Vol 11 No. 03
A R T
A R C H I T E C T U R E
I N T E R I O R
February 2015
Price: NRs.100/- IRs.100/- USD 5.95 EURO 5.95 GBP 4.95
Preparedness in the face of possible
destruction
Searching for
a definition
Keep Calm and Eat Pasa
Communities for
Buildings that will
safer cities
www.spacesnepal.com
bear the brunt
The Art of
Inerior Design On EXITS and EMERGENCIES
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Conens Volume 11 NO. 03 | FEBRUARY
S P A C E S N E P A L . C O M
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Keep cALm and eat pasta
Gianantonio Candiani’s Piano B Restaurant and Wine Bar is INTERIOR a place that invites everyone to enjoy the food, the atmosphere and the slice of Italian living it offers. The restaurant design forges together essential principles starting from the table, the bar, the storage and the minimalist foundation that allows a dynamism among them to create an ambience of Italy in Kathmandu. Its Italian design elements have a Nepali essence to them, and its decor offers simplicity in design.
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Buildings that will bear the brunt
An earthquake may hit any place at any time so adequate preparedness to COVER STORY minimise loss is an absolute requisite. Sujan Man Tamrakar discusses how buildings need to be suitably designed and detailed so as to counteract the force of earthquakes. Building codes, he points out, need to be strictly followed with the design itself ensuring stability, strength and serviceability all within n acceptable levels of seismic safety.
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Preparedness in the face of possible destruction
We take a look at some structures that survived the great earthquake of 1934 or were renovated after having been partially or completely destroyed by it. As Karishma Manandhar discusses these ancient monuments she also offers an architectural-historical analysis, presenting a comparative examination of Kathmandu’s earthquake preparedness in the present time. ARCHITECTURE
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Achieving the objective of safer cities requires identifying COVER STORY priorities and preferences. The need for the day, as Badan Lal Nyachhon systematically points out in his article, is to take an initiative and act now. Encouraging local communities to monitor actions taken by the government and its various implementing agencies could be instrumental in helping create safer cities, as property owners could perform the important ‘watchdog’ role.
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The art of interior design
Interior architect Sabin Shakya explores the ‘fine’ and ‘decorative’ INTERIOR arts as agents of interior design. As he point out, art has been an integral part of interior spaces meant for human habitation since pre-historic times. Through every period in human history, people from cultures all around the world have created works of art that served to enhance, embellish, and even sanctify the interiors they occupied.
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Searching for a definition
What is art? This is a question that continually baffles us. ART Nepali art historian Yam Prasad Sharma explores the varying definitions of art that have been offered by various sources over the millennia, and explores how, more than two thousand years since Plato first called art the imitation of imitation, we are no closer to finding a definite answer than we were in the great philosopher’s own time.
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Communities for safer cities
IMPACT: On Exits and Emergencies PERSONALITY: Rajendra Prasad Kayastha ARTSCAPE: Hit Man Gurung STORE WATCH: SEV Enterprise OPEN SPACES: Nepali handicrafts
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ediorial
As Kathmandu experienced the closure for 4 days of it’s only International Airport in the country with the crash-landing of Turkish Airlines - it was perhaps an appropriate time to also reflect on the countries disaster preparedness systems. On a similar note - Earthquake preparedness is an issue we at SPACES feel strongly about and cannot stress enough for the seismic fault line Nepal lies within. January 16 was celebrated this year as the 17th annual earthquake safety day, with the weeks that followed and led up to the day being devoted to earthquake awareness and preparedness campaigns. Our cover stories Communities for safer cities and Buildings that will bear the brunt look at various ways in which earthquake preparedness can be strengthened in Nepal. The first article posits that encouraging local communities to monitor government actions and implementing agencies can be crucial step in creating safer cities. The call is for municipal-level action and implementation. The second article meanwhile focuses on strengthening structural awareness and implementing suitably designed and detailed building codes to ensure seismic safety in our towns and cities. As a country situated in one of the world’s most seismically vulnerable areas Nepal needs to be prepared to face the consequences of the next big earthquake. Preparedness in the face of possible destruction, our architectural feature this month, looks back at the 1934 earthquake to see what lessons can be learnt from the past. Buildings and monuments that survived the great earthquake or were renovated afterwards are analysed, and an architectural-historical study is made so as to present a comparative examination of how prepared we are at the present moment to face a disaster of such scale. In more artistic realms, we explore the meaning of ‘art’, a term that has baffled humanity for millennia, as art historian Yam Prasad Sharma explores its various dimensions in Searching for a definition. The fine and decorative arts are analysed as agents of interior design in The art of interior design as we explore how works of art have served to enhance, embellish and sanctify interior spaces meant for human habitation through every period in human history. We also take a look at the different elements that come together to make Gianantonio Candiani’s Piano B Restaurant and Wine Bar a little piece of Italy in Kathmandu. Keep calm and eat pasta explores everything from the chef-and-owner’s passion for food to the restaurant’s seamless incorporation of the latest trends in Italian wine bar design in a space whose Italian design elements have a Nepali essence to them. We do hope you enjoy these stories and features that celebrate the beautiful things in life.
Namaste!
Sarosh Pradhan / Editor in Chief
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Volume 11 NO. 03 | February
CEO Ashesh Rajbansh Editor-in-Chief Sarosh Pradhan feature editor Rachana Chettri Creative Manager Deependra Bajracharya Contributing Art Editor Madan Chitrakar
Kasthamandap Art Studio Junior Editor Sristi Pradhan Contributing Editor President - Society of Nepalese Architects
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Head- Operation & Public Relation Business Development Officer Marketing & Event Officer Marketing Officer subs/admin officer 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 Pant Anu Rajbansh Debbie Rana Dangol Ashma Rauniyar Biken Raithore Pramila Shrestha Sunil Man Baniya Yogendra Bhattarai
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Contribuors Yam Prasad Sharma
Silu Shrestha
Yam Prasad Sharma (PhD) is a Nepali art historian and contemporary Nepali art critic. He teaches English and Art History at Lalitkala Campus, and is visiting faculty at the Kathmandu University School of Arts where he takes classes on Art Theory and Aesthetics. He has a Doctorate in English, and has been researching Nepali art–specialising in contemporary Nepali painting–for many years now.
Silu Shrestha is a psychology major with a Master’s in General Psychology from Wuhan University, China. She has experience working as a psychotherapy activity facilitator at Wuhan University’s Zhognam Hospital. She is currently a part-time lecturer at the Tribhuvan University’s Centre for Peace, Conflict and Development Studies where she takes post-graduate-level classes on psychology. She is also a part-time research officer at the Sansthagat Bikas Sanjal.
Badan Lal Nyachhyon
Bijaya Laxmi Rai Bijaya Laxmi Rai is an engineer by profession. She is an assistant designer and planner (on behalf of the contractor) at the Sanjen (Upper) hydroelectric project. Rai is interested in technical writing (Sustainability; Green Technology; Disaster Risk Management; Women, Children and Societies, among other topics). She is also an amateur researcher (Seismic Vulnerability).
Badan Lal Nyachhyon is chairman of Earthquake Safety Initiatives, a company focused capacity-building for coping with Nepal’s earthquake hazard. The senior civil engineer is also managing director of Multi Consult (P) Ltd. Nyachhyon’s expertise include project management, contract management, civil engineering, research, construction management and community development, among others. He holds a Master’s in Architecture degree from the Kiev Civil Engineering Institute.
Karishma Manandhar Karishma Manandhar is a student of architecture in her fourth year of Bachelor studies at the Kathmandu Engineering College. She is currently working as an intern at PencilHead Pvt. Ltd, a firm in Kupondole. She is interested in sustainable design as well as modern design with a touch of tradition to it.
Sabin Shakya Sabin Shakya is an interior architect and designer at MaxCore Corporation, a Lalitpur-based company that provides services in architecture and interior design. Shakya’s work focuses on architectural elements, furniture, space, colour and lighting as essential components of contemporary design. He has a Bachelor’s in Design as well as an MBA degree.
Veneea Singha Veneeta Singha is a communications professional, writer and music student from Kathmandu.
Sanjeeb Man Tamrakar Sanjeeb Man Tamrakar is a civil engineer at the Jaya Pradhan Architect Office (JPAO), Baluwatar. Tamrakar, who has a Bachelor in Civil Engineering degree from Pulchowk Engineering Campus, has a special interest in the structural design of buildings. Reading, sports and research are some of his primary intersets. Vol 11 No. 03
A R T
A R C H I T E C T U R E
I N T E R I O R
February 2015
Asha Dangol
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Keep Calm DQG (DW 3DVʞD Price: NRs.100/- IRs.100/- USD 5.95 EURO 5.95 GBP 4.95
Asha Dangol is a contemporary Nepali visual artist. He is co-founder of the Kasthamandap Art Studio and E-Arts Nepal. He holds Master’s Degree in Fine Arts from Tribhuvan University, and has been creating and exhibiting his art since 1992. He has 10 solo art exhibitions to his credit. Dangol has participated in numerous group shows in Nepal and his work has been exhibited in different countries outside Nepal. The artist experiments with painting, mixed media, ceramics, installation, performance and video.
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news
ASIAN ART IN THE AGE OF GLOBALISATION German art scholars Norbert M. Schmitz–a professor of aesthetics at the Muthesius Kunsthochschule, Keil; and Regina Hofer–an art historian specialising in Indian and Tibetan art, spoke at length about the influence of globalisation on art at event organised by the Siddhartha Arts Foundation (SAF) this January
G
lobalisation is the buzzword of today. There is hardly a discipline untouched by contemporary universalisation, and the arts are no exception. It was in this regard that German art scholars Dr. Norbert M. Schmitz–a professor of aesthetics at the Muthesius Kunsthochschule, Keil; and Regina Hofer–an art historian specialising in Indian and Tibetan art, spoke at length about the influence of globalisation on art at an event organised by the Siddhartha Arts Foundation (SAF) at the Himalayan Bank auditorium in Kamaladi, on January 8. Schmitz’s lecture, titled “What is Global Art? Requirements of Contemporary Art in Asia”, focused on the process of globalisation in art with a special emphasis on Asian art. The scholar talked about paradoxes of the globalisation discourse in relation to art, the universalisation of art as well as ‘international modernism’, shedding light on contemporary global art practises in the process. Hofer, meanwhile, discussed contemporary Tibetan art, a form which is seen as intertwining past conventions with a modern language of art. Her paper, “Contemporary Tibetan Art: Between Tradition and Globalisation”, explored the influences and techniques Tibetan artists have lately developed to find a place for contemporary Tibetan art in the global arena.
distinguishes between culture and civilization. For him, culture is “self-contained”; it is what transforms a civilization into a society. Schmitz took the audience deep into the relation between culture and civilization, and brought them back to all the social systems and artefacts that make ‘art’ possible. His discussion of global art as ‘international modernism–repetition as obligation’, included an explained of art as an "an engine of globalisation" and globalisation itself as "nothing new substantially [that justifies the word "repetition" in the definition] but describes the global and growing triumph of the internal systems of logic of modern civilization." He further explained that art is a component that disseminates "modern civilization" to the "remote corners of the earth." As such, if art is a weapon to create modernism and, hence, "differentiation" among civilizations, says Schmitz,"art cannot be the expression of indigenous values of specific cultures”. When he had made sure that the definition of global art was sufficiently described for the audience, he brought to the spotlight the feature of global art as a “product of modern processes of civilization and the result of the abolition of traditional patterns of aesthetic creation both in the Occident and the Orient as an increasingly independent differentiated subsystem of modern society”.
Here, he showed the paradox of globalisation and global art: Art has always been taken as a connected system in the world, but globalisation tends to "create tension" in the modern (and/ or globalised) society. Furthermore, Schmitz pointed out that art, 'like all power practices" has moral ambivalences, and hence the paradoxes. Through his paper, Schmitz scrutinized the paradoxical requirements of globalisation, especially in the Asian context. He explained the historicity of art terminology and its off-late Euroc-centric projections. Hofer’s lecture on Tibetan art and its contemporary form, on the other hand, looked at globalisation as means of bringing about an amalgamation of cultures. The art historian believes that Tibetan art is influenced by three factors: its culture, the ways of the west and the different forms of Avant-Garde practices. Hofer reckons that at present, one can see the modern facade of Tibetan art, primarily due to the “exiled Tibetan artists living all over the world”. As she endeavoured to place the present Tibetan art in the global scenario, she showed multiple paintings, by artists like Gedun Choephel, Wang Shiming, Somani, Gonkar Gyatso, Gade, Kesang Lamdark among others, to show how they and other Tibetan artists have found new forms of expression through their art.
