Bachelor Thesis

German University in Cairo | Architecture and Urban Design Program Building Technology and Design

Bachelor Thesis

Egyptian Film Museum Downtown Cairo

MAYAR AMR ELSEMARY

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German University in Cairo | Architecture and Urban Design Program Building Technology and Design

Bachelor Thesis Egyptian Film Museum | Downtown Cairo

Author:

MAYAR AMR ELSEMARY

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

Examination Date

30.06.2016

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

Mayar Elsemary 30.06.2016

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Contents

1. Declaration

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2. Table of content

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3. List of figures

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4. Abstract Introduction

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5. Analysis a) Site Analysis of design conditions (context) b) Concept Analysis (Cinema)

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6. Project Design a) Problem definition , design intention b) Conceptual development b) Final Proposal

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8. Critical review on work and process

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9. Conclusion and recommendations

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10. References List of figures Bibliography

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7. Appendix Project Strategy presentation sheets Phase 1 presentation sheets Phase 2 presentation sheets Final Project presentation sheets Model photos

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List of Figures

List of Figures Figure 1, The site , Ataba Square Figure 2, Collage for the surroundings Figure 3, Noise intensity map Figure 4, Noise collage Figure 5, Interactions around the site Figure 6, Function and uses Figure 7, Solid and void Figure 8, Urban fabric and pattern Figure 9, Street hierarchy and accessibility Figure 10, Landmarks and nodes Figure 11, Cinemas and Historical buildings Figure 12, Cinemas and Historical buildings [1] Figure 13, Cinemas and historical buildings [2] Figure 14, Film Making Camera Figure 15, Site Plan Figure 16, Conceptual diagrams Figure 17, Sectional concept Figure 18, Massing diagram Figure 19, Circulation diagrams Figure 20, Series of internal experience situation Figure 21, Interior frames concept Figure 22, Model interior Figure 23, External Envelope Figure 24, External Frames concept Figure 25, Disassembled frames Figure 26, External shot

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Figure 27, Site plan of Egyptian Film Museum Figure 28, Explosion of the mass Figure 29, Zoning diagram Figure 30, Ground Floor Plan Figure 31, Third Floor plan Figure 32, Basement Floor Plan Figure 33, Exhibition concept - Circulation Diagram Figure 34, Entrance space visualization Figure 35, Longitudinal Section Figure 36, Concrete Stairs Visualization Section Figure 37, Screening walls Figure 38, Exhibition interior 3d [1] Figure 39, Event hall Visual connection space Figure 40, Exhibition interior 3d [2] Figure 41, Exhibition interior collage - Wall posters Figure 42, Exhibition interior collage - Sound archive Figure 43, Longitudinal Elevation Figure 44, Facade Concept diagrams Figure 45, Main Elevation Figure 46, Detailed Facade/Section Figure 47, Concrete fixation Figure 48, Tadao ando Concrete texture Figure 49, Concrete columns structure Figure 50, Concrete ramp Figure 51, Development process

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Abstract

A museum is an institution that cares for a collection of artifacts and other objects of artistic, cultural, historical, or scientific importance and some public museums makes them available for public viewing through exhibits that may be permanent or temporary.

The task is to design Egyptian Film Museum in downtown Cairo, at Attaba square.

Egyptian Film Museum would be the gate for the people to view the amazing Egyptian film making and film industry.

The museum should be concerned with preserving and presenting film history. The museum must have some specific conditions to be able to deliver to the visitors the whole idea of the movie industry, all the egyptian history in that field , the actors and their movies over years and eras.

Few questions occurs when designing a film museum.

For example , how can a museum do justice to the special features of the medium of film with its specific temporal and technical preconditions? How can film be exhibited as both an artistic product and a cultural and historical document, and how should it be contextualized? How do film museums meet the in part contradictory requirements of collecting and preserving, on the one hand, and presenting and conveying, on the other? How do they contribute to film-historical canonizations – and what is their relation to the “fringes” and “undercurrents” of a for the most part nationally oriented presentation of film history?(1)

Designing Film museum in the center of cairo was a challenge due to a lot of surrounding conditions and location of the site which helps sometimes to reach a great concept behind the mass and the volume of the museum , however creates a lot of limitations and problems which have to be solved to get out with a very well designed suitably located functional Film Museum.

The design of the building should satisfy the functionality of the building as temporary and permanent exhibition space and a public museum for the visitors to enjoy indoors restaurants and screening rooms. In addition to that , linking the functions and circulation inside and outside the building putting into considerations the social interactions around the building , the noise , transportations , privacy and security issues. The building must be interacting with the surrounding specially because it is located in a very interactive , interesting plot in downtown cairo.

The film museum should also be representing the idea of cinema , movies and films in its design representing the Egyptian film industry.

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Introduction

The site is right between Opera and Ataba squares , where both squares form one of the three main transportation hubs in Cairo central district . They link the commercial and business district of khedivial cairo , which is sort of modern with grid pattern , to a group of specialized markets around Ataba square , and traditional markets in el Azhar district.

The surrounding area is characterized by a diverse mixture of land uses , commercial activities and historical buildings The design site is very rich , it is surrounded by 4 streets from north , south , east and small narrow street from the west side which separates the site from the Opera parking garage behind. fig. 1 From the opposite side of the streets , on the north side there is the historic Azbakiyya Garden, which is surrounded by several buildings including 3 theaters , hand book market , a multi-story garage and bus terminal.

On the southern ans eastern edges of the squares are some administrative buildings , cinema and shopping malls.

To the southwest of opera square , some mixed use and heritage buildings are places.

Towards the east side of the site , we can find the historical islamic cairo , with al Azhar and Al Moez Street , linking the area of Khan al Khalili bazaar , traditional crafts and furniture to the site.

A visit was arranged to the site to view all the area and analyze all the surrounding conditions. Some analysis took place and as a result some problems were observed.

Some related to the circulation , the use of the surrounding building , the transportation tracks , the entrance of the museum , the opposing buildings and streets , ventilation for the building , and sound isolation and some aspects like privacy and linking the outside to the inside.

The museum should also by the end represent the idea of the cinema and the movie industry which makes it a very different museum than any other traditional culture museum.

The Thesis is mainly concerned with 3 main parts which are the concept and form finding , design development and technical problems in the building and its representation.

Firstly , the concept whick is the start of the design process and the form finding to reach the best form representing the cincpt and best composition that suits the site the most and the surrounding to complete the design aim. Secondly , the design development , after finding the best concepts , some mass changes takes place to fit with the function , areas and more to fulfil the requirements until final result achieved.

Finally the technical representation that should be calrified as it will affect the technical quality of the design. The facade treatment and the structure system that would be the most efficient to the design.

Section I, Concept and form finding , in which different proposals of forms will be discussed, the idea behind each one Section II, discussing and showing the project design, in which the development of the suitable proposal is discussed and how it fits the functions and the site.

Section III, discussing the technical focus of the building and what are the main technical problems in the building itself, and how it was resolved.

The main design aim is to have an eye catchy , modern , functional and suitable designed Egyptian film museum , which maintains the functional needs , which are divided into some main functions , Exhibition and collection , Screening Halls , Education and workshops and administration.

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Site location and surroundings

Site Opera Square

Ataba Square

Figure 1 : The site , Ataba Square Satellite image of the site (Opera and Ataba squares) 8

Analysis a) Site Analysis Urban and architectural context

Figure 2 : Collage for the surroundings

Bus Bus Stops Stops && Transportation Transportation hubs Bus Stops & Transportation hubshubs

Vendors & Shopers

Vendors Vendors && Shopers Shopers

Noise Intensity Map Noise NoiseIntensity Intensity Map Map Figure 3 : Noise intensity map

Site analysis started and a close up look was directed towards the site surroundings. The collage in Fig.2 shows all the close surrounding activities , buildings and uses.

From that collage you can have an over view about the site, some conditions were inspiring and important.

The bridges that encloses the site and located right in front of the site and its slopes ends by the site sides. Also the surrounding buildings , the post office , fire station and police station from a side , and the national theater located on the other side. Residential buildings and commercial shops on the opposite side of the site.

Noise Collage

Noise NoiseCollage Collage Figure 4 : Noise collage

Noise of the surrounding area of the site is also remarkable, because that area of downtown is very busy and always alive.

Figure 3 shows the noise intensity map for the area of the site. It shows that noise intensity is really high at al Ataba square in front of the site and also in front of al Azbakeya garden side. After analyzing the uses of the 2 spots , it was realized that those to areas are important gathering areas for people as they are transportation nodes. Where can reach different transportations means and metro station.

