SPACES Nepal DEC 2014

December 2014 – Vol 10 No. 11 Price: NRs.100/- IRs.100/- USD 5.95 EURO 5.95 GBP 4.95

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The Inn revisiting heriage

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Architects

with solutions wooden marvels

of Nepal

PAST AND PRESENT

REUSABILITY

of concree

LESSONS FROM RANA PLAZA DEBACLE

A Wakeup Call

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Conens Volume 10 NO. 12 | DECEMBER

S P A C E S N E P A L . C O M

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The Inn: revisiting heritage

The Inn, a boutique hotel located in Patan Durbar Square, one of the most popular tourist areas in INTERIOR Kathmandu is one of the best examples of the adaptive reuse of old buildings. Brick exterior is kept intact along with most of the other outer features including window frames and doorways, rooms are cleverly designed according to the space available and the spaciousness of the rooms in itself defies the stereotype of the traditional Newari interior as Dr. Rohit Ranjitkar, the chief architect of the complex strongly believes in minimum deviations to the original design and this is very noticeable in various aspects of the complex.

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Lessons from Rana Plaza Debacle: A Wakeup Call

The deadliest industrial accident in the history of Bangladesh claimed nearly 1,138 lives and yet more than 2,000 were left seriously injured or disabled. International Labor Organization (ILO) estimated that some $40 million needed to compensate the families and disabled garment workers. The tragic sandwich collapse of Rana Plaza garment factory complex in the outskirts of Dhaka, brought about massive movements for similar industries to sign up for the newly implemented Bangladesh fire and building safety accord.

IMPACT

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Wooden Marvels of Nepal- Past and Present

The comment on the arguments between two great scholars of Nepalese art and architecture Mr Pratapditya Pal and Niels Gutschow in representing mountains on the surface of small icons is rightly caught up by the writer. “The Antiquity of Nepalese Wood Carving”, a book by Mary Slusser dig into the subject on wood carving, its history, authenticity and art forms in detail, features drawings of the old carvings by two Nepalese draughts personsVijaya Basukala and Rajan Shrestha from Bhaktapur.

ART

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Architects with solutions

Gnathang is one of these villages at an altitude of 3600 ARCHITECTURE m., flanked by mountains on all sides, and a meandering stream passing through the village. It is the highest station to stay in the Indian Part of Silk Route. A more humane, inclusive approach that uses local materials combined with contemporary innovative ideas had proved to be very successful in several projects in Afghanistan and India since 2004 as Anne Feenstra, principal architect of arch i platform and Laureate of the Global Award for Sustainable Architecture 2012 (Paris), strongly believes in “Slow Architecture”.

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78 ART SCAPE

“The Sacred Feminine” by Prof. Dr. Laya Mainali

Laya Mainali’s recent sculptures entitled, “The Sacred Feminine” use geometric forms to depict the female torso emphasizing femininity as a symbolism of divine power, worthy of being worshipped. He has also written six books related to Nepali art and artists.

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There have been few exhibitions of Nepalese art in the United Stales since FROM THE SHELF the opening of Nepal to the West in the mid-twentieth century. The 2010 expansion of the Crocker Alt Museum has provided us with the opportunity to exhibit works previously not on display and to exploit new avenues of collecting. The addition of new gallery space has happily coincided with a growing Asian collection, particularly in the areas of ceramics and South and Southeast Asian sculpture., so this exhibition provides a unique opportunity to view both Hindu and Buddhist art from the region.

REUSABILITY OF CONCRETE

Concrete is inert material and cannot cause major chemical deterioration in ARCHITECTURE further use. Reuse can help to reduce emission green house gases like CO, CO2, NO, NO2, etc. in some way, also contributing towards reduce in large amount of solid waste that ultimately goes into landfill. To save our environment, its imperative we start becoming conscious of what we are using and disposing, right from individuals up to the policy making levels and start acting responsibly.

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Celestial Realms

66 PERSONALITY 64 STORE WATCH: EVEREST BATHWARE 68 PRODUCTS 72 OPEN SPACES

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ediorial SAARC summit was a complete success, and we’re proud. There were many last minute preparations but at the end it was all success. A fact we proved again we can do it. After the summit the highly aspiring has not cooled down. Constant effort is going on keeping the newly reshaped roads, greeneries and cleanliness being on top among agendas, and it is indeed very appreciable.

While modernizing and building new structures plays the definitive role of development on one side, our architectural heritage that we’re bestowed deserves the similar attempt. It should reflect on everyone’s action and reaction to keep it at optimum. The Inn, a boutique hotel, is one of the best examples of the adaptive reuse of old buildings. A place where one can see and feel for themselves the exemplary coherence of modern amenities in a building we label ‘old’, many times, but proves to be a picturesque lifestyle instead. Popularity among quality tourists is evidence enough.

NSET has been very active on raising awareness about precautionary measures and aftermath of earthquake, should that happen. Rana Plaza debacle serves a lesson in Bangladesh and we still are lucky to learn without having to suffer on that magnitude. According to NSET more than 60% of buildings in Kathmandu valley will collapse if there is an earthquake similar to the one that occurred in 1934. That brings to point where the reusability of concrete should a primal consideration in building industry. As the concrete is inert and reuse can help reduce emission of green house gases and lower costs at many places and point.

There has been widespread, but often unintended, damage due to human intervention at many places.

Sikkim, in India, is also not spared. WWF India and Forest Department Sikkim conducted intensive studies in Red Panda to asses the status and habitat. A more humane approach initiated where listening and sharing of ideas between architects and the community is the starting point. Architects with Solutions, the partnership process was well received and already showing improvements.

Continuous effort on study of Nepalese craftsmanship on various forms and figures, woodcraft fitted on historic monuments and even private houses are of big challenge to find who, when and how. The finding of the oldest wooden art now preserved in the ‘Museo di Arte Orientale, Turin, Italy is to be especially noted with exception. This is the oldest woodcraft so far known from Nepal till date. ‘The Antiquity of Nepalese Wood Carving’, a book by Mary Slusser is a remarkable effort in documenting the rich saga of woodcraft in Nepal.

Finally, a deeper meaning by Frank Lloyd Wright ‘Noble life demands a noble architecture for noble uses of noble men. Lack of culture means what it has always meant: ignoble civilization and therefore imminent downfall.’

Namaste!

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Volume 10 NO. 12 | December

CEO Ashesh Rajbansh Editor-in-Chief Sarosh Pradhan Creative Manager Deependra Bajracharya Contributing Art Editor Madan Chitrakar

Kasthamandap Art Studio Junior Editor Sristi Pradhan Contributing Editor President - Society of Nepalese Architects

Photographers Intl. Correspondent Interns

Chief - Administration Sr. Marketing Officer Marketing Officer Admin Officer Office Secretary Accounts Legal Advisor

Ar. Jinisha Jain (Delhi) Ar. Chetan Raj Shrestha (Sikkim) Barun Roy (Darjeeling Hills) Pradip Ratna Tuladhar Hemant Kumar Shrestha Bansri Panday Binam Bajracharya Mohein Ranjitkar Swati Panta Anu Rajbansh Debbie Rana Dangol Biken Raithore Ashma Rauniyar Pramila Shrestha Sunil Man Baniya Yogendra Bhattarai

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Regd. No 30657/061-62 CDO No. 41 SPACES is published twelve times a year at the address above. All rights are reserved in respect of articles, illustrations, photographs, etc. published in SPACES. The contents of this publication may not be reproduced in whole or in part in any form without the written consent of the publisher. The opinions expressed by contributors are not necessarily those of the publisher and the publisher cannot accept responsiblility for any errors or omissions.

Those submitting manuscripts, photographs, artwork or other materials to SPACES for consideration should not send originals unless specifically requested to do so by SPACES in writing. Unsolicited manuscripts, photographs and other submitted material must be accompanied by a self addressed return envelope, postage prepaid. However, SPACES is not responsible for unsolicited submissions. All editorial inquiries and submissions to SPACES must be addressed to editor@spacesnepal.com or sent to the address mentioned above.

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Contributors Sukrasagar Sukrasagar is an archaeologist and a specialist in Nepali culture and history. He, coauthoring with Mehrdad Shokoohy and Natalie H Shokoohy, has recently published Street Shrines of Kirtipur: As long as the Sun and Moon Endure (2014). The book focuses on the shrines’ chronology from the earliest specimens to the end of the twentieth century, the reasons for their erection, their typology and their iconography with the aim of providing a broad understanding of such features in a wider perspective for all Newar settlements. Another important he has coauthored is Jarunhiti (2013).

Amit Kumar Shrestha Amit Kumar Shrestha Public-Private Partnership specialist at National Society for Earthquake TechnologyNepal (NSET). He did his MS in Risk Control and Management Technology from University of Wisconsin-Stout, Wisconsin, USA. His experiences ranges among Environment & Occupational Safety, Risk Management, Emergency ,Preparedness & Response, Loss Control, Enterprise Resource Planning, Business, Continuity Planning, etc.

Bijaya Laxmi Rai Er. Bijaya Laxmi Rai is an Assistant Designer and Planner at Sanjen (Upper) Hydroelectric Project on behalf of contractor.

