Nubian museum

The Aga Khan Award for ArchitectureThe Aga Khan Award for Architecture

Nubian MuseumAswan, Egypt

Architect:

Mahmoud El-Hakim

Cairo, Egypt

Consultants:

Arab Bureau for Design and Technical Consultation

Cairo, Egypt

Landscape Architects:

Dr Werkmeister & M Heimer Landscape Architects

Hildesheim, Germany

and

Sites International Landscape Architects

Cairo, Egypt

Clients:

Nubian Antiquities Salvage Fund

Supreme Council of Antiquities

Cairo, Egypt

Sponsors:

UNESCO - ICOM (International Council of Museums)

Paris, France

Date of Completion:

1997

1447.EGY

Table of Contents

2001 Technical Review Summary (20 pages)

2001 Architect’s Record (5 pages)

2001 Project Data Form (1 page)

Architect’s Presentation Panels (10 panels on 5 pages)

Images and Drawings (20 pages)

List of Visual Materials (18 pages)

List of Additional Materials (1 page)

Lists of Slides (1 page)

Nubian Museum Aswan, Egypt I. Introduction

The Nubian Museum celebrates the culture and civilization of the Nubian region of Egypt from prehistoric times to the present. It is located in the city of Aswan, on the eastern bank of the Nile, 899 kilometres south of Cairo. The museum is a three-storey building with an outdoor exhibition area. It houses the main finds of the UNESCO salvage campaign carried out at the time of the building of the High Dam, which eventually flooded that whole region. Another major exhibit is a diorama which shows the daily life of Nubian villagers. It is a community museum with an education section that organizes trips, lectures and workshops for schoolchildren, and cultural events for the public at large. In April 2000 the museum was approved by UNESCO as a centre for museology and the preservation and conservation of archaeological remains for Africa and the Middle East.

II. Contextual Information a. Historical background

Egypt consists of five well-defined regions: the Delta, the Valley, the Eastern desert, the Western desert and Nubia. The region called Nubia today stretches along the Nile from Aswan south to Dabba in Sudan. The name Nubia is said to come from the ancient Egyptian ‘nbu’, which means gold, in reference to the famous gold mines of the area. Historically, Nubia’s position as Egypt’s gateway to the rest of Africa made it an important trade centre. The Nubian people were settlers, who lived by agriculture, trade and pastoral activities. During the Old Kingdom, Nubia maintained its independence from Egypt but from the Middle Kingdom until the Thirteenth Dynasty it came under the domination of Egyptian kings. The Egyptians ruled Nubia again in the Eighteenth Dynasty, but through local governors and when the Twenty-Fifth Dynasty was established, Nubian rulers enjoyed a time of independence, political stability and economic prosperity. Even the Roman emperors, who showed great interest in Nubia, allowed it to retain independence under their sovereignty. By the end of the sixth century AD Nubia had converted to Christianity. In the eighth and ninth centuries, political and economic stability again brought prosperity to the region. Nubia’s conversion to Islam occurred gradually through intermarriage with Arab traders. Muslim leaders from Egypt sent expeditions to Nubia but it wasn’t until the sixteenth century that its conversion was complete. Today, there is no political entity called Nubia. Its lands now lie partly in Egypt and partly in Sudan, with most of the northern region completely submerged under Lake Nasser following the building of the High Dam.

b. Local architectural character

Traditional Nubian architecture is either the vernacular architecture of the villages, built in mud brick, or the architecture of the great temples. These were simple buildings of granite or

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stone consisting of one or more gateways leading to a colonnaded courtyard, which led in turn to a hypostyle hall, followed by a vestibule and then the sanctuary, usually at the highest level. Nubian villages spread along the Nile in clustered terraces, and throughout Nubia the principal entrances to houses face the river. The main entrance opens onto a courtyard with mastabas – raised seating areas. The rooms of the house are arranged along the courtyard’s far wall, the most important being the mandara, or guest room, which has a separate entrance and a catenary vault roof. Some living rooms – called tents or khayma – are simply open with a flat roof of palm branches. The houses are of mud, mud brick or stone, plastered inside and out by the women and children, who decorate the walls, especially the entrances, with bright and colourful designs. The roofs of the houses are of palm trunks or timber beams covered with palm thatch. Small openings at high level help to circulate the air brought into the house via the courtyard, which acts as a ventilating space and a ‘private piece of sky’ for the benefit of the household.

c. Climatic conditions

Aswan is in a dry, temperate zone which enjoys a very mild climate in winter, making it a favoured winter resort since the beginning of the nineteenth century. It rarely rains, although torrential downpours occur every four or five years. The prevailing winds are from the north-east. Sandstorms come from the west during spring but last only a couple of days. In winter the temperature ranges from a maximum of 26˚C to a minimum of 10˚C, with a humidity maximum of 56 per cent. In the summer months the temperature can reach 42˚C, becoming mild at night at a minimum of 26˚C. The humidity in May goes down to 7 per cent.

d. Immediate surroundings

The museum is in the hotel district of Aswan. To the east is the main road to the airport, which divides the site from two of Aswan’s key attractions, the Fatimid Cemetery and the Unfinished Obelisk. To the west is a local road which provides access to the site. A number of major hotel developments along this road have obscured the view to the Nile. The land along the northern boundary of the site is marked on the plans as public garden. Only a water tank at the top of the hill is visible from the museum site. The southern edge has an observatory structure but is mainly undeveloped. The architecture of the immediate surroundings is mainly of modern concrete construction in the ‘International Style’.

e. Topography

The museum sits on a ridge running south-west of Aswan between the Nile Valley and the road to the airport. The site is an ancient Pharaonic granite quarry for obelisks and statues. The slope to the east is rather steep and the building platform sits 15 metres higher than the main road, a gradient of approximately 30 per cent. The west slope is gentler with the western road following up towards the museum.

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III. Programme a. What conditions gave rise to the formulation of the programme?

