DISSERTATION Year: 2020-21 Batch No. 18
VISUAL CONNECTIVITY VIA JAALI DESIGN
Undertaken by: Tanya Kaushik Enrollment No.: 16E1AAARF40P128 V Year B.Arch (C)
Prof. NAVEEN SHARMA
Prof. ARCHANA SINGH
GUIDE COORDINATOR
Aayojan School of Architecture ISI-4, RIICO Institutional Block, Sitapura, Jaipur-302022
APPROVAL The study titled “Visual Connectivity via Jaali Design” is hereby approved as an original work of Tanya Kaushik, enrollment no. 16E1AAARF40P128 on the approved subject carried out and presented in manner satisfactory to warrant its acceptance as per the standard laid down by the university. This report has been submitted in the partial fulfillment for the award of Bachelor of Architecture degree from Rajasthan Technical University, Kota. It is to be understood that the undersigned does not necessarily endorse or approve any statement made, any opinion expressed or conclusion drawn therein, but approves the study only for the purpose it has been submitted. 06-12-2020 Jaipur
EXTERNAL EXAMINER 1
Prof. K.S. MAHAJANI PRINCIPAL
EXTERNAL EXAMINER 2
Prof. ARCHANA SINGH COORDINATOR
i
DECLARATION I, Tanya Kaushik here by solemnly declare that the research work undertaken by me, titled ‘Visual connectivity via jaali design’ is my original work and wherever I have incorporated any information in the form of photographs, text, data, maps, drawings, etc. from different sources, has been duly acknowledged in my report. This dissertation has been completed under the supervision of the guide allotted to me by the school. Further, whenever and wherever my work shall be presented or published it will be jointly authored with my guide.
Tanya Kaushik V Year B. Arch (C) Aayojan School of Architecture, Jaipur
CERTIFICATE This is to certify that the research titled, Visual connectivity via jaali design is a bonafide work by Tanya Kaushik of Aayojan School of Architecture, Jaipur. This research work has been completed under my guidance and supervision in a satisfactory manner. This report has been submitted in partial fulfillment of award of BACHELOR OF ARCHITECTURE degree from Rajasthan Technical University, Kota. This research work fulfills the requirements relating to the nature and standard laid down by the Rajasthan Technical University.
Prof. Naveen Sharma Guide Aayojan School of Architecture,Jaipur
ii
ACKNOWLEDGEMENT I feel extremely grateful upon completion of my research work and would like to present my profound appreciation to all those who have lent a helping hand during this endeavour. This report would not have been possible without their contribution. I wish to express my sincere gratitude to my guide, Prof. Naveen Sharma who offered his expertise, encouragement and patience throughout the dissertation process and helped me carry out the research in the right way. I also thank the Director of Aayojan School of Architecture, Prof. K. S. Mahajani and Dean of Academics, Prof. N.S. Rathore for providing me the opportunity to embark on this journey and move forward with this subject matter. I would thank my coordinator, Prof. A.S. Rathore. In every phase of this journey, her supervision and guidance shaped this report to be completed successfully. I would also like to thank all my professors who helped me broaden my knowledge in the field of architecture. Lastly, I also thank my family and friends for their constant support and affection.
Tanya Kaushik V Year B.Arch. (C) Aayojan School of Architecture, Jaipur iii
ABSTRACT The 16th-century architectural device has slid through time and space, advancing with materials and technology and has become a major element of Indian architecture. It has been proven long back that, this perforated screen is not only aesthetically appealing, but also acts as a passive cooling element. It provides shade from the sun, while promoting air circulation and natural lighting. One factor which has not caught attention is the visual connection a jaali offers, while a user walks through different spaces. This dissertation aims to establish the role of Jaali as an essential architectural tool to regulate the visual connectivity within spaces. The important question is what modifications can be done in a single jaali pattern which respect to its surroundings and how does it affect the visibility. The study begins with understanding the concept of visual connectivity in architecture. Further, it is limited to Indo-Saracenic (Indo-Islamic) architecture and it starts with a background study of architectural elements of this era. It moves onto how a simple geometrical pattern evolved into a jaali through various Islamic dynasties, right from the Umayyad Dynasty to the Mughal empire and how is it used in contemporary architecture. The variation in visual connectivity is observed by studying few cases in which jaali is extensively utilized. The method used for analyzing a particular jaali is based on certain parameters that contribute to its design. One of the principal outcomes of this research is to conclude that a jaali functions as an element of visual connectivity and it can be regulated according to the type of space in which it is to be placed.
iv
CONTENTS
PAGE NO.
Approval Declaration Certificate Acknowledgement Abstract Contents List of illustrations List of tables
i ii ii iii iv v-vi vii x
CHAPTER 1: INTRODUCTION 1.1 Background of the study 1.2 Criteria of selection 1.3 Hypothesis 1.4 Aim 1.6 Objectives 1.7 Scope and Limitations 1.8 Parameters 1.9 Methodology
1-6
CHAPTER 2: SIGNIFICANCE OF JAALI IN ARCHITECTURE
2.1 Introduction to Indo- Saracenic Architecture 2.1.1 Features of Indo- Saracenic Architecture 2.2 Chronological Evolution of Jaali 2.2.1 Significance of geometry in Islamic religion 2.2.2 Jaali evolution through Islamic dynasties 2.3 Jaali in contemporary architecture 2.3.1 Significant features and functions
CHAPTER 3: CASE STUDIES 3.1 Lahore Fort 3.1.1 Introduction 3.1.2 Jaali design 3.1.3 Jaali usage in different spaces 3.2 18 Screens House 3.2.1 Introduction 3.2.2 Jaali design 3.2.3 Jaali usage in different spaces
CHAPTER 4: REGULATION OF VISUAL CONNECTIVITY 4.1 Case Study 1- Lahore Fort 4.1.1 Theoretrical Study of the Pattern 1
1 2 3 3 3 3 4 5
7-17 7 9 11 11 12 16 17
18-23 18 18 19 20 21 21 22 23
25-60 25-36 25
v
4.1.2 Regulation on the basis of balustrade width 4.1.3 Regulation on the basis of balustrade thickness 4.1.4 Regulation on the basis of user distance 4.1.5 Regulation on the basis of color and light variation 4.1.6 Regulation on the basis of module placement 4.2 Case Study 1- Lahore Fort 4.2.1 Theoretrical Study of the Pattern 2 4.2.2 Regulation on the basis of balustrade width 4.2.3 Regulation on the basis of balustrade thickness 4.2.4 Regulation on the basis of user distance 4.2.5 Regulation on the basis of color and light variation 4.2.6 Regulation on the basis of module placement 4.3 Case Study 1- 18 Screens House 4.3.1 Theoretrical Study of the Pattern 1 4.3.2 Regulation on the basis of balustrade width 4.3.3 Regulation on the basis of balustrade thickness 4.3.4 Regulation on the basis of user distance 4.3.5 Regulation on the basis of color and light variation 4.3.6 Regulation on the basis of module placement
CHAPTER 5: CONCLUSIONS & RECOMMENDATIONS
26 27 28 35 36 37-49 37 37 38 39 47 49 49-60 49 50 51 52 59 60
61– 62
5.1 Conclusion 5.1.1 Visual connectivity in different spaces
61 62
GLOSSARY OF TERMS BIBLIOGRAPHY
xi xii
vi
S.NO. 1.1 1.2 1.3 1.4 1.5 1.6,1.7 1.8 1.9 2.1 2.2 2.3 2.4 2.5 2.6 2.7 2.8 2.9 2.10 2.11 2.12 2.13 2.14 2.15 2.16 2.17 2.18 2.19 2.20 2.21,2.22 2.23 2.24 2.25 2.26,27,28 2.29,30,31 2.32,33,34 2.35,36,37 2.38,39,40 2.41,42,43
LIST OF ILLUSTRATIONS TITLE
House in Parada de Tibaes Haight Clothing Store Boundary Wall Farnsworth House, Mies Van Der Rohe Glass house, Philip Johnson Office Building, South Korea Office Building, Germany Methodology Table Ardhai Din ka Jhompra, Ajmer Quwwat-ul-Islam, Delhi Qutub Minar, Delhi Jami Masjid, Ahmedabad Sidi Sayyid Masjid, Ahmedabad Char Minar, Hyderabad Jami Masjid, Bijapur Taj Mahal, Agra Fatehpur Sikhri, Agra Onion Dome, Taj Mahal Chajja, Salim Chisti Tomb Mosque of Isfahan, Iran Domed Chhatri, Red Fort Jama Masjid Char Minar Humayun’s Tomb Arcade Pointed Arch, Taj Mahal Scalloped Arch, Red Fort Cusped Arch Salim Chisti Tomb,Fatehpur Sikhri Taj Mahal, Agra Three circles forming a triangle Four circles forming a square Six circles forming a hexagon The Dome of the Rock, Jerusalem The Great Mosque of Kairouan The Madrassa of Mustansiriyeh The tomb towers of Kharaqan Mosque of Al-Salih Tala’I Qalawun Complex
SOURCE
PAGE NO. ArchDaily 2 ArchDaily 2 Google 2 ArchDaily 2 ArchDaily 2 ArchDaily 2 ArchDaily 2 Author 5 trawell.in 7 alamy.com 7 delhicapital.com 7 ahmedabadtourism.in 8 ahmedabadtourism.in 8 livemint.com 8 tourmet.com 8 britannica.com 9 holidify.com 9 wondersoftheworld.net 9 liveindia.com 9 khanacademy.org 9 delhihotspots.com 10 archnet.org 10 livemint.com 10 britannica.com 10 tajmahal.org.uk 10 trekearth.com 10 nationalgeographic.org 10 pinterest.com 11 pinterest.com 11 Author 12 Author 12 Author 12 touristisrael.com 13 pinterest.com 13 archnet.org 13 iranwatching.com 13 touregypt.com 14 pinterest.com 14 vii
S.NO.