She is interested in technical writing (Sustainability, Green Technology, Disaster Risk Management, Issues of Women, children and societies), amateur researcher (Seismic vulnerability).

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Anne Feenstra Anne Feenstra, a Master in Architecture from Delft University, The Netherlands, has established a collective platform for architecture, arch i, along with four young and ambitious architects.

Anne has been practicing architecture in the European continent and in London (William Alsop architects). In 2003, he established his own design groupAFIR. He has been lecturing and teaching in India, United Kingdom, Afghanistan, Germany, Nepal and The Netherlands.

Asha Dangol Asha Dangol is a contemporary Nepali visual artist. He is the co-founder of Kasthamandap Art Studio and E-Arts Nepal.

He holds Master’s Degree in Fine Arts from Tribhuvan University. He has been creating and exhibiting his artworks since 1992. He has 10 solo art exhibitions to his credit. He has taken part in numerous group shows in Nepal and has been exhibited in different foreign countries. He experimented with painting, mixed media, ceramics, installation, performance and video as well.

Drishti Manandhar Drishti Manandhar is an architect, graduate from the Pulchowk Institute of Engineering, currently working at S G Designs. Fascinated

by Space - she loves to eat, read, sketch, talk (in radndom order) and write about the acquaintances in her environemnt. An art enthusiast by nature she is fascinated by the ability of words and its power in expression.

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Reviews

HANDICRAFT SPREADING THE WINGS

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HAN, Federation of Handicraft Associations of Nepal established in 1972, organized the exhibition from 20th to 24thNovember 2014 at Brikutimandap, Kathmandu. Along with handicraft stalls from Nepal, the exhibition also had stalls from different SAARC countries which made it more lively. It benefited by huge publicity of the SAARC conference being held in Kathmandu. The large crowd of both buyers and sellers mutually benefited as the buyers and contractors got a variety of choices while the sellers could interact with their customers and promote their products and thought behind them.

The main highlight of the exhibition started from the rainbow gate that represented seven countries of SAARC welcoming the visitors. From the entrance of the main hall, it was decorated with the ambience of Nepalese heritage and cultural touch which represented one of our Buddhist Stupas, also reflection of our Nepalese craftmenship.

The attraction of SAARC handicraft exhibition and 12th handicraft tradefair were craft competition, handicraft

fashionshow (Jewellry walk), live demonstration from artisan etc.

Encouraging participantion of SAARC member states which made all the participants extra energized.

The Nepali stalls ranged from jewellery to pashmina clothing to wooden handicraft.

Bhusan Manadhar from Nepa Bhon, which deals in Nepali paper work, says that exhibition like these help businesses reach a larger crowd. He says, “The response is getting better each year and we have a lot of returning customers. Exhibitions help me show that handicraft is not only limited to woodwork and that Nepali paper also has a scope in handicraft and interior designing”.

The SAARC stalls ranged from Onyx marble goods from Pakistan to clothes from Bangladesh.

Being his first time in Nepal’s handicraft exhibition, Mr. G.L.W. Samarasinghe, Director of SAARC Cultural Centre of Srilanka, was pleased with the overall turn out of the event.

He had been to two other similar exhibitions in Dhaka, Bangladesh, and in New Delhi, India and said that this is by far the best

one he’d been because of the high number of participants. He further mentioned the demand in the world market for handicrafts product is very big. Mr. Samarasinghe predicts that this industry will grow and produce enough to meet the demand.

Ms. Soundarie David Rodrigo, Deputy director of SAARC culture center expressed her feelings that this exhibition opened the door for handicraft business among the saarc countries. And also this exhibition will aid to generate a platform for exchanging cultural and local handicraft.

Hon’ble state minister Mr. Giri Bahadur KC was pleased to see that this year’s exhibition turned out to be one of the most successful they’ve had. With participants from other SAARC countries and new local producers, the number of visitors was greater than what was expected. “There was also a relatively better support from the government” says Mr. KC. A lot of small firms that came from other districts really shows what the current status of the market bringing different producers and exporters together. There were a lot of difficulties during the preparation of this exhibition especially on finance due to the scale of the event, still the handicraft industry is getting more appreciated than before. There were some financial support

Reviews

skills and innovations in terms of design and product of each craftsman.” Mr. Narayan Gopal Malegu, Secretary, Ministry of Commerce and Supplies also had similar thoughts about the competition and the exhibition. These events and this exhibitions can help the Nepali artists and craftsmen to bring out the forgotten arts.

from both the government and SAARC but the still major problem is the improper exhibition hall. He further suggests that this industry can grow even further with proper government support and regulations.

Mr. Hem Ratna Shakya, President of FHAN, says that with the involvement of all the SAARC countries and all the new producers this year’s exhibition has turned out better than ever. He further mentioned that there can be a significant amount of development in this sector with the government getting involved moe. In other SAARC countries the government plays a huge role in providing facilities to their handicraft industries but Nepal government is yet to do this.

He’s been requesting the government to provide the industry with a piece of land that they can build the infrastructures by themselves and initiate a handicraft village.

The export of these products can increases employment levels and be a good source of foreign currency earning.

According to Mr. Kiran K. Dangol, Vice president and coordinator of SAARC Handicraft Exhibition and 12th Handicraft trade fair of Nepal, stated that this event has become a biggest showcase of fair, where a common platform for producers, traders and exporters were available for a wide range of products for buyers and sellers.

Though being a multiproduct exhibition, collaboration with SAARC cultural center added additional values to this event.

From this years’ event all the people from handicraft field are very optimistic and hopeful to get more support from government as well.

“The FHAN exhibition’s craft competition acts as a stage for the craftsmen to show their skill.” says Mr. Sanam Shakya, coordinator of FHAN, and continues by saying, “The main objective of the craft competition is to promote and popularize the unexposed

Due to increase in publicity, the 12th exhibition has been a complete success.

With handicrafts from other SAARC nations integrated with Nepali handicrafts, this unique exhibition welcomed huge number of visitors. Media Co-ordinator Mr. Nabin Shakya was very optimistic though some difficulties arose as rumours about security problems surfaced. But itwas tackled in time for the exhibition to go smoothly. They also hosted a live wood carving competition. Along with this, the exhibition also celebrated Silver Jewellery week and a lot of stalls in the exhibition were occupied by traditional jewellery makers. Mr.Shakya noted that it gives a platform for traditional businessmen to approach more customers and wholesale buyers. For the organisers, the whole process itself was a learning process that will help in planning and organizaing more exhibitions, in and out of the country. With the new gained insight for the need to use handicraft more for interior decor, stalls with wooden, marble, and paper products also have been very popular. Mr.Shakya also states that Nepal needs to export more of its products. In the coming years, he hopes the exhibition will attract more visitors and plans to integrate more handicraft stalls to meet its need in interior decor.

Visitors from other countries like China, middle east etc. also sensed the scope of handicraft business in Nepal. With the success and popularity of the 2014 FHAN exhibition and the involvement of the SAARC countries, all invloved seemed to be pleased with the turn out. They hope that the next year’s would be even better with more government support.

Reviews

PLAST NEPAL REDUCING ENVIRONMENTAL IMPACT

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he organizers of Plast Nepal Foundation have organized the first edition of an exclusive exhibition of plastic, PlastNepal 2014. The three-day event was held from November 14 to 16 at Bhrikutimandap Exhibition Hall with an aim to demonstrate the potential of industrial growth in the plastic sector such as packaging, construction, health, automobiles, household and footwear, among others, while at the same time to create awareness on recyclability of used plastics. According to the organizer, Plast Nepal Foundation, “Plastic balances modern day needs with environmental concerns as their usage have low environmental impact from start to finish. With good recyclability options plastics are also the most cost effective material available for wide range of functions”. It’s one of the prime objective was to create the common platform for both national and international market’s participants and to enhance their economical mutuality. The exhibition was also held in order to create awareness in the public about the usage of plastics.

The organizers have faith that people will understand the proper use of plastic better after the exhibition. The inauguration of the expo was done by the finance minister Ram Sharan Mahat.

According the organizers, the following were the objectives of the exhibition: • To promote plastic sector in the country.

• To promote the country as a plastic destination.

• To create the awareness of plastics to the government and the public.

• To create the awareness of the benefits of the plastics to the government and the public.

• To promote the awareness of 3R (reuse, recycle and reduce) of plastics.

• To promote, develop and protect the trade, commercial and industries related to plastic and its appliances.

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PlastNepal Foundation made the pavilion of 4000 sq. ft. their stage where the exhibitors demonstrated the history of plastic, how it makes human life easier, how it consumes energy, its benefits and uses, and how it can be reused and recycled by contributing to clean and green Nepal that will help create a sustainable future.

The event was held in Bhrikutimandap with about 150 national and international stalls

and it was a success despite it being their first attempt. Spaces Magazine also took part in the exhibition with reused plastic materials such as plastic bottles, straws and cups and turned it into decorations like flowers, piggy bank, paper stand and plastic ribbons.

The event did well in informing us how it harms the environment when we mindlessly throw things away and how we should reuse it.

Reviews

IDC top 11 at Color Bazar

10 (Ananda Baid- vice president of plastnepal) INTERVIEW: These type of exhibitions are more common in other countries. PlastIndia, ChinaPlast and PlastVision are the few among many organizations who conducts such exhibitions in their countries and we found the inspiration from them.

