INCLUSION OF TRADITIONAL DESIGN AND ADAPTING

MODERN SOLUTIONS IN NEW JAMATKHANAS OF

GILGIT BALTISTAN

BY

MUZAFFAR ALI SHAH

FSSBSIAA/F17-238

SUPERVISED BY
MR. SYED ZEESHAN HAIDER (LECTURER IIUI)

DEPARTMENT OF ISLAMIC ART & ARCHITECTURE

FACULTY OF SOCIAL SCIENCES

INTERNATIONAL ISLAMIC UNIVERSITY,

ISLAMABAD

2021
 Certification

It is certified that we have read this report, submitted by Muzaffar Ali Shah. It is our
recommendation that, this work is satisfactory for the requirement of degree of BS in
Islamic Art and Architecture (Design).

Supervisor
Mr. Syed Zeeshan Haider Signature………….…….

Examiner
Ms. Attia Abrar
Incharge Dept. IA&A (Female) Signature………….…….

Muhammad Najeeb Younis Signature………….…….

Architect

Mr. Ubaid Hanif

Architect, Landscape Designer Signature………….…….

In charge Department
Mr. Syed Zeeshan Haider Signature………….…….

Dean FSS
Prof. Dr. Amna Mahmood Signature………….…….

ii
 Supervisor Declaration

I hereby declare that BS student Muzaffar Ali Shah (Reg.no. FSS/BSIAA/F17-238) has
completed his research project titled ― Inclusion of Traditional Design and Adapting
Modern Solutions in New Jamatkhanas of Gilgit Baltistan, under my supervision. I
recommend it for submission in candidacy for the degree of BS in Islamic Art &
Architecture (IIUI).

_________________________

Syed Zeeshan Haider

In charge Department of Islamic

Art & Architecture

iv
 ACKNOWLEDGEMENTS

First and foremost, praises and thanks to the God, the Almighty, for His showers of
blessings throughout my research work to complete the research successfully.

I would like to express my deep and sincere gratitude to my research supervisor, Syed
Zeshan Haider, in charge of Department of Islamic Art & Architecture at International
Islamic University Islamabad, for giving me the opportunity to do research and providing
invaluable guidance throughout this research. His vision, sincerity and motivation have
deeply inspired me. He has taught me the methodology to carry out the research and to
present the research works as clearly as possible. It was a great privilege and honor to work
and study under his guidance. I am extremely grateful for what he has offered me.

I am extremely grateful to my family members especially my brothers for their love, caring
and sacrifices for educating and preparing me for my future. Also I express my thanks to
my sisters and sister in laws for their support and valuable prayers. My Special thanks goes
to Sir Zarar Haider Babrary who came like a guided angel in my academic career and
always encouraged to learn new things, may God bless him.

Finally, my thanks go to all the people who have supported me to complete the research
work directly or indirectly.

Thank you!

iii
ABSTRACT

This research is intended to find out the missing elements of cultural heritage and

vernacular architecture of Gilgit Baltistan, in newly constructed Jamatkhanas. The

proposed design has the elements from the local architecture to make them cultural and

heritage ambassadors of area, the existing design doesn`t preserve any of the features as

they are mean to be. The existing design is much of like contemporary structure which has

no roots or legacy to the area and its culture.

Study of the surviving monuments in the area which are preserving the many

elements from the vernacular architecture and old traditional techniques of construction is

very important, this will give detail in-depth to understand the techniques and skills that

craftsmen used in that time.

The proposed design is of a complex which mainly functions as a community center

and the design of the center is made by keeping three concepts, first one to design a space

which purely depicts the local architecture of the valley inspired from local heritage.

Second concept is to amalgamate the modern style with the traditional architecture in which

the components of each style would be combined together to form an exclusive structure

and third concept is to add features from Islamic art (calligraphy & chandelier/hanging

lights) to give religious touch .

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 TABLE OF CONTENTS
Table of figures ................................................................................................................. ix

Abbreviations..................................................................................................................... xi

Chapter: 01 ......................................................................................................................... 1

Introduction and Background ........................................................................................... 1

Introduction ............................................................................................................................... 1

Research Objectives .................................................................................................................. 2

Scope of the study ...................................................................................................................... 3

Research Questions ................................................................................................................... 3

Research Methodology .............................................................................................................. 4

Instrumentatio ........................................................................................................................... 4

Population .................................................................................................................................. 4

Sampling ..................................................................................................................................... 4

Chapter: 02 ......................................................................................................................... 6

Background of the Area and AKPBS (parent institution) ..................................................... 6

