Natural Energy

in

VERNACULAR ARCHITECTURE
Prof. Hassan Fathy
A Study of Design Principles & Methods

ARCH 716: Sustainable Architecture

Miriam Neet, Asst. Prof.
Tulu Toros, AIA
Sean Rigdon
November 16, 2009

Prof. Hassan Fathy (1900-1989)

Prof. Hassan Fathy was a noted Egyptian architect
who pioneered appropriate technologies for
buildings in Egypt. He worked to reestablish the
use of traditional building methods and materials.
In 1926, Prof. Fathy received his architecture degree
from the University of King Fuad I (University of
Cairo) in Egypt. He designed numerous public and
commercial buildings early in his career blending
eastern and western styles (Steele, 1997, p. 23).
In Mansouria, 1937, he exhibited his own
repertoire of indigenous historical forms on unbuilt designs, after which he designed his first
mud-brick buildings (Steele, 1997, p. 23). During
his career Prof. Fathy held several government
positions including being the chairman for the
Architectural Section of the Faculty of Fine Arts in
University of Cairo in 1954.
He primarily applied a working knowledge of ancient
architectural and town design techniques within the
contemporary economic situation of rural Egypt. At
times, he trained local inhabitants to make their
own materials and build their own buildings.
Climatic conditions, public health considerations, and
ancient craft skills shaped his design vocabulary.
Based on requirements of hot arid regions, Prof.
Fathy incorporated elaborate passive
environmental control techniques that met physical,
cultural and economical challenges.
The progressive maturity in his projects has been
categorized by intimate scholars in five major
periods:

Prof. Fathy insists that architects must thoroughly analyze

traditional building methods and forms using scientific principles
and an understanding of social and cultural requirements before
discarding any of them.
Prof. Fathys work demonstrates the application of these principles
and has shown how useful they can be in the development of
viable solutions to the problems of contemporary architecture
Walter Shearer, Sr. Program Officer
United Nations University

1928-1937
1937-1957
1957-1962
1962-1978
1980-1988

Early Work
Mansouria & Beyond
Years in Greece
Return to Egypt
Late Work

He received the Union of International Architects Gold

Medal, which is the Egyptian Governments
National Prize for Arts and Letters. He founded and
directed the Institute for Appropriate Technology for
buildings in Egypt in 1977. His lifelong
achievements were recognized, in 1980, with the
Aga Khan Award for Architecture Chairmans
Award.

Geographic Distribution of Projects

Prof. Hassan Fathys projects are primarily located in
hot and arid climates similar to his country of origin,
Egypt. Over his lifelong, industrious career Fathy
had the chance not only to travel abroad
extensively but also to practice his design concepts
in many different countries of the world.
Prof. Fathy traveled to Europe in 1957 as part of a
self-imposed exile (Steele, 1998, p. 20), where
he exchanged ideas and experiences with a series
of academic and political figures of the time, joining
the Doxiades Organization in Athens on a research
project for the city of the future, and lecturing on
climate and architecture at the Athens Technical
Institute. He returned back to Egypt in 1962.
Through his large network of acquaintances he
seized a number of international commissions that
implemented his principles abroad.
In addition to his rich portfolio inside Egypt, Fathys
architectural works extend to many other countries
such as:
India (Shri Ahmed House in Hyderabad)
Kingdom of Saudi Arabia
Kuwait
Lebanon
Nigeria (Ambassadors Villa in Niamey)
Oman
Palestine
Pakistan (Mosque in Punjab)
Sudan (Mosque and Conference Centre)
Tunisia
and the United States (Aspen, CO; Abiquiu, NM).