Although the “conservatism of [Tibetan] civilisation” and its “nearly complete seclusion from any modern international influences”, Hofer articulated in her lecture, impeded Tibetan art from being established globally till the second half of the twentieth century, it has now become a form of art highly venerated in the world.
These paper presentations put forward different milieus of the global art world. When asked what the main objective behind the programme was, Sangeeta Thapa, chairperson of the Siddhartha Arts Foundation and director of the Siddhartha Art Gallery said, “We want to promote art culture in Nepal as much as possible. In this regard, talk programmes and lectures by art scholars help our understanding of global art, and hence aid the progress of our own art.”
When Schmitz defined global art as universalisation, he meant that global art is the universalisation of art (modern and contemporary), and that such universalisation should be of “any social process which allowed or necessitated the formation of the art system”. Such social processes, and hence globalisation, can be understood only when one
The programme was graced by the presence of artists like Sujan Chitrakar, scholars like Abhi Subedi, and other art lovers. The audience also got to interact with the scholars via a questionanswer session, and it seemed that most of the attendants were benefitted by the event. The SAF was supported by the Danish Institute for Culture and Development in organising the programme.
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review
EARTHQUAKE SAFETY IS EVERYBODY’S CONCERN The 17th annual national earthquake safety day was marked around Nepal with all of the country’s 75 districts organising awareness and memorial meetings on January 16
“A
n earthquake may strike at any time, be ready and prepared every time.” This was the slogan with which the 17th annual national earthquake safety day was celebrated around Nepal on January 16 this year. A day set apart to highlight the importance of raising awareness on and sharing information and experiences regarding disaster and earthquake risk reduction, earthquake safety day is celebrated annually on the second day of the Nepali month of Magh (which can fall either on January 15 or 16).
participation of over 400 cyclists as they made their way from Mangal Bazaar in Lalitpur to Kumbheshwor, Sankhamul, UN Park, Bijuli Bazar, MaitiGhar, Singha Durbar, Shahid Gate, New Road, Bhugol Park, Jhochhen, Lagan Tole, Teku, Sanepa, Jhamsikhel, Pulchowk, Jawalakhel, Kumaripati, back to the starting point, covering a total distance of around 12 kilometres on January 16. An “Earthquake Vulnerability Walk” had taken place earlier, on January 14, in which 50 people participated.
Awareness is seen as a key factor in reducing risk, and it is in the spirit of spreading word on earthquake safety that the day has been celebrated each year since 1999, commemorating the many lives lost in the 1934 earthquake. Nepal’s earthquake safety day celebrations are not limited to the one day but extend for up to a week or more and cities, towns and villages all over the country participate in awareness campaigns and rallies.
An earthquake memorial meeting also took place on January 16 beside the historic earthquake monument at Bhugol Park, New Road in memory of those who lost their lives in the 1934, 1988 and 2011 earthquakes.
One of the key programmes this year was the national symposium discourse titled “Experiences in Earthquake Risk Reduction and Response”. The national symposium is held annually a few days before the earthquake day. This year, the symposium took place on January 12 at the Hotel Himalaya in Kupondole, and was attended by 185 participants representing the government, municipalities, INGOs, NGOs, academic institutions, hospitals, the army, police, the media as well as community members. Suresh Prakash Acharya, joint secretary at the Ministry of Urban Development was the chief guest. The programme reviewed efforts made in earthquake risk reduction and response in the past year and consolidated ideas that propose the way forward for the new one. A panel discussion on comprehensive school safety also took place, emphasising on safer construction of school building and the need of raising awareness on earthquake safety through the educational system itself. It was concluded that experiences in earthquake risk reduction and response need to be shared and new ideas on the same generated so that all stakeholders– policymakers, decision makers, central and local government authorities and professionals–can act efficiently.
The city of Kirtipur, meanwhile, organised an Earthquake Safety Rally that travelled from Panga Dobato to Sundar Bazar, Krishna Cinema Hall, Chikhu, Nagaun, Nagaun Dobato, Nayabazar, Loktantrik Chowk and finally gathered at the Kirtipur Football Ground for the National Earthquake Safety Day Meeting. The deputy prime minister, Bamdev Gautam, led the meeting. In his speech, Gautam emphasised on the fact that Nepal is one of the world’s most earthquake-prone countries, and stressed on the urgency of enhancing preparedness
at the personal, family and community levels. There was also an earthquake safety exhibition–jointly organised by the Department of Urban Development and Building Construction (DUDBC), Nepal Red Cross Society, OXFAM, USAID and NSET at–the Kirtipur Sports ground that included displays on and information regarding safer construction techniques and technologies and disseminated knowledge on earthquake safety. One of the featured stalls ncluded a full scale demonstration “shake table” that showed the contrast between structures that have been built with earthquakeresistant elements that those that haven’t. A street drama on earthquake safety, “Hami Banchyaun” by the Dabali Natya Samuha was also staged at the venue. A nationwide earthquake safety drill was also conducted with a special siren being aired from Radio Nepal and other FM station across the country at exactly 2:24 pm in the afternoon (the hour at which the great earthquake of 1934 had struck). Earthquake safety day activities outside the Kathmandu Valley included various awareness and memorial meetings organised as per the instructions of the Ministry of Home Affairs in all 75 districts of the country. Achham, Janakpur, Bharatpur, Biratnagar, Dhangadhi, Birtamod, Rajbiraj, Dailekh and Lamjung were amongst those areas that marked earthquake safety day with numerous programmes, rallies, exhibitions and meetings.
One of the key programmes this year was the national symposium discourse. Titled “Experiences in Earthquake Risk Reduction and Response”, the event reviewed efforts made in earthquake risk reduction and response in the past year and consolidated ideas that propose the way forward for the new one
Another key event, the “I Cycle for Earthquake Safety” cycle rally in Kathmandu, saw the FEBRUARY 2015 SPACES / 19
review
TALKING POLICIES Swarnim Wagle, Ram Charitra Sah, Ananda Raj Khanal and Suraj Raj Acharya were featured in the four weekly talk programmes organised by the Nepal Engineer's Association in January
T
he January chapter of the Nepal Engineer’s Association (NEA)’s weekly talk programmes featured such high-profile experts as Swarnim Wagle, member of the National Planning Commission; Ram Charitra Sah from the Centre for Public Health and Environmental Development; Ananda Raj Khanal, director of the Nepal Telecommunications Authority; and Suraj Raj Acharya, an infrastructure engineer and public policy analyst. The Economy Wagle’s presentation, titled ‘Igniting Nepal’s Fortunes: Out past and Future’, looked Nepal’s history, its present and future in economic terms. The noted economist, an LSE and Harvard alumnus and former senior economist in the World Bank’s International Trade unit, pointed out that the economic growth rate in Nepal has been sluggish at best in the past 200 years. In the medium run, as Wagle pointed out, investment has been low, so has the level of entrepreneurship. Our geography, the largely hilly and mountainous terrain and our landlockness, are big hurdles to economic development. However, he explained that there has been remarkable social progress in the country these past years. The life expectancy of an average Nepali has increased, so has the standard of living. Youth bulge, conflict and the rise of the remittance economy are prominent features of the present and recent past. The economist pointed out that Nepal’s ‘second chance’ lies in policy reform and infrastructure boost. The hydro sector might be a game changer as might a ‘zero-carbon’ economy by the mid -21st-century on the back of clean energy, agriculture and tourism.
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Wagle also discussed the possibility of neighbouring India and China becoming our gateway to global value chains in the future. Safety and the Environment The subject of another weekly talk programme, this time featuring Sah, was “Environmentally Safe and Healthy Developmental Structures (Lead, Mercury and Asbestos)”. The presentation analysed the uses of lead–as pure metal, alloyed with other metals or chemical compounds: paints (pigments), batteries, ceramics, soldering, pipes, lead sheet, ammunition, lead alloys, cable sheathing and artificial jewellery. The major focus of Sah’s presentation was the presence of lead in paint. The coating solution sector in Nepal is growing at a rate of over 10 percent per year. As the environmentalist pointed out, this sector dominates 60-90 percent of market with up to 70 percent of that share belonging to the decorative paint market. His paper analysed the presence of lead–an element that is dangerous to humans even in low amounts– in paints. He pointed out that price does not seem to be the big issue as far as lead-free paints are concerned. There seems to be a lack of awareness regarding lead-free paint, and markers and marketers do not seem to realise the importance of this issue. Sah suggested that policies must be put in place to check the infiltration of lead in everyday items. Telecommunications When Khanal presented in another week of NEA’s January talk sessions, his topic was “Critical Issues in the Telecom Sector and the Way Forward”. He started with a discussion of sectoral development indicators and financial indicators. He talked about major
issues faced by the telecom sector. These include license migration and issues related to renewal of licenses, spectrum management, market consolidation and disbursement of rural telecommunications development funds. He also discussed ways in which increased operational efficiency and effectiveness might be achieved in the telecom sector including inter-operator roaming, mobile number portability and the establishment and operation of infrastructure companies. Transport and Spacial Development Another edition of the NEA weekly talk programme featured Acharya’s presentation titled “Revisiting the Project Model for the ‘Fast Track’”, which explored transport and spacial developments. The public policy analyst examined whether or not any possible impact on the pattern of spatial development is taken into account while deciding on major transport infrastructure. Regional transport connectivity, basic access, mobility and travel time, travel costs, and levels of service (reliability, comfort and safety etc) were analysed. The dynamics of transport connectivity were analysed. Acharya talked about how the modal (transport) competition and travellers’ behaviour may have significant influence on factors determining transport connectivity–value of time, door-to-door travel time, passenger fare and cost of different modes and urban or corridor density, among others. He talked about how ugrading the transportation system in Nepal to a higher speed may have significant impact on spatial development patterns. He discussed nationallevel transport and regional development (national land-use) issues as well as transport and urban land-use. He also brought to light different issues that need to be addressed while discussing the strategic importance of the Kathmandu-Tarai link. He suggested that a key network should be appraised as more than just a project. As he explored the potential advantages of a high-speed link (road or rail), he also talked about the unexpected impacts such a link may create in terms of generalised transport costs and the resultant changes in national/regional economies. He also discussed how such a link can dramatically increase the likelihood of shifting part of Kathmandu’s function to the Tarai region.
review
Architects and ideas The 2014-15 edition of the Artists in Concrete Awards Asia (AICA) Fest, an annual celebration of architecture and design in India, took place in Mumbai. The two-day event provided participants a glimpse of the global design scene, with noted speakers from around the world discussing novel and varied design ideas
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he Artists in Concrete Awards Asia (AICA) Fest, an annual celebration that recognises impressive work done in the fields of Indian architecture, interior design and landscape design, took place in Mumbai this January. The 2014-15 edition of the festival proved to be a powerhouse of knowledge representing an amalgam of emerging architectural and design practices in India with the who's who of Indian and world architectural societies participating in the event and gracing its esteemed jury panel. Architects from Singapore (Roberto Capaecci), Finland (Rainer Mahalamaki), Australia (John Wardle) and the UK (Edward Hollis), among others, were amongst the judges, with the panel being chaired by Juhani Pallasmaa, founder of Juhani Pallasmaa Architects in India. The two-day event was packed with informative sessions. Capaecci spoke on “Working with Nature” while Helsinkibased Mahalamaki headed a session called “Architecture from the Nordic
Edge”. Wardle’s “Massive Surface” and Indian architect Sanjay Puri’s “Sculpted Spaces” were also extremely interesting and illuminating presentations. “The Memory Palace: Caves, Clouds, Cabinets and Other Stories of Lost Interiors” by Hollis, and “Caught in the Form of Limitation between Unbeing and Being” by Angelo Candalepas of Australia were also equally enlightening. Complementing these speakers were architects like Fernando Menis from Spain, Tony Fretton from the UK and Peter Stutchbury from Australia. The AICA sessions were concluded by none other than Juhani Pallasmaa, the Finnish architect and former professor of architecture who is world-renowned for his work, the meticulousness of which has earned him the title ‘jewel-box architect’. As speakers from around the world discussed novel and varied design ideas, participants were given a glimpse of the contemporary global design scene. The event also included live presentations of
projects that were shortlisted for the Artists in Concrete Awards. A total of 154 projects were chosen from among 300 nominated ones. The winners– Archetype Consultants India Pvt. Ltd., Beyond Green, Oscar & Ponni Architects, SBA Architects Designers, KNS Architects, Salient Design Studio, Edifice Consultants, Uneven Square, Madhav Joshi & Associates, Mahendra Chavan Associates, and DBTA International, among others– were felicitated on the final day of the event. Sandeep Shikre and Associates received a Special Award for their Goda Park Project, with the Goda Park being a modern public recreational area on the banks of the Godavari River in Nashik. The AICA event was conceptualised and executed by the Reify Artisans and Project in association with MCHI Credai, Thane. Rachana Sansad Academy of Architecture, Mumbai, was the event’s knowledge partner.