Background of the Area .........................................................................................................................6
Background of the Institution ................................................................................................................7

Chapter 3 ............................................................................................................................ 8

Case studies ........................................................................................................................ 8

1. Ismaili center and Jamatkhana Khorog ......................................................................... 8

Architecture.......................................................................................................................................9
In gallery ......................................................................................................................................... 11

1. Shigar Fort....................................................................................................................... 13
The Old Fort-Palace ............................................................................................................................. 14
Old House ............................................................................................................................................ 14
Amacha Garden and Baridari............................................................................................................... 15
The Raja’s Mosque .............................................................................................................................. 15

vii
 In gallery ......................................................................................................................................... 16

2. Design Inspirations from local monuments .................................................................. 18

Literature review ..................................................................................................................... 21

Chapter 4 .......................................................................................................................... 23

Site Analysis ..................................................................................................................... 23

Site details and sun directions ................................................................................................ 23

Site location and master plan ............................................................................................................... 23

Chapter 5 .......................................................................................................................... 25

Design brief, development and existing design ............................................................... 25

Existing design site details ................................................................................................................... 25

Proposed Design Brief ..................................................................................................... 29

Design features ......................................................................................................................... 29

1. Raised roof and columns ............................................................................................................ 29
2. Use of wood ............................................................................................................................... 31
3. Use of calligraphy ...................................................................................................................... 32
4. Wooden Jalies (Lattices) ............................................................................................................ 33
5. Wooden Stairs, Grills and Ramp ................................................................................................ 35
6. Skylight and mud wall................................................................................................................ 36

Design details and planning .................................................................................................... 38

1. Floor plans .................................................................................................................................. 38
2. Sections ...................................................................................................................................... 40
3. Elevations ................................................................................................................................... 41
4. 3D views..................................................................................................................................... 42

Conclusion........................................................................................................................ 45

References ........................................................................................................................ 46

viii
 TABLE OF FIGURES
FIGURE 1: MAP OF GILGIT BALTITAN ................................................................................................................. 6
FIGURE 2: INTERIOR VIEW OF KHOROG JAMATKHANA ............................................................................................ 8
FIGURE 3: INTERIOR VIEW OF KHOROG JAMATKHANA .......................................................................................... 11
FIGURE 4: EXTERIOR VIEW OF KHOROG JAMATKHANA. ........................................................................................ 11
FIGURE 5: EXTERIOR VIEW OF KHOROG JAMATKHANA ......................................................................................... 12
FIGURE 6: EXTERIOR VIEW OF SHIGAR FORT. SOURCE ARCH.NET ............................................................................. 13
FIGURE 7: EXTERIOR VIEW OF SHIGAR FORT....................................................................................................... 16
FIGURE 8: AMACHA GARDEN AND BARIDARI- DECORATIVE SQUARE POOL ................................................................ 16
FIGURE 9: EXTERIOR VIEW OF THE WALL - DETAILS OF WOOD AND STONE ON THE WALL ............................................... 17
FIGURE 10 EXTERIOR AND INTERIOR VIEWS OF KHANQAH E MOALLAH KIRIS ............................................................. 18
FIGURE 11EXTERIOR AND INTERIOR VIEWS OFKHANQAH E MOALLAH HALDI ............................................................. 19
FIGURE 12 KHANQAH E MOALLAH BALGHAR .................................................................................................... 20
FIGURE 14: THIS FIGURE SHOWS SOME SITE DETAILS OF THE AREA ........................................................................... 23
FIGURE 15: MASTER PLAN - EXISTING AND PROPOSED DESIGN SITES........................................................................ 24
FIGURE 16: EXISTING EXTERIOR VIEW OF SINGAL JAMATKHANA ............................................................................. 25
FIGURE 17: EXTERIOR VIEW OF JAMATKHANA .................................................................................................... 26
FIGURE 18: THE TOP VIEW OF SINGAL VALLEY. SOURCE GOOGLE MAPS ..................................................................... 27
FIGURE 19: BIRD EYE VIEW OF SINGUL JAMATKHANA. THE MAIN ROUTE OF GILGIT TO SHANDUR IN FRONT AND GLACIER
WATER ON THE RIGHT SIDE. .................................................................................................................. 27

FIGURE 20: VERANDAH INTERIOR VIEW. ........................................................................................................... 28

