Morphology Finding In Ancient Egyptian Architecture

Transcription

1 Morphology Finding In Ancient Egyptian Architecture [Eslam Abd El-Khalek 1, Khaled Dewidar 2 ] Abstract Through the 21 th century some architects tend to retrieve the ancient Egyptian architecture by only retrieving the body not the soul of this style (i.e. copy and paste from it), which emerge a case of eclecticism. The research objective is to emerge a new architectural parametric definition using the proportions and ratios of the telescopic sequence (prismatic pillars) that were used by the ancient Egyptians in their temples, so it can retrieve the ancient style through understandings and investigations, as well as it will be the first to apply parametric morphogenesis approach in retrieving history, as it had been used for a while in the application of form finding in architecture from the nature. Achieving this by applying qualitative study to obtain the necessarily inputs and then the logical argumentation study to obtain the parametric definition, the resulting definition could be used architects and practitioners in order to articulate geometries obtained from ancient Egyptian architecture. Keywords Ancient Egyptian architecture - Morphology - Telescopic triangles - Prismatic pillars - Parametric design. I. Introduction Revivalism of ancient Egyptian architecture could be occur without eclecticism, and could be the first step for futuristic architecture in Egypt, justifying the dynamic relationship between Art, Culture and Technology II. Research Methodology and Objectives The objectives that the research want to achieve is firstly emerging morphologies proportions and ratios from ancient Egyptian architecture, then establishing a parametric definition to facilitate its use by architects and practitioners in order to articulate inspiration from ancient Egyptian architecture in their works, and that's will be achieved by obtaining the inputs of the parametric definition through qualitative study, and comprising them with parametric morphogenesis example through a case study, then applying a logical argumentation process to got the parametric definition. The recent Egyptian built up architecture show the achievements in building technologies and the art of formation, without integrating the Egyptian Culture, leading to a delay and distortion for the architecture conscious in the Egyptian society and its civilization, as well as a cutoff between the past and the present, in addition, when some architects tired to articulate the ancient Egyptian style in the 21 th century they ending up by eclecticism According to Dr. Aly Gabr "it seems like Luxor in Las Vegas just copy and paste from the history", that is inspired the research aim is to emerging architecture morphological basis appropriate from some of the ancient Egyptian architectural morphological proportions and ratios, the parametric design as a tool represent the 21 th century in architecture, hence If the research achieved its objective by redefining the morphological proportions and ratios obtained from ancient Egyptian architecture using parametric design as a tool representing the 21 century.(1) Eslam Abd El-Khalek Architecture Engineering /British University in Egypt Egypt eslam.abdelkhalek@hotmail.com Figure 1( Khaled Dewidar British University in Egypt Egypt Khaled.dewidar@bue.edu.eg 1

2 Figure 4Egyptian temple, (anceint-egypt.co.uk), edited by researcher using adobe Photoshop III. Ancient Egyptian architecture revivalism Many of Egypt architects believe that using the ancient Egyptian architectural elements in their designs will help to set a sense of belonging, According to Diaa el-din Ibrahim, we need a morphology have the ability to describe Egypt, as when you see the Pharaonic elements you start think about Egypt, as a result of this movement ancient Egyptian architecture revivalism came to practice, as an example The Supreme Court of Egypt (see fig.2), The complex was designed using the concept of megalomania and ancient Egyptian architectural elements by the architect Ahmed Meto, as a result of this work opponents claim that contemporary Egyptian endeavors to go after the past are misinformed, The final product is more suitable to Las Vegas than Cairo (2)(3). Figure 2Supreme Court of Egypt ( According to Omar Al Farouk the student of Hassan Fathy, the Supreme Court of Egypt and the decoration of the theatres are alike, then they became call that work eclecticism, because the architect copied and paste the elements of ancient Egypt rather than understanding and investigating to obtain new morphologies, that is why when the ancient Egyptian reviving style came in practice it comes with distortion, According to Dr. Aly Gabr "it seems like Luxor in Las Vegas just copy and paste from the history.(2)(4) On the other side, in 2006 a PhD candidate in Cairo university achieved an articulation for ancient Egyptian morphological aesthetic aspects through understanding the philosophy behind their forms, proportions and ratios, ending up by achieving an organizational grid based on the aesthetic aspects of the ratios and proportions used by the ancient Egyptians" (see fig.2).(5) Moreover, he verified its workability by using it to design swimming pool complex in Mansoura city (see fig.3 ). IV. Figure 3 (hussein, 2006) Theory of Gottfried Semper, Ancient Egyptian Temples Perspective. In order to avoid the critics about eclecticism the research follow the approach of understanding and investigating about key concepts in ancient Egyptian architecture. The German Architect and Theorist Gottfried Semper, Published in 1851, his book the four element of architecture. It was an attempt to explain the origins of architecture through the lens of anthropology, Sempers Four Elements of Architecture were an attempt at a universal theory of architecture, the Four Elements of Architecture was not the arrangement of a particular typology, but it's an endeavor to offer a more broad hypothesis about architecture, instead of explaining one building topography as the base, Gottfried Semper recognized what join and connect all this primitive structures together, the book categories architecture into four 2

