhibition Hall
Exhibition Hall
Exhibition Hall Exhibition Hall
Exhibition Hall
Exhibition Hall
Reception Office Digitalization Lab
Event Hall
Restaurant
Figure 68, Phase V Section
Shahenda Amr I Class 2016
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Project Design Conceptual Development
Figure 69, Model pictures
Shahenda Amr I Class 2016
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Project Design Conceptual Development
Figure 70, Phase VI Elevations
Phase VI During this phase of the project, I focused more on the building facade design. The 2 meter extension of the slabs translate the conceptual impression required, in addition to relating to the existing context by blending with the Opera parking garage. The glass envelop contrasts with the massive upper part of the building; making the museum visually stable yet interesting and integrating. The challenge was to come up with a grid pattern for the glass skin and the solid mass. The most logical division for the glazed part is rows of 2 meters x 2 meters panels and rows of 2 meters x 4 meters panels. This is because the entire building design is already based on a 2 meters x 2 meters grid. On the other hand, in this proposal I divided the solid mass into 6 meters x 6 meters panels and bigger. However, the problem was that these sizes are not constructed as prefabricated panels and at the same time it is too heavy structurally to be concrete panels.
Shahenda Amr I Class 2016
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Project Design Final Proposal Figure 71, Conceptual Diagrams and development Movies act as an invaluable documentation of the layers of the social level, political situation and lifestyle and all the components that a place struggles with and ends up the way we perceive it now. Thereby to convey this key of understandmentof a full, un-blurred vision of our urban scene; the urban context of the museum must be as much full of history and acting as a focal point in the city; presented in the selected urban context between Attaba and Opera Squares. Through my own perception of the situation, I have decided to include the Opera parking building and the Attaba Square into my design process. Researching on both the urban layers and the Egyptian film layers, I collected data that I then translated into diagrams; combined in a conceptual diagrammatic representation that is abstracted and refined to turn into architecture. The Diagram of layers reflects on the Museum in both form and circulation to house a cycle of planned routes with transitional spaces for completely interesting journey.
Conceptual Review
•
As discussed earlier in the previous sections, the concept is based on observations of the existing urban situation. The museum location is the big void at the border that connects the grid planned Downtown Cairo and the irregular pattern of Islamic Cairo. The split of the two different city planning techniques, triggered a thought that there are different layers that are put together to give the image of the resulting situation.
To translate data into architecture, I created silhouettes of the layers diagram and then layered the silhouette in two different scales; to come up with a graphically interesting diagram that has the potential of being transferred into an architectural section.
Therefore I started to have a closer look at the more zoomed in part of the site and at the history of Egyptian cinema culture; in order to come up with graphic diagrams. The diagram of layers consists of : • The site street pattern • The actors life span graph • Site surroundings collage silhouette • The average number of film production along the year • An abstract site section Shahenda Amr I Class 2016
The average number of actors per film
The entire methods adapted all fall under the topic of layering that forms the whole full image. This is seen the collage of the layers diagram; meaning that each diagram or graph on its own has a different unique meaning but when they are layered to form one image they give a new meaning. This is in turn transferred through processes of extracting its most significant features (i.e. the silhouette), and then emphasizing the idea by making the silhouette in different scales to overlap. Thus metaphorically indicating the idea of the urban scales and the layers that form the urban scene (including history, planning, etc.).
In phase II of the design development, I began to extract and refine lines from the diagram to act as a schematic section of the museum. While extracting those lines, a series of changes and decisions were taken referring to the diagram itself; including: • • • •
The big black void in the diagram; translated to an underground extension of the building and also in the void between the glass mass and solid mass. The dynamic pattern and connection between the diagram solids and voids; indicated in the ramped slabs of the entire museum design. The huge white space scale in the diagram is reflected as the screening halls in the museum. The continuity and huge size of the top white spaces in the diagram, are interpreted as the extension of the museum slab over the parking garage.
47
Project Design Final Proposal Massing
Figure 72, Site plan
The building mass is based on responses to the urban settlement in addition to the layers diagrams and also taking into account the functionality of the spaces. 1. The outdoor public Attaba Square auditorium (also accessible through a ramp from the Opera parking garage) ; as a gift to public use and a magnet for social actions to attract museum visitors. 2. The void in place of the former vehicular street in front of Attaba Square; adds an public urban quality to the entire situation. It gives an opportunity to enjoy the space and encourages social interactions in the area. This gives people the chance to break from the noise and crowd of the space and actually be able to see the quality and greatness of the surroundings like how it used to be in the past.
Figure 73, Massing and perspective sections
3. The glass enclosure; which acted as a challenge to keep the building form clear and maintain the idea of openness and layers that reflect the dynamics of the concept diagram. This was achieved through ending the glass mass dynamically with the movement of the ramped slabs. Furthermore, the entire glass skin was recessed 2 meters away from any slab it passes through. 4. The vertical connection box; that is continuous starting from the technical floor at 12.00 meters below the ground level till the last floor at 26.00 meters above the ground. 5.
The top mass binding the building form; which induces a feeling or an impression that it encloses the building and completes a cohesive form for the entire building mass.
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Project Design Final Proposal
Figure 74, Bird eye view
Urban Approach The surroundings of the museum’s location have a huge impact on the perception of the building mass; for the museum is not only seen through the human sight level from the street level, yet also seen through both directions of the bridge that is framing the site. The surrounding building uses and cultural activities are also diverse which enriches the urban scene. Therefore, the film museum’s mass is rather complementing than challenging, it acknowledges the richness and power of
Shahenda Amr I Class 2016
Figure 75, Exterior visualization
the urban surroundings and thus dives back to it and adds to enhance the situation. The museum is designed to exhibit a sense of movement and liveliness; reflected in the ramped slabs. Moreover, the full form of the building has a huge gap between the glass envelop and the solid mass. This gap is to minimize the massiveness of the building and houses an urban stage that is for recreational use and the enjoyment of the visitor to the surrounding urban scene of the city. On the other hand the entire building mass is connected vertically through the vertical mass that continuous throughout the building from
the deepest underground floor, through the urban stage gap until it blends with the upper solid mass. The glass envelop of the museum, is the lover part of the museum’s form; hence it acts as a sequential transition from the openness of the surrounding Attaba Square, streets, Attaba Auditorium and the public space between the museum and the Attaba Auditorium. The last completing mass is the upper solid part that still expresses the dynamics of the ramps movement; which acts as the feature that binds the building together and to the surroundings by extending over the multistory Opera parking garage.