FIGURE 21: ELEVATION VIEW OF EXISTING DESIGN. ............................................................................................. 28
FIGURE 22: INTERIOR VIEW WITH RAISED ROOF.................................................................................................. 29
FIGURE 23:RAISED ROOF DRAWING ................................................................................................................. 30
FIGURE 24: EXTERIOR COLUMNS .................................................................................................................... 30
FIGURE 25: ELEVATION VIEW, THE USE OF WOOD IS COMPLETELY CHANGE LOOK OF THE ELEVATION. ............................... 31
FIGURE 26: CALLIGRAPHY DETAILS ON FRONT SIDE WALL AND ON WOODEN BEAM. ..................................................... 32
FIGURE 27 KHOROG JAMATKHANA KHUFIC CALLIGRAPHY ON DOOR ENTRANCE. ......................................................... 32
FIGURE 28 LATTIES DETAILS ON EXTERIOR WINDOWS AND SHOES COMPANY DOORS .................................................... 33
FIGURE 29: LATTIES ABOVE DOOR ROSHANDAN, CEILING AND FIRST FLOOR FRONT WALL .............................................. 34
FIGURE 30: THE EXISTING LATTICES WHICH ARE IN THE EXTERIOR, WHICH HAVE NO ANY FUNCTION. ................................ 34
FIGURE 31: WOODEN GRILLS AND STAIRD VIEWS ................................................................................................ 35
FIGURE 32: WOODEN RAMP VIEW................................................................................................................... 35
FIGURE 33: MUD WALL OF SHIGIR FORT, BALTISTAN ............................................................................................ 36

ix
FIGURE 34: PROPOSED MUD WALL AROUND PRAYER HALL. ................................................................................... 36
FIGURE 35: SKYLIGHT VIEW WHICH IS ON THE PRAYER HALL ................................................................................... 37
FIGURE 36: FLOOR PLAN DETAILS .................................................................................................................... 38
FIGURE 37: FIRST FLOOR PLAN DETAILS ............................................................................................................ 39
FIGURE 38: SECTION 1 DETAILS FROM LEFT SIDE SECTION CUT ................................................................................ 40
FIGURE 39 SECTION 2 DETAILS FROM FRONT SECTION CUT..................................................................................... 40
FIGURE 40: SECTION CUT DETAILS ................................................................................................................... 40
FIGURE 41: ELEVATION DETAILS DRAWING ........................................................................................................ 41
FIGURE 42: 3D ELEVATION DETAILS................................................................................................................. 41
FIGURE 43: 3D RENDERED VIEWS, SIDE AND BIRDS EYE VIEW ................................................................................. 42
FIGURE 44: 3D RENDERED EXTERIOR VIEWS OF ELEVATION AND RIGHT SIDE VIEW ....................................................... 43
FIGURE 45: 3D RENDERED INTERIOR VIEWS ....................................................................................................... 44

x
 ABBREVIATIONS

AKCSP Aga Khan Cultural Services Pakistan

AKAH Aga Khan Agency for Habitat

AKTC Aga Khan Trust for Culture

AKPBS Aga Khan Planning & Building Service

JK Jamatkhana

GB Gilgit Baltistan

xi
 CHAPTER: 01

INTRODUCTION AND BACKGROUND

Introduction

Architecture has shaped our way of living through centuries. Many religions,

societies, tribes and civilizations has experienced different architectural styles due which

they are known. For example, Indus valley civilization, Romans, Greeks, Muslims and

many others. Magnifying into this gigantic and vast field and look into the small and tiny

areas and societies, where their way of living does not influence any segment of the world,

rather they are influenced by the modernist change (Khan, 2009). This change is measured

as a destructive change, as it is a hinder in preserving of customs, heritage and vernacular

architecture. “Modernism has been both a liberating and destructive force. It frees

architecture from the burden of the past into more democratic present, and yet it

destroyed much of the connection to the roots of indigenous, vernacular architecture

and in some ways to the local culture itself.” (Khan, 2009)

The present study is intended to include traditional features of Art & Architecture

in newly constructed Jamatkhanas to make them look like traditional buildings and

preserve Cultural Heritage/Architecture. The present architecture of the Jamatkhanas are

contemporary yet more how a corporate style of architecture. If it’s meant to be a religious

building so it must have those components and elements, as well the features of vernacular

architecture of the area, currently there is no sign of any element that makes them truly the

ambassadors of a heritage building or religious structure.

1
 For this study I have worked on a one particular Jamatkhana which is located in

village Singul, Tehsil Punial District Ghizer Gilgit- Baltistan (GB). And my proposed

design site is also in the same village, where a new similar Jamatkhana has kept its

foundation stones to be build.

This mean it is a contemporary building which has no any roots with the past. So

what are the few things that would really the save the cultural identity? The main

congregational area must give the feeling of traditional home, which will psychological

grab the attention of worshipers. A wooden interior, with four columns (a traditional pamiri

house), a sky light, step wise raised roof, interior walls plastered with mud and such other

elements which might suite local habitat, connect us to our lost legacy of native architecture

and rebirth of old construction techniques. For now, these buildings are white washed walls

with golden lights inside and a gray wall of stones from outside, there is no doubt in the

durability and strength of the structure.

“If societies are to build architecture that has emerged from the area itself, there’s

a need to encourage local architects not to just imitate what is presumed to be modern

architecture so countries don’t end up looking flat,” says (Nanji)

Research Objectives

The aim of this study is to identify ways through which we can preserve the cultural

identity of Gilgit Baltistan region through cultural heritage and indigenous architecture, the

objectives to achieve the aim are as follows:

 To make a new architectural design which will have all the elements from

vernacular architecture and include modern solutions to it.

2
  To study the monuments and heritage building in the Gilgit Baltistan region which

truly signifies cultural legacy and identity.

 To identify the institutional gap between AKCSP & AKAH and try to find out

some of the projects done by AKCSP which are very much significant in

preservation of cultural heritage.

Scope of the study

The research primarily focuses on the cultural heritage/architecture of Gilgit

Baltistan and how these old elements and techniques can be used to build new architecture

that can preserve the local art & architecture.

Research Questions

 What significant elements of heritage have been preserved through the

architecture of the new Jamatkhanas?

 Why does architecture matters?

 How can we preserve cultural identity through vernacular architecture?

 Why any inspiration from any Muslim civilization, even from the Fatimid’s who

were well known for their decorative arts, motifs, calligraphy and geometric work

haven’t been considered in these new buildings?

 Does these buildings had preserved our heritage (more specifically cultural

heritage?

3
Research Methodology

The method used for this research is based on qualitative method and to obtain the

date many techniques were used such as site survey, physical observation, content gathered

from articles and historic books which are specifically written on Islamic & vernacular Art

and architecture.

Specific projects similar to this theme has been taken as case studies for a

comparison and reference, to give it a design which will links to the area and to the

geography. This study is

Instrumentation

The tools used to collect the data for the research includes the survey of the area and to

observe the space with its values, in survey data could also be obtained through the primary

source which includes the interviews of the local people and the elders of the village. The

sources taken from the books and the old photographs of the place can also be used to

collect the required data for the research.

Population

The area taken for the research is the Singul Valley of Tehsil Punial District Ghizer, it is a
historic village in the region which has its deep roots of traditions and customs. This area
is known for its fertility and famous for its fruits.

Sampling

For the study of the project, a number of architectural monuments of the area has been
taken in consideration and took many elements decorative art and architectural

4
components, which are mainly made of the wood. The walls, floor, roof, beams and pillars
are all composed of the available wood there. In walls the woods are interlocked with each
other and then stones are place between them. The pillars are carved and decorated with
different figures and patterns.

5
 CHAPTER: 02

Background of the Area and AKPBS (parent institution)

Background of the Area

Figure 1: map of Gilgit Baltitan

The area labeled in yellow circle is the village Singul/Singal, where the site of existing and
proposed design of new JK is located.

Singal is the tehsil headquarter of Punial valley. This village has 573 households and
population of 4608. For this population there is one private and one government hospital.
However, the number of private schools are 5 and one government high school for boys
and primary school for girls. Being in headquarter it has one police station, one private
bank, post office, football ground, rest house and few hotels.

6
Background of the Institution

The project of constructing new Jamatkhanas started back in 2008 by Aga Khan Planning
and Building Services, Pakistan (AKPBS), with other Aga Khan Development Network
(AKDN) agencies, field experts and most importantly with the help of local community.
(For now AKPBS and its other agencies like BACIP (Building and construction
improvement program and WASEP (Water and Sanitation Extension Program have been
merged into a new agency known as Aga Khan Agency for Habitat-AKAH.) The aim was
simple, to create a safe and secure shelter (safe heaven) for religious and social interaction
of the community. Vazir Akbarali Karmali, who is the Custodian at the Aga Khan Estate
Office, has made the following remarks about the new Jamatkhanas and their role;
“We hope that the design of these simple yet functional and aesthetically pleasing

Jamatkhanas, which provide spiritual ambience, a sense of serenity and reflection, will

help the Jamat envision their future with greater confidence, strength and courage,

while meeting their spiritual and social needs.”