There is a wrong perception in the mindset of our public about plastics.

Plastic is used in making a lot of things that we use in our daily life but hardly notice it. It’s not that plastic is harmful but the way we use it is harmful. We just need to learn to use and dispose of it properly.

In Europe, the use of plastics is maximum in architectural sector. From doors, windows, their frame to flooring and as DPM (Damp Proof Membrane). A new product called plastic-wood is also being produced these days. Using this material, we can make anything that is made up of wood and is a lot cheaper than wood. It is environment friendly as well. Plastics can even be used in walls which can be used as a thermal insulator.

November 2014, Spaces magazine organized an event that served to introduce the state-of-the-art color showroom to the top-11 Interior Designing Competition-2014 winners , Color Bazaar located at Anamnagar, Kathmandu. The event primarily focused on the introduction of different types of color palette, paints, textures and techniques available from Pashupati Paints.

Color experts also provide counseling and guide us through this unorthodox experience.

The IDC-2014 winners were introduced to the interactive showroom equipped with different exhibits to let visitors explore their artistry and to ensure that they personalize their own homes with this service. Computer rendering of the different color schemes are also presented for assisted visualization to the visitors.

Since different rooms have different requirements and usages, Color bazaar is furnished with multiple replica rooms which presents us with different color schemes that enhances the ambience of the rooms. Moreover, different handouts of complimenting color palettes are elegantly presented throughout the show room for professional assistance with selecting colors. Customers can hand-pick colors and confirm if they complement each other or not, color experts will always be present to counsel as well. On the other half of the showroom, different textures that are available are effectively presented, where any customer can view different exhibits by sliding the painted wooden frames. They also provide services to customers that enable them to try out different color samples and graphically render them. Different techniques required for the textures like stencils and different brushes were also explained. Though the showroom doesn't directly sell paints, they refer the customers to the paint outlets and sub dealers who sell these goods and services. A completely new and only facility of it’s kind in Nepal, it will help the customers gain more value for their money and higher level of satisfaction by utilizing the features at their disposal.

The main targets of this expo were the plastic industries and the international suppliers. Many suppliers are unaware that we have an industry and market for plastics in Nepal. They were our biggest target because with their help we could expand our industry and market our products accordingly.

The main objective of the exhibition was to introduce consumers and producers to each other, and the exhibition succeeded in doing that. There were about 30,000 visitors during the exhibition. The success story will be repeated in near future.

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Reviews

IDC AT YANTRA

ARTITECH/SCIENCE

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here everyone owns a smart phone, laptop and tablet lack the ability to think more creatively.

But in Yantra 3.0, jointly organized

by Robotics Association of Nepal, Karkhana and Siddhartha Arts Foundation’s Education Initiative, they’ve made these devices their canvas, pen and paint. It is more than just a photograph shown in a screen or a drawing made

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in Photoshop, its where art and technology truly blend into one.

Spaces invited the Interior Design Completion (IDC) 2014 winners to join them in the exhibition.

Soon as you enter the first floor of Nepal Art Council the first thing you notice is a 9 feet high and 6 feet wide prayer wheel made of brass sheets. I was baffled when I saw people turning it and stopping it and then turning it in the other direction and just repeating the process. I was amused to find that the prayer wheel actually controlled the stop motion playing on the two projections on the wall nearby.

There were also other tiny wheels near the big one made from recycled materials by primary school students. There were also

what it seemed like paintings of barcode on the wall which seemed odd but it actually uses the bar code reader in your phone to play videos, show texts and pictures that would match the barcodes in the wall.

Joining the exhibition was Joy Lynn Davis, an artist from Santa Barbara, California who’s been working in her project “Remembering the Past” which responds to the theft of sculptures from Kathmandu Valley.

The IDC 2014 winners seemed to have had a good time exploring and learning from the exhibition. It appeared that they were intrigued and had their interest piqued at the time like each and every person visited there.

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INTERIOR

Interior

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INTERIOR

The Inn revisiting heriage THE INN, A BOUTIQUE HOTEL LOCATED IN PATAN DURBAR SQUARE, ONE OF THE MOST POPULAR TOURIST AREAS IN KATHMANDU IS ONE OF THE BEST EXAMPLES OF THE ADAPTIVE REUSE OF OLD BUILDINGS.

TEXT : DRISHTI MANANDHAR PHOTOS: A. RAJBANSH, MOHEIN RANJITKAR, BINAM BAJRACHARYA

DECEMBER 2014 / 29

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t isn’t difficult for us to imagine a building being used for something other than what it was initiallydesigned for, as many structures have outlived their original purpose and have been renovated, adapting to new requirements. Because of the concern with the preservation of cultural heritage, adaptive reuse of old buildings has been proven to be one of the best options when deciding to reclaim an old structure.

Along with the conservation of traditional building designs, it is alsoa sustainable option for the recuperation of a site and an effective way of reducing environmental impact because of the minimal heavy construction work required in fully refurbishing an existing building. Through this, old and unoccupied buildings can be used efficiently for modern businesses.

The careful selection of interiors and furniture rests gracefully within the design, complementing both its scale and proportion.

The Inn, a boutique hotel located in Patan Durbar Square, one of the most popular tourist areas in Kathmandu is one of the best examples of the adaptive reuse of old buildings. As you enter the complex, there is a courtyard (a common feature in old Newari buildings), a three-storystructure that holds the 10 hotel rooms alongside a semi-open, two-story restaurant. The east wing of the hotel contains three rooms per floor with a suite at the top floor with access to a private balcony. This section is approximately 450 square meters in area with 4-suites, 3-twin beds and 3 deluxe bedrooms, each with a unique interior, offering a diverse experience in every room.

As Dr. Rohit Ranjitkar, the chief architect of the complex strongly believes in minimum deviations to the original design and this is very noticeable in various aspects of the complex. The brick exterior is kept intact along with most of the other outer features including window frames and doorways.

The rooms are cleverly designed according to the space available and the spaciousness of the rooms in itself defies the stereotype

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DECEMBER 2014 / 31

of the traditional Newari interior. The central staircase on the main complex provides access to all the ten rooms. The furnishing and decorations within the building have also been influenced by the traditional Newariarchitecture. Each room is provided with a spacious attached bath with all modern facilities and the internal surfaces and spaces have been designed using traditional, low-height, timber furniture.

Most of the interior and exterior renovation of the building has been done on site. As Dr. Rohit says,” How I think may be perfect on paper but at the site it is a completely different story.” According to Dr. Rohit, during construction,reuse of the old materials was prioritized. “Those items which could be used again were left as it is and things that needed to be 32 / SPACESNEPAL.COM

wreconstructed were done keeping in mind the norms of conservation.”- He further added. The Dalins were reused and the bricks, pillars and the railings used were remnants from other ruined structures. The maintenance and preservation of all elements in the building is done in a traditional way and for additional structural safety, metal bracing has been provided.

The intervention is so minimal that no extensive construction is done in any part of the building, and it looks more restored than redesigned.

One of the most intriguing aspects of adaptive reuse is the ability to adapt to any needs of the client without losing its original character. “Our major goal is to value old heritage. An approach of least interference is what makes all the difference in these types of projects.”-

The traditional elements and the materials have been beautifully revived to create fresh and sophisticated spaces.

{

“Our major goal is to value old heritage. An approach of least interference is what makes all the difference in these types of projects.�

- Dr. Rohit states.

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Each of the ten rooms of The INN have unique layout and interiors, the spacious interiors of all the rooms are a highlight of this project. The minimal interiors help keep the essence of traditional architecture alive.

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Dr. Rohit states. He believes that sometimes entrepreneurship may have both negative and positive impacts. However one of the major difficulties that designers have to face during these projects are convincing the clients to keep the design as close to the original as possible and making them understand the value of their assets.

lifestyle and culture. These kinds of projects definitely have a positive impact on local community and help promote use of local resources. It gives us a chance to embrace our historical and culturalbeauty while considering the present requirements.

The Inn at Swotha is indeed an amazing boutique hotel based on the revival of traditional Nepalese architecture, excellently adapting to modern needs. As the designer believes that every home is a monument.

Indeed our traditional homes are not just architectural masterpieces but they also represent our traditional

(This journey began with a feature of the ongoing renovation of two private houses at Swotha, Patan, adjacent to ‘Traditional Homes-Swotha’ (previously featured in Jan-Feb2012 issue of SPACES) and “The Story of Swotha”(featured in March -April 2012 issue of SPACES) thus culminating into the successful conversion story of The Inn: Revisiting Heritage)

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Impact

LESSONS FROM RANA PLAZA DEBACLE

A Wakeup Call by : Amit Kumar Shrestha

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ast April 2014, the sandwich collapse of Rana Plaza garment factory complex in the outskirts of Dhaka, Bangladesh marked its one year anniversary with commemoration and protest for compensation and safer working condition for the workers.

The deadliest industrial accident in the history of Bangladesh claimed nearly 1,138 lives and yet more than 2,000 were left seriously injured or disabled. International Labor Organization (ILO) estimated that some $40 million needed to compensate the families and disabled garment workers. Although many would call this disaster a wakeup call, some would choose to differ. These kind of accidents had happened in Bangladesh in the past but probably were not destructive or loud enough to register a wakeup call for the government or the concerned authorities. Most importantly, the disaster could have been predicted and prevented had they adequate safety and disaster risk reduction measures in place.