LIST OF ILLUSTRATIONS TITLE
2.44,45,46,47 Sehzade Complex, Istanbul 2.48,49,50,51 Ali-Qapu Palace, Iran 2.52,53,54,55 Humayun’s Tomb, Lahore Fort, Taj Mahal
2.56 2.57 2.58 2.59 2.60 2.61 2.62 2.63 2.64 3.1 3.2 3.3 3.4 3.5 3.6 3.7 3.8,9,10,11 3.12,3.13 3.14,15,16 3.17,3.18 3.19 3.20 3.21,22,23 3.24 3.25 3.26 3.27 3.28 3.29 3.30 3.31 3.32 4.1,4.2 4.3,4.5,4.7 4.4,4.6,4.8
Evolution of geometric patterns Jaali as a partition wall Jaali used in balcony area Jaali in furniture design Jaali as wall cladding Jaali used as stair railing Jaali as partition wall across stairs Jaali placed in a verandah Jaali used in a door panel Site Plan, Lahore Fort Alamgiri Gate, Lahore Fort Naulakha Pavilion, Lahore Fort Sheesh Mahal, Lahore Fort Diwan-e-khas, Lahore Fort Diwan-e-aam, Lahore Fort Interior of Naulakha Pavilion Jaali pattern in Naulakha Pavilion Jaali used in balcony wall Jaali used in windows Exterior views, 18 Screens house Front elevation, 18 Screens house Front entrance, 18 Screens house Jaali design, 18 Screens house Ground floor plan, 18 Screens house First floor plan, 18 Screens house Front entrance, 18 Screens house Jaali use in interior, 18 Screens house Alcove area, 18 Screens house Corridor area, 18 Screens house Verandah, 18 Screens house Plantation, 18 Screens house Parking area, 18 Screens house Study of pattern 1, Lahore fort View of jaali module with width change Elevation of jaali module with width change
SOURCE
travelguideturkey.org irontourismer.com Google ArchDaily ArchDaily pinterest.com pinterest.com pinterest.com pinterest.com pinterest.com pinterest.com pinterest.com slideshare.net archnet.org archnet.org dailytimes.com archnet.org aroundpakistan.com pinterest.com Research Paper Research Paper Research Paper ArchDaily ArchDaily ArchDaily ArchDaily ArchDaily ArchDaily ArchDaily ArchDaily ArchDaily ArchDaily ArchDaily ArchDaily ArchDaily Author Author Author
PAGE NO. 14 15 15 16 17 17 17 17 17 17 17 17 19 19 19 19 19 19 19 19 20 20 21 22 22 22 23 23 24 24 24 24 24 24 24 25 26 26 viii
S.NO.
LIST OF ILLUSTRATIONS TITLE
SOURCE
4.9,10,11,12
View of the pattern with material change
4.13,14,15
View of the pattern with material change
4.16,4.17 4.18,20,22 4.19,21,23 4.24,26,28 4.25,27,29 4.30,32,34 4.31,33,35 4.36,38,40 4.37,39,41 4.42,44,46 4.43,45,47 4.48,49,50 4.51,52,53 4.54,55,56 4.57,58,59 4.60, 4.61 4.62,4.63 4.64,66,68 4.65,67,69
Plan of the room with user distance
Author Author Author Author Author Author Author Author Author Author Author Author Author Author Author Author Author Author Author Author Author Author Author Author Author Author Author Author Author Author Author Author Author Author Author Author Author Author
Elevation, user at 200mm distance
Viewing range of the user at 200mm Elevation, user at 1000mm distance
Viewing range of the user at 1000mm Elevation, user at 2000mm distance
Viewing range of the user at 2000mm Elevation, user at 5000mm distance
Viewing range of the user at 5000mm Elevation, user at 10000mm distance
Viewing range of the user at 10000mm Color variation in jaali (morning,noon,night) Color variation in jaali (morning,noon,night) Color variation in jaali (morning,noon,night) Color variation in jaali (morning,noon,night) Jaali placement; vertically and horizontally
Study of pattern 2, Lahore fort View of jaali module with width change Elevation of jaali module with width change
4.70,71,72,73 View of the pattern with material change
4.74,75,76 4.77,78 4.79,81,83 4.80,82,84 4.85,87,89 4.86,88,90 4.91,93,95 4.92,94,96 4.97,99,101
View of the pattern with material change
4.98,100,102
Viewing range of the user at 5000mm
4.103,105,107
Elevation, user at 10000mm distance
Plan of the room with user distance Elevation, user at 200mm distance
Viewing range of the user at 200mm Elevation, user at 1000mm distance
Viewing range of the user at 1000mm Elevation, user at 2000mm distance
Viewing range of the user at 2000mm Elevation, user at 5000mm distance
4.104,106,108
Viewing range of the user at 10000mm
4.109,110,111
Color variation in jaali (morning,noon,night)
4.112,113,114
Color variation in jaali (morning,noon,night)
4.115,116,117
Color variation in jaali (morning,noon,night)
4.118,119,120
Color variation in jaali (morning,noon,night)
PAGE NO. 27 27 28 28 29 29 30 31 31 32 32 33 33 35 35 35 35 36 37 38 38 39 39 40 40 40 41 42 43 43 44 45 45 46 47 47 48 48 ix
LIST OF ILLUSTRATIONS
S.NO.
TITLE
4.121,122
Jaali placement; vertically and horizontally
4.123
Study of pattern, 18 Screens House
4.124,126,128
View of jaali module with width change
4.125,127,129
Elevation of jaali module with width change
4.130,131,132,133
View of the pattern with material change
4.134,135,136
View of the pattern with material change
4.137,4.138
Plan of the room with user distance
4.139,141,143
Elevation, user at 200mm distance
4.140,142,144
Viewing range of the user at 200mm
4.145,147,149
Elevation, user at 1000mm distance
4.146,148,150
Viewing range of the user at 1000mm
4.151,153,155
Elevation, user at 2000mm distance
4.152,154,156
Viewing range of the user at 2000mm
4.157,159,161
Elevation, user at 5000mm distance
4.158,160,162
Viewing range of the user at 5000mm
4.163,165,167
Elevation, user at 10000mm distance
4.164,166,168
Viewing range of the user at 10000mm
4.169,170,171
Color variation in jaali (morning,noon,night)
4.172,173,174
Color variation in jaali (morning,noon,night)
4.175,176,177
Color variation in jaali (morning,noon,night)
4.178,179,180
Color variation in jaali (morning,noon,night)
4.181,4.182
Jaali placement; vertically and horizontally
5.1,5.2 5.3,5.4 5.5 5.6,5.7,5.8 5.9
Jaali design for a bedroom Jaali design for a living room Jaali design for a balcony
SOURCE Author Author Author Author Author Author Author Author Author Author Author Author Author Author Author Author Author Author Author Author Author Author Author Author Author Author Author
Jaali design for outer corridor,plaza,verandah
Jaali design for office interior
LIST OF TABLES
PAGE NO. 49 49 50 50 51 51 52 52 53 54 54 55 55 56 56 57 58 59 59 59 60 60 62 62 62 62 62
S.NO.
TITLE
SOURCE/CREDIT
PAGE NO.
1.1
Methodology of the study
Author
5
2.1
Evolution of the geometric patterns
Research Paper- “Evolution of Geometric Patterns in Islamic world”
12
4.1
Visibility Percentage on the basis of the jaali material (Case Study 1)
Author
27
4.2
Visibility Percentage on the basis of the jaali material (Case Study 1)
Author
39
4.3
Visibility Percentage on the basis of the jaali material (Case Study 2)
Author
51 x
Visual connectivity via jaali design
CHAPTER 1: INTRODUCTION 1.1 BACKGROUND OF THE STUDY THESIS TOPIC: HAJJ HOUSE COMPLEX, MUMBAI The concept of a Hajj House Complex is a result of the Islamic ritual of Haj, which is an annual pilgrimage to Mecca. A Hajj house complex provides accommodation to Hajj bound Muslims, while also giving space for other congregation activities. This complex includes elements from Islamic as well as Indo-Islamic architecture, and jaali as an element is extensively used as it is considered as a sacred element in Islamic religion. A perforated stone or latticed screen, comprising of ornamental patterns made with the use of calligraphy and geometry, is known as a jaali. Jaali is an effective element replacing the modern day glass for a transparent view, as well as for controlling glare, heat and allowing the wind to penetrate through it. One other feature amongst these is the ‘visual connection’, which is also maintained with the use of jaali in different spaces. “The experience of peering through a jaali adds an aesthetic element to one’s visual perception of a space.” 1.1.1 VISUAL CONNECTIVITY IN ARCHITECTURE Connectivity within spaces is an essential concept of architecture, as it gives a sense of cohesiveness between spaces. It can either be physical connectivity or visual connectivity. Visual connectivity refers to the extent to which a place can be viewed from other places; it is a tangible aspect of a space. One way to define the connectivity between spaces depends on the type of partition used in a space. Opacity, transparency and translucency are the three aspects of a partition. Tanya Kaushik |
1
Visual connectivity via jaali design
a) Opacity - A complete physical and visual separation, and the degree of visual connectivity is zero.
FIGURE 1.1
FIGURE 1.2
FIGURE 1.3
b) Transparency - A physical separation with full visual connection and the degree of visual connectivity is full.
FIGURE 1.4
FIGURE 1.5
c) Translucency - Some visual connection with full physical separation and the degree of visual connectivity is partial.
FIGURE 1.6
FIGURE 1.7
FIGURE 1.8
1.2 CRITERIA OF SELECTION Visual connectivity within a space can be modulated according to the requirement of the space, with the help of a jaali wall. A jaali is a result of geometric patterns evolved over time and geometry in Islamic architecture plays a significant role as an aesthetic element and an element which is considered as a form of sacred art and ornamentation. Jaali also promotes ventilation, thus it will cater to the humid climate of Mumbai. Tanya Kaushik |
2
Visual connectivity via jaali design
1.3 HYPOTHESIS STATEMENT Use of Jaali as an architectural element regulates visual connectivity between spaces.
1.4 AIM To establish the role of Jaali as an essential tool in regulation of visual connectivity between different spaces.
1.5 OBJECTIVES • To study the significance and use of Jaali in classical Indo- Saracenic buildings.
• To study the significance and use of Jaali in contemporary buildings. • To study how Jaalis operate as an element of visual connectivity in different buildings. • To analyse how visual connectivity is controlled on the basis of a Jaali with respect to design attributes like pattern, thickness, user distance, proportion, material, color and the finishing. • To evaluate the parameters studied and conclude the function of Jaali as an element of visual connectivity.
1.6 SCOPE AND LIMITATION • To study the role of Jaali as a visually connecting element as well as an element of separation between two spaces. • The research is limited to the architectural elements under Indo- Saracenic architecture. • This research is limited to analyzing the effects of Jaali on the basis of visual connectivity. It does not include study of other climatic aspects of a jaali which is regulation of daylight and wind. Tanya Kaushik |
3
Visual connectivity via jaali design
1.7 PARAMETERS • Establish the role of visual connectivity on the basis of the degree of visibility which is either full, partial or zero. • Calculating the solid-void percentage and visibility percentage on the basis of the change in the width of the balustrade area of the jaali. • Calculating the visibility percentage on the basis of the change in the thickness of the jaali according to the material. • Calculating the visibility percentage on the basis of the distance of the user from the jaali wall and how it affects the user’s visibility. • Noting the difference in visibility on the basis of variation in the color of the jaali and the amount of light entering in a space via the jaali. • Noting the effect of jaali if its placement is changed, i.e., whether the visibility is affected if it is used as a horizontal element or a vertical element.
Tanya Kaushik |
4
Visual connectivity via jaali design
1.8 METHODOLOGY S. NO.
1
2
3
4
5
OBJECTIVE
DATA REQUIRED
To study the significance and use of Jaali in classical Indo- Saracenic buildings.
Historical background
Secondary :
of Indo Saracenic architecture and evolution of Jaali.
Books, Internet, and Research Papers.
