Thesis (M.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1993. / Includes bibliographical references (leaves 107-111). / This thesis is developed as a critical study of the representations of the Cairene house in the contexts of colonial and post-colonial times. Based on the observation that the introverted image of the house remains constant over the two eras, it explores the underlying cultural agendas with relation to the issue of gender segregation in the house. The two canonical representations of the house in their respective times; by Edward W. Lane in mid 19th century and by Hassan Fathy in mid and late 20th century, defined the Cairene house with constant thematic focus on its introverted character. This inwardness is inextricably related with the social practice of separation of genders in the Cairene society which was addressed in both representations in varying degrees. In colonial representation, the focus on the introverted character of the Cairene house became a venue for commenting on the social practice of subjugating woman in the Cairene society. Certain selected type of urban residences affirmed the colonial thesis of segregation of woman in the house. Thus the representation showed an overt emphasis on harem quarter and its associated architectural and spatial elements. The harem was highlighted to assert the difference between the social norms of the colonized and the colonizing cultures. The Middle Eastern society was thus categorically reduced to a segregative and inferior Other which in reciprocity defined the liberal and superior identity of the colonizing West. The post-colonial representation perpetuated the same introverted image of the Cairene house to establish an Arab identity. This identity is anti-western, which looked for its precedents in examples considered uncontaminated by the western Influence. Climatic and social rationalization established the same interiority as appropriate and contextual. In this reversal of connotation, segregation became privacy. The anti-colonial rhetoric of identity of the self is both a reaction to and a derivation from the colonial representation of the Other. The post-colonial search for identity paradoxically ends up in replicating the colonial image of the Cairene house. The post-colonial representation of the Cairene house exploits the traditional and segregated role of woman in the domestic space in establishing an anti-western identity. This speaks of an internal male-female power hierarchy, as Asish Nandy observes, " ... the internal colonialism in turn uses the fact of external threat to legitimize and perpetuate itself." Caught in the politics of identity, the representations of the Cairene house affirmed the secluded existence of woman in the society. / by Asiya Chowdhury. / M.S.

[EN] In the first half of the 20th century, Mexico, India and Egypt, embarked in a process of cultural self-affirmation that will live its mark in their national architecture. These three countries are placed in regions with an architectural heritage for thousands of years that, unfortunately, they have been disrespected during the Western occupation. Far from a change taking place, the blind faith in Western culture made them embrace the international style that hardly could be accepted by the lack of technical adequacy and scarcity of economic resources. Against this background, three figures emerged that are the purpose for this study: Hassan Fathy, Juan O'Gorman y Balkrishna V. Doshi. These architects present parallel lives; located obstinately against the century of the specialization and committed to acting as a guard of the local traditions. These architects will try to achieve answers to the questions of architectural identity suitable to their new nations. An identity which modernity is based on the local tradition and the technology adapted to the level of development of their countries and appropriable for their beneficiaries. The study tries to demonstrate the degree of affinity of their discourses, despite the apparent distance of their homelands. We will focus on the strategies to confront those common problems that they found in the course of their works. These strategies will form a common catalogue of architecturally applicable solutions in developing countries who try to reach the benefits of globalization without giving up their cultural roots. / [ES] En la primera mitad del siglo XX, México, India y Egipto, se embarcaron en un proceso de autoafirmación cultural que tendrá su eco en la arquitectura nacional. Se trata de tres estados asentados en regiones con una herencia arquitectónica de miles de años que, lamentablemente, había sido denostada en una lucha de poder durante la ocupación occidental. Lejos de producirse un cambio, la fe ciega en occidente les hizo abrazar un estilo internacional que a duras penas podía ser aceptado por la falta de adecuación técnica y carestía de recursos económicos. Ante este panorama, surgieron las tres figuras que son objeto de estudio: Hassan Fathy, Juan O'Gorman y Balkrishna V. Doshi. Estos arquitectos presentan vidas paralelas; ubicadas tercamente a contracorriente en el siglo de la especialización y empeñadas en actuar como centinelas de las tradiciones locales. Los tres arquitectos tratarán de lograr respuestas a las cuestiones de identidad arquitectónica dentro de sus naciones embrionarias. Una identidad cuya modernidad se base en la tradición local y la tecnología apropiada al nivel de desarrollo de sus países natales y apropiable por sus beneficiarios. El estudio pretende demostrar el grado de afinidad de sus discursos, pese a la lejanía aparente de sus países de origen. Se incidirá sobre sus estrategias para afrontar aquellos problemas comunes que se encontraron en el ejercicio de su profesión. Estas estrategias configurarán un catálogo común de soluciones arquitectónicas aplicables en países en vías de desarrollo que pretendan alcanzar los beneficios de la globalización sin renunciar a sus orígenes. / [CA] En la primera meitat del segle XX, Mèxic, Índia i Egipte, es van embarcar en un procés d'autoafirmació cultural que tindrà el seu ressò en l'arquitectura nacional. Es tracta de tres estats assentats en regions amb una herència arquitectònica de milers d'anys que, lamentablement, havia estat injuriada en una lluita de poder durant l'ocupació occidental. Lluny de produir-se un canvi, la fe cega en occident els va fer abraçar un estil internacional que amb prou feines podia ser acceptat per la falta d'adequació tècnica i carestia de recursos econòmics. Davant aquest panorama, van sorgir les tres figures que són objecte d'estudi: Hassan Fathy, Juan O'Gorman i Balkrishna V. Doshi. Aquests arquitectes presenten vides paral·leles; situades tossudament a contracorrent al segle de l'especialització i obstinades a actuar com a sentinelles de les tradicions locals. Els tres arquitectes tractaran d'aconseguir respostes a les qüestions d'identitat arquitectònica dins de les seves nacions embrionàries. Una identitat moderna basada en la tradició local i la tecnologia apropiada al nivell de desenvolupament dels seus països natals i apropiable pels seus beneficiaris. L'estudi pretén demostrar el grau d'afinitat dels seus discursos, malgrat la llunyania aparent dels seus països d'origen. S'incidirà sobre les seves estratègies per afrontar aquells problemes comuns que es van trobar en l'exercici de la seva professió. Aquestes estratègies configuraran un catàleg comú de solucions arquitectòniques aplicables en països en vies de desenvolupament que pretenguin aconseguir els beneficis de la globalització sense renunciar als seus orígens. / Artola Dols, S. (2015). VIDAS PARALELAS: HASSAN FATHY, JUAN O'GORMAN Y BALKRISHNA DOSHI. Paralelismos y divergencias a través de sus obras y teorías sobre arquitectura en el contexto postcolonial [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/59435