The Mashrabiya can historically be traced back to the Mamluk and Ottoman periods in Egypt (1517~1905) (Abdelgelil 2006). Since then, several culturally specific Mashrabiya have evolved according to their context and region. The definitions discussed here are related to the meaning and the functional and regional characteristics of the Mashrabiya.

A Mashrabiya is defined in the Oxford Dictionary of Architecture (Curl and Wilson 2015) as a timber ‘lattice screen’ that is often intricate, geometric and beautiful in Islamic architecture. The word Mashrabiya is argued to be derived from the Arabic verb Shareba, which means ‘to drink’ (Kenzari and Elsheshtawy 2003; Elshorbaji 2010).

This connection derives from the clay jars (Jara) containing water placed inside Mashrabiya inner shelves to passively cool the air current. Another important cultural connection of the Mashrabiya is Mashrafiya, derived from the Arabic word Sharefa, which relates to the high position of the openings and the fact that Mashrabiyas overlook lower spaces and passers-by (Almurahhem 2008; Aljowder 2014).

The form is also argued to overlap with another archetype known as Rawashen, which is found in the Hedjazi houses of Saudi Arabia (Almurahhem 2008) or the Shanasheel of Iran and Iraq. It is also thought to be linked to the Ottoman Empire Heremlik window grill termed Kafe (Sedky 1999). The term usually describes a projected bay or protected closed balcony with small openings so that the female inside the dwelling can look outside without being seen from the outside. As Sidawi (2012) clarifies, unveiling may violate the Islamic requirement for women to have privacy; the veil (head and body cover) enables them to remain covered to non-kinsmen. Outside the Middle East, Hui (2005) argues that Architecture treatments such as the Brise Soleil and Claustrum can also align with the functions and role of Mashrabiya within a facade.