The document provides details about the Nubian Museum located in Aswan, Egypt. It was designed by Egyptian architect Mahmoud El-Hakim to house artifacts from the UNESCO campaign to salvage Nubian antiquities before the construction of the Aswan High Dam flooded the region. The three-story museum building and outdoor exhibition area tell the history of Nubian civilization. Landscape architects aimed to represent the Nile Valley environment through indigenous planting designs.
تخطيط المجاورة السكنية
تخطيط عمرانى
الفرقة الثالثة عمارة
المنطقة السكنية#
تخطيط الطرق#
مسارات المشاه#
تصميم الفراغات#
تخطيط الطرق#
تصميم المجاورة#
تخطيط عمرانى#
تخطيط المجاورة السكنية
تخطيط عمرانى
الفرقة الثالثة عمارة
المنطقة السكنية#
تخطيط الطرق#
مسارات المشاه#
تصميم الفراغات#
تخطيط الطرق#
تصميم المجاورة#
تخطيط عمرانى#
This document provides a site analysis for Minya, Egypt, including:
- Location details and the origin of the city's name from ancient Egyptian
- A historical overview from the Predynastic period through modern times, highlighting important periods like the Old Kingdom, Middle Kingdom, and Islamic rule
- Details on the local environment, including climate, soil type, and plants that thrive in sandy soil common to the area
The site being analyzed is in Minya. Key points about the site include its location on the Nile River, nearby historical sites from different periods, and that the soil is rocky sandy soil suitable for drought-tolerant plants.
العمارة الحديثة واشهر روادها - Modern Architecture and Famous PioneersAhmed SHoukry ELhfnawy
MODERN ARCHITECTURE العمارة الحديثة
تعريف العمارة الحديثة نبذة عن العمارة الحديثة
سمات العمارة الحديثة
رواد العمارة الحديثة
اهم الاعمال في العمارة الحديثة
لو كوربوزيه ( Le Corbusier)
لودويغ ميس فان دي روهي ( Ludwig Mies van der Rohe )
فرانك لويد رايت ( Frank Lloyd Wright )
لويس هنري سوليفان (Louis Henry Sullivan)
Modern Architecture and Famous Pioneers
"Architecture is an artistic craft, but at the same time it is also a scientific profession, it is precisely its distinctiveness"
"Architecture is a service."
"When style gets to become a brand, a personal seal, this becomes a cage"
"The architect is first and foremost a builder, but also should be a poet, and above all a humanist''
Amman Downtown Plan & Revitalization Strategy | Amman InstituteAmman Institute
The document provides a framework and strategy for downtown Amman development over the next 20 years. It analyzes key issues like loss of authentic role and function, inadequate public realm, and traffic problems. The vision is for an inclusive, commercially and residentially diverse city with historical identity. The strategy focuses on revitalizing commercial areas, creating vibrant public spaces, and providing attractive housing options. It proposes interventions like improving pedestrian networks, developing new parks and plazas, and supporting social and economic development through affordable housing, markets enhancement, and office/accommodation development.
The Bishan Cultural and Art Center in Shongquing, China was designed by Tanghua Architects and Associates and completed in 2016. The 37736.51 square meter center was designed in a contemporary architectural style to resemble the ancient description of the "Mountains made of jade" through an abstract form that reflects the surrounding landscape. The building is composed of three blocks connected by stairs that mimic mountain climbing, with glass curtain wall facades on the northeast sides that use triangular planes and aluminum mesh to form traditional Chinese patterns while also representing spider webs found in local forests.
The Heydar Aliyev Cultural Center in Baku, Azerbaijan is a 57,519 square meter complex designed by architect Zaha Hadid and completed in 2012. The fluid, curved forms are meant to blur the lines between interior and exterior, avoiding sharp angles in favor of continuous surfaces. Key features include an auditorium, museum, library, and outdoor cultural plaza that connects to an underground parking garage. The building uses concrete, steel, and over 17,000 fiberglass panels to create its distinctive geometric shapes and provide an immersive experience for visitors.
20150428 Dubai Mesls2015 Summit - Dr. Maher Stino - Landscape Architrecture ...Sites International
.Design of a sustainable open space for the poor. Sustainable management, operation and finance of open spaces in developing countries. Reuse of materials, excavated from the site during construction, in the landscape. Optimal use of irrigation water, as criteria for landscape design
Event: Middle East Smart Landscape Summit 2015
Location: Sofitel the Palm Hotel, Dubai, Egypt
Presenter: Dr. Maher Stino
Date: 28-04-2015
Language: English
M. Eid is an urban and environmental planner with over 5 years of experience and a master's degree. He has experience in urban planning, environmental planning, GIS management, and mapping. Some of his project experiences include developing master plans for cities in Saudi Arabia and Iraq, as well as environmental planning and tourism projects in Egypt.
This document provides a site analysis for Minya, Egypt, including:
- Location details and the origin of the city's name from ancient Egyptian
- A historical overview from the Predynastic period through modern times, highlighting important periods like the Old Kingdom, Middle Kingdom, and Islamic rule
- Details on the local environment, including climate, soil type, and plants that thrive in sandy soil common to the area
The site being analyzed is in Minya. Key points about the site include its location on the Nile River, nearby historical sites from different periods, and that the soil is rocky sandy soil suitable for drought-tolerant plants.
العمارة الحديثة واشهر روادها - Modern Architecture and Famous PioneersAhmed SHoukry ELhfnawy
MODERN ARCHITECTURE العمارة الحديثة
تعريف العمارة الحديثة نبذة عن العمارة الحديثة
سمات العمارة الحديثة
رواد العمارة الحديثة
اهم الاعمال في العمارة الحديثة
لو كوربوزيه ( Le Corbusier)
لودويغ ميس فان دي روهي ( Ludwig Mies van der Rohe )
فرانك لويد رايت ( Frank Lloyd Wright )
لويس هنري سوليفان (Louis Henry Sullivan)
Modern Architecture and Famous Pioneers
"Architecture is an artistic craft, but at the same time it is also a scientific profession, it is precisely its distinctiveness"
"Architecture is a service."
"When style gets to become a brand, a personal seal, this becomes a cage"
"The architect is first and foremost a builder, but also should be a poet, and above all a humanist''
Amman Downtown Plan & Revitalization Strategy | Amman InstituteAmman Institute
The document provides a framework and strategy for downtown Amman development over the next 20 years. It analyzes key issues like loss of authentic role and function, inadequate public realm, and traffic problems. The vision is for an inclusive, commercially and residentially diverse city with historical identity. The strategy focuses on revitalizing commercial areas, creating vibrant public spaces, and providing attractive housing options. It proposes interventions like improving pedestrian networks, developing new parks and plazas, and supporting social and economic development through affordable housing, markets enhancement, and office/accommodation development.
The Bishan Cultural and Art Center in Shongquing, China was designed by Tanghua Architects and Associates and completed in 2016. The 37736.51 square meter center was designed in a contemporary architectural style to resemble the ancient description of the "Mountains made of jade" through an abstract form that reflects the surrounding landscape. The building is composed of three blocks connected by stairs that mimic mountain climbing, with glass curtain wall facades on the northeast sides that use triangular planes and aluminum mesh to form traditional Chinese patterns while also representing spider webs found in local forests.
The Heydar Aliyev Cultural Center in Baku, Azerbaijan is a 57,519 square meter complex designed by architect Zaha Hadid and completed in 2012. The fluid, curved forms are meant to blur the lines between interior and exterior, avoiding sharp angles in favor of continuous surfaces. Key features include an auditorium, museum, library, and outdoor cultural plaza that connects to an underground parking garage. The building uses concrete, steel, and over 17,000 fiberglass panels to create its distinctive geometric shapes and provide an immersive experience for visitors.
20150428 Dubai Mesls2015 Summit - Dr. Maher Stino - Landscape Architrecture ...Sites International
.Design of a sustainable open space for the poor. Sustainable management, operation and finance of open spaces in developing countries. Reuse of materials, excavated from the site during construction, in the landscape. Optimal use of irrigation water, as criteria for landscape design
Event: Middle East Smart Landscape Summit 2015
Location: Sofitel the Palm Hotel, Dubai, Egypt
Presenter: Dr. Maher Stino
Date: 28-04-2015
Language: English
M. Eid is an urban and environmental planner with over 5 years of experience and a master's degree. He has experience in urban planning, environmental planning, GIS management, and mapping. Some of his project experiences include developing master plans for cities in Saudi Arabia and Iraq, as well as environmental planning and tourism projects in Egypt.
Nubia was located along the Nile River in what is now northern Sudan. For centuries, Nubia and Egypt influenced each other. Nubia had powerful cities like Kerma and Napata, with Kerma home to over 10,000 people by 1700 BC. Nubian society emphasized arranged marriages and social order. The primary form of government was the Kandake system, which made the queen mother the central political figure, often as the ruler alongside her husband.
The empires of Egypt and Nubia interacted along the Nile River through both cultural exchange and military conflict over many centuries. Egypt expanded south during the Middle Kingdom and conquered parts of Nubia, but grew weaker over time and was invaded by Hyksos invaders. Under Thutmose III and later rulers, Egypt regained power and expanded further south into Nubia, dominating the Nubian kingdom of Kush. However, as Egypt declined, Kush emerged as a powerful kingdom and the Kushite king Piankhi was able to conquer Egypt. The interaction between the two civilizations resulted in the spread of culture between their peoples.
Ancient Egypt had a climate and geography suitable for agriculture along the Nile River valley. Egyptian dwellings ranged from simple reed huts to elaborate stone structures. Religion heavily influenced architecture, with temples and tombs being the most significant building types. Early structures were made from perishable materials like reeds and mudbricks, but stone became the primary material for royal and religious buildings as technologies advanced.
National Policies & Programs for Slum Upgrading in India: Bridging the Gap between Policy & Practices - Rajiv Ranjan Mishra - Third Expert Meeting of the Regional Slum Upgrading Working Group (RSUWG) - 29th. of November to the 1st. of December 2015 in Laleh International Hotel, Tehran, I.R. of Iran
Hassan Fathy was an Egyptian architect born in 1900 who pioneered the use of mud bricks and traditional building designs and layouts in Egypt. He designed over 160 projects from small homes to large communities. He believed in drawing from historical forms and using appropriate technology. Fathy's work was influenced by vernacular Nubian architecture and its use of vaulted roofs, domes, and windcatchers made of mud bricks. He sought to improve housing for the poor in Egypt through his interpretation of indigenous architectural traditions.
Nubia was an ancient civilization located along the Nile River in present-day Sudan. For over 2000 years, from around 2000 BC to 350 AD, Nubia established itself as a powerful kingdom known as Kush. The Nubians traded extensively with Egypt and other civilizations. At its height between 700-300 BC, Nubia's Meroitic kingdom entered a Golden Age as a flourishing, iron-working civilization that traded with Asia and conquered neighboring regions. However, the kingdom eventually declined due to overfarming depleting the soil and cutting down too many trees used for iron production and charcoal.
The document describes a gated community development called Panorama. It will be located in Hejrat Laban district of Riyadh, Saudi Arabia on a 120 hectare site. The site is surrounded by major highways and has a gentle slope from west to east. The development aims to provide a new meaning of urban living for residents within a gated community.
Urban design is the process of shaping the physical setting of cities and villages. It deals with groups of buildings and the spaces between them, including streets, paths, gardens and squares. Urban design considers aesthetics and how the physical environment will be used. It requires input from multiple fields like engineering, ecology, history and transport planning. The best urban design involves interdisciplinary teams to create places that are good to live in, attractive to visit, establish community identity, reduce crime, and be socially and economically successful.
كتاب انقاذ آثار النوبه بوادي حلفا واسوان صادر من منظمه الأمم المتحده للتراث ...bakrimusa
The document discusses the international campaign to save artifacts from the flooding of the Nile River valley in Nubia caused by the construction of the Aswan High Dam. It provides an overview of the campaign, which involved moving over 20 temples and other sites to higher ground to protect them from rising water levels between 1960 and 1980. The campaign was a major success due to extensive cooperation between Egypt, Sudan, UNESCO and other countries and organizations. It resulted in one of the largest archaeological rescue efforts in history and the preservation of important cultural heritage sites.
Aswan is the capital of Aswan Governorate in Egypt and is located on the east bank of the Nile River near the first cataract. It has historically been an important trade center and was known as "the country's gold" due to its wealth. Aswan has many historical and archaeological sites that attract tourists, including Philae Temples, Abu Simple Temple, and the High Dam. The climate is hot in the summer and mild in the winter.
The document provides information about the history and culture of Nicosia, the capital city of Cyprus. It discusses how Nicosia got its name from King Lefkonas, and describes some of the city's historical sites from different eras, including the Venetian walls from the 15th century, the Green Line dividing the city, and several gates within the old city. It also mentions some cultural aspects of Cypriots, including their religions, languages, and reputation as one of the most educated populations in Europe.
The article summarizes the life and accomplishments of Taha Hussein, a prominent 20th century Egyptian author and advocate for enlightenment. It discusses how his childhood home has been converted into a museum commemorating his achievements, including his extensive library and the rooms where he would receive guests. The museum displays elements that showcase Hussein's admiration for Western culture and Greek philosophy, which he worked to introduce to Egyptian society through his writings and role as Minister of Education.