With outmost respect and humility to Vazir Akbarali, and agreeing to his statement but
want to make it more appropriate by a proposing a new design of these Jamatkhanas, which
will surely make them aesthetically pleasing and yet functional as well. For now, they are
out of context and don’t have elements from vernacular or indigenous architecture of the
whole area.

7
 CHAPTER 3

CASE STUDIES

There are a number of old and new buildings which are built with traditional materials and
techniques, like Baltit, Altit, Shiger, khaplu, Gupis fort, Ganish village (many other
associated villages) and countless others, which are the ambassadors of our heritage around
the world and our ancestors has left behind us.

1. Ismaili center and Jamatkhana Khorog

Figure 2: interior view of Khorog Jamatkhana

8
This project is located in the Mountains of Pamir in Tajikistan's distant town of Khorog.
The design of Ismaili Jamatkhana (a space for reflection and social interaction) and the
centre builds on the traditional architecture of the area, the majestic high Poplar (Arar)
trees, its magnificent location, local materials and building techniques. its inspirational and
design vocabulary.

In April 2016 construction started with the emphasis on the benefit of the local community
and on the use of local building materials. In order to cover the interior and the external
walls of the structure, for example, over 1.5 million granite pieces have been utilised. The
doors were also mostly tiled with local stone. Several local firms, from site excavations,
wood cladding, up to stone manufacturing, participated in the project.

Moreover, up to 400 local professionals worked on building construction at its peak,

therefore offering them new skills in terms of future prospects for employment. The
finished Center offers quiet places for spiritual as well as secular activities. Its focus is the
prayer hall, including a Pamiri roof, stone walls and stained glass windows. There is also
a social hall, a bookcase, a conference room and a multi-function room, a lobby, an
amphitheater and patios.
Architecture

The structure is conceived as a large pavilion along the "walkway," which already contains
one pavilion along the way and is expected to have numerous pavilions along the river.
The structure, as though, will become the centre of the city as a large pavilion with a city
square in front of it. The house overlooks the river and the mountains behind it. Also visible
from all across the mountains is Jamatkhana, with its powerful geometry and balance
creating an impressive landmark to the contemporary flagship architecture. When you walk
from the market, the 'Char Bagh' court from which the path leads is welcomed.

9
In the structural grid of the structure the Poplar Trees are placed. The powerful rhythm of
a column of silver birch trees, as the 'Poplar trees,' once seen through the entrance portal,
leads you to the breathtaking, fully glazed grand foyer that overlooks the Civic Plaza and
the river and the majestic mountains of the surrounding areas with its flanked walls in cut
stone with pin for the roof cover, and silver birch for columns, rafters and beams. Portals
lead to the Social Hall and the Hall of Contemplation on each side of the Foyer. Both
wooden columns have an inlay of fabrics with local brown lines, whilst the wood columns
and the ceiling produce warm, welcome atmosphere. The floor design is decorated with
blue stone. With its tiered timber ceiling and a wooden oak floor with wedge wood inlay,
the Social Hall overlooks the river and park. The social hall is encircled by vitreous panels
and wooden verandas, which provide a very strong social contact with the park. The
entryway and its large wood columns lead to the contemplation space, enhanced by the
rhythm of three skylights covered with stained-plywood.

Design of a high-quality building utilising local resources, which draws on the vernacular
design language and increasing appreciation. It is a synthesis of the traditional home of
Pamiri, represented contemporarily with the help of local materials, crafts, crafts, local
carved plaster and stone that the community of volunteers collect from the neighbouring
mountains. The structure completed produced for its users a sense of pride, belonging and
enduring delight.

10
In gallery

Figure 3: interior view of khorog Jamatkhana

Figure 4: exterior view of Khorog Jamatkhana.

11
Figure 5: exterior view of Khorog Jamatkhana

12
 1. Shigar Fort

Figure 6: Exterior view of shigar fort. source arch.net

Shigar Fort is an ancient fortified town in Baltistan and Pakistan. The Raja of Shigar's
Amacha Dynasty was erected during the 17th century.

