Snøhetta - Bibliotheca Alexandrina

Snøhetta
Bibliotheca Alexandrina
Corniche El Guiesh
Alexandria, Egypt

Photo courtesy Snøhetta

The Bibliotheca Alexandrina is a unique project representing not just the will of individuals but also the will of a species and its desire to learn. Our present time is the forum for the connection between the untouchable places of past and future. The architecture is a vessel containing a depth of meaning that cannot be easily seen in stone, metal and glass. It rises without rising and rests without sitting. It is malleable and should change not only with changing functional needs but also with our restless minds that will forever reinterpret and redefine.

THE GREAT READING ROOM
Having a diameter of 160 meters and containing 2000 reading areas, the reading room will be one of the largest in the world. The main space accommodates up to 500,000 volumes accessible to the public; the same number estimated to be in the ancient library. In addition to the public access books there is space for 5 million research books stored and available by appointment only. The reading room is set onto 14 half levels giving it the appearance of a giant amphitheater. The reading areas are located at the edge of each terrace with the open access books placed just behind the desks. Set under the next higher terrace are the closed access books. This arrangement is unique in library planning, having the advantage that the visitor is given an overview from any place in the room making it easier to navigate through the large collection. Overlooking the room is a balcony that contains the main information desk, providing the first commanding view of the space.

Photo courtesy Snøhetta

THE STONE WALL
Consisting of 6300 square meters of hand carved stone, the exterior facade represents one of the largest contemporary sculptural edifices in the world. Consisting of two walls, one above and one below ground, it is composed of Egyptian granite monoliths up to 2 meters tall. The carvings are taken from various alphabets and symbols of the world throughout the past, present and estimates of the future. The carvings include musical and mathematical notation, Braille and bar-codes mixed with familiar inscriptions. During the competition the idea for the wall was inspired by geologic formations found along the Nile. The varying stone dimensions represented layers of history unveiled by erosion. The geologic atmosphere illuminates the energy of the roof being lifted from the ground, pulling the earth along as it rotated. At first the carvings were thought of as having a message however after further collaboration the carvings grew abstract. The final design has no meaning in itself and instead the qualities of each inscription provides an overall sensibility.

Photo courtesy Snøhetta

THE PLANETARIUM
Pulled outside of the library, the planetarium and science museum are set into a public plaza and open to the public when the library is closed. They are connected to the surroundings by a bridge coming from the university campus, piercing the library, passing over the planetarium itself, and spanning out over the ancient harbor and palisade.

Photo courtesy Snøhetta

The planetarium is an 18 meter diameter ball suspended over a sunken garden and was inspired by the first images of the earth as seen from the moon. Covered in black concrete strips that are separated by light strips, it is reminiscent of the way in which cartographers divide maps of the earth into longitude lines, helping to identify the building with the study of planets. It is possible to stand below the sphere in the garden and like the mythic god Atlas support its weight upon your shoulders. Surrounding this garden the science museum focuses upon the role of the ancient library in the development of contemporary technology.

Photo courtesy Snøhetta

THE ROOF
In contrast to the roughness of the stone wall, the roof is contemporary in appearance. It has been associated with a rising sun however this discussion was never fully settled. While derivative of a cosmic object, the debates included both the sun and moon as meaningful associations for the roof. The roof has associations with contemporary technology such as the modern micro-chip making it a connection between nature and science. Tilting at 16 degrees and rising 32 meters above the street it will appear from the Mediterranean as a glowing disk moving in subtle relationship to the sky.

Photo courtesy Snøhetta

Composed of 9 x 14 meter modules, many of which are split in two with one half being a skylight to allow northern light into the reading area, the roof has a very 'high tech' appearance yet is actually very nearly hand crafted. Set into the metal panels are small glass pieces that send colors onto the floor and walls of the reading area.

