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1. REGIONAL EXAMPLE 01 Abdi Kariim Ali Muuse (762)

2. BIBLIOTHECA ALEXANDRINA Africa Egypt, Alexandria Name: Bibliotheca Alexandrina Location: Alexandria, Egypt Architect: Snøhetta hamza (Norway) Construction Started: 1994 Opened: 2002 Site / Area: 85,000 m² Concept :  A monumental

3. Library Conference center Planetarium Pedestrian bridge Plaza Plaza with olive trees SITE PLAN

4. 1- Reading Area 2- Storage Area 3- Digital Lab 4- Offices 5- Spine 6- Escape Stairs 4 th BASEMENT BOOK STORE BOOK STORE BOOK STORE Offices Escape stair Escape Stairs READING ROOM

5. 1- Reading Area 2- Storage Area 3- Training Labs 4- Computer Room 5- Arts & Multimedia Library 6- Offices 7- History of Science Museum 8- Spine 9- Escape Stairs 3 rd BASEMENT 1- Reading Area 2- Storage Area 3- Training Labs 4- Computer Room 2- Book Storage 5- Arts & Multimedia 6- Offices Reading room 7- History of Science Museum Stairs Stairs

6. 2 nd BASEMENT 1- Reading Area 2- Storage Area 3- Print Shop 4- Staff Parking 5- Offices 6- Rare Books 7- Spine 8- Escape Stairs 1- Reading Area

7. 1 st BASEMENT

8. GROUND FLOOR BOOK STORE Reading Room Reading Room

9. 1 st FLOOR 2- Storage Area

10. 2 nd FLOOR 2- Storage Area

11. 3 rd FLOOR 2- Storage Area

12. Floating Meeting Room 1- 2- Offices Spine 3- Escape Stairs 4- 4 1 4 2 3 4 Offices Spine Escape stairs Meeting room 4 th FLOOR 1- Floating Meeting Room 2- Offices 3- Spine 4- Escape Stairs 2- Storage Area

13. 5 th FLOOR 2- Storage Area

14. Library Planetarium

15. Section A-A (facing west)

16. Section B-B ( facing east ) A A B B

17. South east elevation North east elevation

18. The building’s curve covered wit h the beautiful gray granite wall that displays letters from the alphabets of some 120 languages. symbolizing the universality of knowledge and the library’s mission to embrace all cultures

19. The stone, a Grey Schulmann granite, came from a previously closed quarry in Aswan, near the Sudanese border. Characterized by its circular, tilting form, the building spans 160 meters in diameter and reaches up to 32 meters in height,

20. is a dome-shaped theater where stars, planets, and the night sky are projected.

21.  Its main function is to educate and entertain visitors about astronomy and space through realistic simulations.

22. INTERIOR DESIGN

23. LIBRARY

24. EXHIBITION

25. Tourists fascinated by the artistry of the collection on display

26. Children attentively listening to their guide in the Pharaonic section of the Antiquities Museum

27. The Bibliotheca Alexandrina received the 2004 Aga Khan award for architecture •This award shows that Bibliotheca Alexandrina is not only beautiful in design, but also important for culture, education, and society. Winning the 2004 in new Delhi, India. Aga Khan Award means it is recognized worldwide as one of the greatest modern cultural buildings. • it recognized function, cultural significance, and benefit to people.

28. 02 ROYAL ONTARIO MUSEUM

29. Name: Royal ontario museum Type: Museum and culture center Location: Toronto, Canada Project Year: 2003-2007 Building Size: ~36,000 m² 43 Old: 1912-1914

30. Architects: Studio Daniel Libeskind Associate Architect: Toronto’s Bregman + Hamman Architects Landscape Architect: Quinn Design Associates Structural Engineer: Arup London, Halsall Associates Acoustic Engineer: Arup London, TMP Consulting Engineers, MBII, Valcoustics Electrical Engineer: Arup , TMP Consulting Engineers, MBII Construction Company: Vanbots Construction Developer: Royal Ontario Museum center Material: Glass and steel Height: 37m Cost: $94.000.000 USD Location: Toronto, Canada

31. OLD BUILDING: The old building (1914) speaks about tradition, history, and heritage — rooted in stone, classical symmetry, and stability.