To study the significance and use of Jaali in contemporary buildings.
Modern day design and use of jaali.
Secondary : Books, Internet, and Research Papers.
To study how Jaalis operate as an element of visual connectivity in different buildings.
Looking into different case studies where jaali has been used extensively.
Secondary : Books, Internet, and Research Papers.
To analyse how visual connectivity is controlled on the basis of a Jaali with respect to design attributes like pattern, thickness, user distance, proportion, material, color and the finishing.
Study the various aspects of jaali according to the parameters identified.
Primary : Calculating and analysing using various softwares. Secondary : Books, Internet, and Research Papers.
To evaluate the parameters studied and conclude the function of Jaali as an element of visual connectivity.
Analyzing and combining above objectives and giving suggestions on what amount of visibility percentage should be taken into account for different spaces.
Primary : Comparative study of the analysed data to reach at a conslusion.
SOURCES
TABLE 1.1
Tanya Kaushik |
5
Visual connectivity via jaali design
FIGURE 1.9
Tanya Kaushik |
6
Visual connectivity via jaali design
CHAPTER 2: SIGNIFICANCE OF JAALI IN ARCHITECTURE 2.1 INDO- SARACENIC ARCHITECTURE Indo- Saracenic (from Saracen, an archaic name for Muslims used by the British), also known as Indo- Islamic or Indo- Gothic is a style of architecture which was introduced by British architects in the late 19th century in India. The main idea was to merge British, Indian and Islamic architectural features into one, with the intent of showing how despite being an imperial power, the British in India were part of the Indian milieu. Later phases also combined some elements of Colonial architecture but major elements were taken from Indian and Islamic architecture wherein the spatial organization and composition was British. Before the arrival of the British in India, it was commonly known as the Indo- Islamic style of architecture. The study of Indo- Islamic architecture is conventionally categorized as follows: • THE IMPERIAL STYLE (DELHI SULTANATE)- A.D. 1200- A.D. 1246 The slave dynasty was established by Outb-ud-din Aibak, who had been installed as governer in Delhi. The main building work during this dynasty was done by Outb-uddin Aibak and his son in law Shams-ud-Din Iltutmish.
FIGURE 2.1
FIGURE 2.2
FIGURE 2.3
Tanya Kaushik |
7
Visual connectivity via jaali design
• THE PROVINCIAL STYLEThe Provincial Style of architecture encompasses the trends and developments noticed in different provincial capitals in India, but specifically in Punjab (1150-1325 A.D.), Bengal (1203-1573 A.D.), Gujarat (1300-1572 A.D.), Jaunpur (1376-1479 A.D.), Malwa (1405-1569 A.D.), Bijapur (1490-1656 A.D.), and Kashmir (1410 onwards).
FIGURE 2.4
FIGURE 2.5
• THE DECCAN STYLE (BIJAPUR AND GOLCONDA)Unlike other Muslim rulers who made full use of indigenous art and architecture in their domains, rulers in the Deccan largely ignored the local art and produced an independent style of their own. Influences in this style come from two main sources: Delhi Style and Persian Style.
FIGURE 2.6
FIGURE 2.7
• THE MUGHAL STYLE (DELHI, AGRA AND LAHORE)Mughal Empire was established by Babur in 1526 and this era defines the most sumptuous phase of Islamic Architecture in India, due in part to the wealth and the settled political conditions of the empire and to the aesthetic nature of the emperors. The Mughal architecture flourished under the first five ‘Great Mughals’ of the dynasty, Babur, Humayun, Akbar, Jahangir and Shah Jahan and declined after the rule of Aurangzeb. The major influences came from Persian architecture and architecture styles of Gujarat and Rajasthan. The two most popular builders of the dynasty were Akbar (1556-1605) and his grandson Shah Jahan (1627-1658), with a transitional phase observed under Jahangir (1605-1627). Tanya Kaushik |
8
Visual connectivity via jaali design
FIGURE 2.8
FIGURE 2.9
2.1.1 FEATURES OF INDO- SARACENIC ARCHITECTURE With the coming of Britishers and Muslims to India, many new features and techniques came to be introduced in buildings. The Indo- Saracenic style is neither strictly Islamic nor strictly Hindu or British, rather this style is an ensemble of architectural elements combined from Hindu, Islamic as well as British regions. Due to this, the buildings made in this period exhibit multiple architectural features. • Onion (Bulbous) Domes : An onion dome is a dome whose shape resembles an onion. Such domes are larger in diameter at the base on which it rests and the height of the dome exceeds its width. It tapers smoothly to a point. This feature was adopted from Russian style architecture and was improved by the Muslims. • Overhanging Eaves or Chajjas : Overhang is the edge of the roof which protrudes outwards, beyond the edge of the building. It provides protection to lower levels against the weather conditions. (rainfall, sunlight, snow etc.) It is a common feature in Mughal architecture where it is known as a Chajja. • Va u l t ed Roof : A vault roof is a self supporting arched form, serving to cover a space, in other words, it is a series of arches forming a roof form. It is commonly known as Muqarna in Islamic architecture.
FIGURE 2.10
FIGURE 2.11
FIGURE 2.12
Tanya Kaushik |
9
Visual connectivity via jaali design
• Domed Kiosks or Domed Chhatris : Domed kiosks in Indo- Islamic architecture, is an open circular pavilion consisting of a dome as roof supported by pillars. Majorly it originates as a canopy above tombs and also serves as a decorative element.
FIGURE 2.13
• Minarets : In Islamic architecture, minaret is defined as a tower which is either connected with a mosque or is located close to a mosque and has one or more balconies. From the tower, the faithful are called to prayer five times each day by a muezzin, or crier. The Minaret is largest in size at the base and it gradually decreases with increase in height.
FIGURE 2.14
• Pierced Open Arcades : It is a passageway formed by a series of arches supported by columns or piers. It is a covered walkway formed between the wall and the arches which also provides access to adjacent spaces. It is a significant feature of IndoIslamic architecture.
FIGURE 2.15
FIGURE 2.16
• Arches : Arch is a vertical curved structure that spans an elevated space which may or may not carry the load from above. The types of arches which are significant in Indo- Saracenic architecture are Pointed Arches, Cusped Arches and Scalloped Arches.
FIGURE 2.17
FIGURE 2.18
FIGURE 2.19
Tanya Kaushik | 10
Visual connectivity via jaali design
• Harem Windows or Jaali Windows : It is a type of projecting window enclosed with latticework. ‘Harem’ is a separate part of a Muslim household reserved for women and these windows are provided in those areas since privacy of a woman is an essential aspect of Muslim culture. It is traditionally known as Mashrabiya in Islamic architecture. Geometry is considered as a sacred art form in Islamic architecture and the latticework done was a result of geometric patterns, therefore use of latticework was not only bound to the windows. It was also used as balcony railings, partition walls, ceilings & ornamentation element. • • • • • • • • FIGURE 2.20 FIGURE 2.21 FIGURE 2.22
2.2 CHRONOLOGICAL EVOLUTION OF JAALI There are Jaalis with intricate work and then there are some with a pattern being repeated or mirrored. The design of a Jaali narrows down to the kind of pattern which is taken as a module, to mould it into the desired size. These patterns are a result of geometrical design, organic and vegetal design, calligraphy, floral designs and animal patterns. The type of Jaali design which is given utmost importance in Indo- Islamic architecture evolved from the geometrical patterns. Geometry in Islam plays a significant role, as geometric pattern was turned into an art form and started being used for ornamentation purposes as well. This happened because the use of human and natural figures had its own constraints in Islamic architecture. These geometric patterns have evolved with the time, the empire and the region. 2.2.1 GEOMETRY IN ISLAMIC WORLD Circle is the ultimate base of all creation in Islamic geometric figures and it represents the symbol of unity. The natural division and expansion of this figure is the starting point for many patterns. It also gives rise to the three most essential figures; the triangle, the square and the hexagon. • The triangle represents, “human consciousness and the three basic biological functions : ingestion, digestion and excretion.” • Square symbolizes “the universe’s four main elements : water, earth, fire and air.” • The hexagon symbolizes “heaven”. Tanya Kaushik | 11
Visual connectivity via jaali design
FIGURE 2.23
FIGURE 2.24
FIGURE 2.25
All the other patterns are based on polygons and after connecting the vertexes of these polygons, fundamental Islamic patterns are formed, known as the star- polygons.
TABLE 2.1
2.2.2 JAALI EVOLUTION THROUGH ISLAMIC DYNASTIES From the rise of Islam in the 7th century, not many contributions were made in the field of geometry by the Muslims. But by the 8th and the 9th century, expansion of Geometry in Islamic art and architecture is observed. And it was during the 10th century that their contributions became significant in the field of Geometry. The dynasties that made a paramount contribution in development of Islamic art and architecture are : (i) Umayyad Dynasty (661 to 750 CE) (v) Mamluk Dynasty (1250 to 1517 CE) (ii) Abbasid Dynasty (750 to 1258 CE) (vi) Ottoman Empire (1290 to 1923 CE) (iii) Seljuk Dynasty (1038 to 1194 CE) (vii) Safavid Empire (1501 to 1736 CE) (iv) Fatimid Dynasty (909 to 1171 CE) (viii) Mughal Empire (1526 to 1858 CE) Tanya Kaushik | 12
Visual connectivity via jaali design
(I) UMAYYAD DYNASTY The Umayyad architecture was based on the mosques and palaces, which reflects the influences and inspirations drawn from the Byzantines and Sassanian empires construction techniques and ornamentation.
FIGURE 2.26
FIGURE 2.27
FIGURE 2.28
(II) ABBASID DYNASTY When the Abbasid Empire took over, new techniques and more abstract styles were adopted. Frescos, wood and stone carvings, brickwork, stucco and terracota were extensively used.
FIGURE 2.29
FIGURE 2.30
FIGURE 2.32
FIGURE 2.33
FIGURE 2.31
FIGURE 2.34
(III) SELJUK DYNASTY During this empire, the focus was more on tombs and madrasas. It brought transformation in geometric motifs and introduced complex patterns.
FIGURE 2.35
FIGURE 2.36
FIGURE 2.37
Tanya Kaushik | 13
Visual connectivity via jaali design
(IV) FATIMID DYNASTY During this empire, the use of 6-point star and 8-point stars in seen but it was more isolated or sculptural as the entire form or surface was not covered by them. They were always directed towards a focal point.
FIGURE 2.38
FIGURE 2.39
FIGURE 2.40
(V) MAMLUK DYNASTY Mamluk period is considered as the second artistic movement. The geometrical motifs were designed more as main focal motifs and less interwoven. 16-point geometrical patterns were a feature of their ornamentation.
FIGURE 2.41
FIGURE 2.42
FIGURE 2.43
(VI) OTTOMAN EMPIRE Later, the Ottoman Empire was considered as the master builders who took inspiration from Seljuks and Mamluks. Materials used for ornamentation included wood, marble and colored glass. In their works, more floral and vegetal patterns and geometrical ornamentation was limited to doors. 8 and 16 point geometrical patterns were more popular.
