AXIA Design

Carthage National Archaeological Museum
Tunis, Tunisia
2022

Tunis, Tunisia

Competition: 2022-2023

Status: Competition Entry

Gross floor area: 7,850m²

Client: République Tunisienne Ministère des Affaires Culturelles

Architect: AXIA Design Associates

Project team: Chris Wong, Michael Good, Leisdania Reynoso, Neil Jo, Lee Chen, Arniel Valenzuela

Since its Phoenician origins, the city of Carthage has met with different fortunes. At its majestic heights, the city was a bustling port and metropolis, a centre of trade and culture in the Mediterranean world. At its lowest, it was pillaged and dismantled, buried from sight and memory. Sites of new cultures and civilizations were built upon the old as this terrain became repeatedly occupied. Throughout its history, these different cultures and civilizations have left their material inscriptions on the terrain in the form of archaeological, architectural, and cultural remains. These inscribed landscapes are places of meaning and memory. They are the physical recordings of the multiple histories of their previous occupants and stand as testaments to the resplendent heights Carthage reached during its glorious periods, but also as reminders of darker times characterized by transgression, occupation, and violent erasure. They form an important component of Tunisia’s heritage and national identity, as well as illuminating the cultural development of a broader humanity.

Byrsa Hill, as a place of memory, is as rich and diverse as the history of Carthage itself. Recognizing its cultural importance, our vision for the new National Museum of Carthage is to give expression and form to the site’s complex history while adding a new cultural layer. It will be a place where historical artifacts of Tunisia’s past are displayed and safeguarded, forming part of a collective memory that continues to be excavated and revealed. Located in the heart of significant archaeological sites, this Museum will capture the imagination of visitors through an immersive and engaging experience of the past. At the same time, the Museum complex and its surrounding landscape will constitute a new meeting place and cultural hub for Tunis, where knowledge of the past will foster contemporary thinking and creative practice.

1. l’escalier dans l’axe du Decumanus Maximus 2. la place de l’UNESCO
3. la porterie
4. l’ancienne cathédrale
5. la salle du Pére Delattre
6. nouveau bâtiment du musée
7. l’ancien séminaire des Péres Blancs
8. cour du musée
9. promenade paysagée
10. le jardin lapidaire
11. les quartiers puniques et romains
12. l’esplanade (ancienne bibliothéque et temple romain) 13. les absides de Beulé
14. café
15. poste de garde et appartement
16. marché
18. dépose d’autobus

The new Museum will be a cultural epicentre for Tunis. The urban strategy proposes to restore and revitalize the UNESCO Square as a reborn civic space. Our design reinvigorates this area to its Punic-era prominence, when Byrsa Hill formed the city centre and was home to the ancient forum. The landscape strategy overlays a grid as a functional pattern for future excavation, breaking down the scale of the public space to a more human one, and over time, the outcome may be a changing patchwork of different landscape types with some parts of the grid planted and others to be excavated. To access the museum, our design proposes a formal Gatehouse which frames the public promenade towards the Museum and archaeological park beyond. It is built at a scale that complements the large Cathedral, while signifying a new identity for the Museum, and leads the visitors to the landscaped promenade which connects the archaeological park to the west with the museum courtyard to the east. This park and courtyard are openly accessible and public, and can be planned for social events and programming, especially family-oriented activities. The deconsecrated cathedral will be converted into a vibrant cultural hub, with the aim of fostering the civic nature of the site and breathing new life into Byrsa Hill.

The design objective is to complement the historical buildings, not overpower them. Upon approach, the first thing that visitors will see are the historical buildings forming a striking juxtaposition with the new. The size and dimensions of the original courtyard are retained, and historical motifs have been reinterpreted and serve as a subtle commemoration of the past, while facilitating contemporary programmatic needs and aesthetic sensibilities.

The design looks to the courtyard typology as the underlying structure for the National Museum. The original structure (the former seminary) was built around a courtyard. Our design preserves and revitalizes such prominent historical buildings and incorporates them into a boldly re-imagined courtyard formation. These newly inserted buildings will offer an understated yet powerful presence alongside the more adorned nineteenth-century buildings that they connect to.

From the internal courtyard, the entry to the Museum is to the north, on axis with the cathedral. By locating the entrance here, we re-engage the Axis Decumanus Maximus of the Roman period. Through expansive lobby windows, the view of the cathedral, with its majestic apse, will be perfectly framed to yield an almost painterly image or glimpse of a historical moment from Carthage’s complex past.

The Museum galleries are located on the upper floor of both the new and old buildings surrounding the courtyard. Our aspiration is to create a chronological path, beginning with Carthage’s foundation in Phoenician times, extending through the Punic and Roman eras, unfolding to the Islamic and then European colonial periods, and eventually reaching our contemporary context. In the galleries, all materials, textures, colours, and lighting are designed to enhance visitors’ experiential relationship with the artifacts and artworks. By carefully controlling these scenographic aspects, the design strives to grant visitors a compelling and wondrous experience of history that transcends the factual and scientific, enabling them to feel the fluctuations of past eras resonate in their bodies.