How to Spend Your Holiday in Egypt -7 Day Egypt Itinerary.pdfiLink Turkey
Embarking on your first solo travel adventure can be both exhilarating and nerve-wracking. To make the most of your journey and ensure a smooth experience, here are ten invaluable tips for first-time solo travelers. Firstly, research your destination thoroughly; understanding the culture, local customs, and essential phrases can greatly ease your transition. Prioritize safety by staying vigilant, especially in unfamiliar surroundings, and always keep important documents secure. Pack wisely, opting for versatile clothing and essential items while keeping luggage to a minimum. Embrace spontaneity but maintain a loose itinerary for guidance. Engage with locals and fellow travelers to enrich your experience and gain valuable insights. Stay connected by having a reliable means of communication and inform someone trustworthy about your itinerary.
Ancient Egypt had fertile land along the Nile River which supported agriculture. Desert protected Egypt's borders and also contained tombs and pyramids. Villages used mudbrick homes and temples were made of stone. Important structures included temples, pyramids containing tombs, and roads connecting cities. Lakes like the Nile River and Victoria were also part of Egypt's geography. Major cities included Giza in northern Egypt and Thebes in central Egypt.
The document discusses landscapes and places in Spain, Turkey, Italy, and Romania that were visited or learned about through a Comenius exchange program. Some key highlights mentioned include the unique geography and history of Turkey, the fairy chimneys in Cappadocia, ancient ruins in Ephesus and Pergamon, and the rock formations in La Ciudad Encantada park in Spain. Students commented on enjoying learning about other cultures, making new friends abroad, and gaining confidence through the exchange experience. The program allowed them to visit beautiful places and appreciate multicultural perspectives.
The document summarizes the opening of the Avenue of Sphinxes in Luxor in March 2012. It details the history and restoration of the 2,700 meter avenue lined with sculptures of sphinxes connecting Luxor and Karnak temples. Visitors will be able to walk along the avenue and also visit nearby sites like Khonsu Temple and the tomb of King Mereneptah. The inauguration is part of efforts to promote cultural tourism in Egypt.
The document describes plans to renovate the facade of the third level of the main terminal building at an airport. A new inclined aluminum facade will be installed, and horizontally placed shading louvers will mask office windows. This is intended to enhance the ambience of the retail corridor in the departures area that the third level overlooks. The renovation aims to improve the aesthetic and experience for passengers in the departures area.
Ani Cathedral The Reconstruction Process of the Largest Building in AniDanielleMikaelian
The Cathedral of Ani is the largest standing building in Ani, the capital city of medieval Bagratid Armenia. This paper was written by Danielle Mikaelian in conjunction with the restoration architect.
Amman Architecture between Antiquity and ModernityDania Abdel-aziz
The document discusses the history of architecture in Amman, Jordan and how it has been influenced by different civilizations over time. It describes some iconic historic buildings from other Arab cities that still influence architecture in Jordan today, such as the Umayyad Mosque in Damascus and the Dome of the Rock in Jerusalem. It then highlights some important historic sites in Amman, including the Roman Amphitheater and the Citadel, which illustrate the various periods of cultural and economic prosperity in the ancient city. The document also discusses how early 20th century architecture in Jordan was characterized by the use of local stone and the influence of Arab architects from neighboring cities. It provides examples of influential modern Jordanian architects like Ja'afar
Talking Images 2008
A project made vy the Egyptian team in ETwinning international competion...
Website:
www.talking-images.co.nr
Website Admin:
Hatem A.Mowgoud
a.mowgoud@live.com
The document discusses the diverse architecture found across Africa, from ancient structures like the Great Pyramids of Egypt to more modern styles. It covers architectural traditions in North, West, East, Central, Southern, and medieval Africa. Key points include the use of local materials like mud bricks, wood, and thatch in many regions. Monumental structures include Great Zimbabwe and various royal palaces and fortified cities across Africa.
1) Nicosia is the divided capital city of Northern Cyprus, with the northern and southern parts separated by a UN buffer zone.
2) The document provides a history of Nicosia from its founding by the Ptolemaic dynasty in ancient Egypt through periods of Roman, Byzantine, Frankish, Venetian, and Ottoman rule.
3) Key landmarks of Nicosia mentioned include its defensive walls and gates, as well as churches, mosques, and other structures converted between Christian and Islamic places of worship over time.
The document summarizes the activities of teachers from six countries who visited Greece as part of a Comenius-eTwinning project called "The Seven Wonders of Our Region". During their visit, the teachers participated in an educational program that involved touring sites in Athens, visiting schools, and engaging in cultural activities. They discussed their projects for discovering the most interesting historical places in their own regions. Greece's Acropolis was selected as that country's "Seventh Wonder".
Puikios architektūros pastatas puošė mūsų Senamiestį ir buvo labai svarbus viso pasaulio žydų bendruomenei. Teigiama, kad dydžiu ir puošnumu sinagoga lenkė visas sinagogas tuometinėje Abiejų Tautų Respublikoje, o į ją tilpdavo virš 5000 žmonių.
The three major Bronze Age civilizations in the Aegean region were the Cycladic civilization based on the Cyclades islands, the Minoan civilization centered on Crete, and the Mycenaean civilization on the Greek mainland. The Minoans built impressive palaces like Knossos with its central courtyard and frescoes, suggesting an advanced society with prominent female roles. However, Minoan culture declined around 1450 BCE while the Mycenaeans erected fortified hilltop citadels and tombs containing rich artifacts. These civilizations preceded Archaic Greece and influenced later Greek culture, architecture, and religion.
For the full video of this presentation, please visit: https://www.edge-ai-vision.com/2024/06/building-and-scaling-ai-applications-with-the-nx-ai-manager-a-presentation-from-network-optix/
Robin van Emden, Senior Director of Data Science at Network Optix, presents the “Building and Scaling AI Applications with the Nx AI Manager,” tutorial at the May 2024 Embedded Vision Summit.
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van Emden shows how Nx can simplify the developer’s life and facilitate a rapid transition from concept to production-ready applications.He provides valuable insights into developing scalable and efficient edge AI solutions, with a strong focus on practical implementation.
Securing your Kubernetes cluster_ a step-by-step guide to success !KatiaHIMEUR1
Today, after several years of existence, an extremely active community and an ultra-dynamic ecosystem, Kubernetes has established itself as the de facto standard in container orchestration. Thanks to a wide range of managed services, it has never been so easy to set up a ready-to-use Kubernetes cluster.
However, this ease of use means that the subject of security in Kubernetes is often left for later, or even neglected. This exposes companies to significant risks.
In this talk, I'll show you step-by-step how to secure your Kubernetes cluster for greater peace of mind and reliability.
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Leonard Jayamohan, Partner & Generative AI Lead, Deloitte
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Communications Mining Series - Zero to Hero - Session 1DianaGray10
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• Communication Mining Overview
• Why is it important?
• How can it help today’s business and the benefits
• Phases in Communication Mining
• Demo on Platform overview
• Q/A
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Topics covered:
CI/CD with in UiPath
End-to-end overview of CI/CD pipeline with Azure devops
Speaker:
Lyndsey Byblow, Test Suite Sales Engineer @ UiPath, Inc.
Dr. Sean Tan, Head of Data Science, Changi Airport Group
Discover how Changi Airport Group (CAG) leverages graph technologies and generative AI to revolutionize their search capabilities. This session delves into the unique search needs of CAG’s diverse passengers and customers, showcasing how graph data structures enhance the accuracy and relevance of AI-generated search results, mitigating the risk of “hallucinations” and improving the overall customer journey.
Climate Impact of Software Testing at Nordic Testing DaysKari Kakkonen
My slides at Nordic Testing Days 6.6.2024
Climate impact / sustainability of software testing discussed on the talk. ICT and testing must carry their part of global responsibility to help with the climat warming. We can minimize the carbon footprint but we can also have a carbon handprint, a positive impact on the climate. Quality characteristics can be added with sustainability, and then measured continuously. Test environments can be used less, and in smaller scale and on demand. Test techniques can be used in optimizing or minimizing number of tests. Test automation can be used to speed up testing.
Full-RAG: A modern architecture for hyper-personalizationZilliz
Mike Del Balso, CEO & Co-Founder at Tecton, presents "Full RAG," a novel approach to AI recommendation systems, aiming to push beyond the limitations of traditional models through a deep integration of contextual insights and real-time data, leveraging the Retrieval-Augmented Generation architecture. This talk will outline Full RAG's potential to significantly enhance personalization, address engineering challenges such as data management and model training, and introduce data enrichment with reranking as a key solution. Attendees will gain crucial insights into the importance of hyperpersonalization in AI, the capabilities of Full RAG for advanced personalization, and strategies for managing complex data integrations for deploying cutting-edge AI solutions.
A tale of scale & speed: How the US Navy is enabling software delivery from l...sonjaschweigert1
Rapid and secure feature delivery is a goal across every application team and every branch of the DoD. The Navy’s DevSecOps platform, Party Barge, has achieved:
- Reduction in onboarding time from 5 weeks to 1 day
- Improved developer experience and productivity through actionable findings and reduction of false positives
- Maintenance of superior security standards and inherent policy enforcement with Authorization to Operate (ATO)
Development teams can ship efficiently and ensure applications are cyber ready for Navy Authorizing Officials (AOs). In this webinar, Sigma Defense and Anchore will give attendees a look behind the scenes and demo secure pipeline automation and security artifacts that speed up application ATO and time to production.
We will cover:
- How to remove silos in DevSecOps
- How to build efficient development pipeline roles and component templates
- How to deliver security artifacts that matter for ATO’s (SBOMs, vulnerability reports, and policy evidence)
- How to streamline operations with automated policy checks on container images
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ABSTRACT: A prima vista, un mattoncino Lego e la backdoor XZ potrebbero avere in comune il fatto di essere entrambi blocchi di costruzione, o dipendenze di progetti creativi e software. La realtà è che un mattoncino Lego e il caso della backdoor XZ hanno molto di più di tutto ciò in comune.
Partecipate alla presentazione per immergervi in una storia di interoperabilità, standard e formati aperti, per poi discutere del ruolo importante che i contributori hanno in una comunità open source sostenibile.
BIO: Sostenitrice del software libero e dei formati standard e aperti. È stata un membro attivo dei progetti Fedora e openSUSE e ha co-fondato l'Associazione LibreItalia dove è stata coinvolta in diversi eventi, migrazioni e formazione relativi a LibreOffice. In precedenza ha lavorato a migrazioni e corsi di formazione su LibreOffice per diverse amministrazioni pubbliche e privati. Da gennaio 2020 lavora in SUSE come Software Release Engineer per Uyuni e SUSE Manager e quando non segue la sua passione per i computer e per Geeko coltiva la sua curiosità per l'astronomia (da cui deriva il suo nickname deneb_alpha).
Enchancing adoption of Open Source Libraries. A case study on Albumentations.AIVladimir Iglovikov, Ph.D.
Presented by Vladimir Iglovikov:
- https://www.linkedin.com/in/iglovikov/
- https://x.com/viglovikov
- https://www.instagram.com/ternaus/
This presentation delves into the journey of Albumentations.ai, a highly successful open-source library for data augmentation.
Created out of a necessity for superior performance in Kaggle competitions, Albumentations has grown to become a widely used tool among data scientists and machine learning practitioners.
This case study covers various aspects, including:
People: The contributors and community that have supported Albumentations.
Metrics: The success indicators such as downloads, daily active users, GitHub stars, and financial contributions.
Challenges: The hurdles in monetizing open-source projects and measuring user engagement.
Development Practices: Best practices for creating, maintaining, and scaling open-source libraries, including code hygiene, CI/CD, and fast iteration.
Community Building: Strategies for making adoption easy, iterating quickly, and fostering a vibrant, engaged community.
Marketing: Both online and offline marketing tactics, focusing on real, impactful interactions and collaborations.
Mental Health: Maintaining balance and not feeling pressured by user demands.
Key insights include the importance of automation, making the adoption process seamless, and leveraging offline interactions for marketing. The presentation also emphasizes the need for continuous small improvements and building a friendly, inclusive community that contributes to the project's growth.
Vladimir Iglovikov brings his extensive experience as a Kaggle Grandmaster, ex-Staff ML Engineer at Lyft, sharing valuable lessons and practical advice for anyone looking to enhance the adoption of their open-source projects.
Explore more about Albumentations and join the community at:
GitHub: https://github.com/albumentations-team/albumentations
Website: https://albumentations.ai/
LinkedIn: https://www.linkedin.com/company/100504475
Twitter: https://x.com/albumentations
Enchancing adoption of Open Source Libraries. A case study on Albumentations.AI
Nubian museum
1. The Aga Khan Award for Architecture
Nubian Museum
Aswan, Egypt
Architect:
Mahmoud El-Hakim
Cairo, Egypt
Consultants:
Arab Bureau for Design and Technical Consultation
Cairo, Egypt
Landscape Architects:
Dr Werkmeister & M Heimer Landscape Architects
Hildesheim, Germany
and
Sites International Landscape Architects
Cairo, Egypt
Clients:
Nubian Antiquities Salvage Fund
Supreme Council of Antiquities
Cairo, Egypt
Sponsors:
UNESCO - ICOM (International Council of Museums)
Paris, France
Date of Completion:
1997
1447.EGY
2. Table of Contents
2001 Technical Review Summary (20 pages)
2001 Architect’s Record (5 pages)
2001 Project Data Form (1 page)
Architect’s Presentation Panels (10 panels on 5 pages)
Images and Drawings (20 pages)
List of Visual Materials (18 pages)
List of Additional Materials (1 page)
Lists of Slides (1 page)
3.
