Brückner oversees project acquisition, execution, quality management, and team leadership. ATELIER BRÜCKNER is one of the world’s leading firms in exhibition design and narrative architecture, responsible at the GEM for the Tutankhamun Gallery, the Grand Stairs, the Children’s Gallery, the Atrium, and the piazza.
In 2024, Shirin Brückner was honoured as an SEGD Fellow, an international award recognising visionary leaders whose work sets the benchmark for design excellence. She was also named among the Power 10 on the Blooloop50 Museum Influencer List for 2024.
Ahram Online (AO): Your work is described as blending storytelling, scenography, and emotion. How did this philosophy guide your approach to designing the spaces within the GEM?
Shirin Frangoul-Brückner (SFB): For us at Atelier Brückner, every exhibition begins with listening to the objects, to the place, and to the people who will one day walk through it. At the Grand Egyptian Museum, the stories were already so powerful that our task was to give them space, dignity, and emotion. We wanted visitors to feel the presence of history, not just observe it. Storytelling, scenography, and emotion are not separate tools. Together, they form a language that allows the past to speak in a contemporary way.
AO: The Tutankhamun Gallery uses the “Curatorial Path” and the “Path of the Sun.” Can you explain this? And what inspired your creative approach?
SFB: We have two main design elements: the Curatorial Path is a continuous black inlay that carries the objects and grounds the entire narrative. Above it, the Path of the Sun is a luminous band that accompanies visitors. It is inspired by ancient Egyptian mythology and symbolizes the cycle of life, death, and rebirth.
Between these two lines, the story of Tutankhamun unfolds like a journey—his life, his family, his beliefs, and finally his transition into eternity. What inspired us most was the extraordinary completeness of the tomb. These objects allow us to tell the story almost as the ancient Egyptians left it. Our task was simply to let them speak.
AO: What was the greatest challenge in designing the Grand Stairs?
SFB: The Grand Stairs is essential for the museum’s dramaturgy. It bridges the moment of arriving at Ramses II with the stunning “wow effect” of the pyramids, before leading visitors into the galleries. The biggest challenge was the technical complexity—many statues are extremely heavy, and their positions had to be engineered with absolute precision.
What moves me most now is seeing how visitors use the Grand Stairs. They sit between the statues, some quietly taking in the space, others sharing photos from the galleries. The Grand Stairs has become a place for people, not just a connection from one level to another. That’s great to see.
AO: What responsibility did you feel when designing for artefacts of such global significance?
SFB: An immense one. These objects are not only Egyptian treasures; they are part of humanity’s collective memory. We worked with deep humility. Every decision, every sightline, every material had to honour its meaning. You feel as if you’re holding something incredibly fragile and infinitely valuable at the same time. It’s a responsibility that stays with you.
AO: Beyond the three main areas, what core vision does ATELIER BRÜCKNER hope to convey about Egypt’s history?
SFB: We wanted to show Egypt as a culture of extraordinary continuity, where life, belief, craftsmanship, and nature form a seamless whole. The museum is, of course, a place of archaeology, but it is also a place where a civilization becomes emotionally tangible. Our goal was to reveal the human aspect behind the artefacts—the people who lived, created, hoped, and believed.
AO: Did working on a project of this scale in Egypt hold personal meaning for you?
SFB: Yes, very much. The region has a cultural richness that is deeply inspiring. To contribute to a project that honours this heritage, and to do so together with Egyptian colleagues, felt meaningful on a personal level. It was a privilege to work so closely with a culture that has shaped global history.
AO: What is the most important emotional or intellectual takeaway you hope visitors—especially Egyptian youth—experience when they leave the GEM?
SFB: I hope they walk out with pride. Pride in the brilliance of their ancestors, in the beauty of their heritage, and in the knowledge that their culture continues to inspire the world. And I hope they feel a sense of connection—that Tutankhamun was not just a king from distant history, but a young person whose story still resonates today.
Over the past days, I saw so many school classes moving through the museum, wide-eyed and curious. It was wonderful to watch. In those moments, you feel: it works. The museum is reaching the next generation.
AO: How do you see the GEM influencing the future of museum design globally?
SFB: The GEM shows that museums today can be both monumental and deeply human. I also believe in its versatility—the museum is not only a place for exhibitions; it includes a Conference Center, and the Atrium is already being used for events like fashion shows. This openness brings museums to life. It invites different communities in, allows culture to meet contemporary creativity, and makes the museum a living, breathing part of society. Museums will be more connected to the people they serve.
AO: What was the biggest design challenge at the GEM?
SFB: Time. The conceptual phase for Tutankhamun, with more than 5,000 objects, was only six months. That is almost unimaginable. The second challenge was the extreme diversity of the collection, monumental pieces next to tiny, delicate objects, all in a hall up to 15 meters high. Ensuring that each piece would shine in its own right required enormous precision and creativity.
AO: What is your opinion about the GEM opening?
SFB: It is a historic moment. To see the museum finally open fills me with joy, pride, and deep gratitude. It has been a long journey for everyone involved. The opening is a celebration of collaboration and cultural legacy. The ceremony, which I had the honour of attending together with the German Federal President, was truly overwhelming. It was a powerful moment—a message to the world—and it felt absolutely right. Several Egyptians told me how proud they are, and hearing that moved me deeply. That sense of pride is exactly what the GEM is meant to inspire.
AO: How did it feel to take part in designing the Grand Egyptian Museum?
SFB: It has been one of the greatest privileges of my professional life. To work so closely with these extraordinary objects, and with the people who care for them, was profoundly moving. Being part of shaping how future generations will encounter them is very special. And now, to see how many thousands of visitors stream into the museum every single day—sometimes 20,000 or more—is almost unbelievable. Watching people truly engage with the exhibition, linger with the objects, and connect emotionally with the story… that is the greatest gift of all.
AO: How do you balance historical authenticity with modern design?
SFB: For us, authenticity always comes first. The object is the centre; we follow its story. Modern design is not there to compete or to recreate anything from the past. It is a contemporary interpretation that supports the narrative. Our role is to create a quiet framework that lets the artefacts speak with clarity and dignity. When design steps back, the objects step forward. That is when the dialogue between the ancient and the contemporary becomes respectful and meaningful—and when the story truly comes to life.
AO: What does Egypt mean to you after working on this project?
SFB: Egypt means beauty, depth, and humanity. Working on the GEM allowed me to experience the country not only through its monuments, but through its people and their passion for their heritage. Through my own Arab roots, I also feel a deep personal connection to the region. Being able to contribute something meaningful here fills me with great pride. Egypt has become a place that I will always carry with me, and one I will certainly return to.
AO: What are your upcoming and future projects?
SFB: We continue to work on projects around the world: museums and cultural spaces such as the Hellenic National Archaeological Museum in Athens, the new London Museum, the National Museum in Uzbekistan, the German Historical Museum in Berlin, and two cultural assets at Diriyah Gate in Riyadh. What excites me most is that each project brings a new story and a new challenge.
But the GEM will always have a special place in our hearts. It has shaped us as much as we shaped it.
Short link: