URBEGO
/ EUROPE
EL-MADINA FOR PERFORMING AND DIG ITAL ARTS / EGYPT
SAWP C U LT U R E WALKS REPORT KARMOUZ ALEXANDRIA TO.
All interested DATE .
November 2016
3
4 –7 INTRODUCTION
8–11 PARTNERS
12–13 THE COLL ABOR ATION STORY
14–17 PROJECT & PARTNERSHIP PHASES
THE CENTRAL QUESTION OF THIS REPORT IS ABOUT H OW C U LT U R E A N D H U M A N
18–19 BRIEF ABOUT KARMOUZ
20 –23 INTRO TO THE WORKSHOP
POTENTIALS CAN BECOME
24–25
A TOOL TO EMPOWER THE
MAPPING?
LOCAL COMMUNIT Y AND A WAY FOR V ISI TOR S TO DISCOVER THE CHARACTER OF A PLACE.
WHAT IS CULTUR AL
26–27 WORKSHOP S TAKEHOLDERS
28–37 WORKSHOP AGENDA, PROCESS AND TOOLS
38–39 FINDINGS/COLL ABOR ATIVE MAP
40–53 WALKABILITY EXPERIENCE IN KARMOUZ
54–63 PROPOSALS
64-65 CONCLUSION
66–67 ACTORS & PARTNERS
“CHANGE IN SOCIETY
S TA R T S W H EN C I T I Z EN S T H E M S E LV E S C O N T R I B U T E A N D PA R T I C I PAT E TO BUILDING EFFECTIVE A N D C R E AT I V E R EL AT I O NS H I P S T H AT WO R K O N CONQUERING THE RIGHT TO T H E C I T Y ”.
5
FAR AH MAKKI ARCHITECT & URBEGO CO-FOUNDER
An architect achieving a PhD in social sciences (EHESS, Paris) with practical experience in France, Lebanon and Italy. Her work includes designing and consulting in housing, walkability strategies, cultural and urban design through community engagement. Since 2014, Farah teached Sociology of Housing at ENSA Malaquais in Paris. In 2012, she became a member of the International Ambiances Network promoting the sensory domain in questioning the architectural and urban lived space. In 2013, she co-founded Urbego, an international platform for urban professionals. Since then, she has held a number of workshops and conferences in Venice, Paris, Rome, Vienna, Tirana, and Alexandria. Farah is also a member of Tandem network for cultural managers.
Cities in Egypt are facing since years a big challenge regarding the democratic city making. Cities are in constant conflict and in challenging construction. The inefficient political system led to the expansion of bottom-up initiatives and neighborhood’s organizations that keep on innovating, listening to citizens and collaborating with other civil societies groups in other cities to make constant improvements. The collaboration between Urbego and ElMadina contributes to a dynamic where cities are able to make urban place-making more cooperative and open for inhabitants. During our work in Alexandria, we invited different stakeholders, specifically locals, to cooperate in a flexible frame, exchanging experiences and scenarios to plan concrete solutions with clear objectives. Change in society starts when citizens themselves contribute and participate to building effective and creative relationships that work on conquering the right to the city. Our action in Karmouz is a small step to counterbalance a rigid political system, implemented since many years. It represents an inclusive and positive way of thinking without fear of change. Several actions are taking place in the neighborhood through social development projects carried by organizations such as ElSarh, who works on women empowerment, youth illiteracy or unemployment, micro-entrepreneur support and capacity building. This popular mobilization still hasn’t gained wider space at the political level but is concretely contributing to a meaningful reform in inhabitants daily life. Replication actions are needed to spread similar initiatives and drive a broader social campaign including major groups of individuals so change becomes more effective. Creating a more united voice requests advanced empowerment actions and full awareness among individuals regarding the importance and the global consequences of each single step and knowledge. Society can’t evolve, indeed, if individual mind-sets don’t embrace the will to progress and respond to problems of education, health, mobility and gender or social inequalities. All society members must contribute, including men, women, and children. In Karmouz, many women mediate in situations of conflict and contribute to the economic ascension of their families. Some NGO-s are even encouraging the feminization of politics by empowering women
to raise their voice and give inputs to the system’s regulations and policies. Nevertheless, we are still far away from accomplishing an effective reform. The way is still long and hard. Women empowerment is crucial for raising bigger awareness for education, civic development, and employment. Women influence the transmission chain to many society members ( to a brother as a sister, to a child as a mother, to a partner as a wife, etc). Empowering them might have an effective and positive influence on many individuals and, consequently, on social development. Therefore, there is an urgent need to overcome ignorance, encourage emancipation, promote collaborative development between all society members to improve our democracies. Recent years were the years of cities’ revolution. Egypt went through the Arab Spring, which turned to be a political uncertainty moment that shifted hope time into one of the darkest moment in Egypt history. Political change couldn’t be achieved because sustainability can’t happen in time of fragmentation of individual initiatives and citizens’ ignorance of what social development, modernity, and democracy mean. Asking citizens to be the protagonists and to practice their right to the city requests empowerment actions, capacity buildings, and visions transmission. The city is indeed the place to do this. Neighborhoods are the core of a concrete reform. They are spaces for proximity between various actors, easily open for dialog, transfer of knowledge and collective actions. We saw people in Karmouz who were not bothered about politics as soon as we were proposing a “citizen discussion” and a moment to share their life and daily stories. That’s why, as Urbego and ElMadina, we are optimistic, but recognize that common steps need to be done so this proximity with residents creates positive solutions for the living environment. When would it lead to concrete policies? It is quite far according to the actual political situation, although it isn’t impossible as soon as citizens and civil organization gain space on the urban debate. SAWP -culture walks project works, concretely, on empowering citizens and planning a tactful strategy for social development through the alternative language of culture.
>
About
sawp culture walks project
“CULT UR E WA L K S” IS T HE FIR S T PH A SE O F SAWP S T R AT EGY * (SPACE S FOR A RTS , WEL FA R E A ND PROGRESS) CONDUCTED WITHIN A PARTNERSHIP BETWEEN URBEGO AND ELMADINA AND SUPPORTED BY T HE TA NDEM SH A ML A ND IDE AC A MP PRO G R A MS . T HIS COL L A BOR AT ION PROJEC T BE T WEEN EUROPE AND THE ARAB WORLD WORKED ON EXPLORING NEW VENUES IN THE ALEXANDRIAN NEIGHBORHOOD, K ARMOUZ, TO PROMOTE THEM AS SPACES FOR ARTS A ND CULT UR E . S AW P, A S T R AT E G I C C O N C E P T I N I T I AT E D I N 2013 BY EL M A DIN A , A IMS TO SUPP ORT CR E AT I V E ECO N O MIE S O F CULT UR E , WHI CH C A N A S SIS T SUS TA IN A BL E DE V ELOPMEN T A ND R A ISE CI T IZENS’ AWARENESS ON HOW TO USE LOCAL RESOURCES F O R S TA R T- U P S O C I A L E N T E R P R I S E S A N D S O C I A L IMAGE ENHANCEMENT. URBEGO SUPPORTED A ND FACIL I TAT ED T HE IMPL EMEN TAT ION OF T HE S T R AT EGY ’ S FIR S T S T EP BY DEL I V ER ING A N UR BA N E XPERT ISE O N CULT UR A L M A PPIN G A ND N EI G H B O R H O O D P OT EN T I A L A N A LYSI S D R AW I N G , T HUS , A P OSSIB L E “O PEN-UP ” S T R AT EGY, A ND PROMOTING A VALUABLE IMAGE OF K ARMOUZ. THE CENTRAL QUESTION OF THIS REPORT IS CERTA I N LY A B O U T H OW CU LT U R E A N D H U M A N POTENTIALS CAN BECOME A TOOL TO EMPOWER THE LOC AL COMMUNIT Y AND A WAY FOR VISITORS TO DISCOVER THE CHARACTER OF THE PLACE. THESE PAG E S A R E T HE R E SULT O F T HIS CO L L A B O R AT I V E E XCH A NG E. A WOR K BA SED ON A PA RT ICIPATORY WOR K SHOP T H AT TO OK PL ACE IN A L E X A NDR I A I N A P R I L 2 016 A N D I N VO LV ED 2 5 PA R T I C I PA N T S FROM 5 DIFFERENT SOUTHERN AND NORTHERN MEDITERR ANE AN COUNTRIES (EGYPT, LEBANON, FR A N CE , G R EECE , A N D I TA LY ). T H E AC TO R S HAD DIFFERENT PROFESSIONAL BACKGROUNDS RANGING FROM ARCHITECTS, URBAN PLANNERS, ARTISTS, RESEARCHERS, CIVIL SOCIETY ACTIVISTS. I T A L S O I N VO LV ED I N H A B I TA N T S O F K A R M O U Z N EI G H B O R H O O D A N D CO M M U N I T Y-B A SED ORG A NIZ AT IONS SUCH A S EL SA R H A SSO CI AT ION .