4. Nubian Museum
Aswan, Egypt
I. Introduction
The Nubian Museum celebrates the culture and civilization of the Nubian region of Egypt
from prehistoric times to the present. It is located in the city of Aswan, on the eastern bank of
the Nile, 899 kilometres south of Cairo. The museum is a three-storey building with an
outdoor exhibition area. It houses the main finds of the UNESCO salvage campaign carried
out at the time of the building of the High Dam, which eventually flooded that whole region.
Another major exhibit is a diorama which shows the daily life of Nubian villagers. It is a
community museum with an education section that organizes trips, lectures and workshops
for schoolchildren, and cultural events for the public at large. In April 2000 the museum was
approved by UNESCO as a centre for museology and the preservation and conservation of
archaeological remains for Africa and the Middle East.
II. Contextual Information
a. Historical background
Egypt consists of five well-defined regions: the Delta, the Valley, the Eastern desert, the
Western desert and Nubia. The region called Nubia today stretches along the Nile from
Aswan south to Dabba in Sudan. The name Nubia is said to come from the ancient Egyptian
‘nbu’, which means gold, in reference to the famous gold mines of the area.
Historically, Nubia’s position as Egypt’s gateway to the rest of Africa made it an important
trade centre. The Nubian people were settlers, who lived by agriculture, trade and pastoral
activities. During the Old Kingdom, Nubia maintained its independence from Egypt but from
the Middle Kingdom until the Thirteenth Dynasty it came under the domination of Egyptian
kings. The Egyptians ruled Nubia again in the Eighteenth Dynasty, but through local
governors and when the Twenty-Fifth Dynasty was established, Nubian rulers enjoyed a time
of independence, political stability and economic prosperity. Even the Roman emperors, who
showed great interest in Nubia, allowed it to retain independence under their sovereignty.
By the end of the sixth century AD Nubia had converted to Christianity. In the eighth and
ninth centuries, political and economic stability again brought prosperity to the region.
Nubia’s conversion to Islam occurred gradually through intermarriage with Arab traders.
Muslim leaders from Egypt sent expeditions to Nubia but it wasn’t until the sixteenth century
that its conversion was complete. Today, there is no political entity called Nubia. Its lands
now lie partly in Egypt and partly in Sudan, with most of the northern region completely
submerged under Lake Nasser following the building of the High Dam.
b. Local architectural character
Traditional Nubian architecture is either the vernacular architecture of the villages, built in
mud brick, or the architecture of the great temples. These were simple buildings of granite or
1
5. stone consisting of one or more gateways leading to a colonnaded courtyard, which led in
turn to a hypostyle hall, followed by a vestibule and then the sanctuary, usually at the highest
level.
Nubian villages spread along the Nile in clustered terraces, and throughout Nubia the
principal entrances to houses face the river. The main entrance opens onto a courtyard with
mastabas – raised seating areas. The rooms of the house are arranged along the courtyard’s
far wall, the most important being the mandara, or guest room, which has a separate entrance
and a catenary vault roof. Some living rooms – called tents or khayma – are simply open with
a flat roof of palm branches. The houses are of mud, mud brick or stone, plastered inside and
out by the women and children, who decorate the walls, especially the entrances, with bright
and colourful designs. The roofs of the houses are of palm trunks or timber beams covered
with palm thatch. Small openings at high level help to circulate the air brought into the house
via the courtyard, which acts as a ventilating space and a ‘private piece of sky’ for the benefit
of the household.
c. Climatic conditions
Aswan is in a dry, temperate zone which enjoys a very mild climate in winter, making it a
favoured winter resort since the beginning of the nineteenth century. It rarely rains, although
torrential downpours occur every four or five years. The prevailing winds are from the north-
east. Sandstorms come from the west during spring but last only a couple of days. In winter
the temperature ranges from a maximum of 26˚C to a minimum of 10˚C, with a humidity
maximum of 56 per cent. In the summer months the temperature can reach 42˚C, becoming
mild at night at a minimum of 26˚C. The humidity in May goes down to 7 per cent.
d. Immediate surroundings
The museum is in the hotel district of Aswan. To the east is the main road to the airport,
which divides the site from two of Aswan’s key attractions, the Fatimid Cemetery and the
Unfinished Obelisk. To the west is a local road which provides access to the site. A number
of major hotel developments along this road have obscured the view to the Nile. The land
along the northern boundary of the site is marked on the plans as public garden. Only a water
tank at the top of the hill is visible from the museum site. The southern edge has an
observatory structure but is mainly undeveloped. The architecture of the immediate
surroundings is mainly of modern concrete construction in the ‘International Style’.
e. Topography
The museum sits on a ridge running south-west of Aswan between the Nile Valley and the
road to the airport. The site is an ancient Pharaonic granite quarry for obelisks and statues.
The slope to the east is rather steep and the building platform sits 15 metres higher than the
main road, a gradient of approximately 30 per cent. The west slope is gentler with the western
road following up towards the museum.
2
6. III. Programme
a. What conditions gave rise to the formulation of the programme?
The foundation stone of the High Dam was laid on 9 January 1960 and the dam was opened
on 15 January 1971. As a consequence a section of the Nile Valley was flooded to form Lake
Nasser. This necessitated resettlement of 40,000 Nubians, movement of temples that would
otherwise be submerged and excavation of the land before it disappeared under water.
The International Campaign to Save the Monuments of Nubia was launched by UNESCO in
1960. It ran forty archaeological missions from five continents and managed to move twenty-
two monuments in twenty years. With the Egyptian government, UNESCO decided to
establish the Nubian Museum at Aswan and the Egyptian Civilization Museum in Cairo to
exhibit the finds of the excavations. To this end, a UNESCO executive committee was
formed, consisting of fourteen members from different countries (one of which was Egypt),
with observers from ICOM (International Council of Museums), IFLA (International
Federation of Landscape Architects) and ICOMOS (International Council on Monuments and
Sites).
b. Objectives
The Nubian Museum is part of a wider policy of the Supreme Council of Antiquities
(formerly the Egyptian Antiquities Organization) to showcase Egypt’s many civilizations
over the centuries. The museum contains not only three thousand objects found in the
UNESCO expeditions, representing the history of the area from the prehistoric, Pharaonic,
Roman, Coptic and Islamic ages, but also a diorama of the daily life of the Nubian people,
who sacrificed their homes for the continued progress of the Egyptian nation.
The museum is also a celebration of the amazing combined effort of the people of the world
in response to the international appeal launched by UNESCO in 1960. It aims to play the role
of ‘community museum’ through its education section, which organizes school trips around
the museum itself and also to neighbouring temples, and hosts cultural events by Nubian
artists in the outdoor amphitheatre (organized by the Ministry of Culture and recently brought
under the management of the Egyptian Opera House). The museum is now also a centre for
the preservation and conservation of archaeological remains from Africa and the Middle East
under the supervision of ICOM.
c. Functional requirements
According to the architect’s report submitted in March 1983, the list of accommodation was
as follows: main exhibition hall; temporary exhibition hall; lobby with shops; ticket and
information office; lecture room; VIP lounge; cafeteria; public toilets including facilities for
the disabled; administration areas including a trustees’ meeting room; a library; an education
department with schoolroom, workshop, patio, etc.; storage for exhibits; various workshops;
restoration facilities and laboratories; security and workers’ quarters; a service entrance for
3
7. exhibits and staff with one control point; service lifts; and a service yard with all building
utilities.
IV. Description
a. Building data
The total area of the museum is 10,110 square metres, with a ground-floor area of 7,000
square metres on a 50,000-square-metre site. The project is in two sections: the museum
building, which is in one volume, and the landscaped outdoor exhibition. The building
comprises three storeys.
On the ground floor are the main entrance hall; shops; the temporary exhibition hall; VIP
lounge and associated service areas; a 150-seat lecture theatre with three translation booths;
public toilets; security and administration offices; staff living quarters and facilities area; and
lifts for visitors, staff and services.
On the first floor are the cafeteria (with a kitchen service); the library; administration offices
and meeting room.
At basement level are the main exhibition space of the museum, measuring 3,500 square
metres, and the diorama; the education section with its own entrance from the garden and
reception area, workshop, classroom, servery and dining area, children’s toilets and outside
theatre; the restoration studios, comprising five laboratories – papyrus and fabric, organic,
metal, inorganic, and a fumigation lab – as well as other facilities; the main storage areas;
exhibition workshops; and the service yard with generator room, air-conditioning units,
electrical room, boiler and loading platform.
The outdoor exhibition area includes a cave housing prehistoric drawings of animals; a
Nubian house; an outdoor theatre for five hundred people; various exhibition pieces; two
shrines – the maqqam of Saida Zeinab and the maqqam of the 77 Walis; one musalla (place
of prayer) – Qubat Al-Mukhasal; and several graves, said to be Fatimid, Roman and Coptic in
origin. A water canal represents the River Nile, surrounded by local flora and fauna.
c. Evolution of design concepts
The positioning of the building was planned jointly by the architect, Dr El-Hakim, and Dr
Werkmeister, the first landscape architect to work on the project. The museum was placed on
the ridge of the site to preserve rock formations and provide an open view of the Fatimid
Cemetery and the Unfinished Obelisk to the east. An overpass across the main airport road
was even proposed to link these three sites, making the museum part of a tourist circuit.
The entrance is located on the west side of the building, oriented towards the Nile in the same
way as traditional Nubian houses. The building is organized so that the main exhibition hall is
placed centrally between the educational facilities to the north and the laboratories and
service areas to the south. The massing of the building follows the contours of the site and
4
8. blends well with the rock formation. The taller central zone was intended by Dr El-Hakim to
reflect the architecture of the Pharaonic temples.
Dr El-Hakim’s concept for the internal planning of the museum was a series of ramps leading
along the walls to a platform where the entire exhibition area would have been open to view,
with the statue of Rameses II in the centre, lit from above by a skylight. The flow of the
exhibits would end at the lowest point of the museum, at the eastern portico, leading to the
outdoor exhibition areas. Due to the client’s misunderstanding that the ramps were for
disabled visitors and therefore superfluous since there are two lifts, the ramps and walls were
dropped from the scheme, and visitors now descend directly into the exhibition area via steps.
Due to security considerations, the garden access was eliminated and the exhibition flow now
ends at the foot of the stairs leading back to the main entrance.
The façades are all clad in hand-textured local sandstone built in alternating courses 30 and
60 centimetres wide. The windows are long, narrow, lozenge-shaped openings, grouped in
pairs. An open triangle motif, used on the west façade, is taken from traditional Nubian
vernacular architecture.
The concept behind the landscaping was the preservation and celebration of the granite rock
formation. Dr Werkmeister even designed a rock formation that would climb the building
from the east and link a roof garden to the rest of the scheme below. A stream of water would
emanate from this formation for the irrigation of the plants, ending in a small pond at the
Nubian ‘village’.
In 1988, Dr Leila Masri of Sites International became involved in landscaping the project.
Her concept was that the landscape should represent the Nile Valley and she organized the
outdoor exhibition area chronologically, starting with the prehistoric caves, then the Nubian
village and the amphitheatre, and so on, ending at the front entrance of the museum.
Both designers envisaged entry to the garden to be from the lowest point of the internal
exhibition as a continuation of the experience, and both linked the roof garden to the main
garden with a rock formation. They also specified similar indigenous plants, requiring little
soil and water, because the granite terrain makes plant propagation very difficult – it has been
necessary to drill in order to create drainage channels and add soil for the planting. Sites
International introduced waterfalls into the stream to reflect the cataracts that were
historically so important to the Nubian environment. The ‘source of the Nile’ was to start
from the rock formation that abutted the building. Abundant planting was intended to reflect
crops. All paving and hard landscaping is of granite and sandstone. This was the first
landscape project in Egypt carried out by an Egyptian firm.
The maqqama are run by Sufi sheikhs who hold dhikr (a remembrance ritual dedicated to Sufi
saints) on Saturdays and Sundays. Independent access has been provided and the Supreme
Council of Antiquities has upgraded the sites, adding services such as drinking fountains,
toilets and seating areas at a cost of EGP 300,000.
5
9. c. Structure, materials, technology
The structural system of the museum is a reinforced-concrete frame with concrete block infill
panels. The walls are cavity walls of 25 blocks, then 10 voids, then 25 more blocks, clad with
15 centimetre-thick sandstone dry-fixed on the outside and pink granite on the inside, except
in one exhibition area where the internal wall finish is plaster. The floors are also of pink
granite.
The roof-slab is of reinforced concrete with waterproofing and 7-centimetre extruded
styropore for insulation, covered with granite tiling because the roof was originally intended
to be a roof terrace. The ceilings in the exhibition areas are open-timber grids set out to reflect
the wall layout of the museum and provide maximum flexibility for the moving of lights and
services.