Aga Khan Cultural Service Pakistan, Pakistan's arm of the Historical Cities program Aga
Khan, has rebuilt the fort. The fortress was also renovated. The fort was transformed into
a museum and luxury hotel operated by Serena Hotels after restauration. Each structure
reflects various technical abilities and skills. It reflects various roof heights, screen
constructions, wood carvings and building standards. The fort contains 40 rooms, with
kitchen facilities, bedside and family mosques. It has 40 rooms. Immediately east of the
building is the Mughal style garden with rests of a building erected on a higher plateau that
would be a baradari. The ditch encircling the platform was probably a water pool akin to a
baradari in a body of water that was typical of the Mughal Cashmere gardens. The wooden

13
parts are elaborately decorated with animal figurines, the floral and geometric design, and
the style of the work echoes the architecture of Cashmere and Tibet. The gate of the fort
opens onto a wide garden that leads to the town of Chinpa and Chaara (communal open
spaces).
The Old Fort-Palace

The original Fong-Khar has been constructed on a 5-meter platform around a huge cone-
like rock. This is why it is named Fong-Khar or "Palace on the Rock." Although the Old
Fort-Palace as it is presently rebuilt seems to be a structure, it is a collection of three
different structures erected at a variety of eras and with various engineering and
workmanship. After closer study. These three constructions have been identified as
modules I, II and III during the restoration of the site.

Module I is believed to be 400 years old as the oldest component of the original building.
It may be simply understood as a single structure with a distinct and magnificent
architectural expression. The sequence of rooms comprising the house, the main hall, the
retiring chambers of the ruler and the kitchen helps identify the original use of this edifice.

Module II has been built about 100 years after the original Fong-Khar with Module III after
another 150 years. Both modules II and III consisted of more ornate and residential
apartments for the royal family.
Old House

It is currently known as Old House, to the south of the Alt Fort-Palace. A horse stable,
bovine pens and animal feed store was located on the bottom floor. It seems as long as
Fong-Khar itself existed as the royal stability. In the middle of the 20th century the raja as
a new residential apartment was built to the upper floor of this house.

14
Amacha Garden and Baridari

It is not known when it was constructed, or how it originally seemed, this beautiful square

pool Is the primary feature of the garden. At the beginning of the 20th century, Raja

Muhammad Adam Khan, the father of the current Raja Muhammad Ali Saba, constructed

a pavilion on the centre plateform of the pool. When the Conservation team took over the

site, finely sculpted marble bases could still be seen on the central platform, supported by

free standing and connected columns. The aesthetic beauty of these marble foundation is

similar to the high Mughal style of Kashmiri structures. Since nothing of the same quality

was erected elsewhere in Shigar during the construction of the pavilion in the start of the

20th century, it may be concluded that the column bases originated from an older building.

Please refer to Figure 8.

The Raja’s Mosque

The Mosque of Raja is a beautiful and decorated edifice next to the complex's entrance and

has an important ancient and aesthetic significance. The structure and the ornamental

features of other Shigar mosques are similar: a four-bayed single chamber with a central

column base and an easterly verandah.

15
In gallery

Figure 7: Exterior view of shigar fort.

Figure 8: Amacha Garden and Baridari- decorative square pool

16
Figure 9: exterior view of the wall - details of wood and stone on the wall

17
 2. Design Inspirations from local monuments

There are several monuments in Gilgit Baltistan which are true ambassadors of the heritage
and architecture of the area. Hundreds of thousands people visit them yearly and these
places are good reference for our generations. Few are as shown below, as they are taken
from Aga Khan Cultural Services, Pakistan`s cultural heritage inventory volume 1 & 2
publication.

Figure 10 exterior and interior views of Khanqah e Moallah Kiris

18
Figure 11exterior and interior views ofKhanqah e Moallah Haldi

19
Figure 12 Khanqah e Moallah Balghar

Figure 13 exterior view of Khanqah e Moallah Daghoni

20
Literature review

The inspiration to step into this project wasn’t possible without reading the

magnificent collections of Aga Khan Award for Architecture, Archnet and Archnet-IJAR

which is International Journal of Architectural Research, truly it’s the magnificence of the

interest and prodigious commitment to the field.

“Architecture expresses identity and cultural continuity through the act of building,

and give clues about who we are. Skyscrapers have become the symbols of corporate

power, while religious building remind us of more spiritual and social concerns.” (Khan,

2009)

So the reflection of any architecture form is very important that what it reflects? A

culture, a society, a tradition, a legacy, where it’s been construct. “Architecture in the

northern Pakistan is a reflex of man`s efforts to cope with environmental factors and make

his life comfortable with the material resources available in the land. The second important

objectives has been to create buildings in response to his spiritual ideal worship.” (Dani,

1989)

Prof Dani`s book gives us inside of wooden architecture of the region. He mentions

particular art and artisans who are famous for their unique style, like Kashmiri style of

architecture and Kashmiri craftsman where known for their carvings, geometric motifs,

floral and leafy designs. “it is in these artistic masterly reproduction that the hand of the

Kashmiri craftsmen is writ large.” (Dani, 1989)

I don’t know for what reason this magnificent art has not been added in these new

Jamatkhanas. There are hundreds of monuments in the region which can be taken as

21
reference, there are two volume series publications, published by Aga Khan Cultural

Services Pakistan, which enlists the ‘Landmark Monuments of Gilgit Baltistan’ Region.

