Mashrabiya

Did You Know?

• In Iraq during the 1920s and 1930s, mashrabiya latticework designs were influenced by Art Nouveau and Art Deco movements.
• Mashrabiyas were demolished as part of a modernisation program across the Arab world from the early 20th century.

Names and etymology

The term mashrabiya derives from the Arabic root Š-R-B, relating to drinking or absorbing. The more common theory holds that it comes from sharaba (to drink), because the space originally held a small wooden shelf for storing drinking water pots to keep them cool; this shelf later evolved into a full enclosure while retaining the name. A less common theory suggests the original name was mashrafiya, from shrafa (to overlook), which changed over time due to sound shifts and language contact. Across the Arab world, the feature is known by various labels: takhrima in Yemen; barmaqli or gannariya in Tunis; shanashil or rowshin in Iraq and Jeddah; and shanshūl or rōshān. In Turkish it is called şahnişin, from Persian, and in Maltese the cognate term is muxrabija.

Construction

Mashrabiyas are vernacular architectural elements, typically cantilevered balconies or oriel windows on upper floors, often overlooking an internal courtyard. They add square footage to upper floors and shade first-floor windows. The latticework ranges from simple geometric shapes to ornate patterns and is designed to control airflow, reduce air temperature, increase humidity, and provide privacy. Common lattice patterns include hexagonal, kanaysi (long narrow balusters assembled vertically), maymoni (mesh with rounded and squared balusters), cross (short round balusters assembled diagonally, vertically, and horizontally), sahrigi (large balusters in a wide mesh, used in the upper part), and other complex patterns. A water jar (qullah) placed inside enhances ventilation and passive cooling. Most mashrabiyas are closed, with latticework lined by stained glass and sliding windows; some are open, functioning as balconies independent of the upper rooms. In some cases, reduced woodwork makes the mashrabiya resemble a regular roofed balcony, used when the house faces an open landscape.

Functions

A major purpose of the mashrabiya is privacy, allowing occupants to view the street without being seen. It was an integral part of Arab lifestyle; people would move their mattresses to the mashrabiya in winter for comfort. The wooden screen with openable windows provides shade and protection from the hot sun while allowing cool air to flow through. Latticework typically has smaller openings at the bottom and larger ones higher up, creating a fast draft above the head and slower airflow below, providing comfortable air movement. Placing jars of water in the area enhances cooling through evaporation. The projection of the mashrabiya allows air from three sides to enter, even when wind blows parallel to the façade. A row of projected mashrabiyas shelters the street from rain or sun, cooling the air in narrow streets and increasing pressure relative to the open courtyard, encouraging airflow through the house. They also provide shade and protection for ground-floor windows.

In literature and art

The mashrabiya, a notable feature of traditional architecture rich in symbolism, has captured the imagination of many creative figures. From the 1500s to the 1800s, Western travelers journeying overland from Aleppo to Basra along the Great Desert Caravan Route recorded their observations of local buildings, often focusing on windows and mashrabiyas. Among these writers were the Portuguese explorer Pedro Teixeira, Danish cartographer Carsten Niebuhr, English traveler John Jackson, German architectural historian Oskar Reuther, and English artist Tristram Ellis. A common observation was the lack of ground-floor windows facing the street. In 1745, William Beawes described this as "very disagreeable to Europeans," while John Jackson, traveling three decades later, compared the homes to "prisons." Niebuhr noted that in hot climates, glazed windows were uncommon, with latticed openings instead offering airflow and light. Tristram Ellis, writing in 1881, offered a thorough description of shanashil in Baghdad, highlighting overhanging windows with colored glass set into carved, dark-painted wood. He remarked that locals took great pride in this decoration, which they considered uniquely their own, though its roots were likely Persian.