The foundation stone of the High Dam was laid on 9 January 1960 and the dam was opened on 15 January 1971. As a consequence a section of the Nile Valley was flooded to form Lake Nasser. This necessitated resettlement of 40,000 Nubians, movement of temples that would otherwise be submerged and excavation of the land before it disappeared under water. The International Campaign to Save the Monuments of Nubia was launched by UNESCO in 1960. It ran forty archaeological missions from five continents and managed to move twenty-two monuments in twenty years. With the Egyptian government, UNESCO decided to establish the Nubian Museum at Aswan and the Egyptian Civilization Museum in Cairo to exhibit the finds of the excavations. To this end, a UNESCO executive committee was formed, consisting of fourteen members from different countries (one of which was Egypt), with observers from ICOM (International Council of Museums), IFLA (International Federation of Landscape Architects) and ICOMOS (International Council on Monuments and Sites).

b. Objectives

The Nubian Museum is part of a wider policy of the Supreme Council of Antiquities (formerly the Egyptian Antiquities Organization) to showcase Egypt’s many civilizations over the centuries. The museum contains not only three thousand objects found in the UNESCO expeditions, representing the history of the area from the prehistoric, Pharaonic, Roman, Coptic and Islamic ages, but also a diorama of the daily life of the Nubian people, who sacrificed their homes for the continued progress of the Egyptian nation.

The museum is also a celebration of the amazing combined effort of the people of the world in response to the international appeal launched by UNESCO in 1960. It aims to play the role of ‘community museum’ through its education section, which organizes school trips around the museum itself and also to neighbouring temples, and hosts cultural events by Nubian artists in the outdoor amphitheatre (organized by the Ministry of Culture and recently brought under the management of the Egyptian Opera House). The museum is now also a centre for the preservation and conservation of archaeological remains from Africa and the Middle East under the supervision of ICOM.

c. Functional requirements

According to the architect’s report submitted in March 1983, the list of accommodation was as follows: main exhibition hall; temporary exhibition hall; lobby with shops; ticket and information office; lecture room; VIP lounge; cafeteria; public toilets including facilities for the disabled; administration areas including a trustees’ meeting room; a library; an education department with schoolroom, workshop, patio, etc.; storage for exhibits; various workshops; restoration facilities and laboratories; security and workers’ quarters; a service entrance for

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exhibits and staff with one control point; service lifts; and a service yard with all building utilities.

IV. Description a. Building data

The total area of the museum is 10,110 square metres, with a ground-floor area of 7,000 square metres on a 50,000-square-metre site. The project is in two sections: the museum building, which is in one volume, and the landscaped outdoor exhibition. The building comprises three storeys. On the ground floor are the main entrance hall; shops; the temporary exhibition hall; VIP lounge and associated service areas; a 150-seat lecture theatre with three translation booths; public toilets; security and administration offices; staff living quarters and facilities area; and lifts for visitors, staff and services.

On the first floor are the cafeteria (with a kitchen service); the library; administration offices and meeting room. At basement level are the main exhibition space of the museum, measuring 3,500 square metres, and the diorama; the education section with its own entrance from the garden and reception area, workshop, classroom, servery and dining area, children’s toilets and outside theatre; the restoration studios, comprising five laboratories – papyrus and fabric, organic, metal, inorganic, and a fumigation lab – as well as other facilities; the main storage areas; exhibition workshops; and the service yard with generator room, air-conditioning units, electrical room, boiler and loading platform.

The outdoor exhibition area includes a cave housing prehistoric drawings of animals; a Nubian house; an outdoor theatre for five hundred people; various exhibition pieces; two shrines – the maqqam of Saida Zeinab and the maqqam of the 77 Walis; one musalla (place of prayer) – Qubat Al-Mukhasal; and several graves, said to be Fatimid, Roman and Coptic in origin. A water canal represents the River Nile, surrounded by local flora and fauna.

c. Evolution of design concepts

The positioning of the building was planned jointly by the architect, Dr El-Hakim, and Dr Werkmeister, the first landscape architect to work on the project. The museum was placed on the ridge of the site to preserve rock formations and provide an open view of the Fatimid Cemetery and the Unfinished Obelisk to the east. An overpass across the main airport road was even proposed to link these three sites, making the museum part of a tourist circuit. The entrance is located on the west side of the building, oriented towards the Nile in the same way as traditional Nubian houses. The building is organized so that the main exhibition hall is placed centrally between the educational facilities to the north and the laboratories and service areas to the south. The massing of the building follows the contours of the site and

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blends well with the rock formation. The taller central zone was intended by Dr El-Hakim to reflect the architecture of the Pharaonic temples.

Dr El-Hakim’s concept for the internal planning of the museum was a series of ramps leading along the walls to a platform where the entire exhibition area would have been open to view, with the statue of Rameses II in the centre, lit from above by a skylight. The flow of the exhibits would end at the lowest point of the museum, at the eastern portico, leading to the outdoor exhibition areas. Due to the client’s misunderstanding that the ramps were for disabled visitors and therefore superfluous since there are two lifts, the ramps and walls were dropped from the scheme, and visitors now descend directly into the exhibition area via steps. Due to security considerations, the garden access was eliminated and the exhibition flow now ends at the foot of the stairs leading back to the main entrance.

The façades are all clad in hand-textured local sandstone built in alternating courses 30 and 60 centimetres wide. The windows are long, narrow, lozenge-shaped openings, grouped in pairs. An open triangle motif, used on the west façade, is taken from traditional Nubian vernacular architecture.

The concept behind the landscaping was the preservation and celebration of the granite rock formation. Dr Werkmeister even designed a rock formation that would climb the building from the east and link a roof garden to the rest of the scheme below. A stream of water would emanate from this formation for the irrigation of the plants, ending in a small pond at the Nubian ‘village’.

In 1988, Dr Leila Masri of Sites International became involved in landscaping the project. Her concept was that the landscape should represent the Nile Valley and she organized the outdoor exhibition area chronologically, starting with the prehistoric caves, then the Nubian village and the amphitheatre, and so on, ending at the front entrance of the museum. Both designers envisaged entry to the garden to be from the lowest point of the internal exhibition as a continuation of the experience, and both linked the roof garden to the main garden with a rock formation. They also specified similar indigenous plants, requiring little soil and water, because the granite terrain makes plant propagation very difficult – it has been necessary to drill in order to create drainage channels and add soil for the planting. Sites International introduced waterfalls into the stream to reflect the cataracts that were historically so important to the Nubian environment. The ‘source of the Nile’ was to start from the rock formation that abutted the building. Abundant planting was intended to reflect crops. All paving and hard landscaping is of granite and sandstone. This was the first landscape project in Egypt carried out by an Egyptian firm.