7
Urbego
WHO WE ARE
We encourage and support co-creation, youth involvement in decision-making and international knowledge sharing.
9 A N IN T ER N AT I O N A L NE T WO R K O F U R BA N PROFESSIONALS AND LOCAL OFFICES D ED I C AT ED TO IMPROV IN G T HE QUA L I T Y OF LIFE IN CITIES THROUGH ACTIVE PA RT I CIPAT I O N , CO - CR E AT I O N A ND KNOWLEDGE SHARING. OUR PROJECTS ARE BA SED O N T HE IN T ER PL AY O F CO - CR E AT I O N , YO U T H EN G AG EMEN T, A ND IN T ER N AT I O N A L I N VO LV EM EN T. W E B EL I E V E T H AT C I T I E S A R E PRO D U C TS O F R EL AT I O NS , O F CO NNEC T I O NS A ND IN T ER AC T I O NS T H AT A R E CO NS T RU C T ED AND DE-CONSTRUCTED OVER TIME. A N U R BA N PRO B L EM IS A CO MM U NI C AT I O N PROBLEM; IT IS AN UNACCOMPLISHED CO NNEC T I O N . T H AT S A ID, WE B EL IE V E T H AT T HE RO OT O F CO N T EMP O R A RY S O CI A L UNREST IN MANY CITIES AROUND THE GLOBE IS THE INABILITY TO RECOGNIZE CITIES AS SPACE S O F CO E X I S T I N G H E T ERO G EN EI T Y. CONTINUED IGNORANCE PRODUCES MISU ND ER S TA ND IN G S; I T PRO D U CE S INEFFEC T I V E P O L I CIE S T H AT FU RT HER D IS CO U R AG E PA RT I CIPAT I O N , M A RG IN A L IZE
#1 MORE THAN 20 WORKSHOPS
#2
GROUPS AND CONTRIBUTE TO A GROWING
OVERALL 200
G LO B A L PRO B L EM O F S O CI A L I N EQ UA L I T Y.
URBAN EXPERTS
FOR THIS REASON, OUR MISSION IS TO
#3
IMPROV E CO MM U NI C AT I O N , EN CO U R AG E IN T ER AC T I O N , A ND O PER AT E IN A N O PEN
A N INTERN ATI O N A L
S YS T EM T H AT SU PP O RTS VA R I E T Y. W E
COMMUNITY
ENCOURAGE AND SUPPORT A STRONG CO MMI T MEN T TO CO - CR E AT I O N , A
CO NTAC T
WIL L IN G NE S S TO PA RT I CIPAT E IN D ECISI O N-
#
MAKING, AND THE SHARING OF NEW
farah.makki@urbego.net
KNOWLEDGE THROUGH LOCAL, REGIONAL
#
A ND G LO BA L CO MM U NI C AT I O N CH A NNEL S .
team@urbego.org www.urbego.org
PROJECT INFO
GENERAL
El-Madina
WHO WE ARE
ELMADINA WAS FOUNDED IN 2000 IN ALE X ANDRIA , EGYP T. THROUGH TR AINING S , PRODUCTION, AND MANAGEMENT OF CU LT U R A L SPACE S , EL M A D IN A H A S B EEN WORKING ON PROMOTING ARTS AND CU LT U R E A ND SU PP O RT IN G A RT IS TS A ND YO U T H INI T I AT I V E S . EL M A D IN A A L S O SEEK S T HE CR E AT I O N O F A CU LT U R E M A R K E T FOR ARTISTS IN ALEXANDRIA AS IT IS O NE O F T HE M A IN CU LT U R A L CEN T R E S IN THE MEDITERRANEAN. TO ACHIEVE THIS, ELMADINA WORKS ON TRANSFORMING PUBLIC SPACES AND MARGINALIZED AREAS TO SPACES WHERE PEOPLE CAN PR ACTICE FR EE E X PR E S SI O N , CR E AT IN G A CO HE SI V E SOCIAL ENVIRONMENT CHARACTERIZED BY DIVERSITY AND PLURALISM. EL M A D IN A B EL IE V E S T H AT AC T I V E CI T IZENS ARE THOSE WHO CONTRIBUTE TO ART AND HENCE THEY ARE THE SOLO GUARANTEE FO R T HE SUS TA IN A B IL I T Y O F T HIS A RT. BELIEVING IN THIS, ELMADINA SEEKS RESTORING ART AS AN INDISPENSABLE PART OF THE LIVES OF THE PEOPLE AND THE M A IN PA R A ME T ER FO R SUS TA IN A B L E H U M A N AND SOCIAL DE VELOPMENT. ART COMES A S A D E T ER MIN A N T FAC TO R FO R D EM O CR AC Y, HUMAN RIGHTS, AND ECONOMIC GROWTH. ELMADINA, THROUGH ITS PROJECTS, IS K EEN O N TA RG E T IN G T HE A RT IS TS , YOUTH GROUPS, AND WOMEN FROM ALL THE DIFFERENT SOCIAL AND ECONOMIC BACKGROUNDS.
11
ElMadina believes that active citizens are those who contribute to art and hence they are the solo guarantee for the sustainability of this art.
CO NTAC T #
PROJECT INFO
mohabsaber@elmadinaarts.com #
GENERAL
6 Fouad St., Al Attarin, Alexandria, 21512, Egypt elmadina@elmadinaarts.com www.elmadinaarts.com
How did we get here? MOHAB SABER E L- M A D I N A E X E C U T I V E DIRECTOR
Mohab Saber is an Egyptian producer, art manager and the executive director of ElMadina for Performing and Digital Arts, with ten years of wide experience in MENA region, as well as the Euro Mediterranean region. Mohab has a long commitment to the non-profit cultural sector, with an intensive focus on performing arts training and production for stage and street Arts. He worked as a consultant in many prestigious organizations, as Ashoka (VA, USA). Mohab is the core team member of the U40 Arabesque network of the UNESCO for the Arab region. He has many publications and participated in various international workshops, art festivals and conferences.
