The Nuhad es-Said Pavilion for Culture, a natural continuation of the national museum. (Credit: Caroline Tabet)
Architect Raed Abillama designed the Nuhad Es-Said Pavillon for Culture to complement the National Museum’s grand Egyptian-style structure in Beirut, which houses exceptional relics and the world’s largest collection of anthropoid sarcophagi. Abillama discovered that the original plans, created in 1928 by the museum’s designers Pierre Leprince-Ringuet and Antoine Nahas, included two wings connected to each other. Only the left wing was completed, leaving an open space on the museum’s right side (facing Abdallah El-Yafi Avenue) in the garden bordering the hippodrome.
This is where the Nuhad Es-Said Pavilion for Culture has now been established. Initially scheduled for inauguration on Wednesday Sept. 18, 2024, the opening was canceled after a simultaneous explosion of hundreds of communication devices, including pagers and walkie-talkies, across the country, resulting in numerous deaths and injuries.
The idea for this “modern, vital space aimed at attracting more visitors, especially younger generations,” was first conceived in 2014 by Mouna Hraoui, president of the National Heritage Foundation. The action plan was formalized with the signing of a memorandum of understanding between the Culture Ministry - DGA, represented at the time by Raymond Araygi, and the National Heritage Foundation (ministerial decree no. 127/AD). The agreement authorizes the National Heritage Foundation to construct a building within the grounds of the National Museum under specified conditions.
Powerful and harmonious architecture by Raëd Abillama. (Credit: Caroline Tabet)
Funding
“In this historic and prestigious location, the multipurpose hall is ideal for hosting all types of activities—exhibitions, seminars, conferences, round tables, book signings and more. We must remember that culture remains the bright side of the country.” Mrs. Hraoui told L’Orient-Le Jour. The president of the National Heritage Foundation added that “the annex will create a new urban attraction, draw a new audience to the National Museum, and instill in visitors a sense of pride in their heritage and the history of their country.” In short, it will play an important role in renewing and building a loyal audience.
And who, after an hour or two exploring a museum or exhibition hall, would say no to a tempting pause for a meal or coffee? Like the Sursock Museum and many others around the world, the pavilion now boasts its own cafe-restaurant. Situated at the edge of the hippodrome with a capacity of 50, it is managed by chef Hussein Hadid. “All revenue generated by the pavilion will be used to cover the maintenance costs of the National Museum, as well as cultural and artistic activities held there,” emphasizes the former first lady, who extends particular thanks to former Culture Minister Raymond Araygi for undertaking all necessary legal steps for the project, as well as to colleagues and friends for their support and contributions.
Regarding the funding for the building’s construction, Mrs. Hraoui notes that a fundraising campaign was conducted among private donors before the 2019 financial crisis. A plaque at the entrance of the annex bears their names. However, as the project grew more costly and required additional funds, the National Heritage Foundation received support from Mrs. Salma Es-Said, who, wishing to honor the memory of her late husband Nuhad Es-Said, committed to contributing an amount matching that of the foundation.
In recognition, the large multipurpose hall intended for artistic and cultural events now bears the name of this distinguished collector of Islamic metal art, who passed away in 1982 at the age of 46. Es-Said had amassed an exceptional collection of pieces crafted between the 10th and 19th centuries. His collection has often been loaned to renowned museums worldwide, including the Guggenheim and the Arthur M. Sackler Gallery, part of the Smithsonian Institution’s Museum of Asian Art in Washington, D.C. “Each piece is unique and represents the finest of its kind,” writes Massumeh Farhad, the gallery’s curator. In 2011, specialist James W. Allan also published Islamic Metalwork: The Nuhad Es-Said Collection with Philip Wilson Publishers.
Pause-café ou plus. Photo Caroline Tabet (Credit: Caroline Tabet)
Beirut Museum of Art and aesthetic emotion
The foundation has appointed a special team to oversee programming for the Nuhad Es-Said Pavilion, similar to the committee created to manage the museum shop. The team includes former Culture Minister Raymond “Rony” Araygi; Salwa Salman, daughter of Nuhad Es-Said and former president of the Children Cancer Center of Lebanon (CCCL); Lama Tammam Salam, an advocate for children’s rights with the Himaya association and manager of the museum shop; gallery owner Saleh Barakat; architect Samir Ali Ahmad; and Youmna Ziade Karam, who represents the National Heritage Foundation within the Beirut Heritage Initiative (BHI). Adeline Souaid Dahdah has been appointed director.
The committee collaborated with the Beirut Museum of Art (BeMA) for its inaugural cultural event, presenting an exhibition on “the real and the imaginary.” The event features a notable installation, Hymne à l’amour (Hymn to Love), by Alfred Tarazi, along with a selection of modern and contemporary works from the Culture Ministry and private collections. Titled Portes et passages (Doors and Passages), the exhibition was conceived and organized by BeMA co-directors Juliana Khalaf and Taline Boladian, with artistic direction by Clemence Cottard Hachem. Not to be missed.
The wall separating the two wings of the building built in 1982 by the Lebanese archaeologist and historian Maurice Chéhab has been preserved. (Credit: Carla Henoud)
Architecture
The annex, designed by Raëd Abillama in “forné” stone (a local material also used for the museum), occupies a 1,854 m² plot with 928 m² of terraces and gardens. The garden level includes a single large volume known as the White Box, a 1,100 m² multipurpose hall intended for artistic and cultural events. A skylight system tops the structure, with adjustable louvers that can block light to create a black room or allow natural overhead lighting. This feature ensures adaptable lighting suitable for each event. The space will host a variety of activities, including conferences, documentary screenings and temporary exhibitions. The first basement level is intended for administrative offices and includes a 500 m² exhibition hall and a 190 m² mezzanine.
The second basement houses the utility room and a kitchen. As a nod to recent history, the wall separating the two wings—built in 1982 by Lebanese archaeologist and historian Maurice Chehab (1904–1994), then curator of the National Museum of Beirut and Director General of the Antiquities Department—has been preserved, along with graffiti carved by militiamen during the Lebanese Civil War.
Finally, the structure’s location is especially significant, as it occupies the space originally set aside in archived plans by the museum’s designers, Pierre Leprince-Ringuet and Antoine Nahas, for a future expansion of the institution.
As a reminder, the National Heritage Foundation is not new to such initiatives. Established on Sept. 20, 1996, by ministerial decree no. 127/AD and chaired by former first lady of Lebanon Mouna Hraoui, the FNP is a private organization with a board of directors and an executive committee. Its mission is to promote and mobilize all means to preserve Lebanese heritage. In cooperation with the Ministry’s Directorate General of Antiquities (DGA), it works on the restoration and conservation of sites and buildings of archaeological or historical significance.
In November 1996, the National Heritage Foundation undertook the enormous task of restoring the National Museum, which had suffered severe destruction during the Civil War. To fund these efforts, Mouna Hraoui, then first lady, launched fundraising campaigns. Donations received in 1997 and events held at the museum helped finance the restoration of the building interiors, most sculptures, smaller artifacts and other projects. At that time, the total cost of rehabilitating the museum exceeded $5 million, with $4.5 million contributed by private donors committed to restoring and renovating the National Museum. The remaining funds came from the state, whose support allowed the project to be completed successfully.
Among the foundation’s achievements are the restoration of the Nahr al-Kalb steles (2002–2003), the establishment of the Museum of Rural Life in Terbol (2003–2004), and the eco-museum in Ras Baalbeck (2008), to name a few.
Address: Damascus Road, Beyrouth
Tel. : +961 1 614038- +961 7 9115531
Open from Tuesday to Sunday, from 10:00 to 17:00
Free entry