THE LANDSCAPE
One of the most striking features of the landscape design is the pool surrounding the library. This pool reflects the building into the earth fortifying the idea that the building is not simply resting on the ground but is a part of the earth around it. It provides a easily visible horizontal surface to illuminate the tilting form of the building. The pool will be planted with papyrus and native vegetation allowing for it to be self-cleaning for most of the year. In addition, a large public plaza connects the main entrances of the library and existing conference center. This plaza is paved in stone and contains a small olive grove where it extends toward the harbor. Raised slightly above the nearby roads the plaza is designed to be quiet and contemplative. The landscape design was made by Snøhetta and developed in association with local experts of Egyptian vegetation to allow the approach to be consistent with native planting and growing techniques.

INSPIRATION
Because the idea of the Library of Alexandria is rooted in mythology and mystery, it is difficult to find a neutral starting point for the design. Many people associate the library with Pharonic Egypt however the institution was conceived 2000 years after the great pyramids of Giza. No one knows what the ancient library looked like so that its characteristics could not be recreated. As a result the building could not be historical or futuristic, it needed to be timeless. In order to create a sense of timelessness without sacrificing a meaningful architecture the design discussions were centered around abstract human concepts such as value, openness and steadiness, rising and piercing and ultimately life, death and time itself. Aspects of the ancient library collection were discussed including astronomy, mathematics and geography. If the building could represent these abstract notions it would rely upon pre-existing architectural definitions and instead represent our innermost feelings about collective human heritage.

THE ANCIENT LIBRARY OF ALEXANDRIA
Alexander the Great founded Alexandria in 332 BC at an ancient harbor. The city flourished and is forever associated with Cleopatra, Julius Caesar and the well known monuments of ancient history: the Lighthouse and Library of Alexandria. This library was not the largest of the ancient world but was influential due to the respected researchers working there. Its disappearance is a mystery however as politics changed it became lost to time creating a mythical foundation of world heritage. The library contained 500,000 manuscripts and scrolls. Erastothenes accurately determined the earth's circumference 1000 years before contemporary science. It is impossible to say what the library looked like however it was probably Greek in appearance including more than one building, similar to a contemporary university library system. It contained many treasures such as fine arts and scientific instruments and was part of a Mouseion or museum, seen as a place of contemplation rather than simply a collection of books.

CONTEMPORARY ALEXANDRIA
As a link between Africa, The Middle East, Asia and Europe, Egypt has maintained a significant presence throughout history. Alexandria, a city of 5 million people, is situated on a branch of the Nile delta. The city stretches along the Mediterranean for 50 kilometers and contains one of Africa's largest harbors and a large university campus. The atmosphere of modern Alexandria can be overpowering; it is a vibrant mix of historical and cultural eras. Arabic, Greek, Italian, French, Egyptian and African people have converged to create a patchwork of sensations. Contemporary authors have found inspiration in Alexandria including Lawrence Durrell and E.M. Forster and it has been characterized as the 'capitol of memory' and the 'city of words'. The smells of herbs and tobacco are mixed with fresh sea breezes and desert dryness. Many layers of history are revealed in the street patterns crossing the neighborhoods connecting imperial and traditional architectural features of this exotic seaside metropolis.

THE INTERNATIONAL COMPETITION
An international competition was held in 1989 to design of the new Alexandria Library attracting over 600 participants. A group of 10 young people from various backgrounds came together in Los Angeles with a desire to create a meaningful building. The Norwegian architectural practice Snøhetta worked in loose collaboration with colleagues from the US and Austria and the excitement of this new group in an unusual location motivated the team to explore new ideas. After discussing new and previously considered ideas, they explored dozens of design possibilities settling upon the tilting form that felt completely natural once it appeared. A model was made that better portrayed the energy of the design. This model was a turning point and photographs were then used to help explain the ideas to the jury, thousands of miles away in Paris. Contrary to many architectural designs of the time, the project focused upon cultural vlaues rather than geometric gestures providing it with a unique, timeless atmosphere.