The building is completely air-conditioned and artificially lit, even during the day, in all
parts. The air-conditioning system runs twenty-four hours a day at various capacities
appropriate to the exhibits. The air-conditioning load is 300 tonnes per hour, designed for an
ambient temperature of 42˚C and a required temperature of 24˚C. The system runs on two
chillers, each with two sections, and fourteen air-handling units, which give some flexibility
to the system. However, at the engineer’s office an analysis by the reviewer of the loads
found that the exhibition areas (including the temporary exhibits and the diorama) require
only 112.5 tonnes, i.e., one-third of the total load. The electrical load is 900 KVA and the
building is provided with two generators. The water feature in the garden is a completely
closed-circuit system and the water pumped around it is changed once every four months.
Irrigation is through a combination of sprinkler and drip systems.
d. Origin of technology, materials, labour force and professionals
The project employs the international technology of reinforced-concrete frame with infill
blocks. The labour force are all local but the architects, consultants and contractors are from
Cairo, with the exception of the original landscape consultant, who was German, and the
designer of the display system, who is Mexican.
V. Construction Schedule and Costs
a. Project history
The project was awarded to Dr Mahmoud El-Hakim in December 1979. Between then and
April 1983 Dr Al-Hakim created five different schemes to accommodate changes requested
by the client. The fifth scheme, dated 5 April 1983, was approved by the client, the Supreme
Council of Antiquities. On the basis of this design the landscape architect, Dr Werkmeister,
drew up his proposal and the architect provided 80 per cent of his working drawings. These
were submitted to the client on 15 September 1983. A meeting to review the project by
UNESCO was held at the end of September in Paris, to which the architect was not invited.
The scheme was misunderstood and the architect was asked to review his work in light of the
6
10. comments made. Because these comments, which would have changed the design
considerably, were based on a misreading of the drawings, the architect responded to
UNESCO’s report explaining himself in writing. The architect received a cancellation of his
contract on 25 August 1984 on the grounds that he had missed the original deadline of 15
February 1980 for the submission of working drawings. After the architect’s dismissal, the
project was taken over by the Arab Bureau for Design, the engineering consultants brought in
by the architect. His inheritors sued the client successfully for the wrongful cancellation of
the contract and were paid all the fees for his work.
From September 1984 until October 1985 the Arab Bureau altered the drawings to fit the
client’s requirements. The museum as built is basically to the design of Dr El-Hakim.
Changes were made in the internal circulation of the exhibition area, the shape of the skylight
there, and the windows. Construction started on site in 1986 and was halted in 1991 with the
building constructed but not fitted out. The project stopped for five years until 1996, when the
building was fitted out and the landscaping finished. Sites International became involved at
the end of 1988, and finished working drawings in 1991. They started work on site in 1996.
The building was inaugurated on 23 November 1997 by President and Mrs Mubarak, with
two hundred dignitaries from all over the world. The opening of the museum made the front
page of the daily newspaper, Al-Ahram. The building was opened to the public in December
1997.
b. Total costs and main sources of financing
The total cost of the building without the land or the interior fit-out is EGP 57 million
(approximately USD 15 million). The project was completely funded by the Egyptian
government, except for the cost of the display consultant, who was paid by UNESCO.
Breakdown of costs:
Infrastructure : EGP 4,200,000 (USD 1,105,000).
Labour: EGP 14,280,000 (USD 3,758,000).
Materials: EGP 23,520,000 (USD 6,200,000).
Landscaping: EGP 15,000,000 (USD 3,900,000).
Professional Fees:
Structure and engineering: design 3%, supervision 3%.
Landscape: design 4%, supervision 3.5 %.
Interior: design 5%, supervision 5%.
Exhibit fees: EGP 875,000 (USD 250,000).
c. Comparative costs
It is very difficult to compare the cost of this museum to others as it took a total of eleven
years to build, with a hiatus of five years.
7
11. d. Qualitative analysis of costs
Building cost: EGP 2,065 (USD 590) per square metre
Landscape: EGP 420 (USD 120) per square metre
Furniture and equipment: EGP 1,340 (USD 383) per square metre
e. Maintenance costs
The maintenance cost is EGP 1,250,000 per year, not including the salaries of the ten
maintenance staff required to run the building, who are paid by the Egyptian government.
VI. Technical Assessment
a. Functional assessment
The interior display functions well in terms of flow. Disabled access is provided to all parts of
the building. However, the break in continuity between the indoor and outdoor exhibits is
regrettable, as visitors miss out on one of the designer’s key features – the view across to the
Fatimid Cemetery. This change of access also makes the chronological order of the outdoor
displays hard to follow.
The lighting for some of the display cabinets and statues is very low, making it difficult to see
them and weakening their hold on the viewer’s interest. The truncation of the first view of the
statue of Rameses II, now partially hidden by a difference in levels, is also unfortunate. The
client seems happy with the building as a centre of restoration and it has the largest facilities
in Egypt but it currently seems under utilized.
b. Climatic performance
The main orientation of the museum responds to the topography of the site and not the
climate. The building is totally air-conditioned and artificially lit, even in the education
section, cafeteria, offices and so on. The only concession to climate is the double-wall
construction and the western portico, which shades the entrance from the sun. The ticket
office, however, has no shading to protect waiting visitors. There are no treatment systems for
either water or rainfall due to the dry climate and the function of the building.
Although the rock formations of the site have been preserved, the ‘River Nile’ is a closed
circuit of water that requires constant pumping. Moreover, the existing garden has several
features that are not according to the design of Sites International. The rock formation, which
was planned to rise to the roof of the building, has not been built and now the ‘source of the
River Nile’ is a mound that stands alone approximately 3 metres from the building. Three
water jets have been added to the ‘River Nile’ and patches of lawn have appeared in several
places. There are no shaded areas at all for sitting and enjoying the gardens, although
‘London park’-type benches are now being manufactured at the museum as seating for the
garden.
8
12. c. Choice of materials, level of technology
Local material is used to clad both the inside and outside of the museum. The project employs
the modern technology of building in reinforced concrete with block infill. It is a well-
finished building.
Seismic regulations were introduced into Egyptian building law in 1994, after design of this
building was complete. The Aswan Fire Department controlled the fire aspects of the design.
Four years ago, after torrential rain, the building did leak but was then, apparently, properly
waterproofed. The local climate is seeing some changes due to the creation of Lake Nasser.
d. Ageing and maintenance
The building is ageing well considering that it was completed in 1991. The only ageing
problems it may suffer will be to due to the mechanical aspects of the project: the air-
conditioning system, lighting and pumping of water around the site will require constant
maintenance.
The building itself will not need extensive maintenance as its finishes are all hardy and well
detailed, from the external sandstone finish to the granite on the inside walls and floors. Four
years after completion the building is undergoing maintenance/upgrading work, at an
estimated cost of EGP 200,000 (USD 57,000), mainly in the basement areas, where finishes
are being improved.
e. Design features
The project is well integrated into the site. The massing of the exterior works very well with
the topography. The use of natural stone also helps in blending the building with the
landscape.
The project has very little impact on its site. It is accessible on foot by tourists. School parties
are carefully organized so that there is no overcrowding. As it is situated in a tourist district,
there are no residences that would be disturbed by any increase in traffic.
The project is very successful with both tourists and local Nubians. At times, organizers have
to divide parties between the garden and the building to accommodate everyone. The visitor
numbers for last year are: 70,000 foreigners; 61,000 Egyptians; 8,300 foreign students;
36,300 Egyptian students; and 22,500 schoolchildren. The museum earned just over EGP
1,400,000 (USD 400,000) last year.
The main feature of the interior display is the statue of Rameses II (1304–1237 BC), the
builder of the great temple at Abu Simbel. This statue is unique because it retains some of its
colour. Due to an unfortunate interior arrangement, when visitors first enter the museum they
see the statue from just below his shoulders to his knees. They must then descend twenty-
eight steps to the lower level of the museum before they can see the statue in its entirety.
9
13. The policy of the museum organizers is to use artificial lighting throughout and they have
even closed off the skylight in the main hall, originally designed to illuminate the statue of
Rameses. The objects are lit by fibre-optic light sources, which are completely safe. The level
of light, however, is very low – whether due to design or bad maintenance is not clear. The
use of pink granite everywhere, on walls and floors, adds to the dimness of the interiors and
in some cases interferes with the visibility of the statues on display. Environmental control is
monitored daily and controlled manually. Humidity is controlled through silicon gel placed in
special drawers in the display cabinets. There is no seating in the museum exhibition areas;
even the guards have nowhere to sit.
VII. Users
a. Description of those who use or benefit from the project
The Nubian Museum is open in two shifts: in the morning, from 9.00am until 1.00pm, and in
the evening, from 5.00pm until 9.00pm, seven days a week, all year long. This allows tourists
to visit other sites during the day and enjoy the museum and Aswan’s evening climate at
night. The users of the museum are: foreign tourists, who pay EGP 20 (USD 5), and
Egyptian tourists, who pay EGP 2 (USD 0.5); Egyptian visitors to the Nubian performances
(admission free); and school parties (admission free).
This museum is the first in Egypt to have an educational section. Students are offered lectures
and workshops as well as guided tours. Plans are also underway to utilize this section in the
evenings for teaching young women, aged from eighteen to thirty-five, traditional crafts and
literacy.
The museum is also used by restorers and museologists from throughout the region. It hosted
four workshops in the year 2000, including one for ICOM’s Programme for the Development
of Museums in the Arab States, attended by fifteen countries.
A total of 120 staff members is required to cover the double shift (twenty administrative,
forty security, ten educational, ten conservators, ten building technicians, thirty building
maintenance). In the year 2000, the number of visitors to the museum reached a total of
198,215. Approximately half were Egyptian, not counting the schoolchildren, who numbered
22,489.
b. Response to project
Architectural professionals like the project and are impressed with the level of finishing,
taking into account the Egyptian context. They find that the building sits well in the
environment but that the garden is artificial. The use of sandstone as a cladding material for a
Nubian museum has been questioned in light of the tradition of mud brick architecture in this
region, particularly in Nubia.
The local people are very proud of their museum. They bring their visitors to see it and feel it
reflects their way of life. Their favourite section is the diorama, which has provoked interest
10
14. and strong memories. Local users complain about the low level of illumination of the objects,
the lack of seating areas both inside and outside the building and the absence of guides, as
some visitors are illiterate. The museum plays a very important role in informing the rest of
Egypt about the rich Nubian culture, combating prejudice against what some consider to be a
backward part of Egypt.
Some of Aswan’s main hotels are in the vicinity of the museum. Hence its neighbours are
tourists, who like the project but have complained about the low levels of illumination and the
lack of labels on plants in the gardens.
VIII. Persons involved
a. Identification
The Supreme Council of Antiquities: client.
Ossama A W Abdel Meguid: museum director.
Dr Mahmoud El-Hakim: architect.
Consultants:
Arab Bureau for Design: design and technical consultation.
Mohamad Yusri Abdel Khalik: project architect.
Samir Halawa: mechanical engineer.
Shahrazad Abdel Fattah: electrical engineer.
Mohamad Hafez: structural engineer.
Dr Werkmeister, Dr Werkmeister & M Heimer Landscape Architects: original
landscape architect.
Dr Leila Masri, Sites International: final landscape architect.
Pedro Ramerez Vazquez: museum art display designer.
Contractors:
Hassan Allam, Al-Nasr General Contracting Company.
Silver Knight Exhibitions Ltd., interior contractors.