In February 2013, ElMadina worked in Karmouz in preparation for a ten-day storytelling workshop in the framework of “Training in The Street” Project. The workshop addressed the shared values, nature of social relations in this community and what it is famous for as a neighborhood. By the end of the workshop and with the consensus of the neighborhood residents, we chose the place around the central mosque of Karmouz in Khofo Street for setting the stage for the final performance. Organizing such a creative art performance around a central mosque in a neighborhood known for widespread violent activities might sound horrifying and not accepted by many. However, what we intended by choosing this area as the location for our performance is to prove that meaningful art can coexist and share the same space with profound religious institutions, represented in our case by the mosque. Our decision to hold the performance in the same area where the mosque is located was even supported by the Imam of the mosque who was engaged in the workshop as an active participant. The Imam also contributed significantly to the performance as one of its core storytellers. This simple story reflects the essence of “Training in The Street” Project that was carried out between 2011 and 2014. Helen Van Gigch, Trainer at the “Dance and Parcours” workshop, mentioned the most comprehensive definition for this project. She defined the project as “a significant opportunity for not just performing art in urban spaces but also for expressing ourselves and our art differently and dynamically by utilizing the space and the place around us. These art performances would help envision these urban places differently bringing change to these spaces for once and all.” In June 2013, and during Aashima Praveen’s internship in ElMadina in Alexandria, she was working closely with Ahmed Saleh, ElMadina’s director, on developing a strategic plan for one of our new projects at that time. The primary objective of this project was to pave the way for artistic production in marginalized and less developed public spaces in Alexandria. The project was designed to include three programs; for music, performing arts and literature over a period of one year, entitled Spaces for Arts, Welfare and Progress “SAWP.” The idea behind this project was to capitalize on our experience in many different neighborhoods in Alexandria. Karmouz was the first community encouraging us to adopt a more sustainable developmental approach through the creation of long-run programs in one neighborhood. Karmouz was the perfect district to start with given the richness of its urban and culture resources. At the beginning of 2014 and with the crackdown on civil society in Egypt, many organizations were experiencing a hard time both landing funding opportunities and working in public spaces. Consequently, it was very challenging to secure the resources needed to bring SAWP project into existence. To mitigate for this challenge, more creative industries were sought to bring the elements of sustainability and financial stability to the
13
project. As a first step, I decided to break down the project into smaller parts in a way to capitalize on the new strategies of proper development and to use creative entrepreneurship. Over this process, SAWP Project was turned to a more comprehensive approach for exploring new venues in the Alexandrian neighborhoods, turning them into spaces for arts and culture. The aim was to support creative industries that would ensure sustainable development and awareness-raising of the citizens; Citizens who are capable of using their local resources in starting up social enterprises contributing to the social image enhancement through women empowerment in local decision-making and ensuring sustainability on the long run. Karmouz was chosen to be the first neighborhood to implement our strategy in, and to be our model for change During 2015, we decided to launch the research and development phase of SAWP Project. The time when Tandem/Shaml program of Mitost and Idea Camp program of the European Culture Foundation opened their calls for applications. In September 2015 and during Tandem exchange in Beirut, I had my first meeting with Farah Makki, the co-founder of Urbego Network for Urban Planners in Europe. Over three days of working together, we came up with a collaborative idea to bring urban expertise to artistic strategy. We wanted to merge ElMadina and Urbego methodologies to implement a pilot phase of SAWP Project. “The Culture Walks� project has then started. The aim was to map the cultural potentials of Karmouz and identify strategic places where venues of art and culture skills sharing can be implemented. The cultural mapping of Karmouz used the data collected from the fieldwork conducted by the workshop participants and coordinated by our project partner Farah Makki. This data was complied, treated, analyzed, summarized to formulate a book that will be further used for promoting the culture potentials in Karmouz neighborhood. and organizing artistic events. This work comes in addition to developing the timeline for all the significant religious celebrations specific to this district. Overall actions seek to celebrate, reveal and support existing cultural diversity enhancing economic, social and cultural development.
Mohab Saber SAWP Project Manager
Tandem Shaml EUROPE - ARAB REGION The programme supports experimental collaborations between cultural change makers from the Arab region and Europe. This exchange and knowledge development programme allows cultural professionals from many different disciplines to acquire skills required for engaging in long-term partnerships. The Tandem process provides hands-on possibilities for getting real insights into European and Arab cultural scenes. Participants will gain practical experiences in collaborating with rapidly changing fields in both regions. Tandem Shaml is based on the organisers’ belief that working together on tangible cross-border initiatives creates fruitful cultural dialogue among different groups and engages and exposes distant communities to each other. www.tandemforculture.org/
Le
no ba
n
n rli Be
co
oc ar
M
Tandem
meetings & timeline
15
CO LL A B O R ATI O N PROJ EC T
1
2
SEP 2015 BEIRUT TANDEM KICK OFF MEE TING & PARTNERSHIP FORUM
OCT 2015 COLL ABOR ATION PROJEC T SUBMISSION
3
NOV 2015 PROJEC T SELEC TION FOR GR ANT TANDEM SHAML & IDE A C AMP
4
JAN 2016 BERLIN TANDEM MEE TING & PROJEC T FR AME WORK DEFINITION
5
FEB TO APR 2016 BUILDING LOC AL PARTNERSHIPS , RESE ARCH AND DATA COLLEC TION
6
APR 2016 ALE X ANDRIA WORK SHOP FOR CULT UR AL MAPPING
7
JUN 2016 MAROCCO TANDEM INTERMEDIARY MEE TING FOR COLL ABOR ATION MONITORING AND FINANCIAL REPORT
8
JUN TO OCT 2016 BOOK & REP ORT EL ABOR ATION ABOU T K ARMOUZ WORKSHOP/ PARIS CONFERENCE & REVIEW
NOV 2016
9
KARMOUZ ARTISTIC STREET EVENTS & BOOK PROMOTION
DEC 2016 MARSEILLE FINAL TANDEM MEE TING & E XHIBITION AT L A VILL A MEDITERR ANÉE
10
wp
Sa Cu ltu re Wa
lk s
k
a
rm
o
u
z
17
PHA S E ONE CONCEPT & PARTNERSHIP
• Concept formulation & Project canvas • Project plan and Budgeting • Building Partnership • Selection of needed expertise
PHASE TWO RESEARCH, FIELD WORK & PROPOSALS
• Research : overview of available Data and Materials
• Field Work preparation: Period definition/ Working Groups /Topics
• Workshop development: Data collection, interviews, Physical assessment and collaborative mapping
• Proposals formulation and collecting presentations
PHA SE THREE DISSEMINATION
• Booklet and report content definition
• Compiling, Writing, Designing and request of additional Data
• Book and report formulation and review
• Artistic event and book promotion • Results and Collaboration dissemination through an international Exhibition
Z U O M R A K T U O B A
Br ief
Population distribution
1805
1855
1905
1955
POMPEY PILLAR (KARMOUZ)
HELLENISTIC & ROMAN ERA
1756
1902
JACQUEMONTS INFLUENCE
1912
ALEXANDRIA
1977
19
Administratively, Karmouz district makes part of Alexandria West district. It is a popular neighborhood known as a marginalized area with issues of drug dealing and gangs conflicts. Hence Karmouz urban history reveals a significant heritage. The original site of Karmouz housed a small village named Rhakotis. It was the ancient Egyptians' settlement on the Mediterranean, well before Alexander the Great attributes the name of "Alexandria" to the city. Karmouz name derives from Greek (Krmos). It refers to the “fig” fruit that perhaps has grown and was widespread in this area all the way to the «head figs area» (Râss al-tîn). Rakhotis meant, instead, "the place of building" for some scholars, or "the fishing village" for some others. It was known by this name until the end of the Byzantine Era. Rakhotis became an official part of Alexandria’s five official districts since its Hellenistic foundation as the capital of Egypt in 330 BC. Alexandria was chosen to be the center of world’s activity and knowledge for its strategic location. It was far enough from the Delta avoiding floods, yet close enough for trading. The city was supplied with fresh water from the Nile, and faced a small island, Pharos, that Alexander had read about in Homer’s Odyssey and considered as tactical for defense together with the Lake Mariut, located in the south. When Alexander died in 333 BC, the Empire was divided into three kingdoms: Antigonids (Macedonia and Greece), Seleucids (Western Asian and Iran) and Ptolemy I (Rule of Egypt). The Ptolemaic dynasty ruled over Alexandria for the 300 years. Ptolemy I undertook the city planning and assigned Dinocrates of Rhodes, a Greek architect. The city was split into four quadrants by two avenues; The Canopic Way and Street of Soma (actual Horreya Street and Nabi Daniel). The layout of the Hippodamian system ensured the ventilation of the city by the prevailing winds coming from the north. The library of Ancient Alexandria is the most notable building from the Ptolemy Period. It showcased a critical effort to disseminate knowledge in the ancient world. What is not well known is that there were two libraries in Ancient Alexandria. A large one in the Brucheum Quarter was attached to the museum and a smaller one in the Serapeum, a famous temple. This extension of the primary library was implemented on the Pompey pillars site in Karmouz where we can observe some remaining vaults.