FURNISHINGS
The public furnishings designed by Snøhetta work together with the architectural atmosphere. A combination of smooth forms set against strong lines provides a sense of balance. This is similar to the relationship that the curving wall has to the sharp lines of the terraces in the reading room. The design of the furnishings has been carried out in cooperation with Norwegian furniture producers and has been a unique cooperation between manufacturer and designer. The soft curves of the chairs conform to the line of the back while seated and are produced by using a unique method of bending varying thickness of wood laminate, creating a functionality and elegance suitable for the many requirements of the reading areas. The smooth form has an ancient Egyptian character as is seen in historical manuscripts. The bookshelves and information desks contrast to the chairs; they are simple and monumental, inspired by the purity of the library form itself.

THE CONSTRUCTION SITE
As construction nears completion in 1999 there is growing excitement in experiencing the building for the first time. When completed, the construction period will have lasted 4 years. As the opening day approaches work continues 24 hours each day in 12 hour shifts of 1100 workers each. Since much of the building is below the water level of the Mediterranean, a sophisticated wall construction was required to balance the building's weight and the pressure of the water. This construction is the largest of its type in the world. Many of the building materials come directly from Egypt however there are also a large number of specialized components internationally manufactured and shipped to Alexandria making the construction a truly international endeavor. The construction site is characterized by its cleanliness and professional atmosphere and has had very few work related injuries. Snøhetta and their partner have maintained several persons on site continuously to ensure the quality of the final design and the building site itself.

Completion: Estimated Summer 2000

Client:
The Ministry of Education The Arab Republic of Egypt
(the project is administered under the auspices of the General Organization of the Alexandria Library, GOAL, The Arab Republic of Egypt, Project Manager, Dr. Moshen Zahran) (the project was formerly administered during the preliminary design phases by UNESCO, Paris and funded with the support of the UNDP)

Architects:
Snøhetta Oslo, Norway

Project Architects:
Craig Dykers, Christoph Kapeller, Kjetil Thorsen

Architects and Assistants:
Jon Bjørnsson, Mitchell de Jarnette, Jim Dodson, Margarethe Friis, Lisbeth Funk, Robert Greenwood, Ole Gustavsen, Geir Johnson, Peter Hall, Per Morten Josefson, Finn Kleiva, ¯yvind Mo, Cordula Mohr, Elaine Molinar, Bjørn Stockstad, Marianne S¾tre, Knut Tronstad

Landscape Architecture:
Snøhetta Oslo, Norway

Project Landscape Architects:
Alf Haukeland, Kari Stensrød, Johan ¯stengen

Landscape Architects:
Ragnhild Momrak, Rainer Stange

Furniture Design:
Snøhetta Oslo, Norway

Project Manager:
Ole Gustavsen Furniture and Interior Designers: Linda Evensen, Rolf Schmidt, Inger Anita Reigstad, Knut Tronstad

Stone Wall Artist:
Jorunn Sannes (Oslo, Norway) Assistants: Christian Blystad, Arne Johansen (Oslo, Norway)

Consultants:
Architecture and technical aspects: Hamza Associates (Cairo, Egypt)

Project Administration:
Design Management: Schumann Smith Ltd. (UK): Nick Schumann, Dave Smith

Project Planning:
Chris Glasier (Hong Kong)

Construction management:
No Construction Manager
Project Administered by Snøhetta Hamza Consortium, Design Manager Schumann Smith Ltd, Arab Republic of Egypt GOAL Project Manager Dr. Moshen Zahran

Builder:
Project delivered in two tender packages Tender Package 1, Foundations and Civil Works: Rodio (Italy) / Arab Contractors (Egypt) Joint Venture Tender Package 2, Superstructure, HVAC, Finishes, Landscape Balfour Beatty (UK) / Arab Contractors (Egypt) Joint Venture

Specialist subconsultants for specific elements have been named.

Gross Area: 76,000 square meters

Cost: 167 million US Dollars

Collection: 200,000 Open Access 5 million Closed Access up to 8 million with interior renovation.