The AICA sessions were concluded by none other than Juhani Pallasmaa, the Finnish architect and former professor of architecture who is world-renowned for his work, the meticulousness of which has earned him the title ‘jewel-box architect’
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news
Magnificent mountainscapes “Mountain Mystique”, a collection of 18 acrylic-on-canvas paintings by Binod Pradhan, was exhibited at the City Museum, Durbarmarg, this January
“W
hat is striking about this series is the sense of rawness in the imagery, in the way in which the artist has treated the textures and created layers,” writes Kashish Das Shrestha, Director of the City Museum in Durbarmarg, as he introduces Binod Pradhan’s most recent collection of paintings, “Mountain Mystique”, which was exhibited at the Museum in January this year. The exhibition, which consisted of 18 paintings of haunting and surrealbeautiful mountainscapes, has been shaped by the artist’s journey to the Annapurna Conservation Area, and is his second painting series to have been inspired by his experiences there. The first, a collection titled “Quest for the Temple City” was exhibited at the Siddhartha Art Gallery exactly one year ago. While the first series, by the artist’s own account was “almost monochromatic”, the second was full of colour and motion. The rawness of the imagery and the textures and layers of the paintings were striking and powerful, without compromising the surreal other-worldliness that characterised Pradhan’s previous work. “When I went trekking the first time, it became difficult for me to understand what I was feeling inside of me,” says the artist, as he writes about the experiences that shaped “Mountain Mystique”. The majestic landscape, the magnificent scale of the Himalayas and the crisp freshness of the mountains all had a big impact on him. Pradhan says he was overwhelmed by the experience and also nurtured by the things he saw and felt. It is these feelings that the artist articulated in “Mountain Mystique”, trying to “bring to life on canvas what (he) felt out in nature”.
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Hitachi
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Interior
Keep Calm and Eat Pasî ¤a At the PIANO B Restaurant and Wine Bar with Gianantonio Candiani
TEXT & PHOTOS: Veneeta Singha
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INTERIOR
People walk into PIANO B and feel, immediately, and believe that they are in Italy. The Italian design elements are critical but with a Nepali essence
How did your vision for PIANO B evolve and take shape? I have a Pastapur stall at the 1905 and the Yellow House. This started two years ago. People began requesting me to open a restaurant - it was not my dream job but rather a passion. It came naturally for me to plan and open an Italian restaurant. I created this enterprise to serve the public. There is a dearth, in Kathmandu, of proper, handmade, follow-through cuisine. I sometimes feel that the food here has lost its soul. People also regularly tell me what to do. I tend not to listen because, for example, masala in ravioli is an absolute no-no. You must accept my rule in my house and in my kitchen! My guiding purpose is to serve high quality Italian food with the cheapest possible wine on offer. I mean cheap not in terms of quality but rather in terms of price. I built the space from scratch with a single thought in mind - for people to gather around together with a glass of wine and delicious tapas. Conversations and interactions must flow here. And if there is something cooking in the kitchen, then it is time to eat too. It is difficult to maintain the menu because we change it every day which is a key theme around which Piano B was created. Please describe some essential features of the cuisine and design that define PIANO B. People walk into PIANO B and feel, immediately, and believe that they are in Italy! The Italian design elements are critical but with a Nepali essence. The restaurant design forges together essential principles starting with the table, the bar, the storage and the minimalist foundation that allows a dynamism
among them. The dĂŠcor is quintessential to the Wine Bar cause - the trend in Italy now is to create and offer simplicity in wine bar designs. Our tablemats are postmodern too, made of lokta and a simple but enduring message: “keep calm and eat pasta.â€? The furniture is second hand and repurposed. Both my bar and kitchen are authentic. You want to eat, basically! The pasta, lasagne and the meat dishes are continuously shuffled giving the menu and the restaurant a dynamic and an interactive feel. FEBRUARY 2015 SPACES / 25
The dĂŠcor is quintessential to the Wine Bar at Piano B as the trend now in Italy is to create and offer simplicity in wine bar designs.
of Italian cuisine. Essentially, Italian cuisine is a healthy plate of pasta with a glass of wine. The space must reflect and augment this through and with the authentic character of the furniture and the interiors. It is amazing to see that many Nepali people speak Italian. And people are keen to see me behind the bar. I know what is fresh because I have to be in the kitchen. My philosophy for the kitchen staff is: forget everything and follow me. For example, the tomato pasta is pasta and tomato without extra decorations. The rules too are simple – and, in essence, the restaurant reflects and repurposes this norm.
The restaurant design forges together essential principles starting with the table, the bar, the storage and the minimalist foundation that allows a dynamism among them 26 / SPACES FEBRUARY 2015
In spatial terms, which aspects for Italian culture do you consider important for PIANO B? Genuineness. Attention to ingredients and detail are very important. Italian food varies from town to town and region to region. Sometimes one can find a Michelin Star restaurant right next to a cheap wine bar. The geographical distance from Italy here brings me to the basics. I need to keep the menu simple and not drown the food with garlic and cream. I want to bring to Lalitpur the basic goodness
How do you view the growing restaurant and cafĂŠ culture in Kathmandu? From my perspective, I can see curiosity and interest among young Nepali people in the new developments happening every day. Dating couples want to experience something new and interesting on the first date. I like to walk them through the dish I am making for them. It is important to build and maintain trust. Ravioli is momo. Meat ragout is made from kima. Italian cuisine uses the same ingredients as Nepali cuisine in an entirely different way and in different mixtures. Seventy-five percent of the customers at PIANO B are Nepali. A lot of Nepali customers are surprised to see me serving the food.
Are there any similarities and meeting points between the Italian and Nepali food movements? In Nepal, food is usually served at the end of an event. We play Italian Jazz on the radio. I purposely advise the chef to cook bistarai, bistarai. The interiors, in particular, facilitate the gathering and a slowness that we all need in our food styles. I wait to see the place filled with laughter, chats and wine. I chose this space especially with the tables outside in mind. The social dynamic is crucial for PIANO B. Piano means bistarai and B stands for plan B. We invite everyone to come here and enjoy the food, atmosphere and a slice of Italian living.
Candiani believes in building and maintaining trust with his customers. The chef-andowner likes to walk customers through the dish he is making for them and serve it as well.
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cover story
Communities for
safer cities
SAFETY AS A SUBJECT OF THE COMMUNITY SHOULD NATURALLY BE A COMMUNITY CONCERN. THE RESPONSIBILITY FOR IT SHOULD LIE IN THE COMMUNITY ITSELF. BUT EVERYBODY’S JOB IS NOBODY’S JOB AND THE BIG QUESTION NOW IS HOW TO THROW THIS VICIOUS CIRCLE OF “NO LEADERSHIP–NO SAFETY” OFF ITS OWN TRACK TEXT: Badan Lal Nyachhyon
e say, “Safety first” and the first aim of all development efforts is perhaps the “safety” of the human being. But how far does this matter have any significance as far as the lives of the Nepali people is concerned is still to be investigated. There is no doubt that the most responsible entity in the chain of safety providers is the Central Government. But we have never seen a Safety Policy issued by the Government. Nor is there a defined agency put in charge of ensuring safer life for the public in urban and rural areas of Nepal.
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The most recent Three Year Plan made public by the National Planning Commission did not contain a single word on “safety”. The budget speech of 2009-10 contained a single sentence: “A code of conduct will be developed and enforced so as to make all State mechanisms, including the administration and the security agencies, impartial and accountable in order to guarantee safety and security to the people”. But we are not sure what particular measures have been taken to enhance the safety situation of the country at large and its urban cities–where the population density is high and safety concerns are great–in particular. Surely, the Government must be working towards establishing a national safety agency that might be charged with the responsibility of implementing and monitoring safety issues in all walks of life. 28 / SPACES FEBRUARY 2015
Community leadership It is striking that despite awareness and knowledge, our society still does not show real concern, much less act, until disaster occurs. The health services, for instance, we begun in Nepal when the then-royal family was affected. Similarly, roads were first extended in the city so that the horse carts of the aristocrats could ply on them, piped water began flowing with the Bir Dhara of 1895 and electricity was generated with 1930’s Chandra Jyoti. Such examples are countless. The backlog created by the lack of effective community leadership continues to this day although three-quarters of a century have passed since the introduction of democratic practice in the country. Safety as a subject of the community should naturally be a community concern. The responsibility for it should lie in the community itself. But everybody’s job is nobody’s job and the big question now is how to throw this vicious circle of “No leadership–No Safety” off its own track. Maybe this is the right time, when the professional leaders such as the Society of Consulting Architectural and Engineering Firms (SCAEF), Nepal Engineers Association, Society of Nepalese Architects, Society of Structural Engineers of Nepal (SEANEP) and others should come forward and declare their policy on “safety” issues and how they would like to deliver the “Safety for Quality” and orient their deliveries towards the achieving the national and International Safety Policies.