FIGURE 2.44
FIGURE 2.45
FIGURE 2.46
FIGURE 2.47
Tanya Kaushik | 14
Visual connectivity via jaali design
(VII) SAFAVID EMPIRE During the Safavid period there was a significant growth in art and science. They got the rich architectural traditions and techniques in the legacy. Geometrical ornamentation was used on all building types, on balconies, and ceilings.
FIGURE 2.48
FIGURE 2.49
FIGURE 2.50
FIGURE 2.51
(VIII) MUGHAL EMPIRE Then came the great Mughals who contributed greatly in the field of geometric patterns. They ruled as a multi-cultural empire and drew inspirations from all great works of art and architecture which ranged from early Islamic, Hindu to Persian style. They preached the significance of geometry in architecture is a universal language of unity and symmetry. The use of 6-point and 8-point geometrical motifs are used in floor patterns and are designed and carved in the window grills (screens or jaali) and balcony railings.
FIGURE 2.52
FIGURE 2.53
FIGURE 2.54
FIGURE 2.55
They avoided complex geometrical patterns in their designs and focused more on proportions and angles while designing the patterns. They used 6, 8, 10 and 12-point patterns over sandstone and marble inlay work. The formation of geometric patterns and its evolution over time shows the strong impact all the empires had. The use of different materials and experimentation of different techniques shows that with the passage of time, the art of composing and repeating a pattern to make a jaali or other kinds of ornamentation, was mastered by the end of the Mughal period. Gradually all the elements like dome, walls, floors, minarets, mihrabs, windows and balconies were used for ornamentation. Tanya Kaushik | 15
Visual connectivity via jaali design
FIGURE 2.56
The Table represents the era when a geometric pattern was introduced and how they co-existed in certain eras. The influence and the development of the patterns are visible in this table.
2.3 JAALI IN CONTEMPORARY ARCHITECTURE 2.3.1 SIGNIFICANT FEATURES AND FUNCTION OF JAALI IN CONTEMPORARY PERIOD Use of Jaali can be defined on the basis of : a)Visual Connectivity/ Separation b)Privacy
f) Energy efficiency g) Furniture Design
c)Thermal Comfort (control of the level of light, temperature control, control air movement, etc.) d)Protection in wall cladding e)Noise Reduction Tanya Kaushik | 16
Visual connectivity via jaali design
Jaali is a multi-functional design element and is considered as a green tool which helps reduce the energy load of cooling and the costs associated with it. In modern-day buildings, jaalis are used as interior partitions which acts as a physical barrier while maintaining a visual connection within spaces. They are also used in furnitures as an aesthetic element, in balconies for railings, as a wall cladding to maintain the micro-climate, as well as in doors and windows. The apertures in the jali efficiently lessen the ingress of heat in the daytime. They also block the entry of direct sunlight, making for pleasant interiors.
FIGURE 2.57
FIGURE 2.58
FIGURE 2.60
FIGURE 2.62
FIGURE 2.59
FIGURE 2.61
FIGURE 2.63
FIGURE 2.64
Tanya Kaushik | 17
Visual connectivity via jaali design
CHAPTER 3: CASE STUDIES 3.1 CASE STUDY 1 : LAHORE FORT LOCATION : LAHORE, PAKISTAN OWNERS : Mughal Empire, Sikh Empire, East India Company, British Empire, United Kingdom YEAR : 1566, with later additions under Mughal and Sikh empires ARCHITECTURAL STYLE : Indo-Islamic, Mughal 3.1.1 INTRODUCTION Lahore Fort is one of the finest example of Indo- Saracenic style of architecture. It was built, damaged, demolished, rebuilt and restored several times before being given its current form by Emperor Akbar in 1566. The fort is entered on its western side through the colossal Alamgiri Gate, built by Aurangzeb in 1674 as a private entrance to the royal quarters. It was large enough to allow several elephants carrying members of the royal household to enter at one time. The small Moti Masjid (Pearl Mosque) was built by Shah Jahan in 1644 for the private use of the ladies of the royal household and was restored to its original delicacy in 1904. The fort was greatly expanded during the reigns of Jahangir, Shah Jahan, and Aurangzeb. During the period of Sikh occupation, Ranjit Singh added several pavilions on the upper ramparts. Modifications to the fort were even made during the British colonial period beginning in 1846, but consisted mainly of converting older buildings into hospitals, barracks, and other colonial functions. Tanya Kaushik | 18
Visual connectivity via jaali design
FIGURE 3.2
FIGURE 3.1
FIGURE 3.4
FIGURE 3.3
FIGURE 3.5
FIGURE 3.6
FIGURE 3.7
3.1.2 DESIGN OF THE JAALI PATTERN The Lahore Fort has numerous fine examples of jalis which play significant role in the different spaces, such as in Naulakha Pavilion, Diwan-e-khas, Sheesh Mahal etc.
FIGURE 3.8
FIGURE 3.9
Tanya Kaushik | 19
Visual connectivity via jaali design
FIGURE 3.10
FIGURE 3.11
The central arch of Naulakha Pavilion, with intricate patterns carved out from marble. The screens on the central window are different compared to the side panels windows frame. 3.1.3 USE OF JAALI IN LAHORE FORT
FIGURE 3.13
FIGURE 3.12
The balcony railings are also carved jalis, with six and 8-point geometrical patterns.
FIGURE 3.14
FIGURE 3.15
FIGURE 3.16
Tanya Kaushik | 20
Visual connectivity via jaali design
3.2 CASE STUDY 2 : 18 SCREENS HOUSE LOCATION : LUCKNOW, INDIA ARCHITECT : SANJAY PURI YEAR : May, 2019 AREA : 790 SQ.M. 3.2.1 INTRODUCTION The house is planned alluding to the traditional Indian courtyard house in response to the climate of the location where temperatures in summer months is usually around 35° C. The extensive requirements of the 6 bedroom house are interspersed with sheltered open terraces and landscaped gardens around a 2 floor high naturally ventilated courtyard.
FIGURE 3.17
FIGURE 3.18
Patterned screens derived from traditional Indian architecture and the famous Lucknow ‘chikan’ are extensively used. These screens : • Provide shelter from the sun • Create different light patterns throughout the day • Mitigate traffic noise from the arterial road • Create a visual barrier (outside to inside) • Maintain the micro-climate Materials used : • Walls and Slabs- Formfinished Concrete • Screens- Glass Fiber Reinforced Concrete (GFRC) • Windows and Doors- Wood (treated) Tanya Kaushik | 21
Visual connectivity via jaali design
FIGURE 3.19
FIGURE 3.20
3.2.2 DESIGN OF JAALI PATTERN A series of experiences are created in this house with the use of the “patterned screen” and its design facilitates natural ventilation and sunlight within and is simultaneously contextual to the location, sun articulation, tradition, culture and social aspects.
FIGURE 3.22
FIGURE 3.21
FIGURE 3.23
The pattern of the Jaali used is influenced by the traditional Indian architecture and the famous Lucknow “Chikan” print which is known worldwide and holds a significant value in Lucknow.
Tanya Kaushik | 22
Visual connectivity via jaali design
3.2.3 SPACES IN WHICH THE SCREEN IS UTILIZED The floor plans of the house show the areas in which the jaali has been used.
FIGURE 3.24
GROUND FLOOR PLAN 01 ENTRANCE LOBBY 09 KITCHEN
11 GUEST ROOM 17 VERANDAH
25 SCREEN SHELTERED WALKWAY
FIGURE 3.25
FIRST FLOOR PLAN 03 DOUBLE HT. CENTRAL SPACE 25 SCREEN SHELTERED WALKWAY 28 SHELTERED TERRACE 30 TERRACE
18 MASTER BEDROOM 21 BEDROOM 29 ALCOVE Tanya Kaushik | 23
Visual connectivity via jaali design
MATERIAL USED IN SCREENS- GFRC (Glass FIber Reinforced Concrete) • Thickness of GFRC- 10mm, 15mm, 20mm, 30mm & 35mm. • Lighter than traditional concrete & high strength. • Adaptable and can be moulded in different shapes. • Fine surface finish and durable.
FIGURE 3.26
FIGURE 3.27
FIGURE 3.28
FIGURE 3.30
FIGURE 3.31
FIGURE 3.32
FIGURE 3.29
The jaali pattern used in this project is of the same design in all the spaces. Both the interiors, as well the exterior surfaces are adorned with the jaali. In interiors, it is used in ceilings, partition wall, clere storey window as well the balconies of the rooms. In the external facade, it acts as an aesthetic element, controls the amount of daylight entering inside, allows cooler air flow, and also creates a physical barrier from the outside but still keeps a visual connection with the outside,
Tanya Kaushik | 24
Visual connectivity via jaali design
CHAPTER 4: REGULATION OF VISUAL CONNECTIVITY 4.1 CASE STUDY 1- LAHORE FORT (PATTERN 1) The Jaali pattern in Lahore Fort majorly is a result of basic geometric shape; which is a hexagon. The material which is used here is stone. It is used in spaces like windows, doors and as a railing as well. 4.1.1 THEORETRICAL STUDY OF THE PATTERN • The module of Jaali taken is of dimension 620mm x 620mm. • The thickness of the module- 40mm & balustrade Width- 15mm
VOID
PATTERN ELEVATION
SECTION AA' BALUSTRADE
FIGURE 4.2
SECTION BB' FIGURE 4.1
Tanya Kaushik | 25
Visual connectivity via jaali design
4.1.2 VISUAL REGULATION ON THE BASIS OF BALUSTRADE WIDTH To study the pattern on the basis of balustrade width, three cases were identified: • CASE 1- Original width (15mm) • CASE 2- Increase in width (25mm) • CASE 3- More increase in width (45mm) Module- 620mm x 620mm Constant Value : Thickness- 40mm, Total Area- 3,84,400 sq.mm., Perimeter- 2480mm CASE 1- ORIGINAL WIDTH
ANALYSIS : 1. Balustrade Width- 15mm 2. Void Area2,91,956 sq.mm.(76%) 3. Balustrade Area-
FIGURE 4.3
FIGURE 4.4
CASE 2- INCREASE IN WIDTH
FIGURE 4.5
FIGURE 4.6
CASE 2- MORE INCREASE IN WIDTH
FIGURE 4.7
FIGURE 4.8
92,444 sq.mm.(24%) 4. VISUAL CONNECTIVITY- Partial 5. VISIBILITY PERCENTAGE- 76% ANALYSIS : 1. Balustrade Width- 25mm 2. Void Area2,37,728 sq.mm. (62%) 3. Balustrade Area1,46,672 sq.mm. (38%) 4. VISUAL CONNECTIVITY- Partial 5. VISIBILITY PERCENTAGE- 62%
ANALYSIS : 1. Balustrade Width- 45mm 2. Void Area1,43,747 sq.mm. (37%) 3. Balustrade Area2,40,653 sq.mm. (63%) 4. VISUAL CONNECTIVITY- Partial 5. VISIBILITY PERCENTAGE- 37% Tanya Kaushik | 26
Visual connectivity via jaali design
4.1.3 VISUAL REGULATION ON THE BASIS OF MATERIAL THICKNESS To study the pattern on the basis of material thickness, seven different jaali materials are chosen with an assumed width. (width is assumed as per the range of thickness in which the material is available) Module- 620mm x 620mm Constant Value : Width- 15mm, Total Area- 3,84,400 sq.mm., Perimeter- 2480mm CASE 1- STONE (Thickness- 40mm)
FIGURE 4.9
CASE 4- GFRC (Thickness- 15mm)
FIGURE 4.12
CASE 7- ACRYLIC SHEET (Thickness- 8mm)
FIGURE 4.15
CASE 2- WOOD VENEER (Thickness- 50mm)
FIGURE 4.10
FIGURE 4.11
CASE 5- PVC SHEET (Thickness- 20mm)
CASE 6- STAINLESS STEEL (Thickness- 2mm)
FIGURE 4.13
FIGURE 4.14
MATERIAL
VISIBILITY %
Stone
76 %
Wood
65 %
MDF
80 %
GFRC
90 %
PVC
85 %
Stainless Steel
96 %
Acrylic
95 %
TABLE 4.1
CASE 3- MDF BOARD (Thickness- 30mm)
ANALYSIS : Due to the design of the pattern and the width of the balustrade, the visibility percentage is considerable in all the 7 cases., i.e. the degree of visibility is full. Tanya Kaushik | 27
Visual connectivity via jaali design
FIGURE 4.16
OUTSIDE
INSIDE
4.1.4 VISUAL REGULATION ON THE BASIS OF USER DISTANCE To study the pattern on the basis of the distance of the user from the jaali wall, a room of size 3.2m x 4.5m is considered, with two sides as solid walls, one side as glass and one side as a jaali wall. Then a distance from the jaali wall is fixed and the visibility percentage of the user is noted. Visual connectivity is also noted by regulating the jaali wall and keeping the user at the same distance. The five cases according to the distance are as follows : (i) 200mm (0.2m) (ii) 1000mm (1m) (iii) 2000mm (2m) (iv) 5000mm (5m) (v) 10000mm (10m) Further these cases are sub-divided into three more categories and the observations are noted when there is change in (a) thickness of the wall, (b) width of the balustrade, (c) size of the module.
