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Grand Egyptian Museum

Le Caire - Egypte

Pour répondre, SAR a constitué une équipe pluridisciplinaire qui permettait de pouvoir réaliser toutes les attentes de la MOA. Planning, organisation – au sein de la MOE, architectes, MOA -, budget, etc. tout a été pris en compte et étudié pour permettre organisation lisible et simple pour la MOA afin de démarrer les études le plus rapidement possible.

Enjeux du projet

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  • Why a world class scenography for the Grand Egyptian Museum?



Because Egypt is the “cradle of the world”;

  • because the Pharaonic civilization belongs to the greatest and richest ones;
  • because the Grand Egyptian Museum will showcase the most striking 30 000 works of the Pharaonic art, many of which have never been shown to the public yet;
  • because the museum’s site is exceptional, overlooking the Pyramids of Giza, a World Heritage Site from the UNESCO’s list;
  • Because Heneghan Peng’s architectural design is up to the awesomeness of the site;
  • Because over 5 million visitors from all over the world are expected at the museum each year;
  • because expertly staffed teams have been long committing themselves to a great deal of design and build work, as well as to the work and their interpretation;
  • because the great amount of investment thus agreed makes every single stakeholder accountable for it – the exhibition of the works of the Pharaonic art in galleries and in other spaces of the museum owes to be exemplary – in continuity and completed with this virtuous chain – so that the exceptional collections find a case at their height and speak their auras to the world from the very place of the museum.


Scenography – the purpose of which is to encourage the encounter between the visitor and the Human works – will be the culminating effort out of the fantastic work provided collectively so far that is making the museum worthy to Egypt, to the World Heritage, to the Egyptian civilization, and to the visitors that are to walk through the galleries in numbers.


Aware of the extent of the challenge and of political, cultural, scientific, aesthetic, technical and financial stakes, internationally renowned exhibition architecture & design practice.

Studio Adeline Rispal has built up a team out of the best exhibition experts in the world, that are also its trustworthy partners for many years in the design of world-class projects:

  • Licht Kunst Licht in charge of architectural and exhibition lighting design
  • Innovision in charge of multimedia and digital communication engineering and design
  • Pentagram and Enpoint in charge of exhibition graphics and signage design as well as project communication
  • Ap’Culture in charge of custom interpretive elements design
  • Bachibouzouk in charge of multimedia contents engineering and design
  • Setec International in charge of flow studies


To approach such an extraordinary project in many respects, Studio Adeline Rispal has partnered with Patriarche & Co to share the general project management. Patriarche & Co is a strong multidisciplinary firm that delivers architectural and
interior design, full engineering, cost control, and project management, with a proven record of managing large-scale projects. The two partners will enter into a Joint Venture agreement leading to the creation of GEM SCENO JV that will be liable for providing scenography services as per the Consultancy Agreement. GEM SCENO JV will manage the contact points between architecture and scenography aiming at full permeability between the proposed scenography and the museum’s architecture, the seamless coherence of the project, and the project feasibility, in close relationship with the Employer’s project team, the Grand Egyptian Museum, and Besix-Orascom JV with a view to meeting the deadline for the grand opening of the museum in October  2017 for the Phase 1 and in October 2018 for the Phase 2.


This team has been built up since last January 27 when Adeline Rispal was invited to express her interest to participate in the project. On the basis of the terms of reference and the hands-on visits that Adeline Rispal and Jean-Loup Patriarche paid to the site on

– February 6-7,

– March 3,

– April 12-13,

– July 17,

this team has been organized as an “army” with respect to the member relationships and the work plan.


The team members are described in detail further in the present note alongside the proposed methodology to take up the challenge, focusing on work quality as much as quality human relationships that mean a lot to all of them.


  • Team mission statement



Studio Adeline Rispal, Patriarche & Co, and their team members commit themselves to delivering outstanding scenography, and providing the works follow-up with a view to turning today’s breath-taking building into tomorrow’s world-class museum:


  • relevant scenography to the museum’s architecture as much as to the setting with the pyramids in the line of sight from the visitors inside points of view;
  • sensitive and cutting-edge scenography using the scientific research, the latest technologies and tools on earth to the benefit of the visitor’s emotional experience within this exceptional site, clearer interpretive elements, quality visitor’s routes, visitor’s comfort and well-being independently of the origin of the visitor – local, national, international;
  • sustainable scenography towards easy maintenance and operation, towards the sustainability of the scenography itself as a matter of fact;
  • streamlined scenography both upstream (investment cost) and downstream (operation cost);
  • and schedule-driven scenography to fit in tight time constraints for design and installation.


Scenography vs exhibition design


As architecture does through its non-verbal language, scenography creates sensory mediation, which takes account of the complex process of moving from emotion to cognition, to the innate pleasure of acquiring knowledge; which takes visitors into account all along their journeys through the site, the architecture and the exhibition, each finding their places within a larger context, before arriving at the exhibits that have found their rightful place in a meaningful space.

As architects, we believe scenography is a wider approach of exhibition design, taking account of all aspects of the museum architecture and exhibition project.


With this proposal, we have already begun – and we will do it all along the project – to weave deep links between all political, symbolical, historical, artistic, scientific, museological, curatorial, environmental, urban, architectural, functional, technical, economical, physiological, sociological, temporal aspects of this ambitious project.


Our dream team can address all these levels of complexity on this beautiful project.


  • Team organizational chart



Studio Adeline Rispal and Patriarche & Co have entered into a partnership agreement to create the company GEM SCENO JV (temporary company name) that will be legally responsible for the consultancy contract.

Adeline Rispal and Jean-Loup Patriarche will personally share the management of this company as co-managers, and will be the key contact persons for the Employer, the GEM, and the BOJV.


GEM SCENO JV will be responsible for general art direction, project management, coordination and studies relative to scenography, showcasing, public furniture, artefacts and mounts, custom interpretative elements, and miscellaneous studies.


GEM SCENO JV will be responsible for providing the shared art direction and coordination of the studies by sub-contractors in lighting design, graphic and signage design, and multimedia (engineering & contents design and production).


The team members will relate to each other and around the project in a collaborative manner that is based on constant information sharing. Such an organization will also enable smooth information exchange and communication with the Main Contractor BOJV, the Employer’s consultancies (EHAF; Hill International = PMC), the Grand Egyptian Museum Team and the Employer.


  • Scope of work approached by sectors



Considering our perfect knowledge of the complexity of this type of mission in front of the exceptional size of this museum and the global prestige which it is necessary acquire, but also in front of the objective to end in its opening to the public on May 18th, 2018, it seems to us essential to sequence this global mission in coactive groups.


The new phasing of studies and works distinguishes 3 phases:


Our organization distinguishes of size or density of acceptable collections to be considered as so many projects in the global project.


Phase 1:

  • Atrium (7 295 sqm)
  • Grand Stairs (5 058 sqm)
  • Tutankhamun Gallery (7 521 sqm)
  • Children Museum (2 057 sqm)
  • Children Garden (2 573 spm)


Phase 2A:

  • Exhibition Gallery Trays C & D (8 393 sqm)


Phase 2B:

  • Exhibition Gallery Trays A & B (9 373 sqm)
  • Temporary Exhibition Gallery (3 685 sqm)
  • Special Needs Gallery (800 sqm)

• Sculpture garden (15 600 sqm)

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    Scénographie : Studio Adeline Rispal

    Architecture : Patriarche

    Eclairage : Licht Kunst Licht

    Signalétique : Pentagram - Londres / Endpoint

    Design et ingénierie multimédia : InnoVision

    Contenu multimédia : Bachibouzouk