Safety issues Safety seems to be nobody’s business in Nepal. There have been numerous instances in which gross disregard to safety has put Nepalis in perilous situations and the country itself in a precarious position as far as its global image is concerned. Some examples would include the huge toll on life and property Nepal’s roads and airspace take each year. This has earned Nepal a very bad image internationally, resulting in the blacklisting of Nepali airlines to ensure they are restricted from entering European airspace. The experience of riding public vehicles itself is a dangerous one in this country. The electrocution of passengers on a moving bus after high tension electric wires touched the hood of the vehicle in Sindhupalchowk in December 2014 was an incident that could occur only in Nepal. A 1990s report by Panaroma TV on the environmental impacts of dumping solid waste in the city centre resulted in reduced tourist visits that year, and caused several hotels in the Capital to be closed forever. The smelling toilets of our airports, hospitals, offices, institutions, and households are a constant health safety issue that has not been addressed so far and had embarrassingly become a trademark of the country. The monuments erected in memory of those engineers and workers who lost their lives while working in the Kulekhani Hydropower Project only remind us of the blatant disregard to safety issues in Nepal. Furthermore, the many occupational health and safety hazards associated with the manufacturing industry, mining and agriculture go practically unreported here. Safety issues related to natural and manmade disasters are well-known, and in the engineering terms these could be considered as a function of safety: The higher the safety consideration, the lesser the effect of the disaster. A study by Munich Re, one of the world’s largest reinsurance companies, which maintains a widely used global loss data
The government’s role in creating disaster risk resilient cities cannot be undermined. However, a learned community with adequate awareness regarding disaster risk resilience and quality of life can positively impact any efforts made by the government
set, established that the economic costs of natural disasters have been increasingly steadily in the past 24 years. In the last two decades, natural disaster costs worldwide went from about $100 billion per year to almost twice that amount. This is a huge problem. The data available so far shows evidence of human vulnerability in the face of periodic extremes. Munich Re and the United Nations further report that big disasters bring huge costs– the Kobe earthquake (1995), Hurricane Katrina (2005) and the Honshu earthquake (2011) are prime examples–but the overall trend in disaster costs proportional to GDP has remained fairly level since 1990. Apart from the property Loss, there is a human toll to disasters as well. In the 20th century, the human toll of disasters decreased dramatically, with a 92 percent reduction in deaths from the 1930s to the 2000s worldwide. Disasters are a serious matter, especially for countries like Nepal that are ill-prepared for them. A lot of people are living in places that are prone to disasters including volcanoes, earthquakes, floods, landslides and lightening. It’s a big challenge for the local and central governments of these regions to ensure safety in these areas. The dramatic reduction in human toll and property loss in the past century is a clear message that investments in safety adequately pay off. Understanding safety Safety is understood as a set of activities that seek to minimise or to eliminate hazardous conditions that can cause bodily injury or damage to property. Occupational Safety is concerned with risks in areas where people work: offices, manufacturing plants, farms, construction sites, and commercial and retail facilities. Public
Safety is concerned with hazards in the home, in travel and recreation, and in other situations that do not fall within the scope of occupational safety. (Encyclopaedia Brittanica) Nepali women working in kitchens suffer from Occupational Safety hazards from smoke emitted from stoves, potential gas cylinder blasts, stove bursts and pressure cooker bursts, electrical short circuits, dust and fume emission, fungus and dirt, causing multiple health hazards and severe injuries that sometimes prove fatal. Several people have had their legs broken because of wrongly designed and constructed steps and staircases, lack of railings and parapets, the bad state of public road and open manholes. There have been numerous cases in which people have died through drowning in unprotected pits, trenches, and sand and clay mines. Workers in the cement plants suffer from blocked respiratory systems because of accumulation of dust in the lungs. Many lives have been lost in construction sites because of collapsed roofs or concrete slab, among other reasons. These safety issues are all categorised as cases of violation or lack of consideration to multiple requirements of the Family of Building Codes, and particularly Safety Codes, and a lack of mechanism to enable peer review and periodic monitoring. Family of building codes: Tools for enhancing quality of life With the aim of enhancing safety and quality of life, various governments have issue a score of building codes, manuals and instructions generally known as the Family of Building Codes. The government FEBRUARY 2015 SPACES / 29
of Nepal, in this regard issued a set of Building Codes, 1994 known as the Nepal National Building Code (NNBC). The NNBC was partially updated and extended recently to extend its scope. The current NNBC basically covers structural aspects including earthquake resistant design, architectural design, electrical and sanitation and fire resistance requirements. Need of the day The need for the day is to take an initiative and act now. Encouraging local communities to monitor actions taken by the government and its various implementing agencies could be instrumental in helping create safer cities, as property owners could perform the important ‘watchdog role’. Institutional mechanisms that bridge the gap between the government and the communities are local governments such as our municipalities. It is the municipalities that the Safety Assurance Policy through implementation of municipality bylaws. Implementation of Municipality Bylaws Municipalities aim to carry out a series of services to its citizens such as assuring better living condition for efficient and effective productivity, safety, security, comfort, reduced cost of living, among others, through the implementation of municipal bylaws. The conservation of a community’s characteristic identify and the unique setup of an area (as defined by vernacular aesthetics), clean environment, community participation, disaster resilient urban development, zero tolerance to accidents, theft and burglary, and advanced quality of life encourage pride in belonging to and living within a municipality. Municipal bylaws are the tools with which the municipality can work for a smooth delivery of municipal services. These bylaws help municipalities deliver its services and fulfil its objectives. Fundamentally, municipal bylaws should include provisions to comply with requirements of the safety, building codes and assurance of quality of life in municipal areas. 30 / SPACES FEBRUARY 2015
Community initiatives The government’s role in creating disaster risk resilient cities cannot be undermined. However, a learned community with adequate awareness regarding disaster risk resilience and quality of life can positively impact any efforts made by the government. Nepali communities have reached a certain level as far as the community institutionalisation is concerned, through the establishment of community-based organisations (CBOs) such as Tole Sudhar communities, water and sanitation communities, education and environment committees, ward communities, women and youth groups and so on. These CBOs can be instrumental in creating awareness and mobilising citizens for the effective implementation of building codes. The experience of the Lalitpur Municipality in terms of the implementation of Building Codes in 2003 was phenomenal. That single decision triggered a wave of creating awareness on Earthquake Safety Initiatives across the country with more municipalities joining the earthquake safety campaign. Now the time has come to go ahead and apply the requirements of the family of Building Codes to help create pristine environments both within building premises and outside of them. These proceedings are very complex and not quite so easy to apply. Prerequisites such as proper identification of priorities and preferences need to be fulfilled before further steps are taken. Priorities and preferences Achieving the objective of safer cities requires identifying priorities and preferences. Does this include the widening of roads by demolishing ancient and historic urban settings without a planning guide, or preserving a common temple by twisting a road strip? The dusty roads that have been created as a result of the unplanned widening of Kathmandu roads remain a glaring example of mismanagement of urban planning and road construction. The
project has increased the vulnerability of buildings and structures along its newly widened roads. The belief that the town development plan should support the poorest sections of the population had covered the townscapes of Kathmandu and Lalitpur in slums and haphazard urban sprawl. Some of the areas inhabitable, lacking adequate solar exposure and water supply. There is a constant emission of dust and noise, the environment is unprotected, and sanitation is unhygienic. The high-rise buildings mushrooming all over Kathmandu strip residents of surrounding low-rise structures of some fundamental by creating huge earthquake hazards that are bound to have monumental impact. We need to learn lessons from history. It is thus imperative we identify certain priorities and preferences. Cultural, historic heritage sites and natural resources (nationals asset on which the country is built) need to be preserved. The implementation of a Disaster Risk Resilient Urban Development Plan (Land and Building Use, accessibility and connectivity) is mandatory, and an updating of building bylaws as a tool for control of urban development, land and building use, safety, and the enhancement of quality of life is necessary. We also need to encourage community initiatives and consultation for local area development based on the local resources and specialties. Consultation, awareness building, information dissemination and capacity building through training of young generation and professionals are absolutely essential as well. Safety must be our most urgent and common concern. For this we need to create social demand for Disaster Risk Resilient Safety Certification of various premises (hotels, conference venues, office buildings and residences) and infrastructure (bridges, water tanks, towers, antenna), which must be designed and constructed in compliacne with the requirements of the Family of Building Codes to fulfil the purposes for which they have been built and designed.
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cover story
Buildings that will
bear the brunt NEPAL HAS A LONG HISTORY OF DESTRUCTIVE EARTHQUAKES OWING TO ITS LOCATION IN THE SEISMICALLY ACTIVE HIMALAYAN BELT. OVER THE DECADES, ENGINEERS, ARCHITECTS AND EXPERTS HERE HAVE DECLARED WITH GROWING CERTAINTY THAT IT IS NOT EARTHQUAKES THAT KILL PEOPLE BUT INEFFICIENTLY BUILT HUMAN STRUCTURES THAT DO SO TEXT: Sanjeeb Man Tamrakar
arthquakes have shaken human societies, sometimes devastating entire communities, since the beginning of civilisation. Earthquakes present to us an ominous certainty of sorts. The sudden release of seismic energy beneath the earth’s crust that causes quakes can take place at any moment without the slightest hint.
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Landslides, liquefaction and tsunamis are a natural outcome of earthquakes. Secondary effects like fire; blockage of water supply, electricity and transportation; and disruption of communication and communication disruption often prove more disastrous as far as human life in earthquake-hit cities is concerned.
Nepal has a long history of destructive earthquakes owing to its location in the active quake belt between the Indian and Tibetan plates. Over the decades, engineers, architects and experts here have declared with growing certainty that it is not earthquakes that kill people but human structures that do so. It is the inadequacy of the structural performances of buildings that leads to their collapse. Human casualties and damage to infrastructure and property are a result of such structural failure.
The magnitude and the damage done The magnitude of an earthquake and the duration of its occurrence affect its impact. The collapse of buildings, in particular, is directly related to strength of the quake and its duration. Generally, shaking in soft soil is larger and longer than in hard rock. When the ground shakes, buildings respond to these ground accelerations which are transmitted to them by ‘footing’. During an earthquake, the ground seems to move in a random fashion in all directions. These ground motions cause built structures to vibrate, inducing inertial force in them. The most effective way by which to mitigate the damage of earthquakes from an engineering standpoint is to design and construct buildings capable of withstanding strong ground motions. Good construction practice can play a tremendous role in the reducing death toll of an earthquake. Good construction will save lives Developing engineered structural designs that are able to resist forces generated by seismic waves can be achieved either by following building codes based on hazard maps or by appropriate methods of analysis. Building codes are prepared to make all design and construction work standard. They are designed to protect first, the lives of occupants, and second, the integrity of the building in question.
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Nepal has developed its own code for seismic designing of building. The Nepal Building Code (NBC) has classed the country into three zones: Zone A, Zone B and Zone C. In high-hazard areas, engineers and architects have to adhere to more rigorous standards when designing buildings to make sure these withstand the violent shakes of earthquakes. We need different levels of resistance for different classes of structures. Critical structures such as hospitals, schools, public buildings, power plants and watertreatment dams, among others, must not only survive the shaking, but must remain in operation. These structures require the largest investment of resources to insure that they can provide services following an earthquake. Poor building performance has been singled out as the major source of Nepal’s ever -increasing earthquake risk. Therefore, improving the seismic performance of new structures and improving the same of existing buildings has become a major focus for earthquake safety in Nepal. Non-engineered buildings Many residential buildings in the country are constructed under the guidance of local contractors and craftsmen with little or no knowledge of earthquake safety. Consequently, most of our residential buildings do not have rational design for strength. Local contractors and craftsmen then play a vital role in construction although they do not possess specific training on and adequate information regarding safe building practices. Often, they lack information regarding the simplest of earthquake-resistant features that can be incorporated into buildings at nominal extra costs. Concrete structures built without any consultations with engineers and architects are common in urban as well as rural areas of the country. Though building bylaws exist and must be complied with as per the rules of the municipalities, there is no exact regulation regarding structural design and the effects of earthquakes on these buildings.
The most effective way by which to mitigate the damage of earthquakes from an engineering standpoint is to design and construct buildings capable of withstanding strong ground motions. Poor building performance has been singled out as the major source of Nepal’s ever-increasing earthquake risk
The need of the hour An earthquake may hit any place at any time so adequate preparedness to minimise loss is an absolute requisite. Earthquake risk in Nepal, especially the Kathmandu valley, is increasing due to rapid and uncontrolled urbanization coupled disastrously with poor construction practices. Despite knowledge of seismic vulnerability, public awareness of earthquake hazard and risk is sill minimal. Programmes and strategies to increase awareness must be devised and implemented. Buildings need to be suitably designed and detailed so as to counteract the force of earthquakes. Building codes need to be strictly followed with the design itself ensuring stability, strength and serviceability all within acceptable levels of seismic safety. As far as possible, all buildings should be symmetrical so as to distribute seismic force equally through all structural elements. Building components like walls, floors and the foundation should be tied together so as to have the entire structure behave as a single stiff unit that moves with the ground. Structures might also be built to be strong and flexible enough to distort but not break so that they might absorb some of the shaking energy. For load-bearing structures, smaller rooms with properly bonded long and short walls with few opening are ideal. Buildings designed in such a suitable manners will sustain little damage in small quakes, repairable damage in moderate earthquakes and should not cause loss in life due to collapse in large earthquakes. Technicians and supervisors must be given capacity building training more frequently so that they can adopt and implement earthquake preparedness planning and safe construction practices as effectively as possible. Moreover, locally trained masons should be involved in the construction of earthquake resistant structures under the supervision of relevant technicians so that the required skills are disseminated to a larger workforce. FEBRUARY 2015 SPACES / 33
Impact
On EXITS and EMERGENCIES I AM NOT EVEN REMOTELY RELATED TO ENGINEERING AND STRUCTURAL DESIGN AS FAR AS MY VOCATION IS CONCERNED, BUT IT DOESN’T TAKE A GENIUS TO ANTICIPATE THE LOSS A NATURAL DISASTER LIKE AN EARTHQUAKE COULD BRING TO A PLACE WHERE THE PRESENCE OF PEOPLE IS HEAVY TEXT: Silu Shrestha
his winter marks the first wedding season I am attending after a gap of five years. While I have been away pursuing higher education, the roads in Kathmandu have gotten wider. I was amused to see that developmental projects which previously seemed quite impossible can actually be executed if someone takes the initiative. I am even amused to see boards mentioning the road expansion project.
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Anyway, the point is, there has been an upsurge of weddings among relatives and friends this winter. Many are getting married, and for most of them the preferred venues are party palaces and banquet halls which have mushroomed in the Valley. For some, it’s a taste for luxury that takes them to such banquets and party palaces for celebrations; for most, it is a compulsion driven by the lack of space around homes in this city.
Well, I managed to get to the fifth floor on an elevator which stopped twice because of power fluctuations, but I got there anyway. On the way to the fifth floor I made a startling discovery: That there was a convention and exhibition centre housed in the same building. A question struck me like cold wind does on a snowy night: How do they manage to run a banquet, a convention and exhibition centre and so many shops without enough power? I got carried away by the merrymaking of the wedding reception as I entered the banquet, though.
The reality hit me real hard when it was time to return. There was no way I would take a lift that stopped twice on the way to fifth floor. I chose to take the stairs instead and convinced a group of relatives that we need to walk a bit to digest better. However, as soon as we reached the fourth floor, we were asked to use the lift as the lights on the stairs Most of these banquets and party palaces have been put out because of the power are located on the terraces of high-rise shortage. A nasty surprise was waiting for buildings. Among the many weddings I have us when we reached the lift. Among the two, been attending, there was one at a banquet only one escalator was working. We waited located in a trade centre which spans a huge for almost 30 minutes but the lift wouldn’t area. The banquet was located on the fifth stop. It only went upstairs or downstairs. floor, and wedding receptions are crowded I was losing my patience and the guard in functions. It took me quite a while to figure the most polite manner possible in such a out where the entrance was. As I mentioned situation to let us go down the stairs that earlier, it was a building with a wide span but went down that floor. Finally after lingering it had an entrance so tiny meant for the whole for about 45 minutes, we managed to get out structure that I had to search for it. of the building.