FIGURE 4.17
FIGURE 4.18
OUTSIDE
INSIDE
CASE 1(a)- 200MM Constant value : Module- 620mm x 620mm, Thickness- 40mm, Balustrade Width15mm, User Distance- 200mm, Eye Level- 1550mm
FIGURE 4.19
The figures show the viewing range of the user at a distance of 200mm, with a visibility percentage of 85% and the degree of visibility is full. Tanya Kaushik | 28
Visual connectivity via jaali design
INSIDE
OUTSIDE
CASE 1(b)- 200MM Constant value : Module- 620mm x 620mm, Thickness- 60mm, Balustrade Width15mm, User Distance- 200mm, Eye Level- 1550mm
FIGURE 4.21
FIGURE 4.20
The figures show the viewing range of the user at a distance of 200mm, with a visibility percentage of 78% and the degree of visibility is full.
INSIDE
OUTSIDE
CASE 1(c)- 200MM Constant value : Module- 620mm x 620mm, Thickness- 40mm, Balustrade Width45mm, User Distance- 200mm, Eye Level- 1550mm
FIGURE 4.22
FIGURE 4.23
The figures show the viewing range of the user at a distance of 200mm, with a visibility percentage of 37% and the degree of visibility is partial.
FIGURE 4.24
OUTSIDE
INSIDE
CASE 2(a)- 1000MM Constant value : Module- 620mm x 620mm, Thickness- 40mm, Balustrade Width15mm, User Distance- 1000mm, Eye Level- 1550mm
FIGURE 4.25
Tanya Kaushik | 29
Visual connectivity via jaali design
The figures show the viewing range of the user at a distance of 1000mm, with a visibility percentage of 76% and the degree of visibility is partial.
INSIDE
OUTSIDE
CASE 2(b)- 1000MM Constant value : Module- 620mm x 620mm, Thickness- 60mm, Balustrade Width15mm, User Distance- 1000mm, Eye Level- 1550mm
FIGURE 4.26
FIGURE 4.27
The figures show the viewing range of the user at a distance of 1000mm, with a visibility percentage of 72% and the degree of visibility is partial.
FIGURE 4.28
OUTSIDE
INSIDE
CASE 2(c)- 1000MM Constant value : Module- 620mm x 620mm, Thickness- 40mm, Balustrade Width45mm, User Distance- 1000mm, Eye Level- 1550mm
FIGURE 4.29
The figures show the viewing range of the user at a distance of 1000mm, with a visibility percentage of 35% and the degree of visibility is partial.
Tanya Kaushik | 30
Visual connectivity via jaali design
OUTSIDE
INSIDE
CASE 3(a)- 2000MM Constant value : Module- 620mm x 620mm, Thickness- 40mm, Balustrade Width15mm, User Distance- 2000mm, Eye Level- 1550mm
FIGURE 4.30
FIGURE 4.31
The figures show the viewing range of the user at a distance of 2000mm, with a visibility percentage of 65% and the degree of visibility is partial.
INSIDE
OUTSIDE
CASE 3(b)- 2000MM Constant value : Module- 620mm x 620mm, Thickness- 60mm, Balustrade Width15mm, User Distance- 2000mm, Eye Level- 1550mm
FIGURE 4.32
FIGURE 4.33
The figures show the viewing range of the user at a distance of 2000mm, with a visibility percentage of 62% and the degree of visibility is full.
FIGURE 4.34
OUTSIDE
INSIDE
CASE 3(c)- 2000MM Constant value : Module- 620mm x 620mm, Thickness- 40mm, Balustrade Width45mm, User Distance- 2000mm, Eye Level- 1550mm
FIGURE 4.35
Tanya Kaushik | 31
Visual connectivity via jaali design
The figures show the viewing range of the user at a distance of 2000mm, with a visibility percentage of 28% and the degree of visibility is full.
INSIDE
OUTSIDE
CASE 4(a)- 5000MM Constant value : Module- 620mm x 620mm, Thickness- 40mm, Balustrade Width15mm, User Distance- 5000mm, Eye Level- 1550mm
FIGURE 4.37
FIGURE 4.36
The figures show the viewing range of the user at a distance of 5000mm, with a visibility percentage of 52% and the degree of visibility is partial.
OUTSIDE
INSIDE
CASE 4(b)- 5000MM Constant value : Module- 620mm x 620mm, Thickness- 60mm, Balustrade Width15mm, User Distance- 5000mm, Eye Level- 1550mm
FIGURE 4.38 FIGURE 4.39
The figures show the viewing range of the user at a distance of 5000mm, with a visibility percentage of 48% and the degree of visibility is partial.
Tanya Kaushik | 32
Visual connectivity via jaali design
OUTSIDE
INSIDE
CASE 4(c)- 5000MM Constant value : Module- 620mm x 620mm, Thickness- 40mm, Balustrade Width45mm, User Distance- 5000mm, Eye Level- 1550mm
FIGURE 4.40 FIGURE 4.41
The figures show the viewing range of the user at a distance of 5000mm, with a visibility percentage of 26% and the degree of visibility is partial.
OUTSIDE
INSIDE
CASE 5(a)- 10000MM Constant value : Module- 620mm x 620mm, Thickness- 40mm, Balustrade Width15mm, User Distance- 10000mm, Eye Level- 1550mm
FIGURE 4.42
The figures show the viewing range of the user at a distance of 10000mm, with a visibility percentage of 45% and the degree of visibility is partial.
FIGURE 4.43
Tanya Kaushik | 33
Visual connectivity via jaali design
OUTSIDE
INSIDE
CASE 5(b)- 10000MM Constant value : Module- 620mm x 620mm, Thickness- 60mm, Balustrade Width15mm, User Distance- 10000mm, Eye Level- 1550mm
FIGURE 4.44
The figures show the viewing range of the user at a distance of 10000mm, with a visibility percentage of 40% and the degree of visibility is partial.
FIGURE 4.45
OUTSIDE
INSIDE
CASE 5(c)- 10000MM Constant value : Module- 620mm x 620mm, Thickness- 40mm, Balustrade Width45mm, User Distance- 10000mm, Eye Level- 1550mm
FIGURE 4.46
FIGURE 4.47
The figures show the viewing range of the user at a distance of 10000mm, with a visibility percentage of 23% and the degree of visibility is zero. • From all of the above cases, it is seen that as the user moves further away from the Jaali wall, the visibility percentage decreases and the user is unable to connect visually with the outside space if the distance is more. Tanya Kaushik | 34
Visual connectivity via jaali design
4.1.5 VISUAL REGULATION ON THE BASIS OF COLOR AND LIGHT VARIATION To study the pattern on the basis of color and light variation, observations are noted by changing the color of the jaali and viewing it from the exterior. The degree of visibility is noted at three different time of the day; morning, noon and at night. Constant Value : User Distance- 3m, Thickness- 40mm, Balustrade width- 15mm Module- 620mm x 620mm CASE 1 The interior of a space is viewed from outside, keeping the wall colors and the jaali color similar.
FIGURE 4.48
FIGURE 4.49
FIGURE 4.50
CASE 2 The interior of a space is viewed from outside, keeping a darker color of the jaali wall than the walls.
FIGURE 4.51
FIGURE 4.52
FIGURE 4.53
CASE 3 The interior of a space is viewed from outside, keeping a lighter color of the jaali wall than the walls.
FIGURE 4.54
FIGURE 4.55
FIGURE 4.56
ANALYSIS : Case 1- Due to the similar color of the interior walls as well as the jaali, the degree of visibility decreases for the user looking from outside. Tanya Kaushik | 35
Visual connectivity via jaali design
CASE 4 The exterior of a space is viewed from inside, on the basis of color of the jaali wall; (a) similar color as the exterior, (b) darker color and (c) lighter color.
FIGURE 4.57
FIGURE 4.58
FIGURE 4.59
ANALYSIS : Case 2- In the case of greater void area, due to darker color of jaali, the degree of visibility increases as the amount of light entering and the color compliment each other more, creating a contrast. Case 3- Due to the lighter color of the jaali, degree of visibility decreases. Case 4- In this case also the darker jaali color creates more contrast, thus increasing the degree of visibility. In conclusion, degree of visibility increases for the user if contrasting colors are used. 4.1.6 VISUAL REGULATION ON THE BASIS OF PLACEMENT OF JAALI MODULE To study the pattern on the basis of the placement of the jaali module, a room of size 4.2m x 5.2m is considered, with two sides as solid walls, one side as glass and one side consisting of jaali in between and difference in visual connectivity is noted on the basis of the jaali module placed vertically or horizontally.
FIGURE 4.60
FIGURE 4.61
(I) WHEN PLACED VERTICALLY : The eye moves in vertical continuity but the language of ground level is broken in between, i.e. the eye movement along the horizontal line is discontinuous. The amount of light entering and visual connectivity is more. (II) WHEN PLACED HORIZONTALLY : It creates a visual continuity at the ground level, i.e. the eye moves in horizontally along the jaali composition. The visual connectivity and the amount of light entering the room decreases. Tanya Kaushik | 36
Visual connectivity via jaali design
4.2 CASE STUDY 1- LAHORE FORT (PATTERN 2) The Jaali pattern in Lahore Fort majorly is a result of basic geometric shape; which is a hexagon. The material which is used here is stone. It is used in spaces like windows, doors and as a railing as well. 4.2.1 THEORETRICAL STUDY OF THE PATTERN • The module of Jaali taken is of dimension 620mm x 620mm. • The thickness of the module- 40mm & balustrade Width- 10mm
VOID
PATTERN ELEVATION
SECTION AA' BALUSTRADE
FIGURE 4.63 FIGURE 4.62
4.2.2 VISUAL REGULATION ON THE BASIS OF BALUSTRADE WIDTH To study the pattern on the basis of balustrade width, three cases were identified: • CASE 1- Original width (10mm) • CASE 2- Increase in width (30mm) • CASE 3- More increase in width (50mm) Module- 620mm x 620mm Constant Value : Thickness- 40mm, Total Area- 3,84,400 sq.mm., Perimeter- 2480mm CASE 1- ORIGINAL WIDTH
FIGURE 4.64
FIGURE 4.65
ANALYSIS : 1. Balustrade Width- 10mm 2. Void Area3,07,781 sq.mm. (84%) 3. Balustrade Area76,619 sq.mm. (16%) 4. VISUAL CONNECTIVITY- Full 5. VISIBILITY PERCENTAGE- 84% Tanya Kaushik | 37
Visual connectivity via jaali design
CASE 2- INCREASE IN WIDTH
FIGURE 4.66
ANALYSIS :
FIGURE 4.67
CASE 3- MORE INCREASE IN WIDTH
FIGURE 4.68
FIGURE 4.69
1. Balustrade Width- 30mm 2. Void Area2,12,128 sq.mm. (55%) 3. Balustrade Area1,72,272 sq.mm. (45%) 4. VISUAL CONNECTIVITY- Partial 5. VISIBILITY PERCENTAGE- 55%
ANALYSIS : 1. Balustrade Width- 50mm 2. Void Area1,28,978 sq.mm. (33%) 3. Balustrade Area2,55,422 sq.mm. (67%) 4. VISUAL CONNECTIVITY- Partial 5. VISIBILITY PERCENTAGE- 33%
4.2.3 VISUAL REGULATION ON THE BASIS OF MATERIAL THICKNESS To study the pattern on the basis of material thickness, seven different jaali materials are chosen with an assumed width. (width is assumed as per the range of thickness in which the material is available) Module- 620mm x 620mm Constant Value : Width- 10mm, Total Area- 3,84,400 sq.mm., Perimeter- 2480mm CASE 1- STONE (Thickness- 40mm)
FIGURE 4.70
CASE 2- WOOD VENEER (Thickness- 50mm)
FIGURE 4.71
CASE 3- MDF BOARD (Thickness- 30mm)
FIGURE 4.72
Tanya Kaushik | 38
Visual connectivity via jaali design
CASE 4- GFRC (Thickness- 15mm)
FIGURE 4.73
CASE 7- ACRYLIC SHEET (Thickness- 8mm)
FIGURE 4.76
CASE 5- PVC SHEET (Thickness- 20mm)
CASE 6- STAINLESS STEEL (Thickness- 2mm)
FIGURE 4.74
FIGURE 4.75
MATERIAL
VISIBILITY %
Stone
84 %
Wood
70 %
MDF
88 %
GFRC
95 %
PVC
90 %
Stainless Steel
98 %
Acrylic
98 %
ANALYSIS : Due to the design of the pattern and the width of the balustrade, the visibility percentage is considerable in all the 7 cases except wood.
TABLE 4.2
4.2.4 VISUAL REGULATION ON THE BASIS OF USER DISTANCE To study the pattern on the basis of the distance of the user from the jaali wall, a room of size 3.2m x 4.5m is considered, with two sides as solid walls, one side as glass and one side as a jaali wall. Then a distance from the jaali wall is fixed and the visibility percentage of the user is noted. Visual connectivity is also noted by regulating the jaali wall and keeping the user at the same distance. The five cases according to the distance are as follows : (i) 200mm (0.2m) (ii) 1000mm (1m) (iii) 2000mm (2m) (iv) 5000mm (5m) (v) 10000mm (10m) Further these cases are sub-divided into three more categories and the observations are noted when there is change in (a) thickness of the wall, (b) width of the balustrade, (c) size of the module. Tanya Kaushik | 39
FIGURE 4.77
OUTSIDE
INSIDE
Visual connectivity via jaali design
FIGURE 4.78
INSIDE
OUTSIDE
CASE 1(a)- 200MM Constant value : Module- 620mm x 620mm, Thickness- 40mm, Balustrade Width15mm, User Distance- 200mm, Eye Level- 1550mm
FIGURE 4.79
FIGURE 4.80
The figures show the viewing range of the user at a distance of 200mm, with a visibility percentage of 86% and the degree of visibility is full.
FIGURE 4.81
OUTSIDE
INSIDE
CASE 1(b)- 200MM Constant value : Module- 620mm x 620mm, Thickness- 60mm, Balustrade Width15mm, User Distance- 200mm, Eye Level- 1550mm
FIGURE 4.82
The figures show the viewing range of the user at a distance of 200mm, with a visibility percentage of 82% and the degree of visibility is full. Tanya Kaushik | 40
Visual connectivity via jaali design
OUTSIDE
INSIDE
CASE 1(c)- 200MM Constant value : Module- 620mm x 620mm, Thickness- 40mm, Balustrade Width30mm, User Distance- 200mm, Eye Level- 1550mm
FIGURE 4.84
FIGURE 4.83
The figures show the viewing range of the user at a distance of 200mm, with a visibility percentage of 60% and the degree of visibility is partial.
OUTSIDE
INSIDE
CASE 2(a)- 1000MM Constant value : Module- 620mm x 620mm, Thickness- 40mm, Balustrade Width15mm, User Distance- 1000mm, Eye Level- 1550mm
FIGURE 4.86 FIGURE 4.85
The figures show the viewing range of the user at a distance of 1000mm, with a visibility percentage of 78% and the degree of visibility is partial. CASE 2(b)- 1000MM Constant value : Module- 620mm x 620mm, Thickness- 60mm, Balustrade Width15mm, User Distance- 1000mm, Eye Level- 1550mm Tanya Kaushik | 41
OUTSIDE
INSIDE
Visual connectivity via jaali design
FIGURE 4.88
FIGURE 4.87
The figures show the viewing range of the user at a distance of 1000mm, with a visibility percentage of 74% and the degree of visibility is partial.
OUTSIDE
INSIDE
CASE 2(c)- 1000MM Constant value : Module- 620mm x 620mm, Thickness- 40mm, Balustrade Width30mm, User Distance- 1000mm, Eye Level- 1550mm
FIGURE 4.90
FIGURE 4.89
The figures show the viewing range of the user at a distance of 1000mm, with a visibility percentage of 55% and the degree of visibility is partial.
Tanya Kaushik | 42
Visual connectivity via jaali design
INSIDE
OUTSIDE
CASE 3(a)- 2000MM Constant value : Module- 620mm x 620mm, Thickness- 40mm, Balustrade Width15mm, User Distance- 2000mm, Eye Level- 1550mm
FIGURE 4.91
FIGURE 4.92
The figures show the viewing range of the user at a distance of 2000mm, with a visibility percentage of 65% and the degree of visibility is partial.
INSIDE
OUTSIDE
CASE 3(b)- 2000MM Constant value : Module- 620mm x 620mm, Thickness- 60mm, Balustrade Width15mm, User Distance- 2000mm, Eye Level- 1550mm
FIGURE 4.93
FIGURE 4.94
The figures show the viewing range of the user at a distance of 2000mm, with a visibility percentage of 60% and the degree of visibility is partiall.
FIGURE 4.95
OUTSIDE
INSIDE
CASE 3(c)- 2000MM Constant value : Module- 620mm x 620mm, Thickness- 40mm, Balustrade Width30mm, User Distance- 2000mm, Eye Level- 1550mm
FIGURE 4.96
Tanya Kaushik | 43
Visual connectivity via jaali design
The figures show the viewing range of the user at a distance of 2000mm, with a visibility percentage of 50% and the degree of visibility is partial.
INSIDE
OUTSIDE
CASE 4(a)- 5000MM Constant value : Module- 620mm x 620mm, Thickness- 40mm, Balustrade Width15mm, User Distance- 5000mm, Eye Level- 1550mm
FIGURE 4.98
FIGURE 4.97
The figures show the viewing range of the user at a distance of 5000mm, with a visibility percentage of 52% and the degree of visibility is partial.
FIGURE 4.99
OUTSIDE
INSIDE
CASE 4(b)- 5000MM Constant value : Module- 620mm x 620mm, Thickness- 60mm, Balustrade Width15mm, User Distance- 5000mm, Eye Level- 1550mm
FIGURE 4.100
The figures show the viewing range of the user at a distance of 5000mm, with a visibility percentage of 48% and the degree of visibility is partial.
Tanya Kaushik | 44
Visual connectivity via jaali design
OUTSIDE
INSIDE
CASE 4(c)- 5000MM Constant value : Module- 620mm x 620mm, Thickness- 40mm, Balustrade Width30mm, User Distance- 5000mm, Eye Level- 1550mm
FIGURE 4.101 FIGURE 4.102
The figures show the viewing range of the user at a distance of 5000mm, with a visibility percentage of 45% and the degree of visibility is partial.
OUTSIDE
INSIDE
CASE 5(a)- 10000MM Constant value : Module- 620mm x 620mm, Thickness- 40mm, Balustrade Width15mm, User Distance- 10000mm, Eye Level- 1550mm
FIGURE 4.103
The figures show the viewing range of the user at a distance of 10000mm, with a visibility percentage of 44% and the degree of visibility is partial.
FIGURE 4.104
Tanya Kaushik | 45
Visual connectivity via jaali design
OUTSIDE
INSIDE
CASE 5(b)- 10000MM Constant value : Module- 620mm x 620mm, Thickness- 60mm, Balustrade Width15mm, User Distance- 10000mm, Eye Level- 1550mm
FIGURE 4.105
The figures show the viewing range of the user at a distance of 10000mm, with a visibility percentage of 42% and the degree of visibility is partial.