Hana Alamuddin
May 2001
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54. Nubian Museum
Aswan, Egypt
List of Visual Materials
No VM Num CD Id IMG Ord VM Title Date Photographer Format Copyright
1 R010407 Interior displays 01.06.2001 KONRAD Aglaia 18x28 Y
2 R010408 Interior displays 01.06.2001 KONRAD Aglaia 18x28 Y
3 R010409 Interior displays 01.06.2001 KONRAD Aglaia 18x28 Y
4 S212923 25.03.2001 LATIF Gamil 24x36 Y
5 S212924 25.03.2001 LATIF Gamil 24x36 Y
6 S212925 25.03.2001 LATIF Gamil 24x36 Y
7 S212926 25.03.2001 LATIF Gamil 24x36 Y
8 S212927 25.03.2001 LATIF Gamil 24x36 Y
9 S212928 25.03.2001 LATIF Gamil 24x36 Y
10 S212929 25.03.2001 LATIF Gamil 24x36 Y
11 S212930 25.03.2001 LATIF Gamil 24x36 Y
12 S212931 25.03.2001 LATIF Gamil 24x36 Y
13 S212932 25.03.2001 LATIF Gamil 24x36 Y
14 S212933 25.03.2001 LATIF Gamil 24x36 Y
15 S212934 25.03.2001 LATIF Gamil 24x36 Y
16 S212935 25.03.2001 LATIF Gamil 24x36 Y
17 S212936 25.03.2001 LATIF Gamil 24x36 Y
18 S212937 25.03.2001 LATIF Gamil 24x36 Y
19 S212938 25.03.2001 LATIF Gamil 24x36 Y
20 S212939 25.03.2001 LATIF Gamil 24x36 Y
21 S212940 25.03.2001 LATIF Gamil 24x36 Y
22 S212941 25.03.2001 LATIF Gamil 24x36 Y
23 S212942 25.03.2001 LATIF Gamil 24x36 Y
24 S213134 Lower ground flr/working drawing 9/1983 15.03.2001 ALAMUDDIN Hana 24x36 Y
25 S213135 Mezzanine floor plan/WD 9/1983 15.03.2001 ALAMUDDIN Hana 24x36 Y
26 S213136 Elevations, E W/WD 9/1983 15.03.2001 ALAMUDDIN Hana 24x36 Y
27 S213137 Elavations/N S/WD 9/1983 15.03.2001 ALAMUDDIN Hana 24x36 Y
28 S213138 Sections AA-BB/WD 9/1983 15.03.2001 ALAMUDDIN Hana 24x36 Y
29 S213139 Sections EE-FF/WD 9/1983 15.03.2001 ALAMUDDIN Hana 24x36 Y
30 S213140 Stair details/working drawing 9/1983 15.03.2001 ALAMUDDIN Hana 24x36 Y
31 S213141 Sections details/WD 9/1983 15.03.2001 ALAMUDDIN Hana 24x36 Y
32 S213142 Cover/design drawing 5/1983 15.03.2001 ALAMUDDIN Hana 24x36 Y
33 S213143 Layout/design drawing 5/1983 15.03.2001 ALAMUDDIN Hana 24x36 Y
34 S213144 Upper ground flr/design drawiing 5/1983 15.03.2001 ALAMUDDIN Hana 24x36 Y
35 S213145 Mezzanine floor plan/DD 5/1983 15.03.2001 ALAMUDDIN Hana 24x36 Y
36 S213146 Ground floor plan/design drawing 5/1983 15.03.2001 ALAMUDDIN Hana 24x36 Y
37 S213147 1st floor plan/design drawing 5/1983 15.03.2001 ALAMUDDIN Hana 24x36 Y
38 S213148 Sections elevations/DD 5/1983 15.03.2001 ALAMUDDIN Hana 24x36 Y
39 S213149 General layout landscape 15.03.2001 ALAMUDDIN Hana 24x36 Y
40 S213150 Lower ground floor 15.03.2001 ALAMUDDIN Hana 24x36 Y
41 S213151 Sections elevations 15.03.2001 ALAMUDDIN Hana 24x36 Y
42 S213152 General photos 15.03.2001 ALAMUDDIN Hana 24x36 Y
43 S213153 Topography/working drawing 9/1983 15.03.2001 ALAMUDDIN Hana 24x36 Y
44 S213154 Sites Int.-landscape design 15.03.2001 ALAMUDDIN Hana 24x36 Y
45 S213155 Location map 15.03.2001 ALAMUDDIN Hana 24x36 Y
46 S213156 Arab Bureau-axonometry 15.03.2001 ALAMUDDIN Hana 24x36 Y
47 S213157 Werkmeister-sketch design-landscape 15.03.2001 ALAMUDDIN Hana 24x36 Y
48 S213158 Map of Egypt/Aswan 15.03.2001 ALAMUDDIN Hana 24x36 Y
49 S213159 Arab Bureau-topography map 15.03.2001 ALAMUDDIN Hana 24x36 Y
50 S213160 Arab Bureau-elevations 15.03.2001 ALAMUDDIN Hana 24x36 Y
Nubian Museum, Aswan, Egypt
55. Nubian Museum
Aswan, Egypt
List of Visual Materials
No VM Num CD Id IMG Ord VM Title Date Photographer Format Copyright
51 S213161 Arab Bureau-lower ground floor plan 15.03.2001 ALAMUDDIN Hana 24x36 Y
52 S213162 Arab Bureau-Ground 1st floor plan 15.03.2001 ALAMUDDIN Hana 24x36 Y
53 S213163 Arab Bureau-sections AA-BB-CC 15.03.2001 ALAMUDDIN Hana 24x36 Y
54 S213164 Arab Bureau-sections EE-GG 15.03.2001 ALAMUDDIN Hana 24x36 Y
55 S213165 Arab Bureau-sections AA-A1A1-BB 15.03.2001 ALAMUDDIN Hana 24x36 Y
56 S213172 Approach from road on W boundary 15.03.2001 ALAMUDDIN Hana 24x36 Y
57 S213173 Approach from road on W boundary 15.03.2001 ALAMUDDIN Hana 24x36 Y
58 S213174 West edge of site 15.03.2001 ALAMUDDIN Hana 24x36 Y
59 S213175 West edge of site, tomb of 77 Walis 15.03.2001 ALAMUDDIN Hana 24x36 Y
60 S213176 West edge of site 15.03.2001 ALAMUDDIN Hana 24x36 Y
61 S213177 Looking back to Cathedral of Aswan 15.03.2001 ALAMUDDIN Hana 24x36 Y
62 S213178 W boundary wall/water reservoir 15.03.2001 ALAMUDDIN Hana 24x36 Y
63 S213179 W boundary wall 15.03.2001 ALAMUDDIN Hana 24x36 Y
64 S213180 Seating area along W boundary 15.03.2001 ALAMUDDIN Hana 24x36 Y
65 S213181 W boundary wall a museum in back 15.03.2001 ALAMUDDIN Hana 24x36 Y
66 S213182 W boundary wall near entrance 15.03.2001 ALAMUDDIN Hana 24x36 Y
67 S213183 Entrance gate 15.03.2001 ALAMUDDIN Hana 24x36 Y
68 S213184 Ticket window, entrance gate 15.03.2001 ALAMUDDIN Hana 24x36 Y
69 S213185 Entrance gate 15.03.2001 ALAMUDDIN Hana 24x36 Y
70 S213186 Approach to museum 15.03.2001 ALAMUDDIN Hana 24x36 Y
71 S213187 Museum, main entrance portico 15.03.2001 ALAMUDDIN Hana 24x36 Y
72 S213188 Museum, main entrance portico/ramp 15.03.2001 ALAMUDDIN Hana 24x36 Y
73 S213189 West portico looking to entry arch 15.03.2001 ALAMUDDIN Hana 24x36 Y
74 S213190 Education section, entrance 15.03.2001 ALAMUDDIN Hana 24x36 Y
75 S213191 Education section, courtyard 15.03.2001 ALAMUDDIN Hana 24x36 Y
76 S213192 Education section, fire-fighting gear 15.03.2001 ALAMUDDIN Hana 24x36 Y
77 S213193 Education section, schoolchildren 15.03.2001 ALAMUDDIN Hana 24x36 Y
78 S213194 Education section courtyard, looking W 15.03.2001 ALAMUDDIN Hana 24x36 Y
79 S213195 Education section amphitheatre/looking W 15.03.2001 ALAMUDDIN Hana 24x36 Y
80 S213196 Education section amphitheatre/looking E 15.03.2001 ALAMUDDIN Hana 24x36 Y
81 S213197 Education section, classroom 15.03.2001 ALAMUDDIN Hana 24x36 Y
82 S213198 Education section, classroom 15.03.2001 ALAMUDDIN Hana 24x36 Y
83 S213199 Start of service road looking East 15.03.2001 ALAMUDDIN Hana 24x36 Y
84 S213200 Service road to service yard 15.03.2001 ALAMUDDIN Hana 24x36 Y
85 S213201 Service road looking back to West 15.03.2001 ALAMUDDIN Hana 24x36 Y
86 S213202 South facade/wall of service yard 15.03.2001 ALAMUDDIN Hana 24x36 Y
87 S213203 Service yard, looking North 15.03.2001 ALAMUDDIN Hana 24x36 Y
88 S213204 Service yard, looking West 15.03.2001 ALAMUDDIN Hana 24x36 Y
89 S213205 Service yard, looking East 15.03.2001 ALAMUDDIN Hana 24x36 Y
90 S213206 Roofscape, looking West 15.03.2001 ALAMUDDIN Hana 24x36 Y
91 S213207 Roofscape, looking to door of cafeteria 15.03.2001 ALAMUDDIN Hana 24x36 Y
92 S213208 Roofscape, screen of cafeteria 15.03.2001 ALAMUDDIN Hana 24x36 Y
93 S213209 Roofscape, looking North 15.03.2001 ALAMUDDIN Hana 24x36 Y
94 S213210 Roofscape, looking Southeast 15.03.2001 ALAMUDDIN Hana 24x36 Y
95 S213211 Roofscape, looking South 15.03.2001 ALAMUDDIN Hana 24x36 Y
96 S213212 Roofscape, looking East 15.03.2001 ALAMUDDIN Hana 24x36 Y
97 S213213 Roofscape, looking West 15.03.2001 ALAMUDDIN Hana 24x36 Y
98 S213214 Roofscape, old skylight 15.03.2001 ALAMUDDIN Hana 24x36 Y
99 S213215 Roofscape, old skylight 15.03.2001 ALAMUDDIN Hana 24x36 Y
100 S213216 From roof looking E to Fatimid cemetery 15.03.2001 ALAMUDDIN Hana 24x36 Y
Nubian Museum, Aswan, Egypt
56. Nubian Museum
Aswan, Egypt
List of Visual Materials
No VM Num CD Id IMG Ord VM Title Date Photographer Format Copyright
101 S213217 From roof looking SE to Fatimid cemetery 15.03.2001 ALAMUDDIN Hana 24x36 Y
102 S213218 From roof looking SE to Fatimid cemetery 15.03.2001 ALAMUDDIN Hana 24x36 Y
103 S213219 Garden from roof 15.03.2001 ALAMUDDIN Hana 24x36 Y
104 S213220 From roof looking NE to Aswan 15.03.2001 ALAMUDDIN Hana 24x36 Y
105 S213221 View of "Source of Nile" from roof 15.03.2001 ALAMUDDIN Hana 24x36 Y
106 S213222 Garden, from roof looking East 15.03.2001 ALAMUDDIN Hana 24x36 Y
107 S213223 Garden, from roof looking East 15.03.2001 ALAMUDDIN Hana 24x36 Y
108 S213224 Garden view looking South 15.03.2001 ALAMUDDIN Hana 24x36 Y
109 S213225 Toilet window, AC unit detail 15.03.2001 ALAMUDDIN Hana 24x36 Y
110 S213226 West facade, toward entrance portico 15.03.2001 ALAMUDDIN Hana 24x36 Y
111 S213227 Southwest corner, looking West 15.03.2001 ALAMUDDIN Hana 24x36 Y
112 S213228 Eastern curved wall 15.03.2001 ALAMUDDIN Hana 24x36 Y
113 S213229 Eastern curved wall, exit portico 15.03.2001 ALAMUDDIN Hana 24x36 Y
114 S213230 Portico to garden 15.03.2001 ALAMUDDIN Hana 24x36 Y
115 S213231 "Source of Nile" in garden 15.03.2001 ALAMUDDIN Hana 24x36 Y
116 S213232 View from portico to garden 15.03.2001 ALAMUDDIN Hana 24x36 Y
117 S213233 Coptic ehibits in garden 15.03.2001 ALAMUDDIN Hana 24x36 Y
118 S213234 Garden 15.03.2001 ALAMUDDIN Hana 24x36 Y
119 S213235 Garden looking North 15.03.2001 ALAMUDDIN Hana 24x36 Y
120 S213236 Exhibit in garden 15.03.2001 ALAMUDDIN Hana 24x36 Y
121 S213237 Garden/view of stage E boundary wall 15.03.2001 ALAMUDDIN Hana 24x36 Y
122 S213238 North facade 15.03.2001 ALAMUDDIN Hana 24x36 Y
123 S213239 From entrance looking North 15.03.2001 ALAMUDDIN Hana 24x36 Y
124 S213240 Water reservoir on Northern boundary 15.03.2001 ALAMUDDIN Hana 24x36 Y