The Rana Plaza garment factory debacle brought about massive movements for similar industries to sign up for the newly implemented Bangladesh fire and building safety accord.

Although some progress have been made since, there still remains several unresolved issues such as lack of full implementation of newly-legislated labor laws, absence of a comprehensive building safety inspection process, and inadequate arrangements to compensate the victims of industrial accidents.

There are lots of fire and building safety issues which still need to be addressed to comply with the accord.

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Meanwhile, there is evidence of positive change in safety culture as both management and workers are taking safety seriously and raising concerns especially over building safety and fire safety issues. This might be a long journey before any significant change will be noticed on the front of proactive safety approach by the private sector as well as government regulated disaster preparedness & response policy, however, the goal to mitigate the scale of loss in the event of such future disasters is sure achievable.

Immediately after the disaster some key garment buyers and international retailers withdrew from Bangladesh while others responded with an objective of improving the factory condition including building infrastructure, fire safety and working conditions of the workers. There were about 30 foreign retail brands which were supplied by more than 5,000 garment factories in Bangladesh. It was sad to see that, in the wake of the disaster, only half of the retailer brands came forward to compensate the family and the injured workers as part of their so-called Corporate Social Responsibility (CSR) activity. The other half probably wanted cheap clothes at the expense of safe working condition and wellbeing of the workers in Bangladesh.

This could be a classic example of 21st century slavery where labors in developing countries are enslaved by affluent business societies around the globe. The end consumers (probably half way around the globe) need to wake up and see the tragedy of the labor behind the label and boycott those brands which are so indifferent and

irresponsible towards their own workers.

For a sustainable business in the long run, all the entities (including manufacturers, buyers, retailers and even the end users) in the supply chain have to acknowledge and respect the fact that the garments made in Bangladesh present a symbol of standards and not of workers’ exploitation.

Businesses need to understand that the social responsibility of private sector goes beyond the day-to-day operation of producing efficient products and services for customers. The Corporate Social Responsibility (CSR) of a company is not concerned just with its clients, suppliers, employees and shareholders but also with communities and other downstream stakeholders who take an interest in the behavior of the company. Sometimes private businesses are so busy making money they forget to see the complete picture and misinterpret CSR as mere charity works in bits and pieces.

Of course there are short term benefits associated to these philanthropic activities to both business houses as well as communities but the targeted social and business impact gets diluted as often budget is limited and not sustainable for the desired cause. Businesses need to rise above the charity and the compliance requirements set by the government or international organizations and work on building a solid/sustainable platform where private sectors, communities and stakeholders can come together for shared values and wellbeing of people & environment as a whole. CSR can bring fundamental impact/value to the private companies only if they learn to incorporate it into their growth strategy and sustainable business model.

As per Bangladesh Garment Manufacturers and Exporters Association (BGMEA), foreign buyers cancelled orders worth USD 110 million from 37 factories in 2014.

The number of new ready-made garment factories also declined from 113 in fiscal year 2012-2013 to 65 in fiscal year 20132014. On one hand Bangladesh has this immense need to address its existing safety and disaster preparedness issues such as fire and building safety accord while on the

other it has more immediate challenge to quickly restore confidence of the foreign retailers so that the garment business continues with minimal disruption.

Although identifying and fixing structural flaws of other similar business complexes, developing emergency preparedness & response plans and establishing proactive safety management system within private businesses will definitely take some time, Bangladesh cannot afford to lose its retailers by not meeting the basic safety requirements just now. The country and the private sector need to move fast if they want to recover and restore the garment businesses as ethics, brand identity, image and consumer awareness are rapidly becoming the competitive grounds for the growth of any organization. Further delaying and not meeting the basic safety standards might signal the international market/retailers to diversify to other places/countries which can provide with private businesses which are safety compliant, better prepared to face such disasters, have capabilities to respond to such emergencies and are well equipped to quickly recover from the tragedy.

When a disaster like this (collapse of Rana Plaza building) takes place the entire business community or supply chain might go frantic, not sure what to do next. If the scale of disaster is huge such as massive earthquake, fire, flood or landslide, even the government or outside agencies become helpless in supporting the private companies before it is too late.

According to the Insurance Information Institute, USA, up to 40% of businesses affected by a natural or man-made disaster never reopen. Under the circumstances, companies suffer a great deal while managing emergency response, disaster recovery and continuing the business as usual. In the event of a massive disaster, the most urgent need of businesses is to quickly respond to the emergency (to save lives and property) and next, to recover its operational activities (to become functional and continue the business) at the earliest.

The collapse of Rana Plaza building served a lesson to Bangladesh. It has woken up a great number of private

sectors, government bodies, employees, stakeholders and other groups from in and outside the country. Considering the parallel in demography, infrastructure, government policies, business culture and the level of preparedness for disaster, it really brings us closer to the Rana Plaza experience and provides a real-time lesson to consider and learn from. This certainly is a wakeup call to the government, private sector businesses and their stakeholders in Nepal.

REFERENCES http://www.theguardian.com/world/2014/ apr/24/rana-plaza-factory-disasteranniversary-protests http://www.mercatornet.com/articles/view/a_ year_after_the_rana_plaza_collapse_recovery_ is_slow http://www.iccr.org/year-after-rana-plazainvestors-call-transparency http://www.nytimes.com/2014/04/28/opinion/ one-year-after-rana-plaza.html?_r=0 http://business-humanrights.org/en/the-ranaplaza-building-collapse-in-bangladesh-oneyear-on http://www.iso27001standard. com/blog/2010/04/08/ how-to-write-business-continuity-plans/ http://www.adcouncil.org/News-Events/ Press-Releases/FEMA-Red-Cross-and-AdCouncil-Launch-New-Ready-Business-PSAsto-Urge-Small-Businesses-to-Prepare-inAdvance-of-an-Emergency http://www.thehimalayantimes.com/fullNews. php?headline=Infrastructure+developmen t%3A+Involving+the+private+sector&News ID=381566 http://www.adpc.net/igo/category/ID601/ doc/2014-imd5Ht-ADPC-ADPC_Newsletter_ Special_Edition_2014_Web.pdf "Corporate social responsibility and disaster reduction: A Global overview" - by John Twigg, Benfield Greig Hazard Research Centre, University College London "The Economic Impact of Disasters and the Need for Disaster Preparedness in the Nepali Private Sector", Spaces Magazine - by Kalyan Bista, PPP-Specialist, 3PERM/NSET Promoting "Public Private Partnership for Earthquake Risk Management (3PERM)” program, Project Brochures - National Society for Earthquake Technology-Nepal (NSET), Lalitpur, Nepal

“Jagadamba Cement is one of the best cement with good sales and quality. It is the consumer’s first choice and the most demanded cement” as per Mr. Rajan Shrestha, Branch Manager at Far Eastern Trading, Lokanthali, which has been taking dealership of Jagadamba Cement for last seven years."

Address: Far Eastern Trading, Lokanthali, Bhaktapur, Ph: 6636113

DECEMB R 2014 DECEMBER 2014 / 3 37 7

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DECEMBER 2014 / 39

Architecture

Architects

with solutions Text:Himanshu La, Mariyam Zakiah and Anne Feenstra

THE LONG AND WINDING ROADOFFERSEVER-CHANGING PANORAMAOF THE KANCHUNJUNNGA MOUNTAIN AND PATCHES OF HIGH ALTITUDE LAKES THAT MERGE WITH THE MASSIVE MOUNTAINS. THIS IS THE ROAD OF JELEP LA, OFTEN REFERRED TO AS THE OLD SILK ROUTE TO LHASA, IS ONE SINGLE LIFE LINE CONNECTING THE 32 VILLAGES OF SIKKIM EAST.

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nathang is one of these villages at an altitude of 3600 m., flanked by mountains on all sides, and a meandering stream passing through the village. It is the highest station to stay in the Indian Part of Silk Route. The climate cold and humid.The temperature in the peak winters may go down to -150C and high wind speeds add to the chill factor. The village has 26 houses, a beautiful Buddhist monastery, a Lord Vishnu Temple, a war memorial commemorating the British soldiers of the Occupation of Gnathang in 1890’s and an army base camp.

G

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The internal temperature is unmanageable without the bukhari. All the household activities take place around it. The local people usually go to bed at nine in the evening, and the bukhari is also lighted off.

THE CHALLENGE Sikkim is one of the four states in India where the endangered Red Panda (Ailurus fulgens) is found. WWF India and the Forest Department Sikkim conducted intensive studies on the Red Panda at the Pangolakha Wildlife Sanctuary and Barsey Rhododendron Sanctuary to assess its habitat (temperate forests) and population status.

Due to an increasing loss of their natural habitat with nesting trees and bamboo,the red panda population has declined, estimated to be about 300 in 20111.This loss is a direct result of human intervention in nature. Village households collect firewood for water and space heating spending between 2.5 hours to 3 hours a day doing this2.Our challenge was to see if we could come up with a solution that would be good for everybody.