The maqqama are run by Sufi sheikhs who hold dhikr (a remembrance ritual dedicated to Sufi saints) on Saturdays and Sundays. Independent access has been provided and the Supreme Council of Antiquities has upgraded the sites, adding services such as drinking fountains, toilets and seating areas at a cost of EGP 300,000.

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c. Structure, materials, technology

The structural system of the museum is a reinforced-concrete frame with concrete block infill panels. The walls are cavity walls of 25 blocks, then 10 voids, then 25 more blocks, clad with 15 centimetre-thick sandstone dry-fixed on the outside and pink granite on the inside, except in one exhibition area where the internal wall finish is plaster. The floors are also of pink granite.

The roof-slab is of reinforced concrete with waterproofing and 7-centimetre extruded styropore for insulation, covered with granite tiling because the roof was originally intended to be a roof terrace. The ceilings in the exhibition areas are open-timber grids set out to reflect the wall layout of the museum and provide maximum flexibility for the moving of lights and services.

The building is completely air-conditioned and artificially lit, even during the day, in all parts. The air-conditioning system runs twenty-four hours a day at various capacities appropriate to the exhibits. The air-conditioning load is 300 tonnes per hour, designed for an ambient temperature of 42˚C and a required temperature of 24˚C. The system runs on two chillers, each with two sections, and fourteen air-handling units, which give some flexibility to the system. However, at the engineer’s office an analysis by the reviewer of the loads found that the exhibition areas (including the temporary exhibits and the diorama) require only 112.5 tonnes, i.e., one-third of the total load. The electrical load is 900 KVA and the building is provided with two generators. The water feature in the garden is a completely closed-circuit system and the water pumped around it is changed once every four months. Irrigation is through a combination of sprinkler and drip systems.

d. Origin of technology, materials, labour force and professionals

The project employs the international technology of reinforced-concrete frame with infill blocks. The labour force are all local but the architects, consultants and contractors are from Cairo, with the exception of the original landscape consultant, who was German, and the designer of the display system, who is Mexican.

V. Construction Schedule and Costs a. Project history

The project was awarded to Dr Mahmoud El-Hakim in December 1979. Between then and April 1983 Dr Al-Hakim created five different schemes to accommodate changes requested by the client. The fifth scheme, dated 5 April 1983, was approved by the client, the Supreme Council of Antiquities. On the basis of this design the landscape architect, Dr Werkmeister, drew up his proposal and the architect provided 80 per cent of his working drawings. These were submitted to the client on 15 September 1983. A meeting to review the project by UNESCO was held at the end of September in Paris, to which the architect was not invited. The scheme was misunderstood and the architect was asked to review his work in light of the

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comments made. Because these comments, which would have changed the design considerably, were based on a misreading of the drawings, the architect responded to UNESCO’s report explaining himself in writing. The architect received a cancellation of his contract on 25 August 1984 on the grounds that he had missed the original deadline of 15 February 1980 for the submission of working drawings. After the architect’s dismissal, the project was taken over by the Arab Bureau for Design, the engineering consultants brought in by the architect. His inheritors sued the client successfully for the wrongful cancellation of the contract and were paid all the fees for his work.

From September 1984 until October 1985 the Arab Bureau altered the drawings to fit the client’s requirements. The museum as built is basically to the design of Dr El-Hakim. Changes were made in the internal circulation of the exhibition area, the shape of the skylight there, and the windows. Construction started on site in 1986 and was halted in 1991 with the building constructed but not fitted out. The project stopped for five years until 1996, when the building was fitted out and the landscaping finished. Sites International became involved at the end of 1988, and finished working drawings in 1991. They started work on site in 1996. The building was inaugurated on 23 November 1997 by President and Mrs Mubarak, with two hundred dignitaries from all over the world. The opening of the museum made the front page of the daily newspaper, Al-Ahram. The building was opened to the public in December 1997.

b. Total costs and main sources of financing

The total cost of the building without the land or the interior fit-out is EGP 57 million (approximately USD 15 million). The project was completely funded by the Egyptian government, except for the cost of the display consultant, who was paid by UNESCO.

Breakdown of costs: Infrastructure : EGP 4,200,000 (USD 1,105,000). Labour: EGP 14,280,000 (USD 3,758,000). Materials: EGP 23,520,000 (USD 6,200,000). Landscaping: EGP 15,000,000 (USD 3,900,000). Professional Fees:

Structure and engineering: design 3%, supervision 3%. Landscape: design 4%, supervision 3.5 %. Interior: design 5%, supervision 5%. Exhibit fees: EGP 875,000 (USD 250,000).

c. Comparative costs

It is very difficult to compare the cost of this museum to others as it took a total of eleven years to build, with a hiatus of five years.

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d. Qualitative analysis of costs

Building cost: EGP 2,065 (USD 590) per square metre Landscape: EGP 420 (USD 120) per square metre Furniture and equipment: EGP 1,340 (USD 383) per square metre

e. Maintenance costs

The maintenance cost is EGP 1,250,000 per year, not including the salaries of the ten maintenance staff required to run the building, who are paid by the Egyptian government.

VI. Technical Assessment a. Functional assessment

The interior display functions well in terms of flow. Disabled access is provided to all parts of the building. However, the break in continuity between the indoor and outdoor exhibits is regrettable, as visitors miss out on one of the designer’s key features – the view across to the Fatimid Cemetery. This change of access also makes the chronological order of the outdoor displays hard to follow.

The lighting for some of the display cabinets and statues is very low, making it difficult to see them and weakening their hold on the viewer’s interest. The truncation of the first view of the statue of Rameses II, now partially hidden by a difference in levels, is also unfortunate. The client seems happy with the building as a centre of restoration and it has the largest facilities in Egypt but it currently seems under utilized.

b. Climatic performance

The main orientation of the museum responds to the topography of the site and not the climate. The building is totally air-conditioned and artificially lit, even in the education section, cafeteria, offices and so on. The only concession to climate is the double-wall construction and the western portico, which shades the entrance from the sun. The ticket office, however, has no shading to protect waiting visitors. There are no treatment systems for either water or rainfall due to the dry climate and the function of the building.

