While Egyptian architects were exercising their understanding of modernism in the urban fabric in the 1970s, a “chubby rebellion” in the form of Villa Badran defied the standardized curvilinear forms and rigid geometry. Gamal Bakry dived deep into his imagination to construct this unique piece of architecture that still stands as part of the city of Cairo today. With curving and free-flowing facades, Villa Badran drew inspiration from natural forms. In an attempt to create a living space that was more natural in its essence, the bubbly intervention puts in place a monolithic composition that hosts a two-story detached home for an Egyptian family.
On the first floor, the private section of the home features an office, two bedrooms, and a terrace. On the other hand, the public section of the home comprises the dining room, living area, and salon, created through a natural curvilinear free form. A circular fireplace is in place in the public section at the center of the living room, and an elliptical staircase is at the heart of the home, directly opposite the entrance hall. This staircase takes visitors or homeowners directly to the second floor. The master bedroom on this floor overlooks the garden, and all the communal areas are oriented toward the street. On the ground floor, a large, accessible central court with an uneven floor plan is accessible from the main entrance. Moreover, the building is distinctive in its specific demarcation of the program, shown through slight changes in the flooring levels. The same subtle shift in the floor is replicated throughout the roofline of the villa, creating exciting forms of lighting that indirectly enter the house at different times of the day.
Villa Badran represents one of the most significant moments of experimentation in organic architecture forms. The residence was originally designed for a middle-class family on Sudan Street in Mohandiseen, an upper-middle-class area of west Cairo that was initially planned as a mixed-use residence extending downtown Cairo. The site was originally vast farmland, and for this reason, the project was initially planned to be built in Adobe. However, due to practical and experimental reasons, it was ultimately constructed in reinforced concrete and left exposed, with a reddish tint.
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Modern Egypt: New Architecture in an Ancient WorldFurthermore, Bakry was intent on pioneering concrete architecture in the 1970s, claiming it was more elastic than people realized and could be adapted into many different forms. The design explores the qualities of the famous Egyptian mud brick house, insisting that a similar look and feel can be achieved and admired through the plasticity of concrete. Bakry and Hassan Fathy, the father of modern mudbrick architecture in Egypt, commonly said they had a collaborative relationship where Fathy would review Bakry’s work. Moreover, the flexible form is also based on a spatial melody and is true to the program. This is to say that the outer façade reflects the unique qualities of the interior with no false additions or fabricated wall holdings.
In Mohamed El Shahed’s architectural guidebook, Cairo since 1900, the author explains the profound tragedy that has happened and continues to happen with the demolition of these significant buildings. The book is intended to serve as an imagined record of what Cairo could have been in a different political climate. Villa Badran, intended to be an outright rebellion against the standardized form of modernism that took over the capital, has been abandoned and is currently in a very poor state. The house was sold by the original family and transformed into a restaurant. It is not well kept, and this led to the demolition of the bedrooms, which were located on the ground floor. Furthermore, additions of new spaces that defaced the original finish of the exterior have been added to host the various new functions of the space.
Although the client specifically contacted the architect for his pioneering capabilities with curvilinear forms, the family decided to sell the home about eight years after the purchase. It is a common misconception that a home of such an unorthodox character will be a practical fit for day-to-day rituals. When speaking to Dalila ElKerdany, Ph.D., the architect's wife, her first instinct was that the hassle of customizing furniture and not being able to use rectilinear objects was the main reason the house was sold. Additionally, the surrounding neighborhood was mainly farmlands at the time of the purchase, giving the space an airy and peaceful feel to complement its organic nature. After many phases of development and urbanization, the locality is no longer the sanctuary it used to be.
Vila Badran was one of the many projects Gamal Bakry designed in the 1970s. In the middle of the decade, he was the architect who designed former president Anwar ElSadat’s summer cabana in El Montaza, Alexandria. According to the architect's plans, the summer chalet was restored and reconstructed recently. The space that was once a summer residence will now serve as a personal display of Bakry’s life’s work. There is no more fitting place for the museum, as this is considered the architect’s most prominent work in curvilinear experimentation.
Modernist Egyptian architecture is often diluted to European narratives that do not shed light on the complete picture of Cairo modernism. The country has experienced many diverse building styles and design cultures, including Villa Badran. This continues today, as contemporary Egyptian architecture is shaped and reshaped. More recently, a social enterprise in one of Cairo’s largest informal settlements was designed as a community center. The center provides employment and vocational training for migrant, refugee, and Egyptian women. Another example of contemporary architecture is Basuna Mosque by Dar Arafa Architecture. It is located in the arid city of Sohag, offering peace and tranquility to its users. Finally, Wadi El Gemal Visitors Center by the Egyptian Earth Construction Association is another example of a new understanding of Cairo’s vernacular. The center is in Marsa Allam and uses local building materials and the infamous Acacia tree to create a visitor’s center.
This feature is part of an ArchDaily series titled AD Narratives, where we share the story behind a selected project, diving into its particularities. Every month, we explore new constructions from around the world, highlighting their story and how they came to be. We also talk to the architect, builders, and community, seeking to underline their personal experiences. As always, at ArchDaily, we highly appreciate the input of our readers. If you think we should feature a certain project, please submit your suggestions.