Karmouz witnessed, therefore, an urban life since the Hellenistic city. Most of the district was part of the area within the town walls. Until the 9th century, only the necropolis, the original site of Kom al-Shuqâfa site, stood outside. In 868 AD, Ibn Tulûn declared Egypt independent from the Arab Empire. His dynasty ruled Egypt for about half a century. During this reign, he constructed new walls, fortified the coast, and renovated the lighthouse (797 AD). The new walls included half of the original Greek City, as the city was in decline. From this period, Karmouz site stood outside the city walls and was accessible through a gate, named Bâb al-‘Âmûd or Bâb Sidra. After a marginal position during Fatimid, Ayyûbîd and Ottoman rules, Karmouz was later annexed to the urban fabric during the second half of 19th century. In fact, when Napoleon landed in 1798, Alexandria was just a village of 4,000 people. Between 1801 and 1805, the city passed through a period of Anarchy. Mohamed Ali, an Ottoman Soldier, took control of the city, started a dynasty and planned to rebuild Alexandria. The population increased from 4,000 to 143,000 during his time in power before he died in 1848. Mohamed Said continued this vision for economic revival. A railway connection was set up between Alexandria and Cairo in 1856. Then, in 1873, the French Jacquemont was chosen to plan the streets. He applied the French tradition of radial planning to the already existing Greek and Turkish plan. The new program extended the urban fabric and demolished the walls from the Arab Era. Peripheral areas were connected again to the inner city and Karmouz joined the urban fabric and emerged as it is now known.
URBAN SITUATION
POPUL ATION
West District of Alexandria
532,097 inhabitants
ADMINISTR ATIVE
20,07 km2 DIVISION
Karmouz section area
4.77 km2
Mina Al-Basal Section
15.30 Km 2
15 government buildings 15 archaeological buildings / 7 markets / 700 Streets / 105 vacant lands
ALEXANDRIA KARMOUZ
EURO-ARAB ALEXANDRIA WORKSHOP APRIL 2016
Where 6 Fouad St, ElAtareen, Alexandria, Egypt Who 25 participants from 5 different southern and northern Mediterranean countries (Egypt, Lebanon, France, Greece, and Italy). The actors had different professional backgrounds ranging from architects, urban planners, artists, researchers, civil society activists. It also involved inhabitants of Karmouz neighborhood, and community-based organizations such as ElSarh Association. Objective The aim of Sawp-culture walks is to support creative economies of culture, which can assist sustainable development and raise citizens’ awareness on how to use local resources for start-up social enterprises and for social image enhancement. During the in-situ participative workshop, the participants mapped cultural potentials (popular stories and physical spaces) in order to draw a neighborhood “open-up” strategy, and promote a new image of Karmouz by proposing “Culture walks” itineraries and reactivating public space. Partners & Sponsors Urbego / ElMadina for Performing and Digital Arts Tandem Shaml / European Culture Fund /ElSarh organization
25
Cultural Mapping
Resources mapping
Identity mapping
“Things”
“Stories”
Music / Dance / Visual arts Literary / Multicultural / Theater
Sport games / Sport festivals
Cultural organizations
Indoor Sports / Outdoor sports
Sport
Café / Restaurant Market / Catering
Theatre/ performance spaces
Cultural venues / facilities
Libraries / Cultural centres Community spaces / Universities/Schools Religious spaces
Film festivals /Art Gallery
Culinary Art/ Food
Festivals, Events
Tours / Public art tours Heritage walks / Art shows
Cultural resources Advertising / Architecture Street Art
Public Art
Cultural industries
Temporary events
Commercial arts & crafts /Design Event planning/Film/audio recording Photography/Research & development Music / Radio / Editing
Artists Natural Heritage Visual Artists / Performing artists Craftsmen / Literary artists (poets, writers)
Cultural Heritage
Museums / Heritage buildings Community Garden Botanical Garden Beaches/ Waterfront Places of interest
Historical sites / Archeological site
O H W
ta ke ho lde rs rk sh op S Wo
1
3
I NTE R N ATI O N A L
LOCAL
O RG A N IZ ATI O N
O RG A N IZ ATI O N S
Urbego team
Farah Makki - Coordinator Alexandro Zomas
C U LT U R A L P R I VAT E
Kamar Makki
O RG A NIZ ATI O N
Carla Felicetti
El-Madina
Mara Papavasiliou Nour Makki
Mohab Saber Ahmed Saleh Field facilitator Khouloud Essa Story Collector Sabry Saleem Story Collector Kirlos Yusuf Photographer
2
NEIGHBORHOOD O RG A NIZ ATI O N S
ElSarh Association Samar Abdel Hakeem Sohaila Abdelaziz
I N H A B ITA NT S
Karmouz
Noha Hosny, Saber Gaber Hend ElHaririe & others on interviwed during the field work
4 PUBLIC SECTOR
General organization for physical planning Mohamed Ossama Atta
5 LOCAL UNIVERSITIES
Faculty of Fine Arts Mohamed Gohary Heba El Hanafi Jihad Abu Sief Mohamed ElSaid Abbas David Ashraf
6
Al-Manufiah University Ahmed hazem
Faculty of Engineering Mohamed Ayman Kotb
FINANCERS
Tandem Shaml & Idea Camp
v
S T N E M S S E S S A E IN
N
/O
F
F
What is the first image that comes to mind when you think of Karmouz, Alexandria? Please, express it through four keywords or adjectives.
-L
?Are you from Alexandria
ﻫﻞ اﻧﺖ ﻣﻦ ﻣﺪﻳﻨﺔ اﻻﺳﻜﻨﺪرﻳﺔ ؟ * ﻣﺎﻫﻰ اول ﺻﻮرة ﺗﺄﺗﻰ ﻓﻰ ذﻫﻨﻚ ﻋﻨﺪﻣﺎ ﺗﻔﻜﺮ ﻓﻰ ﺣﻰ ﻛﺮﻣﻮز ؟ ﻋﺒﺮ ﻋﻦ ﻫﺬه اﻟﺼﻮرة ﻣﻦ ﺧﻼل ارﺑﻊ ﻛﻠﻤﺎت او ﺻﻔﺎت . ﻣﺎﻫﻰ ﻣﻨﺎﻃﻖ اﳉﺬب اﻟﺘﻰ ﺗﺄﺗﻰ اﻟﻰ ذﻫﻨﻚ ﻓﻰ ﻛﺮﻣﻮز؟ اذﻛﺮ ارﺑﻊ اﻣﺎﻛﻦ . ﻫﻞ ﺗﻌﺮف اى ﻗﺼﺺ ﺷﻌﺒﻴﺔ ﺗﻌﺒﺮ ﻋﻦ ﺷﻰء ﻣﻬﻢ ﻓﻰ ﺣﻰ ﻛﺮﻣﻮز ؟ اذا ﻛﺎﻧﺖ اﺟﺎﺑﺘﻚ ﺑﻨﻌﻢ ،ﻧﺮﺟﻮ ان ﺗﺸﺎرﻛﻬﺎ ﻣﻌﻨﺎ . ﻫﻞ ﲢﺐ ان ﺗﻀﻴﻒ اى ﻣﻌﻠﻮﻣﺎت ،اﻓﻼم وﺛﺎﺋﻘﻴﺔ او ﻛﺘﺐ ﻋﻦ ﻛﺮﻣﻮز؟
O
ﻫﻞ ﺗﻌﺮف اى ﻗﺼﺺ ﺷﻌﺒﻴﺔ ﺗﻌﺒﺮ ﻋﻦ ﺷﻰء ﻣﻬﻢ ﻓﻰ ﺣﻰ ﻛﺮﻣﻮز ؟ اذا ﻛﺎﻧﺖ اﺟﺎﺑﺘﻚ ﺑﻨﻌﻢ ،ﻧﺮﺟﻮ ان ﺗﺸﺎرﻛﻬﺎ ﻣﻌﻨﺎ .
ﻣﺎﻫﻰ ﻣﻨﺎﻃﻖ اﳉﺬب اﻟﺘﻰ ﺗﺄﺗﻰ اﻟﻰ ذﻫﻨﻚ ﻓﻰ ﻛﺮﻣﻮز؟ اذﻛﺮ ارﺑﻊ اﻣﺎﻛﻦ .