THE OPEN DESIGN PROCESS Anne Feenstra, principal architect of arch i platform and Laureate of the Global Award for Sustainable Architecture 2012 (Paris), believes in “Slow Architecture”. A more humane, inclusive approach that uses local materials combined with contemporary innovative ideas had proved to be very successful in several projects in Afghanistan and India since 2004. His ‘open design process’, where listening and sharing of ideas between the architects and the community is the starting point, was also used for the Sikkim East project.

He personally went to Gnathang and in one community meetings, three family houses were selected by the community themselves to be improved with the guidance of Anne’s team. This space heating improvement, reduction of fuel wood consumption, conservation and sustainable development of the serene environment can only be done with the consensus of the people.

DEW ON THE BLANKETS After arch i platform had prepared a detailed feasibility assessment report based on desk and field research and WWF Sikkim had installed three solar water heaters, it was time to improve the thermal comfort of the three selected houses.

The owners Mr. Lobsang Gyatso, Mr. Chamba Sherpa and Mr. Gyatso Bhutia, all live in houses constructed on a raised platform of about 450600 mm. External walls are timber framed with wooden planks, floors are leveled with earth and covered with wooden planks.

The temperature in the three existing houses is usually comfortable during the day, because of the passive heat gain from the sun. As soon as the sun sets the temperature goes down to freezing point, during the winters. The internal temperature is unmanageable without the bukhari. All the household activities take place around it. The local people usually go to bed at nine in the evening, and the bukhari is also lighted off. Within an hour, the internal temperature inside the existing houses houses is almost equal to the external temperature resulting in a cover of dew on the blankets next morning.

HOLES, GAPS AND THE ARMY Working side by side, WWF and arch i team members observed that there was a very high heat loss due to the porous building envelopes of the selected houses. Through holes, both in the timber ceiling and in the corrugated metal sheets on the roof, we could actually see the birds in the sky.Gaps between the wooden planks on the external walls, allow the chilly wind to blow through the houses. This was aided by the high air infiltration from the windows and doors.

All windows and doors had only single glazing.

Although it is important for houses to have some natural ventilation, the situation we found was one of sheer neglect and ignorance.

Anybody travelling to Sikkim East will be able to observe the presence of several army base camps. Where there is army, there are a lot of glass and plastic bottles, but also other waste like rubber tires and Tetrapak (the sturdy fruit juice packaging with an aluminum-based layer inside).The local households also produce abundance of waste. All waste is dumped into the serene and clean mountains, without realizing its long term impact on the environment and biodiversity.

DECEMBER 2014 / 41

Our aim was high. We thought it should be possible to use the waste and transform it into building material that could improve the Space Heating of the selected buildings. We would reduce transportation costs and carbon footprint dramatically if we would be able to make this work.

The initial task was to make the process comprehendible for the local people through posters and graphics, that conveyed the overall idea, making them aware about the loss of natural heritage because of excessive use of firewood, explaining the heat loss through the building envelope and improving them with the help of lowcost insulation. The posters were designed using the vibrant colors traditionally used in East Sikkim.

The posters were distributed and explained at the community meetings and individually in the three houses. Interestingly, the young kids were the most enthusiastic in understanding the process, and became the brand ambassadors of the process, making it a point to explain the process to all the visitors in the house as well as tourists visiting the village.

All the data collected by arch was put into the Solution Matrix high-lighting the individual houses 42 / SPACESNEPAL.COM

to address the different components more specifically.

After a month of distributing the posters and providing time to collect enough potential waste for the workshop, the implementation workshop was conducted in the last week of December 2011, just before the snowfall, to test the impact of the intervention. The workshop was divided in two phases.

EXPECTATIONS AND SOLUTIONS When the arch i team arrived in Gangtok, they got the first surprise, that no carpenter was willing to accompany them. But the village people assured that most of them knew basic woodwork, so that wouldn’t be a problem. Arriving in Gnathang, the team expected that the households would have collected the bottles and could start with the workshop, but unfortunately nothing had been collected and that’s where the young environmental warriors came to our rescue, collecting about 200 bottles within an hour, brought buckets of water to clean them and luckily the sun beamed brightly, aiding the drying process.

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The internal temperature is unmanageable without the bukhari. All the household activities take place around it. The local people usually go to bed at nine in the evening, and the bukhari is also lighted off.

First the external roof was made water-proof, sealing them with coal tar/bitumen, which was easily available because of the extensive road works going on in this area. After repairing the gaps in the ceiling by filling in the gaps with smaller timber strips, a first layer of sacks were laid to ensure all gaps were covered. The cleaned, dried bottles were then sealed to make them air tight and laid in layers in opposite directions (as shown in poster) making the second layer. This was then covered with a layer of dry sand, as sand has good thermal mass.

THE WAY FORWARD The process has been received well in Gnathang and already during the first workshops curious people from other villages on the Jelep Lajoined after they heard about the ‘architects that come with solutions’. Local people have starting improving their houses using these insulation techniques. The Step-by-Step Space heating improvement posters were distributed by WWFSikkim in other villages. It is anticipated that in the coming years, the consumption of fuel wood would come down and waste will be used as a construction material, as people see that it is possible to improve the thermal comfort of your house, while preserving the serene environment of the mountains.

REFERENCE: 1. Annual Report 2011, WWF-India 2. Rural Energy Planning in Sikkim, K.Sudhakar & P.S Gusain

The gaps between the window and door frames and walls were sealed with rubber strips, to allow easy movement of the shutters, as well as reduce the infiltration. Night shutters were fixed on the window openings to provide heat loss from the windows and add an additional layer of insulation.

Since the women and also children of the village are very good in knitting woolens, woolen curtains were suggested, to act as a barrier between the window and the internal space.

The houses were tested during the extreme winter conditions (-20 degrees) and the families expressed their satisfaction and improved thermal comfort of the house.

The Second phase of the workshop was conducted in April 2012. The external walls were retrofitted in this phase.The gaps between the wooden battens were sealed. Tetra-pak was opened and flattened to sheets, cleaned and dried to dehumidify it. It was pasted on the inside face of the external wall timber battens. After this a layer of cleaned dried and sealed plastic bottles were stacked to create a layer of vacuum. This was covered with a layer of cardboard and the plywood internal panel was fixed.

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Architecture

“If we can’t reuse/ recycle anything else, we should stop using those things right now.”

REUSABILITY

of concree Text: Bijaya Laxmi Rai

s we go from Balaju to Lainchaur along Sorakhutte, we can see many partially demolished skeletal buildings. These are consequences of road improvement project. There are many such projects running in the valley; such as at Dillibazar, Maitidevi etc. And I ask myself where does the concrete go? Mushrooming concrete jungles in major cities should compel us to think about reusing concrete. There is a famous adage, “If we can’t reuse/ recycle anything else, we should stop using those things right now.”

A

Concrete is the most largely consumed construction material worldwide. About 95% of all manufactured cement is used to make various types of concrete.

Concrete is the hardened mixture of coarse aggregate (stone & gravel), fine aggregate (sand), cement & water. Because of its versatility, beauty, strength & durability, concrete is used in most type of construction: buildings, bridges, dams, airports, subways etc.

The use of cement as binding material came into effect in Nepal since early 1950’s & gradually with foreign aid followed by establishment of cement industries in Nepal, it flourished and more than 50% of the valley land has been occupied by concrete buildings today.

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BENEFITS OF CONCRETE REUSABILITY: According to NSET Nepal, more than 60% of buildings in Kathmandu valley will collapse if there is an earthquake similar to the one that occurred in 1934 A.D. As a precautionary measure, either these buildings should be reconstructed completely or be rehabilitated. In either case, concrete, is certain to go a waste. If any misfortune happens as predicted by geologist/ seismologists, there will be a big problem of concrete debris disposal. Thus, reuse of concrete can reduce large amount of solid waste that ultimately goes into landfill sites, and, it can save landfill spaces.

Also, crushing concrete at actual construction site with portable crusher reduces the transportation cost of conveying material from quarry to industry to construction site.

Use of concrete aggregates reduces the need of raw material for concrete, hence helps to reduce need of quarry site which ultimately protects environment.

Concrete is inert material and cannot cause major chemical deterioration in further use.

Reuse can help to reduce emission green house gases like CO, CO2, NO, NO2, etc. in some way.

HOW TO RECYCLE USED UP CONCRETE? Used up concrete can be reused directly or after recycling.

Uncontaminated concrete is collected from demolition site is put through crushing machine.

Crushing can be done at actual construction site or away.

Large road portable plants can crush concrete asphalt rubble at up to 600 tons per hour or more.

The systems normally consist of a rubble crusher, side discharge conveyor, screening plant, & a return conveyor from the screen to the crusher inlet for reprocessing oversize materials.

Compact, self contained mini-crushers are also available that can handle up to 150 tons per hour.

Properties of recycled concrete aggregate (RCA): The physical properties of RCA vary from natural aggregates. These are more angular, have rough surface texture than natural aggregate, which require more water to produce workable concrete than smooth rounded aggregate.