32. The new Crystal (2007) speaks about modernity, innovation, and breaking boundaries — sharp, bold, futuristic. Together, they show the dialogue between past and future, tradition and modernity.

33. Museum History The Royal Ontario Museum is the largest museum in Canada and the fifth largest in North America. It is a natural history museum and culture. Designed by Frank Darling and John A. Pearson, construction of the historic building was completed in 1914. The original building was composed of 5 distinct museums: archaeology, paleontology, mineralogy, zoology and geology.

34. The East Wing and Centre Block In 1933, it was enlarged for the first time in a new wing. Its façade is covered with a limestone dotted with reliefs expressing, again once, the natural and cultural function of the building. Constructed during The Great Depression, the excavation was done by hand, using picks, shovels, and horse- drawn wagons. In an effort to use locally- sourced materials, Ontario marble was utilized in various areas of the addition, including in the floor, steps, pillars, and decorative panels of the Rotunda. Noted Dutch- Canadian sculptor William Oosterhoff created the stone carvings. 1930s – The East Wing and Park Plaza Hotel, looking southwest from Queen’s Park just south of Bloor St W (City of Toronto Archives, Fonds 1244, Item 3058) EAST WING

35. Final situation before Libeskind Intervention In 1955, the 5 different museums united to form a single one, while in 1978, it was enlarged for a second time. It was then that the Queen Elizabeth Terrace building is built to accommodate new exhibitions. Thirty years after opening, the Terrace Galleries were demolished to make way for the Michael Lee- Chin Crystal, part of the Renaissance ROM project.

36. 1922 - West Wing 1955 - Queen Elizabeth Terrace 1930 - East Wing McLaughlin Planetarium

37. The monumentality of the old building The historical building was built with a monumental and traditional look in order to give importance to the basic function of the building: conveying knowledge. This monumentality resulted from his style Renaissance, its massive walls, its imposing rectangular shape, its symmetry on the facade, its H plan, its crowning, as well as than the size and regularity of the rhythm of the windows. However, with over the years, the vision of monumentality has evolved.

38. BOLDNESS The old museum is stone, classical, symmetrical → safe and traditional. The Crystal addition is sharp, asymmetrical, all glass and aluminum → very different and risky. This contrast is bold because the architect (Daniel Libeskind) made a brave choice to shock, surprise, and stand out.

39. «This building tells a unique and a particular story which crystallizes the ROM’s programmatic content and the singularity of the site. The Crystal transforms the character of ROM into an inspired atmosphere dedicated to the resurgence of the Museum as the dynamic center of Toronto.» - Daniel Libeskind (Arcspace, 2009)

40. CONCEPT The crystalline deconstructivist form The form is composed of five volumes that intersect and intertwine. volumes make an analogy the precious stone, to The form is organic, the to the ROM's mineral collection. The shapes of the crystals are prismatic. The extension does not include any right angles. Crystal 2 Crystal 1 Crystal 3

41. CONCEPT The intersection of two crystals forms a void, occupied by the House of Spirit, a vast atrium. The fourth crystal includes the vertical circulation: the Staircase of Miracles while the fifth crystal contains the restaurant. This prismatic shape wishes affirm a spatial and participative choreography of the public. The architecture of Daniel Libeskind has a very important sculptural aspect. The exterior is made from 25%glass and 75% extruded- brushed aluminum, aluminum cladding strips are arranged in a warm silver color. The Crystal walls do not touch the old museum. Crystal 2 Crystal 1 Crystal 3

42. Daniel Libeskind sketched out the initial concept on a napkin while attending a family wedding at the ROM.

43. Museum Program Half of the space in the building is devoted to exhibition spaces. There are also 3 restaurants and on the ground floor, The entrance, The lobby that extends over 3 floors, And a shop directly linked to the street.

