Dar Al Maraya is a radical, democratic cultural platform with many activities. It produces various cultural, literary, and artistic materials, and adopts in all its products a democratic and progressive approach that opposes all types of discrimination in society. The house was founded in 2016 based on a vision that critically looks at the prevailing voices today within the culture industry in Egypt, and attempts to transcend them and open up to a different stream of cultural voices. This industry ignores one of the most important voices on the scene, which is the critical and progressive voices of a broad audience, most of whom are young people who are tired of old formulas, assumptions, ideas, and clichés. This trend of young people, belonging to different classes, slowly formed during the first decade of the twenty-first century, after the bankruptcy of the crumbling old guard, along with the absence of all other means of communication, led to the explosion of the blogosphere through which hundreds, and perhaps thousands, expressed Young writers, commentators, activists, and journalists expressed their undefined anger at the state, the “legitimate” opposition, the ruling elite, and ridiculous cultural traditions and customs. When the glorious January Revolution broke out, this audience expanded greatly, forming an important undercurrent of the younger generations (18-40 years old), who had enthusiastically participated in the revolution. What united and defined her was what she rejected and not what she adopted, as she rejected almost everything that was dominant and established, and believed only in criticism whose sharp blade nothing is safe from. This public, which strongly criticizes Islamists and statist civil movements alike, lacks the Its own platform. Unlike social media sites, they have almost no space to express, communicate, clarify and develop their ideas in a free and exclusive way. The culture industry in Egypt is controlled by the state and large private companies. Consequently, most critical voices in literature, arts, thought, etc. are linked either to the state or to giant private institutions, with some limited exceptions. This necessarily limits the ability of these voices to express themselves freely. Not to mention that this constitutes a major obstacle to the opportunities of the aforementioned undercurrent of youth to express themselves. Based on the above, “Mirrors” seeks to be a platform that constantly shows and expresses the voices of that underground movement, so that it is able to develop its ideas and connect them to a relatively broad and interested audience. The truth is that these new critical voices, if given the opportunity, will have a huge impact on Egyptian and Arab culture. Although the Arab revolutions dealt a devastating blow to old ideas that had lost the logic of their existence, the crumbling intellectual edifice of those ideas is still intact until this moment, which is mainly due to the fact that alternative critical projects do not have the environment and opportunity to develop, in order to become full-fledged intellectual currents. . The process of presenting critical voices requires the formulation of an intelligent strategy that combines professional cultural management with a clear intellectual orientation. This is because it is not enough to give space to new voices randomly, as most independent cultural projects do. Rather, what is required is to consciously push these voices towards answering the most important questions in a mature and positive way. What is needed is to get these voices to discuss their hypotheses and findings in a way that is accessible to the public; What is required is a democratic push towards creating an alternative or alternatives to authoritarian conservative voices, both Islamic and civil. Although the “Mirrors” project is centered in Egypt, and intends to serve the Egyptian audience and readers, we have a clear Arab orientation and ambition. Perhaps one simple reason for this is that most of the important cultural dilemmas, and therefore debates, are Arab in nature. Take, for example, the fate of Arab culture, or cultures, in the post-revolutionary period, or Islamic-secular polarization. These are topics, by definition, that need to be discussed on a broader Arab level. Based on all of the above, we seek to use various tools to achieve our goals, including: publishing and selling books; Issuing a cultural magazine that serves as a platform for intellectual debate; production of documentaries and feature films; Organizing training workshops on creative skills and progressive culture; Organizing exhibitions, seminars, conferences and competitions; And establishing a website.