FIGURE 4.106
OUTSIDE
INSIDE
CASE 5(c)- 10000MM Constant value : Module- 620mm x 620mm, Thickness- 40mm, Balustrade Width30mm, User Distance- 10000mm, Eye Level- 1550mm
FIGURE 4.107
Tanya Kaushik | 46
Visual connectivity via jaali design
The figures show the viewing range of the user at a distance of 10000mm, with a visibility percentage of 38% and the degree of visibility is partial. • From all of the above cases, it is seen that as the user moves further away from the Jaali wall, the visibility percentage decreases and the user is unable to connect visually if the distance is more.
FIGURE 4.108
4.2.5 VISUAL REGULATION ON THE BASIS OF COLOR AND LIGHT VARIATION To study the pattern on the basis of color and light variation, observations are noted by changing the color of the jaali and viewing it from the exterior. The degree of visibility is noted at three different time of the day; morning, noon and at night. Constant Value : User Distance- 3m, Thickness- 40mm, Balustrade width- 10mm Module- 620mm x 620mm CASE 1 The interior of a space is viewed from outside, keeping the wall colors and the jaali color similar.
FIGURE 4.109
FIGURE 4.110
FIGURE 4.111
FIGURE 4.112
FIGURE 4.113
FIGURE 4.114
CASE 2 The interior of a space is viewed from outside, keeping a darker color of the jaali wall than the walls.
Tanya Kaushik | 47
Visual connectivity via jaali design
CASE 3 The interior of a space is viewed from outside, keeping a lighter color of the jaali wall than the walls.
FIGURE 4.115
FIGURE 4.116
FIGURE 4.117
CASE 4 The exterior of a space is viewed from inside, on the basis of color of the jaali wall; (a) similar color as the exterior (b) darker color (c) lighter color
FIGURE 4.118
FIGURE 4.119
FIGURE 4.120
ANALYSIS : Case 1- Due to the similar color of the interior walls as well as the jaali, the degree of visibility decreases for the user looking from outside. Case 2- In the case of greater void area, due to darker color of jaali, the degree of visibility increases as the amount of light entering and the color compliment each other more, creating a contrast. Case 3- Due to the lighter color of the jaali, degree of visibility decreases. Case 4- In this case also the darker jaali color creates more contrast, thus increasing the degree of visibility. In conclusion, if the void area is much more than degree of visibility increases for the user if contrasting colors are used.
Tanya Kaushik | 48
Visual connectivity via jaali design
4.2.6 VISUAL REGULATION ON THE BASIS OF PLACEMENT OF JAALI MODULE To study the pattern on the basis of the placement of the jaali module, a room of size 4.2m x 5.2m is considered, with two sides as solid walls, one side as glass and one side consisting of jaali in between and difference in visual connectivity is noted on the basis of the jaali module placed vertically or horizontally.
FIGURE 4.121
FIGURE 4.122
(I) WHEN PLACED VERTICALLY : The eye moves in vertical continuity but the language of ground level is broken in between, i.e. the eye movement along the horizontal line is discontinuous. The amount of light entering and visual connectivity is more. (II) WHEN PLACED HORIZONTALLY : It creates a visual continuity at the ground level, i.e. the eye moves in horizontally along the jaali composition. The visual connectivity and the amount of light entering the room decreases.
4.3 CASE STUDY 2- 18 SCREENS HOUSE The Jaali pattern in 18 Screens House majorly is a result of basic geometric shape; which is a hexagon. The material which is used here is GFRC. 4.3.1 THEORETRICAL STUDY OF THE PATTERN • The module of Jaali taken is of dimension 250mm x 250mm. • The thickness of the module- 15mm & Balustrade Width- 20mm
BALUSTRADE
VOID
PATTERN ELEVATION
SECTION AA' ANGULAR MEASUREMENTS
SECTION BB'
FIGURE 4.123
Tanya Kaushik | 49
Visual connectivity via jaali design
4.3.2 VISUAL REGULATION ON THE BASIS OF BALUSTRADE WIDTH To study the pattern on the basis of balustrade width, three cases were identified: • CASE 1- Original width (20mm) • CASE 2- Decrease in width (10mm) • CASE 3- More increase in width (30mm) Module- 250mm x 250mm Constant Value : Thickness- 15mm, Total Area- 62500 sq.mm., Perimeter- 1000mm CASE 1- ORIGINAL WIDTH
ANALYSIS : 1. Balustrade Width- 20mm 2. Void Area33806 sq.mm. (54%) 3. Balustrade Area-
FIGURE 4.124
FIGURE 4.125
CASE 2- DECREASE IN WIDTH
FIGURE 4.126
FIGURE 4.127
CASE 2- INCREASE IN WIDTH
FIGURE 4.128
FIGURE 4.129
28694 sq.mm. (46%) 4. VISUAL CONNECTIVITY- Partial 5. VISIBILITY PERCENTAGE- 54% ANALYSIS : 1. Balustrade Width- 10mm 2. Void Area47745 sq.mm. (76%) 3. Balustrade Area14755 sq.mm. (24%) 4. VISUAL CONNECTIVITY- Partial 5. VISIBILITY PERCENTAGE- 76%
ANALYSIS : 1. Balustrade Width- 30mm 2. Void Area22996 sq.mm. (37%) 3. Balustrade Area39504 sq.mm. (63%) 4. VISUAL CONNECTIVITY- Partial 5. VISIBILITY PERCENTAGE- 37% Tanya Kaushik | 50
Visual connectivity via jaali design
4.3.3 VISUAL REGULATION ON THE BASIS OF MATERIAL THICKNESS To study the pattern on the basis of material thickness, seven different jaali materials are chosen with an assumed width. (width is assumed as per the range of thickness in which the material is available) Module- 250mm x 250mm Constant Value : Width- 15mm, Total Area- 3,84,400 sq.mm., Perimeter- 2480mm CASE 1- GFRC (Thickness- 15mm)
FIGURE 4.130
CASE 4- STONE (Thickness- 50mm)
FIGURE 4.133
CASE 7- ACRYLIC SHEET (Thickness- 10mm)
FIGURE 4.136
CASE 2- WOOD VENEER (Thickness- 40mm)
FIGURE 4.131
FIGURE 4.132
CASE 5- PVC SHEET (Thickness- 20mm)
CASE 6- STAINLESS STEEL (Thickness- 2mm)
FIGURE 4.134
FIGURE 4.135
MATERIAL
VISIBILITY %
GFRC
54 %
Wood
20 %
MDF
27 %
Stone
10%
PVC
37 %
Stainless Steel
76 %
Acrylic
64 %
TABLE 4.3
CASE 3- MDF BOARD (Thickness- 30mm)
ANALYSIS : Due to the design of the pattern and the width of the balustrade, the visibility percentage is less in most cases., except in GFRC, Steel and Acrylic, visibility is comparatively more. Tanya Kaushik | 51
Visual connectivity via jaali design
FIGURE 4.137
OUTSIDE
INSIDE
4.3.4 VISUAL REGULATION ON THE BASIS OF USER DISTANCE To study the pattern on the basis of the distance of the user from the jaali wall, a room of size 3.2m x 4.5m is considered, with two sides as solid walls, one side as glass and one side as a jaali wall. Then a distance from the jaali wall is fixed and the visibility percentage of the user is noted. Visual connectivity is also noted by regulating the jaali wall and keeping the user at the same distance. The five cases according to the distance are as follows : (i) 200mm (0.2m) (ii) 1000mm (1m) (iii) 2000mm (2m) (iv) 5000mm (5m) (v) 10000mm (10m) Further these cases are sub-divided into three more categories and the observations are noted when there is change in (a) thickness of the wall, (b) width of the balustrade, (c) size of the module.
FIGURE 4.138
FIGURE 4.139
OUTSIDE
INSIDE
CASE 1(a)- 200MM Constant value : Module- 250m x 250mm, Thickness- 15mm, Balustrade Width20mm, User Distance- 200mm, Eye Level- 1550mm
FIGURE 4.140
The figures show the viewing range of the user at a distance of 200mm, with a visibility percentage of 54% and the degree of visibility is partial. Tanya Kaushik | 52
Visual connectivity via jaali design
OUTSIDE
INSIDE
CASE 1(b)- 200MM Constant value : Module- 250mm x 250mm, Thickness- 40mm, Balustrade Width20mm, User Distance- 200mm, Eye Level- 1550mm
FIGURE 4.141
FIGURE 4.142
The figures show the viewing range of the user at a distance of 200mm, with a visibility percentage of 50% and the degree of visibility is partial.
OUTSIDE
INSIDE
CASE 1(c)- 200MM Constant value : Module- 250mm x 250mm, Thickness- 15mm, Balustrade Width10mm, User Distance- 200mm, Eye Level- 1550mm
FIGURE 4.143
FIGURE 4.144
The figures show the viewing range of the user at a distance of 200mm, with a visibility percentage of 78% and the degree of visibility is partial.
FIGURE 4.145
OUTSIDE
INSIDE
CASE 2(a)- 1000MM Constant value : Module- 250mm x 250mm, Thickness- 40mm, Balustrade Width20mm, User Distance- 1000mm, Eye Level- 1550mm
FIGURE 4.146
Tanya Kaushik | 53
Visual connectivity via jaali design
The figures show the viewing range of the user at a distance of 1000mm, with a visibility percentage of 48% and the degree of visibility is partial.
OUTSIDE
INSIDE
CASE 2(b)- 1000MM Constant value : Module- 250mm x 250mm, Thickness- 40mm, Balustrade Width20mm, User Distance- 1000mm, Eye Level- 1550mm
FIGURE 4.148 FIGURE 4.147
The figures show the viewing range of the user at a distance of 1000mm, with a visibility percentage of 45% and the degree of visibility is partial.
OUTSIDE
INSIDE
CASE 2(c)- 1000MM Constant value : Module- 250mm x 250mm, Thickness- 15mm, Balustrade Width10mm, User Distance- 1000mm, Eye Level- 1550mm
FIGURE 4.150 FIGURE 4.149
The figures show the viewing range of the user at a distance of 1000mm, with a visibility percentage of 75% and the degree of visibility is partial.
Tanya Kaushik | 54
Visual connectivity via jaali design
INSIDE
OUTSIDE
CASE 3(a)- 2000MM Constant value : Module- 250mm x 250mm, Thickness- 15mm, Balustrade Width20mm, User Distance- 2000mm, Eye Level- 1550mm
FIGURE 4.151
FIGURE 4.152
The figures show the viewing range of the user at a distance of 2000mm, with a visibility percentage of 35% and the degree of visibility is partial.
OUTSIDE
INSIDE
CASE 3(b)- 2000MM Constant value : Module- 250mm x 250mm, Thickness- 40mm, Balustrade Width20mm, User Distance- 2000mm, Eye Level- 1550mm
FIGURE 4.153
FIGURE 4.154
The figures show the viewing range of the user at a distance of 2000mm, with a visibility percentage of 32% and the degree of visibility is partial.