Vernacular Context: Egyptian Architecture in mid-1900s

Drawing from a vast history of civilizations the
vernacular architecture of Egypt constitutes a rich
variety of architectural precedents. Best examples
of urban dwelling traditions that remained in daily
use through 1900s were primarily Mameluke and
Ottoman houses (Al-Sayyad, 1997, p. 1603).
Vernacular houses are all variations on the theme
of an inward-facing courtyard form, but they differ
in size - between 389 sq.ft. and 5,165 sq.ft. - from
tiny single-storey dwellings to large, elaborate
multi-room compounds and small apartment
blocks (El-Gohary, 1997, p. 1606).
Within a transition space (Mandara) off the street a
simple sitting arrangement (Mastaba) welcomed
and transitioned the visitors to the indoors.
Elaborate woodworks (Mushrabiya) often provided
both climatic shelter and social seclusion. Based
on their socio-economic and cultural settings these
dwellings were usually arranged around
appropriately-scaled courtyards (Hosh). Reception
halls (Durqaa) lead the visitors to vaulted niches
(Iwan) decorated to reflect the stature and
provisions of residents. Open-air sitting rooms
formed the hearts of these houses where daily
family activities were centered.
Generally, the countryside dwellings of the peasants
(Fellahin) steadily reserved their culture and
customs, and were usually not exceeding twostories (Al-Sayyad, 1997, p. 1605). Their
dwellings had to be built to handle large diurnal
temperature changes (16 F-27 F) (El-Gohary,
1997, p. 1605) where roof-top, sleeping areas
(Sateh) were utilized during hot summer nights,
and hot baking spaces (Forn) were transformed
into sleeping space in winter. Cattle, the main
capital of peasants, occupied one of the back
rooms of the courtyards (Shabka, 1997, p. 1608).

On Dynamics of Nature & Human Comfort

Fathy (1986, p. 11) notes that in an environment of
continuously changing pressure, wind movement,
temperature, humidity, and cloud cover, an architect
places a fixed building intended to provide a
comfortable internal environment over a wide range
of these external variables.
Vernacular building traditions in hot arid climates
generally utilize materials with lower thermal
conduction and higher resistance characteristics in
order to reduce and delay heat gain for comfort.
In hot arid climates, the coefficient of thermal
resistance should be about 1.1 kcal/hr.m2.C (0.225
Btu/hr.ft2.F) for an outer wall to have an appropriate
thermal resistance (Fathy, 1986, p. 25).
The impact of solar radiation is minimized by use of
lighter exterior colors, large overhangs shading
walls and openings where warm air is discharged
through convection vents.
Water vapor and air movement form the basis of
evaporative (or adiabatic) passive cooling.
Thermal gain from solar radiation, ventilation and
inhabitants of dwellings need to be reduced while
thermal loss should be increased through controlled
ventilation systems in order to maintain a dynamic
thermal equilibrium. The principle of thermal
inertia can also be used advantageously to provide
dynamic heating and cooling of a building by
selecting the wall material and its thickness such
that the warmth of the day penetrates the building
only after nightfall when it would be welcomed and
is dissipated before morning (Fathy, 1986, p. 25).
Therefore, in maintaining a comfortable microclimate
for its dwellers, buildings are designed in ways to
ensure protection against heat and provide
adequate cooling.

Climate Appropriate Design Principles & Methods

Positioning & Orientation
-Solar path and prevailing winds are primary
determining factors for any site, with the main
objective of establishing an optimum setting to
take advantage of and prevent adverse affects of
the sun and winds (Fathy, 1986, p. 42). Topography
and other features of the site, like slopes,
trees, formation or a body of water, are crucial for
manipulating the microclimate.
Shading
-In general, longer sides of the buildings should
face the South whereby minimizing exposure
to solar radiation during mornings and afternoons.
Excessive openings to the West should be avoided.
Blocks of buildings can be designed to shade one
another.
-Permanent and temporary shading characteristics
of landscaping and plants on the site, if any, should
be fully taken advantage of.
Layout
-Traditionally open interior courtyard (Qaa) with
intensive planting provides evaporative cooling.
-Vaulted, elevated alcoves (Iwan) of courtyard are
main living spaces often carpeted and low-roofed.
-Upper level balcony around courtyards and open-air
sitting rooms (Maqad) function very well. Spaces
are used depending on their diurnal and seasonal
traits.
Building Materials
-Since majority of energy is transmitted through
the walls and the roofs the material selection and
the properties of envelop systems are extremely
important for comfortable interiors (Fathy, 1986, p.
38).
-Wall materials should be of appropriate thickness,
physical and thermal characters in order to prevent
excessive fluctuations in indoor temperature and
humidity. Heavy masonry walls increase thermal
mass, assisting in reduction of heat gain and loss.
-Reflectivity and use of lighter colors for walls and
the roof are extremely useful in reducing thermal
gains.
Facade Treatments
-Northern Facade spaces will capture cool breezes
during the summer but they will not receive any direct
solar radiation in winter. North facing windows will
always receive a more uniformly distributed light free
from glare.

