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Formal characteristics of vernacular architecture in Erbil city and
other Iraqi cities
Dr. Mahmood Ahmed Bakir Khayat Binyad Maruf Abdulkadir Khaznadar
(Lecturer) (Assistant Lecturer)
Department of Architecture Department of Architecture
College of Engineering College of Engineering
University of Salahaddin-Erbil University of Salahaddin-Erbil
Theoretical framework
The Concept of Vernacular Architecture and its Form
According to Paul Oliver:
“Vernacular architecture comprises the dwellings and other buildings of the people.
Related to their environmental contexts and available resources they are customarily owner- or
community-built, utilizing traditional technologies. All forms of vernacular architecture are built
to meet specific needs, accommodating the values, economies and ways of life of the cultures
that produce them.” (Oliver, 1997, p.ii)
In another definition Oliver gives a description about the context of vernacular architecture:
“Within the context of vernacular architecture it embraces what is known and what is
inherited about the dwelling, building, or settlement. It includes the collective wisdom and
experience of a society, and the norms that have become accepted by the group as being
appropriate to its built environment.” (Oliver, 1997, p.ii)
In his book (House Form and Culture), Amos Rapoport makes a comparison between the
buildings that belong to the grand design tradition and those of the folk tradition. (Rapoport,
1969,p.2)
According to Rapoport, the monument- buildings of the grand design tradition- are built to
impress either the populace with the power of the patron, or the peer group of designers and
cognoscenti with the cleverness of the designer and good taste of the patron. The folk tradition,
on the other hand, is the direct and unself-conscious translation into physical form of a culture,
its needs and values – as well as the desires, dreams, and passions of a people. It is the world
view writ small, the “ideal” environment of a people expressed in buildings and settlements, with
no designer, artist, or architect with an axe to grind (although to what extent the designer is really
a form giver is a moot point). The folk tradition is much more closely related to the culture of the
majority and life as it is really lived than is the grand design tradition, which represents the
culture of the elite. The folk tradition also represents the bulk of the built environment.
(Rapoport, 1969,p.2)
In his book (Design Strategies in Architecture), Baker makes a definition for the vernacular
architecture as follows:
In vernacular architecture, the process of evolution using a model continues with adjustments
and variations. The dwelling is now built by tradesmen. Vernacular architecture does not have
theoretical or aesthetic pretensions and models develop in accordance with regional, climatic and
economic factors. (Baker, 1996, p15)
In (Archi-Speak), which is a guide for architectural terms prepared by Tom Porter and other
distinguishable contributors, the term vernacular architecture has been defined as follows:
Vernacular refers to the language or dialect of one‟s native country, while its use in
architecture is concerned with everyday, ordinary buildings rather than their monumental
counterparts. Vernacular describes a traditional language of building, usually of unknown
authorship, constructed from local materials to suit their native setting, indigenous climate, and
specific local needs. Being built from locally available materials, such as stone, clay, timber and
thatch, vernacular buildings make little reference to mainstream style or to any prevalent theories
of architecture. (Porter, 2004,p.203)
Also Bruce Allsopp, in the book (A Modern Theory of Architecture), gives a definition of
vernacular architecture, as follows:
Vernacular architecture is a generalized way of design derived from folk architecture. It may
be seen as the development of the „natural‟ architecture of a region which is definable in terms of
climate, culture and materials. Of its own nature, however, vernacular architecture is limited to
that which can properly be expressed „in the vernacular‟. It can be used for spiritual, monumental
and utility buildings but limits of propriety are set taste and judgment. Scale is a crucial factor.
Vernacular architecture is congenial to people and sympathetic to environment. (Allsopp,
1977,p.8)
In order to derive the factors of the vernacular architecture which are more related to the
subject of form, the research analyzes these approaches according to a set of factors that have
been derived from the definitions. The research highlights and adopt the agreed upon factors and
naturalize and neglect the points of disagreement, this will lead to a group of factors that
represent basis for comparison. See table (1)
Table 1
The items of vernacular architecture form that the definitions concentrate on them
The definition of
vernacular
architecture by
The
regional
forms,
materials,
technology
Forms
that
reply
specific
needs of
humans
Vernacular
as a culture
of the
majority of
people
Forms that
reply the
values,
economics,
way of life
of certain
culture
(people)
Vernacular
forms as
norms that
have been
accepted by
people
Variation
in models
and few
types
Vernacular
architecture
with no
theoretical
background
Vernacular
dwellings
Oliver
Rapoport
Baker
Porter
Allsopp
According to table 1, the research finds that the above studies agree on some items
concerning the subject of vernacular architecture form and disagree in others, so the most agreed
items are discussed in the following:
The regional forms, materials and technology.