Pr
Do you want to share any informations, documentary or ?books regarding Karmouz
e-F
Do you know any popular stories that express something important about Karmouz? if yes, we would be glad to read you.
iel d
What four attractive places or activities come to mind ?first
33
Before getting to the field, Urbego was supported with ElMadina to mobilize a series of local actors (neighborhood organization, heritage volunteers) to collect some materials and get a better understanding of Karmouz context. The requested elements included: 1/ Quantitative data regarding the neighborhood ( area, limits, population, social profile, activities, attractions, transport connexion, surroundings etc.) 2/Cartography (paper and digital): the neighborhood maps were needed in order to understand the urban structure evolution, the existing morphology, to locate a point of interests, understand the actual hierarchy of streets, identify the street-scapes ( are there any pedestrian facilities or areas?). Also, any recent dwg map or other format are needed as a base for the workshop production. 3/ Visual materials (photos and videos or documentaries) were needed in order to have a good comprehension of the Karmouz Area (ambiances, architectural typology, urban space organization, vacant space identification, people use and practice of public space, appropriation of the streets, or any cultural manifestation (street art, music, formal or informal installations or any other type of arts). 4/ Previous student projects or studies that have been done in the area. In parallel, a Google online assessment was launched to collect information regarding social perception and knowledge of Karmouz. The questions were short and were related to first impressions, potentials, attractive places and popular stories. The following questions were shared: 1/ What is the first image that comes to mind when you think of Karmouz, Alexandria? Please, express it through four keywords or adjectives. 2/ What four attractive places or activities come to mind first? 3/ Do you know any popular stories that express something important about Karmouz? if yes, we would be glad to read you. 4/ Do you want to share any information, documentary
or books regarding Karmouz? Results: Few materials were collected. Only 22 persons answered the questionnaires that were disseminated through social medias and private maills: 2 persons in English and 20 in Arabic. All the data collected were used to elaborate semantic clouds in order to check the must redundant answers among the participants. The image of Karmouz was often related to bad reputation, violence, and drug dealing. Few people from Alexandria visited the district and knew popular stories about it. The most familiar sites were the heritage ones (Pompey’s pillar, the catacombs), in addition to the tramway. Pitfalls: 1/ The data collection is quite difficult when we are outside Egypt or not connected to neighborhood organizations. Few data are available in institutional level, rarely digitalized and many information are hardly accessible. Indeed many maps were given by private local organizations. And various mapping material was collected during the workshop period. 2/ Online assessment wasn’t efficient for the limited accessibility to mobile digital technologies. In the context of Karmouz, door to door and in-situ approaches are recommended and needs the mediation of local neighborhood organizations to gain trusts and collect relevant materials.
تذكر أنك زائر وهذا الحي له .قواعده التى يجب إحترامها
معاني و قواعد التصرف
Meaning and ways of behavings
عليك ان تقدر كرم ضيافة أهل الحي فاألبارايق الفخارية المصطفة عىل طول الطريق يستخدمها المارة في شرب الماء
٣
Appreciate hospitality.
The pottery jars along the street
are not for sale. They serve water
Remember, you are a visitor. An intimate neighborhood has codes to respect
١ .األماكن العامة هي امتداد للمنازل ً فالناس يتطلعون اليك فضو ال أو إلزالة حاجز الرهبة ولذلك ال تأخذ هذا عىل محمل شخصي
The public space is an extension of the home. People stare at you by curiosity or to protect you from any inconvenience. So, don't take it personally!
٤ قم باالستئذان قبل التقاط الصور Ask for permission
before taking any photos
٥ قم بتقدير الفنون تجول بنظرك عىل.الشائعة في الحي طول الطرقات المؤدية لباب الملوك حيث األعمال الفنية المختلفة في الفضاء العام وعىل الجدران
٢
ُ ال ُتظهر تشكك في نظافة الطعام المقدم اليك حيث أن هذا قد يُ ثير من حفيظة أهل وهو ما يجب عليك إحترامه.الحي Don’t be suspicious of the food
Appreciate spontaneity of arts.
hygiene. That might be offensive
Look on the lateral pedestrian streets
for the inhabitants. Be respectful.
along Bâb al-Mulûk pathways.
21
Different artistic works are exposed in public space and on the walls
٨ ٦
استخدم كلمات التقدير لإلشارة ألماكن الحي ولذلك عند الحديث عن المقاهي،المختلفة المنتشرة في شارع "باب سدرة" استخدم لفظ "مقاهي الفنانين" وليس مقاهي العوالم
ً مفيدا السير في رفقة إسكندراني قد يكون في استيعاب الثقافة المحلية
معاني و قواعد التصرف
Meaning and ways of behavings
20
Use appreciative words to define places.
To be accompanied with an
Example when you talk about the coffees
Alexandrian might be helpful to
of Bâb Sidra street, use “Maqâhî al-
inform you about the local culture
fannânîn” (the artists' cafes) instead of the
pejorative word “al-‘awâlem” (the dancers).
٩ يجب أن تكن اإلحترام وخاصة في بعض المواقف والتي تتعلق بالعمال وأصحاب الحرف حيث أنهم يعملون بجد لكسب قوت يومهم
٧
ال ُتظهر تضرر من صراخ الباعة الجائلين فهم حريصون عىل بيع بضائعهم ولهذا يتبارون في رفع أصواتهم لجذب اهتمام الزبائن
Don’t be offended by the traders’ screams. They are enthusiastic about selling their goods. Raising voice is a matter of catching passers-by attention
حافظ عىل هدوءك في حالة نشوب أي إختر الكلمات المناسبة.نزاع أو مشادة ال ترفع من صوتك وال تتردد في طلب، المساعدة إذا لزم األمر
Stay calm if any conflict occurs. Choose the right words, do not raise your voice and ask for assistance if needed
Be respectful in some vulnerable situations; ambulant workers in the street are decent people seeking for their living
١٠
النساء ُمرحب بهم كزائرات للحي ولكن إرتداء الزي المناسب والمشي في مجموعات قد يضمن تنزه أمن مع اإلستمتاع بفنجان من القهوة أو كوب من الشاي المصري في شرفة أحد البنايات
Women are welcome in the public space. Having the appropriate outfit, or being accompanied by a male or in groups may ensure a better walk with a coffee or Egyptian tea on a terrace
23 22
rk
Wo
Fo cu s& pr oc ess
ha q d E lo a el th ays old nd, uali av flow fiv ma ca go and gyp wo the In o res an w The em ey o p a t y ai l i e o s n ti rk 2 r e i a w e n h a n t h e r s g r o a n l a b l f o l l g r o t o . a n d o b e i n a n i n g 5 p d e r a rc h n t e s p o r p o o n e n la k d ts d e n u d g s g ar t w u i w to fie s f p o leg vac in ps cs w a s goin mu and rou tic o o and sive nne sho er sh ld ro f ib a g an e ec g lti n p ip pti d p d p e ar w m ar ili nt va al re u o n ot s m an m at e as r re e a t tis ty lo rio yz t re f t ati E t po th lki he ts o ts u e re d he o g ixi s w ize a co iod r t ei ng ne an f th , (3 s c d a ate wo fi na yp ng er the lle of ed r fi , o ig d e ) ri n d rk el l w tia e e c an nd bs hb m vis ac teri d m div co d w er ns. xpe div field tion d ing er v or em ua tiv a : ap id nd or e t T r t ide w . sp s in ho b l iti (1 p ed iti k w he s a d or ati an g od er en es ) m ed in on , a o m nd in k, a l d , co t s o v i r w o t h t o f n e co n u l g t o ly pi ll o f on it b e t or ffi d tid e s lo np ec co a l m h a ilit ph w w ci iti is nd ix ca o ti lle oc e f y, y o o en on ci er te int ng ct al nt, oc (2 sic ma me t s pli s, d th an p so (5 us ) p al in n int to na on e d op c ) o r a e f a er e r i th m o ex ula ial d her n c cti nvi ocu nd acti nsu ty e n ch r e ita ra ce ro se fo o re m a an st ve g ft o nm s: re n a p b g o r l o e s , f i e o ig w , t i g i n g i e s p m a n m a n - nt n n e i t h h e co w a e d r k b e a o n r s gr llab ith nd nt urb et tw ctiv e h . Six ou o i le or an s a ee iti an ps rati nh ge ga h nd n es d, w ve abi nds niz isto ar spa an er m ta . ati r t ce d e a nt P o y). sp s ga p. s ar n O ac a th O an tic int n es nd e r n c d ip e r t h , ( ed e ve an vi e 4) to t h e n d t s e w s e c s t di o r s sp e e d o n ar ffe . E n se d H t t re a t s ve O h e n c h ev r a W co t as aft era l - d p e er l e s c t no ig s a o n n n ph d as e. 1
Walk Observe
MOBILITY & WALK ABLE EXPERIENCE PRACTICE OF PUBLIC AND IN-BETWEEN SPACES
2
Talk Collect
S
37
VISUAL ENVIRONMENT
CRAFTS & ART SPACES
3
Share your findings
4
NEIGHBORHOOD STORIES
HERITAG E & URBAN HISTORY
5
Map together
6
Co-Design
gs
din
Fi n W
H
A
T
STORIES 12 STORIES WERE COLLECTED, RECORDED AND CLASSIFIED
ACTIVITIES
SEVERAL DISTINCTIVE MARKETS WERE IDENTIFIED ALONG BAB SIDRA BLOCKS NEVERTHELESS THEY AREN’T HIGHLIGHTED DUE TO CONFUSING “CLOCK MARKE T ” THAT OCCUPY T WO MAIN A XES SIX DAYS PER WEEK FROM 10 AM TO 9 PM.