49
Project Design Final Proposal Figure 76, Ground floor plan
B
C
Rented Film Studio / Seminar Hall +/-0.00
Lockers
A
Reception Office
Entrance Hall +/-0.00 Digitalization Lab +/-0.00
Open Workshop Space +/-0.00
Open Workshop Space +/-0.00
B
C
A
Entrance Situation and Access There are different scenarios for the circulation of the visitors of the Egyptian Film Museum. If the visitor is a public wanderer, he would enjoy the public space between the museum’s entrance and the Attaba Square and engage with the activities and interactions, overlooking the open seating space at the underground level. This visitor can access the Attaba Auditorium through its stepped seatings and side stairs, if he is coming from this direction. On the other hand, if he is coming through Opera Square’s direction,
Shahenda Amr I Class 2016
he can directly use the public ramp at the southern side of the ground floor which will directly open to the Auditorium. However, if the visitor is a student or headed to the educational department, the direct route is through the ground floor of the Opera parking garage. In addition there is another route through the upper floors of the museum that be discussed later. Furthermore, there is a space dedicated for use as a rentable filming studio at the ground floor of the parking garage. The core at the educational department, beside the workshops is a shortcut that leads to the foyer of
the museum’s screening hall. In addition to that, the visitor who is interested to experience the entire museum’s features may go through the main entrance, to find the reception hall and a spacious entrance hall that includes stairs to the underground semi public facilities, a ramp to the exhibition floor above, in addition to a huge void opening to the event hall at the underground level. There is also a core that acts as a shortcut if needed for any specific fast route.
50
Project Design Final Proposal Library, Mediatheque, Sound Archive, Administration and Screening hall
Distribution of functions Urban Stage and Special Exhibition
Exhibition Slab
The entrance of the museum is at the ground floor. The entire floor is dedicated for a welcoming entrance situation for the visitors and guides their circulation according to preferences. The underground floor is accessible through 2 the 2 cores of the museum as well as by using one of the two stair cases from the ground floor. In addition their is a ramp connecting it to the ground floor. This floor is at 4 meters below the ground level, which then connects through an interior ramp to the Attaba Auditorium. Also there is a ramp that connects the Attaba Auditorium to the ground floor but outside the museum to reach the parking garage. Through the ground floor, one could use either the ramp to the exhibition slab or use the core as a short route. This floor also extends through an open waiting area to the parking garage through a ramp to the education department.
Ground Floor
Underground Floor
The Urban Stage is an open outdoor space that is connected to the entire museum through the main core, in addition to being connected through an outdoor ramp from the exhibition slab. This slab also opens through a door to an exhibition space which includes a ramp to the special exhibition hall. Furthermore, the Urban stage has a ramp that accesses the outdoor temporary exhibition and an entrance to the screening hall. The last floor of the museum is at 26 meters above the ground level. It is connected through the main core to all the museum slabs, in addition to a ramp from the special exhibition. This floor’s slab is the one that extends above the Opera parking garage to house the museum’s grand screening hall.
Figure 77, 3D Split axonometric Shahenda Amr I Class 2016
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Project Design Final Proposal
Semi Public Spaces and Storage Areas The underground level at 4 meters below the ground floor. The entire floor acts a transition from the public Attaba Auditorium into a semi public space controlled inside the museum.
Event Hall -4.00 Restaurant -4.00
Outdoor Seating Area -6.00
The ramp from the ground floor opens directly into the museum’s event hall.
Prayer Room
kitchen -4.00
The museum’s expansive restaurant consists of an indoor space that is well lit through voids to the ground floor and to the public space in front of the museum’s entrance. Moreover, the restaurant extends into an outdoor seating space that is seeable from the Attaba’s public space.
Performance Space / Screening Area -12.00
Figure 78, Underground floor plan
The floor also includes a service space of the main toilets, a prayer room and a kitchen to serve the restaurant. Below this floor at 12 meters below the ground floor, exists a spacious storage and services space to serve the entire museum.
Mediatheque Adminstration Department Screening Room
Foyer Exhibition Hall
Exhibition Hall Foyer
Exhibition Hall
Exhibition Hall
Exhibition Hall Exhibition Hall
Exhibition Hall
Exhibition Hall
Reception Office Digitalization Lab
Event Hall Restaurant
Services and Storage
Figure 79, Section A-A Shahenda Amr I Class 2016
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Project Design Final Proposal B
Exhibition Concept
C
+8.00
+6.00
Exhibition Hall 3 +4.00 Cafeteria / Waiting Area +4.00
The Dark Void Exhibition (For 3D movie scene projection)
The main Exhibition spaces are on a ramped slab that is connected to the parking garage to the education department at the ground floor. The entire slab is dedicated for exhibition Aareas. The slab is structured on different levels connected through ramps, distributed on the +4.00, +6.00 and +8.00 levels. This is to reflect the dynamic effect desired to convey the impression of the conceptual layers diagram. It contains three main controlled classic halls. Halls 2 and 3 are on the +4.00 level and have a typical halls above each at the + 6.00 level, accessible through internal stair cases. These halls in addition to Hall 1 are the spaces containing the sequence of the Egyptian cinema evolution along the time line. They include movie scenes, posters, special movie items like accessories and costumes. In addition to these halls, the slab includes a special Dark Void Exhibition Hall which will be discussed in the next page.
+8.00
Walk In Movie Scene +6.00
Exhibition Hall 1 +8.00
+8.00
A
Screening Cubicle +6.00
Screening Cubicle +6.00
Exhibition Hall 2 +4.00
Screening Cubicle +6.00
Walk In Movie Scene +8.00
Walk In Movie Scene +4.00
+12.00
+4.00
+8.00
+6.00
Figure 80, Main exhibition floor B
C
Figure 81, Exhibition visualization
The rest of the slab spaces are for circulation needs through the exhibitions which are designed to be visually connected to act as attraction factors to the visitors. These spaces also include platforms with special exhibiting features consisting of screening cubicles and walk in realistic movie scenes. The exhibition slab is part of the glass envelop and thereby visually connected to the urban scenery of the surroundings. The conceptual idea is to offer the visitor a novel interesting techniques and styles of exhibition; which most suited for the unique function of exhibiting and presenting films.