3 different elements; the hearth (moral element), the roof, the enclosure and the mound, as this division is based on the four elements of life which are fire (moral element), air, dust, and water, the existence of the fire as a moral element had been explained in his book as the principal indication of settlement and rest after the chase, the fight, and meandering in the desert is today, as when the first man lost heaven, the setting up of the chimney and the lighting for the restoring, warming, and nourishment lead to the sitting up for fire (hearth). Around the hearth the first gatherings assembled, around it the first allies formed, around it the first religious takes place, ideas were put into the traditions of faction, through all periods of society the hearth framed that holy center, around which the other elements arranged and shaped, it is the first and most critical, the ethical element of architecture around it the three other elements : the roof, the enclosure, and the mound, morphed to guard hearth's fire against the three other elements of nature.(6)(7)(8) Semper meant by the hearth; the purpose for example the purpose of the temple is the rituals, the enclosure; the walls were they have their origins in weaving, so it weaved and morph around the hearth, the mound; is the land, and finally the roof, this formation is present in ancient Egyptian temples as said by Gottfried Semper, based on the descriptions of Herodotus and other older writers, the sequence made by ancient Egyptians in their temples towards the sanctuary emphasizing the object they were actually intended to protect (hearth) (see fig.4), the reason for that is the Sanctuary is the most special and important part of the temple (see fig.4).(7)(8)(9) Based on Gottfried Sempers theory the research investigate the philosophies of the ancient Egyptian architecture temples, as well as Gottfried Semper made an analysis about Ancient Egyptian architecture and its moral element in his book saying: Everything in the design of the temple pointed to an invisible kernel which is the sanctuary (see fig.4).(8) V. Proportions and Ratios in Ancient Egyptian temples Among the most imperative components in Marcus Vitruvius hypothesis is the commensurability: which implies that the measurement of the part is a submultiples of the measurement of the whole, this hypothesis is concurred with the measurement of the human figure which is the base in the configuration of ancient Egyptian temples according to Schwaller le lubicz, the proportions of the temple should to be like those of a well-formed human being (see fig. 5). (10) Figure 5 (Lubcaz, 1957) Viollet lu duc believed that good architecture were based on triangles, but it also based on the architect's favor for example Odilio Wolff favored the hexagons and Ernst Mossel Favoured the circles, in the research case the opinion of Viollet le Duc will be followed as he is the most one dealed with ancient Egypt architecture, and that's also because another two great architects and historians had verified Viollet luduc thoughts, the best among the geometrical figures connected to old Egyptian building design was the triangle, particularly they are three triangles : 3-4-5, the equilateral triangle and the Egyptian triangle as indicated by Viollet le Duc or 8:5 triangle for Choisy and Badawy (see fig.6). (11) Figure 6Egyptian temple, (anceint-egypt.co.uk), edited by researcher using adobe Photoshop Figure 7 (Rossi, 2007) 3

