The Grand Egyptian Museum was constructed through a joint venture between the Belgian BESIX Group and the Egyptian firm Orascom Construction. Although the museum's original inauguration was planned for 2012, the project experienced repeated delays, with a partial opening eventually taking place on 16 October 2024. As of that date, several key areas of the complex—including the Grand Hall, Grand Staircase, commercial zone, twelve public galleries, and the exterior gardens—were made accessible to visitors. However, the galleries dedicated to Tutankhamun and the Solar Boat Museum remained closed. While an official public opening had been scheduled for 6 July 2025, it was subsequently postponed to the final quarter of 2025, primarily due to heightened regional instability stemming from escalating tensions between Israel and Iran.

circa 2003 CE-

The idea of the Grand Egyptian Museum (GEM) originated as part of Egypt's strategic initiative to preserve and present its extensive cultural heritage through a state-of-the-art institution located in proximity to the Giza Pyramids. On 5 January 2002, then-President Hosni Mubarak laid the foundation stone for what was envisioned to be one of the most significant cultural institutions in the world. The project's conceptual phase was soon followed by a large-scale international architectural competition, officially announced on 7 January 2002. With 1,557 design submissions from 82 countries, the competition became the second-largest architectural contest in history. In the final round, 20 shortlisted firms provided supplementary details to their proposals, culminating in the selection of the winning design on 2 June 2003.

The winning entry was submitted by Irish architects Róisín Heneghan and Shi-Fu Peng of Heneghan Peng Architects. Their design proposed a monumental structure shaped like a chamfered triangle, aligned with the Great Pyramid of Khufu and the Pyramid of Menkaure. The design also incorporated a translucent alabaster stone façade and a grand plaza of date palms, with a large interior atrium intended for the display of colossal statues. The landscape and site master plan were developed by the Dutch firm West 8, while the exhibition and museological framework were undertaken by Atelier Brückner. Structural and engineering consultancy was provided by Buro Happold, Arup, and ACE Consulting Engineers (Moharram and Bakhoum).

On 2 February 2010, Hill International announced that a consortium comprising itself and EHAF Consulting Engineers had been awarded the contract by Egypt’s Ministry of Culture to oversee project management services for both the design and construction phases. Financially, the project's estimated total cost reached US$550 million, with US$300 million provided through a loan from the Japan Bank for International Cooperation. Additional funding came from the Egyptian Supreme Council of Antiquities, domestic and international donations, and contributions from international agencies.

The GEM was conceptualized not merely as a museum, but as a comprehensive cultural complex. It is designed to integrate cutting-edge technologies, including virtual reality installations, and serve as a global hub for museum communication and collaboration. Planned ancillary facilities include a children's museum, a conference center, training spaces, and workshops modeled on ancient Pharaonic craftsmanship traditions.

circa 2003 CE-

Following the conception and design competition phase, momentum gathered steadily. In 2006, the 3,200-year-old statue of Ramesses II was relocated from Ramses Square in downtown Cairo to the museum site at Giza. Due to its size and significance, the statue was temporarily housed onsite until it was permanently installed in the museum's central atrium in January 2018.

By August 2008, the design consortium had submitted over 5,000 architectural and engineering drawings to the Egyptian Ministry of Culture, paving the way for the formal construction tender, which was announced in October 2008. Site excavation commenced shortly thereafter. Tendering for the construction contract was scheduled for September 2009, with a projected completion date of 2013. However, the project encountered significant delays.

On 11 January 2012, a major milestone was reached when a joint venture between Egypt’s Orascom Construction and the Belgian BESIX Group was awarded the US$810 million contract for the third phase of construction. This phase marked the beginning of full-scale construction activity on the museum complex.

Throughout the late 2010s, the GEM began to receive and install high-profile artifacts. In May 2018, the last of King Tutankhamun's chariots was transferred to the museum. Earlier, in January 2018, Besix and Orascom had completed the installation of the colossal statue of Ramesses II. Despite progress, the museum faced unexpected hurdles. On 29 April 2018, a fire broke out near the museum's entrance, though no artifacts were damaged and the cause remained undetermined.

Also in 2018, the museum's official logo, designed by Tarek Atrissi, was unveiled. The design cost totaled 800,000 Egyptian pounds and included branding for both the museum and its exhibitions, developed in collaboration with Atelier Brückner.