Although the rock formations of the site have been preserved, the ‘River Nile’ is a closed circuit of water that requires constant pumping. Moreover, the existing garden has several features that are not according to the design of Sites International. The rock formation, which was planned to rise to the roof of the building, has not been built and now the ‘source of the River Nile’ is a mound that stands alone approximately 3 metres from the building. Three water jets have been added to the ‘River Nile’ and patches of lawn have appeared in several places. There are no shaded areas at all for sitting and enjoying the gardens, although ‘London park’-type benches are now being manufactured at the museum as seating for the garden.

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c. Choice of materials, level of technology

Local material is used to clad both the inside and outside of the museum. The project employs the modern technology of building in reinforced concrete with block infill. It is a well-finished building. Seismic regulations were introduced into Egyptian building law in 1994, after design of this building was complete. The Aswan Fire Department controlled the fire aspects of the design. Four years ago, after torrential rain, the building did leak but was then, apparently, properly waterproofed. The local climate is seeing some changes due to the creation of Lake Nasser.

d. Ageing and maintenance

The building is ageing well considering that it was completed in 1991. The only ageing problems it may suffer will be to due to the mechanical aspects of the project: the air-conditioning system, lighting and pumping of water around the site will require constant maintenance. The building itself will not need extensive maintenance as its finishes are all hardy and well detailed, from the external sandstone finish to the granite on the inside walls and floors. Four years after completion the building is undergoing maintenance/upgrading work, at an estimated cost of EGP 200,000 (USD 57,000), mainly in the basement areas, where finishes are being improved.

e. Design features

The project is well integrated into the site. The massing of the exterior works very well with the topography. The use of natural stone also helps in blending the building with the landscape. The project has very little impact on its site. It is accessible on foot by tourists. School parties are carefully organized so that there is no overcrowding. As it is situated in a tourist district, there are no residences that would be disturbed by any increase in traffic. The project is very successful with both tourists and local Nubians. At times, organizers have to divide parties between the garden and the building to accommodate everyone. The visitor numbers for last year are: 70,000 foreigners; 61,000 Egyptians; 8,300 foreign students; 36,300 Egyptian students; and 22,500 schoolchildren. The museum earned just over EGP 1,400,000 (USD 400,000) last year.

The main feature of the interior display is the statue of Rameses II (1304–1237 BC), the builder of the great temple at Abu Simbel. This statue is unique because it retains some of its colour. Due to an unfortunate interior arrangement, when visitors first enter the museum they see the statue from just below his shoulders to his knees. They must then descend twenty-eight steps to the lower level of the museum before they can see the statue in its entirety.

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The policy of the museum organizers is to use artificial lighting throughout and they have even closed off the skylight in the main hall, originally designed to illuminate the statue of Rameses. The objects are lit by fibre-optic light sources, which are completely safe. The level of light, however, is very low – whether due to design or bad maintenance is not clear. The use of pink granite everywhere, on walls and floors, adds to the dimness of the interiors and in some cases interferes with the visibility of the statues on display. Environmental control is monitored daily and controlled manually. Humidity is controlled through silicon gel placed in special drawers in the display cabinets. There is no seating in the museum exhibition areas; even the guards have nowhere to sit.

VII. Users a. Description of those who use or benefit from the project

The Nubian Museum is open in two shifts: in the morning, from 9.00am until 1.00pm, and in the evening, from 5.00pm until 9.00pm, seven days a week, all year long. This allows tourists to visit other sites during the day and enjoy the museum and Aswan’s evening climate at night. The users of the museum are: foreign tourists, who pay EGP 20 (USD 5), and Egyptian tourists, who pay EGP 2 (USD 0.5); Egyptian visitors to the Nubian performances (admission free); and school parties (admission free). This museum is the first in Egypt to have an educational section. Students are offered lectures and workshops as well as guided tours. Plans are also underway to utilize this section in the evenings for teaching young women, aged from eighteen to thirty-five, traditional crafts and literacy.

The museum is also used by restorers and museologists from throughout the region. It hosted four workshops in the year 2000, including one for ICOM’s Programme for the Development of Museums in the Arab States, attended by fifteen countries. A total of 120 staff members is required to cover the double shift (twenty administrative, forty security, ten educational, ten conservators, ten building technicians, thirty building maintenance). In the year 2000, the number of visitors to the museum reached a total of 198,215. Approximately half were Egyptian, not counting the schoolchildren, who numbered 22,489.

b. Response to project

Architectural professionals like the project and are impressed with the level of finishing, taking into account the Egyptian context. They find that the building sits well in the environment but that the garden is artificial. The use of sandstone as a cladding material for a Nubian museum has been questioned in light of the tradition of mud brick architecture in this region, particularly in Nubia. The local people are very proud of their museum. They bring their visitors to see it and feel it reflects their way of life. Their favourite section is the diorama, which has provoked interest

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and strong memories. Local users complain about the low level of illumination of the objects, the lack of seating areas both inside and outside the building and the absence of guides, as some visitors are illiterate. The museum plays a very important role in informing the rest of Egypt about the rich Nubian culture, combating prejudice against what some consider to be a backward part of Egypt.

Some of Aswan’s main hotels are in the vicinity of the museum. Hence its neighbours are tourists, who like the project but have complained about the low levels of illumination and the lack of labels on plants in the gardens.

VIII. Persons involved a. Identification

The Supreme Council of Antiquities: client. Ossama A W Abdel Meguid: museum director. Dr Mahmoud El-Hakim: architect. Consultants:

Arab Bureau for Design: design and technical consultation. Mohamad Yusri Abdel Khalik: project architect. Samir Halawa: mechanical engineer. Shahrazad Abdel Fattah: electrical engineer. Mohamad Hafez: structural engineer. Dr Werkmeister, Dr Werkmeister & M Heimer Landscape Architects: original landscape architect. Dr Leila Masri, Sites International: final landscape architect. Pedro Ramerez Vazquez: museum art display designer.

Contractors: Hassan Allam, Al-Nasr General Contracting Company. Silver Knight Exhibitions Ltd., interior contractors.

