How
would the architecture respond to the rich cultural
heritage of this region? The region’s architectural
vocabulary is quite diverse. From prehistoric to present
times, distinctive mixes of cultures have left a unique
wealth of art and architecture.
How
could the architecture benefit the local people and
also benefit from their local knowledge and skills?
The region supports communities of fellaheen (farmers)
who farm nearby land and fish in the two lakes. They
have developed an attractive vernacular architecture
utilizing the limited template of available organic
and sustainable materials while employing passive means
for climate control.
Could
the architecture be progressive while being rooted in
the past? What would be the theme for the open-air museum?
How will the actual construction impact the site? These
and many other questions were examined, research was
undertaken in order to study the natural and cultural
realities which could provide a clue or be the basis
for providing suitable architecture and interpretive
facilities.
Through
functional and aesthetical aspects of ecomimicry, vernacular
architecture and the use of local labor and materials,
the architecture aimed to introduce design innovations
that lessen human impact on the landscape, respond to
the hot climate and harness the combined creative talents
of nature, local communities and artists.
The
design innovations were inspired by nature through mimicking
the earth tone colors, textures and shapes of the landscape.
Each of the structures was custom designed on site in
order to fit in harmony with its immediate surroundings
and show minimal interference and visual impact with
the fossils or the landscape.
Mud
brick and plaster became the materials of choice; deeply
entwined in the regions culture, utilized from ancient
through modern times and readily usable by local labor.
It is made of earth and when it disintegrates will fade
back into the earth without scarring the landscape.
It has high insulation properties and is certainly sustainable;
fluid by nature it is perfect for ecomimicry. The signage
was also constructed from clay, burnt in the oven of
a local artist.
Construction proceeded with extreme caution; any mud
mixing was performed over removable plastic sheets and
trails were clearly marked for the movement of labor
and materials. No lorries were allowed into the site;
instead, donkeys were used for the transportation of
materials.
The
theme for the open-air museum interpretive facilities
is: “an ancient underwater world”. Underwater
photographs showing the water’s surface were taken
from the sea floor to provide the backgrounds for all
the interpretive panels giving visitors a sense of being
on the floor of the ancient Tethys Sea.
*
The construction of these facilities was made possible
with the support of Wadi El-Rayan’s twin park—Gran
Sasso National Park in Italy, the Government of Italy
and IUCN (The
World Conservation Union).
|
World Heritage
Site
