![HASSAN FATHY
Hassan Fathy was a noted Egyptian architect who pioneered appropriate technology for
building in Egypt, especially by working to re-establish the use of adobe and traditional
mud construction as opposed to western building designs, material configurations, and lay-
outs. Fathy was recognized with the Aga Khan Chairman's Award for Architecture in 1980.
Hassan Fathy was a cosmopolitan trilingual professor-engineer-architect, amateur
musician, dramatist, and inventor. He designed nearly 160 separate projects, from modest
country retreats to fully planned communities with police, fire, and medical services,
markets, schools, theatres, and places for worship and recreation.[citation needed] These
communities included many functional buildings such as laundry facilities, ovens, and wells.
He utilized ancient design methods and materials, as well as 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.
Fathy's plan devised groundbreaking approaches to economic, social, and aesthetic issues
that typically impact the construction of low-cost housing.
With regard to the economic issues, Fathy noted that structural steel was not an apt choice
for a poor country, and that even materials such as cement, timber, and glass did not make
good economic sense. To address this issue, Fathy instead devised a plan that included the
use of appropriate technology, notably mud brick construction.
Noting that the traditional village, although afflicted with issues of overcrowding and poor
sanitation was also an expression of “a living society in all its complexity,” Fathy strived to
design New Gourna in a manner that addressed the social concerns, including attempting
to consult directly with "every family in Gourna" and advocating for the involvement of
social ethnographers in the planning process. Despite this, inhabitants of the former village
were not enthusiastic about relocating, which effectively cut them off from their existing
livelihood of trading in archaeological finds.
With regard to aesthetic issues, Fathy placed emphasis on traditional Nubian architectural
designs which he observed in a 1941 trip to the region (enclosed courtyards; vaulted
roofing), yielding what Fathy described as "spacious, lovely, clean, and harmonious
houses." He also made use of traditional Nubian ornamental techniques (claustra, a form of
mud latticework), as well as vernacular architecture techniques of the Gourna region](https://image.slidesharecdn.com/costeffectivearchitects-220807160454-bb250fcf/85/COST-EFFECTIVE-ARCHITECTS-pdf-7-320.jpg)
COST EFFECTIVE ARCHITECTS.pdf
- 1. COST EFFECTIVE ARCHITECTS SUBMITTED BY , MARYMOL S8, B.Arch 26
- 2. FRANCIS KERE Diébédo Francis Kéré (born 10 April 1965) is a Burkinabé architect, recognized for creating innovative works that are often sustainable and collaborative in nature.Educated at the Technical University of Berlin, he has lived in Berlin since 1985. Parallel to his studies, he established the Kéré Foundation and in 2005 he founded Kéré Architecture. His architectural practice has been recognized internationally with awards including the Aga Khan Award for Architecture (2004) for his first building, the Gando Primary School in Burkina Faso, and the Global Holcim Award for Sustainable Construction 2012 Gold. Kéré has undertaken projects in various countries including Burkina Faso, Mali, Kenya, Uganda, Mozambique, Togo, Sudan, Germany, Italy, Switzerland, the USA, and the UK. In 2017 the Serpentine Galleries commissioned him to design the Serpentine Pavilion in London. He has held professorships at the Harvard Graduate School of Design, Yale School of Architecture and the Swiss Accademia di Architettura di Mendrisio. In 2017 he accepted the professorship for "Architectural Design and Participation" at TU München (Germany). In 2022, he won the Pritzker Architecture Prize, the first person from Africa and the first black person to do so. During his studies he felt it was his duty to contribute to his family and to the community which had supported him, and to give the next generation the opportunity to follow in his footsteps. In 1998, with the help of his friends, Kéré set up the association Schulbausteine für Gando (now Kéré Foundation), which loosely translates as "Building Blocks for Gando", to fund the construction of a primary school for his village. His objective was to combine the knowledge he had gained in Europe, with traditional building methods from Burkina Faso. Kéré's architecture was conceived of and built with the help of village inhabitants. The village, located south east of Ouagadougou, has approximately 3000 inhabitants who live in mud huts without access to running water or electricity. According to the UN Human Development Index in 2011, Burkina Faso is the 7th least developed country in the world. Most residents are subsistence farmers, remaining dependent on the harsh climate which has restricted rainfall between October and June, and high daytime temperatures of 45 °C.