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Project Design Final Proposal
Figure 82, Special exhibition features
Special Exhibiting Features One of the unique exhibiting idea of the museum is the Dark Void Exhibition Hall. This hall’s idea is visualized in section B-B. This exhibition space is a 6 meter high dark room that uses light projections to create live movie scenes; so that visitors can walk through the scene and be close to the actors inside the famous movie clips playing around them
Exhibition Prespective View 2
Screening Cubicles
Screening Cubicles
Furthermore, the special spaces featured on the platforms of the slabs include screening cubicles. These cubicles are 4 meters wide and capable of hosting around 4 to 6 people each. The cubicles include screens that can play a number of famous selected film clips. Concerning the walk in movie scenes, they are partitioned spaces of open platforms dedicated to honor famous power movies in the history of Egyptian cinema. The visitors are able to witness realistic built scenes that exhibit the greatness of the film’s story and shows the different types and genres ranging from historical documentation films to musical comedies.
Movie Scene: A Glimpse of Fear
Movie Scene: Salah El Din
Movie Scene: Gharam Fe Al Karnak
Exhibition Prespective View 1
These features make the journey through the exhibition spaces more vibrant and gives the visitor an interesting unique experience. The aim is to always maintain the entertainment and amusement factor ; seen in the circulation path of ramps and the special features exhibited. This translates the actual idea of the existence of films; that is to entertain the viewer.
Mediatheque
Exhibition Hall
Exhibition Hall
Urban Stage
The Dark Void Exhibition Exhibition Hall
Entrance Hall
Service Corridor
Toilets
Reception Office
Lockers
Restaurant
Figure 83, Section B-B Shahenda Amr I Class 2016
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Project Design Final Proposal
The Urban Stage
Themed Exhibition Hall +20.00
The Urban Stage is the slab above the exhibition slab. It is the border at which the glass envelop ends. This space is the void of the entire museum’s mass; reflecting the void in the conceptual layers diagram. Moreover, it highlights the contrast between the transparent glass envelop and the solid upper mass.
Figure 84, Special exhibition floor
The same space as the exhibition hall 1, which is the vertically continuous mass of the building form, cuts through the slab. This space is a flexible exhibition hall.
+20.00
Another enclosed space is exhibition hall 6 that connects through a ramp to the special exhibition at + 20.00 level. The Urban Stage is an open slab on the levels +14.00 and +16.00, connected through a ramp. This slab acts as a leisure space including seating area, cafe’s and exhibiting podiums and statues. The stage also presents an open view to the urban scene of the Attaba area and the surroundings; to express gratitude and to compliment the site. It offers unobstructed vision to the situation and open to the atmosphere of the location. The slab also connects to a temporary outdoor display platform at the level +20.00 through a ramp. This platform exists above the multistory Opera parking garage, connected to the existing slab. In addition, through this platform the visitor may enter the museum’s screening hall. On the other hand, the special theme exhibition at level +20.00 is a spacious hall that is designed to be a space to celebrate the success of a special actor or dedicated to a certain director. It is changeable according to the desired event. This floor is connected through a ramp to the +26.00 level.
+26.00
Exhibition Hall 6 +16.00 Car Cinema
Foyer +22.00
Outdoor Urban Stage +16.00 Screening Hall
+20.00
+22.00
Outdoor Urban Stage +14.00
Figure 85, The Urban Stage
Administration
Library
Special Exhibition Hall
Urban Stage Exhibition Hall
Screening Cubicle
Screening Cubicle
Screening Cubicle
Walk In Movie Scene
Entrance Hall
Figure 86, Section C-C Shahenda Amr I Class 2016
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Project Design Final Proposal
B
C
A Group Screening
Collection and Literature
Meeting Room
Foyer +22.00
This level is 26 meters above the ground. The ramp that connects to this floor opens directly in the Mediatheque. The Mediatheque is a screening library; where visitors can sit watch the displayed movie clips. In addition, there are seats surrounded by 3 huge screens for group screening. The library is a glass mass attached to the glass void. The library is to offer people the collected documents related to Egyptian cinema culture, history and to archive updated information about the field of film making. The sound archive is a space for the visitors to watch a movie clip and wear headphones to hear the sound tracks. The idea is to also present famous sound tracks from movies.
A
Adminstration +26.00
Mediatheque +26.00 Screening Hall
+22.00
+26.00
Library +26.00
+22.00
Sound Archive +26.00
Individual Headsets of screened scenes
Individual Screening
B
C
Figure 87, level +26.00 floor plan
Figure 88, Interior visualiztion
The administration department is attached to the core and open from the other direction too for better control. The space is an open plan office arrangement. It includes a reception area, a meeting room and a managers office. The entire slab becomes a ramp that then connects to the screening hall above the multistory parking garage.
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Project Design Final Proposal
Facade Design The elevation design is dominated by the ramped slabs; which also makes the building coherent with the elevation of the parking garage. The entire envelop from all angles exhibits the contrast between the solid and the transparent. This contrast is strengthened through the gap between them.
Figure 89, East elevation
The elevation lines are dynamic and flowing with the movement of the ramps of the building; which reflects the concept diagram. Some of the ramped slabs, including the exhibition slab, are not completely enclosed inside the glass skin; The perimeter of the glass skin is rather offset, leaving 2 meters around. This feature reduces the glass skin’s exposure to the sun rays; thus minimizing its U -value and thereby less heat enters the space. The design is a combination of transparent glass envelop, open spaces and massive solid mass. The glazed part is designed as rows of 2 meters x 2 meters panels and rows of 2 meters x 4 meters panels. This is because the entire building design is already based on a 2 meters x 2 meters grid.
Figure 90, North elevation
On the other hand the solid panels are based on a grid of 2 meters x 1 meter, The reason behind their size is construction possibility and coherence with the glass grid.
Figure 91, South elevation Shahenda Amr I Class 2016
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Project Design Final Proposal
PRECAST CONCRETE SLAB
20 CM
WATER PROOFING 2 CM THERMAL INSULATION 5 CM SAND 4 CM
Materiality
SCREED / MORTATRM 2 CM TILES 2 CM
Façade panels bonded on aluminium As mentioned before, the transparent material used is 2 meters x 2 meters and 4 meters x 2 meters glass panels. These panels are triple glazed; for higher U-value. This is 7 Jointsof the hot climate of Cairo discussed earlier. because
TILES 2 CM MORTAR 2 CM SAND 4 CM SOFT CONCRETE 4 CM PRECAST CONCRETE SLAB 20 CM
The façade panels are fixed with open joints to allow the free movement of the panel.
