| VERNACULAR
ARCHITECTURE |
The
oldest surviving examples of traditional vernacular architecture
in the city of Srinagar dates back to early 19th Century.
This architectural style is solely represented by the residences
of the city and broadly falls into two distinct categories;
based on the structural system involved. Though many features
defined the internal spatial arrangements in both systems
remain to a large extent the same. These two systems are:
|
•
Taq System
• Dhajji-Dewari or Timber Braced (patch-quilt) System |
By
early 20th Century under the prevailing colonial influences,
a newer load bearing system had replaced both these traditional
construction system. The principle features of these systems
are: |
| Taq
System |
In
this system of construction 2 1/2 -3 ft. thick brick masonry
piers supporting wooden floor beams formed the basic structural
system of the building. The distance between two brick piers
used to be normally around 3-4 ft and was known as a taq.
The taq thus formed the basic structural bay of the building.
The gap in between each taq would be filled in with either
a window opening or brick masonry. Normally the inner facing
of the structure would be made of sun dried brick (kham seer
) or rubble infill. The super structure usually rested on
a 3-4 ft high stone plinth, constructed in random rubble masonry.
A series of twin wooden (deodar) tie beams as das separated
the stone masonry from burnt brick masonry of the superstructure
and acted as an isolated diaphragm in between the two layers.
In many cases the ground floor was also constructed in random
rubble masonry. The superstructure thus behaved as a framed
structure, which accounts for considerable success that these
buildings exhibited in withstanding earthquakes. An interesting
feature of many such buildings is the absence of a truss system
supporting the roof. The roof comprised a layer of earth covering
over birch bark and wooden planks resting on wooden rafters.
The rafters were in turn supported on a wooden log ( nar kooth
), running along the entire length of the building. This wooden
log was supported on load bearing masonry piers. Most of the
internal walls were usually 4-6 inches thick. In many of the
larger buildings, the ceiling would be supported on a centrally
placed wooden log ( nar kooth ) running along the length of
the building. Projecting floor joists would be used to support
bay windows known as dubs. This structural system seems to
have died out in the early part of 20th Century when load
bearing brick masonry became popular. Also, the manufacture
of maharaji bricks seems to have stopped. |
| DHAJJI-DEWARI |
The
dhajji-dewari construction is based on a braced timber framed
structural system, in which normally 4-9 inch thick brick
masonry was used to infill the gaps left in between these
braces. Very few buildings exist today whose construction
is based on this system entirely. As in taq system, the floors
were supported on wooden joists ( verami ). Normally this
system was limited to upper floor levels or attics ( kani
) of the building. No traces could be found of a construction
system wherein maharaji bricks were also used in this type
of construction system. This system of construction also shows
remarkable resilience to earthquakes. |
| SPATIAL
ORGANISATION AND PLANNING |
Most
of the buildings constructed on the above mentioned structural
systems show a common spatial arrangement and decorative elements.
The buildings can thus be subdivided into two categories on
the basis of plan form: |
•
Square Plan
• Linear Plan |
Many
of the smaller traditional buildings are based on a square
plan with the main entrance opening into a centrally located
staircase lobby. The lobby is flanked by one or two rooms
on either side, in ground as well as first floor. A part of
the lobby on the first floor is usually converted into a smaller
room (kuther) over the main entrance on ground floor. This
in some cases also encloses a projecting wooden bay window
(dub). The wooden staircase comprises a series of winders
and thus the space occupied by it is negligible in comparison
with the overall building size. The space underneath the staircase
is used as a storage space (ganjeen).
The second floor (kani) normally comprises a single large
hall which can be subdivided into three smaller rooms whenever
required with the help of foliated wooden varusis or partition
screens. A series of rectangular, square or octagonal wooden
bay windows or dubs usually project out on the main facade.
In certain cases the clear height of the ground floor would
be around 8-9 ft. while the upper floors would have higher
ceilings. Toilets and bathrooms would be accommodated in a
separate building block. In many cases, the second floor is
surmounted by a cruciform shaped attic space, brair-kani or
cats crawl which was used for storage. In certain isolated
cases, the roof itself is surmounted by an open square pavilion,
covered with a pyramidal roof known locally as zoon dub. Many
of the larger and more aristocratic houses, also known as
havelis comprise a linear, two or in certain cases three storey
buildings. These havelis would generally have two or more
buildings serving as living quarters (dewan-khana) and sleeping
quarters (mahal-khana) aligned around an open courtyard. The
entrance to these buildings was from a staircase lobby located
near one of the corners of the house. Internally the house
would have large halls which could be sub divided by means
of a wooden partition screen called varusi. In some cases
the house is connected to a long narrow corridor running at
the back along its entire length. Many of these havelis have
small Turkish baths or hammams on the ground floor. The courtyards
would sometimes be paved with locally available Baramulla
stone (paetri).
The main decorative building elements in both the plan forms
remain same. Lattice work screens and window shutters, profusely
carved wooden brackets, eaves board (morakh patt), pendants
(dour) are some of the main architectural elements associated
with them. Internally, the walls are covered with moulded
or incised mud plaster work or with intricately done naqashi.
Ceilings were generally covered with a variety of khatamband
patterns or in some cases with papier-mache work giving a
very sublime and sombre appearance to these buildings. |
