HASSAN FATHY /
More than any other 20th-century architect, Hassan Fathy raised the status of earth building among architects worldwide. Building in earth—adobe or pisé—has a long and honorable history, and in those parts of the world where stone and timber are scarce and expensive, earth has remained the most econ...
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| Format: | text |
| Language: | eng |
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London, United KIngdom : Concept Media,
1985
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| Subjects: |
| _version_ | 1811128532437303296 |
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| author | Richards, J. M., (James Maude), 1907-1992, author 345290 Serageldin, Ismail, 1944-, author 436013 Rastorfer, Darl, author 654507 |
| author_facet | Richards, J. M., (James Maude), 1907-1992, author 345290 Serageldin, Ismail, 1944-, author 436013 Rastorfer, Darl, author 654507 |
| author_sort | Richards, J. M., (James Maude), 1907-1992, author 345290 |
| collection | OCEAN |
| description | More than any other 20th-century architect, Hassan Fathy raised the status of earth building among architects worldwide. Building in earth—adobe or pisé—has a long and honorable history, and in those parts of the world where stone and timber are scarce and expensive, earth has remained the most economical and widely used building material. This is certainly true in Egypt and most Arab countries. But even there, as in most of Europe, earth, at the turn of the 20th century, had come to be identified with poverty and backwardness, and earthen building materials were increasingly perceived by architects and the professional middle classes in general to be old fashioned and impermanent. A handful of architectural devotees of earth building advocated and promoted its use, but by and large, commercial vested interests in the brick, cement, steel, and asbestos industries almost completely sidelined earthen building materials. Fathy, in common with many Egyptian architects of his generation, studied in France, at the Ecolé dex Beaux Arts in Paris, and like them he acquired a love for the historic architecture of his homeland, and for the Mameluke and Ottoman architecture of his native city, Cairo, in particular. But unlike most of them, he acquired also a love for the traditional vernacular architecture of the Egyptian countryside, and chiefly for the Nubian architecture of Upper Egypt. Soon after his return from Egypt to France, he was appointed to the staff of the Department of Architecture at the School of Fine Arts in Cairo, of which he became Head in 1938. Under his direction, annual field study visits to the various regions of Egypt were introduced into the curriculum. Fathy’s growing reputation in this field brought him the commission, in 1946 from the Egyptian government, to design and build a new village, on flat fertile land closer to the Nile, for the inhabitants of Old Gourna, an ancient village close to the Valley of the Kings at Thebes, who had made a living for genera-tions by robbing historic artifacts from the Pharaonic tombs and selling them to tourists and dealers. Before this commission, his architectural practice had consisted, in the main, of private houses for affluent middle-class clients: the New Gourna commission transformed his practice and almost broke him, financially and psychologically. His plan for the new settlement, his designs for each one of the buildings in it, housing and public buildings, incorporating as far as possible the architectural traditions of the Upper Nile valley and the building skills of the Nubians, and his direction of the building process, were based on long and close observation of, and consultation with, the community for which he designing. Unfortunately, on completion of the main phase of building in 1953, the people of Old Gourna refused to move form their old homes and to forfeit their traditional illegal source of income. The buildings of New Gourna were not occupied, and they remained empty for decades. However, Fathy persevered—he remained faithful to his vision of an architecture deriving from and drawing its inspiration from the building traditions of the Egyptian people. His own architectural practice continued, in its modest way, until the publication in 1969 of his account of the genesis of the New Gourna project by the Egyptian Ministry of Culture became a turning point in his career. The Archaeology Department of the University of Chicago had been actively engaged in the exploration, interpretation, and conservation of the Pharaonic remains in Thebes for decades and had come to rely on, and admire, Fathy’s profound knowledge of the building traditions of the area. Therefore, the department sponsored the re-publication of his account of New Gourna under a new title, Architecture for the Poor : An Experiment in Rural Egypt, in 1973. The reissue of the New Gourna story coincided with the worldwide fuel crisis, following the Arab-Israeli war of 1973, and in the use of locally available building materials and building craft skills and the application of traditional principles of climatic comfort was seen the recipe for the affordable and locally sustainable rural development of which the developing countries of the world, in all continents, were in desperate need. Architects and architectural students from all continents in increasing numbers made the pilgrimage to New Gourna, or to Fathy’s home in Cairo, on the top floor of the ancient house in Dar Al-Gabbani at the foot of the Citadel, where Fathy was to spend the last years of his life. This historic house, acquired by the Aga Khan and over a period of years restored under Fathy’s direction, came to serve as a demonstration of the design principles that Fathy advocated. Here he established the International Institute of Appropriate Technology, of which he served as director for several years. In the final decade of his life, Fathy undertook a vast range of commissions including Dar Al-Islam, the Moslem arts and crafts community in New Mexico, and the Desert Research Centre for the American University of Cairo, at Sadat City, the vast new city in the desert overlooking the oasis of Wadi Natrun. The execution of these latter projects would have been impossible without the support and assistance of the young architects, Egyptians and others, who were attracted by his philosophy and personality, and whose assistance he so generously acknowledged. Notable among these architects was Abdel Wahid ElWakil. |
