Haphazard architecture

Before I venture on today’s issue, I would like to inform my readers that I broach this topic not as a journalist superficially familiar with architecture, but as an architect. I studied architecture at the hands of seasoned scholars and architects, and through reading books written by the masters on the history of architecture and the theories of function, construction, aesthetics, ornamentation, and other relevant topics. Serious study of all aspects of architecture has been at all times behind the architectural styles that emerged throughout civilisations and within various human experiences.

With an extensive knowledge of architecture and a cumulative experience in the field, I can safely claim that I have a keen, critical eye able to architecturally assess buildings I may come across. This has been the case as I navigated streets in new urban settlements developed outside Cairo’s urban cordon, and which I wil denominate as “new Cairo .

1o matter where new Cairo has extended north, east, west or south of the original capital, one is faced with a storm of buildings that may deservedly be described as a deviation from or a rebellion against well established architectural styles one and all. By “well established I mean styles that are old, modern, contemporary, post contemporary or modern. The new Cairo buildings adhere to no known architectural style, nor do they observe any architectural or creative standards that can measure up to some new style. Their “style swings in absurd chaos among well known styles, picking from here and there sporadic elements to employ in some architectural formation which, for lack of construction or aesthetic value, yields shockingly ugly buildings.

Where are the building authorities or apparatuses entrusted with reviewing and approving architectural designs Is their role restricted to ensuring that the criteria for building rules and heights are met, with no regard to architectural solutions, material, colours or adornment If so, the building authorities can in no way be excused or absolved from being partners in the architectural crime taking place; the chaos and collapse of the fundamentals of urban planning and aesthetic harmony exposes their ignorance and deficient knowledge.

iven this appalling reality, I strongly uphold current Egyptian efforts to restore, revive, and rejuvenate our rich architectural heritage. Such efforts apply to ancient Egyptian monuments, also to reek, 5oman, Coptic and Islamic buildings, up to the architectural gems of .hedival Cairo and the contemporary architecture that belongs to the s and later. ll these eras have offered great models of architectural soundness, meticulous workmanship, creativity and beauty; they bequeathed harmonious standards worthy of being respected.

Throughout the ages, and depending on the various sites and materials available, architects have diligently created architectural styles that would develop and get a more modern touch through moving from “this detail to “that detail . The problem today is that, in light of the failure of architects to come up with a new style, they merely create a mplange of “this and “that regardless of fundamental principles; the outcome being the absurd chaos that surrounds us.

I could cite countless examples to prove my point, yet words fall short of expressing the scale of the architectural crisis in new Cairo. To do so, I will assign a team of reporters to roam new Cairo and capture photographs of the architectural models I deplore, in order to publish them together with an analysis into how they defy established architectural styles, yet offer no new alternative style. 2ur readers can anticipate in depth coverage on the disgraceful, hapha ard architecture that has been born and reared in new Cairo.