Typically, RCA have lower specific gravity, higher water absorption than comparable sized natural aggregates.

a b c d

USES OF RECYCLED CONCRETE: Major Use: Granular Base & Sub-base of Road: RCA can provide adequate stability, load support, good compaction and requires less cement for sub-base use. In many applications, RCA prove to be superior to natural aggregates. The fines content of RCA may restrict drainage, particularly in sub-base, but it facilitates compaction. Recycled aggregates accounts for about 6% to 8% of aggregate use in Europe. The greatest users are in UK, Netherland, Belgium, Switzerland and Germany.

Concrete Block: Concrete blocks are made by mixing Portland cement, sand, and other aggregates with small amount of water and casting the entire mixture in the molds. The major components (coarse aggregate and sand) accounts for 90% of its composition. RCA along with other industrial wastages such as blast furnace slag can be used to make it.

Concrete blocks can be solid or hollow. The size is usually 4-5 times larger than burnt bricks and requires less mortar for joints. Hollow blocks facilitates for reinforcement, hence whole building can resist both vertical and lateral forces. Also, these can provide acceptable degree of sound insulation and can be made thermal insulation too.

Retaining walls and Terraced Gardens: Used up concrete can be used as backfill to make partial retaining walls to control soil erosion on slope or to create terrace garden. For that, put broken concrete blocks at the base and put some soil or fines to fill spaces. Then, compact them with rammer or roller.

Now, planting sites become ready.

Also, wire gabions are filled with these concrete to give more stability for retaining walls. In addition, well graded and aesthetically pleasing materials can provide pleasing appearance and can substitute landscaping stone or mulch.

Paths and walkways: Broken up concrete can be used as concrete paving stones for paths and walkways around home and yard. Some urbanite enthusiasts stained these concrete blocks to give decorative appeal. The spaces between urbanite can be filled with gravel or soil to grow plants. The provided gaps allow rain to percolate into soil, thereby reducing the quantity of potentially harmful runoff into drains.

a b

Minor Use: Embankment Fill: RCA should have high friction angle, good bearing strength, negligible plasticity, & good drainage characteristics for embankment construction. Large sized crushed concrete can be used as riprap revetment, which is very effective in controlling soil erosion. Design procedure is same as that of normal aggregate. Fines should be screened out before such type of use. But, exposure to moisture may cause corrosion of aluminum and steel pipes and can increase PH to produce alkaline solution.

Drainage and filter material: RCA intended for this use should be washed to remove the dust and fines as fines are not suitable for drainage use.

To save our environment, its imperative we start becoming conscious of what we are using and disposing, right from individuals upto the policy making levels and start acting responsibly. Reusing concrete is a huge step towards that direction.

Schematic illustration of concrete recycling process Preliminary Screening

Dirt & Undersize Particles

Crushing

Screening

Foreign matters & Rebars

Desired grades of recycled aggregates

REFERENCES: 1. en.wikipedia.org/wiki/concrete- recycling 2. www.wbcsdcement.org/recycling 3. Concrete network.com 4. Official website of Portland Cement Association 5. www.concretthinker.com/technical brief/ reduce- reuse- recycle.aspx

DECEMBER 2014 / 45

Art

wooden marvels

of Nepal

PAST AND PRESENT Text and photo : Sukrasagar

AS CARPENTERS, MASONS, METALWORKERS, AND PAINTERS, THEY ARE INGENIOUS AND SKILLFUL, AND THE STRIKINGLY PICTURESQUE APPEARANCE OF OLD NEPAL IS LARGELY DUE TO THE AESTHETIC TEMPERAMENT OF THE NEWARS.

The level of saree exposing eroticism in three different struts from Tyagal tole and Ukubaha of Patan, the middle strut is in exile.

PERCY BROWN "The Antiquity of Nepalese Wood Carving” A Reassessment by a divine figure, a book by Mary Slusser, published by the University of Washington Press, Seattle and London in association with Freer Gallery of Art and Arthur M. Seckler Gallery, Smithsonian Institute, Washington D.C. All 288 illustrations in the book are stamped with unbeatable quality photographs. The vision of the photographer Mr. Stanislaw Klimek excels in every aspect in choosing the quality of wood carving itself. Equally noteworthy are the drawings of the old carvings drawn by two Nepalese draughts personsVijayaBasukala and RajanShrestha who are from Bhaktapur.

Slusser has inventoried the wood carvings from two main places of Kathmandu (Yetkhaabahaa and Itumbahaa whereas from several localities in Patan(Su:bahaa, ,Tvaaybahaa,Ukubahaa, Bhelaachhensatah and TyaagahSatah. But more concentrations are from last three places. Introducing all about the included struts first in 87 pages, she then started to dig into the subject on wood carving, its history, authenticity and art forms in detail.

The finding of the oldest wooden art now preserved in the Museo d’Arte Orientale, Turin Italy is to be especially noted with

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The dating from the sample of wood came for the first time from the old beams of the monasteries and houses of Mustang area (1996)

The new generation of wood carver Indraprasad working in his workshop.

exception. This is the oldest woodcraft so far known from Nepal till date.

Appendix one gives the inventory of 32 artifacts (struts and icons) with the most scientific way of recording ever known to a Nepali scholar.

The writer has been successful in presenting Saalabhanjikaa figure from even Aachen Cathedral of Germany which shows her depth of study on the subject (p138).

The scientific dating on the Nepalese wooden art from Kathmandu has come for the first time in Nepal. No such efforts were made before. The dating from the sample of wood came for the first time from the old beams of the monasteries and houses of Mustang area (1996) from where even the Dendro-calendar has been framed up to 1342 AD from present. If we have a historical piece of the pine wood from Mustang region we can date very near to the precision, if the piece falls within the time frame of the calendar made.

The description of the Bhelaachhen struts is a master copy of describing something (p.118-122). Likewise the end paragraph of communality of the figural struts with Lichchhaviand otherart pieces from the transitional period is a must reading to all native art historians (p122-123).

Even a simple definition of Chhepu is lengthened and elaborated, on which Nepalese art historians did never reach that depth. The art object of a Chhepu is, in a way, a real bridge between DECEMBER 2014 / 47

different stages of development of art pattern in Nepalese art history from its birth of civilization to present time. Chhepu is a creature imagined by all the people within the length and breadth of Asian subcontinent. There is such an enumeration on the examples of Chhepu art pieces on wood; one can hardly count the number.

The master copy product of Indraprasad exposed in his gallery.

The Chhepu is followed by other figural representation as well. In the Toranas below the Chhepu are always two figures of Hitimangah(Makara in Sanskrit). The hind part of a Hitimangah is represented with both foliated and floral pattern combined with watery element of cloud (Meghamandala in Sanskrit). That is why Newars call that part as naapva(in Bhaktapur) and la pva(in other parts of Kathmandu valley)which means Pocket/bag of water. He is also portrayed as saaliyamha (one who pulls in). Especially while used in a Torana, the roaring cloud is often represented by the complete body with the tail and mouth of a Makara figure. Newars call that figure as mala a mythic figure coming out of the thundering cloud while it storms. Therefore when the figure roars his tail portion squeezes because of the bodily force and,theNewaars think, the water spurts out from his mouth as his tail squeezes while roaring takes place.

The comment on the arguments between two great scholars of Nepalese art and architecture Mr. Pratapditya Pal and Niels Gutschow in representing mountains on the surface of small icons is rightly caught up by the writer (p.118-122). The citation of the reused wooden art members in different places during different times of renovation is remarkably traced which gave an idea for right recognition of pantheon. How a Buddhist representation could come into the staunch Hindu monastery in Bhaktapur (p.191-see 115 footnotes) is an example of the transfer and reuse of the nice art pieces. If the Mahantas would have known this fact, they would certainly not give a place for a Buddhist icon in their Math. Same is repeated in Kasthamandapa as well where there is a Buddhist story panel carved. The Kasthamandapa example was the salvaged panel from the Laayakubahi during the renovation after the great earthquake of 1934.

We should also learn from the book what we ought to do from our side in the conservation and preservation of those priceless pieces? Now we know how important those wood carvings are and how they are going to disintegrate and be ultimately destroyed. We have an example already from the strut number one from Bhelaachhen. The fate of destruction is inevitable if we do not do anything.

Why shouldn’t we do something that is in our powers in order to rescue them and hand them over to our future generation, so that they could appreciate the

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Chhepu is a creature imagined by all the people within the length and breadth of Asian subcontinent.

During every century or a half or even in a decade, God sends the men in the society who possess the skill equal to their ancestors.

Indrakazi and Indraprasad , a generation of Silpakaar family in Bhaktapur, is a brilliantly qualified artist of Nepal specialized in woodcraft.

Indraprasad is well educated and holds the degree of Master in Fine Arts; but dedicated towards the fine art of his ancestors. It is as written by Percy Brown the caryatid struts (of old Nepal) are at times such wonderful figure groups that they may almost be classed as fine art. Exactly like that Indraprasad and his father copied those figures skillfully and saved the skill of old fine art on wood.

Indraprasad copies the masterpieces of Nepalese art and then replicates that into wooden art.

He is confident that he can live on his skill thus proud on that as well. He says one should try to perfect in skill. Actually he and his father Indrakazi generation represent the twenty-first century master carver in wood of present Nepal.

skill on wooden art of their common ancestors of more than thousand years? It has been really too late to preserve those priceless art pieces.