44. Building Extension Existing building Points of Entry Vertical Circulation Museum Shop Entrance Hall Toilets Atrium Canadian Heritage Canadian Heritage Asian Heritage Asian Heritage Asian Gallery ROM History Exhibit Event CHILDREN MUSEUM LEARNING LABS LEVEL 1

45. LEVEL 1 Atrium Spirit house Stairs of Wonder Atrium Gloria Chen Court These are galleries that show art, history, and cultural objects from China Currelly Court

46. Entrance

47. MECHANICAL MECHANICAL EXISTING THEATER Café Blockbuster Gallery Storage & Preparation Café Delivery Preparation Hall Building Extension Existing building Points of Entry EXISTING Facilities LEVEL - 1

48. LEVEL - 1

49. Nature Nature Nature Nature Nature Nature CULTURE ATRIUM Building Extension Existing building Connecting points Existing Facilities LEVEL 2

50. LEVEL 2

51. culture culture culture Culture Culture Nature CULTURE ATRIUM Building Extension Existing building Connecting points Existing Facilities LEVEL 3

52. LEVEL 3

53. LEVEL 3

54. LEVEL 4

55. RESTAURANT LEVEL 5

56. LEVEL 5

57. Building Extension Existing building SECTION

58. Building Extension Existing building SECTION

59. ELEVATIONS

60. QUEN’S PARK ELEVATION

61. Materials The skin of this Annex is made of glass 25% of its surface and a unique aluminum sheets burnished only manufactured in Germany (in the same factory with working Gehry for the creation of its world famous titanium sheets). The complex shape of the crystals had to develop new construction techniques and train staff work for proper placement. The steel beams that form the skeleton of more than 3,500 ton s each have different degrees and angle positioning. For construction were also necessary concrete 9,000m3 .

62. The Crystal combines 1-glass, 2-aluminum, and steel for a futuristic, shard-like exterior, anchored by concrete and complemented by diverse interior materials to merge old and new.

63. Façade and thermal envelope The Toronto climate is very extreme; the seasonal temperature differential exceeds 50˚C. This puts considerable strain on the thermal envelope, with the energy demand driven by the façade performance. The Crystal’s high levels of insulation and relatively small areas of glazing give a thermally- efficient building with reduced thermal gains and losses. This high-performance envelope helps to stabilise the internal environment and thus preserve the museum artifacts. Control of solar gain is essential to limit the installed cooling capacity, reduce running costs, and maintain daylight standards and comfort. Also, the exhibits on display must be protected from direct sunlight and excessive heat gains. Analysis of the site sun path and shading from the surroundings allowed the team to map the glazed openings and the amount of shading across the numerous Crystal façades. A combination of glass performance, deep reveals, slot windows, and internal shading was deployed to satisfy this analysis. 80

64. 04 INTERIORS

65. 04 INTERIORS

66. Spatial confusion Libeskind sends us a confused space, the floor is the wall then becomes the roof. The architectural elements are mixed.

67. Floor The floor is unique and describes a homogeneous space. Vertical circulations and horizontal are designed to allow circulation and flow that conveys balance and unity between the old and the new.

68. Function The functionality of spaces is of little interest to Libeskind.

69. The ROM Libeskind's chairs, specially designed for the Crystal.

70. RESTAURANT A fifth crystal houses the restaurant, which cantilevers over the existing West Wing galleries and provides panoramic views of downtown.

71. Spirit House Spirit House is a void created by the intersection of two of these crystals in the gallery space. The Spirit House consists of a large atrium rising from below ground level to the fourth floor and is broken up by bridges crossing it at various levels. This space is mainly intended to be a space of reflection for the visitors and providing a break from the exhibitions.

72. The stair of Wonders A fourth crystal , known as the Stair of Wonders, is dedicated to vertical circulation but also features exhibition vitrines at the landings.

73. The ROM shop. Libeskind's chairs, specially designed for the Crystal.

74. Exhibits in the end walls of the "Stair of Wonders"

75. Sloped walls of intersecting crystals penetrate the space on the top floor.

76. Looking towards the ceiling on the top floor

77. The fourth- floor gallery

78. The space in the top floor of the central crystal

79. Sloping floors, sloping walls or sloping ceilings?

80. The curved exhibit wall of the "History of History" exhibit on the top floor.

81. A view out onto the roof over the main atrium. The enclosures you see house the skylights that penetrate into the main atrium space below.