POTENTIAL SPACES FOR ART
4 TEMPOR ARY VACANT L ANDS WERE IDENTIFIED
ONE FACTORY BUILDING IS UNOCCUPIED, BUT WOULD BE DIFFICULT TO AC TIVATE FOR POLITICAL ISSUES 4 POTENTIAL COFFEE SPACES, TWO HISTORICAL ONES CAN RECEIVE POTENTIAL INDOOR EVENTS T WO AVAIL ABLE SPACES IN FRONT OF MOSQUES CAN RECEIVE OCCASIONAL E VENTS REL ATED TO RELIGIOUS FES TIVAL S DURING LOW FLOW HOURS(SUNDAYS AND EVENINGS AFTER THE CLOCK MARKET CLOSES)
CRAFTS SPACES
VARIOUS T YPOLOGIES OF TR ADITIONAL CRAFTS COMBINING FORMAL ( SHOPS AND MARKETS) AND INFORMAL PRACTICES (S TREE T E XHIBITIONS , ON ELE VATIONS , ETC.)
VISUAL ENVIRONMENT CHAOTIC SIGNS AND L ACK OF WAYFINDING DISPOSITIONS TO REVEAL AUTHENTIC SITES.
THE CLOCK MARKET LIMITS THE LEGIBILITY OF THE PATHS LE ADING TO AUTHENTIC MARKETS AND DISTURB THE PERSPECTIVE TOWARDS HERITAGE SPACES .
PEDESTRIAN ACCESSIBILITY
THE PEDESTRIAN ACCESSIBILITY IS LIMITED BY THE CONFUSING TRAFFIC AND THE TOTAL OCCUPATION OF SIDE WALKS BY MERCHANDISE OR BY THE DEC AYING INFRASTRUCTURE.
(FIG 2) WALKABILITY MACRO ANALYSIS
Bab Sidra has a Walk Score of 95 out of 100. This location is a Walker’s Paradise so daily errands do not require a car. The score was based on analyzing hundreds of walking routes to nearby amenities.
ty
ili
ab
lk
Wa
A
N
A
L
Y
S
IS
Th ax is fi (F es gu IG l i n of r e r 1) e s mo ep A XI ) a ve re AL nd m se n LI ot e n t s N he t n th ES rs oti e a M ( b ce cc AC lu a e e ss h RO co ig ib l o h t ili t AN r s en y ) a o an AL re r o d YS m f a sh IS o r c ow c e se ess s h g r i b ow e g ili t s at y o m e d (r e e . d
ess kn We a Lost Youth
Elderly precarity
Conflict between Transp paths & commerce expansion
Str Decaying urban environment
Precarious work
45
2- Bâb Sidra Street Along the street of Bâb Sidra, the sidewalks are wide with trees on both sides. Nevertheless, most of the sidewalks are a permanent open-air wood stock that blocks pedestrian paths. The wood stock generates an authentic atmosphere that is very characteristic of a local craft identity of the neighborhood. The building doesn’t overpass 6 stores and deliver a human scale perception. This human and local authenticity is emphasized with the several handmade installations that can be found in the streets related to marriage ceremonies or the decoration of Ramadan celebration.
arity Degradation
Transport
Illegal and unsecured buildings
3- Abu Mandour Street Along the street of Abu Mandour, most of the residents don’t complain of the flows interference and are satisfied with the proximity of services and the street social life. Although they are used to move in a chaotic environment, they seek for improvement. For them, the Souk create a circulation problem for both vehicles and the tramway. Most of them judge that it would be useful to remove these ambulant vendors from the street or to limit their deployment to the sidewalks. The tramway has a cultural importance and is considered as one of the oldest elements that distinguish Karmouz from other parts of Alexandria. Contrary to the vendors, they believe that the tram should stay. It makes part of Karmouz identity.
The Walkable experience: The different observations made showcase how individual physical features may not tell us much about the experience of walking down a particular street. The overall people’s perception of the street environment
Street battles
Waste
e ag nk Li Talking about connectivity, linkage refers to physical and visual connections—from building to the street, building to building, space to space, or one side of the street to the other—that tend to unify disparate elements. Tree lines, buildings’ alignments, and marked crossings all create linkage. The linkage can occur along a street or across a street. The question in Karmouz is about how to create a linkage between the disparate cultural spaces? Some interventions advocate maximizing the pedestrian accessibility by the use of the pedestrianoriented network in addition to ensuring a reasonable travel distance. Walkability comfort is commonly limited to 500 m. The length of the proposed cultural walks is 1,5 km distance (from Bâb Sidra to Catacombs site entrance) articulated around two nodes (the end of the Hour Market and the entrance of Pompey pillar’s site). These two spatial marks allow dividing the travel into three walking stages. Maintenance of sight lines and sidewalk connections are obvious ways to provide linkage, but connectivity can also be provided in more subtle ways through continuous tree rows or passive wayfinding features.
Khedeiwi El Auwal
Ibn Tûlûn
THE CLOCK MARKET
HANDMADE FABRICS MARKET
urban design qualities.
In the actual situation of Karmouz where urban design interventions are hardly implantable, due to the economic and political situation, we decided at the first step to propose some wayfinding features and work mostly on a psychological linkage, by producing a “Cultural walk book” that recomposes comprehensible links between most characteristic spaces in Karmouz.
