SPACES Nepal MARCH 2014

March 2014 – Vol 10 No. 03

ART ARCHITECTURE INTERIOR

Price: NRs.100/- IRs.100/- USD 5.95 EURO 5.95 GBP 4.95

SUSTAINABLE MOUNTAIN ARCHITECTURE TOUGH LOVE OF ARCHITECTURE THE PSYCHOLOGY OF ARCHITECTURE SAVE ENERGY SAVE MONEY AILA RESTAURANT march 2014 / 1

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Contents March 2014 Vol 10 No.03 SPACESNEPAL.COM

Cover Story - BUSINESS OF Electro Technology in Nepal - Save energy Save money - The bare necessities – Electrical Accessories

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Insights on the ICT Association of Nepal The ICT Association of Nepal’s flagship event, the ICT Expo, finds an insightful recap

62 The BFA Exhibition Graduating art students coalesce form and function in a collaborative platform show and initiative

Interior

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Aila Restaurant Space, concept and spatial concepts find realization at the Aila Restaurant

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36 Urban Regeneration as a Tool for ERM

Architecture

52

The Psychology of Architecture Delving into the cerebral bases of the art of architecture

46 Tough Love of Architecture All around the big cities, a perfect world is being copied and erected from the latest American and European models, and at the grand scale of a whole new town.

S. B. Sangachhe gives a perceptive delieation of an urban regeneration project and concept in Kathmandu

42 Sustainable Mountain Architecture Ar. Anne Feenstra discusses SMA and arch I interventions with incisive and expert knowedge

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69 From the Shelf: The Nepalese Legacy in Tibetan Paintings A contextual review of David P. Jackson’s authoritative book on Nepali contributions in Tibetan painting 76 Artist Spotlight: Ragini Upadhyay Grela 78 Go Gadget: Home Automation 80 Store Watch: Foto Hollywood

68 The Tundal Discovering the aesthetic, spiritual and pragmatic qualities of a quintessential Nepal wood carving

18 The Surya Nepal Asha Award 2013, SNASEA A look into the premiere Social Entrepreneurship award in Nepal.

82 Store Watch: Electric Light Solution 84 Open Space

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Editorial One cannot agree more with the comment by architect Anne Feenstra when he says that architects all over the world must try to create buildings that have a soul. The ownership cannot be with the architect, it has to be in the hands of those who use the spaces every day.

Winner of the 2012 Global Award of Sustainable Architecture - Anne appears as a strong voice on the subject of sustainable Mountain Architecture with a philosophy that engages local communities in creating ownership. This month our interview feature with him shines on the exploration for a better balance with our environment.

We continue with some interesting and critical writing by Gautam Bhatia on the Tough Love of Architecture. There exists a personal dialogue of Gautam that is bathed with observations, awareness and self-analysis that is sprinkled with reality and honesty that describes the process for an Architect that spells out the love-hate or should we say hate-love process of designing and building.

As the International Electrical and Electronic Exhibition and Symposium gets underway in Kathmandu in April, the ICT-Information Communication Technology Association of Nepal merges information technology with consumer electronics directly linked to information, communication and technology.

In an era of instant connectivity, electricity is fast becoming the crux of a finite supply and infinite demand utility paradigm. With products and services continually reaching high levels of innovation, both the industry itself and the consumers are presented with a burgeoning market and choices. Spaces takes a look at key issues including the business, technology and energy saving facets.

An NSET workshop supported by USAID on earthquake risk management and the Safe Home Campaign provided a forum for disaster risk reduction professionals and the media to discuss challenges and issues in this vitally important field. Here we discuss the need for sound building practices and policy mechanisms. Social entrepreneurs are the veritable backbone of commerce in Nepal. The Surya Nepal Asha Social Entrepreneurship Award recognizes exemplars and achievements which we present in this issue. The BFA Exhibition by young masters from Kathmandu University is a new initiative melding experimental modes with archetypal and essential Nepali themes and ideals. These young artists could herald an exciting departure for contemporary Nepali art as they mould and express both philosophy and experience.

Namaste!

Sarosh Pradhan

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Official Franchisee for Nepal: Parth International Pvt Ltd. Ward No 11,Babarmahal, Kathmandu,Nepal. Tel:+977.9802044440, Email: info@parthinternational.org march 2014 / 11

Contributors Gautam Bhatia is an architect based in New Delhi and one of the most well-known architectural writers in India, having written for The New York Times, Outlook magazine and Indian Express.

He feels there are two ways of seeking a reconciliation with architecture. The first is through the personal act of writing for himself, a therapeutic training of the mind to recall and unburden.

Writing helps form a picture of the present. Drawing, as the other, is a type of mental renovation, a restoration of dormant beliefs, that obliquely points the way towards the future possibilities of practice. An aerobic imaginary expression of unrealized – often unrealizable – ideas. What is not possible in architecture is always possible in drawing.

Ar. Surya Bhakta Sangachhe is working as senior technical advisor in National Society for Earthquake Technology (NSET).