Subsequent years saw a series of revised opening schedules. In November 2018, GEM Director Tarek Tawfik announced that the museum's full opening would be delayed until the final quarter of 2020. This was later pushed to 2021 due to the COVID-19 pandemic. Continued delays followed, with various projected opening dates ranging from 2021 to 2023.

Despite setbacks, the museum continued to prepare for its eventual inauguration. In August 2020, two massive statues excavated from the submerged city of Thonis-Heracleion by the European Institute for Underwater Archaeology (IEASM) were installed in the museum's entrance hall. In February 2023, limited public access was initiated, allowing visitors to explore the main entrance hall and commercial areas.

In May 2024, Dr. Gihane Zaki was appointed as the new head of the museum, and it was announced that the official opening would occur later that year. However, a precise opening date was not confirmed. On 16 October 2024, twelve galleries were opened to the public on a trial basis, showcasing artifacts from various phases of ancient Egyptian history. Attendance was limited to 4,000 visitors per day.

Despite significant progress in installations and public access, the museum's full-scale inauguration—including the display of the complete Tutankhamun collection and the solar boats—remains forthcoming. On 10 June 2018, the Ministry of Tourism and Antiquities announced a postponement of the scheduled 3 July 2025 opening, citing regional instability. Prime Minister Mostafa Madbouly referenced ongoing geopolitical tensions between Israel and Iran as a primary reason for the deferment, asserting that continued conflict could negatively affect regional security and the viability of hosting an international-scale cultural event. A revised opening date is anticipated to be confirmed in the final quarter of 2025, pending coordination with all relevant authorities.

circa 2003 CE-

Main Building Complex
The core of the Grand Egyptian Museum is the Main Building Complex, which houses the primary entrance atrium, the Grand Staircase, twelve permanent galleries, commercial and visitor service areas, and administrative offices. Architecturally, the structure is aligned with the Giza Pyramids and features a translucent alabaster façade. Inside, it serves as the museum’s public and functional hub, showcasing monumental statues—including the colossal seated figure of Ramesses II—and offering spatial orientation across chronological and thematic galleries. The building also includes high-security artifact vaults and advanced climate control infrastructure to preserve the integrity of Egypt’s most fragile antiquities.

circa 2003 CE-

Solar Boat Museum
The Solar Boat Museum within the GEM campus, distinct from the earlier Giza Plateau Solar Boat Museum, is purpose-built to house the reconstructed Khufu solar barque. This 43.6-meter cedarwood vessel, dating to the 26th century BCE, was originally interred in a pit beside the Great Pyramid and reassembled following its 2021 transfer to GEM. The museum wing is equipped with state-of-the-art preservation technology, including vibration isolation, air filtration, and a controlled microenvironment. While not yet open to the general public, the wing is designed to eventually present the vessel in a suspended configuration to replicate its symbolic journey across the sky—a solar motif central to Old Kingdom royal funerary theology.

circa 2003 CE-

Conservation Center
The Grand Egyptian Museum Conservation Center (GEM-CC) is the largest and most technologically advanced archaeological conservation facility in the Middle East and North Africa. Operational since the early stages of the museum’s development, the GEM-CC spans approximately 10,000 square meters and is divided into specialized laboratories, including those for organic materials, textiles, metals, ceramics, stone, and papyri. It has played a key role in the stabilization and restoration of thousands of artifacts prior to their display. The center also features x-ray fluorescence (XRF), scanning electron microscopy (SEM), 3D imaging stations, and a quarantine lab for newly excavated or transported items. In addition to its preservation work, GEM-CC functions as a training hub for Egyptian and international conservators, offering workshops, fellowships, and collaborative research in heritage science.

circa 2600 BCE

Bed of Hetepheres I
The Bed of Hetepheres I is among the most significant pieces of royal furniture to have survived from early Old Kingdom Egypt. Dated to the early Fourth Dynasty (circa 2600 BCE), it was discovered in the undisturbed burial equipment of Queen Hetepheres I, the mother of King Khufu, builder of the Great Pyramid. The tomb—designated G 7000X—was unearthed by George Andrew Reisner in 1925 near the eastern side of Khufu’s pyramid at Giza, and its contents offer rare insight into elite material culture of the early pyramid age. The bed itself was found in a collapsed state, with only the gold-covered wooden elements and fitting hardware preserved. Its wooden frame—now reconstructed—is believed to have been originally made of cedar imported from the Levant, consistent with elite materials used in early dynastic furniture. The surface was sheathed in gold foil, some sections intricately patterned with hammered decoration, while traces of gesso were used as an underlayer. The legs, now reconstructed based on surviving fittings, were likely in the form of lion's paws—symbolizing strength and royal protection.