125 S213241 North section, graves 15.03.2001 ALAMUDDIN Hana 24x36 Y
126 S213242 Maqqam Saida Zeinab 15.03.2001 ALAMUDDIN Hana 24x36 Y
127 S213243 Maqqam Saida Zeinab 15.03.2001 ALAMUDDIN Hana 24x36 Y
128 S213244 Maqqam 77 Walis 15.03.2001 ALAMUDDIN Hana 24x36 Y
129 S213245 Maqqam 77 Walis 15.03.2001 ALAMUDDIN Hana 24x36 Y
130 S213246 Garden detail, looking West 15.03.2001 ALAMUDDIN Hana 24x36 Y
131 S213247 Exhibit detail, looking West 15.03.2001 ALAMUDDIN Hana 24x36 Y
132 S213248 Garden on West side 15.03.2001 ALAMUDDIN Hana 24x36 Y
133 S213249 Exhibit between entrance gate portico 15.03.2001 ALAMUDDIN Hana 24x36 Y
134 S213250 Seating area near Nubia house 15.03.2001 ALAMUDDIN Hana 24x36 Y
135 S213251 Cave exit 15.03.2001 ALAMUDDIN Hana 24x36 Y
136 S213252 Nubian house in museum garden 15.03.2001 ALAMUDDIN Hana 24x36 Y
137 S213253 Nubian house decoration 15.03.2001 ALAMUDDIN Hana 24x36 Y
138 S213254 Eastern garden 15.03.2001 ALAMUDDIN Hana 24x36 Y
139 S213255 Eastern garden, looking South 15.03.2001 ALAMUDDIN Hana 24x36 Y
140 S213256 Nubian house in museum garden 15.03.2001 ALAMUDDIN Hana 24x36 Y
141 S213257 "Village square" in front of Nubian hse 15.03.2001 ALAMUDDIN Hana 24x36 Y
142 S213258 Entrance to cave 15.03.2001 ALAMUDDIN Hana 24x36 Y
143 S213259 Museum garden lawn 15.03.2001 ALAMUDDIN Hana 24x36 Y
144 S213260 Amphitheatre 15.03.2001 ALAMUDDIN Hana 24x36 Y
145 S213261 Amphitheatre stage 15.03.2001 ALAMUDDIN Hana 24x36 Y
146 S213262 East curved wall 15.03.2001 ALAMUDDIN Hana 24x36 Y
147 S213263 Waterfall in garden 15.03.2001 ALAMUDDIN Hana 24x36 Y
148 S213264 Museum workshop, garden bench making 15.03.2001 ALAMUDDIN Hana 24x36 Y
149 S213265 Building detail 15.03.2001 ALAMUDDIN Hana 24x36 Y
150 S213266 Landscape detail, floor finish 15.03.2001 ALAMUDDIN Hana 24x36 Y
Nubian Museum, Aswan, Egypt
57. Nubian Museum
Aswan, Egypt
List of Visual Materials
No VM Num CD Id IMG Ord VM Title Date Photographer Format Copyright
151 S213267 Landscape detail, wall floor finish 15.03.2001 ALAMUDDIN Hana 24x36 Y
152 S213268 Childs room, A/C wall stain 15.03.2001 ALAMUDDIN Hana 24x36 Y
153 S213269 Window detail, interior 15.03.2001 ALAMUDDIN Hana 24x36 Y
154 S213270 Parapet detail 15.03.2001 ALAMUDDIN Hana 24x36 Y
155 S213271 Window detail, exterior 15.03.2001 ALAMUDDIN Hana 24x36 Y
156 S213272 Window detail, exterior 15.03.2001 ALAMUDDIN Hana 24x36 Y
157 S213273 Inauguration plaque 15.03.2001 ALAMUDDIN Hana 24x36 Y
158 S213274 Window detail, exterior 15.03.2001 ALAMUDDIN Hana 24x36 Y
159 S213275 Window detail, interior 15.03.2001 ALAMUDDIN Hana 24x36 Y
160 S213276 Gharb Aswan village, contemporary bldg 15.03.2001 ALAMUDDIN Hana 24x36 Y
161 S213277 Gharb Aswan village, contemporary bldg 15.03.2001 ALAMUDDIN Hana 24x36 Y
162 S213278 Gharb Aswan village, contemporary bldg 15.03.2001 ALAMUDDIN Hana 24x36 Y
163 S213279 Gharb Aswan village, contemporary bldg 15.03.2001 ALAMUDDIN Hana 24x36 Y
164 S213280 Gharb Aswan village, streetscape 15.03.2001 ALAMUDDIN Hana 24x36 Y
165 S213281 Gharb Aswan village, streetscape 15.03.2001 ALAMUDDIN Hana 24x36 Y
166 S213282 Gharb Aswan village, internal court 15.03.2001 ALAMUDDIN Hana 24x36 Y
167 S213283 Gharb Aswan village, internal court 15.03.2001 ALAMUDDIN Hana 24x36 Y
168 S213284 Gharb Aswan village, internal court 15.03.2001 ALAMUDDIN Hana 24x36 Y
169 S213285 Gharb Aswan village, roofscape 15.03.2001 ALAMUDDIN Hana 24x36 Y
170 S213286 Gharb Aswan village, roofscape 15.03.2001 ALAMUDDIN Hana 24x36 Y
171 S213287 Gharb Aswan village, from roof 15.03.2001 ALAMUDDIN Hana 24x36 Y
172 S213288 Gharb Aswan village, internal court 15.03.2001 ALAMUDDIN Hana 24x36 Y
173 S213289 Gharb Aswan village, village square 15.03.2001 ALAMUDDIN Hana 24x36 Y
174 S213290 Gharb Aswan village, courtyard 15.03.2001 ALAMUDDIN Hana 24x36 Y
175 S213291 Gharb Aswan village, mandara 15.03.2001 ALAMUDDIN Hana 24x36 Y
176 S213292 Gharb Aswan village, new house 15.03.2001 ALAMUDDIN Hana 24x36 Y
177 S213293 Gharb Aswan village, khayma 15.03.2001 ALAMUDDIN Hana 24x36 Y
178 S213294 Gharb Aswan village, roofscape 15.03.2001 ALAMUDDIN Hana 24x36 Y
179 S213295 Gharb Aswan village, house door 15.03.2001 ALAMUDDIN Hana 24x36 Y
180 S213296 Gharb Aswan village, streetscape 15.03.2001 ALAMUDDIN Hana 24x36 Y
181 S213297 Gharb Aswan village, streetscape 15.03.2001 ALAMUDDIN Hana 24x36 Y
182 S213298 Gharb Aswan village, mandara 15.03.2001 ALAMUDDIN Hana 24x36 Y
183 S213299 Gharb Aswan village, town square 15.03.2001 ALAMUDDIN Hana 24x36 Y
184 S213300 15.03.2001 IVERSON Barry 24x36 Y
185 S213301 15.03.2001 IVERSON Barry 24x36 Y
186 S213302 15.03.2001 IVERSON Barry 24x36 Y
187 S213303 15.03.2001 IVERSON Barry 24x36 Y
188 S213304 15.03.2001 IVERSON Barry 24x36 Y
189 S213305 15.03.2001 IVERSON Barry 24x36 Y
190 S213306 15.03.2001 IVERSON Barry 24x36 Y
191 S213307 15.03.2001 IVERSON Barry 24x36 Y
192 S213308 15.03.2001 IVERSON Barry 24x36 Y
193 S213309 15.03.2001 IVERSON Barry 24x36 Y
194 S213310 15.03.2001 IVERSON Barry 24x36 Y
195 S213311 15.03.2001 IVERSON Barry 24x36 Y
196 S213312 15.03.2001 IVERSON Barry 24x36 Y
197 S213313 15.03.2001 IVERSON Barry 24x36 Y
198 S213314 15.03.2001 IVERSON Barry 24x36 Y
199 S213315 15.03.2001 IVERSON Barry 24x36 Y
200 S213316 15.03.2001 IVERSON Barry 24x36 Y
Nubian Museum, Aswan, Egypt
58. Nubian Museum
Aswan, Egypt
List of Visual Materials
No VM Num CD Id IMG Ord VM Title Date Photographer Format Copyright
201 S213317 15.03.2001 IVERSON Barry 24x36 Y
202 S213318 15.03.2001 IVERSON Barry 24x36 Y
203 S213319 15.03.2001 IVERSON Barry 24x36 Y
204 S213320 15.03.2001 IVERSON Barry 24x36 Y
205 S213321 15.03.2001 IVERSON Barry 24x36 Y
206 S213322 15.03.2001 IVERSON Barry 24x36 Y
207 S213323 15.03.2001 IVERSON Barry 24x36 Y
208 S213324 15.03.2001 IVERSON Barry 24x36 Y
209 S213325 15.03.2001 IVERSON Barry 24x36 Y
210 S213326 15.03.2001 IVERSON Barry 24x36 Y
211 S213327 15.03.2001 IVERSON Barry 24x36 Y
212 S213328 15.03.2001 IVERSON Barry 24x36 Y
213 S213329 15.03.2001 IVERSON Barry 24x36 Y
214 S213330 15.03.2001 IVERSON Barry 24x36 Y
215 S213331 15.03.2001 IVERSON Barry 24x36 Y
216 S213332 15.03.2001 IVERSON Barry 24x36 Y
217 S213333 15.03.2001 IVERSON Barry 24x36 Y
218 S213334 15.03.2001 IVERSON Barry 24x36 Y
219 S213335 15.03.2001 IVERSON Barry 24x36 Y
220 S213336 15.03.2001 IVERSON Barry 24x36 Y
221 S213337 15.03.2001 IVERSON Barry 24x36 Y
222 S213338 15.03.2001 IVERSON Barry 24x36 Y
223 S213339 15.03.2001 IVERSON Barry 24x36 Y
224 S213340 15.03.2001 IVERSON Barry 24x36 Y
225 S213341 15.03.2001 IVERSON Barry 24x36 Y
226 S213342 15.03.2001 IVERSON Barry 24x36 Y
227 S213343 15.03.2001 IVERSON Barry 24x36 Y
228 S213344 15.03.2001 IVERSON Barry 24x36 Y
229 S213345 15.03.2001 IVERSON Barry 24x36 Y
230 S213346 15.03.2001 IVERSON Barry 24x36 Y
231 S213347 15.03.2001 IVERSON Barry 24x36 Y
232 S213348 15.03.2001 IVERSON Barry 24x36 Y
233 S213349 15.03.2001 IVERSON Barry 24x36 Y
234 S213350 15.03.2001 IVERSON Barry 24x36 Y
235 S213351 15.03.2001 IVERSON Barry 24x36 Y
236 S213352 15.03.2001 IVERSON Barry 24x36 Y
237 S213353 15.03.2001 IVERSON Barry 24x36 Y
238 S213354 15.03.2001 IVERSON Barry 24x36 Y
239 S213355 15.03.2001 IVERSON Barry 24x36 Y
240 S213356 15.03.2001 IVERSON Barry 24x36 Y
241 S213357 15.03.2001 IVERSON Barry 24x36 Y
242 S213358 15.03.2001 IVERSON Barry 24x36 Y
243 S213359 15.03.2001 IVERSON Barry 24x36 Y
244 S213360 15.03.2001 IVERSON Barry 24x36 Y
245 S213361 15.03.2001 IVERSON Barry 24x36 Y
246 S213362 15.03.2001 IVERSON Barry 24x36 Y
247 S213363 15.03.2001 IVERSON Barry 24x36 Y
248 S213364 15.03.2001 IVERSON Barry 24x36 Y
249 S213365 15.03.2001 IVERSON Barry 24x36 Y
250 S213366 15.03.2001 IVERSON Barry 24x36 Y
Nubian Museum, Aswan, Egypt
59. Nubian Museum
Aswan, Egypt
List of Visual Materials
No VM Num CD Id IMG Ord VM Title Date Photographer Format Copyright
251 S213367 15.03.2001 IVERSON Barry 24x36 Y
252 S213368 15.03.2001 IVERSON Barry 24x36 Y
253 S213369 15.03.2001 IVERSON Barry 24x36 Y
254 S213370 15.03.2001 IVERSON Barry 24x36 Y
255 S213371 15.03.2001 IVERSON Barry 24x36 Y
256 S213372 15.03.2001 IVERSON Barry 24x36 Y
257 S213373 15.03.2001 IVERSON Barry 24x36 Y
258 S213374 15.03.2001 IVERSON Barry 24x36 Y
259 S213375 15.03.2001 IVERSON Barry 24x36 Y
260 S213376 15.03.2001 IVERSON Barry 24x36 Y
261 S213377 15.03.2001 IVERSON Barry 24x36 Y
262 S213378 15.03.2001 IVERSON Barry 24x36 Y
263 S213379 15.03.2001 IVERSON Barry 24x36 Y
264 S213380 15.03.2001 IVERSON Barry 24x36 Y
265 S213381 15.03.2001 IVERSON Barry 24x36 Y
266 S213382 15.03.2001 IVERSON Barry 24x36 Y
267 S213383 15.03.2001 IVERSON Barry 24x36 Y
268 S213384 15.03.2001 IVERSON Barry 24x36 Y
269 S213385 15.03.2001 IVERSON Barry 24x36 Y
270 S213386 15.03.2001 IVERSON Barry 24x36 Y
271 S213387 15.03.2001 IVERSON Barry 24x36 Y
272 S213388 15.03.2001 IVERSON Barry 24x36 Y
273 S213389 15.03.2001 IVERSON Barry 24x36 Y
274 S213390 15.03.2001 IVERSON Barry 24x36 Y
275 S213391 15.03.2001 IVERSON Barry 24x36 Y