The noise collage in Figure 4 , shows the reasons for the noise which is related also to the bridge and the car and microbuses movement.

Different types of transportation means

Different Different types types ofof transportation transportation means means

Figure 5 : Interactions around the site

The site is surrounded by street venders ,Bus stops and transportation hubs as mention. Figure 5 , represents those gathering spots and busy areas and indicated how the sitiuation looks in there.

Those factors has to be put in considerations in designing as they have great effect on the entrance situation of the museum and the relation between outside and inside.

They also bring up some questions of how to distribute th function in the Film Museum in relation to the interactive noisy surroundings.

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Analysis a) Site Analysis Functions and uses

Figure 6 : Function and uses

Figure 7 : Solid and void

After visiting the site , all the students were divided into teams to cover an urban scale area with diameter of 800 m , to analyze it and collect more information about the urban context.

The uses and functions taking place in all the surrounding areas were documented, Figure 6 shows the uses of the plots.

As a result for the analysis , it indicates the most common use which is mixed. Most of the areas analyzed were either residential or hotels on the upper floors and commercial in the ground floor. As figure 6 shows , the number of cinemas and hotels increases in the north west side of the map , at the khedevial area of downtown and where the cinemas started to occur. Grand Hotels and luxurious ones where also located near opera square and behind it.

Some remarkable cinemas and important hotels will be discussed in deep in the cinemas and historical buildings analysis.

On the eastern side of the map , there were no nay cinemas of cultural buildings as its the was for Azhar and old islamic cairo context.

The density , is ne very important existing issue in the site. Down town is very dense area and the solid and void map Figure 7 indicates that really well.

The designing site is right in the center of the dense downtown.

It is a challenge to be able to maintain that Urban fabric with its context , to design a building which doesnt look like a foreigner in the space.

How to keep the site plan view homogeneous , while adding up you unique modern Egyptian Film Museum.

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Analysis a) Site Analysis Street pattern , hierarchy and accessibility

G G

G

Parking Garage Metro Stations

Bus / Microbus Stops Main Streets Secondary Street Pedestrian Streets

Figure 8 : Urban fabric and pattern

Moving to the street patterns, in Figure 8 , Downtown seems very similar and its density seems as if all the areas are alike , however, the map shows two totally different zones centered by the plot. The site of the design is the gate way and the connecting point between the eastern , high dense , irregular urban fabric and street pattern of old islamc cairo, and the grid , Paris like khedevial down town Cairo. The eastern side of the map shows small narrow streets with dead ends for religious privacy and security issues. On the other hand , a grid blocks are observed , wide streets , main plots with the popular downtown passage ways “mamarat” of downtown cairo in between and of course the nodes and squares that defines the different areas in downtown Cairo.

Opera and Ataba squares are two adjacent major road intersection areas in Cairo’s central business district. The Western approaches to Opera square, the one- direction Kasr el-Nile and Abd el-Khaleq Tharwat Streets, are among the most important and lively commercial spines in downtown Cairo.

Figure 9 : Street hierarchy and accessibility

Al-Azhar Tunnel, is a major through traffic spine to and from Opera square and Cairo’s center.

In addition to this road network, other types of transportation include; 2nd underground metro line from Shoubra al-Khayma to Ramses, Ataba and Tahrir Squares, up to Cairo University and Giza suburbs.

And the 3rd underground metro line which is under construction and is expected to be operational by 2012. Thus, Ataba Station will be a major interchange station between underground metro lines 2 and 3.

Two multi-storey parking garages; Opera Garage (1150 parking spaces) and Ataba Garage (650 parking spaces).

The two garages also contain administrative and commercial activities as previously mentioned. A major public bus transport terminal located in the ground floor of Ataba Garage, serving about 30 lines of buses and mini-buses. Another bus terminal at Azbakiyya Garden serves 10 lines. Figure 9 11

Analysis a) Site Analysis

Figure 10 : Landmarks and nodes

Figure 11 : Cinemas and Historical buildings

Another type of analysis were done, which concentrated on the Landmarks and nodes around the site. Figure 10 Within the same urban scale , all landmarks and nodes were documented, that was inspiring for many people so that they can refer to these existing marks in their concepts and design.

Of course two main nodes where the Opera square and Ataba square , in additon to Moustafa kamel square.Very important buildings where also documented , like , the central bank , Abdin palace , Al Gomhoreia theater , Omar Afandi and some other commercial and office buildings.

Historical and Cultural references were also so inspiring.

In Figure 11 , some parts on the map were marked and deeply analyzed to be able to observe all the historical and important buildings around the site.

Definitely there were a lot of cinemas , theaters and historical grand hotels.

Each plot where zoomed in and analyzed individually and the buildings were discussed in the next analysis in the form of collages and also pictures for the places now and few years ago.

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Analysis a) Site Analysis

[1] Emad El Din Street: The place where the arts of cinema and theatre were first born.

It is considered the Egyptian Broadway; as most of the streets that intersect with Emad el Din St. are named after famous actors.

It has also seen many of Egypt’s political and historical events; being previously named after Mohammed Farid - a famous writer who fought for independence. Emad Edin street is also known for its cinemas, Odeon cinema , Dunia cinema and Reinssance cinema.

[2] The Windsor Hotel was known for its remarkable destination; being close to many of the city’s attractions - the Egyptian Museum, Opera Square, etc..

In addition to the Cairo Metro for easy access to the city parts to the tourists and visitors.

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Cosmos Cinema

Nageub ElRihany cinema

El Kahira Cinema

Emad El Din Street

Reinssance cinema

Odeon cinema owned by Sherihan -

Dunia Cinema

a famous egyptian actress

The Khedivial buildings

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The National Theater for childern - also known as Abdel Moneim Madboly’s Theater (a famous Egyptian actor).

Sednawy Building

The Diana Palace is an old theater that dates back to the 1930s.This neighbourhood used to be more exclusive, designed as Paris along the Nile. It is still open, with all the old rooms, which gives it a special charm.

[3] The Sednaoui Department Store is a famous department store built in the 1920s by an Italien architect. The building is a good example on the street of the unique blend of an elaborate Beaux-Arts style with Art Deco detailed facade decorations.

[4] The Tiring Landmark a corner building with four statues lifting a glass globe sits at a unique location linking old and new Cairo and near Attaba Square, where other key buildings such as the fire department and the original post office stand.

It is a department store, One of Cairo’s many houses of early twentieth century shopping and consumption of modern goods.

Tiring Building

Windsor Hotel

Abdel Moneim Madboly Theater

Diana Palace Hotel

Figure 12 : Cinemas and Historical buildings [1]

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Analysis a) Site Analysis

[5] The Grand Continental hotel; It was one of the Cairo’s 19th century hotels.

It opened in 1860 or 1880. The hotel sits at a prime location overlooking Azbakeya Garden and old Opera Square with a statue of Ibrahim Pasha. The hotel underwent multiple renovation in the 1880s , 1890s and 1900s. It stopped operation in 1952 and nowadays the ground floor is occupied by shops and upper floors are empty.

The Shaar Hashomayim Jewish Synagogue;It was built in 1905 and last time it was full in 1960s.Today the community numbers 30-40 members, most of them older women.

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The Grand Continental

Abdeen Palace

[6] There are several cinemas located there m where people visit often in the area around , like , Miami cinema , Miami theater and cinema Metro.

[7] Abdeen Palace • Abdeen Palace is one of the most famous Egyptian palaces, which saw a lot of events of the monarchy until the emergence of modern Cairo.

• The palace is a rare masterpiece that reflect luxury and important events which witnessed from the days of the royal era and until the revolution of July 23. The Palace is considered as one of the most important and famous palaces which built in the governance of the family of Muhammad Ali Pasha of Egypt was the seat of government from 1872 until 1952.

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9 Garden View Hotel

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Omar Effendi

Al Bostah St.: Old Hotels/Motels currently either closed or mixed used.

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[8] Omar Effendi • Series of Egyptian government stores founded in 1856 in Cairo at the hands of Adolf Ooruzde family of Austrian assets under the name of “Ooruzde buck”, in its place, which still exists in Abdel Aziz Street in Cairo and considered as first branch to meet customer needs from the Egyptians and foreigners.

• The shining of the company’s reputation as one of the oldest and most famous commercial chains in the world after being bought by a wealthy Egyptian Jews in 1921 and called it as the Omar Effendi.

• In 2005, the government announced the sale of Omar Effendi Company to “anwal Saudi company” owned by businessman worth 560 million pounds.