Forms that reply to specific needs of human.
Forms that reply to the values, economics, and way of life of certain culture (people).
Dwelling buildings as the major representation of vernacular architecture.
These items determine forms characteristics to be used in sample selection in the next step of
the practical part.
Analysis of studies concerning the vernacular houses forms
To derive the main items of the practical part, the research will describe three studies, each of
them is studying the elements and composition of forms of the vernacular houses in a certain
culture, and each of these studies follow a certain method for research in this subject.
Study No. 1
(Iraqi house in Baghdad and other Iraqi cities), by Oscar Reuther, 2005
This study describes the following factors and elements of the traditional houses elevations.
Note that the bold factors will be adopted by the research:
There are two kinds of elevations in the traditional courtyard houses, street elevation and
courtyard elevation. Here the research adopts the street elevation. The street elevation
having the following characteristics:
Ornaments and decorations are used in the entrances.
The used elements of the elevations are:
Main entrance (variety forms and different scales).
Windows (size and height from the ground level).
Shanashil.
Arches, two types (structural arches and ornamental arches).
Study No.2
(Oriental Houses in Iraq), by Subhi Hussein Al-Azzawi, 1978
This study describes the following factors and elements of the traditional houses elevations
and plans. Note that the bold factors will be adopted by the research:
The used elements of the elevations are:
Main entrance (bent type that provides privacy for the courtyard).
Windows (size and height from the ground level).
Windows (few number in each elevation)
Study No. 3
(Influences of Different Ages and Cultures on Each Other From Architectural Point of
View: Examination of Historical Buildings in Trabzon/Turkiye), by Aysha Sagsoz, Omer
Iskender Tuluk, Suleyman Ozgen, 2005
The houses examined in this study belong to Anatolian Greek–Greek (Roman–Byzantine)
Architecture and Ottoman–Turkish architecture (a total of 30 houses). Because the weight of this
study is on the facades of the buildings, the planning typology was ignored. In the Method
section, the sample houses were shown in a table in two main groups as General
Characteristics and Facade Elements. The general characteristics consist of: the number of
floors, and symmetry. Facade elements consist of: horizontal–vertical bands, eaves,
entrance positions, bay windows, and windows.
Figure (1) Analysis of the general characteristics and façade elements of Trabzone historical buildings
Reference: Aysha Sagsoz, Omer Iskender Tuluk, Suleyman Ozgen, 2005
According to the previous studies, the research recognizes the following factors that will be
used in the coming steps in the practical part:
The elements of the elevation.
Composition of the elements regarding the whole elevation.
Patterns and ornaments.
The practical part
Analysis of the formal elements of vernacular houses elevations and their
compositions
The practical part of the research includes a case study in Erbil city and other Iraqi cities. The
main path of the practical part process includes:
Sampling process, which includes:
- Sample of the study area locations according to Erbil city map.
- Selecting samples of the houses, this includes two kinds of houses, traditional
vernacular houses and contemporary vernacular houses.
Surveying process, which includes:
- Surveying the elevation of the selected samples by using photos, and also the
measuring process by the researcher.
Statistical calculations for the results of the survey.
Findings of the surveying process.
Analysis of the findings of the survey.
The final findings.
Sampling
The process of sampling has two main paths:
Sampling of the study area according to Erbil city map. For this purpose, two quarters are
selected in Erbil for the study, Arab and Taajil quarters, this selection was according to:
The physical condition of the houses including their heritage value which
are better protected in Arab and Taajil quarters than the houses of the
citadel and Khanaqa quarter (which are two other traditional locations) in
Erbil city.
The samples are matching the characteristics of the vernacular houses
forms that have been discussed in the theoretical part.
Surveying
The process of surveying includes taking photos for the elevations of 25 samples and also
taking the necessary measurements for the elements of the elevations.
The main items of the surveying table are:
A photographic photo for the elevation of the sample.
General information about the sample, that consists of:
- Sample number that is randomly listed.
- Type of the building.
Citadel
Arab and Taajil
quarters
Figure (2)Arial view of Erbil city
- Categorization.