• joint solid width (horizontal/vertical) mm The panels are 2 meters ::x10 1 meter fiber cement • maximum thickness of underlying finishing profiles 0.8 mm panels; which are lighter than either concrete walls or conThe vertical joints can be treated with the black adhesion primer of the gluing system or with a black self adhesive tape. This tape can crete panels. These panels bonded to strips. a masonry only be applied in the middle of the profile between theare two double-sided adhesive The vertical jointswall can be finished with decorative covering sections in wood or aluminium. behind it. The space between the panels and the wall include thermal insulation. The wall is then possible to be plastered for the interior functionality.
TILES 2 CM SCREED / MORTATRM 2 CM SAND 4 CM THERMAL INSULATION 5 CM WATER PROOFING 2 CM PRECAST CONCRETE SLAB
20 CM
Façade panels bonded on aluminium
The building is steel structured in order to allow for the desired cantilevered spans and cantilevered ramps. It also facilitates the lightness of the upper solid mass that extends over the existing concrete structured parking 7 Joints garage. • •
joint width (horizontal/vertical) maximum thickness of underlying finishing profiles
TILES 2 CM
TILES 2 CM
MORTAR 2 CM
SCREED / MORTATRM 2 CM
SAND 4 CM
SAND 4 CM
The façade panels are fixed with open joints to allow the free movement of the panel.
WATER PROOFING 2 CM PRECAST CONCRETE SLAB
SOFT CONCRETE 4 CM
20 CM
PRECAST CONCRETE SLAB 20 CM
: 10 mm : 0.8 mm
The vertical joints can be treated with the black adhesion primer of the gluing system or with a black self adhesive tape. This tape can only be applied in the middle of the profile between the two double-sided adhesive strips. The vertical joints can be finished with decorative covering sections in wood or aluminium. The horizontal joints can be finished with a black aluminium joint profile. This is particularly useful when the underlying insulation must be
protected against the infiltration of rain. The part of the aluminium profile behind the panel may not be too thick to avoid tension. If this is the case, the wings of the profile must be wide enough for the fixing of the panel through the joint profile. The horizontal joint section is the same width as the panel so the vertical joint remains open. One can also make use of decorative horizontal joint sections. If necessary, the horizontal joints can be left open.
MARBEL SKIRTING 10 CM GRANITE TILES 2 CM THICK MORTAR 2 CM INTERLOCKING TILES 8 CM
SAND 4 CM
MORTAR 2 CM
ORDENARY CONCRETE SLAB 10 CM
SAND 4 CM
WATER PROOFING MEMBRAIN 2 CM
ORDINARY CONCRETE 10 CM
ORDENARY CONCRETE SLAB 15 CM
COMPACT SOIL
COMPACT SOIL
MARBEL SKIRTING 10 CM GRANITE TILES 2 CM THICK MORTAR 2 CM SAND 4 CM ORDENARY CONCRETE SLAB 10 CM WATER PROOFING MEMBRAIN 2 CM ORDENARY CONCRETE SLAB 15 CM COMPACT SOIL
Figure 92, Concrete panels detail The horizontal joints can be finished with a black aluminium joint profile. This is particularly useful when the underlying insulation must be protected against the infiltration of rain. The part of the aluminium profile behind the panel may not be too thick to avoid tension. If this is (Euro Panels overseas) the case, the wings of the profile must be wide enough for the fixing of the panel through the joint profile. The horizontal joint section is 6/8 the same width as the panel so the vertical remains open. One can North also make elevation use of decorativedetail horizontal joint sections. If Figure 93, EURO PANELS OVERSEAS , Technical Service Centre latestjoint revision 01/01/2013 necessary, the horizontal joints can be left open.
Figure 94, Detail wall section 58
Shahenda Amr I Class 2016 ELEVATION : NORTH ELEVATION
WALL SECTION : FACADE SECTION
Critical Review on Work & Progress
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59
Critical review on work and process Challenge (1)
A number of challenging situation occurred during the design of the project. A major challenge was the fact that the entire urban surrounding does not offer any open usable public space. Therefore, the pedestrian’s safety is compromised which discourages people from meeting in the area and thus the formerly glorious Attaba Square is now neglected and unappealing. Moreover, there are seating areas at Attaba Square, yet they are fenced closed and unused.
Challenge (2)
Another issue is the huge traffic volume in the space, constricted certain design aspects For instance the street between the museum’s site and the parking garage is essential for car movement and to enter the garage. This aspect separates the parking garage’s ground floor from the site.
Challenge (3)
In addition, The multistory Opera parking garage is an intruder on the urban scenery and has a dominating impression on the site.
Challenge (4)
On the other hand, the greatness of the location was already powerful and rich with historical events and remarkable surroundings.
Challenge (5)
The Egyptian Film Museum was also a tricky spacial function to design. The idea of exhibiting films was exciting yet mind baffling.
Shahenda Amr I Class 2016
Treatment (1) To solve these issues, I blocked the street between the museum and Attaba Square; in order to dedicated this space for public use and activities. In addition, I added an auditorium in Attaba Square; which will host public performances to will attract people and revive the entire pedestrian movement and public activities in the region.
Treatment (2) Thereby, in my design, since I have re used the ground floor of the parking garage as an educational department, I had to create a separate entrance to this department. However, In order to connect the department to the museum, I had to extend the upper slab as a cantilever above the street to merge with the parking garage.
Treatment (3) To deal with the situation, I decided to integrate the parking garage in the museum design functionally and physically. This is constructed through an extension above the parking garage, and the reuse of its ground floor.
Treatment (4) Designing a film museum in the area was hard; in order to find the balance of being a reflection of the amusing and rich Egyptian cinema culture yet for the building form to be complimenting not challenging the urban scene
Treatment (5) The idea was to come up with novel interesting concepts of presenting and exhibiting films in a unique environment and entertaining atmosphere through a circulation that provokes the visitors curiosity to discover more.