Hana Alamuddin May 2001

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List of Visual Materials

Nubian Museum, Aswan, Egypt

No VM Num CD Id IMG Ord VM Title Date Photographer Format Copyright

1 R010407 Interior displays 01.06.2001 KONRAD Aglaia 18x28 Y2 R010408 Interior displays 01.06.2001 KONRAD Aglaia 18x28 Y3 R010409 Interior displays 01.06.2001 KONRAD Aglaia 18x28 Y4 S212923 25.03.2001 LATIF Gamil 24x36 Y5 S212924 25.03.2001 LATIF Gamil 24x36 Y6 S212925 25.03.2001 LATIF Gamil 24x36 Y7 S212926 25.03.2001 LATIF Gamil 24x36 Y8 S212927 25.03.2001 LATIF Gamil 24x36 Y9 S212928 25.03.2001 LATIF Gamil 24x36 Y

10 S212929 25.03.2001 LATIF Gamil 24x36 Y11 S212930 25.03.2001 LATIF Gamil 24x36 Y12 S212931 25.03.2001 LATIF Gamil 24x36 Y13 S212932 25.03.2001 LATIF Gamil 24x36 Y14 S212933 25.03.2001 LATIF Gamil 24x36 Y15 S212934 25.03.2001 LATIF Gamil 24x36 Y16 S212935 25.03.2001 LATIF Gamil 24x36 Y17 S212936 25.03.2001 LATIF Gamil 24x36 Y18 S212937 25.03.2001 LATIF Gamil 24x36 Y19 S212938 25.03.2001 LATIF Gamil 24x36 Y20 S212939 25.03.2001 LATIF Gamil 24x36 Y21 S212940 25.03.2001 LATIF Gamil 24x36 Y22 S212941 25.03.2001 LATIF Gamil 24x36 Y23 S212942 25.03.2001 LATIF Gamil 24x36 Y24 S213134 Lower ground flr/working drawing 9/1983 15.03.2001 ALAMUDDIN Hana 24x36 Y25 S213135 Mezzanine floor plan/WD 9/1983 15.03.2001 ALAMUDDIN Hana 24x36 Y26 S213136 Elevations, E W/WD 9/1983 15.03.2001 ALAMUDDIN Hana 24x36 Y27 S213137 Elavations/N S/WD 9/1983 15.03.2001 ALAMUDDIN Hana 24x36 Y28 S213138 Sections AA-BB/WD 9/1983 15.03.2001 ALAMUDDIN Hana 24x36 Y29 S213139 Sections EE-FF/WD 9/1983 15.03.2001 ALAMUDDIN Hana 24x36 Y30 S213140 Stair details/working drawing 9/1983 15.03.2001 ALAMUDDIN Hana 24x36 Y31 S213141 Sections details/WD 9/1983 15.03.2001 ALAMUDDIN Hana 24x36 Y32 S213142 Cover/design drawing 5/1983 15.03.2001 ALAMUDDIN Hana 24x36 Y33 S213143 Layout/design drawing 5/1983 15.03.2001 ALAMUDDIN Hana 24x36 Y34 S213144 Upper ground flr/design drawiing 5/1983 15.03.2001 ALAMUDDIN Hana 24x36 Y35 S213145 Mezzanine floor plan/DD 5/1983 15.03.2001 ALAMUDDIN Hana 24x36 Y36 S213146 Ground floor plan/design drawing 5/1983 15.03.2001 ALAMUDDIN Hana 24x36 Y37 S213147 1st floor plan/design drawing 5/1983 15.03.2001 ALAMUDDIN Hana 24x36 Y38 S213148 Sections elevations/DD 5/1983 15.03.2001 ALAMUDDIN Hana 24x36 Y39 S213149 General layout landscape 15.03.2001 ALAMUDDIN Hana 24x36 Y40 S213150 Lower ground floor 15.03.2001 ALAMUDDIN Hana 24x36 Y41 S213151 Sections elevations 15.03.2001 ALAMUDDIN Hana 24x36 Y42 S213152 General photos 15.03.2001 ALAMUDDIN Hana 24x36 Y43 S213153 Topography/working drawing 9/1983 15.03.2001 ALAMUDDIN Hana 24x36 Y44 S213154 Sites Int.-landscape design 15.03.2001 ALAMUDDIN Hana 24x36 Y45 S213155 Location map 15.03.2001 ALAMUDDIN Hana 24x36 Y46 S213156 Arab Bureau-axonometry 15.03.2001 ALAMUDDIN Hana 24x36 Y47 S213157 Werkmeister-sketch design-landscape 15.03.2001 ALAMUDDIN Hana 24x36 Y48 S213158 Map of Egypt/Aswan 15.03.2001 ALAMUDDIN Hana 24x36 Y49 S213159 Arab Bureau-topography map 15.03.2001 ALAMUDDIN Hana 24x36 Y50 S213160 Arab Bureau-elevations 15.03.2001 ALAMUDDIN Hana 24x36 Y