- Location according to their quarter (these quarters names are fixed by the
municipality registrations).
Name of the element.
Form of the element.
Composition of the element regarding the whole elevation.
Elements of the elevations
In the vernacular elevation samples, the following kinds of elements can be recognized as with
special treatment:
- Entrance.
- Window.
- Shading parts and that include:
Canopy.
Balcony.
Shanashil (overhang).
Parapet (the vernacular term “sitara”).
Patterns and ornaments.
Composition of the element regarding the whole elevation
In this part, the composition of the element in relation with the whole elevation will be
recognized. For this purpose three concepts have been chosen to find out this relationship:
Entrance
Window
Balcony
Parapet (sitara)
Canopy
Shanashil
Brick Patterns
Figure (3)
The elements of the vernacular elevation samples
Centralization
Regarding the location of the entrance in the whole elevation composition, Ching determines
that an entrance can be centered within the frontal plane of a building or be placed off-center to
create a condition of local symmetry about its opening. (Ching, 2007,p.251)
Figure (4)
Centralization (Reference: Ching)
Continuity with the elevation line
For this concept, Ching declares that entrances may be grouped formally into the following
categories: flush, projected, and recessed. A flush entrance maintains the continuity of the
surface of a wall and can be, if desired, deliberately obscured. A projected entrance forms a
transitional space, announces its function to the approach, and provides overhead shelter. A
recessed entrance also provides shelter and receives a portion of exterior space into the realm of
the building. (Ching, 2007,p.251)
Figure (5)
Continuity with the elevation line (Reference: Ching)
Position according to the public domain
This concept declares whether the element is parallel or perpendicular to the main street.
19
10
1
20
11
2
Table (2) Samples photos
21
12
3
22
13
4
23
14
5
24
15
6
25
16
7
17
8
18
9
Symbol
Form of
the
window
Symbol
Form of
the
window
Symbol
Form of
the
entrance
Symbol
Form of the entrance
W10
W1
E10
E1
Table (3) Form of the elements
and its symbol
W11
W2
E11
E2
W12
W3
E12
E3
W13
W4
E13
E4
W14
W5
E14
E5
W15
W6
E15
E6
W16
W7
E16
E7
W17
W8
E8
W18
W9
E9
Sy
mb
ol
Form of the balcony
Sym
bol
Form of the
shanashil
Sym
bol
Form of the canopy
Symb
ol
Form of
the
window
B1
SH
1
C1
W19
B2
SH
2
C2
W20
B3
SH
3
W21
B4
SH
4
W22
B5
SH
5
W23
B6
W24
B7
Symbol
Form of the parapet (Sitara) and patterns
Symbol
Form of the parapet (Sitara) and patterns
P8
P1
Table (4) Form of the elements
and its symbol
Table (5) Form of the elements
and its symbol
P9
P2
P10
P3
P11
P4
P12
P5
P13
P6
P7
Table (6) Table shows the element that is used in the sample elevation and its composition
according the whole elevation
Sample
number
The
element
that is
used in
the
sample
elevation
Composition of the element regarding the whole elevation
Centralization
Continuity with the elevation line
Position according to the
public domain
Central element
Non-central
element
With the
elevation line
Embossed
element
Eclipsed
element
Parallel
Perpendicular
E1, W1,
C1
E1, C1
W1
W1
C1
E1
*
E2, W2,
W3, B1
E2,B1
W2,W3
W2, W3
B1
E2
*
E1, W1,
C1, P1
E1,C1,P1
W1
W1, P1
C1
E1
*
W4, W5,
W6, W7,
W8, B5
W4, W5,
W6, W7,
W8,B5
W4, W5, W6,
W7, W8
B5
W5
*
E3, W1,
W9
E3, W1, W9
W1, W9
E3
*
E4,W2,
W10, B6
E4, B6
W2, W10
W2, W10
B6
E4
*
E4, W1,
W2, SH1
SH1
E4, W1, W2
W1, W2
SH1
E4
*
E1, W1,
W2, P2
P2
E1, W1, W2
W1, W2, P2
E1
*
E1, W2,
E1, W2, W3,
W2, W3,
SH2
E1
*
W3, W11,
SH2
W11, SH2
W11
E5, W1,
B7
E5,B7
W1
W1
B7
E5
*
E1, W12,
P3
E1, P3
W12
W12, P3
E1
*
W2, W3,
W11, SH2