60
Summary and Conclusion
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Summary and Conclusion
Cairo has a lavish rich cinema history that is ought to be collected and conveyed to the public through an Egyptian Film Museum. The aim is to both preserve and present the Egyptian film history. The challenge was to find ways to exhibit film through special features and techniques. The project location is in the heart of the city, between Opera Square and Attaba Square. These two squares together form a major landmark in Downtown Cairo; for being part of its Central Business District. The location is surrounded by the busy traffic of Attaba Square, a network of tunnels and bridges, in addition to the police station, fire station, post office, the Azbakeya Garden and a multistory parking garage. After a detailed research and analysis of both the Egyptian Cinema cultural history and the urban situation, I came up with diagrams and info graphs to present the results. This combined with the poetic concept of layering; to metaphorically relate to the cinema history layers and the urban scene composite layers, configured the layers conceptual diagram. This diagram is further abstracted into silhouettes and layered to overlap in two different scales. The result was a dynamic figure that is translatable into a conceptual architectural section. The design intension is to attract people back to the area and revive Attaba Square. The idea is to interfere and modify in the existing situation to introduce attraction factors and to connect Opera and Attaba Square as one cohesive urban scene. The phase of development was about extracting layers i.e. shapes and lines from the diagram to create an urban section. Through series of development sketches and physical models, I decided on a number of strategic design aspects listed and discussed in Phase II of the Conceptual development of the Project Design. The development of the project design was through proposals for the building mass. It needs to be complimenting to Shahenda Amr I Class 2016
the urban situation yet it should relate to the dynamic impression of the concept diagram of layering. The form is a mixture of openness and massiveness, transparency and solidity. Major strategic decisions undertaken include an auditorium in Attaba Square connected to an underground extension of the museum. In addition to closing the street between the museum and Attaba Square; this was studied carefully to make sure that it does not conflict with the response time of the civil defense. Moreover, to achieve a more cohesive design the ground floor of the parking garage is reused and the museum extends above its last slab.
floor is at +26.00 level consisting of the library, mediatheque, sound archive and the administration department.
The final proposal of the building form consists of the outdoor public Attaba Auditorium, in combination with the public space between Attaba Square and the museum. In addition, the building masses include the glass enclosure that reflects the ramped slabs dynamic impression, the vertical connecting box and the final top binding mass which also extends over the Opera parking garage. The form as a whole does not dare the power of the urban situation; it rather compliments the urban scene and responds to it. The form is a combination of public spaces, transparent envelop, open urban stage and solid massing. The museum is 32 meters high, which is the same height of the Governmental Administration Building behind the parking garage. The main entrance is through the ground floor which hosts a grand entrance hall. The underground floor includes semi-public functions containing an event hall and a restaurant of indoor and outdoor spaces. This floor is also connected through a ramp to the Attaba Auditorium. The entire circulation of the museum is based on ramps in addition to shortcut cores. Above the ground floor, there is the ramped exhibition slab which includes 3 main exhibition halls in addition to special exhibitions and features. The next layer includes an urban stage for recreational use and a dedication to the urban scene. This slab connects to the special exhibition at +20.00, in addition to connecting to the screening hall above the Opera parking garage. The last 62
Recommendations
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63
Recommendations
There are certain studies that need to be considered; for the building to be established on concrete distinctive roots. These studies can be categorized as context-related studies and further building design studies.
Shahenda Amr I Class 2016
Context-Related Studies
Further Building Design Studies
TIS – Traffic Impact Study
Pollution and Maintainability
This is a report to study the traffic vehicular movement patterns i.e. the number of extra car parking that will be needed for the Egyptian Film Museum’s visitors. It also includes the possibilities for traffic divergence. Moreover, due to the existence of a police station and fire station in the location context, there is a demand for an analysis that ensures that the closed street between the Attaba Square and the museum will not interfere with the response time of civic defense.
These studies are to be carried out and will thereby determine the needed specifications for the finish materials.
Technical Structural and Soil Assessment
Technical material specifications
This report is to be prepared; to make sure that the multistory Opera parking garage has a strong structure and designed with an enough factor of safety to withstand the additional stories resulted from the extension above the garage. In addition, soil tests need to be carried out to check the soil stability. Furthermore, excavation and exploration of the soil under the project site and Attaba Square; to find out if any buried fossils or monuments.
The acoustic finishes must be taken into account; reflecting the noise intensity of the site. This is to reduce the noise level to the allowable limit in such kind of projects.
Security and Safety Additional analysis of the buildings corridors and exits are to be studied for the planning of a feasible evacuation plan in case of fire. However, the proximity of fire station to the building is a positive aspect in this matter.
Unified Ticketing System An additional feature could be that the tourist may buy a collective ticket that will include visiting the Egyptian Film Museum, the Egyptian Museum, the National Theatre, etc. This would encourage people to visit a collection of touristic attractions, and thereby revive the entire context.
64
References
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References
Bibliography The Power of Culture.(n.d.). Available at: http://www.powerofculture.nl/uk/specials/film/ egypt.html. Last accessed 16. June 2016. Cairo Climate & Temperature. (2009). Available at: http://www.cairo.climatemps.com/ Last accessed: 17. June 2016. Cairo, Egypt - Sunrise, sunset, dawn and dusk times for the whole year - Gaisma. (n.d.). Available: http://www.gaisma.com/en/location/cairo.html. Last accessed 17. June 2016. Top100-solar Italy. (2007). Sun Position. Available at: http://www.sunearthtools.com/ dp/tools/pos_sun.php. Last accessed 17. June 2016. Equitone Textura | Europanels. (n.d.). Available: http://www.europanels.net/products/ equitone-textura. Last accessed: 11. May 2016. NOUH - National Organization for Urban Harmony. (2001). National Organization for Urban Harmony. Available at: http://www.urbanharmony.org/en/en_home.asp. Last accessed 16. June 2016. World Wide Travel Organisation. (2010). World Weather & Climate Information. Available at: https://weather-and-climate.com/average-monthly-rainfall-temperature-sunshine-in-egypt. Last accessed 17. June 2016.