51 S213161 Arab Bureau-lower ground floor plan 15.03.2001 ALAMUDDIN Hana 24x36 Y52 S213162 Arab Bureau-Ground 1st floor plan 15.03.2001 ALAMUDDIN Hana 24x36 Y53 S213163 Arab Bureau-sections AA-BB-CC 15.03.2001 ALAMUDDIN Hana 24x36 Y54 S213164 Arab Bureau-sections EE-GG 15.03.2001 ALAMUDDIN Hana 24x36 Y55 S213165 Arab Bureau-sections AA-A1A1-BB 15.03.2001 ALAMUDDIN Hana 24x36 Y56 S213172 Approach from road on W boundary 15.03.2001 ALAMUDDIN Hana 24x36 Y57 S213173 Approach from road on W boundary 15.03.2001 ALAMUDDIN Hana 24x36 Y58 S213174 West edge of site 15.03.2001 ALAMUDDIN Hana 24x36 Y59 S213175 West edge of site, tomb of 77 Walis 15.03.2001 ALAMUDDIN Hana 24x36 Y60 S213176 West edge of site 15.03.2001 ALAMUDDIN Hana 24x36 Y61 S213177 Looking back to Cathedral of Aswan 15.03.2001 ALAMUDDIN Hana 24x36 Y62 S213178 W boundary wall/water reservoir 15.03.2001 ALAMUDDIN Hana 24x36 Y63 S213179 W boundary wall 15.03.2001 ALAMUDDIN Hana 24x36 Y64 S213180 Seating area along W boundary 15.03.2001 ALAMUDDIN Hana 24x36 Y65 S213181 W boundary wall a museum in back 15.03.2001 ALAMUDDIN Hana 24x36 Y66 S213182 W boundary wall near entrance 15.03.2001 ALAMUDDIN Hana 24x36 Y67 S213183 Entrance gate 15.03.2001 ALAMUDDIN Hana 24x36 Y68 S213184 Ticket window, entrance gate 15.03.2001 ALAMUDDIN Hana 24x36 Y69 S213185 Entrance gate 15.03.2001 ALAMUDDIN Hana 24x36 Y70 S213186 Approach to museum 15.03.2001 ALAMUDDIN Hana 24x36 Y71 S213187 Museum, main entrance portico 15.03.2001 ALAMUDDIN Hana 24x36 Y72 S213188 Museum, main entrance portico/ramp 15.03.2001 ALAMUDDIN Hana 24x36 Y73 S213189 West portico looking to entry arch 15.03.2001 ALAMUDDIN Hana 24x36 Y74 S213190 Education section, entrance 15.03.2001 ALAMUDDIN Hana 24x36 Y75 S213191 Education section, courtyard 15.03.2001 ALAMUDDIN Hana 24x36 Y76 S213192 Education section, fire-fighting gear 15.03.2001 ALAMUDDIN Hana 24x36 Y77 S213193 Education section, schoolchildren 15.03.2001 ALAMUDDIN Hana 24x36 Y78 S213194 Education section courtyard, looking W 15.03.2001 ALAMUDDIN Hana 24x36 Y79 S213195 Education section amphitheatre/looking W 15.03.2001 ALAMUDDIN Hana 24x36 Y80 S213196 Education section amphitheatre/looking E 15.03.2001 ALAMUDDIN Hana 24x36 Y81 S213197 Education section, classroom 15.03.2001 ALAMUDDIN Hana 24x36 Y82 S213198 Education section, classroom 15.03.2001 ALAMUDDIN Hana 24x36 Y83 S213199 Start of service road looking East 15.03.2001 ALAMUDDIN Hana 24x36 Y84 S213200 Service road to service yard 15.03.2001 ALAMUDDIN Hana 24x36 Y85 S213201 Service road looking back to West 15.03.2001 ALAMUDDIN Hana 24x36 Y86 S213202 South facade/wall of service yard 15.03.2001 ALAMUDDIN Hana 24x36 Y87 S213203 Service yard, looking North 15.03.2001 ALAMUDDIN Hana 24x36 Y88 S213204 Service yard, looking West 15.03.2001 ALAMUDDIN Hana 24x36 Y89 S213205 Service yard, looking East 15.03.2001 ALAMUDDIN Hana 24x36 Y90 S213206 Roofscape, looking West 15.03.2001 ALAMUDDIN Hana 24x36 Y91 S213207 Roofscape, looking to door of cafeteria 15.03.2001 ALAMUDDIN Hana 24x36 Y92 S213208 Roofscape, screen of cafeteria 15.03.2001 ALAMUDDIN Hana 24x36 Y93 S213209 Roofscape, looking North 15.03.2001 ALAMUDDIN Hana 24x36 Y94 S213210 Roofscape, looking Southeast 15.03.2001 ALAMUDDIN Hana 24x36 Y95 S213211 Roofscape, looking South 15.03.2001 ALAMUDDIN Hana 24x36 Y96 S213212 Roofscape, looking East 15.03.2001 ALAMUDDIN Hana 24x36 Y97 S213213 Roofscape, looking West 15.03.2001 ALAMUDDIN Hana 24x36 Y98 S213214 Roofscape, old skylight 15.03.2001 ALAMUDDIN Hana 24x36 Y99 S213215 Roofscape, old skylight 15.03.2001 ALAMUDDIN Hana 24x36 Y