FIGURE 4.155
OUTSIDE
INSIDE
CASE 3(c)- 2000MM Constant value : Module- 250mm x 250mm, Thickness- 15mm, Balustrade Width10mm, User Distance- 2000mm, Eye Level- 1550mm
FIGURE 4.156
Tanya Kaushik | 55
Visual connectivity via jaali design
The figures show the viewing range of the user at a distance of 2000mm, with a visibility percentage of 68% and the degree of visibility is partial.
OUTSIDE
INSIDE
CASE 4(a)- 5000MM Constant value : Module- 250mm x 250mm, Thickness- 15mm, Balustrade Width20mm, User Distance- 5000mm, Eye Level- 1550mm
FIGURE 4.158
FIGURE 4.157
The figures show the viewing range of the user at a distance of 5000mm, with a visibility percentage of 28% and the degree of visibility is partial.
FIGURE 4.159
OUTSIDE
INSIDE
CASE 4(b)- 5000MM Constant value : Module- 250mm x 250mm, Thickness- 40mm, Balustrade Width20mm, User Distance- 5000mm, Eye Level- 1550mm
FIGURE 4.160
The figures show the viewing range of the user at a distance of 5000mm, with a visibility percentage of 24% and the degree of visibility is partial.
Tanya Kaushik | 56
Visual connectivity via jaali design
FIGURE 4.161
OUTSIDE
INSIDE
CASE 4(c)- 5000MM Constant value : Module- 250mm x 250mm, Thickness- 15mm, Balustrade Width10mm, User Distance- 5000mm, Eye Level- 1550mm
FIGURE 4.162
The figures show the viewing range of the user at a distance of 5000mm, with a visibility percentage of 62% and the degree of visibility is partial.
OUTSIDE
INSIDE
CASE 5(a)- 10000MM Constant value : Module- 250mm x 250mm, Thickness- 15mm, Balustrade Width20mm, User Distance- 10000mm, Eye Level- 1550mm
FIGURE 4.163
The figures show the viewing range of the user at a distance of 10000mm, with a visibility percentage of 15% and the degree of visibility is zero.
FIGURE 4.164
Tanya Kaushik | 57
Visual connectivity via jaali design
OUTSIDE
INSIDE
CASE 5(b)- 10000MM Constant value : Module- 250mm x 250mm, Thickness- 40mm, Balustrade Width20mm, User Distance- 10000mm, Eye Level- 1550mm
FIGURE 4.165
The figures show the viewing range of the user at a distance of 10000mm, with a visibility percentage of 10% and the degree of visibility is zero.
FIGURE 4.166
FIGURE 4.167
OUTSIDE
INSIDE
CASE 5(c)- 10000MM Constant value : Module- 250mm x 250mm, Thickness- 15mm, Balustrade Width20mm, User Distance- 10000mm, Eye Level- 1550mm
FIGURE 4.168
The figures show the viewing range of the user at a distance of 10000mm, with a visibility percentage of 50% and the degree of visibility is partial. • From all of the above cases, it is seen that as the user moves further away from the Jaali wall, the visibility percentage decreases and the user is unable to connect visually with the outside space if the distance is more. Tanya Kaushik | 58
Visual connectivity via jaali design
4.3.5 VISUAL REGULATION ON THE BASIS OF COLOR AND LIGHT VARIATION To study the pattern on the basis of color and light variation, observations are noted by changing the color of the jaali and viewing it from the exterior. The degree of visibility is noted at three different time of the day; morning, noon and at night. Constant Value : User Distance- 3m, Thickness- 40mm, Balustrade width- 15mm Module- 620mm x 620mm CASE 1 The interior of a space is viewed from outside, keeping the wall colors and the jaali color similar.
FIGURE 4.169
FIGURE 4.170
FIGURE 4.171
CASE 2 The interior of a space is viewed from outside, keeping a darker color of the jaali wall than the walls.
FIGURE 4.172
FIGURE 4.173
FIGURE 4.174
CASE 3 The interior of a space is viewed from outside, keeping a lighter color of the jaali wall than the walls.
FIGURE 4.175
FIGURE 4.176
FIGURE 4.177
ANALYSIS : Case 1- Due to the similar color of the interior walls as well as the jaali, the degree of visibility decreases for the user looking from outside. Tanya Kaushik | 59
Visual connectivity via jaali design
CASE 4 The exterior of a space is viewed from inside, on the basis of color of the jaali wall; (a) similar color as the exterior, (b) darker color and (c) lighter color
FIGURE 4.178
FIGURE 4.179
FIGURE 4.180
Case 2- Since the void area is much less, due to darker color of jaali, the degree of visibility decreases as enough light does not enter inside. Case 3- Due to the lighter color of the jaali, degree of visibility increases, in this case. Case 4- In this case, the darker jaali color creates more contrast, thus increasing the degree of visibility. In conclusion, in case of lesser void area, degree of visibility decreases for the user if contrasting colors are used. 4.3.6 VISUAL REGULATION ON THE BASIS OF PLACEMENT OF JAALI MODULE To study the pattern on the basis of the placement of the jaali module, a room of size 4.2m x 5.2m is considered, with two sides as solid walls, one side as glass and one side consisting of jaali in between and difference in visual connectivity is noted on the basis of the jaali module placed vertically or horizontally.
FIGURE 4.181
FIGURE 4.182
(I) WHEN PLACED VERTICALLY : The eye moves in vertical continuity but the language of ground level is broken in between, i.e. the eye movement along the horizontal line is discontinuous. The amount of light entering and visual connectivity is more. (II) WHEN PLACED HORIZONTALLY : It creates a visual continuity at the ground level, i.e. the eye moves in horizontally along the jaali composition. The visual connectivity and the amount of light entering the room decreases. Tanya Kaushik | 60
Visual connectivity via jaali design
CHAPTER 5: CONCLUSION 5.1 CONCLUSION OF THE STUDY The study conducted establishes the role of jaali as an element of visual connectivity. It can be used in different spaces as per the required visual connectivity and can be modified on the basis of a number of factors like balustrade width, balustrade thickness, color of the jaali in accordance with the background or the placement of the module. The effect of jaali can also be noted on the basis of the distance of the user from the wall. From the study, it is further concluded that the use of simple geometrical pattern in a Jaali, over a complex geometrical pattern, promotes visual connectivity as the void area increases. Jaali walls add aesthetics to a building and appeal the user to connect visually when passing by due to the amalgamation of the following factors : • Visibility - It screens the inhabitants from the gazes of the passer-by, providing privacy due to the light difference. At the same time, a visual continuity at the ground level. • Repetition - Most geometric jaali patterns are made up of repetition of a module. However complex the pattern may appear to be, they can be identified to be made on a grid. The modules are composed of triangles, squares or hexagons. The continuity makes the eyes move over the composition. • Infinity - Due to replication of a module over and over, they appear to continue beyond the physical boundary of the frame. It is difficult to identify the starting and the end of the patterns. This intentional repetition is symbolic of infinite nature of God. It is so because Muslims believe that human can‘t imagine a stable palace for God. Tanya Kaushik | 61
Visual connectivity via jaali design
According to the amount of visibility required, different spaces should have a different character of the jaali wall. They can be categorized under (a) Interior spaces and (b) Exterior spaces. Shading and more openness, more visibility, privacy, (a) Interior Spaces
FIGURE 5.1
FIGURE 5.3
FIGURE 5.5
• Bedroom- Requirements include less visibility to the exterior and more
FIGURE 5.2
FIGURE 5.4
privacy, thus the jaali used should have less void area so that the degree of visibility is less.
• Living Room- Requirements include partial visibility to the exterior as it is a semiprivate space, thus the jaali used should have almost equal void and solid area so that the visibility percentage is 50. • Balcony Area- A jaali can be used as a high railing in the balcony and the void area should be more than the solid area so that the user can visually connect to the exterior space from the balcony. (b) Exterior Spaces• Verandah, Public Plaza, Exterior Corridors, Office Interiors- Since these are semi-public and public spaces, the void area should be more so that the degree of visibility is either partial or full with a high visibility percentage.
FIGURE 5.6
FIGURE 5.7
FIGURE 5.8
FIGURE 5.9
In the same way, every space, whether exterior or interior should consist of jaali walls with the required amount of visibility for the user. Tanya Kaushik | 62
Visual connectivity via jaali design
GLOSSARY OF TERMS Haj: The greater Muslim pilgrimage to Mecca, which takes place in the last month of the year and which all Muslims are expected to make at least once during their lifetime if they can afford to do so. Jaali: A perforated screen with intricate ornamental openwork in wood, metal, stone, etc. Visibility: the state of being able to see or be seen. Opacity: The property of not able to be seen through; not transparent. Transparency: The state of allowing light to pass through so that objects behind can be distinctly seen. Translucency: The state of allowing light, but not detailed shapes, to pass through; semi-transparent. Ornamentation: Decorative elements added to something to enhance its appearance. Balustrade: The solid area of a jaali which blocks the view. Void: The empty area of a jaali through which one can see. Indo-Saracenic: Indo-Saracenic architecture (also known as Indo-Gothic, MughalGothic, Neo-Mughal, Hindoo style) was a revivalist architectural style mostly used by British architects in India in the later 19th century. Geometry: The shape and relative arrangement of the parts of something. Pattern: A repeated decorative design. Dynasty: A line of hereditary rulers of a country. Mosque: A mosque is a place of worship for Muslims. Privacy: A state in which one is not observed or disturbed by other people. Thermal Comfort: Thermal comfort is the condition of mind that expresses satisfaction with the thermal environment. Aperture: An opening, hole, or gap. Module: Each of a set of standardized parts or independent units that can be used to construct a more complex structure, such as an item of furniture or a building. Repetition: The action of repeating something. Infinity: Limitless or endless in space, extent, or size; impossible to measure or calculate.
Tanya Kaushik | XI
Visual connectivity via jaali design
BIBIOGRAPHY Websites: • h t t p s : / / a r c h i t e c t u r e d e s i g n p r i m e r . w o r d p r e s s . c o m / 2 0 1 2 / 1 1 / 2 0 / opacity-transparency-translucency/ • https://www.homify.in/ideabooks/6653675/advantages-of-perforated-facadepanels-for-indian-homes • https://archello.com/project/18-screens • https://www.archdaily.com/922100/18-screens-house-sanjay-puri-architects • https://www.swastikgrc.com/grc-gfrc-jali/ Research Paper: • J. Sheeba, John T. Mesiah Dhas, “A study on Indo- Saracenic Architecture Heritage”, RVS Padmavathi College of Engineering &Technology, Chennai, March 2020. • Lakshmi G Kamath, Srinivas Daketi, “Jaalis : A study on aesthetics and functional aspects in built environment”, School of Planning and Architecture, Vijayawada, February 2016. • Mahina Reki, Semra Arslan Selcuk, “Evolution of Geometric Patterns in Islamic world and a case on the Jaalis of the Naulakha Pavilion in the Lahore Fort”, Gazi University, Turkey, April 2018.
Tanya Kaushik | XII