- 3. Lycee Schorge Secondary School Architects: Kéré Architecture Area : 1660 m² Year : 2016 The design for the school consists of 9 modules which accommodate a series of classrooms and administration rooms. One of these modules also houses a dental clinic which will provide a new source of dental care for the students. The walls of these modules are made from locally-harvested laterite stone, which, when first extracted from the earth, can be easily cut and shaped into bricks. When the stone is left exposed to the atmosphere above ground, it begins to harden. The material functions really well as a wall system for the classrooms because of its thermal mass capabilities. This, in combination with the unique wind-catching towers and overhanging roofs, lowers the temperature of the interior spaces exponentially. Another major factor that helps to naturally ventilate and illuminate the interiors is a massive undulating ceiling. The wave-like pattern of plaster and concrete components are slightly offset from each other, allowing the interior space to breathe and expel hot stagnant air. The off-white color of the ceiling serves to diffuse and spread around indirect daylight, providing ample illumination during the day while keeping the interior learning space protected from direct solar heat gain. Wrapping around these classrooms like a transparent fabric is a system of wooden screens. This secondary façade is made from a local fast-growing wood and acts as a shading element for the spaces immediately surrounding the classrooms. The screens not only function to protect the earthen classrooms from corroding dust and winds, they also help to create a series of secondary informal gathering spaces for the students as they wait to attend their classes.
- 4. In order to maximize the material transported to the site, the school furniture inside the classrooms is made from local hardwoods and leftover elements from the main building construction such as steel scraps from the roof. In this way, the economy of the building is extended by reducing waste adding additional value to the cost of construction. Creating a sort of autonomous ‘village’ condition, the radial layout of classroom modules wrap around a central public courtyard. This configuration not only creates privacy from the main public domain, it also shelters and protects the inner courtyard from wind and dust. An ampitheater-like condition at the center of the courtyard will accommodate informal gatherings as well as formal assemblies and celebrations for the school and community as a whole. Overall, one of the most important goals of the design is to serve as a catalyst for inspiration for the students, teaching staff, and surrounding community members. The architecture not only functions as a marker in the landscape, it is also a testament to how local materials, in combination with creativity and team-work, can be transformed into something significant with profound lasting effects
- 5. Gando Primary School • Status: Completed • Date: 2001 • Site: Gando, Burkina Faso • Size: 520 sqm • Client: Community of Gando / Kéré Foundation • Collaborators: Community of Gando • Awards: Aga Khan Award for Architecture 2004, Global Award for Sustainbale Architecture 2009 The Gando Primary School was built to expand the sparse network of schools in the province of Boulgou, in the east of Burkina Faso, and addressed two characteristic problems of many educational buildings in the area: poor lighting and ventilation. Francis Kéré created a design that resolved these issues directly, within the parameters set by cost, climate, resource availability and construction feasibility. Clay is abundantly available in the region and traditionally used in house building, so a clay/cement hybrid was used to create structurally robust bricks. These are not only easy to produce, but also provide thermal protection against the hot climate. Despite their durability, however, the walls must be protected from damaging rains by an overhanging roof. In Burkina Faso, corrugated metal roofs are a popular solution, although they absorb the direct sunlight and overheat the interior of the buildings. Kéré’s design solves this problem by pulling the roof of the Gando Primary School away from the learning space of the interior. A dry-stacked brick ceiling is introduced in between, allowing for maximum ventilation: cool air is pulled in from the interior windows, while hot air is released out through perforations in the clay roof. This also significantly reduces the ecological footprint of the school by alleviating the need for air-conditioning. For this project, traditional building techniques and modern engineering methods were combined to produce the best quality building solution while simplifying construction and future maintenance. The success of the project can be attributed to the close involvement of the local population in the building process. With the support of his community, and funds raised through Kéré Foundation ,Kéré was able to realise his very first building. It marks the birth of Kéré Architecture and Kéré’s ongoing collaboration with his community in Gando through the Kéré Foundation.