Cairo Cinema

The National Theater

Grand Hotel

Eden Palace Hotel

Figure 13 : Cinemas and historical buildings [2]

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Analysis b) Concept Analysis Movie industry and Film making camera Apart from the site of the design , the plot location , context and from the detailed functions of the museum , the first step for was not really directed towards the site or even the functions as i mentioned , but towards the Idea of the Museum itself ,The film making , movies and cinema industry.

After doing a lot of search and reading several documents about the cinema , movies and film industry , i decided to read even more about the devices and tools used for film making. A film making camera is the main device in film making industry and at that point i found my ‘Concept’. It is the film making camera.

Its very deep idea and a lot of complication behind it. This took me back to an initial concept idea which is “simple but complex”. In all the analysis carried out , one conclusion was clear , it seems simple but it is really complicated and organized just like downtown Cairo. The site and the context seems really alike and easy going but when further analysis is done,we observe different street patterns,fabrics and uses.

The film making camera , there is a world behind that word.

A world of motion , movement , wheels , claws , frames , films and shutters. Its a full mechanism that would never disturbed otherwise all the route fails.

The camera must have main characteristics and features and the challenge was changing this object and concept into architecture.

The primary filmmaking tool is the motion-picture camera, which records images on film. The camera houses unexposed film in a totally dark chamber called the forward magazine.

Small, regularly spaced perforations called sprocket holes line one or both edges of the film. Gears grip the perforations and feed the film into an exposure chamber. A mechanical claw pulls the film into position behind the shutter, locking the film in place. The shutter opens, exposes an image onto the film, and closes. Then the claw, with an automatic pulldown movement, advances the film for the next exposure.

Each exposure is a single still photograph, or frame. Most cameras advance the film at a rate of 24 times a second. As the film moves through the camera, the exposed sections are fed into another totally dark chamber, the rear magazine.

Figure 14 : Film Making Camera

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Project Design a) Problem definition - design intention

30 m high office building blocking the view to Opera square

No pedestrian pavement , only arcades for the recessed shops on the ground floor of the parking garage

That Facade of the building would be facing Al Azbakeya Garden and cars street is just attached to it No pedestrian walking pavement

Entrance situation , facing Ataba square Figure 15 : Site Plan

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Project Design a) Problem definition - design intention

After analyzing the Film making camer and understanding its very accurate mechanism , the challenge was changing this into architecture , of course keeping in mind the urban context , surroundings and the museum functions.

From all that analysis i mentioned before , for me the “Frames� were the most important element in the camera. It passes by all the parts of the camera and changes until it reaches the final destination which is the storing wheel that has the final film that we watch as movie. These sequence of frames that follow each other behind the camera gate , controlled by the shutter , where the main influence for the Building mass.

Frames following each other taking the visitor into a very smooth , interesting and enjoyable experience in the museum which ends up at a very special place just as the camera film journey.

Refering to the site , i decided to extend an axis from the directions of the orientation of the plot itself and the parking garage and office building right behind the plot.

On that axis , i started creating some virtual frames , with regular difference in distance between them with a module of 2 meters as shown i Figure 16. Compressed and dense frames where not the best way to experience a space so i decided to increase the distance between them so less frames but more space.

The Motion and movement direction where horizontally distributed , however vertical movement where also necessary.

Figure 16 explains the initial design intention , which is continuing the directions and the orientation of the site as well as presenting the idea of frames in an interesting building volumes and masses.

On one hand the concept got clear and illustrated , however turning this into areas and spaces was not too easy.

As a designer , its not all about plans and 2D drawings , but sections also help reaching a good function distribution and circulation strategies.

Figure 16 : Conceptual diagrams

Differently than a lot of designers and architects , i started my design with sectional diagrams as Figure 17 shows.

I started with very plain vertical lines with the same spacing , then i tried to try out different areas to turn into masses and others to be open frames .

The next step was adding the horizontal grid , and i have always believed that grid helps in keeping proportions and areas defined and related.

As cinema halls is one main important function in the Egyptian Film Museum i added one more grid with the slope of the cinema.

The result of all these grids above each other where the starting point to try out different building masses and distribution as will be seen in the proposals.

Figure 17 : Sectional concept

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Project Design b) Conceptual development Proposal 1

The first proposal,i started dealing with the mass representing the functions, and then distributing them accordingly.

There are three main functions in the museum : - Cinema halls - Exhibition and collection [temporary and permanent] - Administration , Education and workshops Figure 18 shows massing diagram , where i decided to start the museum with several frames one after the other with the Administration and Educational functions.

After those frames , the visitor would reach the widest frame in the center of the museum which has the exhibition part.

Until now it is all horizontal movement from a frame to another with totally different experience, but at that point of the exhibition , vertical circulation takes place, taking the visitor to the upper floor. This floor would act as separating point , one direction takes you the Cinema hall block above the entrance frames and the other direction takes the visitor to the cylindrical exhibition space , taking the ramps downward to end up again in the ground floor.

Figure 19 illustrated the circulation and movement within the building in that massing proposal.

And Figure 20 . shows a sequence of interior perceptions and visualizations into the building.

Figure 18 : Massing diagram

Figure 20 : Series of internal experience situation

Figure 19 : Circulation diagrams

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Project Design b) Conceptual development Proposal 2

Second , i starting continued working on the same concept but with different perception, which is dealing with the frames and internal elements in the museum space and not dealing with it as masses.

some social and political problems . Until the visitor reaches the last floor of the exhibition frame which takes him again in 2 different directions , either towards the cinema or towards the exhibition cylinder. Figure 22

On the other hand , it was not logic for the people coming specially to the cinema halls to go through all that route from the entrance to the upper floor just to attend a movie show or a conference .

I started with an entrance area followed by 2 very thick walls where double screening would take place between those walls. By passing those 2 walls of screening , you will find yourself in the next area where archive would be so that the visitor moves from a space to another through these internal walls “frames”. Figure 21 After that archive frames , visitors can start their exhibition and collection experience , which is designed to be in split levels according to the eras of egyptian cinema. Where the Egyptian movie industry started in the 30’s which was the beginning era , followed by the golden age era where the Egyptian cinema and movie industry was in its highest performance. After that comes the commercial movies of the late 80’s which influenced the industry badly and reflected

The cinema hall was designed to be on the top and the highest part of the museum where the visitors journey ends, however that was not the best solution for several reasons.

Another issue was the cylinder exhibition which breads that linearity of the frames , is it the best location for it to have it at the end of the museum or it would better be somewhere in the middle of the journey.

Figure 21 : Interior frames concept - Top view internal frames

Figure 22 : Model interior

If the visitor decided to continue his exhibition exploring route , he would enter the cylinder and continue the route downwards through ramps that takes the visitor back to the ground floor where the event hall and cafeteria is.

Some problems where observed in this proposal that had to be fixed.

Firstly , that the cinema hall on the upper floor. It was not the best locations , on one hand , constructions wise it is going to be a very heavy structure on top and massive volume.

As a proposal , i decided to make a complete envelope for the building that isolates the Egyptian Film Museum from all the surroundings with very solid concrete shell and some openings in the transitions between frame and another.

Extending that envelope to act as another extra layer “double facade “ to the parking garage and office building right behind the plot , so that they all have the same language of elevations and external shell. Figure 23

Figure 23 : External Envelope

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Project Design b) Conceptual development Proposal 3

Third Proposal was a trial to solve the problems that occurred in the previous design implementations proposal.

The internal frames proposed previously seems to be a weak application for the concept of camera frames, so i tried out to work on the frames as masses , so that every frame had a function or more than one, and they are separated but still connected.

The question was how to do that , without separating and isolating the functions totally and also keeping the idea on different frames.

The solution where in making different masses with transparent connections , so that solid framed are followed by transparent transitional frames of curtain wall.

The distribution of the solid frames depends mainly on the functions behind it, not only that but also the spacing between them and the area of each frame.

The boarders of the frames would be exactly aligned to the plot lines so that it continues the shape and the direction of the existing parking garage and office building.

The building would look as in Figure 24 , which is different frames arranged and assembled to follow each other.

The experience the visitor would have in the Egyptian film museum would be grade and the concept is now the best way represented. This how the concept turned into architecture.

The visitor would enter the building with the curiosity to know what is behind , what does each frame hold of functions and atmosphere. It is not any more a building without ground floor and some upper repetitive floors , but it all about the horizontal and vertical movement experience and the emotion inside the museum.

Figure 24 : External Frames concept - Top view

Figure 25 : Disassembled frames

Figure 25 shows the frames disassembled so that its gives the full image once u arrange them after each other , and the journey is complete when the visitor moves from to the other experiencing the glass transitional frames between the functions.

