Architectural Design

Snohetta/Hamza Consortium, Architects and Engineers

The most prominent characteristic of the building is its circular shape. Content in itself and exceeding itself equally it does not act as part of the homogenous skyline along the Corniche; a fact which accentuates the prominent object. Seen from above it proposes to the image of the sun (Egyptian hieroglyphs show the sun generally as a simple disk). The vital aspect of this space concept consists of shifting the building on ground level by tilting it into the ground. Therefore, it incorporates a reflection of the forces below the surface in mirroring them above the ground. Cutting through the surface thus coincides with cutting through time. This assumes that time is defined by the rotations of the earth in its interplay with the sun, which is described by the horizon interacting with light, while the surface of the actual ground one walks upon represents the present. Thus, the turning point at ground level marks the point at which present meets past and future.

The titling motion of the building is elucidated through the curving exterior wall, which moves and repeats itself in reverse by rotating inside out when leaving the ground at the turning point datum. A positive-negative image is thus established which intensifies the initial impulse. This image is resumed once more in the wall texture as the plane is tilted out of the present creating layers of time modeled on patterns emerging from nature. Here the layering is filled with script carved in the stone. The wall, responding also to light and shade, becomes a positive-negative image itself.

In surrounding the building with water, the ground plane corresponds to the sky by reflection. The reflected image of the sun and wall is that of a fusion of sun, water and earth as essential forces of nature becoming static with the constructions of mankind. A surface composed of rectangles completes the building upwardly. Due to this composition the emerging grid creates a complex screen covering the interior space. This solution transforms traditional eleveational aspects, making the roof screen the primary elevation of the building. The arising pattern is produced by solar sails installed at the ceiling, and thus allows sunlight to diffuse into the interior space. The construction resembles a skin, which resolves various acoustic, light and temperature concerns. Furthermore, the roof operates as a connecting link allowing visual access to the exterior and vice-versa. Although this "coats" manner of presentation evokes a simple visual pattern, its structural process develops in three overlapping layers. The organization indicates the building's interior and exterior structural procession, the conceptual positive-negative movement in organizing the sun shade conditions of the screen itself, and the representation of the complexity of information contained in the library. The roof may be seen as a "microchip" which dictates the various conditions of interior and exterior activity.

As a general principle, motion is carried out in infinite, three-dimensional "space". On the contrary, "time" is one-dimensional. "Space" shows the extension of things, their coexistence, their posture toward each other and their distance from each other. Motion in "time" is not reversible, all events proceed in one direction: past to present to future. Therefore, providing a space for a new Library of Alexandria, automatically rests upon innumerous associations. Those might originate in the prehistory of the "Bibliotheca Alexandrina" itself, or the universal fascination Egypt's cultural history contains. Furthermore, they could be embedded in those experiences and achievements of mankind represented in the 20th century and/or perceptions of any kind connected with moving towards a new time sequence during the turning of the millennium. Also associations could be grounded upon what a library "per se" provides, serves and represents. Whether associations are based upon individual experiences cultural mentalities and backgrounds, intentions or locations, the space shall inspire, also receive, absorb, forward and direct them constructively and so become a vital binding element in space and time.

The Library transforms and presents itself flexibly through varying demands. Time change with this spirit, creating a space for human creativity. The library can call for and inspire any type of associations and interpretations becoming a place of contemplation and dispute in every imaginable respect. Upon visiting the Bibliotheca Alexandrina we can either cross a slender bridge which ramps down into the place or pass through one of the courts on either side of the building. Additionally, a single bridge with stairs connects the University and the Corniche directly into the Library during working hours. Within the plaza is set the Planetarium, a large sphere set within the ground in a reversed pyramid form, which houses the Science Museum. The drama of the object is matched only by the contents within. Along our route we receive glimpses of the texture exterior wall of the Library. This texture is composed of scriptures and symbols throughout the ages and instills within our mind the pursuit we are about to encounter in the new Alexandrina.

After passing through the broad entry doors of the Alexandrina we enter a spacious glass-lined hall. Its name is derived from the ancient Ptolemaic dynasty, hence the Ptolemy Hall. This hall extends over three different levels and within this enclosure are exhibition and performance spaces, a bookshop, cafeteria and a Young People's Library acting as a window onto the Plaza. Upon leaving these spaces, our path narrows and we pass through a small checkpoint into the Callimachus Hall, namesake of the great poet Callimachus. Enriched with detail and graceful stairs as vanguards, this hall leads us to the heart of the building. We pass through a massive glass wall and enter an internal balcony. From this balcony we have our first view of the Alexandrina space. Before us stands a vast panorama of light and texture. All around us are slender columns beneath a sheet of diffuse light. The vast curving wall of the library's exterior is shown to us once again, this time as an enclosure. A space 160 meters wide and 80 meters deep fulfills our expectations of this grand adventure. The floor of this space terraces along the 10 levels and the effect of this stepping creates a flowing space with books cascading around us. These terraces are what make this library unique. The book stacks may extend behind each terrace providing superior flexibility for the organization of each department. Accessing each of these levels is an external corridor, or spine, which allows independent entry to the terraces. Finally, our views within the space are not obscured by the height of the book stacks themselves. Each terrace has viewing platforms to allow unobstructed visibility to any destination. We stand within a space, which refers to the great halls within libraries of the past while maintaining modern flexibility and expansion considerations.

Deeper into the library, spaces receive natural diffused light from above or from light courts, while the atmosphere is more carefully controlled according to the needs of the work going on in the Audio/Visual Collections, Manuscripts and Rare Books, Administration, Operational and Technical areas.

Finally, one aspect of the Bibliotheca Alexandrina, which extends its function beyond its traditional uses, is its relationship to the neighboring Conference Center. The two institutions, although independent, share some facilities and the Plaza of Culture. This link helps maintain the philosophic integrity of the two ideas: debate and research. A highly prestigious building is rising. From 1998 on the Bibliotheca Alexandrina has been home one of the world's foremost collections of research materials and facilities becoming a new constructive agent to science, art and human culture. Developed as an autonomous public organization, its databases are connected with the world library network and its main collection will house manuscripts ranging from Hellenistic, Egyptian and Islamic scriptures to modern interpretive literature. The Bibliotheca Alexandrina opened with more than 200,000 volumes and is targeted to contain five to eight million volumes by the year 2020. In addition to the library collection, the Bibliotheca Alexandrina houses seven research centers, various museums and public displays. Its prominence has created both an important institution as well as a primary attraction within its Mediterranean setting. It can be expected that the new Bibliotheca Alexandrina will bear a legacy that will reach as far into the future as its predecessor has provided to the past. An institution whose influence may span from the time of Alexander the Great, more than 2300 years ago, to the present and beyond.