A mashrabiya or mashrabiyya (Arabic: مشربية) is an architectural element which is characteristic of traditional architecture in the Islamic world and beyond. It is a type of projecting oriel window enclosed with carved wood latticework located on the upper floors of a building, sometimes enhanced with stained glass. It was traditionally used to catch wind and for passive cooling. Jars and basins of water could be placed in it to cause evaporative cooling. It is most commonly used on the street side of the building; however, it may also be used internally on the sahn (courtyard) side. The term mashrabiya is sometimes used of similar lattices elsewhere, for instance in a takhtabush. It is similar to Indian jali. It has been used since the Middle Ages, reached a peak during the Ottoman period, but fell into decline in the late 19th century and the first half of the 20th century. However, interest in sustainable architecture has contributed to a revival of the mashrabiya and other elements of vernacular architecture.
Names and etymology The term mashrabiya is derived from the triliteral root Š-R-B, which generally denotes drinking or absorbing. There are two theories for its name:
The more common theory is that the term was derived from the Arabic word, sharaba (meaning to drink) because the space was used for a small wooden shelf where the drinking water pots were stored. The shelf was enclosed by wood and located at the window in order to keep the water cool. Later on, this shelf evolved until it became part of the room with a full enclosure and retained the name despite the radical change in use. The less common theory is that the name was originally mashrafiya, derived from the verb shrafa, meaning to overlook or to observe. During the centuries, the name slowly changed because of sound change and the influence of other languages. The mashrabiya is known by different labels across the Arab world; Takhrima in Yemen; Barmaqli or Gannariya in Tunis, Shanashil or Rowshin in Iraq and Jeddah. It is also called shanshūl (شنشول) or rōshān (روشان). Other terms also exist to describe variants of this architectural feature beyond the Arabic world. In Turkish it is called şahnişin, from Persian, adopted into Greek as sachnisi. In Malta, they are known by the cognate term muxrabija.
History The origins of mashrabiya are uncertain; however, the earliest evidence of the mashrabiya, in its current form, dates to the 12th century in Baghdad during the Abbasid period. In Iraq during the 1920s and 1930s, the designs of the latticework were influenced by the Art Nouveau and Art Deco movements of the time. Mashrabiyas, along with other distinct features of historic Islamic architecture, were being demolished as part of a modernisation program across the Arab world from the first decades of the 20th century. In Baghdad, members of the arts community feared that vernacular architecture would be lost permanently and took steps to preserve them. The architect, Rifat Chadirji and his father, Kamil, photographed structures and monuments across Iraq and the Saudi region, and published a book of photographs. Such initiatives have contributed to a renewed interest in traditional practices as a means of building sustainable residences in harsh climatic conditions.
Construction Mashrabiya are vernacular architectural elements; a type of balcony or oriel window in the form of a small latticed opening encasing the second or higher floors of a building and typically overlooking an internal courtyard. They are usually cantilevered to add more square footage to the upper floors, as well as providing shade to the first-floor windows. The lattice work ranges from simple geometric shapes through to ornate patterns. Architecturally, they are designed to satisfy one or more of the following functions:
control air flow reduce the temperature of the air current increase the humidity of the air current provide privacy Latticework designs differ from region to region, however the commonly used patterns include:
Hexagonal – a simple geometric design with repeating hexagonal patterns Kanaysi or Church – long narrow balusters which are assembled vertically Maymoni – mesh with rounded balusters in some sections and squared balusters in other areas Cross – the short round balusters assembled diagonally, vertical and horizontally Sahrigi (Cistern turnery) large balusters in a wide mesh, and it is typically used in the upper part of the Mashrabiya Other – a variety of complex patterns using amalgamation of existing designs and repetition, used by skilled artisans Effective ventilation and passive cooling could be enhanced by adding a water jar, also known as a qullah, inside the mashrabiya. Most mashrabiyas are closed where the latticework is lined with stained glass and part of the mashrabiya is designed to be opened like a window, often sliding windows to save space; in this case the area contained is part of the upper floor rooms hence enlarging the floor plan. Some mashrabiyas are open and not lined with glass; the mashrabiya functions as a balcony and the space enclosed is independent of the upper floor rooms and accessed through those rooms with windows opening towards it. Sometimes the woodwork is reduced making the mashrabiya resemble a regular roofed balcony; this type of mashrabiya is mostly used if the house is facing an open landscape such as a river, a cliff below or simply a farm, rather than other houses.
Functions
Social One of the major purposes of the mashrabiya is privacy, an essential aspect of Arab culture. From the mashrabiya window, occupants can obtain a good view of the street without being seen. The mashrabiya was an integral part of Arab lifestyle. Typically, people did not sleep in any assigned room, rather they would take their mattresses and move to areas that offered the greatest comfort according to the seasons: to the mashrabiya (or shanashil) in winter, to the courtyard in spring or to vaulted basements in summer.
Environment
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