Climate Appropriate Design Principles & Methods

-Southern Facade will be exposed to the extremes
of solar radiation. Features like permanent
arcading, or deciduous trees tend to work
extremely well for climatic control.
-East and West Facade exposures should be
controlled and limited. Uses in these spaces
should be chosen appropriately (Fathy, 1986, p.
44).
Opening Treatments
-Blinds are tremendously helpful in providing control
over the daily or seasonal changes, providing for
not only to sunlight adjustment but also ventilation.
-Brise-Soleil (sun-breaker) is another system to
protect the entire facade. Though it works
effectively from thermal standpoint it may cause
unpleasant glare concerns from within the spaces.
-Mushrabiya, sometimes in form of an Oriel window,
is wooden lattice-work screen used to prevent
glare, control air flow, reduce air temperature,
increase humidity and ensure privacy (Fathy, 1986,
p. 47).
Air Movement by Pressure
-The velocity of the air can be changed by the area
of passages in its path, hence, creating differing
pressures or vice versa, utilizing Venturi action.
-Claustrum is a series of small vent that allow air
flow but prevent direct solar radiation. The Claustra
are primarily used at higher parts of the spaces.
-Wind-Escapes (Shuksheika) are smaller, closable,
low pressure air vents at top of high tower, also
called.
-Wind-Catch (Malkaf) is a device to capture and
redirect air currents through baffles. Badgir is a
similar system with openings on all sides, used in
Gulf region (Fathy, 1986, p. 47).
Air Movement by Convection
-Courtyard (Durqaa) is a ventilated reception hall
central to arrangement of spaces.
-Loggia (Takhtabush) is a public private separation
area functioning also as a wind funnel.
Humidity Devices
-Water Fountain is an effective humidification and
evaporative cooling feature which is also symbolic.
-Marble Plates (Salsabil) are decorative devices
which help humidification and passive cooling.

Hamed Said House (1942-1945)

Prof. Fathys friend and artist Hamed Said was both
instrumental and critical in design process. The
house reflected Saids directions simplest means
to achieve highest ends (Steele, 1998, p. 55).
Building location was carefully chosen after two
friends camped out in a tent on the property... for
some time (ArchNet, 1999). The original structure
was a domed studio, an Iwan and a Loggia for
study purposes. The expansion, later, added a
larger studio and living spaces in 1945.
The simplistic design exemplifies many traits of Prof.
Fathys mature work including:
Sheltered within a shady oasis
Design respect for existing environment & context
Space planning around a courtyard saving trees
Arrangement of building segments provide partial
protection for some exterior walls and openings
minimizing western exposure
Separation of public and private zones
Seamless entirety
Traditional Egyptian forms like arches, vaults and
domes
Thick mud-brick walls and roof
Light color finishes on walls and roof
Mushrabiya, blinds and evaporative cooling
The Friends of Art and Life group still held meetings
and exhibitions in the courtyard to form a
connection between the people and the
environment. It was truly a complete fulfillment of
his clients wishes (Steele, 1998, p. 58).
Hamed Said and his wife actually lived to witness
Cairos suburban sprawl swallowing up the green
haven once their house was located in (Steele,
1988, p. 55).

Hamdi Seif Al-Nasr Resthouse (1944)

The Hamdi Seif Al-Nasr resthouse was initially
designed in two-stories around an internal
courtyard which was later altered to be external
with a sheltered entrance for visitors. Formal
arrangement of Durqaa, Iwans and Qaa in line
with the lake views is one of the noblest examples
of Prof. Fathys design tradition (Steele, 1988, p.
59).
Even though the scope of the project was drastically
reduced the design still demonstrates a series of
key principles including:
Sheltered within a shady oasis
Design respect for existing environment & context
Building raised to protect against flooding
Arrangement of building segments provide partial
protection for some exterior walls and openings
minimizing western exposure
Multi-axes interior space planning separating public
and private zones
Traditional Egyptian forms like arches, vaults and
dome
Thick mud-brick walls and roof
Light color finishes on walls and roof
Arcaded entry positioned to be shaded
Durqaa originally intended to be naturally
ventilated by a large Malkaf, which was changed
to a staircase
Mushrabiya, blinds and evaporative cooling
Fountain in Qaa for cooling