82. A view from the main atrium to the brick wall of the old building.

83. EXHIBITION & ART GALLERY

84. The completed Weston Gallery at the lower level.

85. Structure It is considered one of the most complex and innovative structure of its sophisticated North American system. The building consists of five prismatic structures interconnected and self- contained steel beams coexisting, but not structurally attached to the building's original ROM rather than bridges that unite.

86. Infrastructure: For the development of the new building was demolished concrete building Queen Elizabeth II Terrace, useless and for use by the museum, which allows to recover the view of the public part of the old facade. Its demolition resulted in reinforcing the concrete basements, avoiding changes to the original foundations and consolidating their bases. New pillars were placed in the foundation and the structure was designed with air intake and extraction trenches, to adapt the space to the location of the main technical services of the museum. The basement was intended for "guest exhibition", with a new entrance. This is how you create a column as free as possible, although the support of the mega- top structure, passing through the place, lining and angle walls with glass top, which connects the groundwater architecture of surface.

87. Suprastructure The shape and complexity of the construction led to the decision to use steel structures. The frames have been adapted to the shape of the building and the best way to harmonize the architecture with the superior glass cladding. Concrete and steel floor compounds complement the main structure and act as horizontal membranes that help stabilize and maintain the structural form. In this superstructure is a single vertical wall, the other lateral forces acting generate complex shapes together with the floors. Distribution systems for building services have been incorporated into a factory to allow structural flexibility for use in showrooms. The exhibition base that rises from the basement allows the exhibition of dinosaur skeletons, to reach the same level as the visitors.

88. 108

89. 109

90. 110

91. Previous structure relationship The relationship of the new structure with the existing building was crucial, particularly with regard to the earthquake- resistant design. No lateral load should be transmitted to the sensitive original masonry structure , which would need a total and costly upgrade, therefore great care was taken in the placement and positioning of the support bearings, when they were unavoidable. The unusual form of construction required wind tunnel testing to accurately determine the effects of the applied force thereof, including drag, as well as any unforeseen changes that would affect the old building. These tests were also used to assess the state of conservation of the various departments of the original museum or the ability of their roofs to remove snow or ice formation, which were poor, necessitating the construction of a new drainage system.

92. 112 1- Each joint is detailed using software that incorporates loading requirements. 2- Ironworkers preparing the steel shelf angles and connectors to accept the steel floor framing at the concrete elevator core. 3- The pieces are shipped to the site in limited quantities to suit the erection sequence as on- site staging area is quite limited. This stair component will be lifted into the crystal that rings the concrete core. 4- Closer view of the steel crystal that surrounds the concrete core. 5- Large truss elements comprised of HSS members ring this crystal which holds the central stair elements.

93. Room control The heating and cooling needs are based on local external data, which corresponds to a 99% ratio: - 17.8 º winter statistics, 32 º - 24 º summer. The internal criterion was as follows: the lower galleries, "blockbuster" and level 4 in the new buildings of 21 degrees in summer and winter, with a variation of 2°. The interior of glass galleries on levels 2 and 3: 24 degrees in summer and 20 degrees in winter, with a variation of 2°. The existing construction galleries: 24 degrees in summer and 20 degrees in winter, with a variation of 2°.

94. Fire protection The entire building is sprinklered and new galleries have a smoke extraction system for fans incorporated into areas of thick glass walls to remove smoke based on a fire signal.