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References
Figure 1, Google earth 09 Figure 2, National Organization for Urban Harmony. (2010) Available at: http://www.urbanharmony.org/en/en_home.asp. 09 Figure 3, by author 09 Figure 4, Oum Kalthoum - Challenges TN. (2015). Available at: http://challenges.tn/2015/07/des-voix-dumaghreb-chantent-ce-soir-oum-kalthoum/ 12 Figure 5, Studio Misr. (n.d.). Available at: http://www. allposters.com/-sp/Studio-Misr-Posters_i12751840_.htm 12 Figure 6, Naguib Mahfouz / The Art of Fiction. (n.d.). Available at: http://losarciniegas.blogspot.ae/2016/03/ naguib-mahfouz-art-of-fiction.html 12 Figure 7, Youssef Chahine Remembered. (n.d.). Available at: https://www.closeupfilmcentre.com/vertigo_magazine/ volume-4-issue-1-autumn-winter-2008/youssef-chahineremembered/ 12 Figure 8, Egypt | TopNews. (n.d.). Available at: http://www.topnews.in/regions/egypt?page=23 and 31st Alexandria Film Festival Returns With 300 Films to Watch. (n.d.). Available at: http://www.cairoscene.com/ ArtsAndCulture/31st-Alexandria-Film-Festival-ReturnsWith-300-Films-to-Watch 12 Figure 9, Opening ceremony of the 37th Cairo International Film Festival, Egypt - Multimedia - Ahram Online. (n.d.). Available at: http://english.ahram.org.eg/NewsContentMulti/ 164372/Multimedia.aspx 12 Figure 10, by author 13 Figure 11, by author 14 Figure 12, by author 15 Figure 13, by author 16 Figure 14, by author 16 Figure 15 (part1), by author 17 Figure 15 (part2), by author 18 Figure 16, Google earth 19 Figure 17, by author 20 Figure 18, by author 20 Figure 19, by author 21 Figure 20, by author 21 Figure 21, by author 22 Shahenda Amr I Class 2016
Figure 22, Cairo Climate & Temperature. (2009). Available at: http://www.cairo.climatemps.com/ 22 Figure 23, Cairo, Egypt - Sunrise, sunset, dawn and dusk times for the whole year - Gaisma. (n.d.). Available: http://www.gaisma.com/en/location/cairo.html. 23 Figure 24, Top100-solar Italy. (2007). Sun Position. Available at: http://www.sunearthtools.com/dp/tools/pos_sun.php. 23 Figure 25, World Wide Travel Organisation. (2010). World Weather & Climate Information. Available at: https://weather -and-climate.com/average-monthly-rainfall-temperaturesunshine-in-egypt. 23 Figure 26, by author 24 Figure 27, by author 24 Figure 28, by author 24 Figure 29, by author 24 Figure 30, by author 25 Figure 31, by author 25 Figure 32, by author 25 Figure 33, by author 25 Figure 34, by author 26 Figure 35, by author 28 Figure 36, by author 29 Figure 37, by author 30 Figure 38, by author 30 Figure 39, by author 30 Figure 40, by author 30 Figure 41, by author 31 Figure 42, by author 32 Figure 43, by author 32 Figure 44, by author 33 Figure 45, by author 34 Figure 46, by author 35 Figure 47, by author 36 Figure 48, by author 36 Figure 49, by author 36 Figure 50, by author 37 Figure 51, by author 37 Figure 52, by author 38 Figure 53, by author 38 Figure 54, by author 38 67
References
Figure 55, by author 39 Figure 56, by author 40 Figure 57, by author 41 Figure 58, by author 41 Figure 59, by author 41 Figure 60, by author 41 Figure 61, by author 42 Figure 62, by author 43 Figure 63, by author 43 Figure 64, by author 44 Figure 65, by author 44 Figure 66, by author 44 Figure 67, by author 44 Figure 68, by author 44 Figure 69, by author 45 Figure 70, by author 46 Figure 71, by author 47 Figure 72, by author 48 Figure 73, by author 48 Figure 74, by author 49 Figure 75, by author 49 Figure 76, by author 50 Figure 77, by author 51 Figure 78, by author 52 Figure 79, by author 52 Figure 80, by author 53 Figure 81, by author 53 Figure 82, by author 54 Figure 83, by author 54 Figure 84, by author 55 Figure 85, by author 55 Figure 86, by author 55 Figure 87, by author 56 Figure 88, by author 56 Figure 89, by author 57 Figure 90, by author 57 Figure 91, by author 57 Figure 92, by author 58 Figure 93, by author 58 Figure 94, by author 58 Shahenda Amr I Class 2016
Figure 95, by author Figure 96, by author Figure 97, by author Figure 98, by author Figure 99, by author Figure 100, by author Figure 101, by author
77 77 78 79 80 81 82
68
Appendix a. Project presentation sheets b. Model pictures
Shahenda Amr I Class 2016
69
Shahenda Amr I Class 2016 Windsor Hotel
Reinssance cinema
Cosmos Cinema
owned by Sherihan -
3
Sednawy Building
a famous egyptian actress
Dunia Cinema
El Kahira Cinema
4
Emad El Din Street
Tiring Building
11
8
Omar Effendi
Omar Effendi
11 5
8
5
Omar Effendi
The National Theater
11
8
9
Grand Hotel
Grand Hotel
6
The Grand Continental
9
6
The National Theater
The Grand Continental
The Grand Continental
The National Theater
5
SCHOOL OF ARCHITECTURE AND URBAN DESIGN CAIRO CAMPUS BACHELOR DEGREE: ARCHITECTURE AND URBAN DESIGN
GERMAN UNIVERSITY IN CAIRO
Prescpective Section
Prescpective Section
SITE PLAN SCALE 1:1000
Diana Palace Hotel
Abdel Moneim Madboly Theater
Nageub ElRihany cinema
Odeon cinema
The Khedivial buildings
SITE ANALYSIS
2
1
Solid and Void
Movies act as an invaluable documentation of the layers of the social level, political situation and lifestyle and all the components that a place struggles with and ends up the way we perceive it now. Thereby to convey this key of understandmentof a full, un-blurred vision of our urban scene; the urban context of the museum must be as much full of history and acting as a focal point in the city; presented in the selected urban context between Attaba and Opera Squares. Through my own perception of the situation, I have decided to include the Opera parking building and the Attaba Square into my design process. Researching on both the urban layers and the Egyptian film layers, I collected data that I then translated into diagrams; combined in a conceptual diagrammatic representation that is abstracted and refined to turn into architecture. The Diagram of layers reflects on the Museum in both form and circulation to house a cycle of planned routes with transitional spaces for completely interesting journey.
EGYPTIAN FILM MUSEUM
6
Garden View Hotel
Grand Hotel
Cairo Cinema
Garden View Hotel
9
Cairo Cinema
10
Cairo Cinema
Street Pattern
7
Abdeen Palace
Metro Stations
Al Bostah St.: Old Hotels/Motels currently either closed or mixed used.
