PARADISE ON EARTH: TRADITIONAL HOUSING IN JAMMU AND KASHMIR
- Malika Vaidya
- Nov 12, 2020
- 5 min read
The top most state in India, Jammu and Kashmir, occupies a special place in every Indian’s heart. Described once as ‘Heaven on Earth’ by the Mughal emperor Jehangir, the state has been embroiled in conflict and dispute since India’s independence leading to a grave loss towards both the culture and traditional architecture of the state.
The former state and henceforth a union territory, Jammu and Kashmir can geographically be divided into two areas –
Jammu: mainly a plain area
Kashmir: mainly a valley area
“Gar Firdaus bar-rue zamin ast, Hami asto, hamin asto, hamin ast.”
“If there is a heaven on earth, it’s here, it’s here, it’s here.”
This was quoted by the Mughal Emperor Jahangir when he visited the Paradise on earth, Kashmir.
THE STREETS OF KASHMIR
One of the main flourishing cities in J&K is the capital- Srinagar, developed along the banks of river Jhelum. The river Jhelum determined the settlement pattern in much of Kashmir, especially Srinagar, with the city developing at a number of sites on the banks of the river and the canal network formed by it. The streets developed in a linear pattern with the river forming the main spine and streets running parallel on both sides of the bank. A series of narrow lanes ran perpendicular to the river with bridges connecting both sides.
The settlement pattern along the river depended either on the occupation or clan, with each clan occupying the main town or core area of the region. The streets were termed as Mohallas and these were the spaces where the typical vernacular architecture of the region was found.
The image of Srinagar is that of traditional Kashmiri river front houses with a Zoon Dub – a cantilevered balcony used to view the moon (called Zoon in Kashmiri), or balconies and eaves with beautiful pinjarakari work. The vernacular and colonial architecture in this sense does celebrate the skill of Kashmiri craftsmen and demonstrates the use of local stone, wood and brick in traditional dwellings in adapting to the geography of the region.
A continuous array of houses with projecting balconies facing the river front developed along the canals and riverfront as the Jhelum river was initially the major mode of transport in the area. This led to the development of ghats which served as a landing space with some houses having steps leading directly from the water to an inner portico.
ARCHITECTURAL INSIGHT
The traditional buildings were typically three to four storey high, with basements contained within the retaining walls along the riverside. The Dub (balcony) over looked the river or the main street and was generally located on the southern side so that the winter sunlight could penetrate the house.
The plans were generally square or linear, so that a minimum of external walls was exposed and heat was conserved in the cold winter. Many of the traditional buildings were based on a square plan with the main entrance opening into a centrally located staircase lobby. The lobby was flanked by one or two rooms on either side. The space above the entrance on the first floor sometimes enclosed a Dub.
The second floor (kani) comprised of a single large hall, which could be subdivided into three smaller rooms with the help of partition screens. Many of the larger and more aristocratic houses, also known as havelis comprised a linear, two or in certain cases three storey buildings.
Each house had lattice screens with beautiful Pinjarakari work and window shutters, carved wooden brackets, eaves board (morakh patt), pendants (dour) with steeply pitched rooftops, which permitted little accumulation of snow.
The interior roofs had false ceilings in wooden khatamband panels, of interlocking geometric shapes which traced their origins to Persian art. Made of walnut or deodar, the wooden panels were known for their invisible joinery. Even more expensive than the khatamband panels were false ceilings of painted papier mache panels, executed by craftsmen who were brought to India from Iran by the Budshah Zain-ul-Abedin in the 15th century. The motifs on the ceilings bear a resemblance to Kashmiri Jamawar shawls. Very few ceilings survive today, with the ones existing being extensively damaged.
TYPES OF KASHMIRI CONSTRUCTION
The traditional houses in Kashmir can be divided into two categories based on their method of construction - Taq construction and Dhajji Dewari.
Both these construction techniques were developed in response to the topographical and geographical needs. Falling in the highest risk seismic V zone, the region is prone to moderate to severe seismic activity, amplified by its location on the Riasi fault.
The Dhajji Dewari technique uses a structure of wooden bracing or interlacing, with the gaps being filled with stone rubble and/or single brick. The wooden frames combined with the mud plaster are more elastic than reinforced concrete, and survive earthquakes far more successfully. This style of construction has a strong Central Asian influence and can be found in Pakistan, Iran and all the way to Turkey. Wooden trussed frames are filled with rubble in the ground floor, while horizontal wooden supports lead to higher floors which are made of bricks. Wooden tie beams at plinth level known as das are known to cushion the impact of an earthquake as well.
The Taq technique uses two to three feet thick brick masonry piers which support wooden floor beams forming the basic structural system of the building. Taq means window, hence, the gaps between the piers is filled with either a window opening or brick masonry, often decorated with detailing in painted stucco. Internal walls are plastered with fine clay over a coarser base of clay and straw, in a process known as livum.
The roof comprises a layer of earth covering over birchbark and wooden planks resting on wooden rafters.
Often, in large mansions, the Dhajji Dewari style was used to make attics while the lower floors were made in taq construction.
KASHMIR AND IT'S BEAUTY
The building systems in the region developed and evolved to accommodate the local natural and cultural factors and are a fine example of earthquake resistant structures. The buildings depended on the use of local stone, wood, mud and bricks (a special Kashmiri brick known as Maharaja brick) for construction.
Over the decades, the influx of new materials such as cement and CGI sheets into the market and their favourable cost has led to non- indigenous cement structures replacing the traditional building techniques. Apart from replacing the traditional form, these cement structures do not respond to the geographical needs. This was highlighted in the case of the city Bam in Iran, where earthquakes flattened modern cement structures while buildings constructed in the Dhajji Dewari style came out unscathed.
Kashmir as a region has had a turmoiled past, which has affected both the people and architecture of the region. But that cannot excuse the neglect faced by the vernacular architecture of the region, which has lost to the ravages of time and violence.
The paradise described by Mughal emperor Jehangir may have been lost to time, but there might still be some left on the clock to restore it.
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