Figure 26 , shows the mass of the building, it indicated the continuation of the site mass and the building situation in relations to the existing buildings behind. it does not look odd or mis-places , however it looks like a part of the site.

No more symmetry , no boring linearity and ordinary building mass, however, Some further changes had to take place to reach the best out of this project and to take the design to another level of creativity and interest.

This happened when the cylinder that holds the very different experience of exhibition was moved to the center of the building , and the cinemas moved underground to the basement floor , in the final proposal.

Figure 26 : External shot

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Project Design C) Final proposal - Urban Situation

To start with, the chosen form is the best form that suites the site due to the following reasons, first it is aligned to the same directions of the site and behind buildings so that it seems as a part of the site and it does not look odd in the site plan.

Second , the shifting of the frames plays a great role with the surroundings as it acts as arcades from the sides of the plot to continue the arcades of the parking garage ground floor.

Third , that the building mass applies the concept exactly the way it should , it looks realy simple from out side as simple as a box , how ever it still maintains the complexity of the internal movement in the museum that doesn’t show from outside.

The building also maintains all the functions , but in a curious way so that the visitor can never wonder where are the functions located and how would his route be.

The entrance of the building is directly located in front of Ataba square to act as attracting point for the pedestrians and it it also easy for the visitors to drop off and park back in the garage.

The building shifts also breaks the similarity and symmetry of the mass which is clear in the site plan. Figure 27 The building is 20 meters high which acts very homogeneous with the surrounding especially because it is the same height of the parking garage building right behind it.

The building is surrounded by streets from all directions which makes is unique and important as the urban situation of the building , helps it acting as a central land mark in downtown Cairo as it splits between the old Islamic Cairo and khedevial downtown Cairo.

The mass width is decided according to the function in each frame however the transparent glass transitional frames are all equal in size which indicated the strength of the solid frames than the glass ones.

Figure 27 : Site plan of Egyptian Film Museum

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Project Design C) Final proposal - Massing

Moving to the massing diagram and how the building got its final shape and full assembled mass.

Its all about layers , different layers of different masses which complete each other to end u with the building form.

Figure 28 shows the mass explosion, which contains different layes starting with ; - The under ground basement volume which holds all the technical support rooms and storage rooms.

Solid Frames

Transitional Glass Flames

Facades

- Cinema Halls are also located in the basement floor which is -ve 5 meters from the street level.

- The layer of the internal skeletone of the museum occurs , which its internal walls , slabs and cores - After that , the internal facades layer is attached to the bilding body to skin those internal frames facades.

Glass curtain walls layer that maintains the internal visual conection between frames and functions - Transparent transitional frames are the connecting layer that attaches all the solid frames to each other, as it also acts as transitional zone , which different atmosphere and lighting quality to give the visitors differnt spacial quality

Interior slabs

Cinema Halls

- It end up with the Solid Concrete frames , that cobers the whole building and acts as external shell and enevelope for the museum as long as external facades.

Connecting all those layes together , results in the mass of the Egyptian Film Museum.

Zoning and functional distribution is the next step to be discussed Figure 28 : Explosion of the mass

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Project Design C) Final proposal - Zoning (distribution of functions)

As discussed previously , the designing process started with the sectional diagrams and idea of vertical and horizontal grids where the functions where distributed behind according to several condition.

Figure 29 shows the museum zoning diagram which indicated where every function is located. And as mentions before also , the museum had some main functions and some other additional ones.

The first frame , is the Entrance frame , which holds the receptions area and entrance hall on the ground floor . And on the upper floors , there are Educational floor which holds some training rooms and seminar rooms and on the last floor , the administration . Administration and educational floor where connected to the ground floor through the main core in the first frame.

The second frame , holds a very special screening frames in the found floor , and a huge concrete stairs that takes u to the workshop and the library above.

Reaching the third frame , placed the exhibition cylinder which has a very special circulation that would be discussed in the coming pages.

This frame also has the Cafeteria and restaurants zone, in addition to the interior event hall.

Reaching the last widest frame , where the exhibition floors are located which is the last zone in the building mass.

Entrance Hall , Administration Frame Screening and Educational Frame

Another mass is attached to the building or actually under it which is the mass of the cinema halls.

Both , the large and the small cinema halls and they services are located in the basement floor.

Exhibition cylinder , Cafeteria and Event hall Exhibition Frame Cinema Halls

Figure 29 : Zoning diagram

23

Project Design C) Final proposal - Zoning (distribution of functions)

Starting with the Ground floor which acts as a gate way to the museum and the starting pint to the experience.

To start with is the entrance hall , which is accessed through a gathering area which is a cut out of the mass in the first frame.

This area acts as a gathering space and a spot where people meet before entering the museum. It also gives some space for the people leaving as the site does not have huge space to act as exterior plate form area for the visitors.

CAMERA EXHIBITION

CAFETERIA AND RESTAURANT

Starting with the entrance hall , which is a double height volume that holds the lobby and reception desk , as well as the lockers. On the ground floor also , designed the main core of the building with staircase , elevators and bathrooms.

Moving from the entrance floor , different scenarios are possible , if you are a visitor to the exhibition space , your are going to follow this route.

Just after the entrance , the visitor come across transparent transitional frame which changes the experience from a closed space artificially lighted to a light external internal area , just few steps further , the visitor enters the screening frames , which is all about 2 thick concrete walls facing each other screening some movies and short films about the egyptian film industry and film making .

Moving to the next frame , the visitor enters the mediatheque frame , this frame holds different rooms , each room is accessed individually , and its like a show room , it holds a screen and a machine where the visitor can order his movie and watch it directly in the room.

After that experience that takes you deep in the movie industry and after calling back all the old movies and watching old actors , it comes up the modern fantastic part of the museum .

MEDIATHEQUE

FILM POSTERS

SCREENS

INDOOR EVENT SPACE BOOK SHOP GIFT SHOP

Figure 30 : Ground Floor Plan

Once the visitor exit those rooms , he finds him self into a huge space , 20 meters high.

This area is the huge area in the museum , where different routes are available.

Firstly the visitor can see a huge glass translucent cylinder spectacular structure , which is the exhibition cylinder.

To the right side of it is the Cafeteria and restaurants , and to the left side , is the Event hall.

Taking the best experience route , the visitor would pass by the cafeteria , reaching the second reception desk that holds the tickets for the exhibition , and by passing the cylinder on a side with all the curiosity of knowing what is in there , the visitor takes the tickets and enter the last frame exhibition mass , believing that his journey would end into this amazing cylinder exhibition.

24

Project Design C) Final proposal - Zoning (distribution of functions)

Entering the exhibition is another new experience , because the exhibition space is designed to be the last frame of the museum with specific features for some reasons. First , it is the last frame , so that it is the most further area away of the noise and interactions at Ataba square. Second , the exhibition frame is a complete concrete solid frame , with no any openings through all its floors , only one side is opened to the interior space of the museum which is an interesting feature that would be discussed later. Third , having the exhibitions , which is the output of the whole movie journey , the tools the actors posters the customs at the end , keeps the visitors interest to continue moving through the museum.

Exhibition floors have different themes and displays , on the ground floor is the exhibition for the film making tools , machines and devices so people can know how does this movie end up on the screens.

Moving to the first floor of exhibition which is 5 meters away of the ground floor. This floor holds the customs of the actors in different Egyptian movies and sketches The second floor of the exhibition would have the Film posters and actors posters in the walls exhibited in classy frames , and also a sound archive that visitors can your to listen to some documentaries or actors records and interviews.

The third and the last floor in the exhibition frame , has the there of screens as seen in Figure 31. Hanging screens and some seating desks are around so that people can watch different screens around.

Reaching the last frame of exhibition frame , the visitor now has to cross a bridge to reach a connecting slab from where the visitor can enter the cylinder and starts his last journey.

The exhibition cylinder is a structure that holds 3 slabs , and the vertical connection between them is the ramps. This cylinders holds the future , what is the next step in the Egyptian movie industry , what tools and machines would be used and it ends up with a temporary exhibition.

This cylinder has a special circulation concept that would be discussed in the coming pages.