Eden Palace Hotel
Eden Palace Hotel
Al Bostah St.: Old Hotels/Motels currently either closed or mixed used.
10
Eden Palace Hotel
Pedestrians Streets
Secondary Streets
Main Streets
Bus/Microbus Stops
Street Hierarchy
Street hierarchy and Accessability
ANALYSIS
Al Bostah St.: Old Hotels/Motels currently either closed or mixed used.
Abdeen Palace
Garden View Hotel
7
Abdeen Palace
10
7
Cinemas and Historical Buildings
Scale 1.5000
6
The Different Layers of Street Planning Patterns Enclosing The Site
Prespective Visualization
DEVELOPMENT SKETCHES
Conceptual Section - showing circulation idea
Conceptual Section from Attaba Square to Opera Square
PROFESSOR THOMAS LOEFFLER TUTORS AHMED GHAZY HASSAN ABDALLA ISLAM TAREK
EGYPTIAN FILM MUSEUM STUDENT SHAHENDA AMR 28-8237
Exploded Mass Diagram
Extracting Layers as Section Slabs
01
HHHHH
Appendix
70
Shahenda Amr I Class 2016 SCHOOL OF ARCHITECTURE AND URBAN DESIGN CAIRO CAMPUS BACHELOR DEGREE: ARCHITECTURE AND URBAN DESIGN
GERMAN UNIVERSITY IN CAIRO
SECTION A-A SCALE 1:200
GROUND FLOOR PLAN SCALE 1:200
A
VISUALIZATION (Exterior) - Bird Eye View
Foyer
Open Workshop Space +/-0.00
Rented Film Studio / Seminar Hall +/-0.00
Screening Room
Open Workshop Space +/-0.00
Digitalization Lab +/-0.00
VISUALIZATION (Interior) - Exhibition Spaces
Digitalization Lab
Foyer
PROFESSOR THOMAS LOEFFLER TUTORS AHMED GHAZY HASSAN ABDALLA ISLAM TAREK
EGYPTIAN FILM MUSEUM STUDENT SHAHENDA AMR 28-8237
Event Hall
Exhibition Hall
HHHHH
Exhibition Hall
Adminstration Department
B
B
02
Lockers
Exhibition Hall
Exhibition Hall
Exhibition Hall
C
C
Reception Office
Entrance Hall +/-0.00
Reception Office
Exhibition Hall
Exhibition Hall
Services and Storage
Exhibition Hall
Mediatheque
Restaurant
Appendix
71
Shahenda Amr I Class 2016 HHHHH
Event Hall
Exhibition Hall Exhibition Hall
Exhibition Hall
Exhibition Hall
SCHOOL OF ARCHITECTURE AND URBAN DESIGN CAIRO CAMPUS BACHELOR DEGREE: ARCHITECTURE AND URBAN DESIGN
B
B
GERMAN UNIVERSITY IN CAIRO
Exhibition Hall
Adminstration Department
VISUALIZATION (Exterior)
Reception Office
Exhibition Hall
Services and Storage
Restaurant
Entrance Hall +/-0.00
Mediatheque
Reception Office
Exhibition Hall
C
Exhibition Hall
Lockers
C
VISUALIZATION (Interior) - Library and Meditheque
PROFESSOR THOMAS LOEFFLER TUTORS AHMED GHAZY HASSAN ABDALLA ISLAM TAREK
EGYPTIAN FILM MUSEUM STUDENT SHAHENDA AMR 28-8237
A
03
HHHHH
Appendix
72
Foyer +22.00
Shahenda Amr I Class 2016 Screening Hall
Car Cinema
SCHOOL OF ARCHITECTURE AND URBAN DESIGN CAIRO CAMPUS BACHELOR DEGREE: ARCHITECTURE AND URBAN DESIGN
GERMAN UNIVERSITY IN CAIRO
SECTION B-B SCALE 1:200
FLOOR PLAN LEVEL +26.00 SCALE 1:200
Screening Hall
FLOOR PLAN SCALE 1:400
Foyer +22.00
FLOOR PLAN - MAIN EXHIBITION SCALE 1:200
Prayer Room
+22.00
Library
+22.00
+20.00
UNDERGROUND FLOOR PLAN SCALE 1:400
Event Hall -4.00
Screening Cubicle
Urban Stage
+22.00
Outdoor Seating Area -6.00
Screening Cubicle
Administration
+26.00
Outdoor Urban Stage +16.00
Entrance Hall
Screening Cubicle
Outdoor Urban Stage +14.00
+20.00
Performance Space / Screening Area -12.00
Sound Archive +26.00
Cafeteria / Waiting Area +4.00
kitchen -4.00
Exhibition Hall 6 +16.00
Restaurant -4.00
Walk In Movie Scene
Exhibition Hall
Special Exhibition Hall
Individual Headsets of screened scenes
Meeting Room
+4.00
Adminstration +26.00
Walk In Movie Scene +4.00
Exhibition Hall 2 +4.00
Exhibition Hall 3 +4.00
Screening Cubicle +6.00
Screening Cubicle +6.00
Screening Cubicle +6.00
Walk In Movie Scene +6.00
B
B
FLOOR PLAN SCALE 1:400
B
B
Library +26.00
Themed Exhibition Hall +20.00
C
C
C
PROFESSOR THOMAS LOEFFLER TUTORS AHMED GHAZY HASSAN ABDALLA ISLAM TAREK
+8.00
+8.00
+12.00
+8.00
STUDENT SHAHENDA AMR 28-8237
Individual Screening
Mediatheque +26.00
Group Screening
+26.00
Walk In Movie Scene +8.00
Exhibition Hall 1 +8.00
+8.00
(For 3D movie scene projection)
The Dark Void Exhibition
EGYPTIAN FILM MUSEUM
+6.00
+6.00
C
A
A
04
HHHHH
Appendix
73
Shahenda Amr I Class 2016 HHHHH
SCHOOL OF ARCHITECTURE AND URBAN DESIGN CAIRO CAMPUS BACHELOR DEGREE: ARCHITECTURE AND URBAN DESIGN
GERMAN UNIVERSITY IN CAIRO
SECTION C-C SCALE 1:200
Scale 1:50