Number of reading areas: Accommodates 2200

Photography: ARFO, Ihab El Habbak, Snøhetta

Snøhetta arcspace features





				Features
		Snøhetta Bibliotheca Alexandrina Corniche El Guiesh Alexandria, Egypt Photo courtesy Snøhetta The Bibliotheca Alexandrina is a unique project representing not just the will of individuals but also the will of a species and its desire to learn. Our present time is the forum for the connection between the untouchable places of past and future. The architecture is a vessel containing a depth of meaning that cannot be easily seen in stone, metal and glass. It rises without rising and rests without sitting. It is malleable and should change not only with changing functional needs but also with our restless minds that will forever reinterpret and redefine. THE GREAT READING ROOM Having a diameter of 160 meters and containing 2000 reading areas, the reading room will be one of the largest in the world. The main space accommodates up to 500,000 volumes accessible to the public; the same number estimated to be in the ancient library. In addition to the public access books there is space for 5 million research books stored and available by appointment only. The reading room is set onto 14 half levels giving it the appearance of a giant amphitheater. The reading areas are located at the edge of each terrace with the open access books placed just behind the desks. Set under the next higher terrace are the closed access books. This arrangement is unique in library planning, having the advantage that the visitor is given an overview from any place in the room making it easier to navigate through the large collection. Overlooking the room is a balcony that contains the main information desk, providing the first commanding view of the space. Photo courtesy Snøhetta THE STONE WALL Consisting of 6300 square meters of hand carved stone, the exterior facade represents one of the largest contemporary sculptural edifices in the world. Consisting of two walls, one above and one below ground, it is composed of Egyptian granite monoliths up to 2 meters tall. The carvings are taken from various alphabets and symbols of the world throughout the past, present and estimates of the future. The carvings include musical and mathematical notation, Braille and bar-codes mixed with familiar inscriptions. During the competition the idea for the wall was inspired by geologic formations found along the Nile. The varying stone dimensions represented layers of history unveiled by erosion. The geologic atmosphere illuminates the energy of the roof being lifted from the ground, pulling the earth along as it rotated. At first the carvings were thought of as having a message however after further collaboration the carvings grew abstract. The final design has no meaning in itself and instead the qualities of each inscription provides an overall sensibility. Photo courtesy Snøhetta THE PLANETARIUM Pulled outside of the library, the planetarium and science museum are set into a public plaza and open to the public when the library is closed. They are connected to the surroundings by a bridge coming from the university campus, piercing the library, passing over the planetarium itself, and spanning out over the ancient harbor and palisade. Photo courtesy Snøhetta The planetarium is an 18 meter diameter ball suspended over a sunken garden and was inspired by the first images of the earth as seen from the moon. Covered in black concrete strips that are separated by light strips, it is reminiscent of the way in which cartographers divide maps of the earth into longitude lines, helping to identify the building with the study of planets. It is possible to stand below the sphere in the garden and like the mythic god Atlas support its weight upon your shoulders. Surrounding this garden the science museum focuses upon the role of the ancient library in the development of contemporary technology. Photo courtesy Snøhetta THE ROOF In contrast to the roughness of the stone wall, the roof is contemporary in appearance. It has been associated with a rising sun however this discussion was never fully settled. While derivative of a cosmic object, the debates included both the sun and moon as meaningful associations for the roof. The roof has associations with contemporary technology such as the modern micro-chip making it a connection between nature and science. Tilting at 16 degrees and rising 32 meters above the street it will appear from the Mediterranean as a glowing disk moving in subtle relationship to the sky. Photo courtesy Snøhetta Composed of 9 x 14 meter modules, many of which are split in two with one half being a skylight to allow northern light into the reading area, the roof has a very 'high tech' appearance yet is actually very