(Aga Khan Cultural Services Pakistan, 2018)

“Architecture is the art and science of designing which involves the manipulation

of mass, space, volume, texture, light, shadow, materials, program and other elements in

order to achieve an end which is aesthetic, functional and sustainable.” (Demery,

SUSTAINABLE ARCHITECTURAL DESIGN: REVIVING TRADITIONAL DESIGN,

2010)

22
 CHAPTER 4

SITE ANALYSIS

Site details and sun directions

Singal is the tehsil headquarter of Punial valley. This village has 573 households and
population of 4608. For this population there is one private and one government hospital.
However, the number of private schools are 5 and one government high school for boys
and primary school for girls. Being in headquarter it has one police station, one private
bank, post office, football ground, rest house and few hotels.
Site location and master plan

Figure 14: this figure shows some site details of the area

23
Figure 15: Master plan - existing and proposed design sites

24
 CHAPTER 5

DESIGN BRIEF, DEVELOPMENT AND EXISTING DESIGN

Existing design site details

Figure 16: Existing exterior view of Singal Jamatkhana

The existing design of the Jamatkhana is purely contemporary and gives a corporate
building look. The elements from the vernacular architecture have no signs in any form,
except for the lavish chiseled (fandai and sumbai) stones, which are used extensively
throughout in every corner. There are no other materials to support the color of the grey
stones or the structure (in contrast or matching). I have tried to eliminate this factor in the
proposed design of the building.

25
There is no proper wooden work in the exterior or interior, even the lattices (Jalies) are
made of concrete and fixed in square type arch which seems to have no function accept to
entertain the concrete blocks.

Figure 17: exterior view of Jamatkhana

The selection of the terrain or site for the Jamatkhana is also a great question. As it can
seen from top views that how much it is covered from two rivers. The one flowing on the
right side is more dangerous if God forbids a huge disaster occurs, it will probably create
some damage and in past it has done. In order save it from such disaster, a long reinforced
wall has been erected which is again a heave expenditure.

The other problem is main Ghizer road, which is the main route to Gahkuch and other
Tehsils of Ghizer and also to the route to Shandur and chitral, this makes a huge traffic on
the road which will ultimately create a lot of disturbance and security challenges.

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Figure 18: the top view of singal valley. source google maps

Figure 19: bird eye view of Singul Jamatkhana. The main route of Gilgit to Shandur in front and glacier water on the
right side.

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 Figure 20: verandah interior view.

Figure 21: elevation view of existing design.

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 PROPOSED DESIGN BRIEF

The proposed design of Jamatkhans is intended to look more of a traditional building rather
than a modern or contemporary building which has no elements of vernacular architecture.
The biggest inspiration for new design are old monuments and residential buildings in the
area which are representing the tradition and customs of the whole region. The new features
which are included in the building are as follows:

Design features

1. Raised roof and columns

This is the most significant element of local architecture, where we see a raised roof
structure which has a great significance in the community, as well as in terms of technical
aspects because it bears roof load. And columns are playing major role for this raised roof.

Figure 22: Interior view with raised roof

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Figure 23:raised roof drawing

Figure 24: Exterior columns

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 2. Use of wood

Figure 25: elevation view, the use of wood is completely change look of the elevation.

Wood is integral part of the whole design and construction of vernacular architecture of
the area. By using it correctly can completely change the whole buildings shape and look.

“Wood is favoured as a material because of the wide variety of properties depending on

type. It is readily available and economically competitive, as well as being extremely
strong in relation to its weight.” (Heritage Builders Ltd, 2017)

Figure 22 is the elevation of the proposed design showing the use of wood and how it looks
when we add a little detail of wood with stone.

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 3. Use of calligraphy

Calligraphy is the widely used element in Islamic art & architecture, in different forms by
many Muslim dynasties.

Figure 26: calligraphy details on front side wall and on wooden beam.

Figure 27 Khorog Jamatkhana khufic calligraphy on door entrance.

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 4. Wooden Jalies (Lattices)

Wooden jalies or lattices are important part which are used for ventilation or cover the open
areas which and make them aesthetically pleasing. In the existing design of Jamatkhanas
there were need of lattices and some are being used, but they are out of context. They are
made of cemented blocks and a very layman design, use of wooden design would be
sensible and that would really make the building appealing.