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We certainly cannot prevent earthquakes and we cannot predict them either. What’s in our power is the ability to keep ourselves prepared
What a waste! Getting out of a five storied building took 45 minutes! All that time wasted to get out of the building wasn’t even the most important of issues. All throughout that time I was wondering what might happen if an earthquake hit when the convention hall had a programme ongoing and the banquet was hosting a ceremony. How would people exit from the building that covers such a huge span through just one set of staircase? Moreover, to add to the misery, the stairs weren’t easy to find. There were no ‘Exit’ signs which were clearly visible either. It felt like the shopping complex was a disaster in making, should an earthquake occur.
I am not even remotely related to engineering and structural design as far as my vocation is concerned, but it doesn’t take a genius to anticipate the loss a natural disaster like an earthquake could bring to a place where the presence of people is heavy. Through my line of academics I do know that logical thinking and reasoning in humans snap at those times when threat is perceived or panic strikes. A person either freezes or acts on impulse. The whole point is, if the building starts shaking when a programme is going on in the convention hall or the banquet, the first thing people will do is to look for an exit. If they do manage to
HOUSEHOLD EMERGENCY KIT A Household Emergency Kit (HH Kit) is a box/container that contains Tools, Equipment and Accessories (TEA). Recommended TEA in this kit are only for Light Search and Rescue (LSAR) purposes on a household level. All family members should be aware of it, and adults, at least, should know how to operate the TEAs. Where should we keep it? It should be kept in a safe location within one's building compound. What should it contain? Prioritise the items. Typical articles include mask, whistle, working gloves, helmet, safety boots, protective eye glasses, headlamp and extra batteries, nails, screwdriver, adjustable wrench, big knife, flathead axe, mallet, rope, pry bar, thread and needle and blanket.
Nagarjun Hardware & Decoration Suppliers Pvt.Ltd. is located in Dhungedhara, Banasthali. It was established 5 years ago and deals in construction materials like cement, bricks & iron rod. As per Mr. Jit Bdr. Ghimire -Proprietor, "Jagadamba Cement has maintained quality and quantity so most of the contractors prefer this cement for construction". Nagarjun Hardware & Decoration Suppliers Pvt. Ltd. Dhungedhara, Banasthali, Contact # : 9851094081 (Jit Bdr. Ghimire -Proprietor), 9841055894 FEBRU(Arjun FEBRUARY ARY Sunar 2015 2015 -Offi SPce SPACES ACManager) ES / 35 35
EARTHQUAKE GO BAG It is important that we remind ourselves that we are living in a country highly prone to earthquakes. After a major earthquake has occurred, it is highly likely that the usual services that we take for granted– drinking water, electricity and telephones, among others, will become unavailable. Even daily household supplies that individuals and families manage for themselves–things as basic as food, clothes and beds will not be manageable any longer. It is therefore recommended that you be prepared to be self-sufficient for at least three days after a quake. Put your most-need items together in a backpack or another easy-tocarry container to take with you in case you must evacuate quickly. This bag should include all basic elements for survival. Such a bag of essentials, which you can escape from potential danger quickly, is called a "GO BAG". You should be sure your bag is easy to carry and that it has an ID tag on it. Every member of your family should have a “GO BAG” at home, at the office and in a vehicle.
What kind of bag/container is good as "GO BAG"? A backpack is highly recommended a backpack, as nothing fancy is needed for suited for this purpose. A backpack, as opposed to a hand bag or a suit case, is easier to carry around because it goes on your back, allowing you to carry more weight than you would if the arms and hands had to bear it. Additionally, a backpack keeps your hands free and makes you more balanced. Where should it be kept? The best location is at home, near the bedroom, otherwise nearby the evacuation route within your home or office (if it is pre-identified). If something happens while you are at home/office, you should be able to get to it pretty quickly.
What should it contain? You can't carry everything, and everyone has a different opinion about what is important. Intelligence and skill must be used in selecting what articles go into your “GO BAG”. The most basic items would be bottles of water, food, first aid kit, water purification tablets; safety boots, gloves and helmets; extra keys, photocopies of important documents, whistle, pocket knife; addresses, phone numbers and family emergency plans, raincoat, portable battery-operated radio with extra batteries, matches and quickreference emergency books. These are all common-sense items that should be gathered prior to catastrophic events.
find the stairs for the exit, there is going to be a stampede since the instinct of all the people would lead them to the only stairs that they can find. Those stairs in the trade centre being discussed cannot fit more than 4 people on one step with enough space to move freely at a time. If people do not find an exit, the most likely action they will take is through their impulse. They will likely jump off the veranda or through the windows. Not everyone would act this way in an emergency, but the situation itself certainly invites a big loss of lives.
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If geologists and scientists are to be believed, we should be expecting an earthquake in Kathmandu Valley anytime now. The history of earthquakes in the region suggests that a major earthquake has shaken the Valley once every 75-100 years. It is high time that we prepare for a disaster. We certainly cannot prevent earthquakes and we cannot predict them either. What’s in our power is the ability to keep ourselves prepared. One of the ways in which we can do so is by training ourselves not to panic on the face of disaster. We can do this by taking mental pictures of ourselves in a situation of disaster and planning our actions.
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Architecture
Preparedness in the face of possible destruction OUR ANCIENT TEMPLES AND MONUMENTS BESPEAK THE GLORY OF OUR PAST, AS DO OLD RANA-ERA PALACES AND GARDEN COMPLEXES. THE 1934 DAMAGED SOME MONUMENTS EVEN AS OTHERS WERE SPARED THE DESTRUCTION. WE TAKE A LOOK AT SOME OF THE STRUCTURES THAT DID SURVIVE THE GREAT EARTHQUAKE AS WELL AS THOSE THAT WERE COMPLETELY RENOVATED AFTERWARDS TEXT : karishma manandhar
he morning of January 15, 1934 began as all ordinary winter mornings in Kathmandu did at the time. The day was a Saturday, and the denizens of the Valley were going about their daily chores without an inkling of what was to befall them some hours later. There must have been peals of laughter in the courtyards of Kathmandu, Bhaktapur and Patan; the birds must have been chirping as they always do, and the dogs barking and sniffing each other.
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The day, though, was not to be as ordinary. As the clock struck 2:34 pm, a rumbling was heard underground. The earth itself began to shake and people started running in fear. In a matter of minutes, Kathmandu Valley was enveloped in dust. The earth shook like undulating waves, buildings tumbled like they were made of paper; the narrow streets of the Valley caved in. At least 17,000 of Kathmandu’s 200,000 residents died that afternoon. It must have seemed to those who had survived then that the world itself had ended.
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The earthquake, which has come to be known as the ‘great quake’ of 1934, measured 8.3 on the Richter scale. Its tremors had been felt as far up south as Mumbai (then Bombay) in India. The event is etched in the collective memory of the Nepali people as a national tragedy. Eighty years since it hit, the earthquake still sparks fear amongst us, we who live in one of the world’s most quake-prone regions. The serene Himalayas–symbols of stolidity, beauty and strength, and a socioeconomic boon for our country–are also the reason why Nepal is so seismically vulnerable. Among the youngest mountain ranges in the world, the Himalayas are a geoynamically active and isostatically imbalanced range. This means that the Indian Plate is still pushing northward toward the Eurasian plate, creating an under-thrust and generating belowthe-surface stresses that culminate in earthquakes.
IMPENDING DISASTER Kathmandu, Nepal’s biggest city and its capital, is particularly vulnerable to quakes. Today, the city is remarkably different from what it was in 1934. It is characterised by its haphazardly constructed buildings, and its many cluttered and unplanned settlements and communities. These structures will certainly not withstand the shock of an eight or even seven magnitude earthquake, and the 2.5 million-strong (and still growing) population finds itself living in a city ranked number one in a list of the world’s top ten cities most vulnerable to earthquakes. Nepal is making strides in earthquake awareness and retrofitting technology, but these efforts are still not enough. Building codes are not effectively monitored and regulated here, and the shockingly unplanned manner in which Kathmandu has grown as a city infrastructurally will definitely take a big toll on life and property when the next big quake hits.
THE MONUMENTS THAT SURVIVED Akash Bhairav (Indrachowk) Nyetamari Temple (Naradevi) Nyatapole temple (Bhaktapur)
Most residential houses at the time were three-four stories high and built using traditional techniques. The materials included load-bearing ‘dachii appa’ (sundried bricks) for walls, mud, wooden beams, joists and ‘chokus’ (traditional wedges that were used to interlock the joists to the walls). While some of these traditional buildings resisted damage, others were brought down by the earthquake. Those homes which had walls that were uniformly joint through beams, joists and ‘chokus’ mostly survived. The modern equivalents of these buildings would be structures that are adequately retrofitted. However, such buildings are still few and far between in Kathmandu, and the damage to life, infrastructure and property when the next big earthquake does hit this city will be enormous.
Bidyadeshwari Temple (Mahabaudha) Krishna Temple (Bhaktapur) Mahankalsthan Bauddha Lagan Bahal Gaurishankar Temple (Lalitpur) Bhimsen temple (Lalitpur) Dillibazar Adda
that must be implemented in these areas, but that seems hardly to be the case at the present moment. HISTORICAL STRUCTURES AMONG US Our ancient temples and monuments bespeak the glory of our past, as do old Rana-era palaces and garden complexes. The traditional squares and quarters of Bhaktapur, Patan and Kathmandu are
veritably living museums that showcase the Valley’s rich cultural, artistic and architectural heritage. The 1934 earthquake damaged some monuments even as others were spared the destruction. There is no telling what damage the next big earthquake is going to do to these ancient buildings. However, conservationists are working to strengthen old monuments and preserve their aesthetic, artistic, architectural nuances for the generations to come. We take a look at some of the structures that did survive the great earthquake as well as those that were completely renovated afterwards Nyatapola Temple, Bhaktapur The magnificent Nyatapola Temple was built by King Bhupatindra Malla in early 1702 AD. A jewel in the crown that is the Durbar Square of Bhaktapur, this fivestorey pagoda stands at an impressive 30 metres and sits atop five layers of
Photos Courtesy: Images of the Century
LESSONS FROM THE 1934 EARTHQUAKE In the 1930s, most buildings in Kathmandu were mud-and-brick homes. They had few windows, and fewer stories. Today’s city is starkly different. Houses many times taller than they are wide and stand cluttered amongst each other. As an evaluation of data from the 1934 earthquake shows, most of the structures that survived the jolt at the time had ample width but little height, substantial brick-and-mud space between windows and upper stories that were much lighter than lower floors. The buildings that were destroyed are recorded as having had multiple stories adorned with arches and pillars, as well as multiple facades (with ‘good’ bricks lining the outside), and unattached walls with heavy loads on the upper stories.
Records from the great earthquake also seem to point toward the existence of some relatively ‘safer’ regions inside the Kathmandu Valley. Localities in Kirtipur, Gokarna, Sundarijal and Gaucharan were least affected by the quake, whereas those in Lubhu, Harisiddhi, Khokana and Bungamati sustained the most damage. Such information should ideally act as guidelines for the kinds of building codes FEBRUARY 2015 SPACES / 39
Photos Courtesy: Images of the Century
IN THE 1930S, MOST BUILDINGS IN KATHMANDU WERE MUD-AND-BRICK HOMES. THEY HAD FEW WINDOWS, AND FEWER STORIES. TODAY’S CITY IS STARKLY DIFFERENT pedestals that form a protective bulwark for the actual temple structure. One of the tallest pagodas built in Nepal, the Nyatapola–called the Paanch Talle Mandir in Nepali–is the only temple to be named after an architectural dimension as opposed to a deity (in this case, the goddess Siddhi Laxmi). The building withstood the shocks of the 1934 earthquake with little damage, largely limited to its roof. Its strongly fortified structure balances and counters its impressive height, and the temple itself pays homage to workmanship and flawless design. It is said that it took around five months–from the initial digging of the foundation to the final placing of the ‘gajur’–for this structure to be completed. The Nyatapole still stands as majestically today as it did in the 1700s; it is a testament to finesse of Malla-era design, architecture, art and craftsmanship.
heart of Patan, its Durbar Square, but its reconstructed version differs from the original. The roof, in particular, proved impossible to replicate. The new structure does not look very different structurally from the original though. The lowest three floors have been re-built using bricks from the Rana period, whereas the upper levels use the same dachii appa bricks and load-bearing system of the original.