Kallini House (1945)

The Kallini House was never built, however, it
remained as one of the best-resolved designs of
his career (ArchNet, 1999). Formal composition of
Durqaa, Iwans and Qaa is one of the finest
examples of [Prof. Hassan Fathys] creation where
the Qaa is covered
by a masonry dome rather than the familiar
wooden Shuksheika (Steele, 1988, p. 49).
Prof. Fathy followed the framework of architectural
ideas formed in this project, with ingenious
variations, for the next thirty years:
Connection between formal area and exterior
courtyard space formed by intersection of two
wings
Arrangement of building segments provide partial
protection for some exterior walls and openings
minimizing western exposure
Multi-axes interior space planning separating
public and private zones
Traditional Egyptian forms like arches, vaults and
dome in grand harmony, proportion and rhythm
Thick mud-brick walls and roof
Light color finishes on walls and roof
Arcaded entry positioned to be shaded
Fountain in Qaa for cooling

10

New Baris Village - Site & Market Complex (1970)

The New Baris Village site was determined by the
existence of a highly productive well [that] made
extensive agricultural developments possible
(Steele,1988, p. 92). Prof. Hassan Fathy was
commissioned to design the entire village to
accommodate about 150 families with a center
serving six neighboring villages.
The ancient ruins of Bagawat nearby the site (from 4
A.D.) further inspired Prof. Fathy to study and utilize
local methods and materials to maximize cooling
while improving application of his basic design
principles.
In laying out the overall site plan Prof. Fathy paid
special attention to:
Orient main streets in North to South direction to
maximize shades during the day
Utilize courtyards and streets to provide cooling
through convective loop (where rising heated
air from wider streets mobilized cooler air in side
streets that was replaced by the air from
courtyard houses beside them, completing the
loop)
Preserve the sense of cultural pride, rich local
architectural heritage
Among the many individual buildings that
constituted the village center Prof. Fathy carefully
studied and designed the Market Complex in order
to regulate the interior climate for perishable fruits,
vegetables and grains. His provisions included:
Detailed studies of temperature and wind patterns
Extensive use of claustra-work for ventilation
maximized air movement
Natural tower techniques to cool and refrigerate the
produce, where air scoops catching desert winds
funneled through angled baffles achieved 15C
degree temperature reductions in storage areas
below grade (Steele, 1989, p. 29).
Minimizing solar gain where higher walls shaded
lower parts
Prof. Hassan Fathy applied appropriate technologies
both for larger context and users, controlled by innate
knowledge.

11

New Baris Village - Public Buildings (1970)

Prof. Hassan Fathys designs in the New Baris
Village included many public buildings of various
sizes and uses, such as a large mosque, a hospital,
administration, police and post offices, as well as a
Moorish Cafe, in addition to the Market Complex.
In all of these buildings he applied appropriate
technologies to the furthest extent possible.
Unlike the troubled New Gourna experimentation,
the New Baris Village was more relevant to the
needs of the population, and there [were] no vast
open squares baking under the sun, but the interior
courtyards within each building as in Arab villages
in the past (Steele, 1988, p. 92).
In laying out and designing each one of these
individual buildings he consciously aimed to:
Create intimate compact, well-connected and
intimately scaled spaces where public and
private functions could take place appropriately
Locate corridors not only for functions but also for
air movement and distribution
Orient main streets in North to South direction to
maximize shades during the day
Utilize courtyards and streets to provide cooling
through convective loop (where rising heated
air from wider streets mobilized cooler air in side
streets that was replaced by the air from
courtyard houses beside them, completing the
loop)
Arrange building segments to provide partial
protection for some exterior walls and openings
minimizing western exposure
Use traditional Egyptian forms like arches, vaults
and domes
Thick mud-brick walls and roof
Light color finishes on walls and roof
Arcaded entry positioned to be shaded
Malkaf for harnessing winds and funneling cool air
Mushrabiya, blinds and evaporative cooling
Fountains in Qaa for cooling

12

New Baris Village - Houses (1970)