Unlike later pharaonic beds, which often had elevated headrests and were slanted for the drainage of bodily fluids, this piece was horizontal, with cross-slats forming the sleeping surface. The simplicity of its construction contrasts with the richness of its materials, reflecting both functional design and the visual vocabulary of divine royalty. Its dimensions suggest it was intended for practical use, possibly employed during the queen’s life and later included in her burial as a status symbol and provision for the afterlife. The discovery of Hetepheres I’s funerary furnishings, including her bed, chair, canopy, and carrying litter, provides a unique assemblage from an intact royal burial of the early Old Kingdom. These artifacts—now held at the Egyptian Museum in Cairo—demonstrate the level of craftsmanship, interregional trade, and ritual care devoted to elite women of the royal household, and the critical role they played in affirming dynastic legitimacy through both bloodline and cultic commemoration.

circa 2000 BCE

Miniature Army Model from the Tomb of Mesehti
This wooden group model, representing a regiment of ancient Egyptian soldiers, was discovered in the tomb of Mesehti, a nomarch of the 13th Upper Egyptian nome—referred to in ancient sources as “the Upper Sycamore”—located in Asyut. Dated to the late First Intermediate Period and the early Middle Kingdom, specifically around 2000 BCE during the 11th Dynasty, the model is a striking example of elite funerary equipment. The tomb assemblage to which it belonged was unearthed during an illicit excavation in the late 19th century and later entered the Egyptian Museum collection (JE 30986). It is currently housed in the Grand Egyptian Museum.

The composition consists of forty marching soldiers arranged in ten parallel rows. The figures are painted in a reddish-brown hue, a tone traditionally used in Egyptian art to represent male skin but here also interpreted as indicative of physical conditioning through open-air military training. The soldiers wear short kilts designed to facilitate movement, and their hair is neatly trimmed, covering their ears in a manner consistent with martial discipline.

Each figure is equipped with a lance and a wooden shield. Notably, the artist introduced variation in the painted decoration of the shields and differentiated facial features and heights among the soldiers, lending the ensemble a sense of realism and individuality. The eyes of the figures are rendered with particular attention, conveying alertness and readiness, attributes consistent with their military role. Furthermore, their synchronized pose—advancing their left legs in unison—creates a visual rhythm that animates the group, reinforcing the impression of a disciplined, forward-moving unit.

Mesehti, the tomb owner, held multiple titles including seal-bearer and overseer of the priests of Wepwawet, linking him both to civil administration and local cultic authority. The inclusion of this model in his tomb not only reflects the prestige and wealth of a provincial governor during this transitional period in Egyptian history but also serves as a testament to the role of martial imagery in affirming social order and protection in the afterlife.

circa 1860-1814 BCE

Sphinx of Amenemhat III
The Sphinx of Amenemhat III is a distinguished example of Middle Kingdom royal sculpture, embodying the ideological and artistic innovations of the Twelfth Dynasty (circa 1860–1814 BCE). Amenemhat III, one of the most powerful rulers of the Middle Kingdom, commissioned numerous temples, statues, and monuments across Egypt, and his sphinxes are among the most stylistically distinctive of the period. Carved from a single block of hard stone—typically granodiorite or gneiss—this sphinx portrays the king with the traditional nemes headdress and the body of a recumbent lion, a visual formula designed to merge pharaonic authority with leonine strength. However, unlike the idealized and serene expressions common in Old Kingdom royal portraiture, the face of Amenemhat III’s sphinxes is marked by heavy-lidded eyes, prominent cheekbones, and a slightly melancholic or introspective expression. These physiognomic features reflect the broader Middle Kingdom artistic trend toward individualized portraiture that emphasized the burden of kingship and the introspective qualities of rule.