Degutale Temple, Patan The 1934 earthquake left the Degutale Temple in Patan completely destroyed. There was only rubble where the beautiful temple built by King Sivasimha Malla in the 17th century had once stood. Today’s Temple is an elegant piece of architecture in the
Durbar High School The Durbar High School, originally established in 1892 as an educational institution for children of the ruling elite, is a beautiful example of Rana-era building design. Its facade, influenced by classical Greek architecture, depicts continuity through arches and windows and simplicity through its plain white lime plaster. This
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Chyasin Temple, Patan This octagonal Shikhara-style temple stands on the south of the Patan Durbar Square, welcoming visitors to the living museum that is the temple square. Chyasin Temple too was completely destroyed by the great quake, and was rebuilt from materials– stone and brick–salvaged from the original Chyasin Dega and two other Shikhara-style temples that were also damaged. The temple’s configurations do not remain the same today, as they were before 1934; it has even been plastered over in an attempt to strengthen it.
Photo Courtesy: Images of the Century
elegant piece of architecture sustained some damaged in the 1934 earthquake; the building walls were visibly cracked, however, the structure itself remained intact. The building, albeit in a largely neglected state, stands as a reminder of Kathmandu’s rich architectural history. Dharahara The Dharahara that we see today in the centre of Sundhara is not the eleven-storey ‘Bhimsen Tower’ tower originally built by Bhimsen Thapa in 1824. The present-day tower was built for Queen Lalit Tripura Sundari, the prime minister’s niece, who wanted a tower of her own next to Bhimsen's original. The 1934 earthquake completely destroyed Bhimsen Tower while only two of the 11 stories of the second one remained. It was the then-prime minister Juddha Sumsher, who renovated the Dharahara, and it is that building that still looks over Kathmandu today.
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Ghantaghar Nepal’s first public clock tower, the original Ghantaghar, was designed in the style of London’s Big Ben. The tower we see today in the Tri Chandra Campus vicinity was built after the 1934 earthquake left nothing of the original tower but its lower supporting pillars and arches. The present structure, with its classical and Victorian influences so characteristic of the Rana era, is a landmark of the Capital city. A CRUMBLING REMINDER OF THE PAST Most of the homes that were damaged by the great earthquake have been rebuilt and largely replaced by modern concrete ones. There are, however, a few old buildings from the pre-1934 quake era to be found in old corners of the city. A 200-year old building overlooking a busy 18-inch street towards the south of the Bhaktapur Durbar
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THE MODERN EQUIVALENTS OF BUILDINGS THAT SURVIVED THE GREAT QUAKE WOULD BE STRUCTURES THAT ARE ADEQUATELY RETROFITTED. HOWEVER, SUCH BUILDINGS ARE STILL FEW AND FAR BETWEEN IN KATHMANDU, AND THE DAMAGE TO LIFE, INFRASTRUCTURE AND PROPERTY WHEN THE NEXT BIG ONE DOES HIT THIS CITY WILL BE ENORMOUS
Square is one such structure. What’s amazing about this building is that eighty years since it was damaged by the quake, it has still not been renovated and is inhabited even in its dilapidated state. The two-story building, a typical 20th century Newari residence, is home to 92-year-old Badrimaya Kapali. The frontal façade of the building faces south, towards the street, and the structure itself is built in
the load-bearing system, using sun dried bricks and mud mortar. An elaborately carved door which looks like it has been detached from the walls but is actually still connected to it and still fully functioning serves as the entrance. What has kept this structure intact all these years is the manner in which the joists have been connected to the walls. Although in a visually dilapidated state, these joists
and their connection to the structure’s walls are somehow strong enough to support the building, which has survived numerous smaller quakes since 1934. The south-eastern portion of the house, which is completely damaged and now serves as an open space for drying clothes, has exposed doors and windows that have been filled up with bricks. The roof itself is supported by wooden posts supplemented by a bamboo pole. This crumbling building is part of the living architecture of Bhaktapur, but it is also a strong visual reminder of the great quake that hit us 80 years ago.
PREPARING FOR THE FUTURE As an immensely earthquake-prone city where the past is very much a part of the present, Kathmandu needs to make sure that its old monuments as well as new residences and work spaces are sufficiently fortified and retrofitted to withstand the impacts of earthquakes of various magnitudes that are bound to hit the Valley at various points in the future. We all need to be prepared if this city’s denizens, buildings, public spaces and historical monuments are to stand a chance of coping with the destruction that will inevitably come out of the next big quake. FEBRUARY 2015 SPACES / 43
interior
The Art of
Inerior Design THROUGHOUT HUMAN HISTORY, PEOPLE FROM CULTURES ALL AROUND THE WORLD HAVE CREATED WORKS OF ART THAT SERVED TO ENHANCE, EMBELLISH, AND EVEN SANCTIFY THE INTERIORS THEY OCCUPIED
TEXT : Sabin Shakya
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rt has been an integral part of interior spaces meant for human habitation since pre-historic times. When early humans painted the walls and ceilings of caves with images, expressing their relationships with the world they knew, they were bringing their art into their interiors. Through every period in human history, people from cultures all around the world have created works of art that served to enhance, embellish, and even sanctify the interiors they occupied.
A
In today’s society, we have devised categories such as the ‘fine’ and ‘decorative’ arts as a means of organising the myriad things we create as well as see around us that have artistic qualities to them. Works of art add great distinction and individuality to our interiors because their selection represents personal taste and experience. Borrowing from the fine arts The fine arts are concerned with the creation of two- and three-dimensional works of art designed as expressions of beauty and faith or as statements of the personal meanings and/or feelings of the artists who create them. The fine arts traditionally include sculpture, painting, mosaic, drawing and printmaking, and can feature as integral pieces in the design of interior spaces. Sculpture, a threedimensional art form created by carving stone; working clay, wood, or other materials; or casting or assembling metal, is often employed in the exteriors and interiors of living spaces. Sculptures may represent the human form, animal forms, or other forms from nature in a realistic, conventionalised, or abstract fashion, and often sculptural panels or bands are used in conjunction with design. These can even be used as furniture or as small decorative objects. A one-of-a-kind, two-dimensional art form created with coloured pigments and through a number of different vehicles (substances that give the pigment form and body), a painting can serve as a valuable
piece in the design of an interior space. Mosaics–two-dimensional art forms made of tesserae (small pieces of marble, tile, or coloured glass) fitted together to form a pattern and held in place with plaster or cement–similarly, can lend great beauty to the decor. The Romans used mosaics to decorate their floors. The interiors of churches shimmer with scintillating mosaic designs of great beauty. Drawings are also one-of-a-kind, twodimensional art forms that can substantially lift your interior environs. These are produced with pencil, pen and ink, charcoal, chalk, crayon, or grease pencil on paper or other surfaces and are art pieces in their own right. Drawing is considered a fundamental skill for artists. Drawings are produced as finished works and also as preliminary studies in the development of paintings, sculptures and other art. The works of the old masters often includes a large body of drawings that were used as studies for later work and now stand by themselves as treasured art pieces.
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Indulging in the decorative arts The decorative arts include utilitarian pieces such as mirrors, tableware, baskets, clocks, screens, lamps, books, tapestries, and rugs as well as non-utilitarian pieces like figurines or statuettes. It is worth the effort to find good design in decorative and functional objects because these enrich and deepen our appreciation of true beauty. Both good and bad design can be found at every price level, and many times it costs no more to choose good design. Mirrors are often used to add depth, a feeling of spaciousness, and sparkle to interiors. They can be obtained in many sizes and framed to harmonize with period styles or used in sheets large enough to cover entire walls. Mirror finishes or types include clear glass, smoked glass, Venetian glass (veined), beveled glass, leaded glass, and etched glass. Tableware–a term that describes plates, cups, drinking vessels, and flatware or eating utensil–likewise can add to the vitality of living and working spaces. Artisans through the ages have lavished their finest creativity and the best developments in technology in creating beautiful and useful pieces for the table and kitchen.
It is worth the effort to find good design in decorative and functional objects because these enrich and deepen our appreciation of true beauty. Both good and bad design can be found at every price level, and many times it costs no more to choose good design
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Incorporating graphic art and photography Graphic art includes posters designed to publicise athletic contests, concerts, plays, shows of artists’ works, and other cultural events. These are often worthy of display on the merits of their fine design and, in time, may become valuable. Posters and other graphics are an important resource for people who love art but are unable to afford paintings and other art forms. Photographs are pictures or likenesses obtained by photography, which is the art or process of producing images. The images produced by any photographic means may have artistic merit and photography is considered an important fine-art form. Good photographs, properly displayed, make attractive and sometimes personal fine-art accessories.
Ceramics are made from clay that has been moulded in its softened form into useful shapes and then fired or baked at high temperatures in an oven called a kiln. Glazes may be dull or shiny, clear or colored, and can be used by the ceramist to create decorative effects. Ceramic types include porcelain, china, stoneware and earthenware. Metals and alloys such as aluminium, brass, chrome, iron, steel and stainless steel, together with gold, silver, pewter, bronze and copper are also common materials used to fashion art objects for interiors. Plastics too are used extensively to create accessories and informal tableware for interiors. Plastic is generally less expensive than the other materials and can be used
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well as figurines and other sculptural pieces, made into table lamps. Table lamps, floor lamps, torchères, sconces, chandeliers and neon lamps are amongst the most common art-lighting luminaires. Books are not only decorative but also appealing because of their unity of form and variety of color and texture. They may also lend a certain amount of emotional warmth to a space because, when read, they become like old friends, associated with all kinds of memories. Second-hand hardcover books are sometimes purchased and displayed like stage props. These look attractive in settings such as restaurants and shops where the design is intended to create a homey atmosphere. Books stashed in attics or garages might be an untapped resource that could add a warm finishing touch to interiors. Walls of books make a suitable background for furniture groupings; they are a welcome addition to almost any interior. They can be interspersed with objects d’art or plants to create pleasing compositions. Interesting books and magazines placed on tables for browsing make stimulating accessories.
to create designs of great appeal and integrity. For example, some contemporary plastic dishes are bright, colourful, and well designed. Because they are relatively inexpensive, one can indulge in a splash of colour without much concern for budget. Baskets are woven for function, each type or shape reflecting its specific use. Produced by almost every culture in the world, baskets incorporate beautiful patterns using materials such as wicker and willow. Because of their decorative nature, baskets make excellent additions to informal interiors, particularly when they serve a useful purpose such as a container for plants, bread, fruit, or fragrant potpourri. Today, timepieces such as hourglasses, sundials, and antique clocks are collected 48 / SPACES FEBRUARY 2015
as objects of art. Looking at fine clocks with intricately designed cases, we appreciate the cabinetmakers and furniture designers whose creative genius turned scientific instruments into functional and decorative art. The design of clocks has changed over the years. Today’s high-tech clocks are often the work of industrial or product designers rather than furniture. Lighting fixtures have evolved over the centuries from torches, oil- and gasburning vessels, and candle holders into the electric fixtures we use today. Some of today’s most common lighting fixtures are electric versions of historical lighting pieces. It is also common to see decorative objects such as metal tea-caddies (antique tea containers), ginger jars, cloisonné (enamelled metal) and porcelain vases, as
Textiles serve important functional and decorative purposes as accessories as well. These items are an important part of the appearance of a completed interior and should be chosen in harmony with the other elements of the design. Textiles are also used in the form of rugs and carpets, tapestries, and other types of hangings to add warm finishing touches to interiors. Finding harmony in nature Plants add life and interest to interiors because they are continually growing and changing, and because of their free-flowing and sculptural forms. Each type of plant has a distinctive quality of design that makes it better suited to one style of interior than another. At any time of the year, one can find growing or natural things that can be brought indoors to brighten the environment and lift the spirits. Cut flowers from the garden or florist add colour and life to interiors. Arrangements can be very formal and precise, like the
Japanese ikebana, in which flowers are arranged according to strict, ancient rules of placement. Geometric bouquets purchased through florists remain popular, but bouquets of spring or summer blooms that appear to have been brought straight in from the garden and loosely arranged in an artistic way are often more pleasing because they have soft flowing lines that imitate the way flowers actually grow. Consider this list of other objects from nature that often find their way into interior environments: • Sea shells and rocks can be displayed as decorative accessories. Large shells can be mounted on specially designed pedestals or displayed on a table or shelf as any other art object. Small shells can be massed together in baskets, glass bowls, or any appropriate container where their beauty can be fully appreciated. • Animal skins and hunting trophies may add an exotic or rustic quality to certain interiors. However, they may provoke objections on grounds of sensitivity, concern for conservation, or cruelty to animals. This should be a matter of careful discrimination.
technology. Appliances, computers, video systems, audio systems, and telephones are important elements of an interior. These are chosen primarily for their function, although they may be good design as well. They should be considered an important part of the design and be accommodated with sensitivity to their function and aesthetic appeal.