A

B

SOUND ARCHIVE

MAINTENANCE WORKSHOP

TECHNICAL ROOM

STORAGE

SCREENING AND PHOTOGRAPHY EXHIBITION

GENERAL MANAGER OFFICE

C

C SECRETARY WITH COPY AND ARCHIVE

TEA ROOM

LARGE MEETING ROOM

A

SMALL MEETING ROOM

B

Figure 31 : Third Floor plan

Reaching the ground floor through this cylinder and finding the ramps continues. The ramps connecting the ground floor to the basement floor , where the cinema halls are. Figure 32 The basement Floor holds the 2 cinema halls , the large one that takes about 400 persons and the small one that takes about 25 persons. reaching the basement floor through the ramps , to find a great foyer in front of the cinemas that collect people before entry and after their exit and a tickets desk before the cinema doors.

Leaving the basement floor to the ground floor once more is easy through the ramp that connect them together that takes the visitor to the Gift shop on the ground floor and then to the entrance hall once more to collect their staff from the lockers and leave.

Figure 32 : Basement Floor Plan

One very different route is not yet illustrated , which is the administration and educational route.

The educational department is located on the first floor of the museum in 2 frames connecting with bridges. On one hand one frame holds the workshop in first floor with the library above in the second floor, on the other hand , the seminar rooms and digitalization labs in the First floor above the entrance and the administration in the third floor.

Those functions are accessed through the main core located in the first frame and another concrete spectacular stair case between the screening frame and mediatheque in the ground floor.

25

Project Design C) Final proposal - Exhibition Concept

Exhibitions concept is one of the main and most importantly issues in a Film museum and museums as general.

It is the way you can display and see the things in the museum.

I had a different experience and exhibition circulations concept, which is mystery. To be able to see the space but you can not enter it now , you have to follow a specific sequence.

The main exhibition in the museum where at the last frame and the exhibition cylinder.

The concept of visual connections has also a great influence on the design.

Figure 33 shows the exhibition circulation concept, where the visitor is able to access the cylindrical space as well the exhibition frame, but the best experience route is to climb up the exhibition frames and then take the way down to the ground floor through the cylinder.

The exhibition frame floors , are designed to have ramps as the main circulation so that the visitor enjoy each floor exhibition experience then climb up the ramp to the next floor and so on.

Using ramps make it much easier for the visitor and also the ramp location. People can see the exhibition cylinder by their side while moving on the ramps so that they still have the curiosity to reach that cylinder and see what is in side clearly.

Reaching the connecting slab on the tops, takes you to he firs step in the cylinder.

As i mentioned before the cylinder circulation is also through ramps , 2 crossing ramps that move in the oposite directions to make it more flexible to the visitor to move from a floor to another.

Figure 33 : Exhibition concept - Circulation Diagram

26

Project Design C) Final proposal - Spatial Qualities

Figure 34 : Entrance space visualization

The building entrance , is the gate way for the people and the first impression about the building.

The quality of the elevations , the material the space proportions and the atmosphere helps the visitors get a good impression about the Museum

The simples the entrance space is the better you feel about it. Visitors coming to the Egyptian Film Museum in cairo would always expect a spacial quality and as the site offers , the entrance of the building would be at al Ataba square side.

The shot taken here , visualizes the situation at the entrance of the museum , how it would look from Ataba square.

The strongest element which is the concrete frame is emphasizes on the elevation as well as the recessed entrance gathering area.

27

Project Design C) Final proposal - Spatial Qualities

Figure 35 : Longitudinal Section

Talking about the spatial qualities in the museum , requires referring to Figure 35 , which is the longitudinal section for the museum.

The sections shows the sequence of frames following each other and the functions in side as well. It also shows the relation between the frames and the transparent glass curtain wall frames in between.

The First spatial quality as discussed before is the recessed area in the entrance frame which acts as gathering are for the visitors. Second would be the double height concept that is applied in the ground floor of the museum , so that the visitors can feel the wide open space inside the building as well.

One very special quality , is the concrete staircase visualized in Figure 36. This huge stair case is concrete structure and its walls are clad with Tadao Ando concrete forms. This staircase is the link between the ground floor and the Workshops in the upper floor. Not just to this floor , but the stairs continue to the Library floor in the upper floor.

The stair case is very lite because it is topped by the glass frame which acts as a skylight for the stairs..

Some other spacial qualities can be seen in the section.

For example , the cafeteria area and the event hall area which is supported with huge concrete columns as a structural elements as well as a spatial identifying element.

Screening walls , exhibition interiors and connecting spaces would be discussed and visualized in the following topic.

Figure 36 : Concrete Stairs Visualization Section

28

Project Design C) Final proposal - Spatial Qualities 3D shots

Figure 37 : Screening walls

Figure 38 : Exhibition interior 3d [1]

Figure 39 : Event hall Visual connection space

In the second frame , at the beginning of the visitors’ journey in the museum , there are two thick walls which act as screening walls.

Those screening walls , are solid concrete walls that have projections on them so that the visitor is moving in a narrow double height space , watching movies on the sides as shown in Figure 37

Figure 38 , shows another very spacial quality in the museum, which is the exhibition.

The screening walls would probably be screening the history on Egyptian film movies and industry as a whole. Some movies about the film making machines and materials.

Also the inspiring movie that explains how the film making camera works as discussed in the concept of the building , so that people can relate the shape and the mass of the museum to the concept behind it and the cinema it self.

People can move around the walls and boards freely and can also have a seat for some time on some seating areas and then continue their journey in the museum.

A very spacial quality also occur in this space shown in figure 39.

This is the area where the Indoors Events take place in, it is considers the indoors event hall which acts as indoors outdoors area.

This is because it connects the aras of the museum visually as it is 20 meters high so that people can see all the ramps of the exhibition and watch people moving around.

It is also interesting because it is an entrance space to the cylinder where people can climb uo the ramps to the upper exhibition floors or , downward to the cinema halls.

That exhibition floor can for some reason be dedicated temporary to a specific actor or actress to recall their work and mention their success in the Egyptian film making industry.

There are also seating around so that the visitors can enjoy the space around and can also have some rst and socializing gathering area.

This is an interior shot for the third exhibition floor and its theme and design. This floor holds suspended screens and walls that allow screening and watching several movies just to recall all the amazing Egyptian movies back to the visiors.

29

Project Design C) Final proposal - Spatial Qualities Collages

Figure 40 : Exhibition interior 3d [2]

Figure 41 : Exhibition interior collage - Wall posters

Figure 42 : Exhibition interior collage - Sound archive

Another floor in the exhibition would have this organization shown in figure 40.

This floor would be the floor for the film industry machine and tools so that the picture of the tools and informations about them could be displayed in the existing columns but with the help of lighting techniques and materials that would be a great displaying technique.

Figure 41 shows the displaying technique for the actors posters.

Wall display is also an interesting wall so that people keeps going around watching photos for different actors and actresses.

This is another spatial quality space in the Museum , which is shown in Figure 42.

This seating spaces are designed to be portable and movable from a floor to another .

Having some physical elements in the exhibition floor , for example like these boxes , holding the pictures for the actors and actresses would be really interesting.

The would also would be one time arranged by the eras, so that the actors that were working in a certain era get their photos all together , on another way it would be a complex of photos for just one actor with different ages.

One corner would be for a specific actor for example. Not only photos and posters but there would also be sketches and some writings for the actors.

It would aldo be amazing to have a space for the visitors to try out the customs that those actors used to wear in their movies and also posters for the most famous movie scenes where the visitors can have pictures next to them .

This light structure acts as a seating area for the people to site , to rest , as long as having headphones that have specific recordings that differs from one to the other. visitors can have their head phones and sit on these structures and listen to some very old interviews for their best actors and actresses over the radio and tv shows.

Some records would also have some short movies that get projected in front of the sitting visitor.

30

Project Design C) Final proposal - Materiality concept

Figure 43 : Longitudinal Elevation

Material and construction, was an issue as well in the designing of Egyptian Film Museum.

I decided to have the building concrete structure, but why concrete !?

The concrete would be the best material to represent the main concept of the building which is the frames , so i decided to use concrete frames other than steel ones.

Concrete reflects the buildings form to the maximum as shown in Figure 43.

Concrete frames follows each other and reflects the solidity of the masses with the glass frames in between.

Tadao ando had a great influence on the elevation designs and elevation and my choice in materials, as he believes that concrete is not just a material but much more than that.

Ando builds with concrete, steel, and glass. He uses concrete as his primary structural material and focuses on its simplicity. His designs highlight the natural color of concrete—no coatings, paint, or color. Doors and windows have no trim, and there are no baseboards or moldings to cover the intersections of walls and floors. Ando believes that ornamentation would hide the skilled craftsmanship that brings intersections together seamlessly.

Even though his designs are simple, his projects are demanding and precise. He favors the “as-cast” method of concrete construction, perhaps the riskiest for contractors.

