Patterns of Mashrabiya
Speaking of patterns of Mashrabiya, Fathy confirmed the existence of different patterns of Mashrabiya and each has a name in his book, but these were not discussed in detail. It seems likely that the arabesque craft was so widespread that the names were traded just like fashion and at the time everyone knew these names. It did not occur to anyone that the day might come when Mashrabiya would go out of fashion and lose many of its features as well as the traded names.
While orientalists mentioned some names, architectural researchers referred to others and Fathy pointed out some others through his explanation of lighting. Also some theses mentioned the models, but only gave descriptions. However there was no subtitle to go under the title of Mashrabiya patterns that presents a clear, full and detailed explanation. Therefore this study aims, as far as possible, to bring together a total, documented and full reference for all the names of patterns that were previously mentioned randomly.
From the aforementioned, it is obvious that the functional role of the Mashrabiya requires a full understanding in order to choose the appropriate distances between the balusters and their diameter. Thus various patterns of Mashrabiya were produced, that were known by a variety of names.
Naturally, the names have regional variations, as with the detailing and style of Mashrabiya that changed between countries. However, it is important to note that functionally the Mashrabiya always performed the same role.
The lattice was distinctive in its intricacy and delicacy, creating the style which is most commonly recognized as true ‘Mashrabiya’
The patterns of Mashrabiya were composed of simple geometric shapes, and often ewer or calligraphy designs from the Quran, because of the prohibition in the religion of Islam of the portrayal of any living being (Feeney, 1974). Besides, the simple shapes are easy to construct by manual way.
The major technical feature of the construction of the Mashrabiya as a climate regulator element, where the distances between the interstices, the size and volume of the balusters, all directly affect glare and temperature, as well as the level of humidity and airflow within the building (Fathy, 1986) .
Additionally, there is a close relationship between geometry and Islamic art in general, on the one hand, and calligraphy on the other.
“The works of Islamic art…can be identified, described, and judged according to a relatively small number of principles which form their essence. One of these principles is geometry, which therefore became a whole book. The second premise is a reluctance to deal with history, to accept even incompatible varieties or irreversible changes as expressive of cultural wealth rather than a regrettable weakness.
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Some researchers, in referring to the names of some of the common patterns of lattices, have named the different design styles in the following way:
The Hexagon (Figure 3.18) (Spencer, 1990)
The Church or (Kanaysi in Arabic): the design consists of long, narrow balusters which are assembled vertically, and the shape of the turned baluster looks like the legs of a pigeon (Figures 3.19- 3.20) (Ashi, 2010).
The Maymoni pattern is attributed to a town called Maymoniya in Egypt, it is a perpendicular mesh, and its balusters have squared sections in some areas and rounded sections in other areas (Figures 3.21- 3.22) (Ashi, 2010).
The Cross pattern is made of short round balusters which are assembled diagonally, vertically and horizontally (Figures 3.23- 3.24) (Ashraf, 1983).
The Sahrigi (Cistern turnery) pattern is attributed to a town called Sahrig in Egypt. This pattern includes large balusters in a wide mesh, and it is used in the upper part of the Mashrabiya, as mentioned in (3.2) (Fathy, 1986) (Figure 3.25).
In addition, depending on the relative skills of the craftsmen, there are some very complicated patterns of Mashrabiya that consist of up to 2000 pieces to one square yard. (Spencer, 1990) Figure 3.26 shows some of them.
Figure 3.18: The Hexagon Pattern of Mashrabiya (http://patterninislamicart.com/archive/main/2/india/ind0630)
Figure 3.19: The Church Pattern of Mashrabiya (Luxury crafts, 2011)
Figure 3.20: Notice the shape of the baluster in the Church pattern, how it looks like the legs of a pigeon (Luxury crafts, 2011)
Figure 3.21: The Maymoni Pattern of Mashrabiya (Luxury crafts, 2011)
Figure 3.22: The Maymoni Pattern works sometimes like the Sahrigi Pattern in the wide mesh that is provided, especially when it is used in the upper part of Mashrabiya (Luxury crafts, 2011)
Figure 3.23: The Cross Pattern of Mashrabiya (Luxury crafts, 2011)
Figure 3.24: The cross pattern with different colored wood and small spacing (Luxury crafts, 2011)
Figure 3.25: Mashrabiya at Jamal al-Din alZahabi’s house which shows the increase in the spacing between the balusters in the Sahrigi Pattern in the upper part (Fathy, 1986)
Figure 3.26: Some styles of screens (Jean, 1976)
Highly skilled craftsmen are able to integrate different patterns in the same Mashrabiya (Figures 3.27- 3.31).
Figure 3.27: Mashrabiya with the Maymoni and the Church Patterns (Luxury crafts, 2011)
Figure 3.28: Mashrabiya with Cross and Church Patterns (Luxury crafts, 2011)
Figure 3.29: Mashrabiya with a Sahrigi pattern in the upper part and a Maymoni pattern in the lower one – Gayer Anderson House, Cairo-Egypt (Alothman, 2016)
Figure 3.30: Mashrabiya with different patterns at AlSuhaimi House in Cairo - Egypt (Alothman, 2016)
Figure 3.31: Mashrabiya with three types of patterns together (Alothman, 2016)
It is important to reaffirm that not all prominent windows are Mashrabiya. There should be one pattern at least, for example in the Figure 3.32 which is just a prominent window with normal wooden shutters, indicating that it has no Mashrabiya functions.
Figure 3.32: A prominent window with normal wooden shutters, therefore not Mashrabiya (https://totemscity.files.wordpress.com/2011/03/masjidaytimishareadsc_0674.jpg)
