HASSAN FATHY · El arquitecto de los pobres

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¿Y tú de mayor que quieres ser?
Yo de mayor quiero tener una mirada así.

Hace dos o tres años me dije yo trabajaré para este hombre.
Paulo me habló de él un día de café. Me dijo te gustará.
Estuve buscando su despacho y su mail ...
Y pasó un tiempo hasta que un alma cruelmente amable me dijo que ya era tarde.

Y luego me olvidé de acordarme.

Estos días que navideños voy buscando a bonitos visionarios y/o denunciantes de realidades tomadas como normales.....
Hassan Fathy es uno de ellos.


Atención al texto de abajo que vale una mirada...


Architecture and environment · 1986 ·
by Hassan Fathy


 









"
(...)

An architect is in a unique position to revive people's faith in their own culture. If, as an authoritative critic, he shows what is admirable in local forms, and even goes so far as to use them himself, then the people at once begin to look on their own products with pride. What was formerly ignored or even despised becomes suddenly something to be proud of. It is important that this pride involves products and techniques of which the local people have full knowledge and mastery. Thus the village craftsman is stimulated to use and develop the traditional local forms, simply because he sees them respected by a professional architect, while the ordinary person, the client, is once more in a position to understand and appreciate the craftsman's work.

In spite of this, we are witnessing a change that is now forcing a complete rupture with the past; every concept and every value has been reversed. For house design in the Middle East, the introverted plan wherein family life looked into the courtyard was changed to a plan with family life looking out upon the street. The cool, clean air, the serenity and reverence of the courtyard were shed, and the street was embraced with its heat, dust, and noise. Also, the qa'a [a central, high-ceilinged upper-story room for receiving guests, constructed so as to provide natural light and ensure ventilation] was supplanted by the ordinary salon, and all such delights as the fountain, the salsabil [a fountain or a basin of still water designed to increase air humidity], and the malqaf [wind catch] were discarded in the name of progress and modernity.

It may seem that, from the functional point of view, mechanical air-conditioning was made possible by modern technology; but we must recognize that such technologies also have a cultural role. In fact, this role may be even more important than the function it serves, considering the special place occupied by the decorative arts in many cultures.

(...)

In architectural criticism, the concepts of past, present, and future are used capriciously, and the present is extended to mean the whole modern epoch. To avoid being arbitrary, we must establish some standards of reference that involve the concept of contemporaneity.

(...)

Looking to the future, we see that the situation at any given time largely determines the coming stage in development and change. Thus there would be no problem were the present situation of architecture normal, that is to say, truly contemporary. The future would then take care of itself. But unfortunately that is not the case, and it is the responsibility of the modern architect to find a remedy. He must renew architecture from the moment when it was abandoned; and he must try to bridge the existing gap in its development by analyzing the elements of change, applying modern techniques to modify the valid methods established by our ancestors, and then developing new solutions that satisfy modern needs.



+INFO:
http://ag.arizona.edu/OALS/ALN/aln36/Fathy.html (articulo de arriba entero)

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