There are people we can exactly copy them. All those priceless pieces be copied with which the original ones be replaced. Then the originals are taken to Patan Museum for its safe upkeep and exhibit in strict scientific supervision in the way Jayavarmaa icon has been done in National Museum. They are irreplaceable now. They all need is a place of protection that will arrest the enhancement of their decaying process due to the moisture. The cost of making new ones is much cheaper than the real antique value of those struts. They will be pride possession of the museum and enhance the image of the Patan museum in general and save the archaeological face of Nepal.

The government should take stern steps to arrest the ageing and destructive process of those wood works. As has been prescribed by the UNESCO experts, the locals should be encouraged than to use the iron fist of government rules and regulations to secure those priceless possessions. There is one possibility, start the negotiation and convince the guthi possessors by giving them with the new ones of equal quality of works made exactly like the ones standing there. All they need is to dĂŠcor their edifice. They will be satisfied with the new quality works and will give the old ones happily to the nation. The negotiation may be long but will be convinced sooner or later.

DECEMBER 2014 / 49

Art Science

WHERE

MEETS

Text: PRAGYAN THAPA photos: Binam Bajracharya he art-tech exhibition at Babar Mahal’s Nepal Art Council carried itself with the fluidity of artistic impressions and the astuteness of a science fair. Artists from Artee Nepal and engineers from Karkhana synthesized this level of festive interaction of cultural arts with technology in the installation of their giant Mani, a prayer wheel.

When one gradually moves the prayer wheel, the movement from the prayer wheel regulates a motion sensor, inside the body of the mane, which in return controls two projectors that flicker stop motion animation on two adjacent screens.

T

YANTRA 3.0, THE THIRD INSTALLMENT OF THE YEARLY ROBOTICS FESTIVAL ORGANIZED BY ROBOTICS ASSOCIATION NEPAL (RAN) AND KARKHANA, AN EDUCATIONAL COMPANY THAT’S DEVOTED TO INTERACTIVE AND UNCONVENTIONAL LEARNING METHODS, FEATURED A FRESH INTERCHANGE FOR ART AND SCIENCE.

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Sakar Pudasaini, one of the founders of Karkhana, gave a tour session to a group of visitors about how the mane intersects native arts and technology.

American artist Joy Lynn Davis’ collaboration with engineer Roshan Bhatta embodied the same interchange. Their work titled “Revisiting Kathmandu” is an inquisitive concept: a wall holds several concave openings, the visitors are asked to gently put their hands in each opening, as they insert their hand in the enclosed space a sensor causes the adjacent screen to give you a virtual tour of a heritage site from where religious sculptures have been stolen in the past four decades.

Mahima Singh’s “Scan Me” was another clever and contemporary merge piece. It took the smartphone savviness of using the cryptic QR codes that connect us to, among others, the powerful poetry of Mahakavi Devkota, the meaning of life and faded images of Kathmandu.

DECEMBER 2014 / 51

ART Scape

THE SACRED

feminine b by : Prof. Dr. Laya Mainali

L

aya Mainali’s recent sculptures entitled, “The Sacred Feminine” use geometric forms to depict the female torso. The sculptures emphasize femininity as a symbolism of divine power, worthy of being worshipped. The female torsos are boldly textured and structured on a base of bronze casting that creates the overall shape of the sculpture.

Dr. Mainali has a Ph.D. in Sculpture from Tribhuwan University (T.U.) and a Masters in Sculpture from Surikov State Art Institute Moscow. He is currently a Professor of Sculpture at Fine Arts Campus at T.U. and was a visiting Professor at The University of Wisconsin in America. He has done 11 solo exhibitions in Nepal as well as in foreign countries including the UK, Canada, Thailand, and Spain. He has also been awarded and honored with various awards and felicitations for his genuine contributions to Nepali. He has also writeen six books related to Nepali art and artists.

ASHA DANGOL

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DECEMBER 2014 / 53

From the Shelf

Celestial Realms

S

eldom a private collection of art is published, the book Celestial Realms by NANCY Celestia TINGLEY sh showcases the rich heritage of e excellence of Nepalese craftsmanship craftsmansh from different collectors, including in museum. The 2010 expansion expans of the Crocker Alt Museum has provided us with the opportunity opportun to exhibit works previously no not on display and to exploit new a avenues of collecting.

The addition of new gallery space has happily c coincided with a growing Asia Asian collection, particularly in the areas of ceramics and South and Southea Southeast Asian sculpture.

There have b been few exhibitions of Nepalese art in the United States since the opening of Nepal to the West iin the mid-twentieth century, so tthis exhibition provides a unique opp opportunity to view both Hindu and B Buddhist art from the region. Celes Celestial Realm draws works exclusively exclus from the Crocker s budding H Himalayan collection and from pri private California collections, p providing visitors with an opportun opportunity both to familiarize

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themselves with the museum and to see works not generally on view to the public We are particularly appreciative of the exhibition’s lenders, including the Catherine and Ralph Benkaim Collection, the David Kamansky Collection, and the Collection of Sam and Sharon Singer, as well as numerous anonymous lenders. I also want to thank Nancy Tingley for her dedication to the Crocker—she has had a strong guiding hand in making the Crocker a repository and exhibition venue for Asian art.

THE KATHMANDU VALLEY is the most populated region of Nepal, and the Newar, probable descendants of the Kirati who settled in the Valley in the first millennium BCE, have for centuries created the art included in this exhibition at the Crocker Art Museum, Celestial Realms: The Art of Nepal from California Collections. The exhibition includes forty-four works from the seventh to the nineteenth centuries drawn from the Crocker's collection and private California collections. In addition to the Hindu and Buddhist sculpture and paintings that form the bulk of the exhibition, tribal works from the middle hill region are also included, providing a contrast with Newar production.

This exhibition has provided her with an opportunity to explore the glorious art of Nepal--in the Kathmandu Valley, the Crocker Art Museum, in private California collections, and beyond. Her interest in Nepal dates back to the 1970s when she first visited the country, a time when scholars Mary Shepherd Slusser, Pratapaditya Pal, and Lain Bangdcl were laying the groundwork In Nepalese art history All subsequent scholarship rises from the foundation they established and continue to expand.

The Newar, now a minority in the Valley, are key to any study of its development, because they formed the matrix of

Valley culture until the eighteenth-century Gorkha conquest.2 They created most of the Nepalese art that has come down to us, so that one should understand that the study of Hindu and Buddhist Nepalese art is in fact a study of Newar art. While agriculture was vital to the Valley s dominance, its location on the trade routes between India and Tibet provided further benefit. This strategic position on the crossroads facilitated the exchange of both goods and ideas, and resulted in a diverse population who practiced Hinduism or Buddhism, both religions brought from India. The I.icehavis, an Indo-Aryan people who may have descended from the Licchavi of North India, established the first state in the Valley in the fourth century ce (300— 879).3 The 464 ce pillar inscription at the Vishnu temple of Changu Narayan provides the earliest genealogy of the Licchavi kings, and indicates the Vaishnavite affiliation of King Manadeva, who was responsible for the inscription. The Licchavi kings and subsequent rulers practiced Hinduism, but their Sanskrit inscriptions indicate that they also supported Buddhist establishments.

THIS IS NOT A BOOK REVIEW; THIS IS JUST AN EFFORT TO CONVEYING INFORMATION TO THE READERS ON RARE AND VALUABLE BOOKS ON ART AND ARCHITECTURE. THIS COLUMN AIMS TO GIVE A HELICOPTER VIEW ON SUCH BOOKS AND THUS PRESENTS THE EXCERPTS AND ILLUSTRATIONS EITHER FROM THE PREFACE, INTRODUCTION, JACKET OR MAIN CONTENTS OF THE BOOK FROM THE SHELF. THIS BOOK WAS KINDLY PROVIDED BY MANDALA BOOK POINT, KANTIPATH, KATHMANDU (TEL. 4227711).

DECEMBER 2014 / 55

Personality

Jaquar

MR. RAJESH MEHRA I DIRECTOR & PROMOTER I JAQUAR GROUP

LEADER IN THE FAUCET INDUSTRY, MANUFACTURING 60,000 FAUCETS A DAY, JAQUAR IS READY TO TAKE ON BIGGER AND BETTER CHALLENGES. WITH OVER 50 YEARS, JAQUAR HAS ESTABLISHED ITSELF AS LEADING GLOBAL AND TRUSTED BRAND, KNOWN FOR EXCELLENCE IN INNOVATION AND TECHNOLOGY. BE IT A RETAIL ESTABLISHMENT, CORPORATE OFFICES, RESIDENTIAL BUILDINGS, LARGE FACTORIES OR TOWN SHIPS, JAQUAR HAS A VAST AND UNBEATABLE PORTFOLIO TO ITS CREDIT.

A

Speaking with Mr. Rajesh Mehra – Director & Promoter – Jaquar Group, said, “To keep Jaquar timeless and in line with our vision, repositioned Jaquar stands for the new age customer who aspires for complete and coordinated bathing requirements.

Thus we are moving away from Jaquar as a faucet brand to Jaquar as a complete bathing solutions brand. Since the inception of the company delivers the world class bathroom requirements, suiting every type of customer, through constant development and continuous innovation.”