4 In Viollet le duc's Egyptian triangle the ratio between the height and the breadth is 5:8 respectively which is the diagonal section of Khuf's pyramid.(see fig.6), the use of the Egyptian triangle (8 to 5 triangle) in Ancient Egypt was not only the design of the pyramid but also in the facade and the plane of the temples, Viollet le duc identified the utilization of the equilateral triangle and the Egyptian triangle ( 8 to 5 triangle) in the outline of monuments of different periods as in the sanctuary of Khons at Karnak (see fig.7).(11) According to Rossi in 2007, in 1899 August Choisy in his booke Histoire de l' building design, distributed four triangles taking into account his examination for ancient Egyptian ratios likewise proofing the suspicions of Violet le Duc and including that those ratios follows the golden section proportions (see fig.7) Figure 9(Rossi, 2007) In 1957 Schwaller de Lubicz suggested that there was a strict correspondence between key focal points of the human body and significant focal points in the design of the ancient Egyptian temples (see fig. 5), which gives an evidence of the use of the golden section of the human body in the ancient Egyptian sacred buildings.(12) In 1957 Alexander Badawy, suggested that " the golden section is a main tool that is used by the ancient Egyptians in designing the temples" (see fig. 10), and that's done using triangles with proportions and sequences as Fibonacci sequence, in addition, the square was utilized to develop a telescopic sequence of spaces called the 'prismatic pillar' regarding the triangles especially the 8 to 5 t,(see fig.13). (11)(13) In 2007 Moustafa Gadalla the great Egyptologist published a book verified the Prismatic pillars with another name the telescopic triangles' he said " the plan of the temple typically began from the sanctuary which is the point of convergence, and the temple begin to expand in width and height till it achieve the pylon (see fig.13), which is considered to be a verification for the sequences suggested by Alexander Badawy, Viollet le Duc, and choisy, also it define the moral element as mentioned before by Gottfried Semper and the gradual expansion of the temple from the point of the hearth (sanctuary), Also from the another issues that gives harmony the ancient Egyptians used an active axes in their drawings they cut the plan into two halves, followed by significant points along the axis which defines the transverse axis of the doors (see fig.8). (14) Figure 8 (Gudalla,2007) 4

5 VI. Parametric Morphogenesis the morphological harmony and proportions in ancient Egyptian temples is based on mathematics as we concluded from the previous point, the relation between them according to historians and architects, is summarized by using the Phi = (Golden ratio), and the use of the telescopic triangles (prismatic pillars) with the sequence ( 1:2, 1:4, 1:8 ), since the design of temples is based on sequences of generations as the used ratios are related to each other and also the parametric morphogenesis is based on mathematical parameters used to obtain morphology, hence it could be the tool to achieve the objective of the research, so this point is about introducing the parametric morphogenesis as a technique in obtaining morphologies based on parameters (ratios and proportions). Parametric morphogensis is a word used to transform morphologies using paramteric design techinques, so paramteric design could be defined as parmateric design is a combination between two words paramters and design so it means a design based on paramters, that is why paramteric morphogensis could be understood as a group of methods that use paramteric techinques as a tool used for generation of morphologies and its transformation, the use of paramteric morphogensis start to emerge a new language of the 21th century called Paramtericism "Parametricism is the only deployable contemporary language that could be the stye for the 21st century", the use of this tool or language enable the architect to get the possibilities of his design solutions and morphology as the parametric design supply to the architect a powerful conception tool by its declaration of a range of possibilities, the use of parametric morphogenesis within the research is because of its ability not just to gives variable parameters to the process but also because it is characterized by declaration and configuration of the input parameters as well as their relation to each other using algorithmic equations and also the ability of determination and re-configuration of gemoterical linkage for a particular value for that reason of making relations and manpulations when using paramteric techinques in 2004 Hazem El daly defined it as the techinque of Associative geometry. (15)(16)(17)(18)(19)(20) Voronoi diagram in the architectural field is applied as a form finding tool, since it formulated from nature, the Figure 10 (Eldaly, 2006) voronoi diagram is an organizational natural phenomena, occurs in natural formations of life, such as in the biology of foams, sponges, bone structures and crystals, (See fig, 9), the voronoi emergent potential from the geometry from bottom up self-organizing processes of the voronoi point cloud, makes it a form finding and attractive as a design tool in architecture.(22)(23) As an example of the application of voronoi diagram in the architectural design is the water cube national stadium (see fig Figure 12 ( Figure 11 (Eldaly, 2006) 10), its structural morphology based on the formation of soap bubbles, articulating it in a complex 3-dimensional structure, using 3D Voronoi diagram.(24) Voronoi diagram VII. Case Study Among the area of the parametric morphogenesis a new material emerged called voronoi which facilitates the process of form finding and the degree of complexities to the architects and it is defined as the splitting of a non curvilinear surface with points into convex polygonal geometries, as each polygon have on central point and is closer to another point act like a generator of the first point that any other point,(see fig. 11).(21) 5

6 If we compared the case of voronoi diagram in the water cube stadium and the outcomes of the organizational grid that obtained from ancient Egyptian mathematics by Hesham Hussein, (see fig.13), we will find that they were based on the same concept, which is the mathematically related grid; which means all within the grid is related to each other through mathematical equations VIII. Telescopic triangles (Prismatic pillars) analysis: In the previous qualitative study about the ratios and proportions in ancient Egyptian temples and the theory of Gottfried Samper the research concluded that the Governing mathematical rule is called telescopic triangles according to Mustafa Gudallah or prismatic pillars according to Alexander Badawy, which characterized by the following (see fig. 12), -Active axis dividing the temple into two symmterical halfs, around which the temple body evolves. - Significant points along the axis based on the Phi ratio = (Golden ration) such as fibonacci sequence (3,5,8,15,...etc). -Then the plan increases in width by the use of consecutive 1:2, 1:4 and 1:8 triangles from one or more significant points. Figure 14(researcher, 2016) Figure 13 (researcher, 2016) 6

