Hassan fathy

Hassan fathy

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  HASSAN FATHY
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  INTRODUCTION • Hassan Fathywas born in Egypt in 1899. He established a private practice in Cairo where he also worked as professor of Fine Arts and Head of the Architectural School, at the University of Cairo. • An Egyptian architect who devoted himself to housing the poor in developing nations. • Fathy worked to create an indigenous environment at a minimal cost, to improve the economy and the standard of living in rural areas. • Fathy utilized ancient design methods and materials. He integrated a knowledge of the rural Egyptian economic situation with a wide knowledge of ancient architectural and town design techniques. • He trained local inhabitants to make their own materials and build their own buildings. • Climatic conditions, public health considerations, and ancient craft skills also affected his design decisions. Based on the structural massing of ancient buildings, Fathy incorporated dense brick walls and traditional courtyard forms to provide passive cooling. • His work was considered to be ahead of his time as they were not always welcomed by the government bureaucrats neither were they to the tastes of poor Egyptians peasants who longed for the "luxury" of the concrete city buildings. Fathy's buildings were distressingly inexpensive. This was seen as a back draw.
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  •23 March 1899Born in Alexandria, Egypt. •1926-1930 :Worked at the Department of Municipal Affairs, Cairo. •1930-1946 Taught at the Faculty of Fine Arts, Cairo. •1937 : Designed and exhibited first mud brick projects - country houses for Lower Egypt. •1941 :Constructed first mud brick structures incorporating the inclined vault - experimental housing in Bahtim, Egypt, commissioned by the Royal Society of Agriculture. •1946-1953 :Delegated to the Antiquities Department to design and supervise the project of New Gourna Village at Luxor, to displace the inhabitants of the Old Gourna from the Antiquities Zone. •1949-1952 :Appointed Director of the School Building Department, Ministry of Education. •1950 :Delegated Consultant to the United Nations Refugee World Assistance. •1953-1957 :Returned to teaching at the Faculty of Fine Arts, Cairo. Head of the Architectural Section in 1954. •1957-1962 :Joined Doxiades Associates in Athens as consultant. Lecturer on Climate and Architecture at the Athens Technical Institute. Member of the Research Project for the City of the Future. •1963-1965 :Director of Pilot Projects for Housing, Ministry of Scientific Research, Cairo. Designed High Institute of Social Anthropology and Folk Art for the Ministry of Culture, Cairo. Worked as Consultant to the Minister of Tourism, Cairo. Delegated by the United Nations Organization for Rural Development Project in Saudi Arabia. •1966 :Lectured on philosophy and aesthetics in Town Planning and Architecture Department at al-Azhar University. •1975-1977 :Lectured on rural housing at the Faculty of Agriculture, Cairo
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  • Hassan Fathydied in 1989 but left behind a legacy of 160 building projects ranging from small projects to large-scale communities complete with mosques and schools. • He designed and built superb villas of adobe and stone, but mainly he grappled head-on with housing the poor. And he proposed elegant solutions! His central concern was rural low-cost housing; he organized residents to build cooperatively.
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  New Gourna • NewGourna Project is one of his best known housing projects. This is due to the international popularity of his book, "Architecture for the poor" published originally in French, 20 years after the beginning of the project, in which he explained his vision for the village. This book details his thoughts, processes, dealings with the politics involved, and his theories behind the forms. • The idea was launched by the Egyptian department of Antiquities in 1946 to build a new town near Luxor to relocate the inhabitants of the Gourna Village. • Building Type: multifamily housing, village • Construction System: mud brick and adobe • Climate: hot, arid • Context: rural village • Style: Modern • His designs depended on natural ventilation, orientation and local materials, traditional construction methods and energy- conservation techniques. He went through detailed studies of temperature and wind patterns. • Hassan Fathy did not believe that the locals should be housed in similar homes. Each had different needs, tastes and comforts apart from the number living in the house. • Fathy worked with the villagers to tailor his designs to their needs with
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  • Fathy includedan open air theatre, a school, a "Suq" (market) and a Mosque, famous for the unusual shape of its minaret. He also built himself a house in the same spirit of the village, using the same materials. OPEN THEATRE • The "Gourna Village experiment" was not just an architectural experiment. To Hassan Fathy it was more like the development of a town on a cultural, social level following the regional traditions. Relating to the people and knowing their needs while asking them to participate in the construction of their town was a major part of the project. • The village was never completed. The locals did start moving into their new homes, but eventually they did not settle down. • The reluctance of the people to cooperate in the design and building of the village was mistakenly understood as a sure sign of the inappropriateness the project. Normally, the people resented the change and took every opportunity possible to sabotage their new village in order to stay where they were and to continue their own secret ancient trading.
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  • All whatremains today of New Gourna is the mosque, market, a couple of houses and Hassan Fathy's. Even the school was demolished and rebuilt in modern materials. As for the rest of the houses, most of them were rebuilt in a more "suitable" way according to the people's taste. • In 1967, he had another trial similar to Gourna called the village of Bariz in Kharga. It didn't prove to be a better success from the previous because of funding problems.