Jaquar has stepped into a lot of various bath related markets to make it a “Complete Bathing Solutions” Brand. Available under the Jaquar banner is sanitary ware and a wellness range of products like shower enclosures, shower panels, showers, whirlpools, steam cabins and spas, water heaters and flushing

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systems. Recently it has also diversified into lighting. A comprehensive and world class range of specialty lighting, for commercial, residential and outdoor applications. The change hasn’t come easy for the company. “From a group positioning of a faucet player to a complete bathing brand has been our biggest change,” shares Mr. Mehra.

Jaquar owes its organic growth and leadership status to its high standards of quality, innovative products and customer service. Operating with three state of the art ultra modern manufacturing facilities spread over 1 lac sq. mtrs which is one of the largest in Asia, the units are eco friendly and are a zero waste plant.

Today, with over 60% market share in bath fittings industry, the Jaquar group continues to spread its wings by expanding its presence across five continents, making it a true global player.

Having crossed the 1900 crore sales mark in FY13-14, Jaquar continues to expand its footprint across the country. And achieving the ultimate bathing experience becomes much easier with the widespread Jaquars well appointed Orientation Centres (OC) across the country.

“Orientation Centres provide expert advice, installation assistance, free estimation and live demo to assist while you choose, visualize and create your dream bathroom”, says Mr. Mehra.

Since its inception, Jaquar has achieved numerous milestones and with strong support and encouragement from all its stakeholders.

Jaquar keeps raising the bar by introducing newer products through constant innovation in design and technology. A plethora of laurels and international certifications including the prestigious "Super brand India" status bears testimony to Jaquar's commitment to produce highest quality products with incomparable performance and durability standards.

DECEMBER 2014 / 57

storewatch

Everest bathware affordable varieties

verest Bathware has been providing its services since 1979. With the motto of good quality at low prices, Everest Bathware supplies tiles from India, Malaysia and Spain. They have a wide array of products ranging from tiles to bathroom products to arches. Soon, they are launching mosaic tiles and shortlythey will be launching digital tiles which is expected to replace marbles and can be used for both exterior and interiors. For exteriors, they also provide natural stones, which can be used in parking lots. Everest Bathware also provided flooring for the SAARC setting hall. Marmoleum is antibacterial and resistant to chemicals, was also used in the arrival lounge at the Tribhuvan Int’l Airport.

EÂ

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Tel : +977 1 421 9999 Cell: +977 9802030479

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DECEMBER 2014 / 59

Open Spaces

love to be at this place whenever I visit Lumbini. A Peace Pagoda / Shanti Stupa is a Buddhist stupa; a monument designed to help unite all in their search for world peace.

It was constructed by Nipponzan Myohoji monks in November 2001 at the Buddhist pilgrimage site Lumbini, where Queen Mayadevi gave birth to Siddhartha Gautama, who in turn became Buddha and gave birth to the Buddhist tradition. Peace Pagodas are built as a symbol of peace.

I

The School of Creative Communications is a unique blend of creativity and communication. We provide a platform for those who dream of nurturing one’s creativity through communication. We offer training programs on art, photography, writing and languages.

We have been conducting SCC Explore Photography workshops since its establishment in 2009. We have been organizing SCC Blue Bag, a sharing program with scholar once a month. It is located at Kupondol, Lalitpur, Nepal. (Link road to Bagmati River)

www.scc.org.np facebook.com/scc.kathmandu 60 / SPACESNEPAL.COM

THE PHOTOGRAPHER Sanjay Kumar Sharma is from Gulmi, currently doing his Bachelor in Business Administration in Tilottama College, Butwal. He loves photography and travelling to new places. His future plan includes earning money and travelling to new places and document those places and people.

He aims to be a wildlife photographer. He is a participant from SCC Workshop Butwal.

DECEMBER 2014 / 61

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DECEMBER 2014 / 63

Products

available at SANCHETI TRADE LINK Maitidevi, Kathmandu Ph:977-1-4441996, 4420105

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Self-closing wash basin tap

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CONNECTS

connecs 1 Aditya Hardware Enterprises Bluestar Complex, Room # 522, Thapathali Ph: 9851007818 sanjay_kyal@yahoo.com

12 Furniture Land Blue Star Complex Tripureshwor, Kathmandu Ph: 977-1-4224797 sales@furnitureland.com.np www.furnitureland.com.np

2 ATC Pvt. Ltd. 336/21, Ganesh Man Singh Path-2, Teku Road Ph: 977-1-4262220 info@ atc.com.np

13 Futurex Ph: 9801171141 srijal.bhattarai@mss.com.np

3 Balterio - Navin Distributors Pvt. Ltd. 1st Floor, A.T. Complex, New Plaza, Kathmandu Ph: 977-1-4430785 balterio@navindistributors.com

14 Home Furnisher Pvt. Ltd. Tripureshwor, Kathmandu Ph. 4254601, 4262240 bath@wlink.com.np

4 Beko –Orbit International Pvt. Ltd. Putalisadak, Kathmandu Ph: 977-1- 4422190 www.beko.com.np

15 Index Furniture Steel Tower, Jawalakhel Ph: 5000271 info@indexfurniture.com.np www.indexfurniture.com.np

5 Berger Jenson & Nicholson (Nepal) Pvt. Ltd. Berger House - 492, Tinkune, Kathmandu Ph: 977-1-4466038 info@bergernepal.com www.bergernepal.com 6 Bestbuy Nepal Pvt. Ltd. Kupondole, L.P. Ph: 977-1-5523289 / 5545481 info@bestbuynepal.com www.bestbuynepal.com 7 Buddha Air Jawalakhel, Lalitpur Ph: 977-1-5542494 www.buddhaair.com 8 Communication Corner Pvt. Ltd. (Ujyaalo 90 Network) Ujyaalo Ghar (Behind Central Zoo) Jawalakhel, Lalitpur Ph: 977-1-5000171 info@unn.com.np www.unn.com.np 9 Cosmopolitan Trading Concern P. Ltd. (Hitachi) Ramshah Path, New Plaza Margha Kathmandu Ph: 4423379, 4421991 10 Featherlite Office Systems Pvt. Ltd. Kamladi Complex, Ground Floor Ph: 977-1-6200209 sudeep@featherlitenepal.org 11 Foto Hollywood Civil Bank Building, Kamladi Ph: 977-1-4169060 www.fotohollywood.com.np

16 International Electronic Concern (P) Ltd. Harati Bhawan, Putalisadak Ph:977-1-4421991 market_iec@wlink.com.np www.iec.com.np 17 India Design Event aica@reifyappl.com www.aica.in 18 Jagadamba Cement Neupane Tower, 6th Floor Tinkune, Kathmandu Ph: 977-1-4111500 jcement@wlink.com.np 17 Maruti Cement Tripureshwor, Kathmandu Ph: 4257566, 4267377 maruticement.info@gmail.com www.maruticement.com 18 MD Furniture Maharajgunj (Opp. U.S. Embassy) Ph: 977-1-4721484 mdfurniture@snet.com.np www.mdfurniturenepal.com 19 Marvel Technoplast Pvt. Ltd. Heritage Plaza - II, 2nd Floor, Kamaladi Ph: 977-1-4169122 info@marvel.com.np www.marvel.com.np 20 Nagrik - Nepal Republic Media Pvt. Ltd. JDA Complex, Bagh Durbar Ph: 977-1-4265100 / 4261808 circulation@nagariknews.com

22 Panchakanya Group Krishna Galli, Lalitpur Ph: 5526551, 5526357 www.panchakanya.com 23 Pashupati Paints Pvt. Ltd. Maitighar, Kathmandu Ph: 977-1-4258209 pashupati@paints.wlink.com.np 24 Shuvakamal Global Business Hub P. Ltd Kathmandu Business Park Buddhabari, Teku Ph: 4104587, 98510-64567 info@skamal.com.np www. skamal.com.np 25 Skylight Pvt. Ltd. Naxal (Opp to Police HQ), Kathmandu Ph: 977-1-4423851 info@skylight.com.np www.skylight.com.np 26 Starnet Enterprises Pvt. Ltd. Shankhamul, Pragatimarga, Kathmandu Ph: 977-1-4781945 info@starnetenterprises.com www.starnetenterprises.com 27 Subisu Cablenet Pvt. Ltd. 148 Thirbum Sadak, Baluwatar Ph: 977-1-4429616 info@subisu.net.np www.subisu.net.np 28 Technical Associates Services Pvt. Ltd. Thapathali, Kathmandu Ph: 977-1-4219999 ta@ta.com.np www.tas.com.np 29 Universal Electrocom (Black & Décor) Tripureshwor, Kathmandu Ph: 4251622, 4251623 www.uec@wlink.com.np 30 Worldlink Communication Pvt. Ltd. Jawalakhel, Lalitpur Ph: 977-1-5523050 sales@wlink.com.np www.worldlink.com.np 31Yeti Airlines Tilganga, Kathmandu Ph: 977-1- 4464878 reservations@yetiairlines.com www.yetiairlines.com 32Yeti Polychem Pvt. Ltd. Dillibazar, Kathmandu Ph:977-1- 4421501 / 9851004448

21 National Society for Earthquake Technology, Nepal (NSET) Bhainsepati, Lalitpur Ph: 5591000 www.nset.org.np

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