With as-cast, when the formwork is removed from concrete walls, what you see is what you get. “ Tadao ando “ ( 2)

31

Project Design C) Final proposal - Facade concept

Vertical Grid

Proposal 1

Horizontal Grid

Proposal 2

Curtain Wall of module 1m * 2.5 m

Proposal 3

Final Proposal

Figure 44 : Facade Concept diagrams

32

Project Design C) Final proposal - Facade concept

Figure 45 : Main Elevation

Designing the main elevation for the museum was a challenge itself.

The main concrete element of the structure is already clear on the elevation because it frames the elevation and acts as a strong element in the facade.

Deciding the materials for the elevations was not to hard as they reflect the use of the building and the functions behind it.

As mentioned the concrete frame is already existing as it is the main structure of the building , but forking on the curtain wall arrangement had some tricks.

I decided to use Transparent and translucent glass panels and each panel according to its organization affects the interior use and function of the museum.

Different trials and proposals has taken place behind specific elevation concept which is shown in Figure 44.

This is how the concept developed ;

- Using transparent and translucent panels in different arrangement to maintain the functionality of the uses behind the elevation

- Using concrete panels to emphasize the idea of the frames around all the elevation and at the entrance void .Dividing the elevation vertically into 2 meters according to the plan grid with module 2 meter

- Distributing the panels into horizontal direction with spacing

- Dividing the elevation horizontally into module of 2.5 meters according to the heigh of the floor behind the elevation - Turning the module of the curtain wall into 1 meter wide and 2.5 height as it is reflecting the use of the interior spaces and help in fixing the panels easier

- Distributing the panels in vertical direction - Reaching the final distribution of the panels , transparent for the corridors and open spaces , and translucent panels for the rooms behind the elevation Tadao ando like concrete cladding around the elevation to strength the framing concept and another smaller frame at the entrance

33

Project Design C) Final proposal - Facade detail and construction

Figure 46 : Detailed Facade/Section

34

Project Design C) Final proposal - Facade detail and construction

The detailed facade section in Figure 45 , shows the connections between the concrete panels and the slabs at the elevations.

It also shows the curtain wall connection at the main elevations , in addition to the internal glass elevations in side the building between the frames.

Also the glass frames are indicated in elevation in Figure 46 which is the space that allows the light entry and acts as transitional zone between the frames.

The roof of the frames has parapets and has the concrete connections from the top. The section also shows the connection between the glass and the concrete on top.

Tadao Ando concrete panels has a specific fixation techinique which is shown in figure 47.

Some steps has to be done to assemble the panels on the walls.

Figure 48 , shows the texture of the concrete panels and their proportions and grey color.

Figure 47 : Concrete fixation

Figure 48 : Tadao ando Concrete texture

Figure 49 : Concrete columns structure

Figure 50 : Concrete ramp

Structure wise , large huge concrete columns where needed in the area of the cafeteria and event hall because the hight of the space is 20 meters high and those columns were holding the roof slab as well.

Figure 49 , shows an example for those columns , however the columns used in my design would be rectangular columns.

Finally the concrete ramps in the exhibition cylinder that makes the circulation easier and more flexible as theyare two ramps opposite to each other.

Figure 50 , shows an example for concrete ramps.

35

Critical review on work process

The work process was never too easy and considered as a tiny process that would be finished in 2 months.

Through out 3 months , a lot have changed in he design , not not in the concept. The idea of film making camera frames as a concept for the building mass was a great idea which i insisted on completing with , how ever a lot have changed in the application of this concept.

Starting with a very boring mass of layes of slabs that would present the movement of frames with its shifting , to the proposals for the interior frames , to the final proposal of the final design.

Moving from a step to another and working with sketches m trials and sketch models helped me out to reach the final result.

Some changes would still have to be done for the final proposal as well , however the great progress makes it the best way to represent the idea.

Figure 51 , shows the different trial of models , from where the design started and until it reached its end.

For me in this design , the biggest challenge was the site , and how would the building fin into the site without being a foreigner block that adds to the density of the site.

The form of the building itself was the solution for that because it is not bulky and solid , however the split-up of solid frames and their fragmentation gives the site plan more quality and the idea of shifting the frames to create the arcades for the pedestrians helped also fitting the building in the site.

Figure 51 : Development process

36

Conclusion

Designing the Egyptian Film Museum in Cairo is considered one of the great challenges due to the number of limitations and conditions , starting from the form finding reaching the tiny details of the project.

There here different problems and limitations that needed to be solved and considered in the design process.

The main aim of the project was to design The Egyptian Film Museum that acts as a gate way for the people to know the history of the Egyptian film making industry and to be the representative of Egyptian movies.

Starting with the concept , and trying to find out the best out of this topic in relation to the surrounding and the urban context.

Choosing the movie industry and film making camera as an object to use as a concept was a great challenge , it was all about changing this idea of frames in a box as a camera to an architectural mass, putting in consideration the urban situation and the link between inside and outside.

Developing the idea of the frames from internal frames inside a building with a solid shell , to the final design where the frames are the main solid masses of the building. The main aim behind using this concept and developing it this was is to maintain all the requirements of security , privacy and the perfect function distribution.

Moving from the exact massing , zoning and function distribution to the interior spaces of the museum. Designing the exhibition concept and circulation to be the most interesting way for visitors to watch the exhibits and enjoy their visit.

Considering the interior spatial qualities and themes , as long as the structure system for the museum where a great challenge.

Finally choosing the materials and the Facade design to the last tiny detail so that the design of the museum is complete and is now a great representation to the Egyptian Film industry.

To conclude , designing Egyptian Film Museum in Cairo was a great task that would require a lot of effort and research and work to reach something representative.

37

References

List of figures

Bibliography

Figure 14 : N.p., n.d. Web. <http://the189.com/architecture/architecture-and-details-bytadao-ando/>.

(1) http://www.arsenal-berlin.de/en/arsenal-cinema/past-programs/ single/article/1610/2804//archive/2009/june.html

Figure 47 : ”THE FORM TIE DETAIL.” WITOLD RYBCZYNSKI. N.p., n.d. Web. 18 May 2016. <http://www.witoldrybczynski.com/architecture/the-form-tie-detail/>.

( 2)

Figure 48 : “Textures.” Pinterest. N.p., n.d. Web. 29 May 2016. <https://www.pinterest.com/ ausarchi/textures/>.

Figure 49 : ”SYNArchitecture on Instagram:.” Pinterest. N.p., n.d. Web. 5 Apr. 2016. <https:// www.pinterest.com/pin/412290540867792675/>.

Figure 50 : Roomonfire-good-design. “Roomonfire-good-design.” Room on Fire. N.p., n.d.

Web. 29 May 2016. <http://roomonfire.net/post/119176840186>.

“The 10 Most Influential People in the Concrete Industry.” Concrete Construction. N.p., 12 Sept. 2005. Web. 29 June 2016. <http://www.concreteconstruction.net/business/contractors/the-10-most-influential-people-in-the-concrete-industry_o> “Specs for an Ando-esque Concrete Wall Anyone?” Archinect. N.p., n.d. Web. 20 May 2016. <http://archinect.com/forum/thread/27647/specs-for-an-ando-esque-concrete-wallanyone>.

“Texture Seamless | Tadao Ando Concrete Plates Seamless 01815 | Textures - ARCHITECTURE - CONCRETE - Plates - Tadao Ando.” Sketchuptexture. N.p., n.d. Web. 6 Apr. 2016 “Expressionist Architecture.” Wikipedia. Wikimedia Foundation, n.d. Web. 3 Mar. 2016. <https://en.wikipedia.org/wiki/Expressionist_architecture> “Steven Holl Architects Unveils VCU Institute for Cotemporary Art at Meulensteen Gallery.” ArchDaily. N.p., 26 Apr. 2012. Web. 29 June 2016. <http://www.archdaily.com/229760/ steven-holl-architects-unveils-vcu-institute-for-cotemporary-art-at-meulensteen-gallery> Wikipedia. Wikimedia Foundation, n.d. Web. 10 Mar. 2016. <https://en.wikipedia.org/wiki/ Film_industry#>.

Mouf241. “History of the Egyptian Cinema.” YouTube. YouTube, 10 Mar. 2011. Web. 29 June 2016. <https://www.youtube.com/watch?v=9wphvLxzLnU>.

“Filmmaking.” Wikipedia. Wikimedia Foundation, n.d. Web. 15 Mar. 2016. <https:// en.wikipedia.org/wiki/Filmmaking>.

“Cinematography.” Wikipedia. Wikimedia Foundation, n.d. Web. 5 Apr. 2016. <https:// en.wikipedia.org/wiki/Cinematography>.