Prof. Hassan Fathy also designed many different
types and scales of houses as part of the New
Baris Village.
In Prof. Fathys design the houses were clustered
around courtyards which [were] joined by
Takhtaboosh to adjoining open areas and
eventually to the pedestrian way itself, so that a
combined convective system [provided] continuous
airflow (Steele, 1989, p. 29).
In single family designs, Prof. Fathy made extensive
use of old local traditions in configuration of spaces,
adjacencies and separations in addition to
masterfully applying traditional building materials
and methods. These houses were typically
confined within massive exterior walls creating
secluded exterior courtyards and spaces as
extensions of interior spaces.Generally the
courtyards are well-protected from the sun, and
work toward cooling the outside air around the
buildings from where cooler breezes were drawn
in. Main living rooms under vented domes and
adjoining vaulted loggia (Iwans) took advantage of
the movement of cooler breezes.
In multifamily designs Prof. Fathy masterfully
provided the residential units with not only
adequate spaces within minimal floor areas but
also widely varying interior form and definitions
through artful and ingenious spacial configurations.
For the individual design of each house he carefully
applied a series of recurring principles. including:
Orienting buildings on North-South axis in order to
maximize shades during the day
Clustering buildings closely in order to minimize
exposed surfaces to heat gain during the day
Arranging building segments to provide partial
protection for some exterior walls and openings
minimizing western exposure
Creating shaded and well-protected corridors not
only for circulation but also air movement as well
Using traditional Egyptian forms like arches, vaults
and domes
Thick mud-brick walls and roofs
Light color finishes on walls and roofs
Arcaded entries positioned to be shaded
Mushrabiya, blinds and evaporative cooling
Fountains in Qaa for cooling

13

Fouad Riad House (1973)

In 1970s, the Egyptian Government issued an
edict... to prohibit the stripping of the only
remaining top soil, thus bringing the centuriesold practice of brick-making to an end (Steele,
1988, p.92). The Fouad Riad House was,
therefore, one of the first houses that Prof.
Hassan Fathy designed in stone masonry within
the banned flood area of the Nile.
Dr. Fouad Riad initially intended to use this house
only during weekends and vacations but later
adopted it for permanent residence for the
family (Steele,1989, p. 23).
Prof. Fathy intentionally laid off a strong
supervisory hand during construction to allow the
notion of traditional forms coming from the
popular collective will to permeate the final
outcome as seen in the incomplete Malkaf and
rough stonework. The rough stonework came
from his visit to the Red Sea villages which used
stone rather than mud brick. In the design of the
house Prof. Fathy aimed to:
Orient the building parallel with the shoreline,
and arches of loggia towards ocean view
Give a blind side to the public road and an open
face to the sea
Compress to the sea-facade with cuneiform
slotted vaulting to capture cool ocean breezes
Use claustra-work for light, air or views of ocean
Allow for outdoor rooms on ground level as well
as on the roof accessed by stairs from entry
and courtyard
Incorporate existing stand of mature palm trees
Push building up to the wall to give more privacy
on restrictive site between drainage canal and
boundary wall
Use traditional Egyptian forms like arches and
vaults
Light color finishes on walls and roof
Arcaded entry positioned to be shaded
Mushrabiya, blinds and evaporative cooling
Fountains in Qaa for cooling

14

President Anwar Sadat Resthouse (1981)

One of the most sophisticated and ambitious
residences designed by Prof. Hassan Fathy was a
Presidential Resthouse near Lake Nasser in Nubia.
The resthouse was a single walled compound
(ArchNet,1999), actually made up of three
separate buildings sequentially organized
according to the status of each (Steele, 1989, p.
33). Prof. Fathy created a series of walled, open air
garden courtyards that separated and
interconnected these living quarters at the same
time.
The main, arcaded, formal and public courtyard was
dominated by the main dome and the Durqaa.
Primary residence on south east corner also
arranged around a private courtyard and domed
living room. In the design of this residence Prof.
Fathy:
Oriented the massing of the building to shade
exterior spaces as much as possible
Utilized thick mud brick walls and roofs for low
cost and environmental advantages, on a wide
scale
Clustered buildings closely in order to minimize
exposed surfaces to heat gain during the day
Arranged building segments to provide partial
protection for some exterior walls and openings
minimizing western exposure
Created shaded and well-protected corridors not
only for circulation but also air movement as well
Use many traditional Egyptian forms like arches,
vaults, domes, Malkaf, Mushrabiya, etc.
Used claustra-work extensively for control of light
and air movement
Used light color finishes on walls and roof
Shaded the courtyards with domed arcades
Provided fountains in Qaas for evaporative cooling