100 S213216 From roof looking E to Fatimid cemetery 15.03.2001 ALAMUDDIN Hana 24x36 Y





101 S213217 From roof looking SE to Fatimid cemetery 15.03.2001 ALAMUDDIN Hana 24x36 Y102 S213218 From roof looking SE to Fatimid cemetery 15.03.2001 ALAMUDDIN Hana 24x36 Y103 S213219 Garden from roof 15.03.2001 ALAMUDDIN Hana 24x36 Y104 S213220 From roof looking NE to Aswan 15.03.2001 ALAMUDDIN Hana 24x36 Y105 S213221 View of "Source of Nile" from roof 15.03.2001 ALAMUDDIN Hana 24x36 Y106 S213222 Garden, from roof looking East 15.03.2001 ALAMUDDIN Hana 24x36 Y107 S213223 Garden, from roof looking East 15.03.2001 ALAMUDDIN Hana 24x36 Y108 S213224 Garden view looking South 15.03.2001 ALAMUDDIN Hana 24x36 Y109 S213225 Toilet window, AC unit detail 15.03.2001 ALAMUDDIN Hana 24x36 Y110 S213226 West facade, toward entrance portico 15.03.2001 ALAMUDDIN Hana 24x36 Y111 S213227 Southwest corner, looking West 15.03.2001 ALAMUDDIN Hana 24x36 Y112 S213228 Eastern curved wall 15.03.2001 ALAMUDDIN Hana 24x36 Y113 S213229 Eastern curved wall, exit portico 15.03.2001 ALAMUDDIN Hana 24x36 Y114 S213230 Portico to garden 15.03.2001 ALAMUDDIN Hana 24x36 Y115 S213231 "Source of Nile" in garden 15.03.2001 ALAMUDDIN Hana 24x36 Y116 S213232 View from portico to garden 15.03.2001 ALAMUDDIN Hana 24x36 Y117 S213233 Coptic ehibits in garden 15.03.2001 ALAMUDDIN Hana 24x36 Y118 S213234 Garden 15.03.2001 ALAMUDDIN Hana 24x36 Y119 S213235 Garden looking North 15.03.2001 ALAMUDDIN Hana 24x36 Y120 S213236 Exhibit in garden 15.03.2001 ALAMUDDIN Hana 24x36 Y121 S213237 Garden/view of stage E boundary wall 15.03.2001 ALAMUDDIN Hana 24x36 Y122 S213238 North facade 15.03.2001 ALAMUDDIN Hana 24x36 Y123 S213239 From entrance looking North 15.03.2001 ALAMUDDIN Hana 24x36 Y124 S213240 Water reservoir on Northern boundary 15.03.2001 ALAMUDDIN Hana 24x36 Y125 S213241 North section, graves 15.03.2001 ALAMUDDIN Hana 24x36 Y126 S213242 Maqqam Saida Zeinab 15.03.2001 ALAMUDDIN Hana 24x36 Y127 S213243 Maqqam Saida Zeinab 15.03.2001 ALAMUDDIN Hana 24x36 Y128 S213244 Maqqam 77 Walis 15.03.2001 ALAMUDDIN Hana 24x36 Y129 S213245 Maqqam 77 Walis 15.03.2001 ALAMUDDIN Hana 24x36 Y130 S213246 Garden detail, looking West 15.03.2001 ALAMUDDIN Hana 24x36 Y131 S213247 Exhibit detail, looking West 15.03.2001 ALAMUDDIN Hana 24x36 Y132 S213248 Garden on West side 15.03.2001 ALAMUDDIN Hana 24x36 Y133 S213249 Exhibit between entrance gate portico 15.03.2001 ALAMUDDIN Hana 24x36 Y134 S213250 Seating area near Nubia house 15.03.2001 ALAMUDDIN Hana 24x36 Y135 S213251 Cave exit 15.03.2001 ALAMUDDIN Hana 24x36 Y136 S213252 Nubian house in museum garden 15.03.2001 ALAMUDDIN Hana 24x36 Y137 S213253 Nubian house decoration 15.03.2001 ALAMUDDIN Hana 24x36 Y138 S213254 Eastern garden 15.03.2001 ALAMUDDIN Hana 24x36 Y139 S213255 Eastern garden, looking South 15.03.2001 ALAMUDDIN Hana 24x36 Y140 S213256 Nubian house in museum garden 15.03.2001 ALAMUDDIN Hana 24x36 Y141 S213257 "Village square" in front of Nubian hse 15.03.2001 ALAMUDDIN Hana 24x36 Y142 S213258 Entrance to cave 15.03.2001 ALAMUDDIN Hana 24x36 Y143 S213259 Museum garden lawn 15.03.2001 ALAMUDDIN Hana 24x36 Y144 S213260 Amphitheatre 15.03.2001 ALAMUDDIN Hana 24x36 Y145 S213261 Amphitheatre stage 15.03.2001 ALAMUDDIN Hana 24x36 Y146 S213262 East curved wall 15.03.2001 ALAMUDDIN Hana 24x36 Y147 S213263 Waterfall in garden 15.03.2001 ALAMUDDIN Hana 24x36 Y148 S213264 Museum workshop, garden bench making 15.03.2001 ALAMUDDIN Hana 24x36 Y149 S213265 Building detail 15.03.2001 ALAMUDDIN Hana 24x36 Y150 S213266 Landscape detail, floor finish 15.03.2001 ALAMUDDIN Hana 24x36 Y





151 S213267 Landscape detail, wall floor finish 15.03.2001 ALAMUDDIN Hana 24x36 Y152 S213268 Childs room, A/C wall stain 15.03.2001 ALAMUDDIN Hana 24x36 Y153 S213269 Window detail, interior 15.03.2001 ALAMUDDIN Hana 24x36 Y154 S213270 Parapet detail 15.03.2001 ALAMUDDIN Hana 24x36 Y155 S213271 Window detail, exterior 15.03.2001 ALAMUDDIN Hana 24x36 Y156 S213272 Window detail, exterior 15.03.2001 ALAMUDDIN Hana 24x36 Y157 S213273 Inauguration plaque 15.03.2001 ALAMUDDIN Hana 24x36 Y158 S213274 Window detail, exterior 15.03.2001 ALAMUDDIN Hana 24x36 Y159 S213275 Window detail, interior 15.03.2001 ALAMUDDIN Hana 24x36 Y160 S213276 Gharb Aswan village, contemporary bldg 15.03.2001 ALAMUDDIN Hana 24x36 Y161 S213277 Gharb Aswan village, contemporary bldg 15.03.2001 ALAMUDDIN Hana 24x36 Y162 S213278 Gharb Aswan village, contemporary bldg 15.03.2001 ALAMUDDIN Hana 24x36 Y163 S213279 Gharb Aswan village, contemporary bldg 15.03.2001 ALAMUDDIN Hana 24x36 Y164 S213280 Gharb Aswan village, streetscape 15.03.2001 ALAMUDDIN Hana 24x36 Y165 S213281 Gharb Aswan village, streetscape 15.03.2001 ALAMUDDIN Hana 24x36 Y166 S213282 Gharb Aswan village, internal court 15.03.2001 ALAMUDDIN Hana 24x36 Y167 S213283 Gharb Aswan village, internal court 15.03.2001 ALAMUDDIN Hana 24x36 Y168 S213284 Gharb Aswan village, internal court 15.03.2001 ALAMUDDIN Hana 24x36 Y169 S213285 Gharb Aswan village, roofscape 15.03.2001 ALAMUDDIN Hana 24x36 Y170 S213286 Gharb Aswan village, roofscape 15.03.2001 ALAMUDDIN Hana 24x36 Y171 S213287 Gharb Aswan village, from roof 15.03.2001 ALAMUDDIN Hana 24x36 Y172 S213288 Gharb Aswan village, internal court 15.03.2001 ALAMUDDIN Hana 24x36 Y173 S213289 Gharb Aswan village, village square 15.03.2001 ALAMUDDIN Hana 24x36 Y174 S213290 Gharb Aswan village, courtyard 15.03.2001 ALAMUDDIN Hana 24x36 Y175 S213291 Gharb Aswan village, mandara 15.03.2001 ALAMUDDIN Hana 24x36 Y176 S213292 Gharb Aswan village, new house 15.03.2001 ALAMUDDIN Hana 24x36 Y177 S213293 Gharb Aswan village, khayma 15.03.2001 ALAMUDDIN Hana 24x36 Y178 S213294 Gharb Aswan village, roofscape 15.03.2001 ALAMUDDIN Hana 24x36 Y179 S213295 Gharb Aswan village, house door 15.03.2001 ALAMUDDIN Hana 24x36 Y180 S213296 Gharb Aswan village, streetscape 15.03.2001 ALAMUDDIN Hana 24x36 Y181 S213297 Gharb Aswan village, streetscape 15.03.2001 ALAMUDDIN Hana 24x36 Y182 S213298 Gharb Aswan village, mandara 15.03.2001 ALAMUDDIN Hana 24x36 Y183 S213299 Gharb Aswan village, town square 15.03.2001 ALAMUDDIN Hana 24x36 Y184 S213300 15.03.2001 IVERSON Barry 24x36 Y185 S213301 15.03.2001 IVERSON Barry 24x36 Y186 S213302 15.03.2001 IVERSON Barry 24x36 Y187 S213303 15.03.2001 IVERSON Barry 24x36 Y188 S213304 15.03.2001 IVERSON Barry 24x36 Y189 S213305 15.03.2001 IVERSON Barry 24x36 Y190 S213306 15.03.2001 IVERSON Barry 24x36 Y191 S213307 15.03.2001 IVERSON Barry 24x36 Y192 S213308 15.03.2001 IVERSON Barry 24x36 Y193 S213309 15.03.2001 IVERSON Barry 24x36 Y194 S213310 15.03.2001 IVERSON Barry 24x36 Y195 S213311 15.03.2001 IVERSON Barry 24x36 Y196 S213312 15.03.2001 IVERSON Barry 24x36 Y197 S213313 15.03.2001 IVERSON Barry 24x36 Y198 S213314 15.03.2001 IVERSON Barry 24x36 Y199 S213315 15.03.2001 IVERSON Barry 24x36 Y200 S213316 15.03.2001 IVERSON Barry 24x36 Y