- 7. HASSAN FATHY Hassan Fathy was a noted Egyptian architect who pioneered appropriate technology for building in Egypt, especially by working to re-establish the use of adobe and traditional mud construction as opposed to western building designs, material configurations, and lay- outs. Fathy was recognized with the Aga Khan Chairman's Award for Architecture in 1980. Hassan Fathy was a cosmopolitan trilingual professor-engineer-architect, amateur musician, dramatist, and inventor. He designed nearly 160 separate projects, from modest country retreats to fully planned communities with police, fire, and medical services, markets, schools, theatres, and places for worship and recreation.[citation needed] These communities included many functional buildings such as laundry facilities, ovens, and wells. He utilized ancient design methods and materials, as well as 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. Fathy's plan devised groundbreaking approaches to economic, social, and aesthetic issues that typically impact the construction of low-cost housing. With regard to the economic issues, Fathy noted that structural steel was not an apt choice for a poor country, and that even materials such as cement, timber, and glass did not make good economic sense. To address this issue, Fathy instead devised a plan that included the use of appropriate technology, notably mud brick construction. Noting that the traditional village, although afflicted with issues of overcrowding and poor sanitation was also an expression of “a living society in all its complexity,” Fathy strived to design New Gourna in a manner that addressed the social concerns, including attempting to consult directly with "every family in Gourna" and advocating for the involvement of social ethnographers in the planning process. Despite this, inhabitants of the former village were not enthusiastic about relocating, which effectively cut them off from their existing livelihood of trading in archaeological finds. With regard to aesthetic issues, Fathy placed emphasis on traditional Nubian architectural designs which he observed in a 1941 trip to the region (enclosed courtyards; vaulted roofing), yielding what Fathy described as "spacious, lovely, clean, and harmonious houses." He also made use of traditional Nubian ornamental techniques (claustra, a form of mud latticework), as well as vernacular architecture techniques of the Gourna region
- 8. ALAADIN MUSTAPHA HOUSE A house designed in 1981 for Master Mason Alaadin Mustapha takes on added significance when the long collaboration between these two men is closely considered. Mustapha not only introduced Nubian construction techniques to Fathy, but also implemented them in many of the projects built in the forty years since. One of the most important features in Mustapha's own house is the main doorway, which is the only interpretation of a Nubian-style portal found in any of the architect's work since Balitim. Perhaps when he designed it. Fathy was thinking of an experience he had described in 1967, when he said, "I have found a similar case when I was in charge of building the village of New Gourna, near Luxor. I asked Muallim Alaadin Moustapha to decorate the main entrance door to one of the houses in any way he wished. He designed some hieroglyphic symbols on top of the door representing God, the earth and the mountains, between a five-pointed star. When I asked him how he knew about this symbol, he told me it prevented the "evil eye". He didn't realize that it was a hieroglyph. It so happens that optimism and pessimism pass from generation to generation even when people change their religion. The constancy of the Nubians in using these decorations for their front doors is due mainly to the fact that they are so isolated which has allowed them to continue as a prototype since the time of the Pharaohs.The plan itself is also a direct interpretation of a traditional Nubian house as found in Abou el-Riche or Gharb Aswan today, which are both among many such villages previously surveyed by the architect. In this reasonably literal translation, the symbolic doorway leads directly into a sequence of rooms lined up on either side of an open entrance vestibule which are each related to the entertainment of guests. A long, vaulted room to the left of the main door, with built-in seats, or "mastaba" set between the piers that support it, is set aside for larger, special ceremonial functions just as in the traditional model. A smaller, square muddiffa on the right serves smaller groups, or individuals, who might visit on a more frequent basis. A door at the rear of the entry vestibule leads across an open court and up a short flight of stairs to a corridor serving all of the private family rooms strung along the rear wall of the house, which are visually and physically cut off from the guest rooms in front. This corridor also leads directly outside into an enclosed service court with its own exterior access. While in the established Nubian prototype this yard is almost always set aside for animals, the only function specified by the architect in this case is the storage of fodder. Variant Names : Alaadin Mustapha House Street Address :El-Mahamid Location :Idfu, Egypt Architect/Planner : Hassan Fathy Date : 1981 Building Type : residential Building Usage : private residence
- 9. PLAN
- 10. CERAMICS FACTORY A second community-oriented project that followed New Gourna at this time was a Jesuit based crafts centre located at Garagos, which was intended to improve the standard of living of the people in the village there. The plan for a ceramics factory, while deceptively "low-tech" in appearance, represents an extremely logical and efficient production diagram for the manufacture of pottery. The spaces in the complex are organized sequentially, beginning with the delivery of the clay, which is available locally, through its screening, washing, preparation and storage and then on to the workshops where it is sculpted and formed. After sculpting, the pottery is fired, packed, stored and shipped.The tricky problem of how to utilize the desirable northern exposure in all of the workshop spaces and yet maintain a compact, linear organization is solved by running all utilitarian spaces not used by the craftsmen perpendicular to the studios so that they act as dividing elements, and take up less room across the plan. The final spatial organization of the complex is not only arranged in a highly functional way, but also results in a satisfying horizontal massing of the elevation. The large curve of the dome covering the offices of the supervisory personnel on the one extreme, balanced by the thin vertical smokestack of the firing kiln on the other, act as visual brackets for the undulating curves of the vaults that wave up and down between them. The volumetric composition of the centre as actually built is much altered from this first concetions as intended. Street Address : Garagos Village Location:Qina, Egypt Architect/Planner : Hassan Fathy Client : Jesuit Mission Date :1950 Building Usage : factory Building Type: industrial