7 In order to simplify this process and analyze the sequence for the telescopic triangles (Prismatic pillars), based on the research understanding is as the following: 1- The beginning of this process is by creating an axis in order to divide the temple into two equal parts, then a line parallel to the axis that includes a series of Fibonacci numbers (see fig.15). 2- Drawing the first two triangles, as in this case the starting triangle is the 1:4 triangle followed by the 1:2, then defining the boundaries of the temple (see fig.15). IX. The parametric definition process. The parametric definition will be based on one point and axis, all the parameters of the design are linked to each other by mathematics so any change in the inputs will affect the whole design, that is why it can be generate once it defines a point and a line of axis to the parametric definition. The procedure of this design is as follow using grasshopper software: 1- Defining a point that all the design will emerge from it and the axis of symmetry (see fig.16). Figure 16(researcher, 2016) Figure 15 (researcher, 2016) 3- In this temple, another Fibonacci line where added, then from the numbers exist on the two Fibonacci lines, reference lines were taken that intersect with the 1:4 triangles to identify the first space (see fig.14) 4- The final point is using Fibonacci lines to also identify the remaining spaces, then draw the 1:2 triangles, and identifying the spaces from the intersection between the triangles and the dropped reference lines (see fig.14). Figure 17 (researcher, 2016) 7

8 2- setting the parameters for the Fibonacci sequence (the starting number, the second number, and how many numbers the user required, then moving the definition starting point using the Fibonacci values so anyone using this definition can choose any point to construct the triangles (see fig. 18). 3- Defining the parameters of the first triangle, by firstly defining the starting point which is any point the user can choose it from the list points created by Fibonacci sequence along the axis line, then identifying the height of the triangle using the height number slider, and finally the ration that this triangle will be build upon it (see fig.17), in this case the ratio is 8, the number sliders provided for easily changing any kind of the parameters and to make the user have the accessibility for all the parts of the definition. Figure 19 (researcher, 2016) Figure 18 (researcher, 2016) Figure 20 (researcher, 2016) 8

9 4- defining the parameters for the other two triangles (1:4 & 1:2) as the previous step, with separate number sliders, so the user have the freedom of parameters in the three triangles (see fig.19), they were designed on the same concept of ratio as the previous one. X. Conclusion Ancient Egyptian architecture is full of investigations and understanding, as validation on that the theory of Gottfried Semper and the telescopic triangles (Prismatic pillars), as well as it is capable to introduce and open the gates for a new approach in the parametric morphogenesis world, and that's also verified by the parametric definition achieved by the research. The parametric definition could be used by any architect or practitioner, just by identifying a point and an axis that it will have all the control about the variables of the definition, that is mean this definition is capable to produce a finite number of geometries because of its variables (see fig.20). Figure 21(researcher, 2016) Figure 22 (researcher, 2016) 9

10 XI. Recommendation - This research has the capability to open the gateway for a new research possibilities and the dynamic relationship between our historical civilizations and digital technology. - I recommend implementing a new architecture design studio in Egypt based on the mutual relationship between academia and profession in its updated digital technology. - Since, the Ancient Egyptian temples are based on the science of anthromophism (the relation between body and building), the emerged parametric definition from the research could be a driving force to link the out put of the research with the human beings studies, since the ancient Egyptian architecture style give a since of belonging for Egyptians. - So it could be used in the Egyptian development era in order to enhance our feelings towards our land as well as our great history - Finally, I would like to end by a quotation by Plto when he said: "The future belongs to those who believe in the beauty of their dreams". This is my dream for new futuristic architecture. XII. Acknowledgment I would like to acknowledge, all the people who had stand beside me, especially my family the back bone of my life, as well as the conference that gave me the chance to publish my ideas and findings to the world. 10