95. Stormwater design The design of the roof drainage system presented many challenges, with ice and snow build- up even more important than water. The complex shape also presented many obstructions to the natural flow of rain and melt water. Each Crystal surface and intersecting valley was analysed for gradient and used as the primary water drainage route. Then the edge conditions were checked for gravity- based water runoff to identify whether it would travel inwards to a gutter or outwards off the edge. If the latter, a hidden edge gutter was fitted. Finally, the windows were analysed for runoff redirection and to check that there was adequate capacity for water to go around them. If there was not, the window was bisected, and a rainwater channel formed between. This process generated a very simple rainwater system, albeit with a very complex geometry. The main valley gutters also formed the primary access route for maintenance. Snow build-up was analysed in wind tunnel tests, and where it was shown to be excessive, snow melting tapes were installed. To avoid undue energy waste, these were only fitted where absolutely necessary to control structural loads and not just to clear the roof. 115

96. 04 CRITICS

97. Architect ’ s failure The building appears to dominate the historic existing building. It appears that Daniel Libeskind forced his modern architecture onto the traditional brick building of the original museum, doing nothing to create a more graceful transition from one form to another. He failed at not giving much attention and consideration to the existing structure.

98. The ROM Crystal in Toronto may be the most hated building in Canada. It’s been 10 years since the design – famously scrawled on the back of a napkin by star architect Daniel Libeskind – became a part of Toronto’s streets. The addition is all angles, its glass and aluminum seem to jut out of the ground in a display of raw power. It’s a stark contrast to the stately ROM that had stood since 1914.

99. Philip Kennicott: Art and architecture critic The most pointed critique came in the final days of 2009, courtesy of Philip Kennicott, art and architecture critic (and future Pulitzer Prize winner) at The Washington Post . “Sure, there were a lot of Wal- Marts thrown up in the Aughts, but Daniel Libeskind’s addition to the Royal Ontario Museum in Toronto surpasses the ugliness of bland functional buildings by being both ugly and useless,”

100. Christopher Hume Architecture critic Not all comments, however, were negative. In the Toronto Star , architecture and urban affairs writer Christopher Hume was one of the Crystal’s few early defenders. “As much as the new ROM may be about spectacle, especially architectural spectacle, there’s nothing flashy or crass about it,” he wrote. Today, Hume stands by his positive assessment. “[The Crystal] seemed to express a desire to bring not just the museum, not just the corner of Bloor and Avenue Road, but the whole city, into the 21st century without diminishing the past,” he says. Hume does, however, agree with some of the criticism – namely, how the interior space can be unwieldy and is hated by the museum’s curators. “It gives them more space, but a lot of that space comes in the form of slanting walls and spaces they can’t use,” he says.

101. PROJECT AWARDS 1-2007 Canadian Institute of Steel Construction (CISC) Award of Merit Category: Engineering 2-2008 Royal Institute of British Architects (RIBA) International Award -Category: International Architecture 3-2008 Canadian Architect Award of Excellence -Category: Design Excellence in Canadian Architecture 4-2009 Eyewitness Travel Book Recognition -Category: Global Architectural Marvels 5-2007 Where Canada Magazine – Top Ten New Attractions -Category: Tourism and Cultural Attraction

102. Centre Cultural Jean- Marie Tjibaou Building Name; Jean-Marie Tjibaou Cultural Centre Architect; Renzo Piano Building Workshop Location; Nouméa, New Caledonia (Pacific . Ocean, French Territory) Client; Government of New Caledonia Design Year; 1991 Construction Period; 1995 – 1998 Completion Year; 1998 Site Area; Approx. 8 hectares Built-Up Area; Around 7,000 m² Main Concept; Fusion of traditional Kanak culture with modern sustainable architecture

103. A modern interpretation of Kanak tradition — merging culture, nature, and technology into one living village.”

104. MASTER PLAN One other challenge of the site wa and the wind. The cases are at the shading the facade and ensuring p ventilation. This has played a majo in the orientation of the bu Simulation tools, mainly models computer software, were use evaluative the feasibility of the d before construction. The site is 10 km from the main cit Nhas private roads. Making it an idea tourist attraction. Spreading over 8,550 square meters, the building plans had the vision to link the landscape the area and the built environment through Kanak traditions. The cultural center houses 10 semi-circular pavilions surrounded by a landscape path consisting of chains of vegetative c It is a actual village with its own paths, vegetation and public spaces, and that is in direct co with the ocean. “ From the beginning of the process there was a thorough study of the air currents and a search for the way to express the tradition of the Pacific with a modern lang Hence, the main challenge of the project was to pay tribute to a particular culture from the respect of its history and traditions, of its past, present and future, as well as its sensibility ” Drawing done by RPBW Fig 132 54 https://www.researchgate.net/publication/391108993_STRUCTURAL_EXPRESSIONISM 07/10/25, 12:25 PM Page 66 of 78