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  New Gourna ·Near Luxor, Egypt TOWN PLAN
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  ELEVATION FLOOR PLANS
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  ABD AL- RAHMANNASSIF HOUSE • Location: saudi arabia • Date: 1973 • Building type: residential • The house was built with stone block recovered from the demolition of the traditional tower houses in the old city, which the client unsuccessfully tried to save. • Rather than using the familiar dome over the majlis here, he felt that an octagonal shukshieka would be more regionally appropriate, and the use of this particular element carries over into a larger house designed in tabuk. • The importance of the Nassif house comes mainly from its early idealistic and innovative attempt to revive Jeddah’s lost heritage at the time when it was invaded by the modern office blocks and shopping malls which necessitated the demolition of many of its historic buildings
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  • The houseconsists of two storey with a double-height reception hall, ten different rooms, service areas, internal courtyard with fountain and open courtyard with garden pavilion on the first floor. • The house featured Arabic Islamic elements including domes, mashrabiyyahs (wooden lattice work), thick walls, enclosed patios and fountains of marble. INNER COURTYARD AND PAVILION ENTERANCE FROM THE COURTYARD MASHRABIYYAHS (wooden lattice work) • Nassif house evoked the value of tradition at a time when the influence of the International Style was widespread because of the oil boom of that period. • It also drew the attention of the people to their architectural heritage and stimulated the realization that Jeddah was the only remaining example of Red Sea architecture in Saudi Arabia.
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  AKIL SAMI HOUSE •The cabin is located on Locus Lookout, on the crest of a hill, with breezes from the south-west. It has been aligned in an east-west orientation; deciduous trees protect the northern facade from direct heat gain during the summer and allow the radiant heat to be captured by the thermal mass properties of the limestone block from which it is built, in the winter. • The limestone also adds stability against the increased wind speeds experienced at the summit of a hill. The bedroom is located on the eastern facade to avoid the hot westerly sun when the users are trying to go to sleep. This positioning also allows the clean, bright morning light to filter in. • The kitchen and dining room are north facing, so as to take in the view while preparing and eating meals. The study and reflecting areas are on the south, taking in diffused light for study and for a more peaceful atmosphere. • Natural ventilation is key in the cabin and windows and openings are positioned to allow the south-west wind to flow through the interior spaces. An interior courtyard is also present to provide cooling and a shaded outdoor space.
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  Numbered spaces forthe floor plan: 1. Interior courtyard 2. Bedroom 3. Bathroom/toilet 4. Reflecting space (covered courtyard) 5. Office 6. Dining room 7. Kitchen COURTYARD SITE PLAN FLOOR PLAN MASHRABIYYAHS (wooden lattice work)
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  • There isvery much a blending of design for human activities and the environmental filter. Indeed the house is mostly designed towards managing the cliimate but this is only for the benefit of the users so that they may go about their activities in a much more pleasant and easy manner. • The arrangement of rooms and spaces is such that those areas which are likely to be seen by guests and used by multiple people at once (i.e. living room, dining room, etc) are grouped together near the entrance to the house. the spaces are ordered in terms of privacy and the further from the entrance to the house the less public the rooms; therefore the bedrooms are at the furthest end of the house so that these 'private' areas are not walked through or past by guests. • In this manner, Fathy was aware of the needs and uses the house would be put together and as such is designed to provide an ease of function in everyday life. Such a pleasant and fluid atmosphere must, subconsciously, improve the user's mental well being.
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  Hamed Said Studio •The Hamid Said house in the al-Marg neighborhood of Cairo represents an important project in the collection because it is the first documented application of mud brick construction, and is still standing. • The first phase, which was built in 1942, was simply a studio and sleeping space for the artist and his wife, incorporating a large vaulted loggia as an open exterior sitting area from which to appreciate the seemingly endless green palm grove surrounding the property. • The construction of the house coincided with a climate of concern among Egypt's intellectual community at that time about the detrimental effects of industrialization on the traditional cultures of the world and the need for a search for Egyptian origins in the face of the threat. • The second phase, which followed four years later, was equally sensitive in accommodating the environment, having been organized in such a way as to avoid several large trees on the site. A characteristically variegated and top- lit gallery of a type that was continuously refined by Fathy in subsequent designs serves as a transitional element between the first and second phases of the house, yielding framed views into a central courtyard which is the client's reward for allowing the trees to remain.
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  The Nile FestivalVillage Project • The Nile Festival Village Project was intended to be sited on the Tarh el-Bahr Island in the middle of the river near Luxor. • Moving through three distinct permutations during a six-year period, each of the schemes are dependent upon a central docking area for the boats needed to bring visitors to the island. The first of these, dated May 1976, divides the landing areas between the island's northern and southern shores, with a series of pedestrian ways progressing at right angles toward the tightly clustered bungalows at the centre of the complex.
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  GENERAL PLAN, FirstSection
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  • A secondscheme, done in August of 1977, reverses this arrangement by concentrating all boat arrivals at one main quay on the southern shore and puts the major guest facilities, such as reception, theatres, restaurants, banks, swimming pools and a crafts khan, in a band spanning the entire width of the island. These public facilities, in turn, displace the guest bungalows to the outside edges of the village, in what seems to be a more logical arrangement.
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  GENERAL PLAN, SecondSection
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  • A thirdand final design, done in March of 1982, refines this approach even further by greatly accentuating the interlocking of land and water at the main landing. The final result of this dramatic design decision is to make the entrance from the boat to the reception area even more ceremonial. For some inexplicable reason the contours of the island have changed in the third design, possibly due to the erosion of the shoreline in the intervening years, and in the interim, the need for easier access from perimeter bungalows into the central area has altered the distribution of the units once again.
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  GENERAL PLAN, Third, Final Section
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  Site plan, Finalsections