276 S213392 15.03.2001 IVERSON Barry 24x36 Y
277 S213393 15.03.2001 IVERSON Barry 24x36 Y
278 S213394 15.03.2001 IVERSON Barry 24x36 Y
279 S213395 15.03.2001 IVERSON Barry 24x36 Y
280 S213396 15.03.2001 IVERSON Barry 24x36 Y
281 S213397 15.03.2001 IVERSON Barry 24x36 Y
282 S213398 15.03.2001 IVERSON Barry 24x36 Y
283 S213399 15.03.2001 IVERSON Barry 24x36 Y
284 S213400 15.03.2001 IVERSON Barry 24x36 Y
285 S213401 15.03.2001 IVERSON Barry 24x36 Y
286 S213402 15.03.2001 IVERSON Barry 24x36 Y
287 S213403 15.03.2001 IVERSON Barry 24x36 Y
288 S213404 15.03.2001 IVERSON Barry 24x36 Y
289 S213405 15.03.2001 IVERSON Barry 24x36 Y
290 S213406 15.03.2001 IVERSON Barry 24x36 Y
291 S213407 15.03.2001 IVERSON Barry 24x36 Y
292 S213408 15.03.2001 IVERSON Barry 24x36 Y
293 S213409 15.03.2001 IVERSON Barry 24x36 Y
294 S213410 15.03.2001 IVERSON Barry 24x36 Y
295 S213411 15.03.2001 IVERSON Barry 24x36 Y
296 S213412 15.03.2001 IVERSON Barry 24x36 Y
297 S213413 15.03.2001 IVERSON Barry 24x36 Y
298 S213414 15.03.2001 IVERSON Barry 24x36 Y
299 S213415 15.03.2001 IVERSON Barry 24x36 Y
300 S213416 15.03.2001 IVERSON Barry 24x36 Y
Nubian Museum, Aswan, Egypt
60. Nubian Museum
Aswan, Egypt
List of Visual Materials
No VM Num CD Id IMG Ord VM Title Date Photographer Format Copyright
301 S213417 15.03.2001 IVERSON Barry 24x36 Y
302 S213418 15.03.2001 IVERSON Barry 24x36 Y
303 S213419 15.03.2001 IVERSON Barry 24x36 Y
304 S213420 15.03.2001 IVERSON Barry 24x36 Y
305 S213421 15.03.2001 IVERSON Barry 24x36 Y
306 S213422 15.03.2001 IVERSON Barry 24x36 Y
307 S213423 15.03.2001 IVERSON Barry 24x36 Y
308 S213424 15.03.2001 IVERSON Barry 24x36 Y
309 S213425 15.03.2001 IVERSON Barry 24x36 Y
310 S213426 15.03.2001 IVERSON Barry 24x36 Y
311 S213427 15.03.2001 IVERSON Barry 24x36 Y
312 S213428 15.03.2001 IVERSON Barry 24x36 Y
313 S213429 15.03.2001 IVERSON Barry 24x36 Y
314 S213430 15.03.2001 IVERSON Barry 24x36 Y
315 S213431 15.03.2001 IVERSON Barry 24x36 Y
316 S213432 15.03.2001 IVERSON Barry 24x36 Y
317 S213433 15.03.2001 IVERSON Barry 24x36 Y
318 S213434 15.03.2001 IVERSON Barry 24x36 Y
319 S213435 15.03.2001 IVERSON Barry 24x36 Y
320 S213436 15.03.2001 IVERSON Barry 24x36 Y
321 S213437 15.03.2001 IVERSON Barry 24x36 Y
322 S213438 15.03.2001 IVERSON Barry 24x36 Y
323 S213439 15.03.2001 IVERSON Barry 24x36 Y
324 S213440 15.03.2001 IVERSON Barry 24x36 Y
325 S213441 15.03.2001 IVERSON Barry 24x36 Y
326 S213442 15.03.2001 IVERSON Barry 24x36 Y
327 S213443 15.03.2001 IVERSON Barry 24x36 Y
328 S213444 15.03.2001 IVERSON Barry 24x36 Y
329 S213445 15.03.2001 IVERSON Barry 24x36 Y
330 S213446 15.03.2001 IVERSON Barry 24x36 Y
331 S213447 15.03.2001 IVERSON Barry 24x36 Y
332 S213448 15.03.2001 IVERSON Barry 24x36 Y
333 S213449 15.03.2001 IVERSON Barry 24x36 Y
334 S213450 15.03.2001 IVERSON Barry 24x36 Y
335 S213451 15.03.2001 IVERSON Barry 24x36 Y
336 S213452 15.03.2001 IVERSON Barry 24x36 Y
337 S213453 15.03.2001 IVERSON Barry 24x36 Y
338 S213454 15.03.2001 IVERSON Barry 24x36 Y
339 S213455 15.03.2001 IVERSON Barry 24x36 Y
340 S213456 15.03.2001 IVERSON Barry 24x36 Y
341 S213457 15.03.2001 IVERSON Barry 24x36 Y
342 S213458 15.03.2001 IVERSON Barry 24x36 Y
343 S213459 15.03.2001 IVERSON Barry 24x36 Y
344 S213460 15.03.2001 IVERSON Barry 24x36 Y
345 S213461 15.03.2001 IVERSON Barry 24x36 Y
346 S213462 15.03.2001 IVERSON Barry 24x36 Y
347 S213463 15.03.2001 IVERSON Barry 24x36 Y
348 S213464 15.03.2001 IVERSON Barry 24x36 Y
349 S213465 15.03.2001 IVERSON Barry 24x36 Y
350 S213466 15.03.2001 IVERSON Barry 24x36 Y
Nubian Museum, Aswan, Egypt
61. Nubian Museum
Aswan, Egypt
List of Visual Materials
No VM Num CD Id IMG Ord VM Title Date Photographer Format Copyright
351 S213467 15.03.2001 IVERSON Barry 24x36 Y
352 S213468 15.03.2001 IVERSON Barry 24x36 Y
353 S213469 15.03.2001 IVERSON Barry 24x36 Y
354 S213470 15.03.2001 IVERSON Barry 24x36 Y
355 S213471 15.03.2001 IVERSON Barry 24x36 Y
356 S213472 15.03.2001 IVERSON Barry 24x36 Y
357 S213473 15.03.2001 IVERSON Barry 24x36 Y
358 S213474 15.03.2001 IVERSON Barry 24x36 Y
359 S213475 15.03.2001 IVERSON Barry 24x36 Y
360 S213476 15.03.2001 IVERSON Barry 24x36 Y
361 S213477 15.03.2001 IVERSON Barry 24x36 Y
362 S213478 15.03.2001 IVERSON Barry 24x36 Y
363 S213479 15.03.2001 IVERSON Barry 24x36 Y
364 S213480 15.03.2001 IVERSON Barry 24x36 Y
365 S213481 15.03.2001 IVERSON Barry 24x36 Y
366 S213482 15.03.2001 IVERSON Barry 24x36 Y
367 S213483 15.03.2001 IVERSON Barry 24x36 Y
368 S213484 15.03.2001 IVERSON Barry 24x36 Y
369 S213485 15.03.2001 IVERSON Barry 24x36 Y
370 S213486 15.03.2001 IVERSON Barry 24x36 Y
371 S213487 15.03.2001 IVERSON Barry 24x36 Y
372 S213488 15.03.2001 IVERSON Barry 24x36 Y
373 S213489 15.03.2001 IVERSON Barry 24x36 Y
374 S213490 15.03.2001 IVERSON Barry 24x36 Y
375 S213491 15.03.2001 IVERSON Barry 24x36 Y
376 S213492 15.03.2001 IVERSON Barry 24x36 Y
377 S213493 15.03.2001 IVERSON Barry 24x36 Y
378 S213494 15.03.2001 IVERSON Barry 24x36 Y
379 S213495 15.03.2001 IVERSON Barry 24x36 Y
380 S213496 15.03.2001 IVERSON Barry 24x36 Y
381 S213497 15.03.2001 IVERSON Barry 24x36 Y
382 S213498 15.03.2001 IVERSON Barry 24x36 Y
383 S213499 15.03.2001 IVERSON Barry 24x36 Y
384 S213500 15.03.2001 IVERSON Barry 24x36 Y
385 S213501 15.03.2001 IVERSON Barry 24x36 Y
386 S213502 15.03.2001 IVERSON Barry 24x36 Y
387 S213503 15.03.2001 IVERSON Barry 24x36 Y
388 S213504 15.03.2001 IVERSON Barry 24x36 Y
389 S213505 15.03.2001 IVERSON Barry 24x36 Y
390 S213506 15.03.2001 IVERSON Barry 24x36 Y
391 S213507 15.03.2001 IVERSON Barry 24x36 Y
392 S213508 15.03.2001 IVERSON Barry 24x36 Y
393 S213509 15.03.2001 IVERSON Barry 24x36 Y
394 S213510 15.03.2001 IVERSON Barry 24x36 Y
395 S213511 15.03.2001 IVERSON Barry 24x36 Y
396 S213512 15.03.2001 IVERSON Barry 24x36 Y
397 S213513 15.03.2001 IVERSON Barry 24x36 Y
398 S213514 15.03.2001 IVERSON Barry 24x36 Y
399 S213515 15.03.2001 IVERSON Barry 24x36 Y
400 S213516 15.03.2001 IVERSON Barry 24x36 Y
Nubian Museum, Aswan, Egypt
62. Nubian Museum
Aswan, Egypt
List of Visual Materials
No VM Num CD Id IMG Ord VM Title Date Photographer Format Copyright
401 S213517 15.03.2001 IVERSON Barry 24x36 Y
402 S213518 15.03.2001 IVERSON Barry 24x36 Y
403 S213519 15.03.2001 IVERSON Barry 24x36 Y
404 S213520 15.03.2001 IVERSON Barry 24x36 Y
405 S213521 15.03.2001 IVERSON Barry 24x36 Y
406 S213522 15.03.2001 IVERSON Barry 24x36 Y
407 S213523 15.03.2001 IVERSON Barry 24x36 Y
408 S213524 15.03.2001 IVERSON Barry 24x36 Y
409 S213525 15.03.2001 IVERSON Barry 24x36 Y
410 S213526 15.03.2001 IVERSON Barry 24x36 Y
411 S213527 15.03.2001 IVERSON Barry 24x36 Y
412 S213528 15.03.2001 IVERSON Barry 24x36 Y
413 S213529 15.03.2001 IVERSON Barry 24x36 Y
414 S213530 15.03.2001 IVERSON Barry 24x36 Y
415 S213531 15.03.2001 IVERSON Barry 24x36 Y
416 S213532 15.03.2001 IVERSON Barry 24x36 Y
417 S213533 15.03.2001 IVERSON Barry 24x36 Y
418 S213534 15.03.2001 IVERSON Barry 24x36 Y
419 S213535 15.03.2001 IVERSON Barry 24x36 Y
420 S213536 15.03.2001 IVERSON Barry 24x36 Y
421 S213537 15.03.2001 IVERSON Barry 24x36 Y
422 S213538 15.03.2001 IVERSON Barry 24x36 Y
423 S213539 15.03.2001 IVERSON Barry 24x36 Y
424 S213540 15.03.2001 IVERSON Barry 24x36 Y
425 S213541 15.03.2001 IVERSON Barry 24x36 Y
426 S213542 15.03.2001 IVERSON Barry 24x36 Y
427 S213543 15.03.2001 IVERSON Barry 24x36 Y
428 S213544 15.03.2001 IVERSON Barry 24x36 Y
429 S213545 15.03.2001 IVERSON Barry 24x36 Y
430 S213546 15.03.2001 IVERSON Barry 24x36 Y
431 S213547 15.03.2001 IVERSON Barry 24x36 Y
432 S213548 15.03.2001 IVERSON Barry 24x36 Y
433 S213549 15.03.2001 IVERSON Barry 24x36 Y
434 S213550 15.03.2001 IVERSON Barry 24x36 Y
435 S213551 15.03.2001 IVERSON Barry 24x36 Y
436 S213552 15.03.2001 IVERSON Barry 24x36 Y
437 S213553 15.03.2001 IVERSON Barry 24x36 Y
438 S213554 15.03.2001 IVERSON Barry 24x36 Y
439 S213555 15.03.2001 IVERSON Barry 24x36 Y
440 S213556 15.03.2001 IVERSON Barry 24x36 Y
441 S213557 15.03.2001 IVERSON Barry 24x36 Y
442 S213558 15.03.2001 IVERSON Barry 24x36 Y
443 S213559 15.03.2001 IVERSON Barry 24x36 Y
444 S213560 15.03.2001 IVERSON Barry 24x36 Y
445 S213561 15.03.2001 IVERSON Barry 24x36 Y
446 S213562 15.03.2001 IVERSON Barry 24x36 Y
447 S213563 15.03.2001 IVERSON Barry 24x36 Y
448 S213564 15.03.2001 IVERSON Barry 24x36 Y
449 S213565 15.03.2001 IVERSON Barry 24x36 Y
450 S213566 15.03.2001 IVERSON Barry 24x36 Y
Nubian Museum, Aswan, Egypt
63. Nubian Museum
Aswan, Egypt
List of Visual Materials
No VM Num CD Id IMG Ord VM Title Date Photographer Format Copyright
451 S213567 15.03.2001 IVERSON Barry 24x36 Y
452 S213568 15.03.2001 IVERSON Barry 24x36 Y
453 S213569 15.03.2001 IVERSON Barry 24x36 Y
454 S213570 15.03.2001 IVERSON Barry 24x36 Y
455 S213571 15.03.2001 IVERSON Barry 24x36 Y
456 S213572 15.03.2001 IVERSON Barry 24x36 Y
457 S213573 15.03.2001 IVERSON Barry 24x36 Y
458 S213574 15.03.2001 IVERSON Barry 24x36 Y
459 S213575 15.03.2001 IVERSON Barry 24x36 Y
460 S213576 15.03.2001 IVERSON Barry 24x36 Y
461 S213577 15.03.2001 IVERSON Barry 24x36 Y