STORY The giant of the Catacombs
i 550 m (7 m riya as N El i Shar Shari El
STREET ARTS
Nasriya
4
THE CATACOMBS
HISTORIC TRAM
53
Khedeiwi El Auwal
BAB SIDRA
Ibn Tûlûn
Sh
Âmû 4 d El 50 m ( 6 mi Sâw âri n)
ari
Ar ak
il B
ey
m
(8
m
ut
) es
ra
Sid
FER FORGE
0 65 Midan El Nil
1
l Nil
WOOD MARKET
ra
Shari E
b Bâ
in
b Bâ
Sid
STORY Pompey Pillar's ghosts Abo Mansha
l Nil Shari E
25 0
m(
3m
in)
2
HISTORIC CAFE
3
Shâri Karm
in) Abu Mandour 550 m (7 m El Nasriya Bab E l Mu luk
ûs
POMPEY PILLAR
STORY Saad Askandr Kamouz serial killer BAB AL MULUK
îya
El Taufîq
CRAFTS
STORY El Dadah Cafe The Artists Cafe
THE QUESTION IN KARMOUZ IS ABOUT HOW TO C R E AT E A L I N K AG E B E T W EEN T H E D I S PA R AT E C U LT U R A L S PAC E S
55
UPON THE PREVIOUS URBAN QUALITIES, WE DEVELOPED SOME URBAN DESIGN SCENARIOS TO ENHANCE THE PEDESTRIAN EXPERIENCE IN KARMOUZ, FOCUSING O N C U LT U R A L V I S I B I L I T Y. TA L K I N G W I T H I N H A B I TA N T S AND LOOKING BEYOND COMMON JUDGMENT ALLOWED THE DISCOVERY OF VARIOUS HIDDEN POTENTIALS. S E V ER A L CU LT U R A L S PAC E S W ER E REPORTED AS IT WAS SHOWED ON THE PR E V I O US M A P : A RO OT ED CU LT U R E OF CRAFTS (WOOD, TEXTILES OR E V E N S T E E L- W O R K , A R I C H A R T I S T I C HISTORY AND
A VA LUA B L E H ER I TAG E
DAT I N G FRO M A N CI EN T T I M E S . T H E GOAL OF THE WORKSHOP WAS TO CONNECT THESE SPACES IN ORDER TO H I G H L I G H T T H E CU LT U R A L C A PI TA L O F K A R M O UZ T H AT M I G H T H EL P I N DR AWING A BET TER PERSPECTIVE. URBA N A ND HUMA N RE SOURCE S E XIS T, NEVERTHELESS, THERE IS AN URGENT NEED TO BRING LEGIBILIT Y AND IMAGEABILITY THROUGH DIFFERENT MEDIUMS. FOLLOWING PROPOSALS CONTRIBUTE TO REVEALING K ARMOUZ SENSE OF PLACE:
alk he w ne t defi Re For a direct in-depth look at Karmouz history, it is recommended to avoid the congested and busy street of Âmûd al-Sawârî where is the famous “Hour market”. Our strategy invites the pedestrians to enter to the neighborhood through the urban axis linking Mîdân Omar Pasha to Mîdân al-Nîl through Bâb Sidra1. The actual street offers a better environment for pedestrian and a more authentic character of the place. The street of Abû Sidra delivers an immediate contact with the heritage of Karmouz by offering a perspective in the direction to Pompey Pillar. Guiding the people along this historical axis of Bab Sidra would, on one hand, offer the possibility to cross the ancient traces of history. On the other hand, it introduces the visitors to the neighborhood's main qualities : markets with distinctive characters for wood, steel work, textiles, etc. In a complex fabric of narrow streets, the lecture of the contemporary city structure of Karmouz can be enhanced by guiding the visitors through the main axis of Sidra street and Abu Mandûr, connecting thus the different artifacts and famous coffee places setting along Bâb Sidra in the direction to the Catacombs. Many high-rise facades can be used as urban screens that can carry messages or signs that reveal the path to follow and the valuable places to see. Urban design interventions must be planned in this area to improve the available infrastructures ( sidewalks, greenery, waste containers, signs, etc) and manage the flows by securing the pedestrian movement. The actual situation of Karmouz is quite complex in term of resources to undertake this kind of interventions. For instance, the "Karmouz Culture walks book " can be used as an information source to express the imageability of the neighborhood and indicate the itineraries to follow. Pedestrianization and wayfinding projects can be planned for a later phase to increase legibility and imageability upon the following scenarios :
CRE ATE TR ANSPARENC Y TOWARDS POMPEY’S PILLAR
PO P
S TA D I
1 The triangle blocks at the entrance of Karmouz enclose a series of markets: Market of the Clock:The big axis of the triangular of Bab Sidra receive the Clock Market for fabrics, clothes, sheets selling especially imported goods. The narrow streets of the market have the same type of merchandise, but also local sewers, crafters, people that work on the fabrics. The market of Wood: Along Bab Sidra coming from Omar basha, there is a market that sells both wooden elements for local consumption (wood used for construction sites with cheap quality) or more precious wooden elements (doors) that have historic significance and are bought by foreigners. Most of these products are brought from several Provinces like (Kafr sheikh’s -Domiat, etc.). Most seller men live in Karmous. Due to the stagnant economic prospects case, they find it difficult to sell there products. Fabric market: The people that sew curtains, repair clothes and make adjustments to products usually work unofficially, often on the ground floor of the block-of-flats where they live. Curtains market: Along with some entire streets, family members work on each step of the process to have decorated curtains. Each one is doing a step of the chain to accomplish the whole product. Pottery: We find a lot of stores are selling pottery. Most of the people who buy these products live in Karmouz. This pottery isn’t locally made but imported from Kafr el shaikh. Some of these shops have a movable car to carry this pottery and go around the street to sell the product. Informal: Many stalls and vendors wander around Karmouz to sell various products from falafel to cane juice, sweets, and fruits. We can also observe some crafts hanged on facades or exposed along street sides to be sell.
C ATACO MB S
REDIRECT VISITORS TOWARDS THE HISTORIC ENTRANCE OF KARMOUZ
57
SID R A G AT E
CONNECT CHARACTERISTIC AND HIS TORIC FE AT URES THROUGH A MAJOR WALK
CY
POMPEY PILLAR
IMPROVE LINKAGE THROUGH VARIOUS PEDES TRIANIZ ATION INTERVENTIONS ALONG THE MAJOR WALK
S TA D I U M
THE KINGS G AT E MA JOR WALK ABLE AXIS FOR PEDESTRIANS SECOND WALK ABLE AXIS HISTORICAL TRACES
FAMOUS COFFEE PLACES
ted re vis i uz mo K ar
New Visual Wayfinding Strategy
2 Skill Sharing Laboraty Network
1
Walls of Stories
33
59
1A
PLACE OF EXCHANGE, LEARNING, EXHIBITING AND PROMOTING
Local artisans share their knowledge and expertise around the different crafts, such as wood carving, sewing, pottery, working with metal. In the different markets, local artisans are open & willing to exchange over their art and pass it to new generations. Young people or unemployed learn new skills that they can develop later. They can either work in the local shops and workshops, or they can practice some skills, such as sewing, from their homes. Visitors of the area have the opportunity to assist a workshop, admire the local artisans’ skills and learn about the community oaf Karmouz. They can also buy the products that re-showcased and explore the itinerary to other workshops.
2
A TOOL FOR PROMOTING THE UNIQUE CHARACTER / A TOOL FOR FACILITATING URBAN E XPLOR ATIONS
The new visual identity is based on the following principles: Use a unique color for each category of merchandise (fabrics, wood, metal, vegetables and fruits, food, crafts.) So each one of the colors represents one of the categories and we find them in the different visual elements. Selective use of signs in horizontal and vertical surfaces. The introduction of new visual elements based on already existing structures, so that they are not perceived as urban space invaders but more as a local intervention for locals and by locals. The visual wayfinding elements to introduce are:
s of ies
3
Vertical flags-banners mark the entrance of the souk streets and provide a clear indication which paths to follow, according to the offer of products. These vertical banners are inspired by the structures used in the streets when there are festivities, such as weddings or other popular ceremonies. They are made of wood and have fabrics that have the respective colors of the markets. Horizontal stripes on the streets to indicate the flow towards the different markets. The strips lead to the skillsharing laboratories.
3
A TOOL FOR REMEMBERING STORIES AND SHARING MEMORIES / A TOOL FOR AC TIVATING STORES SHUTTERS WHEN CLOSED
The walls of stories use the space of closed shutters as an urban canvas where the stories of Karmouz are narrated. Formal or informal, stories of the historical past or the artistic scene of the present, the legendary protagonists of Karmouz or the not-so-known artisans, these stories are painted on the shutters. When the market closes, an open air exhibition of the story of Karmouz animates the streets.