The mane is detailed with formalized tufts running vertically along the chest—iconography typical of Middle Kingdom sphinxes—which, in this case, are deeply carved to enhance visual contrast and symbolic clarity. The figure was most likely one of a pair flanking a temple gateway or processional path, functioning as both guardian and emblem of royal power sanctified by divine association. Several sphinxes of Amenemhat III have been recovered from various temple sites, including those at Tanis, Bubastis, and the Fayum region, especially near his pyramid complexes at Dahshur and Hawara. Many were later moved and reinscribed by rulers of subsequent periods, particularly in the New Kingdom and during the Third Intermediate Period, indicating their enduring political and religious significance.

As with other sphinxes from this era, the sculpture not only served a decorative or protective purpose but also communicated the theological principle of ma’at—the divine order maintained by the king. In temple contexts, such sphinxes formed an integral part of the sacred landscape, reinforcing the connection between the living monarch, his divine patron (often Amun or Re), and the eternal cosmic order he was ordained to uphold.

circa 1295–1186 BCE

Sphinx of Ramesses II or Merneptah
This monumental granite sphinx exemplifies the enduring iconography of royal power in ancient Egypt, combining the head of a pharaoh with the body of a lion—a form symbolizing the sovereign’s strength, divine authority, and protective role. The sculptural tradition of sphinxes, already established in the Old Kingdom, reached new prominence during the Middle Kingdom (circa 1980–1760 BCE), when numerous colossal sphinxes were produced for temples and royal precincts.

Characteristic features of Middle Kingdom sphinxes are evident in this example, particularly the stylized vertical ridges on the chest that represent tufts of the lion’s mane. These details reinforce the creature's dual identity as both a royal and an animal figure, designed to project the fusion of human intelligence and animal might. The lion body evokes dominance and guardianship, while the pharaoh’s head asserts political and religious legitimacy.

Although the sphinx may have originated in the Middle Kingdom, it underwent a process of reinscription and appropriation in the New Kingdom, specifically during the Nineteenth Dynasty (circa 1295–1186 BCE). It bears inscriptions attributed to Ramesses II and his son Merneptah—two rulers known for their extensive building and usurping of earlier monuments. The practice of reinscribing older sculptures was common in pharaonic Egypt and served both ideological and practical purposes: reaffirming continuity with the past while asserting present authority.

The sphinx was originally situated at the Great Temple of Amun in Tanis (modern San el-Hagar), a major religious center in the northeastern Delta. Carved in hard granite, the statue would have stood prominently within the temple complex, likely flanking a processional route or guarding a sacred threshold. Its size, material, and royal associations all signal its function not as a mere decorative element, but as an active part of the temple’s symbolic architecture—conveying permanence, divine order, and pharaonic legitimacy across centuries.

circa 1250 BCE

Hanging Obelisk of Ramesses II
The so-called Hanging Obelisk of Ramesses II is a monumental display piece featured at the Grand Egyptian Museum (GEM), designed not as a traditional freestanding obelisk in situ but as a suspended architectural installation showcasing the base and shaft of a genuine obelisk from the reign of Ramesses II (circa 1279–1213 BCE, 19th Dynasty). This unique presentation allows visitors to view the underside of the obelisk—a surface traditionally concealed once the monument was erected in antiquity.

The obelisk itself is carved from a single block of red granite, likely quarried from Aswan, and bears the throne name and epithets of Ramesses II, one of the most prolific builders in Egyptian history. The inscriptions, executed in sunk relief, are formulaic yet authoritative: references to Ramesses as the “Beloved of Amun,” “Strong Bull,” and “King of Upper and Lower Egypt” align the monument with the king’s broader self-presentation as a restorer of order and monumental tradition. Some cartouches are accompanied by iconographic motifs such as the ankh, was-scepter, and djed pillar—symbols of life, dominion, and stability.

circa 1250 BCE

Statue of Ramesses II
The colossal statue of Ramesses II on display at the Grand Egyptian Museum is one of the most iconic royal sculptures from the New Kingdom, originally erected to commemorate the king’s divine authority, political dominance, and enduring legacy. Carved from red granite, the statue stands over 10 meters in height and weighs approximately 82 tons, making it one of the largest surviving monolithic sculptures of Ramesses II (reigned circa 1279–1213 BCE, 19th Dynasty). It was originally discovered at Mit Rahina, ancient Memphis, a key cult and administrative center in Lower Egypt.

