The Grand Egyptian Museum, Giza, by Heneghan Peng Architects

SHARE THIS

Note: The content below has been curated from publicly available resources.

The Grand Egyptian Museum, Giza, by Heneghan Peng Architects

The Grand Egyptian Museum is a world-class complex of buildings and landscape with one identity, demonstrating the progress, evolution and development of the Egyptian Civilization. Designed by Irish firm Heneghan Peng Architects, the project was initiated in 2003. The site for the Grand Egyptian Museum is located at the edge of the first desert plateau, two kilometres from the Pyramids of Giza. It is defined by a 50-metre level difference, created as the Nile carves its way through the desert to the Mediterranean, a geological condition that has shaped Egypt for over 3,000 years.

Seamlessly woven together, the museum and landscape emerge from a strict design grid. Stretching outwards like a fan, the five walls of the museum are positioned to visually align the entrance of the site with the three points of the distant, iconic pyramids of Giza. Running through the complex is a second, meandering path that represents the Nile’s journey through the Egyptian desert. This concept influences the design at all scales – from site plans to exhibition showcases. Following the competition for the new Grand Egyptian Museum, West 8 along with the winning architectural team, Heneghan Peng Architects refined the concept of the museum, prepared a design for the garden spaces and developed a master plan for the museum environment in relation to the pyramids of Giza. The landscape design draws inspiration from the River Nile, the wealth derived from its flood plains, and how nature was integral to ancient Egyptian agriculture and civilisation. The three main spaces include the Nile Park, Entrance Plaza and Palm Grove.

The approach to the museum is a series of layers, whereby the visitor moves through a monumental forecourt, a shaded entrance area and a grand staircase that ascends to plateau level, the level at which the galleries are located where for the first time the visitor sees the pyramids from within the museum. The museum is envisaged as a cultural complex of activities devoted to Egyptology and will contain 24,000 sqm of permanent exhibition space, almost 4 football fields in size, a children’s museum, conference and education facilities, a large conservation centre and extensive gardens on the 50 hectares site. The collections of the museum include the Tutankhamun collection, which is currently housed in the Egyptian Museum in Cairo, and the Solar Boat which is now housed beside the pyramids.

Featuring 12 exhibition halls, the museum houses over 100,000 artefacts, dedicated to years of research and egyptology. The museum’s soaring atrium is marked by a 36-foot-tall, 3,200-year-old statue of the Egyptian Pharaoh Rameses II. A grand staircase ascends to plateau level from where, through the galleries, the eye is drawn outside, towards the ancient wonders. Seamlessly integrated into the museum’s master plan, a series of gardens create a favourable micro-climate.


Project Details:

Name: The Grand Egyptian Museum
Location: Giza, Egypt
Status: Ongoing
Area: 100,000 sqm
Typology: Cultural Architecture – Museum
Design Firm: Heneghan Peng Architects
Photographs: ©Heneghan Peng Architects, ©Grand Egyptian Museum

Leave a Reply

Your email address will not be published. Required fields are marked *

This site uses Akismet to reduce spam. Learn how your comment data is processed.

More Featured Works

ALive! Reads

Vivek Rawal

Architecture, Power, and the Poor | “As a profession, architecture lacks moral position and has become complicit in the neoliberal dispossession of the poor.”—Vivek Rawal

Vivek Rawal argues that architecture—as a profession—is structurally aligned with political and economic power rather than social justice. He critiques how architectural education and practice prioritise developers and real estate over communities, turning housing into a market commodity. Even movements like sustainability and participation, he says, often become tools for elite consumption rather than genuine empowerment. True moral reform, according to Rawal, would mean architects relinquishing control and enabling community-led design and housing decisions.

Read More
The Chunli Guesthouse, Shanghai, China by TEAM_BLDG 1

The Chunli Guesthouse, Shanghai, China by TEAM_BLDG

The Chunli Guesthouse, Shanghai, China by TEAM_BLDG’s response to nature, memory, and the spirit of place. The design takes “Catching” as its spiritual core, emphasizing the relationship between the architecture and the surrounding rice field landscape.

Read More
Gender. Hysteria. Architecture. | What Might Care Look Like If It Were Not Afraid of Women? 4

Gender. Hysteria. Architecture. | What Might Care Look Like If It Were Not Afraid of Women?

What kinds of spaces exist where women can breathe without being watched? If hysteria no longer exists as a diagnosis, why does its architecture remain? Aditi A., through her research study as a part of the CEPT Writing Architecture course, in the third and last chapter of this series follows the spatial logics that developed to manage hysteria, which continue in the contemporary environments of care safety, and everyday life. If the diagnosis has been discredited, what explains the persistence of its walls?

Read More

Featured Publications

New Release

Stories that provoke enquiry into built environment

www.architecture.live

Subscribe & Join a Community of Lakhs of Readers

We Need Your Support

To be able to continue the work we are doing and keeping it free for all, we request our readers to support in every way possible.

Your contribution, no matter the size, helps our small team sustain this space. Thank you for your support.

Contribute using UPI

Contribute Using Cards