15

Conclusions
Vernacular Inuence & Meaning
Prof. Hassan Fathy was an exemplary practitioner
as well as teacher of vernacular architecture in
Egypt. With the exception of few projects where
he responded to differing requirements of context
and clients, he always adhered to the local building
traditions. He consciously chose to go back to
the rural areas, and analyzed and advanced the
traditional mud brick construction techniques that
had been applied there for centuries. In this sense,
his practice was an extension of the vernacular
architecture.
Beyond mere reinterpretation and reassembly of
elements his projects helped resurrect a new sense
of pride and ownership of Egyptian vernacular
architecture for the poor and the underprivileged folks
living in the rural areas.
Cultural Inuence & Basis
The cultural context of Prof. Hassan Fathys projects
always formed the bases of his designs. These
structures to house Muslim families, relationships,
activities and interactions were built as literal
reflections of social dynamics. Architectural elements
like walls, openings and screens were located
strategically to serve for cultural requirements on
physical, visual and auditory access or separation.
For example, many of his houses incorporated two
courtyards, one for private and one for public uses.
Inuence of Climate & Topography
Prof. Hassan Fathys design principles were
very well-thought out, meticulously detailed and
thoroughly structured. His professional studies,
research and analyses in the fields of human comfort,
indoor climatic controls, local building methods and
materials eventually culminated in his founding and
directing of Institute for Appropriate Technology in
Egypt.
Prof. Fathys principles were skillfully organized to
respond effectively to the of solar, wind and
humidity dynamics of primarily hot arid climates
effectively. His projects were streamlined efficiently
to shade, cool and vent spaces in rural desert
conditions.
Almost all of his projects were built on-grade without
basement levels primarily due to economic
reasons. A potion of his buildings were actually
elevated above street levels against flooding.

16

Conclusions
Building Forms, Materials, Methods &
Sequence

In his interpretations of the local vernacular Prof.

Hassan Fathy conformed to the authentic forms,
materials and symbols for the most part. He
used and refined many traditional building
features such as formal (public) and informal
(private) courtyards, fountains, arcades, vaults,
pendentives, squinches, lightly-colored thick
mud brick walls, domes as well as wind-catchers
and wood lattice screens to the fullest extent
possible.
Although Prof. Fathy designed few projects with
other kinds of building materials and techniques
such as stone masonry or concrete construction,
mud brick technology dominated his practice
for a variety of reasons including lower costs,
convenience of availability, environmental
advantages as well as symbolic values. While
his buildings made extensive use of masonry
methods the stone construction remained
uncommon among his clients.
Being a scarce and expensive building material,
wood was used very carefully and conservatively
in his projects. The level of care in woodwork
became especially apparent in opening
treatments such as screens, shutters, railings,
shades as well as casements, stairs, column,
ceiling articulations and so on.
Over the years Prof. Fathy not only consciously
explored, improved and perfected these
techniques but also formed the foundation of
a national architectural vocabulary for Egypt,
where controlled use of forms and materials
further added to the minimalist, simplistic but
unified character.
Methods & Strategies for Heating & Cooling

Even though Prof. Hassan Fathy did not originally

invent most of the traditional solar, wind and
humidity controls he greatly contributed to the
sophisticated and deliberate utilization of these
techniques by the rural inhabitants. He utilized
and improved on various methods and strategies
for heating and cooling aspects of buildings.
For reducing heat gain in summer, Prof. Fathy
carefully incorporated; site selection of cooler,

breezier sections of landscape; solar orientation

to minimize effects of southwestern exposures;
building massing to provide shaded walls and
openings; operable or fixed solar shades,
screens around windows and openings; lightcolor walls and roof finishes.
For disposing access heat and cooling effects, his
designs ingeniously integrated shaded
courtyards enabling convective cooling; water
fountains and decorative features providing
evaporative cooling; controlled openings taking
advantage of cooler breezes or creating air
movement through pressure differentials.

Prof. Fathys examples clearly illustrate that

the conditions for human comfort in hot and
arid climates can successfully be attained and
maintained through careful design and use of
simple passive technologies that depend solely
on control and management of the natural
energy.
At a deeper level, Prof. Hassan Fathys work
reminds us that instead of repeating widely
accepted and applied building techniques it is
possible to achieve equally successful results
by using and improving on local vernacular
methods.