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GUC Architecture and Urban Design Program Bachelor Studio 2016 | Building Technology Thomas Loeffler | Martin Saehlhof | Hassan Abdallah | Ahmed Ghazy | Islam Tarek

Egyptian Film Museum Downtown Cairo

Project Strategy Mayar Amr Elsemary 28/3152 March 2016

39

Egyptian Film Museum Downtown Cairo

Contents

Egyptian Film Museum Bachelor Thesis 2016 Project Strategy

Project Description Urban Analysis Collage Concept Site Analysis â&#x20AC;&#x201C; Project Problem Definition Project Space Program Functional Layout .....

00

00 00 00 00

40

Egyptian Film Museum Downtown Cairo

“ Architecture exists, like cinema, in the dimension of time and movement. One conceives and reads a building in terms of sequences. To erect a building is to predict and seek effects of contrast and linkage through which one passes...”

Jean Nouvel, as quoted in Architecture and Film, “ Echo and Narcissus,” Kester Rattenbury Film Museum is a place where you can feel the cinema , get into the space where this huge amazing industry prduces this movie that you watch in those huge halls named cinemas.

The first movie with a completely Egyptian movie crew was Leila by Orfi Bengo, from 1927. Since that time Egypt hashad its own important movie industry, which has become by far the most important in the Arab world.

In the thirties, talking movies were invented. And that was the beginning of the film industry in egypt.

Moving to 40’s and 50’s were the golden age for the cinema in egypt where the movies had social messages and implies what happens in that era In late 60’s and early 70’s were the bad period for the cinema industries because all the movies were commertial and the production companies were privately owned.

In the eighties, a ‘nouvelle vogue’ can be seen. Important movie makers from that period are Mohamed Khan and Atef el-Tayeb.

The project is EGYPTIAN FILM MUSEUM .

The site location is so interrsting because it takes place in DOWNTOWN cairo. Where mixture of uses , diversity in building types , layers of different urban fabrics are.

The site is located right in the center between the Islamic cairo area snd the urbanised grided Paris like area.

Project Description

Opera and Ataba squares together, form one of the three main transportation hubs in Cairo’s central business district, the others being Tahrir and Ramses squares. They link the commercial and business district of Khedivial Cairo to a group of wholesale specialized markets surrounding Ataba Square, and traditional markets in el-Azhar district. The two squares, originally a major cultural and recreational node, are currently separated by the Opera multistory garage built on the original site of the Khedivial Opera House as mentioned earlier. The surrounding area is characterized by a diverse mixture of land uses, commercial activities, and a number of historic buildings.

To the North, lies the historic Azbakiyya Garden, which is now encroached upon by several buildings including three theatres, an on- street second hand book market, a multistory garage and bus terminal (the Ataba Garage), several office and commercial buildings, and a medical centre.

The southern and eastern edges of the two squares are lined by a number of administrative buildings, a shopping mall and a cinema, in addition to a large historic fruit and vegetable market.

To the west and south west of Opera Square, lies a number of mixed use (commercial-office-residential) and heritage buildings the most important of which are Parliament Hotel and the Ottoman dating al-Kekhia Mosque (on el-Gomhoureya and Kasr el-Nile Streets). On the northern al- Khazendar Square lies two major historic buildings; Sednaoui department store and Eden Palace Hotel.

Some of the main roads leading to the squares are characterized by specialized retail and wholesale market activities.

The south-eastern approach to Ataba Square (Mohamed Aly Road), is a market for musical instruments and leather products. Nearby el-Azhar elevated road and street, link the area to Khan al Khalili Bazaar, the traditional craft, jewelry and spice markets, and to other wholesale markets for textiles and furniture. Further south is Abd el-Aziz Street, a major electrical appliances market, as well as el-Ashmawy area for electric hardware and fixtures. North and northeast of Ataba Square, lies a number of wholesale markets, mainly el-Mousky textile market, el-Rowaei market for hardware and tools, the paper market, and Darb el-Barabra market for traditional decorations and traditional celebration accessories.

41

Egyptian Film Museum Downtown Cairo

Urban Analysis

Bus Stops & Transportation hubs

Vendors & Shopers

Noise Intensity Map

Noise Collage

Different types of transportation means

4

42

Egyptian Film Museum Downtown Cairo

Solid / Void

Urban Analysis

Street Pattern / urban fabric 5

43

12

Egyptian Film Museum Downtown Cairo

Urban Analysis Gomhoreya Theater

12

1

Cosmos Cinema

Nageub ElRihany cinema

15

13

1

9

El Kahira Cinema

10

Egyptian National Library

Gomhoreya Theater

13

9

3

2

Islamic Art Museum

Fire & Police Station

Emad El Din Street

6

11 Odeon cinema

Reinssance cinema

5

Dunia Cinema

owned by Sherihan -

a famous egyptian actress Fire & Police Station

6

5

4

The Khedivial buildings

2

13

Post Office

3

14

14

4

12

The Nile Valley Hotel

Sednawy Building

Post Office

14

16

15 8

Police Club

The Nile Valley Hotel Tiring Building

Windsor Hotel

16

16

7 Abdel Moneim Madboly Theater

Azbakeya Garden

Theater

down Residential

up Diana Palace Hotel

Post Office Fire / Police Station

The Site with the Surrounding buildings .

Direct and Indirect interaction with the surrounding.

Different Zones.

Market

Accessability to the site.

6

44

7

45

8

46

THE FILM CAMERA JOURNEY

9

47

Egyptian Film Museum Downtown Cairo

Concept

10

48

Continuose facade enclosing the whole plot

Parking with internal connections to the Museum in specific floors

Open air (car) cinema above parking building

Tunnel to Azbakeya Garden

Site Analysis Problem Definition

Pedestrian Tunel to Attaba Square

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49

Egyptian Film Museum Downtown Cairo

Project Space Program

Library Mediatheque Sound Archive

120 m2 60 m2 60 m2

Education and Workshops Digitalization Labs Seminar rooms workshops/studios

4*30 m2 4*30 m2 2*60 m2

total ca. 600 m2

Screening/Cinema Screening Room, large, 350 pers.

Screening Room, small, 150 pers.

400 m2 250 m2

Exhibition and Collection exhibition space temporary/special exhibition space permanent

600 m2 2400 m2

Administration offices administration offices for 20 Employees General Manager & Secretary Meeting room large and small

3*20 m2 100 m2 30 m2 + 15 m2 30 m2 + 50 m2

Film Archive Books and Magazines Photography Film Posters Sketches and Drawings Costumes Technical Devices and properites

100 m2 50 m2 50 m2 50 m2 50 m2 50 m2 50 m2

Services and supporting facilities storage technical rooms prayer room restrooms cloak rooms /lockers maintenance workshop

4 * 20m2 3* 20 m2 3* 20 m2 2* 40 m2 20 m2 repeated 2* 20 m2 3* 50 m2

total

7,400 m2

Public Entrance security (counter to pass at entrance) reception desk/ticket counter with back office storage+cleaning restrooms+wardrobe/lockers

300 m2 10 m2 30 m2 50 m2 20 + 20 +20 m2

Event Space indoors

600 m2

Lobby / hall bookshop / giftshop Cafeteria/Restaurant incl. service and kitchen Terrace

300 m2 50 m2

outdoor space

12

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GUC Architecture and Urban Design Program Bachelor Studio 2016 | Building Technology Thomas Loeffler | Martin Saehlhof | Hassan Abdallah | Ahmed Ghazy | Islam Tarek

Egyptian Film Museum Downtown Cairo

First Phase Mayar Amr Elsemary 28/3152 March 2016

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Noise Collage

MAYAR AMR ELSEMARY

EGYPTIAN FILM MUSEUM

THE FILM CAMERA JOURNEY

Solid / Void

EGYPTIAN FILM MUSEUM

Noise Intensity Map

Street Pattern / urban fabric

Different types of transportation means

Vendors & Shopers

Bus Stops & Transportation hubs

Concept COLLOQUIUM 1 l BACHELOR PROJECT l SPRING 2016 BUILDING TECHNOLOGY l ARCHITECTURE AND URBAN DESIGN PROGRAM l GUC

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MAYAR AMR ELSEMARY

EGYPTIAN FILM MUSEUM

A

A

A

Third Floor Plan 1.500

Ground Floor Plan 1.500

A

A

Side Elevation 1.500

Side Elevation 1.500

Front Elevation 1.500

First Floor Plan 1.500

COLLOQUIUM 1 l BACHELOR PROJECT l SPRING 2016 BUILDING TECHNOLOGY l ARCHITECTURE AND URBAN DESIGN PROGRAM l GUC

A

Site Plan 1.1000

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MAYAR AMR ELSEMARY

EGYPTIAN FILM MUSEUM

Sketches

COLLOQUIUM 1 l BACHELOR PROJECT l SPRING 2016 BUILDING TECHNOLOGY l ARCHITECTURE AND URBAN DESIGN PROGRAM l GUC

Inspirations

GUC Architecture and Urban Design Program Bachelor Studio 2016 | Building Technology Thomas Loeffler | Martin Saehlhof | Hassan Abdallah | Ahmed Ghazy | Islam Tarek