SH2
W2, W3,
W11,
W2, W3,
W11
SH2
*
E1, W2,
W3, B7
E1, B7
W2, W3
W2, W3
B7
E1
*
E14, W2,
W22, P4
P4
E14, W2,
W22
W2, W22, P4
E14
*
E15, W1,
P5, P6
E15, P5, P6
W1
W1, P5, P6
E15
*
E16,
W13, B2,
P7
E16, W13,
B2, P7
W13
B2, P7
E16
*
E8, E9,
W14,
W15,
W16,
W17, P8,
SH3, SH4
E8, E9,
W14, W15,
W16, W17,
P8, SH3,
SH4
E8, E9, W14,
W15, W16,
W17, P8
SH3, SH4
*
E10, W2,
W18, C1
E10
W2, W18,
C1
E10, W2,
W18
C1
*
E11, W1,
W19,
W20, P9,
C1,B3
C1,B3
E11, W1,
W19, W20,
P9
W1, W20, P9
C1, B3
E11, W19
*
E1, W1,
P10
P10
E1, W1
W1, P10
E1
*
E1, W2,
W21,
W22, P11
E1, W2,
W21, W22,
P11
W2, W21,
W22, P11
E1
*
E12,
W23,
W24, B4,
P12
P12
E12, W23,
W24, B4
W23, W24,
P12
B4
E12
*
E10, W1,
W2, C2,
P13
C2, P13
E10, W1,
W2
E10, W1,
W2, P13
C2
*
E2, W1,
W2, SH5
SH5
E2, W1, W2
W1, W2
SH5
E2
*
E13, W1,
W24, C2
E13, C2
W1, W24
W1, W24
C2
E13
*
Findings of the survey of the samples elevations
The most used elements in the elevations of the samples are the following forms:
Table (7) The most used form of elements in the samples elevations
Entrance
Window
Canopy
Shanashil
Balcony
Parapet
No mostly
used form
can be
found
No
mostly
used
form can
be found
The following table represents the composition of the elements regarding the whole
elevation for the elevations of the vernacular samples:
Table (8)Composition of the elevations for the samples
The
element
Number
of
samples
Centralization
Continuity with the elevation
line
Position according to
the public domain
(street)
Central
element
Non-
central
element
With the
elevation
line
Embossed
element
Eclipsed
element
parallel
perpendicular
Entrance
25
10
13
4
19
23
Window
25
1
32
32
3
33
Canopy
25
6
1
7
7
Balcony
25
3
4
7
7
Shanashil
25
3
2
5
5
Parapet
25
9
4
12
1
13
From the above table the following cases are mostly found for the composition of the elements
regarding the whole elevation:
For the entrance:
The most used factors are non-central
element, eclipsed element and parallel to the
public domain (street). (See fig. 6)
For the window:
The most used factors are non-central
element, with the elevation line and parallel to
the public domain (street). (See fig. 7)
Figure (6) Entrance
Figure (7) Window
For the canopy:
The most used factors are central element,
embossed element and parallel to the public
domain (street). (See fig. 8)
For the balcony:
The most used factors are non-central
element, embossed element and parallel to
the public domain (street). (See fig. 9)
For the shanashil:
The most used factors are central element,
embossed element and parallel to the public
domain (street). (See fig. 10,11)
For the parapet:
The most used factors are central element,
with the elevation line and parallel to the
public domain (street). (See fig. 12)
Figure (8) Canopy
Figure (9) Balcony
Figure (10) Shanashil
Figure (11) Shanashil
Figure (12) Shanashil
Formal characteristics of vernacular houses elevations in Baghdad
The most used elements for the elevations are the following: (see fig. 13)
Entrance.
Window.
Shanashil.
Balcony.
Parapet.
The entrance:
It is usually an eclipsed element.
The shape of the entrance is arcade, but the door is straight, here inside
the arc is filled with ornamented bricks. (see fig. 14)
The window:
It is usually with the elevation line.
There are two main forms of the windows, arc and straight.
According to their location, there are two kinds of windows, windows
within the wall, and windows within the shanashil.
The window is surrounded by a decorated brick frame.
Ornaments by
using carved bricks
and marbles
Window
Entrance
Shanashil
Balcony
Parapet
Figure (13) Elements of the elevation
Figure (14) Entrance
Shanashil:
It is usually an embossed element.
It is a wooden structure.