SAWP : POTENTIAL SPACES FOR ARTS, WELFARE AND PROGRESS
WEEK DAYS BY DAY
#3
PO P
C ATACO MB S
PROMOTE LOCAL EXPERTISE Street Abou Mandour has a significant amount of local artisans, working mainly on leather, jewelry, pottery and local delicacies. The street is strategically placed at the entrance of the two major archaeological sites of Karmouz, the Pompey’s Pillars, and the Catacombs. Since there are no empty spaces where a workshop could be hosted, we propose to host temporary workshops in the place of each artisan. Each artisan could introduce young people or women in their art, so they can later work from their house, or stay as a trainee by the local business. They could also produce souvenir items by reinterpreting the local characteristics and exhibit them along the street to the visitors.
HIGHLIGHT AND ENCOURAGE INFORMAL OPEN AIR ART EXHIBITIONS
61
SID R A G AT E
CRE ATE SKILL S SHARING L ABOR ATORIES IN VACANT SPACES
FACILITATE URBAN E XPLOR ATION THROUGH VERTICAL LOCAL BANNERS
USE URBAN NODES
POMPEY PILLAR
AC TIVATE URBAN SCREENS TO INCREASE LEGIBILITY
Midan El Nil Square is situated in the intersection between the different souks. It is in a strategic location so as to promote visually and spatially the local craft scene, assured by the establishment of an extrovert workshop. The workshop is proposed to be in the empty lot currently used as garage next to the square. It can host the different artisans in a rotating base, according to people’s interests. The workshop can be hosted in a temporary structure, made of wooden elements, supplied by the local shops, so as to enhance the spontaneous character and the local identity.
THE CLOCK MARKET between 10 am and 9 pm from Monday to Saturday MAJOR WALKABLE AXIS TO DEVELOP
THE KINGS G AT E
OLD FACTORY
SECOND WALKABLE AXIS SECURED ALLEYS Potential open arts exhibitions
HISTORICAL TRACES FAMOUS COFFEE PL ACES Spaces for arts and culture (story telling / theater, etc.)
VACANT OR MISUSED L ANDS Potential Spaces for Skills sharing Labs & events MOSQUES Extensible public space
SAWP : POTENTIAL SPACES FOR ARTS, WELFARE AND PROGRESS
SUNDAY & AT N I G HT
STORIES’ URBAN CANVAS
MOSQUE SQUARES AS A TEMPOR ARY PUBLIC SPACE
TEMPOR AY E VENTS IN VACANT LOTS
The appropriation of the physical environment with chairs, ambulant goods, games or ceremonies are a proper use of public space in Karmouz. The in situ observations showed how busiest streets by day would turn into a big void at night or on Sundays. Inhabitants have the ability to reinvent the uses of public space during these off-peak hours. Empty spaces turn into playgrounds, commercial or even private terraces extending domestic interiors. These practices of spontaneous commerce activities can be replicated, and strategically connected to some artistic and cultural events. These actions would also encourage a qualitative placemaking and support the promotion of a local and authentic character: temporary artistic or cultural events, “Walls of stories” that expose the neighborhood diverse identity or other wayfinding features that can be visible during off-peak hours. Various temporary public spaces can be explored such as spaces beside Mosques, pedestrian alleys, sidewalks, vacant lots, coffee spaces, terraces, etc.
PEDESTRIAN ALLEYS FOR OPEN AIR EXHIBITIONS
USE TEMPORARY URBAN VOID FOR CRE ATING E VENTS AND TEMPORARY ACTIVITIES
EXPLORE STORES’ SHU T TERS TO NARR ATE THE NEIGHBORHOOD STORIES “IMAGEABILITY URBAN WALLS”
CAFE SPACES AS A SOCIAL INTERFACE FOR STORYTELLING
TEMPOR ARY PUBLIC SPACE Potential reception of artistic and religious events
WALLS OF STORIES
CRAFT(WO)MEN & NOSTALGY
ARTISTS
HERITAGE
LEGENDS
SECURED ALLEYS Potential open arts exhibitions FAMOUS COFFEE PL ACES Spaces for arts and cutlure (story telling / theater, etc.)
S A W P, M E A N I N G “DIRECTION” IN ARABIC, AIMS TO SUPPORT SOCIAL DEVELOPMENT AND R AISE LOCAL AWARENESS THROUGH THE A LT ER N AT I V E L A N G UAG E O F C R E AT I V E A R T S .
Conclusion For us, Urbego and ElMadina, it was important to take advantage of this cultural encounter between Europe and the Arab world to discuss together the best ways to support locals in exploring their resources, arts, and culture, to operate towards an effective social change. Our idea isn’t about turning this site into an attractive touristic place. The Unesco and other organizations are already planning to include some of Karmouz monuments and structures to the human heritage sites. Our work integrates a social development dimension and, therefore,the path is long and harsh. Step by step, the direction will be defined. SAWP, meaning “direction� in Arabic, aims to support social development and raise local awareness through the alternative language of creative arts. It aspires to explore different spaces in Alexandria with an original lens, space where it is possible to share local knowledge and culture, a place where arts can become a way to communicate hidden resources and promote a positive image. During the Workshop we have held in Alexandria on spring 2016, European and Arab professionals, students, artists as well as activists, architects, urban planners and inhabitants of Karmouz identified possible ways to enhance the dynamics of human and urban potentials. Many ideas emerged to turn vacant lots, famous coffees or blinded facades into places for cultural exhibiting, promoting, exchange and learning. The multidisciplinary exchange took into account that a place is an expression of human culture, and culture is a social process where people produce meaning to offer themselves a sense of identity. Many scenarios were proposed to offer the possibility of constructing a collective identity to be disseminated in the urban realm. The workshop results offer a modest base for a possible foresight. Some inhabitants of Karmouz took part in achieving this mapping. Recognition goes to them because it would have been difficult to reach this knowledge without a local review. The future development depends primarily on the degree of exploration of this cultural potential to plan advocacy and social development actions. The next steps plan to involve a range of community in variant activities to network, record, conserve and use these elements as potential for economic, social and cultural development. Besides this informative report, a book was edited for this purpose. The compilation narrates the cultural capital of Karmouz and delivers a tool to raise awareness about the cultural value of the neighborhood. A first releasing of the booklet was planned on November 2016 in Karmouz neighborhood during multidisciplinary cultural events highlighting the oral collected materials. Measuring the effects request time and further bottom-up actions. Distrust with institutional order shifts the sphere of influence to civil and auto-organized structures. Many are doing meaningful actions and gaining wider trust among the population. Still, many connection and networking have to be done to increase the positive influence, inspire inhabitants self-trust and gain a wider space in decision-making.
65
S A W P, M E A N I N G “DIRECTION” IN ARABIC, AIMS TO SUPPORT SOCIAL DEVELOPMENT AND R AISE LOCAL AWARENESS THROUGH THE A LT ER N AT I V E L A N G UAG E O F C R E AT I V E A R T S .
PROJECT PARTNERS
SUPPORTED BY
LOCAL PARTNERS
S AW P C U LT U R E WA L K S REPORT BY URBEGO
Workshop & Report Coordinator Farah Makki, Urbego SAWP Project Manager Mohab Saber, ElMadina for performing and Digital Arts SAWP Concept Ahmed Saleh Mohab Saber Aashima Praveen Photos Kirlos Yousif Stories collectors & dramaturge Ahmed Saleh Khouloud Essa Sabri Sleem
THANKS TO
Karmouz Inhabitants Workshop Participants Noha Hosny Saber Gaber Hend ElHaririe ElSarh Association Samar Abdel Hakeem Sohaila Abdelaziz Faculty of Fine Arts Mohamed Gohary Heba El Hanafi Jihad Abu Sief Mohamed ElSaid Abbas David Ashraf Al-Manufiah University Ahmed hazem Faculty of Engineering Mohamed Ayman Kotb General organization for physical planning Mohamed Ossama Atta El-Madina for Performing and Digital Arts Ahmed Saleh Khouloud Essa Sabry Saleem Urbego Alexandro Zomas Kamar Makki Carla Felicetti Mara Papavasiliou Nour Makki
WEB.
WWW.URBEGO.ORG
EMAIL.
TEAM@URBEGO.ORG