| first_indexed | 2024-03-04T17:22:52Z |
| format | text |
| id | KOHA-OAI-TEST:98084 |
| institution | Universiti Teknologi Malaysia - OCEAN |
| language | eng |
| last_indexed | 2024-09-23T23:34:02Z |
| publishDate | 1985 |
| publisher | London, United KIngdom : Concept Media, |
| record_format | dspace |
| spelling | KOHA-OAI-TEST:980842024-09-09T08:27:11ZHASSAN FATHY / Richards, J. M., (James Maude), 1907-1992, author 345290 Serageldin, Ismail, 1944-, author 436013 Rastorfer, Darl, author 654507 textLondon, United KIngdom : Concept Media,1985©1985engMore than any other 20th-century architect, Hassan Fathy raised the status of earth building among architects worldwide. Building in earth—adobe or pisé—has a long and honorable history, and in those parts of the world where stone and timber are scarce and expensive, earth has remained the most economical and widely used building material. This is certainly true in Egypt and most Arab countries. But even there, as in most of Europe, earth, at the turn of the 20th century, had come to be identified with poverty and backwardness, and earthen building materials were increasingly perceived by architects and the professional middle classes in general to be old fashioned and impermanent. A handful of architectural devotees of earth building advocated and promoted its use, but by and large, commercial vested interests in the brick, cement, steel, and asbestos industries almost completely sidelined earthen building materials. Fathy, in common with many Egyptian architects of his generation, studied in France, at the Ecolé dex Beaux Arts in Paris, and like them he acquired a love for the historic architecture of his homeland, and for the Mameluke and Ottoman architecture of his native city, Cairo, in particular. But unlike most of them, he acquired also a love for the traditional vernacular architecture of the Egyptian countryside, and chiefly for the Nubian architecture of Upper Egypt. Soon after his return from Egypt to France, he was appointed to the staff of the Department of Architecture at the School of Fine Arts in Cairo, of which he became Head in 1938. Under his direction, annual field study visits to the various regions of Egypt were introduced into the curriculum. Fathy’s growing reputation in this field brought him the commission, in 1946 from the Egyptian government, to design and build a new village, on flat fertile land closer to the Nile, for the inhabitants of Old Gourna, an ancient village close to the Valley of the Kings at Thebes, who had made a living for genera-tions by robbing historic artifacts from the Pharaonic tombs and selling them to tourists and dealers. Before this commission, his architectural practice had consisted, in the main, of private houses for affluent middle-class clients: the New Gourna commission transformed his practice and almost broke him, financially and psychologically. His plan for the new settlement, his designs for each one of the buildings in it, housing and public buildings, incorporating as far as possible the architectural traditions of the Upper Nile valley and the building skills of the Nubians, and his direction of the building process, were based on long and close observation of, and consultation with, the community for which he designing. Unfortunately, on completion of the main phase of building in 1953, the people of Old Gourna refused to move form their old homes and to forfeit their traditional illegal source of income. The buildings of New Gourna were not occupied, and they remained empty for decades. However, Fathy persevered—he remained faithful to his vision of an architecture deriving from and drawing its inspiration from the building traditions of the Egyptian people. His own architectural practice continued, in its modest way, until the publication in 1969 of his account of the genesis of the New Gourna project by the Egyptian Ministry of Culture became a turning point in his career. The Archaeology Department of the University of Chicago had been actively engaged in the exploration, interpretation, and conservation of the Pharaonic remains in Thebes for decades and had come to rely on, and admire, Fathy’s profound knowledge of the building traditions of the area. Therefore, the department sponsored the re-publication of his account of New Gourna under a new title, Architecture for the Poor : An Experiment in Rural Egypt, in 1973. The reissue of the New Gourna story coincided with the worldwide fuel crisis, following the Arab-Israeli war of 1973, and in the use of locally available building materials and building craft skills and the application of traditional principles of climatic comfort was seen the recipe for the affordable and locally sustainable rural development of which the developing countries of the world, in all continents, were in desperate need. Architects and architectural students from all continents in increasing numbers made the pilgrimage to New Gourna, or to Fathy’s home in Cairo, on the top floor of the ancient house in Dar Al-Gabbani at the foot of the Citadel, where Fathy was to spend the last years of his life. This historic house, acquired by the Aga Khan and over a period of years restored under Fathy’s direction, came to serve as a demonstration of the design principles that Fathy advocated. Here he established the International Institute of Appropriate Technology, of which he served as director for several years. In the final decade of his life, Fathy undertook a vast range of commissions including Dar Al-Islam, the Moslem arts and crafts community in New Mexico, and the Desert Research Centre for the American University of Cairo, at Sadat City, the vast new city in the desert overlooking the oasis of Wadi Natrun. The execution of these latter projects would have been impossible without the support and assistance of the young architects, Egyptians