nearly hand crafted. Set into the metal panels are small glass pieces that send colors onto the floor and walls of the reading area. THE LANDSCAPE One of the most striking features of the landscape design is the pool surrounding the library. This pool reflects the building into the earth fortifying the idea that the building is not simply resting on the ground but is a part of the earth around it. It provides a easily visible horizontal surface to illuminate the tilting form of the building. The pool will be planted with papyrus and native vegetation allowing for it to be self-cleaning for most of the year. In addition, a large public plaza connects the main entrances of the library and existing conference center. This plaza is paved in stone and contains a small olive grove where it extends toward the harbor. Raised slightly above the nearby roads the plaza is designed to be quiet and contemplative. The landscape design was made by Snøhetta and developed in association with local experts of Egyptian vegetation to allow the approach to be consistent with native planting and growing techniques. INSPIRATION Because the idea of the Library of Alexandria is rooted in mythology and mystery, it is difficult to find a neutral starting point for the design. Many people associate the library with Pharonic Egypt however the institution was conceived 2000 years after the great pyramids of Giza. No one knows what the ancient library looked like so that its characteristics could not be recreated. As a result the building could not be historical or futuristic, it needed to be timeless. In order to create a sense of timelessness without sacrificing a meaningful architecture the design discussions were centered around abstract human concepts such as value, openness and steadiness, rising and piercing and ultimately life, death and time itself. Aspects of the ancient library collection were discussed including astronomy, mathematics and geography. If the building could represent these abstract notions it would rely upon pre-existing architectural definitions and instead represent our innermost feelings about collective human heritage. THE ANCIENT LIBRARY OF ALEXANDRIA Alexander the Great founded Alexandria in 332 BC at an ancient harbor. The city flourished and is forever associated with Cleopatra, Julius Caesar and the well known monuments of ancient history: the Lighthouse and Library of Alexandria. This library was not the largest of the ancient world but was influential due to the respected researchers working there. Its disappearance is a mystery however as politics changed it became lost to time creating a mythical foundation of world heritage. The library contained 500,000 manuscripts and scrolls. Erastothenes accurately determined the earth's circumference 1000 years before contemporary science. It is impossible to say what the library looked like however it was probably Greek in appearance including more than one building, similar to a contemporary university library system. It contained many treasures such as fine arts and scientific instruments and was part of a Mouseion or museum, seen as a place of contemplation rather than simply a collection of books. CONTEMPORARY ALEXANDRIA As a link between Africa, The Middle East, Asia and Europe, Egypt has maintained a significant presence throughout history. Alexandria, a city of 5 million people, is situated on a branch of the Nile delta. The city stretches along the Mediterranean for 50 kilometers and contains one of Africa's largest harbors and a large university campus. The atmosphere of modern Alexandria can be overpowering; it is a vibrant mix of historical and cultural eras. Arabic, Greek, Italian, French, Egyptian and African people have converged to create a patchwork of sensations. Contemporary authors have found inspiration in Alexandria including Lawrence Durrell and E.M. Forster and it has been characterized as the 'capitol of memory' and the 'city of words'. The smells of herbs and tobacco are mixed with fresh sea breezes and desert dryness. Many layers of history are revealed in the street patterns crossing the neighborhoods connecting imperial and traditional architectural features of this exotic seaside metropolis. THE INTERNATIONAL COMPETITION An international competition was held in 1989 to design of the new Alexandria Library attracting over 600 participants. A group of 10 young people from various backgrounds came together in Los Angeles with a desire to create a meaningful building. The Norwegian architectural practice Snøhetta worked in loose collaboration with colleagues from the US and Austria and the excitement of this new group in an unusual location motivated the team to explore new ideas. After discussing new and previously considered ideas, they