The Egyptian Museum
Sunday، 17 April 2016 - 10:00 PM
• To create a world class complex of museums capable of demonstrating the development of Egyptian civilization.
• To offer educational and recreational opportunities to all its visitors.
• To expand the knowledge of visitors and enrich the quality of their experience through the interactive use of relevant techniques and technologies.
• To develop an inherent relationship between a structure of international repute and the surrounding environment. The complex, composed of roughly twenty satellites, is expected to reflect both the surrounding environment and the objects it will accommodate in its architectural design.
• To build a people and artifact friendly museum the design of which caters for the safety, pleasure and comfort of visitor's while enhancing their learning experiences.
• To stimulate ancient and neglected arts by establishing a craft center.
• To invest in Egypt's future by establishing children's museum fostering cultural awareness among future generations.
• To allow a worldwide audience to participate in the museum's programs through electronic means of communication.
• To use the information highway to create the first electronic museum in a manner designed explicitly to facilitate maximum visitor involvement and participation.
• To contribute to the development of the tourism industry by providing facility capable of attracting an additional three million tourists every year.
Museum for the Third Millennium:
The new Structure reflecting the cultural ideals of the 3rd millennium Architects are challenged to design a new museum spacious enough to accommodate the collections and allow visitors to 'navigate' along the many routes potentially offered by a modern museum. The arrangement of exhibits according to a single route would be restrictive. An evocative thematic and cultural sensitive approach to display will be necessarily put within the context of the exhibited artifacts.
The new museum is also intended to reflect both the cultural ideals and needs of today's society and the archaeology of the new millennium. It is necessary, therefore, to construct an innovative system to facilitate visitors' navigation around the museum's various exhibits in a manner that allows them to discover the spiritual, visual and historical wealth embodied in the collections.
The display of the treasures contained within the museum will effect a harmonious combination between the container and the collections contained within, between the exhibits displayed and the instruments of display and between the visitors' perception and 'scientific truth'.
The new structure will posit a new, thematically conceived relationship between the object and its surrounding space. The entire museum complex must express the particularity of the collections, which will reverberate from the inside out.
The arrangement and presentation of the collections, as well as their 'conservation', constitute the interface between the museum's function as a place of cultural preservation and its social role. Technology and design, similarly, must be towards maximizing both protection and perception. Exhibits must reflect their original settings by the innovative utilization of a variety of media. Such media may include 'normal' environmental noise pollution if this is suited to promoting greater resonance.
New Museum Site:
Egypt offers its unique site neighboring the Pyramids of Giza as a genius locus for such cultural /architectural challenge that best addresses the world's Third Millennium and Egypt's Seventh Millennium. A strong visual linkage between the new museum site and the pyramids themselves suggests architectural choices that will not waste the possibility of establishing a kind of formal dialogue. The land area of the site is 480000 m2 (117 Feddans, 50 hectares).
The Upper Corridor:
The corridor connects the chambers of the upper floor. These rooms belonged to Prince Amr Ibrahim and the museum manager, museum keepers' rooms as well as the warehouse are under restoration. You will find magnificent pieces of Persian, Iraqi, Tunisian and Moroccan pottery.
The upper floor (devoted to exhibit Iranian masterpieces) is connected to the ground through inner stairs. The upper floor is of a rectangular shape that vacuumed from the middle to see the lobby, and in the two sides of the rectangle there are four doors opened. Two of them on the left side; one of them is for conducting researches and the other one is for storage.
While the right two rooms, one for the director of the museum and the second is that of the prince. The walls of this floor is used to put fourteen showcases , in addition to two walls that exhibit two Andalusian pieces from the 16th C. Where one can see fifty one Iranian pieces, in addition to two tiles dating back the 15th- 18th century, two Iraqi bowls belonging to the 9th century, the Iranian pieces varied from bowls, jars, square or star tiles and plates.
All these ceramics belong to the luster metallic glare of “Sultan Abad's city” and the decoration consist of plants, animals, and written texts in the Persian language .There is some furniture that belongs to the palace; the first is a wooden sofa covered with a special textiles, the second thing is a box made of inlaid wood, and it is located in front of Andalusian showcase.
There is also a half circle wooden door, above it one can find an Islamic Gypsum decoration .The door itself is divided into two parts.
The lobby is situated at the museum entrance leading to the various halls as well as the door to the stairs leading to the second floor. At the sides of the large wooden museum gate, there are two small rooms; one to the left hand side used as control room and the other room to the right used as a bathroom. A marble fountain is located at the center of the lobby, with small geometrical ornaments made of the same marble tiles. In the entrance of the museum there is the lobby which is in a rectangular shape and all the galleries' doors are open on this lobby and stair for the upper floor .On the museum's wooden door both sides there are two small rooms; the left one used as a control room for all the museum and the electric panel, while the right one used as a water closet.
In the middle of the lobby there is a marble Jet with a geometric formation. The walls are covered with marble till the middle and above it there is a line of gypsum decorations but the remaining is from a soft gypsum. The marble is influenced by the Mameluke buildings.
The ceiling of the lobby is covered with a Mamlouke beautiful dome, consisting of a square that has a four colored glass lamps and from the four corners there are yokes to change the square to a circle.
In this dome there are sixteen windows of colored glass, and from the middle of the dome there is a chandelier. In the lobby's four corners there are copper oil lamps and above all the doors there are Islamic decoration at the front face of the museum's door there is a conical stove covered with a Turkish tile with a plant decoration.
The lobby has eight show cases that exhibit Turkish, Iranian and Mameluke masterpieces. One of these pieces is an Iranian Ewer ends with an animal head and another Mameluke bowel that has some written texts on it.