201 S213317 15.03.2001 IVERSON Barry 24x36 Y202 S213318 15.03.2001 IVERSON Barry 24x36 Y203 S213319 15.03.2001 IVERSON Barry 24x36 Y204 S213320 15.03.2001 IVERSON Barry 24x36 Y205 S213321 15.03.2001 IVERSON Barry 24x36 Y206 S213322 15.03.2001 IVERSON Barry 24x36 Y207 S213323 15.03.2001 IVERSON Barry 24x36 Y208 S213324 15.03.2001 IVERSON Barry 24x36 Y209 S213325 15.03.2001 IVERSON Barry 24x36 Y210 S213326 15.03.2001 IVERSON Barry 24x36 Y211 S213327 15.03.2001 IVERSON Barry 24x36 Y212 S213328 15.03.2001 IVERSON Barry 24x36 Y213 S213329 15.03.2001 IVERSON Barry 24x36 Y214 S213330 15.03.2001 IVERSON Barry 24x36 Y215 S213331 15.03.2001 IVERSON Barry 24x36 Y216 S213332 15.03.2001 IVERSON Barry 24x36 Y217 S213333 15.03.2001 IVERSON Barry 24x36 Y218 S213334 15.03.2001 IVERSON Barry 24x36 Y219 S213335 15.03.2001 IVERSON Barry 24x36 Y220 S213336 15.03.2001 IVERSON Barry 24x36 Y221 S213337 15.03.2001 IVERSON Barry 24x36 Y222 S213338 15.03.2001 IVERSON Barry 24x36 Y223 S213339 15.03.2001 IVERSON Barry 24x36 Y224 S213340 15.03.2001 IVERSON Barry 24x36 Y225 S213341 15.03.2001 IVERSON Barry 24x36 Y226 S213342 15.03.2001 IVERSON Barry 24x36 Y227 S213343 15.03.2001 IVERSON Barry 24x36 Y228 S213344 15.03.2001 IVERSON Barry 24x36 Y229 S213345 15.03.2001 IVERSON Barry 24x36 Y230 S213346 15.03.2001 IVERSON Barry 24x36 Y231 S213347 15.03.2001 IVERSON Barry 24x36 Y232 S213348 15.03.2001 IVERSON Barry 24x36 Y233 S213349 15.03.2001 IVERSON Barry 24x36 Y234 S213350 15.03.2001 IVERSON Barry 24x36 Y235 S213351 15.03.2001 IVERSON Barry 24x36 Y236 S213352 15.03.2001 IVERSON Barry 24x36 Y237 S213353 15.03.2001 IVERSON Barry 24x36 Y238 S213354 15.03.2001 IVERSON Barry 24x36 Y239 S213355 15.03.2001 IVERSON Barry 24x36 Y240 S213356 15.03.2001 IVERSON Barry 24x36 Y241 S213357 15.03.2001 IVERSON Barry 24x36 Y242 S213358 15.03.2001 IVERSON Barry 24x36 Y243 S213359 15.03.2001 IVERSON Barry 24x36 Y244 S213360 15.03.2001 IVERSON Barry 24x36 Y245 S213361 15.03.2001 IVERSON Barry 24x36 Y246 S213362 15.03.2001 IVERSON Barry 24x36 Y247 S213363 15.03.2001 IVERSON Barry 24x36 Y248 S213364 15.03.2001 IVERSON Barry 24x36 Y249 S213365 15.03.2001 IVERSON Barry 24x36 Y250 S213366 15.03.2001 IVERSON Barry 24x36 Y





851 S217515 01.04.2001 IVERSON Barry 6x6 Y852 S217516 01.04.2001 IVERSON Barry 6x6 Y853 S217517 01.04.2001 IVERSON Barry 6x6 Y854 S217518 01.04.2001 IVERSON Barry 6x6 Y855 S217519 01.04.2001 IVERSON Barry 6x6 Y856 S217520 01.04.2001 IVERSON Barry 6x6 Y857 S219971 Lower ground floor plan AKAA Reproduction 24x36 Y858 S219972 Isometric plan AKAA Reproduction 24x36 Y

Nubian museum

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Transcript of Nubian museum