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There is a Korean version for this book, known as 'A Tale on a Gourna Village (?)' translated by Jung Ki Yong sunsangnim, published from Yeolwhadang.
Fathy is one of the earliest architects in the 20th century that intentionally adapted 'the response to the harsh climate' as primary criteria for design. In Gourna, Fathy's challenge was to overcome the glowing hotness of the Luxor, Egypt. His solutions can be categorized into two; first, maximize the thermal resistance to lower the conductivity of the heat from the sun; second, obtain as much air circulation inside the building.
First, Fathy used mud brick as his overall material for the project. Besides obtaining economic advantages, such as invigorating local economy and overcoming the barriers of the tough budget, mud brick enabled his buildings to prevent from solar radiation; moreover, he introduces Nubian method of covering (dome and vault) that require no wooden form for construction. These roofs not only crown the typological interpretations of Fathys precedents, but also help to intensify the thermal system that he is trying to address.
Second, Fathy uses passive cooling system as is primary design criteria for the design. Before going into further summary of Fathys somewhat direct adaptation of traditional ventilating systems, I would like to define some of the Egytian terms Islamic, more or less- that has direct relationship to the environmental devices.
1) Malqaf wind scoop (collector), in Egypt always faces north because prevailing wind is from either north or north-western.
2) Mashrabiya a screen with a lattice-grill work. Literally a drinking-place-thing, the alcove in wooden lattice windows where water in porous earthen bottles exposed to air currents was cooled by evaporation. One interesting aspect of this screen is that the joints (balustrades) help to reduce the glare of the sun, so Fathy claims that the joints should be more condensed at an eye level and loosened above an eye level. Thus in the end, it reduces the harshness of the sun glare at some level, nevertheless, it allows sufficient air circulation.
3) Qaa : Qaa is a reception hall in an Egytian house.
4) Dur-qaa : It is the square and depressed place under the clerestory situated in a center of the Qaa. Scholars interpret this space as a covered courtyard.
These are the four terms repeatedly used when Fathy refers to the traditional Egytian house. If you see the upper section from the below
image, it is interesting to note how the wind scoop is incorporated into the whole structure. His invitation of the natural wind passively cools the air inside and farewells through the clerestory beneath the central dome. Spatially, this Dur-qaa allows the central verticality to the horizontal configuration of the Qaa. Moreover, esthetical point of view, the clerestory intensifies the hovering effect of the dome.
As it is hot and arid in Egypt, the reminiscence of fountain or well - in the courtyard - is still in the Dur-qaa. Lisa Heschongs claim, as I mentioned earlier, that the sheltering of the thermal setting impregnated the centrality to the space is also legible here.
The lower section in this image demonstrates how Fathy adapts these ideas. Furthermore in his text, he raises really intriguing questions concerning where to put larger openings to accomplish the most effective cross ventilation. Should the larger openings face the preceding wind or should they be on the other side? Seen as an elevation should the openings be situated upper side? Fathy did claim that the smaller openings should be situated on the upper part of the wind-facing wall and much larger openings should be situated on the other side.
Lets move on to our traditional architecture. Hein Buddhist Monastery has one of the greatest examples that bare cross ventilation system.
We are the descendants of the greatest wind-masters in the world. Soodarajang and Bupbojun in Haeinsa testify to this declaration. How did our forefathers manipulate the wind?
These two elongated buildings stand longitudinally next to each other. To adjust the slope of the land, this master carefully changed the height of the Soodarajang on the lower side. One cannot deny that the sizes of the openings were designed to maximize the air circulation.
Fathys demonstration of the wind flow does not happen here. There are some variables here: slope of the land, slope of the roof. But, how is it working?
Once we understand the underlying logic of this wind flow, then, one of the most challenging issues solved by our precedents can be adapted everywhere.
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