462 S213578 15.03.2001 IVERSON Barry 24x36 Y
463 S213579 15.03.2001 IVERSON Barry 24x36 Y
464 S213580 15.03.2001 IVERSON Barry 24x36 Y
465 S213581 15.03.2001 IVERSON Barry 24x36 Y
466 S213582 15.03.2001 IVERSON Barry 24x36 Y
467 S213583 15.03.2001 IVERSON Barry 24x36 Y
468 S213584 15.03.2001 IVERSON Barry 24x36 Y
469 S213585 15.03.2001 IVERSON Barry 24x36 Y
470 S213586 15.03.2001 IVERSON Barry 24x36 Y
471 S213587 15.03.2001 IVERSON Barry 24x36 Y
472 S213588 15.03.2001 IVERSON Barry 24x36 Y
473 S213589 15.03.2001 IVERSON Barry 24x36 Y
474 S213590 15.03.2001 IVERSON Barry 24x36 Y
475 S213591 15.03.2001 IVERSON Barry 24x36 Y
476 S213592 15.03.2001 IVERSON Barry 24x36 Y
477 S213593 15.03.2001 IVERSON Barry 24x36 Y
478 S213594 15.03.2001 IVERSON Barry 24x36 Y
479 S213595 15.03.2001 IVERSON Barry 24x36 Y
480 S213596 15.03.2001 IVERSON Barry 24x36 Y
481 S213597 15.03.2001 IVERSON Barry 24x36 Y
482 S213598 15.03.2001 IVERSON Barry 24x36 Y
483 S213599 15.03.2001 IVERSON Barry 24x36 Y
484 S213600 15.03.2001 IVERSON Barry 24x36 Y
485 S213601 15.03.2001 IVERSON Barry 24x36 Y
486 S213602 15.03.2001 IVERSON Barry 24x36 Y
487 S213603 15.03.2001 IVERSON Barry 24x36 Y
488 S213604 15.03.2001 IVERSON Barry 24x36 Y
489 S213605 15.03.2001 IVERSON Barry 24x36 Y
490 S213606 15.03.2001 IVERSON Barry 24x36 Y
491 S213607 15.03.2001 IVERSON Barry 24x36 Y
492 S213608 15.03.2001 IVERSON Barry 24x36 Y
493 S213609 15.03.2001 IVERSON Barry 24x36 Y
494 S213610 15.03.2001 IVERSON Barry 24x36 Y
495 S213611 15.03.2001 IVERSON Barry 24x36 Y
496 S213612 15.03.2001 IVERSON Barry 24x36 Y
497 S213613 15.03.2001 IVERSON Barry 24x36 Y
498 S213614 15.03.2001 IVERSON Barry 24x36 Y
499 S213615 15.03.2001 IVERSON Barry 24x36 Y
500 S213616 15.03.2001 IVERSON Barry 24x36 Y
Nubian Museum, Aswan, Egypt
64. Nubian Museum
Aswan, Egypt
List of Visual Materials
No VM Num CD Id IMG Ord VM Title Date Photographer Format Copyright
501 S213617 15.03.2001 IVERSON Barry 24x36 Y
502 S213618 15.03.2001 IVERSON Barry 24x36 Y
503 S213619 15.03.2001 IVERSON Barry 24x36 Y
504 S213620 15.03.2001 IVERSON Barry 24x36 Y
505 S213621 15.03.2001 IVERSON Barry 24x36 Y
506 S213622 15.03.2001 IVERSON Barry 24x36 Y
507 S213623 15.03.2001 IVERSON Barry 24x36 Y
508 S213624 15.03.2001 IVERSON Barry 24x36 Y
509 S213625 15.03.2001 IVERSON Barry 24x36 Y
510 S213626 15.03.2001 IVERSON Barry 24x36 Y
511 S213627 15.03.2001 IVERSON Barry 24x36 Y
512 S213628 15.03.2001 IVERSON Barry 24x36 Y
513 S213629 15.03.2001 IVERSON Barry 24x36 Y
514 S213630 15.03.2001 IVERSON Barry 24x36 Y
515 S213631 15.03.2001 IVERSON Barry 24x36 Y
516 S213632 15.03.2001 IVERSON Barry 24x36 Y
517 S213633 15.03.2001 IVERSON Barry 24x36 Y
518 S213634 15.03.2001 IVERSON Barry 24x36 Y
519 S213635 15.03.2001 IVERSON Barry 24x36 Y
520 S213636 15.03.2001 IVERSON Barry 24x36 Y
521 S213637 15.03.2001 IVERSON Barry 24x36 Y
522 S213638 15.03.2001 IVERSON Barry 24x36 Y
523 S213639 15.03.2001 IVERSON Barry 24x36 Y
524 S213640 15.03.2001 IVERSON Barry 24x36 Y
525 S213641 15.03.2001 IVERSON Barry 24x36 Y
526 S213642 15.03.2001 IVERSON Barry 24x36 Y
527 S213643 15.03.2001 IVERSON Barry 24x36 Y
528 S213644 15.03.2001 IVERSON Barry 24x36 Y
529 S213645 15.03.2001 IVERSON Barry 24x36 Y
530 S213646 15.03.2001 IVERSON Barry 24x36 Y
531 S213647 15.03.2001 IVERSON Barry 24x36 Y
532 S213648 15.03.2001 IVERSON Barry 24x36 Y
533 S213649 15.03.2001 IVERSON Barry 24x36 Y
534 S213650 15.03.2001 IVERSON Barry 24x36 Y
535 S213651 15.03.2001 IVERSON Barry 24x36 Y
536 S213652 15.03.2001 IVERSON Barry 24x36 Y
537 S213653 15.03.2001 IVERSON Barry 24x36 Y
538 S213654 15.03.2001 IVERSON Barry 24x36 Y
539 S213655 15.03.2001 IVERSON Barry 24x36 Y
540 S213656 15.03.2001 IVERSON Barry 24x36 Y
541 S213657 15.03.2001 IVERSON Barry 24x36 Y
542 S213658 15.03.2001 IVERSON Barry 24x36 Y
543 S213659 15.03.2001 IVERSON Barry 24x36 Y
544 S213660 15.03.2001 IVERSON Barry 24x36 Y
545 S213661 15.03.2001 IVERSON Barry 24x36 Y
546 S213662 15.03.2001 IVERSON Barry 24x36 Y
547 S213663 15.03.2001 IVERSON Barry 24x36 Y
548 S213664 15.03.2001 IVERSON Barry 24x36 Y
549 S213665 15.03.2001 IVERSON Barry 24x36 Y
550 S213666 15.03.2001 IVERSON Barry 24x36 Y
Nubian Museum, Aswan, Egypt
65. Nubian Museum
Aswan, Egypt
List of Visual Materials
No VM Num CD Id IMG Ord VM Title Date Photographer Format Copyright
551 S213667 15.03.2001 IVERSON Barry 24x36 Y
552 S213668 15.03.2001 IVERSON Barry 24x36 Y
553 S213669 15.03.2001 IVERSON Barry 24x36 Y
554 S213670 15.03.2001 IVERSON Barry 24x36 Y
555 S213671 15.03.2001 IVERSON Barry 24x36 Y
556 S213672 15.03.2001 IVERSON Barry 24x36 Y
557 S213673 15.03.2001 IVERSON Barry 24x36 Y
558 S213674 15.03.2001 IVERSON Barry 24x36 Y
559 S213675 15.03.2001 IVERSON Barry 24x36 Y
560 S213676 15.03.2001 IVERSON Barry 24x36 Y
561 S213677 15.03.2001 IVERSON Barry 24x36 Y
562 S213678 15.03.2001 IVERSON Barry 24x36 Y
563 S213679 15.03.2001 IVERSON Barry 24x36 Y
564 S213680 15.03.2001 IVERSON Barry 24x36 Y
565 S213681 15.03.2001 IVERSON Barry 24x36 Y
566 S213682 15.03.2001 IVERSON Barry 24x36 Y
567 S213683 15.03.2001 IVERSON Barry 24x36 Y
568 S213684 15.03.2001 IVERSON Barry 24x36 Y
569 S213685 15.03.2001 IVERSON Barry 24x36 Y
570 S213686 15.03.2001 IVERSON Barry 24x36 Y
571 S213687 15.03.2001 IVERSON Barry 24x36 Y
572 S213688 15.03.2001 IVERSON Barry 24x36 Y
573 S213689 15.03.2001 IVERSON Barry 24x36 Y
574 S213690 15.03.2001 IVERSON Barry 24x36 Y
575 S213691 15.03.2001 IVERSON Barry 24x36 Y
576 S213692 15.03.2001 IVERSON Barry 24x36 Y
577 S213693 15.03.2001 IVERSON Barry 24x36 Y
578 S213694 15.03.2001 IVERSON Barry 24x36 Y
579 S213695 15.03.2001 IVERSON Barry 24x36 Y
580 S213696 15.03.2001 IVERSON Barry 24x36 Y
581 S213697 15.03.2001 IVERSON Barry 24x36 Y
582 S213698 15.03.2001 IVERSON Barry 24x36 Y
583 S213699 15.03.2001 IVERSON Barry 24x36 Y
584 S213700 15.03.2001 IVERSON Barry 24x36 Y
585 S213701 15.03.2001 IVERSON Barry 24x36 Y
586 S213702 15.03.2001 IVERSON Barry 24x36 Y
587 S213703 15.03.2001 IVERSON Barry 24x36 Y
588 S213704 15.03.2001 IVERSON Barry 24x36 Y
589 S213705 15.03.2001 IVERSON Barry 24x36 Y
590 S213706 15.03.2001 IVERSON Barry 24x36 Y
591 S213707 15.03.2001 IVERSON Barry 24x36 Y
592 S213708 15.03.2001 IVERSON Barry 24x36 Y
593 S213709 15.03.2001 IVERSON Barry 24x36 Y
594 S213710 15.03.2001 IVERSON Barry 24x36 Y
595 S213711 15.03.2001 IVERSON Barry 24x36 Y
596 S213712 15.03.2001 IVERSON Barry 24x36 Y
597 S213713 15.03.2001 IVERSON Barry 24x36 Y
598 S213714 15.03.2001 IVERSON Barry 24x36 Y
599 S213715 15.03.2001 IVERSON Barry 24x36 Y
600 S213716 15.03.2001 IVERSON Barry 24x36 Y
Nubian Museum, Aswan, Egypt
66. Nubian Museum
Aswan, Egypt
List of Visual Materials
No VM Num CD Id IMG Ord VM Title Date Photographer Format Copyright
601 S213717 15.03.2001 IVERSON Barry 24x36 Y
602 S213718 15.03.2001 IVERSON Barry 24x36 Y
603 S213719 15.03.2001 IVERSON Barry 24x36 Y
604 S213720 15.03.2001 IVERSON Barry 24x36 Y
605 S213721 15.03.2001 IVERSON Barry 24x36 Y
606 S213722 15.03.2001 IVERSON Barry 24x36 Y
607 S213723 15.03.2001 IVERSON Barry 24x36 Y
608 S213724 15.03.2001 IVERSON Barry 24x36 Y
609 S213725 15.03.2001 IVERSON Barry 24x36 Y
610 S213726 15.03.2001 IVERSON Barry 24x36 Y
611 S213727 15.03.2001 IVERSON Barry 24x36 Y
612 S213728 15.03.2001 IVERSON Barry 24x36 Y
613 S213729 15.03.2001 IVERSON Barry 24x36 Y
614 S213730 15.03.2001 IVERSON Barry 24x36 Y
615 S213731 15.03.2001 IVERSON Barry 24x36 Y
616 S213732 15.03.2001 IVERSON Barry 24x36 Y
617 S213733 15.03.2001 IVERSON Barry 24x36 Y
618 S213734 15.03.2001 IVERSON Barry 24x36 Y
619 S213735 15.03.2001 IVERSON Barry 24x36 Y
620 S213736 15.03.2001 IVERSON Barry 24x36 Y
621 S213737 15.03.2001 IVERSON Barry 24x36 Y
622 S213738 15.03.2001 IVERSON Barry 24x36 Y
623 S213739 15.03.2001 IVERSON Barry 24x36 Y
624 S213740 15.03.2001 IVERSON Barry 24x36 Y
625 S213741 15.03.2001 IVERSON Barry 24x36 Y
626 S213742 15.03.2001 IVERSON Barry 24x36 Y
627 S213743 15.03.2001 IVERSON Barry 24x36 Y
628 S213744 15.03.2001 IVERSON Barry 24x36 Y
629 S213745 15.03.2001 IVERSON Barry 24x36 Y
630 S213746 15.03.2001 IVERSON Barry 24x36 Y
631 S213747 15.03.2001 IVERSON Barry 24x36 Y
632 S213748 15.03.2001 IVERSON Barry 24x36 Y
633 S213749 15.03.2001 IVERSON Barry 24x36 Y
634 S213750 15.03.2001 IVERSON Barry 24x36 Y
635 S213751 15.03.2001 IVERSON Barry 24x36 Y
636 S213752 15.03.2001 IVERSON Barry 24x36 Y
637 S213753 15.03.2001 IVERSON Barry 24x36 Y
638 S213754 15.03.2001 IVERSON Barry 24x36 Y
639 S213755 15.03.2001 IVERSON Barry 24x36 Y
640 S213756 15.03.2001 IVERSON Barry 24x36 Y
641 S213757 15.03.2001 IVERSON Barry 24x36 Y
642 S213758 15.03.2001 IVERSON Barry 24x36 Y
643 S213759 15.03.2001 IVERSON Barry 24x36 Y
644 S213760 15.03.2001 IVERSON Barry 24x36 Y
645 S213761 15.03.2001 IVERSON Barry 24x36 Y
646 S213762 15.03.2001 IVERSON Barry 24x36 Y
647 S213763 15.03.2001 IVERSON Barry 24x36 Y
648 S213764 15.03.2001 IVERSON Barry 24x36 Y
649 S213765 15.03.2001 IVERSON Barry 24x36 Y
650 S213766 15.03.2001 IVERSON Barry 24x36 Y
Nubian Museum, Aswan, Egypt