Daily & Seasonal Uses

Vernacular on 21st Century Architecture

In majority of his projects Prof. Hassan Fathy

utilized flat roofs that were accessible by interior
staircases. These roof areas, in addition to open
air courtyards and balconies, were actually used
for family activities and sleeping places during
the warmer nights of the hot and arid desert
nights. And, a good portion of his buildings were
designed as summer houses, rest houses or outhouses with complimentary seasonal uses.

In most cases, vernacular architecture represents

the totality of continuous experimentation,
discovery and adaptation of time-tested building
techniques. Close examination and use of these
local techniques in meeting the requirements
of current demands is vitally relevant to
establishing and sustaining regionally responsive
practices, as well as nurturing and strengthening
contextual diversities.

Sustainable Characteristics of Buildings

Critical Assessment of Assumptions on

Culture, Architecture & Sustainability

All of Prof. Fathys projects, with the exception of

few that were designed abroad or for wealthier
clients, were built to make use of local and
renewable resources, independent of any
industrial (energy-intense) materials or methods.
He expressed his own aspirations from the
local vernacular traditions by stating that they
constructed their houses, with the materials
they found in place, earth and stone, without
means of transportation, without industrial
materials, without bulldozers, without money nor
entrepreneurs, but ready to use their hands and
brains and ancestral techniques of construction
and building in mud brick (Steele, 1998, p. 92).

In retrospect, it is the privilege and duty of the

design professionals to be aware of the vast
and rich heritages of various cultures and their
vernacular practices. The design professionals
should always maintain a sincerely inquisitive
and consciously critical evaluation of the cultural
and architectural contexts while respecting and
integrating into the existing fabric of natural or
man-made environment as appropriately as
possible. A key goal for any design professional
should be to achieve settings and conditions
always in harmony with the natural energy.

New Insight to the Study of Architecture and

Sustainability

Examining Prof. Hassan Fathys architectural

principles and practice certainly reveals a rich
variety of alternative techniques viable not only
in forming effective shelters against external
forces of natural energy but also in controlling
internal microclimates efficiently for comfort.

17

References
Al-Sayyad, N. (1997). Cairo, Egypt in Oliver, P.
(1997). Encyclopedia of Vernacular Architecture
of the World. Cambridge; New York, NY:
Cambridge University Press, Vol. 2: 1603-1604).
Al-Sayyad, N. (1997). Egyptian: Rural (Egypt; Nile)
in Oliver, P. (1997). Encyclopedia of Vernacular
Architecture of the World. Cambridge; New York,
NY: Cambridge University Press, Vol. 2: 1605.
ArchNet (1999). Aga Khan Hassan Fathy Archive.
Boston, MA: MIT School of Architecture and
Planning, Design Lab. (http://www.archnet.org)
El-Gohary, A. (1997). El-Hekr: (Egypt; Nile) in Oliver,
P. (1997). Encyclopedia of Vernacular Architecture
of the World. Cambridge; New York, NY:
Cambridge University Press, Vol. 2: 1605-1606.
Fathy, H. (1973). Architecture for the Poor: An
Experiment in Rural Egypt. Chicago, IL: The
University of Chicago Press.
Fathy, H. (1986). Natural Energy and Vernacular
Architecture: Principles and Examples with
Reference to Hot Arid climates. Chicago: The
University of Chicago Press.
Shabka, S. (1997). Fellahin (Egypt; Nile) in Oliver, P.
(1997). Encyclopedia of Vernacular Architecture of
the World. Cambridge; New York, NY: Cambridge
University Press, Vol. 2: 1607-1608.
Steele, J. (1988). Hassan Fathy. London: Academy
Editions; New York: St. Martins Press.
Steele, J. (1989). The Hassan Fathy Collection: A
Catalogue of Visual Documents at The Aga Khan
Award for Architecture. Geneva, Switzerland: Aga
Khan Trust for Culture.
Steele, J. (1997). An Architecture for People: The
Complete Works of Hassan Fathy. New York:
Whitney Library of Design.

18

When the full power of

a human imagination
is backed by the weight
of a living tradition,
the resulting work is far
greater than any that
an artist can achieve
when he has no tradition
to work in or when he
willfully abandons its
tradition. (Fathy, 1973, p. 25)