Contains windows with steel guardrails and wooden ornamented screens.
Shanashils are different in size.
Balcony:
The balcony here is not a separated element, it is usually within the
shanashil.
Parapet:
Vertically it is the continuity of the wall or the shanashil.
No ornamental brick patterns can be found.
Window on the wall
Figure (15) Window on the wall
Shanashil
Figure (16)Shanashil
Formal characteristics of vernacular houses elevations in Mosul
One of the most influential characteristics of the vernacular houses in Mosul is that, these houses
have no street elevation as found in Erbil and Baghdad, there is a going through that leads to the
main entrance, even the windows are all opened on the inner courtyard.
Table (9) A comparison between the vernacular houses elevation forms in Erbil, Baghdad
and Mosul
The
element
Form of the
element
Arc filled
with
ornaments
Ornamented
frame
Building
material
(structure)
Composition of the element regarding the whole elevation
Arc
Straight
Centralization
Continuity with elevation line
Position according
to the public
domain (street)
Central
element
Non-
central
element
With the
elevation
line
Embossed
element
Eclipsed
element
Parallel
Perpend
icular
Entrance
(E)
*
Masonry
*
*
*
Entrance
(B)
*
*
*
Masonry and
marble
*
*
*
Entrance
(M)
*
Masonry
*
*
*
Window
(E)
*
Wood
*
*
*
Window
(B)
*
*
Wood
*
*
*
Window
(M)
Figure (17) Sample of an entrance in Mosul
Canopy
(E)
*
Masonry and
I-section
steel
*
*
*
Canopy
(B)
Canopy
(M)
Shanashil
(E)
*
Masonry
*
*
*
Shanashil
(B)
*
*
*
Wood
*
*
*
Shanashil
(M)
Balcony
(E)
*
Masonry
with steel
guardrail
*
*
*
Balcony
(B)
*
Masonry and
wood
*
*
*
Balcony
(M)
Parapet
(E)
*
Brick patterns
Masonry
*
*
*
Parapet
(B)
*
Masonry
*
*
*
Parapet
(M)
E=Erbil B=Baghdad M=Mosul
Findings
Samples of Erbil and Baghdad have street elevations, but the samples in Mosul don‟t
have street elevations, except an entrance that leads to a courtyard, here the houses are
completely closed outward and opened inward.
Canopy as a shading device is found in Erbil vernacular houses and is not found in
Baghdad and Mosul vernacular houses.
Balcony is a separated element in Erbil vernacular houses, but in Baghdad houses it is
within the shanashil.
Conclusion
The research was able to highlight a major characteristic in Erbil vernacular architecture
that represent its individuality compared with vernacular architecture in other Iraqi cities
that is uses brick work patterns for ornamentation instead of carving.
References
Oliver, Paul, “Encyclopedia of Vernacular Architecture of the World”, Cambridge
University Press, 1997.
Oliver, Paul, “Shelter and Society”, Barrie and Jenkins, 1978.
Rapoport, Amos, “House Form and Culture”, Foundations of Cultural Geography
Series, 1969.
Baker, Geoffrey H., “Design Strategies in Architecture, an Approach to the Analysis
of Form”, E & EN Spon, 1996.
Porter, Tom, “Archi-Speak”, Spon Press, 2004.
Allsopp, Bruce, “A Modern Theory of Architecture”, Routledge & Kegan Paul, 1977.
Oliver, Paul, “Dwellings, the Vernacular House Worldwide”, Phaidon Press, 2003.
Oscar, Reuther, “Iraqi House in Baghdad and Other Iraqi Cities”, 2005.
Al-Azzawi, Subhi Hussein, “Oriental Houses in Iraq”, (Shelter and Society), Paul
Oliver (Editor), 1976.
Sagsoz, Aysha and Tuluk, Omer Iskender and Ozgen, Suleyman, “Influences of
Different Ages and Cultures on Each Other From Architectural Point of View:
Examination of Historical Buildings in Trabzon/ Turkey”, Science Direct (Building
and Environment), No. 41, 2006
Ching, Francis D.K., “Architecture Form, Space and Order”, John Wiley and Sons,
2007.
Asquith, Linda and Vellinga Marcel, “Vernacular architecture in the twenty-first
century (theory, education and practice)”, Taylor & Francis, 2006.
J.Warren and I.Fethi, “Traditional houses in Baghdad”, Coach publishing house,
1082.