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Fish tanks or aquariums can also bring life to interior environments. However, like plants, they require meticulous upkeep in order to be attractive–a dirty aquarium or sick fish is anything but appealing.
Integrating appliances and charming curiosities There are a number of things in our environments that are products of rapidly developing and constantly changing
Many of us enjoy collecting objects, and these collections usually say something about the background, travels, or experiences of the collector. Some collections are worthy of display and impart a personal quality to the environment. These collections might be pieces of fine art, porcelain or other ceramics, antique toys, shells, books, bottles, or other glass pieces, stamps, coins, guns and swords or photographs. A personal touch to design If interior design is so clean that it forces designers to create policies prohibiting personal belongings, then it has failed to meet the emotional needs of its users. It should not be difficult to provide a space for personal mementos. Such considerate planning, rather than detracting from the design, will add vitality to it. FEBRUARY 2015 SPACES / 49
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art
Searching for
a definition
WHAT IS ART? THIS IS QUESTION THAT HAS BAFFLED HUMAN BEINGS FOR MILLENNIA. WE ARE NO CLOSER TO A DEFINITE ANSWER TODAY THAN WE WERE WHEN PLATO FIRST CALLED ART THE IMITATION OF IMITATION
TEXT: Yam Prasad Sharma
was amongst artists, art critics and exhibition-goers at a gallery some time ago when I heard the question, “What is art?” being asked. An artist replied, “Art is the expression of feeling”, another said, “Art is conveying an idea in a beautiful manner. Still another artist stated, “Art is beauty, and beauty is art”. A critic said, “Art is a copy or representation of nature”, another responded, “Art is creativity; it creates new things”. A viewer joined in to say, “Art is nothing but play”, another stated, “Art is life”. “Everything done by human beings is art,” stated yet another visitor. One artist opposed the other, one critic criticised another. One viewer said, “All these definitions are wrong”, another responded, “All these definitions are right, and there are still more definitions of art.” This argument and debate made my head go round. I was confused and dazzled.
I
I began to ponder upon the question, “What is art?” I began studying aesthetics, the study of art and beauty. I attempted to explore concepts and ideas regarding art as these have been expounded from the classical era to the present. Plato, the Greek philosopher says art is the imitation of imitation; that is, this world or nature is an imitation of an ideal world, and artists imitate objects of this world that are themselves only imitations. The world we
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One art theory breaks away from the other; one theory shares with or derives from another. Every artist may have his/her own philosophy of art; every art may have its own distinct code of creation
are aroused within the audience, and this exercise ultimately provides catharsis or purification. The audience feels refreshed. Thus, Aristotle says, art is not harmful but useful to the people.
are living in is an illusion. Artists copy this illusion in their work. By this token, art is three steps away from originality. In other words, art is duplicate and false, and it leads people, especially children, toward the wrong direction. Furthermore, art is guided by passion, not by intellect or reasoning and things done without reasoning can have bad consequences. Despite the fact that art can convince and swing people easily because of its use of passion, it also takes the viewers to negative directions exactly by arousing the passions. Thus, according to Plato, artists should be exiled from the ideal republic. Another Greek philosopher, Aristotle, a student of Plato’s, says art is not only imitation but also creation. Art is not harmful to the society but in fact useful to individuals. Aristotle partially accepts the line of argument purported by his Guru and partially goes against it. He accepts that art is an imitation of nature. However, he also adds that art is more than imitation. Art imitates beautiful aspects of things, not their ugly aspects. The artist puts up beautiful things in the place of ugly ones. Thus, according to Aristotle, art is also creation. This means that the artist does not reproduce real things but creates new ones. Aristotle talks about tragic drama. He says tragic drama arouses pity and fear in the
Art theorists from the medieval period of western civilization argue that art is a symbol of trinity, the father, the son and the Holy Ghost. Art is not the reproduction of reality but a sign that signifies God and divine world.
viewers and provides them catharsis–the purgation or purification of the self. The protagonist or the hero of tragic drama is of higher class than ordinary people. He has many good qualities but a few flaws as well. The audience identifies with the hero; the hero falls because of his flaws. He fails in his project, dies, or is wounded. The audience shows sympathy for him, its members pity him. Audiences fear that such a tragedy may fall upon them as well. The emotions of pity and fear
Renaissance theorists state that art provides delight and aesthetic pleasure while teaching useful lessons to viewers. Reading the Ramayana, we learn many things; at the same time, we get delight. On the other hand, Neo-classical critics say that art teaches moral lessons while providing aesthetic pleasure. In the previous statement, the focus is on moral lessons whereas in the latter, the focus is on aesthetic pleasure. For Romantic theorists, art is the expression of inner feelings and emotions. According to William Wordsworth, art is the spontaneous overflow of powerful feelings recollected in tranquillity. An artist does not decide to create art but he is in fact compelled to create because of his inner feelings. He creates art as God created the universe. FEBRUARY 2015 SPACES / 53
According to Hegel, art helps human beings realise ‘absolute spirit’, ‘world spirit’ or Brahma. There are two forces in this world–idea/matter, consciousness/ body. These forces have a dialectical relationship. The idea or spirit has been mixed in matter, and has become invisible. Similarly, the consciousness has been hidden in our body. The purpose of human life is to separate idea, spirit or consciousness from matter or body and realise the spirit. The world is a single living organism, and it has its own spirit, which is called world spirit. A painter paints a picture of Mt. Everest. Mt. Everest is physical thing; it is big and heavy. There is a Mt. Everest on the canvas, but it is not the physical mountain but a representation of the mountain–the spirit or the idea of Mt. Everest. The painting has separated the spirit from the physical matter. The idea or the spirit exists in itself. Similarly, we should realise the world spirit 54 / SPACES FEBRUARY 2015
separating itself from physical materials. Thus, Hegel says, art assists asadhaka to realise the absolute spirit. Emanuel Kant says art has purposiveness without purpose. This means the purpose of art is to have no purpose. Art is not created to provide moral lessons. It may not be useful as everyday things are; the only purpose of art is to provide aesthetic pleasure. Art is not for the sake of life but for the sake of art. Art may be moral or immoral, useful or useless, that does not matter; what matters is that it should be beautiful. We walk to reach to our destination, to buy things, or to fetch water. We also walk without a purpose, for pleasure. Similarly, we create art just for pleasure. Art may not have any meaning. According to Leo Tolstoy, art is the infection of feeling. Art touches the feelings
dead. The desires in our unconscious mind are always seeking fulfilment. And because this may be impossible in real life, these desires attempt to get fulfilled through dreams, tongue slips and through art. Our unconscious mind guides our creative activity. Our unfulfilled desires are revealed in our artwork. Benedetto Croce says intuition is expression and expression is art. ‘Intuition’ means the idea, concept or creative spark that flashes forth in our mind without our conscious effort. It shines in our mind as the morning dew. When this creative spark is elaborated with other images, symbols, colours, lines and brushstrokes, the picture become complete and organic in our mind, which is what is called expression. And this is the art. If this picture in the mind is reproduced on the canvas, it is only a mechanical reproduction, not a work of art. At this point we have already examined a series of definitions of art–art is an imitation of nature; art is not only imitation but also creation; art is an infection of feeling; art is an expression of inner feelings; art is a medium of teaching moral lessons while giving pleasure; art is the expression of hidden desires; art assists the realisation of the absolute spirit; art has purposiveness without purpose; art is intuition.
One art theory breaks away from the other; one theory shares with or derives from another. Every artist may have his/her own philosophy of art; every art may have its own distinct code of creation
of the audience. Art affects us, and makes our existence different from what it was. Art creates new worlds, and we enter these worlds, achieving momentary release from the mundane one in which we live. Sigmund Freud says art is the expression of hidden desires. All living beings have biological drives: Hunger, anger and sex, to name the principal few. Some desires are fulfilled whereas others are not. For example, while hunger can be satisfied by eating food, sexual desire cannot be satisfied as easily because of cultural taboos relating to sex. Our unfulfilled desires are hidden in our unconscious mind. But this does not mean that they are
One art theory breaks away from the other; one theory shares with or derives from another. These are only a few theories of art; there are many others that provide different explanations. Definitions of art are still evolving. Every artist may have his/her own philosophy of art; every art may have its own distinct code of creation. This means there is no fixed definition of art. One art is always distinct from the other. Otherwise, it is no longer art but some form of craft or pretention or parody, or even an acting out of art. We need to be careful before we tell someone, “Your philosophy of art is wrong”. S/he may promptly reply, “Who the hell you are to teach me the definition of art?” FEBRUARY 2015 SPACES / 55
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Personality
A lifetime’s experience in
construction RAJENDRA PRASAD KAYASTHA, A PIONEERING CIVIL ENGINEER, POINTS OUT THE MALPRACTICES THAT HINDER THE GROWTH OF THE NEPALI CONSTRUCTION INDUSTRY AS HE BRINGS HIS MANY DECADES OF EXPERIENCE WORKING FOR SELECT INTERNATIONAL COMPANIES INTO THE ANALYSIS hat is in a name or a title, even? What makes a person really stand out from the crowd is their life’s work and experience. Rajendra Prasad Kayastha, a pioneering civil engineer who has contributed his life to the construction industry is one person whose actions truly speak louder than words. Here is a man known in all circles for his professional proficiency and achievements, as well as his devotion to his chosen field of work.
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Originally from Bhaktapur, Kayastha was schooled in Kathmandu during his formative years. He obtained his B.E. in Civil Engineering from what was then one of the top regional engineering colleges in India, the Karnataka Regional Engineering College, Surathkal (now NIT) under Mysore University, obtaining a first class with distinction in 1972. Kayastha’s career is almost a montage of multiple civil engineering experiences. He started work as the designate quality control/material engineer of the Tribhuvan International Airport Project in 1972. The project was possibly the first ICB Contract in Nepal. Simultaneously, he worked as site engineer, surveyor, planner, estimator, quantity surveyor and contract administrator in various civil engineering projects such as building, airports, bridges, flyovers, highway, hydropower projects, industrial buildings (fertilizer factories and thermal power plants, among others), irrigation projects, sub-stations and waterfront structures (Jetty).
One of the most challenging jobs he has completed was the successful installation of no less than eleven 120-metre deeper open-ended caissons (which are still believed to be among the world’s deepest caissons) across the 11 km wide Jamuna River in Bangladesh. These caissons were to be the foundation structure for the equally high (110 m) 132 KVA transmission towers. Kayastha has worked exclusively for multinational construction companies– both Japanese and Korean, and a Canadian Consulting Firm. Additionally, he has 10 years of experience working in Bangladesh and Indonesia. Bijaya Laxmi Rai spoke to Kayastha about his experiences working in foreign countries, asking him to compare his personal international work experiences with present-day construction practices in Nepal. The veteran engineer expressed his analysis in the following manner: • Quality control seems to have taken a back seat as concerned parties do not pay much attention to maintain high standards of quality and workmanship in Nepal. • Most projects are delayed due to i ) lack of and late issuance of drawings, ii ) unreliable survey data, iii) numerous changes in original design, iv) lack of immediate decision-making abilities in field and senior project staffs. • Variation in orders that often fall into conflict with contract provisions. The fact is that, in government projects,
variation in orders are subject to approval by some sort of political committee which is disgraceful to the engineering community. • Late contract payments: Monthly payments are just another form of advance payment and need not be checked and re-checked rigorously like final payment. In PPP hydropower projects, funding agencies interfere with the performance and administration of the contract, which seems to be the major cause of delay in payments. This directly affects work progress, which in turn, causes huge loss of revenue to the power producer. • Non-professional attitude towards contractors and lack of experience of contract administration which can be seen in everybody from project managers to engineers also greatly contribute to the project delay. Employers and engineers have the indirect obligation of cooperating with the contractor at hand to ensure full performance of the contract. After all, when a project is completed in time it is the employers who benefit the most. Kayastha is still active despite his age. He is currently running the Akara Materials Testing Laboratory, established with the sole purpose of providing muchneeded and best-possible services in the testing of construction materials, quality control, geo-technical engineering, field investigations, and tests such as load tests on soils and foundations piles, and rock drilling work. In addition, this multifarious personality is also a member of the Rotary Club and life member of the Nepal Council of Arbitration (NEPCA), which works to resolve construction disputes. FEBRUARY 2015 SPACES / 57
from the shelf
Bridging anthropology and ArchitecturE
“DOMESTIC MANDALA: ARCHITECTURE OF LIFEWORDS IN NEPAL” CREATES BRIDGES BETWEEN ARCHITECTURE AND ANTHROPOLOGY, SINCE IT IS A SUSTAINED DISCUSSION OF THE COSMOLOGICAL SIGNIFICANCE OF HOUSES IN KHOLAGAUN HAMLET IN THE VILLAGE OF BANASPATI IN KATHMANDU. SPECIFICALLY, THE ANTHROPOLOGIST JOHN N. GRAY ARGUES THAT THE HOUSE IS SEEN IMAGINATIVELY AS A MANDALA THAT ACTS TO BRING THE MEANINGS OF THE SACRED ORDER OR COSMOS IN PEOPLE'S LIVES LITERALLY CLOSE TO HOME
hat could be more ordinary than houses and the straightforward mundane life that people live within them? Yet, the themes of this book are that underlying the ordinariness of houses are rich and complex ideas about the cosmos and that commonplace domestic activities are simultaneously cosmogenic acts of building the cosmos and revelatory acts of knowing its fundamental principles.”