105. Cafeteria Storage spaces for above function Auditorium SECTION THROUGH CLUSTER 1 artists of the region. Case 2 known as Jinu or pa has six exhibits that are titled spirit of Oceania" which depi origin of the world. Case 3 also known as K exhibits depicting the life and of Jean-Marie Tjibaou, charis leader of the indepe movement who initiated act set up the Kanak cultural cent Case 4 houses a Cafeteria. Cluster 2: Case 5 houses Lecture and Consultation room. Case 6 houses a Library. Case 7 Is a Audio Visual Libra Cluster 3: Case 8 Is a Audio Visual thea Case 9 Is a room for discussions and debates. Case 10 Is a Classroom for tea the Kanak Culture. Drawing done by RPBW Fig 141 57 https://www.researchgate.net/publication/391108993_STRUCTURAL_EXPRESSIONISM 07/10/25, 12:25 PM Page 69 of 78

106. Library Storage spaces for artifacts and admin Bensa played a pivotal role in translating Kanak cosmology and the planning strategies of the vernacular landscape into significant design choices. These decisions encompassed the organization of vertical cases along a SECTION THROUGH CLUSTER 2 AVT SECTION THROUGH CLUSTER 3 Exhibition and office spaces Initially, Political agenda was the major reason for building the structure and the agenda revive Kanak culture. The design process, then, focused heavily on the symbolic import the building, even the most basic details would be interpreted under high scrutiny: Renz “It was not a tourist villagethat I hadto build. I hadto create a symbol:a cultural said Drawing done by RPBW Fig 142 58 Structure for Cultural Identity devoted to Kanak civilization, theplace that would representthem to foreignersand p their memory to their grandchildren. Nothing could have been more loaded with sy expectations.” https://www.researchgate.net/publication/391108993_STRUCTURAL_EXPRESSIONISM 07/10/25, 12:25 PM Page 70 of 78

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109. Fondazione Renzo Piano Centre Culturel Jean-Marie Tjibaou 154 / 90

110. Fondazione Renzo Piano Centre Culturel Jean-Marie Tjibaou 155 / 90

111. Fondazione Renzo Piano Centre Culturel Jean-Marie Tjibaou 156 / 90

112. Fondazione Renzo Piano Centre Culturel Jean-Marie Tjibaou 157 / 90

113. Fondazione Renzo Piano Centre Culturel Jean-Marie Tjibaou 158 / 90

114. Fondazione Renzo Piano Centre Culturel Jean-Marie Tjibaou 160 / 90

115. Fondazione Renzo Piano Centre Culturel Jean-Marie Tjibaou Titolo (Elements securing the bottom of the ribs assembled) Scala NTS Data 1996 Numero Disegno - Codice disegno NOU_DW_035 Autore Renzo Piano Building Workshop 161 / 90

116. Fondazione Renzo Piano Centre Culturel Jean-Marie Tjibaou 162 / 90

117. Fondazione Renzo Piano Centre Culturel Jean-Marie Tjibaou Titolo Tre casi - Modello di presentazione Data 1992- 12- 01 Codice Modello NOU_MD_008_T Scala 1:50 Autore Modello RPBW - Renzo Piano Building Workshop Architects 163 / 90

118. Fondazione Renzo Piano Centre Culturel Jean-Marie Tjibaou Titolo Evoluzione del caso - Modello di studio Data 1993- 04- 01 Codice Modello NOU_MD_037_F3 Scala 1:20 Autore Modello RPBW - Renzo Piano Building Workshop Architects 164 / 90

119. Fondazione Renzo Piano Centre Culturel Jean-Marie Tjibaou 165 / 90

120. Fondazione Renzo Piano Centre Culturel Jean-Marie Tjibaou 166 / 90