There are some modern furniture added to the lobby as a preparation for holding musical concerts and cultural seminars. They add a wooden stand, microphones, a piano and a circular wooden table designed on the Islamic style.
Gallery of Egyptian style:
The Egyptian hall located immediately next to the Turkish hall without a separator. The floor is made of marble tiles. The ceiling is ornamented with geometrical shapes composed of star, plate motifs with geometric shaped plant ornaments assembling the star plates. Gallery of Egyptian style (Mameluke – Ayyoubide – Ottoman – Omayyade)
Gallery of Egyptian style is nearby the Turkish one devoted to exhibit many masterpieces made in Egypt throughout different ages. This gallery has a rectangular shape with a marble floor, red with a Turkish tiles on blue, white and scarlet colors; these tiles at he ceiling is consisted of repeated units as the star plate. Half the walls are lined from upper and lower edges with a light blue tiles and decorations are a plant's leaf.
There are six different show cases that exhibit 39 Egyptian pieces that are characterized with simplicity. These pieces are oil lamps, plates, bowls, tiles, jars (ollas) opening filtrations.
The Turkish hall is located to the left -hand side of the museum gate. It is rectangular in shape with one large window facing the hall gate and another small window to the left of the hall's entrance. Both windows are made of wood arabesque. Turkish Gallery is allocated on the left side of the entrance that has a rectangular shape. In the front face of the door there is a large window while in the left side there is another small one.
The Gallery's wall till the mid height is decorated with blue, white and scarlet Turkish tiles; they are lined from both the upper and the lower edge with a light blue tiles on it. The decorations are of dark blue plants, while the second upper half of the wall is decorated with molded gypsum and near the ceiling there is a repeated sentence “no winner except Allah” ; and the ceiling's decoration is the “star plate” .
In the gallery's right side there is a conical stove on blue Turkish tiles has the sentence (Full blessing – entire felicity) on it, above that (no winner except Allah) is repeated and there are two squares, in the first the word “Allah” and in the other is “Mohammed” the prophet.
The Floor is from marble, in the middle there is a geometric formation. It is a large square surrounded with other eight small squares, then four large ones, in between them there are four large rectangles decorated with geometric formations.
The gallery has twelve show cases of different sizes; and large one in the middle; the total pieces are 96 Turkish works; they are varied as, plates, bowls jugs, jars, ewers, qumqums, Canteens, suspending balls, and tiles. The Turkish era is well known with plant decorations and animal ones are rarely used; the preferred colors are blue, green, white and scarlet.
The door of the gallery is from wood and decorated as the star plate. The Turkish Gallery is annexed to the Egyptian one ( Mamlouke, Ayyoubid, Omayyad, Ottoman ) through a horseshoe like arch and both sides are decorated with vases of flowers .
The Fatimide hall is located on the right hand side of the museum gate and it is rectangular in shape. Its entrance is in the form of a semi circle, the hall has three windows; the medial is the largest in size. On the two sides of the entrance, two sittings of wood coated with velvet originally from the palace furniture.
Fatimide's Gallery (devoted to exhibit Fatimide's Ceramics works) is located right of the entrance. It takes a geometric form, looks like a rectangle,. in front of the door there is as half a circle with three windows ; the middle is the biggest while the other two are small .
Right and left the door, there are two wooden sittings padded with velvet, from the palace's furniture that has Islamic geometric formations.
In addition to that there is a rectangular wooden table, inlaid with oyster on geographic formations and Turkish texts; beside the table from both sides there is a mosque drawing with its dome and minaret.
The walls of the gallery are decorated with Turkish tiles in blue, white and scarlet colors. Decorations take geometric formations at the center of each one rounded with small flowers and from the upper side it is lined with blue tiles with white and light blue plants.
The upper half of the wall to the ceiling is made of gypsum taking intertwined plants decorations ( Arabesque ) and the ceiling has the “star plate” decoration which has inside it the palace owner name “Prince Amro Ibrahim” that is well known in Islamic ceramics .
The sentence “no winner except Allah” which is the insignia of “Bno Al Ahmar” in Al Andalusia is repeated on the wall, and at the end of the wall there is a line of a Quran text. From the ceiling there is a round Islamic style chandelier. At the arches of the gallery there are four small kilns, in addition to two lamps on both sides of the window. All gallery's doors and windows are decorated with geometric Islamic Style.
In the same Gallery there is a conical stove of a blue tile with flowers and leaves as grapes leaves and carnation flower; it has some texts written on it such as (Full blessing – entire felicity) while on the upper sides of it there is the sentence “no winner except Allah” and there are two squares written inside the first “Allah” and in the second “Mohamed” the Prophet.
There is a marble dining table in the middle of the Gallery as it was prepared to be a dining room. In the mid of this table there is a watercourse (used to keep the food hot by heating this water), and it is used in exhibiting some works on it.
The total exhibits on the table are 19 pieces (16 plates and 3 jars) differ in shape and size, but they are similar in decoration and brightness which is clear in the Fatimide's works from (10-11-12 centuries) but one plate from 19th century.
On both sides of the door there are two other marble tables, on each one there is a showcase to jugs, jars, oil lamps, ceramics seal, bowls and small vases. In the front face two marble tables have show cases to show some acquisitions as jar's (ollas) opening filtrations.
Moreover there are two other showcases for small works such as; ceramics seals, and Jar's opening filtrations which are characterized with accuracy. In addition to that there is some other wooden furniture used to show the unplaced Jar opening filtrations.