Falak Bilal
Srinagar,May 01: In a quiet corner of Srinagar, where modern concrete homes increasingly replace centuries-old wooden dwellings, one man is working against time to preserve a fading architectural memory.
His initiative, Pash Tae Peaher (loosely translating to “Past and Roots”), began with a simple but unsettling realization: younger generations in Kashmir could no longer recognize the design, structure, or cultural meaning of their ancestral homes.
What Farooq has created is not just a model — it is a detailed, immersive reconstruction of a traditional Kashmiri home. Crafted entirely from wood, the structure captures architectural elements that once defined homes across the Valley: intricately carved doors, finely designed windows, and ceilings that echo a deep artistic tradition.
At the heart of the model is its most striking feature — a roof that brings together four distinct traditional styles once common in Kashmir.
“These roofs were not designed randomly,” Farooq explains. “Every layer, every material had a purpose. They were built to survive heavy snowfall, to keep homes warm in winter and cool in summer. It was science blended with tradition.”
Using materials such as wood, birch bark, mud, and turf, traditional Kashmiri roofs were a masterclass in climate-responsive architecture — something modern construction often overlooks.
Step inside the model, and another story unfolds — that of the Khatamband ceiling. Known for its geometric patterns made from interlocking pieces of walnut wood, this style required no nails and reflected a deep understanding of both design and sustainability.
“These ceilings were not just decorative,” Farooq says. “They represented balance — between humans and nature, between beauty and function.”
He pauses, then adds quietly, “Homes back then had a different feeling. There was calm, warmth… a sense of belonging that is hard to explain.”
Farooq’s work is not driven by nostalgia alone. Alongside his profession, he is actively involved in non-formal education for children, and he sees this model as a teaching tool — a bridge between generations.
“When children see this, they don’t just learn about architecture,” he says. “They begin to understand identity — who we are and where we come from.”
Visitors who have seen the model often spend long minutes studying its details, some recalling memories of their grandparents’ homes, others encountering this heritage for the first time.
“It’s emotional for many people,” Farooq notes. “Some tell me, ‘This is the house we grew up in.’ Others say, ‘We didn’t know Kashmir had this kind of architecture.’”
Farooq is now working on expanding his collection, planning more models that capture different aspects of Kashmiri heritage. His effort remains largely self-driven, fueled by patience rather than resources.
“This is not a project for me,” he says. “It’s a responsibility.”
In a region where rapid urbanization continues to reshape skylines, his work stands as a reminder that progress does not have to mean forgetting.
“Without knowing our past, we cannot compete with the future,” Farooq reflects. “If we lose our roots, we lose direction.”
And in the careful carving of wood, in the layered design of a roof, and in the silent geometry of a ceiling, he is ensuring that Kashmir’s architectural soul is not lost — but remembered, understood, and carried forward.