ELEVATION : NORTH ELEVATION ELEVATION Scale 1:50 : NORTH ELEVATION
Service Corridor
Toilets
Entrance Hall
Mediatheque
Reception Office
Exhibition Hall
Exhibition Hall
Restaurant
Lockers
Exhibition Hall
TILES 2 CM SCREED / MORTATRM 2 CM TILES 2 CM
MARBEL SKIRTING 10 CM 2 CM THICK MARBEL GRANITE SKIRTINGTILES 10 CM MORTAR 2 CMSAND 4 CM
The Dark Void Exhibition
Urban Stage
Scale 1:50
TILES 2 CM
PRECAST CONCRETE SLAB 20 CM
PROFESSOR THOMAS LOEFFLER TUTORS AHMED GHAZY HASSAN ABDALLA ISLAM TAREK
EGYPTIAN FILM MUSEUM STUDENT SHAHENDA AMR 28-8237
COMPACT SOIL
COMPACT SOIL ORDENARY CONCRETE SLAB 15 CM
ORDENARY CONCRETE SLAB 15 CM WATER PROOFING MEMBRAIN 2 CM
WATER PROOFING 2 CM ORDENARY CONCRETE SLAB MEMBRAIN 10 CM
SAND 4 CMORDENARY CONCRETE SLAB 10 CM
MORTAR 2SAND CM 4 CM
MORTAR CM GRANITE TILES 2 CM2 THICK
GRANITE 10 TILES MARBEL SKIRTING CM2 CM THICK
MARBEL SKIRTING 10 CM
PRECAST CONCRETE SLAB 20 CM
PRECAST CONCRETE SLAB 20 CM SOFT CONCRETE 4 CM
SOFT CONCRETE 4 CM SAND 4 CM
MORTAR 2SAND CM 4 CM
TILES 2 CMMORTAR 2 CM
WALL SECTION : FACADE SECTION WALLScale SECTION : FACADE SECTION 1:50
COMPACT SOIL
ORDENARY CONCRETE SLAB 15 CM WATER PROOFING MEMBRAIN 2 CM COMPACT SOIL ORDENARY CONCRETE SLAB 15 CM COMPACT SOIL
ORDINARY CONCRETE 10 CM SAND 4 CM SOIL ORDINARY CONCRETE 10COMPACT CM
ORDENARY CONCRETE SLAB 10 CM SAND 4 CM SAND 4 CM MORTAR 2 CM
MORTAR 2 CM GRANITE TILES 2 CM THICK
PROOFING MEMBRAIN 2 CM ORDENARYWATER CONCRETE SLAB 10 CM
INTERLOCKING TILES 8 CM
20 CM
20 CM
2 CM INTERLOCKING TILES 8 MORTAR CM
20 CM
PRECAST CONCRETE SLAB WATER PROOFING 2 CM
WATER 2 CM SANDPROOFING 4 CM
SAND 4 CM SCREED / MORTATRM 2 CM
20 CM
PRECAST CONCRETE SLAB WATER PROOFING 2 CM PRECAST CONCRETE SLAB
PRECAST CONCRETE SLAB
TILES 2 CM SCREED / MORTATRM 2 CM TILES 2 CM THERMAL INSULATION 5 CM SAND 4 CM
SAND 4 CM SCREED / MORTATRM 2 CM WATER PROOFING 2 CM THERMAL INSULATION 5 CM
TILES 2 CM
20 CM
PRECAST CONCRETE SLAB 20 CM SOFT CONCRETE 4 CM
SOFT CONCRETE 4 CM SAND 4 CM
MORTAR 2SAND CM 4 CM
TILES 2 CMMORTAR 2 CM
TILES 2 CM
TILES 2 CM 2 CM SCREED / MORTATRM
SCREED / MORTATRM 2 CM SAND 4 CM
SAND 4 CM 5 CM THERMAL INSULATION
THERMAL 2INSULATION 5 CM WATER PROOFING CM
WATER PROOFING CM PRECAST CONCRETE SLAB 202 CM
PRECAST CONCRETE SLAB
05
HHHHH
Appendix
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SCHOOL OF ARCHITECTURE AND URBAN DESIGN CAIRO CAMPUS BACHELOR DEGREE: ARCHITECTURE AND URBAN DESIGN
GERMAN UNIVERSITY IN CAIRO
Exhibition Prespective View 1
Movie Scene: A Glimpse of Fear
UNDERGROUND LEVEL
GROUND FLOOR
MAIN EXHIBITION SPACE
URBAN STAGE AND SPECIAL EXHIBITION
PROFESSOR THOMAS LOEFFLER TUTORS AHMED GHAZY HASSAN ABDALLA ISLAM TAREK
EGYPTIAN FILM MUSEUM
Movie Scene: Gharam Fe Al Karnak
LIBRARY, MEDIATHEQUE, SOUND ARCHIVE , ADMINSTRATION AND SCREENING HALL
Movie Scene: Salah El Din
STUDENT SHAHENDA AMR 28-8237
06
HHHHH
Appendix
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SCHOOL OF ARCHITECTURE AND URBAN DESIGN CAIRO CAMPUS BACHELOR DEGREE: ARCHITECTURE AND URBAN DESIGN
GERMAN UNIVERSITY IN CAIRO
SOUTH ELEVATION SCALE 1:200
NORTH ELEVATION SCALE 1:200
EAST (FRONT) ELEVATION SCALE 1:200
Exhibition Prespective View 2 Screening Cubicles Screening Cubicles
PROFESSOR THOMAS LOEFFLER TUTORS AHMED GHAZY HASSAN ABDALLA ISLAM TAREK
EGYPTIAN FILM MUSEUM STUDENT SHAHENDA AMR 28-8237
07
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Appendix
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Appendix
Figure 95, 1.1000 Model Pictures
Shahenda Amr I Class 2016
Figure 96, 1.500 Model Pictures
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Appendix
Figure 97, 1.500 Model Pictures
Shahenda Amr I Class 2016
78
Appendix
Figure 98, 1.200 Model Pictures
Shahenda Amr I Class 2016
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Appendix
Figure 99, 1.200 Model Pictures
Shahenda Amr I Class 2016
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Appendix
Figure 100, 1.200 Model Pictures
Shahenda Amr I Class 2016
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Appendix
Figure 101, 1.200 Model Pictures
Shahenda Amr I Class 2016
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Shahenda Amr I Class 2016