and others, who were attracted by his philosophy and personality, and whose assistance he so generously acknowledged. Notable among these architects was Abdel Wahid ElWakil.Includes bibliographical references (page 172).More than any other 20th-century architect, Hassan Fathy raised the status of earth building among architects worldwide. Building in earth—adobe or pisé—has a long and honorable history, and in those parts of the world where stone and timber are scarce and expensive, earth has remained the most economical and widely used building material. This is certainly true in Egypt and most Arab countries. But even there, as in most of Europe, earth, at the turn of the 20th century, had come to be identified with poverty and backwardness, and earthen building materials were increasingly perceived by architects and the professional middle classes in general to be old fashioned and impermanent. A handful of architectural devotees of earth building advocated and promoted its use, but by and large, commercial vested interests in the brick, cement, steel, and asbestos industries almost completely sidelined earthen building materials. Fathy, in common with many Egyptian architects of his generation, studied in France, at the Ecolé dex Beaux Arts in Paris, and like them he acquired a love for the historic architecture of his homeland, and for the Mameluke and Ottoman architecture of his native city, Cairo, in particular. But unlike most of them, he acquired also a love for the traditional vernacular architecture of the Egyptian countryside, and chiefly for the Nubian architecture of Upper Egypt. Soon after his return from Egypt to France, he was appointed to the staff of the Department of Architecture at the School of Fine Arts in Cairo, of which he became Head in 1938. Under his direction, annual field study visits to the various regions of Egypt were introduced into the curriculum. Fathy’s growing reputation in this field brought him the commission, in 1946 from the Egyptian government, to design and build a new village, on flat fertile land closer to the Nile, for the inhabitants of Old Gourna, an ancient village close to the Valley of the Kings at Thebes, who had made a living for genera-tions by robbing historic artifacts from the Pharaonic tombs and selling them to tourists and dealers. Before this commission, his architectural practice had consisted, in the main, of private houses for affluent middle-class clients: the New Gourna commission transformed his practice and almost broke him, financially and psychologically. His plan for the new settlement, his designs for each one of the buildings in it, housing and public buildings, incorporating as far as possible the architectural traditions of the Upper Nile valley and the building skills of the Nubians, and his direction of the building process, were based on long and close observation of, and consultation with, the community for which he designing. Unfortunately, on completion of the main phase of building in 1953, the people of Old Gourna refused to move form their old homes and to forfeit their traditional illegal source of income. The buildings of New Gourna were not occupied, and they remained empty for decades. However, Fathy persevered—he remained faithful to his vision of an architecture deriving from and drawing its inspiration from the building traditions of the Egyptian people. His own architectural practice continued, in its modest way, until the publication in 1969 of his account of the genesis of the New Gourna project by the Egyptian Ministry of Culture became a turning point in his career. The Archaeology Department of the University of Chicago had been actively engaged in the exploration, interpretation, and conservation of the Pharaonic remains in Thebes for decades and had come to rely on, and admire, Fathy’s profound knowledge of the building traditions of the area. Therefore, the department sponsored the re-publication of his account of New Gourna under a new title, Architecture for the Poor : An Experiment in Rural Egypt, in 1973. The reissue of the New Gourna story coincided with the worldwide fuel crisis, following the Arab-Israeli war of 1973, and in the use of locally available building materials and building craft skills and the application of traditional principles of climatic comfort was seen the recipe for the affordable and locally sustainable rural development of which the developing countries of the world, in all continents, were in desperate need. Architects and architectural students from all continents in increasing numbers made the pilgrimage to New Gourna, or to Fathy’s home in Cairo, on the top floor of the ancient house in Dar Al-Gabbani at the foot of the Citadel, where Fathy was to spend the last years of his life. This historic house, acquired by the Aga Khan and over a period of years restored under Fathy’s direction, came to serve as a demonstration of the design principles that Fathy advocated. Here he established the International Institute of Appropriate Technology, of which he served as director for several years. In the final decade of his life, Fathy undertook a vast range of commissions including Dar Al-Islam, the Moslem arts and crafts community in New Mexico, and the Desert Research Centre for the American University of Cairo, at Sadat City, the vast new city in the desert overlooking the oasis of Wadi Natrun. The execution of these latter projects would have been impossible without the support and assistance of the young architects, Egyptians and others, who were attracted by his philosophy and personality, and whose assistance he so generously acknowledged. Notable among these architects was Abdel Wahid ElWakil.Abdul Karim Othman; ArchitectsURN:ISBN:9971841258 |
| spellingShingle | Architects Richards, J. M., (James Maude), 1907-1992, author 345290 Serageldin, Ismail, 1944-, author 436013 Rastorfer, Darl, author 654507 HASSAN FATHY / |
| title | HASSAN FATHY / |
| title_full | HASSAN FATHY / |
| title_fullStr | HASSAN FATHY / |
| title_full_unstemmed | HASSAN FATHY / |
| title_short | HASSAN FATHY / |
| title_sort | hassan fathy |
| topic | Architects |
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