The statue depicts the pharaoh in the traditional standing pose with his left foot forward, symbolizing active rulership. He wears the nemes headdress crowned by the double crown of Upper and Lower Egypt, signifying his dominion over the unified land. The facial features are idealized, reflecting the state-sanctioned image of the pharaoh: almond-shaped eyes, a calm expression, and a prominent nose. The broad shoulders, narrow waist, and muscular build exemplify New Kingdom conventions of portraying the king with eternal vigor and divine perfection.

Hieroglyphic inscriptions adorn the back pillar and belt area of the statue, containing Ramesses II’s throne name, Usermaatre Setepenre, and epithet "Beloved of Amun". These texts not only affirm his legitimacy but also place him under the divine protection and favor of the Theban god Amun-Re, central to New Kingdom royal ideology. The statue was originally one of a pair flanking a temple entrance or courtyard, serving both a religious and political function—asserting the presence of the king in perpetuity.

This particular statue was moved to the atrium of the Grand Egyptian Museum in January 2018, after a complex transportation and conservation effort involving Egyptian and international teams. It now stands as the centerpiece of the museum’s Grand Hall, greeting visitors upon entry and reinforcing the thematic and historical significance of Ramesses II as a central figure in Egypt’s imperial zenith. The statue’s scale, craftsmanship, and material underscore the vast resources commanded by the state under Ramesses II, who commissioned more temples and monuments than any other pharaoh. As such, this sculpture is not merely a representation of a king but a monumental embodiment of royal ideology, architectural ambition, and the enduring legacy of one of Egypt’s most celebrated rulers.

circa 1210 BCE

Victory Column of Merneptah
The Victory Column of Merneptah is a monumental granite shaft erected by the 13th son and eventual successor of Ramesses II, Pharaoh Merneptah (reigned circa 1213–1203 BCE), to commemorate his military achievements. It is most closely associated with his campaigns in Canaan and Libya during the early years of his reign, particularly the famous victory over a Libyan coalition, which included Sea Peoples contingents, in the western Delta. The column was discovered at Karnak, within the precinct of the Temple of Amun. It originally stood as a free-standing monument and formed part of a larger narrative program of royal legitimization through military prowess. Carved in red granite and standing over six meters in height, the shaft features a dedicatory inscription to Amun-Re at the top and commemorative texts further below, including excerpts from Merneptah’s battle reports.

A crucial textual parallel to this monument is found in the Merneptah Stele (JE 31408), also discovered at Thebes, which famously contains the earliest known Egyptian reference to “Israel” in a military context. While the stele was placed in a temple setting, the column had a more prominent public aspect and was likely meant to be viewed from multiple angles, reinforcing Merneptah’s image as a victorious king favored by the gods. Iconographically, while the column itself is mostly inscribed and not heavily figural, it would have been surrounded by statuary or reliefs echoing the martial themes of its text—depictions of captive foreign chiefs, gods granting victory, and the king smiting enemies. The content emphasizes divine endorsement, order over chaos (ma’at over isfet), and the defensive posture of the Egyptian state in the face of external threats during the later Nineteenth Dynasty. The Victory Column serves as both a royal commemorative monument and a key artifact in the study of late New Kingdom geopolitics. It stands as a physical assertion of Egypt’s military capability and continued hegemony over its peripheries during a time of growing instability across the Eastern Mediterranean.

circa 595-589 BCE

King Psamtik II Making Offering
This relief depicts King Psamtik II (Wahibre), the fourth ruler of Egypt’s 26th Dynasty (reigned circa 595–589 BCE), engaged in the act of ritual offering—an essential visual and theological motif in Late Period temple decoration. Psamtik II is shown standing in a conventional pose, striding forward with an offering held before him—typically a maat figure, a tray of food, or a vessel—extended toward a seated deity. Though examples vary in exact content, the underlying iconography conforms to long-established New Kingdom and Saite Revival traditions, where the king is cast as the perpetual maintainer of divine order.

Reliefs of Psamtik II making offerings have been found at key temple sites, including Karnak, Memphis, and Edfu, and are part of a broader program of monumental restoration and religious renewal undertaken during his brief reign. These scenes were not merely decorative but ideological—affirming the ruler’s legitimacy, his direct relationship with the gods, and his role in sustaining the cosmic balance (ma’at). In Saite theology, kingship was increasingly linked with the performance of ritual acts, and visual representations such as these served as eternal witnesses to the king’s fulfillment of divine duty.