11 Figures and Tables Figure 1( 1 Figure 2 (hussein,2006) 2 Figure 3Supreme Court of Egypt ( 2 Figure 4Egyptian temple, (anceint-egypt.co.uk), edited by researcher using adobe Photoshop 2 Figure 5 (Lubcaz, 1957) 2 Figure 6 (Rossi, 2007) 2 Figure 7(Rossi, 2007) 2 Figure 8 (Gudalla,2007) 2 Figure 9 (Eldaly, 2006) 2 Figure 10 (Eldaly, 2006) 2 Figure 11 ( 2 Figure 12(researcher, 2016) 2 Figure 14 (researcher, 2016) 2 Figure 15 (researcher, 2016) 2 Figure 16(researcher, 2016) 2 Figure 17 (researcher, 2016) 2 Figure 18 (researcher, 2016) 2 Figure 19 (researcher, 2016) 2 Figure 20(researcher, 2016) 2 References [1] Brook, D. (2009). The Architect of 9/11. Slate: Slate press.j. Clerk Maxwell, A Treatise on Electricity and Magnetism, 3rd ed., vol. 2. Oxford: Clarendon, 1892, pp [2] Salama, A. M. (1999). Contemporary Architecture of Egypt Reflections on Architecture and Urbanism of the Nineties. Beirut, Lebanon: The Aga Khan Award for Architecture (AKAA). [3] Fotouh, A. (2006). Architects to revive Pharaonic style in Egypt. Egypt Daily News, 6.R. Nicole, Title of paper with only first word capitalized, J. Name Stand. Abbrev., in press. [4] Warner, N. (2005). The Monuments of Historic Cairo. Cairo, Egypt: The American University in Cairo Press.M. Young, The Technical Writer's Handbook. Mill Valley, CA: University Science, [5] Hussein, H. (2006). Philosophy of form of the ancient Egyptian architecture, an applied theory of experimenta aeshtics. Cairo: Cairo university. [6] Saint, A. (2014, 11 12). Semper's Searrch. Retrieved 12 19, 2015, from Architecture Reviews: [7] Johnson Deborah, D. O. (2005). Seeing and Beyond. Newyork: Peter lang publication. [8] Semper, G. (1851). the four elements of architecture. England: Cambridge University press. [9] D.Hamlin, A. (2010). History of Architecture. Salzwasserverlag. [10] Vitruvius, M. (1999). Ten books on architecture. Cambridge: Cambridge press. [11] Rossi, C. (2007). Architecture and Mathemtics in Ancient Egypt. Cambridge: Cambridge Press. [12] Lubicz, S. d. (1957). Le temple de l' homme. paris: caracteres. [13] Badawy, A. (1965). Anceint Egyptian Architecutral design. california: california press. [14] Gadalla, M. (2007). The Ancient Egyptian Culture Revealed. USA: Tehuti Research Foundation. [15] Hudson, R. (2010). Strategies for parametric design in architecture. UK: University of Bath. [16] Roudavski, S. (2010). Towards Morphogenesis in Architecture. international journal of architectural computing, [17] Shumacher, P. (2015). In Which Style Should We Build? exhibition catalogue "Zaha Hadid at the Hermitage", State Hermitage Museum,. St.Petersburg, Russia: Russian Federation. [18] Burry, M. (1999). Paramorph. In Hypersurface Architecture II (pp ). London: S.Perrella. [19] Daly, H. M. (2004). Architecture in the age of information technology. Cairo: Ain Shams University. [20] Kolarevic, B. (2013). Architecture in the Digital Age: Design and Manufacturing. USA: Taylor and Francis. [21] Aurenhammer, F. (1991). Voronoi Diagrams - A Survey of a Fundamental Geometric. United Kindgom: Cambridge press. [22] Daly, H. M. (2006). Revisiting algorithms in architectural design towards new computational methods. Cairo: Ain Shams University. [23] Friedrich, E. (2008). The voronoi diagram in structural optimisation. London: Bartlett School of Graduate Studies. [24] Jovic, B. (2010). Analysis geomtery structure of olympic centers in Beijing. Serbia: Belgrade press. About Author (s): [Eslam Abd El-Khalek Metwally: born in sep. 1992, applied for the British university in Egypt in 2011for architectural engineering studies, awarded in 2014 the first honorable mention in BIWF competition, interested in mechanics, mathematics, electronics, physics and design. "Science is my favorite food, and l am always hungry" [Dr. Dewidar: Professor of Theory, History, Technology and Architectural Design. Graduated from the Architectural Engineering department in 1983 from Cairo University, followed by M. Arch. in 1988 from the same school in Architectural Design. In 1990 he was awarded his M.Sc. from the University Pennsylvania in Philadelphia in History and theories of Architecture. In 1993 he was awarded his Ph.D. from the University of Pennsylvania in the dialectics between Materials, Structures, Space and Architectural Style. 11