Egyptian Film Museum Downtown Cairo

Second Phase Mayar Amr Elsemary 28/3152 March 2016

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MAYAR AMR ELSEMARY

EGYPTIAN FILM MUSEUM

Cinema Halls

Exploded

Slabs

Transitional Translusant Frames

Solid Frames

COLLOQUIUM 2 l BACHELOR PROJECT l SPRING 2016 BUILDING TECHNOLOGY l ARCHITECTURE AND URBAN DESIGN PROGRAM l GUC

3D Explosion

Exhibition Concept

Circular Motion

Frames with Slabs

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MAYAR AMR ELSEMARY

EGYPTIAN FILM MUSEUM

A

Ground Floor Plan 1.500

B

B

Side Section A-A 1.500

Side Elevation 1.500

Front Elevation 1.500

Ground Floor Plan 1.500

COLLOQUIUM 2 l BACHELOR PROJECT l SPRING 2016 BUILDING TECHNOLOGY l ARCHITECTURE AND URBAN DESIGN PROGRAM l GUC

A

Site Plan 1.1000

58

MAYAR AMR ELSEMARY

EGYPTIAN FILM MUSEUM

First Floor Plan 1.200 COLLOQUIUM 2 l BACHELOR PROJECT l SPRING 2016 BUILDING TECHNOLOGY l ARCHITECTURE AND URBAN DESIGN PROGRAM l GUC

Side Section A-A 1.500

Ground Floor Plan 1.200

59

MAYAR AMR ELSEMARY

EGYPTIAN FILM MUSEUM

COLLOQUIUM 2 l BACHELOR PROJECT l SPRING 2016 BUILDING TECHNOLOGY l ARCHITECTURE AND URBAN DESIGN PROGRAM l GUC

Third Floor Plan 1.200

Seconf Floor Plan 1.200

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MAYAR AMR ELSEMARY

EGYPTIAN FILM MUSEUM

COLLOQUIUM 2 l BACHELOR PROJECT l SPRING 2016 BUILDING TECHNOLOGY l ARCHITECTURE AND URBAN DESIGN PROGRAM l GUC

Section A-A 1.200

Section B-B 1.200

Section Axonometric

GUC Architecture and Urban Design Program Bachelor Studio 2016 | Building Technology Thomas Loeffler | Martin Saehlhof | Hassan Abdallah | Ahmed Ghazy | Islam Tarek

Egyptian Film Museum Downtown Cairo

Final Project Sheets Mayar Amr Elsemary 28/3152 March 2016

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SCHOOL OF ARCHITECTURE AND URBAN DESIGN CAIRO CAMPUS BACHELOR DEGREE: ARCHITECTURE AND URBAN DESIGN

GERMAN UNIVERSITY IN CAIRO

ELEVATIONS SCALE 1:200

SECTION C-C SCALE 1:200

MASTERPLAN SCALE 1:500

Designing Egyptian Film Museum in a location like Attaba square was a chalenge. To Design a Museum in such a crowded , popular and busy plot was interesting.

Down town cairo seems simple and has similar plots and dustribution , However , it is so different when your look at it deeper. One half of downtown , is informal grided , irregular and islamic design street pattern with narrow streets and dead ends. On the other hand , the othe side of downtown is grided and has formal street pattern and urban fabric that is reflecting the paris-like plan of downtown cairo. Where the khedevie palaces are located and alot of famous luxuriouse Hotels.

And as every thing differs when we look deeper to it. I decided to work on the film industry and movie making devices. And i was inspired by the Film Making Camera. This decive that seems very simple just like a box , however it is very complicated and has a very special mechanizm and motion that keeps it simple but com- FORM FINDING plec.

EGYPTIAN FILM MUSEUM

Cinema Halls

Exhibition Frame

Exhibition cylinder , Cafeteria , Event Hall Frame

Screening , Educational Frame

Entrance hall , Administraion Frame

Exhibition concept and circulation

Cinema Hall

Interior Slabs

Facades

PROFESSOR THOMAS LOEFFLER TUTORS AHMED GHAZY HASSAN ABDALLA ISLAM TAREK

EGYPTIAN FILM MUSEUM

Transitional Glass Frames

Solid Frames

STUDENT MAYAR AMR ELSEMARY 28-3152

Exploded Diagram

01

HHHHH

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SCHOOL OF ARCHITECTURE AND URBAN DESIGN CAIRO CAMPUS BACHELOR DEGREE: ARCHITECTURE AND URBAN DESIGN

GERMAN UNIVERSITY IN CAIRO

SECTION B-B SCALE 1:200

SECTION A-A SCALE 1:200

GROUND FLOORPLAN 1.200

EXTERIOR APPROACH

FILM POSTERS

CAMERA EXHIBITION

INDOOR EVENT SPACE

CAFETERIA AND RESTAURANT

MEDIATHEQUE

SCREENS

BOOK SHOP GIFT SHOP

PROFESSOR THOMAS LOEFFLER TUTORS AHMED GHAZY HASSAN ABDALLA ISLAM TAREK

EGYPTIAN FILM MUSEUM STUDENT MAYAR AMR ELSEMARY 28-3152

02

HHHHH

65

HHHHH

SCHOOL OF ARCHITECTURE AND URBAN DESIGN CAIRO CAMPUS BACHELOR DEGREE: ARCHITECTURE AND URBAN DESIGN

GERMAN UNIVERSITY IN CAIRO

FACADE SECTION

FIRST FLOOR PLAN

VISUALIZATION

C

SOUND ARCHIVE

COSTUMES AND SKETCHES EXHIBITION

A

A

B

B

SEMINAR ROOM

DIGITALIZATION LAB

PROFESSOR THOMAS LOEFFLER TUTORS AHMED GHAZY HASSAN ABDALLA ISLAM TAREK

EGYPTIAN FILM MUSEUM

WORKSHOPS

DIGITALIZATION LAB

ARCHIVE AND STORAGE

WORKING SPACE

STUDENT MAYAR AMR ELSEMARY 28-3152

C

03

HHHHH

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SCREENING AND PHOTOGRAPHY EXHIBITION

A

A

B

B

SCHOOL OF ARCHITECTURE AND URBAN DESIGN CAIRO CAMPUS BACHELOR DEGREE: ARCHITECTURE AND URBAN DESIGN

GERMAN UNIVERSITY IN CAIRO

North Elevation scale 1.200

ELEVATION CONCEPT

Using transparent and translucent panels in different arrangement to maintaain the functionality of the uses behind the elevation

LARGE MEETING ROOM

TEA ROOM

SECRETARY WITH COPY AND ARCHIVE

SMALL MEETING ROOM

GENERAL MANAGER OFFICE

C

Basement Plan 1.200

Distributing the panels in vertival direction

Dividing the elevation horizontally into module of 2.5 meters according to the heigh of the floor behind the elevation

SOUND ARCHIVE

Distributing the panels into horizontal direction with spacing

Using concrete panels to emphasize the idea of the frames around all the elevaion and at the entrance voidDividing the elevation vertically into 2 meters according to the plan grid with module 2 m

SECOND FLOOR PLAN 1.200

C

VISUALISATION

TECHNICAL ROOM

STORAGE

PROFESSOR THOMAS LOEFFLER TUTORS AHMED GHAZY HASSAN ABDALLA ISLAM TAREK

EGYPTIAN FILM MUSEUM STUDENT MAYAR AMR ELSEMARY 28-3152

Reaching the final distrubution of the panels , transparent for the corridors and open spaces , and translucent panels for the rooms behind the elevaion Tadao ando like concrete cladding around the elevation to strength the framing concept and another smaller frame at the entrance

Turning the module of the curtain wall into 1 m wide and 2.5 height as it is reflecting the use of the interior spaces and help in fixing the panels easier

MAINTENANCE WORKSHOP

04

HHHHH

Appendix

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Appendix

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Appendix

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Appendix

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