“W
Domestic Mand Mandala: Architecture of Lifeworlds in Nepal By: John N. Gray Published in 2006 by Ashgate
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of the sacred order or cosmos in people's lives literally close to home. Unifying the analysis is the concept of homology and mystical connection between different domains of existence, seen as macrocosm and microcosm. In this way the house can be seen to be a part of and also to replicate the wider cosmos; while the human body itself may be seen as a further microcosmic version of a mandala.
John N. Gray's ethnographic exposition, “Domestic Mandala: Architecture of Lifeworlds in Nepal”, which begins thus, is part of the Ashgate series on Anthropology and Cultural History in Asia and the IndoPacific. The book creates bridges between architecture and anthropology, since it is a sustained discussion of the cosmological significance of houses in Kholagaun hamlet in the village of Banaspati in Kathmandu.
As Gray points out, these correspondences are not just a matter of abstract cognition. They are embodied and practical, guiding people in terms of rituals they need to perform in order to ensure their health and fertility. At the same time, people are enjoined by their cosmological notions not to become too attached to worldly concerns, so that they can see through the impediments of illusion and grasp the unity of the cosmos as something beyond themselves.
Gray argues that the house is seen imaginatively as a mandala or mystic diagram that acts to bring the meanings
It might seem a tall order for the architecture of houses to express all these levels and contradictions of cosmological thought,
but Gray points out that architecture in general produces embodied meanings and creates meaningful space; or, as we might put it, meaningful places that encapsulate both practical concerns and cosmological values. In the case of Kholagaun, Gray argues that there are actually two spatial modalities at work in houses: a mandalic mode, which emphasises concentric spaces around a centre and leads people to understand the unity of the cosmos; and a yantric mode, which deals with cardinal directions and the ritual ways of achieving auspiciousness and success in the world. Both persons and houses are intersections of these two modes, and both are also related to the foundational myth of the cosmic being Purusha, from whose self-sacrificial body came everything in the world, and a kind of sacred geometry associated with the construction of circles and with central points.
It might seem a tall order for the architecture of houses to express all complex levels and contradictions of cosmological thought, but Gray points out that architecture in general produces embodied meanings and creates meaningful space All this is extremely elaborate and also appears to be a part of the conscious models of the people themselves rather than simply a construct pieced together by the anthropologist. The general idea, moreover, that houses and bodies may be seen as deeply bound up with the cosmos has considerable comparative applicability.
As they engage in everyday domestic activities, Kholagaun Chhetris are at the same time fulfilling their sacred duties. They are also configuring their houses into functional spaces for these activities and building them into microcosms where they acquire revelatory knowledge of the cosmos within which their enigmatic life world has a richer and more comprehensive meaning.
This introduction to “Domestic Mandala” is composed entirely of excerpts from the series editors Andrew Strathern and Pamela J. Stewart’s preface to the book as well as Gray’s own preface, published with the sole intent of conveying information regarding what we believe is a valuable book to our readers.
FEBRUARY 2015 SPACES / 59
ARTScape
Hit Man Gurung Recipient of the 2011 Australian Himalayan Foundation Art Award, Hit Man Gurung has a Master’s in painting from Tibhuvan University. Gurung was one of three Neplai artists selected to participate in the international art festival, Denmark Images Festival 2013. He also participated in the International Artists Residency programme at the 18th Street Arts Center, Santa Monica, USA, in 2013, and was one of the participating Nepali artists in the Dhaka Art Summit in 2014. He is co-founder of the contemporary art space ‘Artree Nepal’. I Have to Feed Myself, My Family and My Country This is a series of 12 paintings that depict desires, dreams, and the hopes of migrants who leave their homeland to toil hard in foreign countries, seeking better lives and standards of living. These paintings show the current situation of Nepal, where thousands of youths are migrating to foreign shores with dreams of a better chance in life.
ASHA DANGOL
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storewatch
Light up THE HIGHLIGHT OF THE SEV ENTERPRISE SHOWROOM IN KUMARIPATI IS THE VAST ASSORTMENT OF LIGHT BULBS AND FIXTURES PUT ON DISPLAY HERE. FROM CHANDELIERS TO GATE LIGHTS, ALL KINDS OF LIGHTING EQUIPMENT ARE AVAILABLE HERE, AND THESE COME IN A VARIETY OF DESIGNS, SHAPES AND SIZES
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A wide array of electrical goods is available here, and the store values both quality and price, offering good products at very good value ocated on the fourth floor of the Trimurti Bhawan in Kumaripati, the SEV Enterprise showroom has all manner of electrical products and home appliances on offer. The store prides itself in being a “one stop solution” that caters to every one of its customers’ needs.
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SEV Enterprise has a large network running throughout the country, and is a wholesale distributor of electrical goods. It supplies imported products–which are both durable as well as economically viable–from China and India. The highlight of the Kumaripati showroom is the vast assortment of light bulbs and fixtures put on display here. From chandeliers to gate lights, all kinds of lighting equipment are available here, and these come in a variety of designs, shapes and sizes. Moreover, the store also deals in all kinds of home appliances–television
sets, grinders/mixers, hotpots and electrical geysers to name just a few. Some of the most popular brands they carry include Samsung, Pleomax, Rajdhani, Luman and Switcher. A wide array of electrical goods is available at SEV Enterprise, and the store values both quality and price, offering good products at very good value. SEV Enterprise’s Kathmandu showroom is one among their seven national outlets. The remaining six are based in Narayangarh, with the first being established in early 2011. The enterprise will also have an online presence by mid-April, and hopes to reach customers across Nepal through its online portal. At the moment, there is much customer demand for middle- to high- range products. The store’s signature products include show lights, decorative lights, CFL bulbs and switches. The lighting at the Barahi Resort in Chitwan makes exclusive use of SEV Enterprise products.
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Open Spaces
he history of Nepali handicrafts has been traced back to the Stone Age. Handicrafts of more artistic value began to be produced in the country from the fifth century onwards. Today, Nepal is known for its arts and crafts, and the artistry of our craftsmen is recognised and appreciated worldwide. Nepali handicrafts are still produced traditionally, with generation after generation of the same family working to preserve their heritage, culture and tradition. This photo was taken in Bungamati, Lalitpur, famous for its handcrafts and the quality of its craftsmanship. These works are mostly exported in exchange for foreign currency and provide employment to many locals in the area.
T The School of Creative Communications presents a unique blend of creativity and communication. We provide a platform for those who dream of nurturing their creativity through communication. We offer training programmes on art, photography, writing and languages. We have been conducting SCC Explore Photography workshops since our establishment in 2009. We have been organising the SCC Blue Bag, a sharing programme with a scholar once every month for the past few years. We are located at Kupondol, Lalitpur, Nepal (link road to the Bagmati River).
www.scc.org.np facebook.com/scc.kathmandu
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THE PHOTOGRAPHER Narendra Maharjan is an entrepreneur working in the field of engineering construction. His creative fervour is what encouraged him to learn photography. Maharjan is passionate about what he does and is a SCC alumnus.
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connecî ¤s 37 Aditya Hardware Enterprises Bluestar Complex, Room # 522, Thapathali Ph: 9851007818 sanjay_kyal@yahoo.com
65 Foto Hollywood Civil Bank Building, Kamladi Ph: 977-1-4169060 www.fotohollywood.com.np
15 Pashupati Paints Pvt. Ltd. Maitighar, Kathmandu Ph: 977-1-4258209 pashupati@paints.wlink.com.np
11 Aaramva Collection Hanuman Dhoka, Yatkha Tole Ph: 977-1-4218118 www.facebook.com/aaramvacollection
03 Furniture Land Blue Star Complex Tripureshwor, Kathmandu Ph: 977-1-4224797 sales@furnitureland.com.np www.furnitureland.com.np
59 Skylight Pvt. Ltd. Naxal (Opp to Police HQ), Kathmandu Ph: 977-1-4423851 info@skylight.com.np www.skylight.com.np
13 Amtrade Pvt. Ltd. Soaltee Mode, Kathmandu Phone: 01-4672049 51/61 ATC Pvt. Ltd. 336/21, Ganesh Man Singh Path-2, Teku Road Ph: 977-1-4262220 info@atc.com.np 74 Ashok Steel Industries Pvt. Ltd. Bagmati Chambers, Teku Ph: 977-1-4243148 asisteel@ntc.net.np www.ashoksteel.com.np 09 Balterio - Navin Distributors Pvt. Ltd. 1st Floor, A.T. Complex, New Plaza, Kathmandu Ph: 977-1-4430785 balterio@navindistributors.com www.balterio.com 04 Beko â&#x20AC;&#x201C; Orbit International Pvt. Ltd. Putalisadak, Kathmandu Ph: 977-1- 4422190 www.beko.com.np 76 Berger Jenson & Nicholson (Nepal) Pvt. Ltd. Berger House - 492, Tinkune, Kathmandu Ph: 977-1-4466038 info@bergernepal.com www.bergernepal.com 51 Bestbuy Nepal Pvt. Ltd. Kupondole, L.P. Ph: 977-1-5523289 / 5545481 info@bestbuynepal.com www.bestbuynepal.com 61 Buddha Air Jawalakhel, Lalitpur Ph: 977-1-5542494 www.buddhaair.com 70 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
37 Hama Iron & Steel Industries Pvt. Ltd. Samarpan Marg, Kathmandu Ph: 977-1-9851022847 www.hamasteel.com
71 Starnet Enterprises Pvt. Ltd. Shankhamul, Pragatimarga, Kathmandu Ph: 977-1-4781945 info@starnetenterprises.com www.starnetenterprises.com
23 International Electronic Concern (P) Ltd. Harati Bhawan, Putalisadak Ph: 977-1-4421991 market_iec@wlink.com.np www.iec.com.np
08 Subisu Cablenet Pvt. Ltd. 148 Thirbum Sadak, Baluwatar Ph: 977-1-4429616 info@subisu.net.np www.subisu.net.np
34-36 Jagdamba Cement Neupane Tower, 6th Floor Tinkune, Kathmandu Ph: 977-1-4111500 jcement@wlink.com.np
07 Technical Associates Services Pvt. Ltd. Thapathali, Kathmandu Ph: 977-1-4219999 ta@ta.com.np www.tas.com.np
02 JK White Cement 14 Kuleshwor, Naya Basti, Kathmandu Ph: 977-9851050650 prashant.chaturvedi@jkcement.com www.jkcement.com
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17 Maruti Cements Limited Tripureshwor, Kathmandu Ph: 977-1-4257566 maruticement.info@gmail.com www.maruticement.com
05 Universal Electrocom Tripureshwor, Kathmandu Ph: 4251622, 4251623 www.uec@wlink.com.np
75 Marvel Technoplast Pvt. Ltd. Heritage Plaza - II, 2nd Floor, Kamladi Ph: 977-1-4169122 info@marvel.com.np www.marvel.com.np 06 Nagrik - Nepal Republic Media Pvt. Ltd. JDA Complex, Bagh Durbar Ph: 977-1-4265100 / 4261808 circulation@nagariknews.com
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31 National Society for Earthquake Technology (NSET), Nepal Bhanisepati, L.P. Ph: 977-1-5591000 www.nset.org.np
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