explored dozens of design possibilities settling upon the tilting form that felt completely natural once it appeared. A model was made that better portrayed the energy of the design. This model was a turning point and photographs were then used to help explain the ideas to the jury, thousands of miles away in Paris. Contrary to many architectural designs of the time, the project focused upon cultural vlaues rather than geometric gestures providing it with a unique, timeless atmosphere. FURNISHINGS The public furnishings designed by Snøhetta work together with the architectural atmosphere. A combination of smooth forms set against strong lines provides a sense of balance. This is similar to the relationship that the curving wall has to the sharp lines of the terraces in the reading room. The design of the furnishings has been carried out in cooperation with Norwegian furniture producers and has been a unique cooperation between manufacturer and designer. The soft curves of the chairs conform to the line of the back while seated and are produced by using a unique method of bending varying thickness of wood laminate, creating a functionality and elegance suitable for the many requirements of the reading areas. The smooth form has an ancient Egyptian character as is seen in historical manuscripts. The bookshelves and information desks contrast to the chairs; they are simple and monumental, inspired by the purity of the library form itself. THE CONSTRUCTION SITE As construction nears completion in 1999 there is growing excitement in experiencing the building for the first time. When completed, the construction period will have lasted 4 years. As the opening day approaches work continues 24 hours each day in 12 hour shifts of 1100 workers each. Since much of the building is below the water level of the Mediterranean, a sophisticated wall construction was required to balance the building's weight and the pressure of the water. This construction is the largest of its type in the world. Many of the building materials come directly from Egypt however there are also a large number of specialized components internationally manufactured and shipped to Alexandria making the construction a truly international endeavor. The construction site is characterized by its cleanliness and professional atmosphere and has had very few work related injuries. Snøhetta and their partner have maintained several persons on site continuously to ensure the quality of the final design and the building site itself. Completion: Estimated Summer 2000 Client: The Ministry of Education The Arab Republic of Egypt (the project is administered under the auspices of the General Organization of the Alexandria Library, GOAL, The Arab Republic of Egypt, Project Manager, Dr. Moshen Zahran) (the project was formerly administered during the preliminary design phases by UNESCO, Paris and funded with the support of the UNDP) Architects: Snøhetta Oslo, Norway Project Architects: Craig Dykers, Christoph Kapeller, Kjetil Thorsen Architects and Assistants: Jon Bjørnsson, Mitchell de Jarnette, Jim Dodson, Margarethe Friis, Lisbeth Funk, Robert Greenwood, Ole Gustavsen, Geir Johnson, Peter Hall, Per Morten Josefson, Finn Kleiva, ¯yvind Mo, Cordula Mohr, Elaine Molinar, Bjørn Stockstad, Marianne S¾tre, Knut Tronstad Landscape Architecture: Snøhetta Oslo, Norway Project Landscape Architects: Alf Haukeland, Kari Stensrød, Johan ¯stengen Landscape Architects: Ragnhild Momrak, Rainer Stange Furniture Design: Snøhetta Oslo, Norway Project Manager: Ole Gustavsen Furniture and Interior Designers: Linda Evensen, Rolf Schmidt, Inger Anita Reigstad, Knut Tronstad Stone Wall Artist: Jorunn Sannes (Oslo, Norway) Assistants: Christian Blystad, Arne Johansen (Oslo, Norway) Consultants: Architecture and technical aspects: Hamza Associates (Cairo, Egypt) Project Administration: Design Management: Schumann Smith Ltd. (UK): Nick Schumann, Dave Smith Project Planning: Chris Glasier (Hong Kong) Construction management: No Construction Manager Project Administered by Snøhetta Hamza Consortium, Design Manager Schumann Smith Ltd, Arab Republic of Egypt GOAL Project Manager Dr. Moshen Zahran Builder: Project delivered in two tender packages Tender Package 1, Foundations and Civil Works: Rodio (Italy) / Arab Contractors (Egypt) Joint Venture Tender Package 2, Superstructure, HVAC, Finishes, Landscape Balfour Beatty (UK) / Arab Contractors (Egypt) Joint Venture Specialist subconsultants for specific elements have been named. Gross Area: 76,000 square meters Cost: 167 million US Dollars Collection: 200,000 Open Access 5 million Closed Access up to 8 million with interior renovation. Number of reading areas: Accommodates 2200 Photography: ARFO, Ihab El Habbak, Snøhetta Snøhetta arcspace features