Wooden balconies of old Lahore

Look at the whole assembly

A wooden balcony contains more than carved decoration. Samina Zia Sheikh’s Bhati Gate study describes Makhzan House through its posts, openings, louvers, spandrels, balustrade and roof covering. Larger and smaller openings alternate across its front. Floral carving, geometric details and plainer surfaces establish different rhythms within the assembly. The study also records layers of paint and a corrugated covering above the timber.[1]

A working street changes a surface

Another case in the same study, associated with Hero Band, brings commercial use into the description. Signage and cables were attached to the balcony, and paint covered some of its glass. These additions changed what could be seen through or across the openings. The dated account describes a building being used, without requiring the reader to adopt the author’s judgements about its occupants.[1]

Timber, glass and the projecting window

Zain Zulfiqar and Madeeha Altaf’s comparative study follows variations in the jharokha, or projecting window. Their Lal Haveli example brings a larger central element together with smaller side elements, carved timber and moulded decoration. At Bansi Mandir in Anarkali, their description gives attention to woodwork and the curved hood. These cases direct attention to the relationship between a projection, its base and its canopy. Not every visible component belongs to a timber frame.[2]

The authors’ Amrit Dhara Pharmacy example combines a central jharokha with European-style windows on either side. The projection includes five wooden panes with wooden arches, and glass appears in the upper pane. Its base and hood contribute other shapes. Their photographs and descriptions allow a comparison of particular facades rather than a rule for every building in an architectural period. A balcony’s character can depend on how different materials meet, as well as on the intricacy of its carving or the colour applied to it.[2]