Figure 28 latties details on exterior windows and shoes company doors

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 Figure 29: latties above door roshandan, ceiling and first floor front wall

Figure 30: the existing lattices which are in the exterior, which have no any function.

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 5. Wooden Stairs, Grills and Ramp

These elements give more depth to the architecture of the building and adds more functions
to make it more functional. For example, the ramp, which is not in existing design of
Jamatkhanas and that is very important as it includes the differently able community
members and senior citizens.

Figure 31: wooden grills and staird views

Figure 32: wooden ramp view

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 6. Skylight and mud wall

Skylight is very significant for natural light and ventilation; this feature is added in the

proposed design so that it can used different functions. Mud wall is very important

component of the local architecture and preserving this art is very important. Such

preservations can be seen in Mosque of Djenné, Africa (also known as mud mosque). “The

entire mosque is made out of rammed earth, and the building is re-plastered annually as

part of a festival called the Crepissage de la Grand Mosquée. As the exterior naturally

erodes from the elements each year, it becomes necessary to maintain its integrity with

this re-plastering. This festival has become part of the identity of the Djenné locals, and

the entire community participates in it.” (harvard.edu, n.d.)

Figure 33: mud wall of shigir fort, Baltistan

Figure 34: proposed mud wall around prayer hall.

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Figure 35: skylight view which is on the prayer hall

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Design details and planning

1. Floor plans

Figure 36: floor plan details

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Figure 37: first floor plan details

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 2. Sections

Figure 38: section 1 details from left side section cut

Figure 39 section 2 details from front section cut

Figure 40: section cut details

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 3. Elevations

Figure 41: elevation details drawing

Figure 42: 3D elevation details

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 4. 3D views

Figure 43: 3d rendered views, side and birds eye view

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Figure 44: 3d rendered exterior views of elevation and right side view

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Figure 45: 3d rendered interior views

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 CONCLUSION

This research aimed to identify the missing elements in the newly constructed Jamatkhanas

of Gilgit Baltistan. The new construction is not influenced by the local art & architecture

but with a random approach of construction.

After observing and studying the current design the flaws/missing elements are identified,

the urgency was to find a solution to it. The solution yet seemed simple, to build structure

that would resemble the local architecture. Studying about the hundreds of projects

conducted by Aga Khan Cultural Services Pakistan-AKCP, and other local NGOs, related

to preserving local heritage and art of Gilgit Baltistan, this fascinated me and wished to see

these new JKs like Shigar Fort, Khorog JK, Baltit fort and countless others.

This research proposed a design which resembles the old monuments in the Gilgit Baltistan

region and some features from Islamic art to create harmony and take on new elements

from Muslim dynasties such as it has been done in Ismaili Centers, Aga Khan Gardens,

Aga Khan Museums and other state of the art buildings around the world. This will also

help the locals to familiarize with the Islamic features of decorations and elements that

resembles faith, such as Kufic inscriptions on Qibla wall in Khorog JK.

This is an out most urgency to rethink and redesign these new buildings, otherwise we are

not going to save anything for our generations to come. We need to engage architects,

engineers, researchers and historians before going into construct such monuments.

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 REFERENCES

Aga Khan Cultural Services Pakistan. (2018). Gilgit Baltistan Cultural Heritage
Innventory . Gilgit: Aga Khan Cultural Services Pakistan.

Dani, A. H. (1989). Islamic Architecture The Wooden Style of Nortern Pakistan.

Islamabad: National Hijra Council.

Demery, I. M. (2010). SUSTAINABLE ARCHITECTURAL DESIGN: REVIVING

TRADITIONAL DESIGN. Archnet-IJAR, International Journal of Architectural
Research, 99-110.

Demery, I. M. (2010). SUSTAINABLE ARCHITECTURAL DESIGN: REVIVING

TRADITIONAL DESIGN. Archnet-IJAR, International Journal of Architectural
Research, 99-110.

harvard.edu. (n.d.). Whose Culture? Retrieved from harvard.edu:

https://projects.iq.harvard.edu/whoseculture/mosque-djenne

Heritage Builders Ltd. (2017, June 16). Designing Buildings Wiki. Retrieved from The use
of wood in contruction:
www.designingbuildings.co.uk/wiki/The_use_of_wood_in_construction

Khan, H.-U. (2009). The Art and Architecture of the Mosque. In A. B. Sajoo, A Companion
to the Muslim World (pp. 177-207). London: I. B Tauris.

Nanji, A. (n.d.). Sustainability over spectacle: The AgaKhan Award for Architecture (Part
2). (A. Daya, Interviewer)

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