A Director of General of Department of Urban Development and Building Construction (DUDBC) 2007-2008 and an Architect Planner with a Master’s Degree in Architecture from the Kiev Civil Engineering Institute (Ukraine), 1975, Master’s Degree in Conservation of Cultural Heritage from the Institute of Advanced Architectural Studies (IAAS), University of York, UK (1986), Department of Urban Development and Building Construction, Govt. of Nepal (1976-2008) and led Lumbini Development Project (1976-1988) and urban land development, land pooling projects(1990- 1998) in Kathmandu Valley. Co-author of Land Pooling Manual ,he leads the team of architects, planners and engineers responsible for the Strategic development Plan of Kathmandu Valley.

Er. Mahesh Mahato is the Managing Director of Cosmic Electrical Engineering Associates P.Ltd. He is also a key member of Nepal Engineer’s Council (NIC) Society of Electrical Engineers Nepal Council and Nepal Electrical Contractors Association Nepal. Educated in B.E in electrical engineering from Institute of Engineering ,T.U. and master’s degree on Business Administration Executive. Mr. Mahato skills are specially on Project Management, Team Building, Strategic Management , Financial Management and Business development.

Asha Dangol is a contemporary Nepali visual artist. He is the co-founder of Kasthamandap Art Studio and E-Arts Nepal. He holds Master’s Degree in Fine Arts from Tribhuvan University. He has been creating and exhibiting his artworks since 1992. He has 10 solo art exhibitions to his credit. He has taken part in numerous group shows in Nepal and has been exhibited in different foreign countries. He experimented with painting, mixed media, ceramics, installation, performance and video as well.

Dr. Yam Prasad Sharma has been teaching English and Art History at Lalitkala Campus, Tribhuvan University. He teaches Art Theory and Aesthetics at Kathmandu University, School of Arts as visiting faculty. He earned his PhD in English. He has been doing research in the field of Nepali Art. His specialization in research is in the area of Contemporary Nepali Painting. He is also an art critic of contemporary Nepali art.

Volume 10 NO. 03 | March

CEO Editor-in-Chief Creative Manager Editor-Features Senior Correspondent Contributing Art Editor

Contributing Editor

Photographer

Intl. Correspondent

Ashesh Rajbansh Sarosh Pradhan Deependra Bajracharya Veneeta Singha Pujan Joshi Madan Chitrakar Kasthamandap Art Studio President - Society of Nepalese Architects Ar. Jinisha Jain (Delhi) Ar. Chetan Raj Shrestha (Sikkim) Barun Roy (Darjeeling Hills) Pradip Ratna Tuladhar Hemant Kumar Shrestha Bansri Panday

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The destruction that occurred in 1934 earthquake to Durbur Square around the Taheju Bell.

by Pujan Joshi

Workshop on Earthquake Awareness and the Safe Home Campaign

text by Pujan Joshi

The 1934 earthquake that occurred in Nepal and Bihar (India), with a magnitude of 8.3 on the Richter Scale, is considered to be a peak earthquake occurrence during which many houses were destroyed alongside serious fatalities. march 2014 / 15

NEWS

A

Media Workshop on

Earthquake Awareness and the Safe Home Campaign was held on March 21, 2014 – the focus of the workshop lay in the status of, challenges and opportunities in safe building practice.

Approximately 50 print, radio, television and online media journalists and DRR ( Disaster Risk Reduction) professionals participated in this half-day interactive workshop organized by the National Society for Earthquake Technology (NSET) in collaboration with the NERMPII (Nepal Earthquake Risk Management Program) program supported by USAID/OFDA (Office of U.S. Foreign Disaster Assistance).

Between 1911 and 1991, earthquakes in Nepal have occurred within a 100 kilometer radius. The 1934 earthquake that occurred in Nepal and Bihar (India), with a magnitude of 8.3 on the Richter Scale, is considered to be a peak earthquake occurrence during which many houses were destroyed alongside serious fatalities. Similar earthquakes have subsequently occurred in 1960 and 1988. Nepal continues to face extreme earthquake hazards and risks.

To be sure, the media plays a key role in raising public awareness of such disasters and associated disaster risk management.

During the Media Interaction Program held at the Yala Maya Kendra in Patan Dhoka, journalists and DRR practitioners exchanged ideas and explored solutions in awareness initiatives. Facilitating the discussions, presentations were made by

NSET professionals. Mr. Surya N. Shrestha, Deputy Executive Director of NSET, briefed the participants on existing practices in, policy status of and strategic directions to achieving better building safety in Nepal.

Mr. Bijay K. Upadhayay’s, Director at NSET, presentation entitled ’Elements of Safe Building Construction’ offered practical techniques for safer construction practices.

A preface survey on buildings in the country, conducted by NSET, shows that many buildings do not comply to stated requirements of strength to withstand earthquake loading. An earthquake is caused b y a sudden and violent motion of the earth. The Himalayan Ranges, with the world’s highest peaks, are evidence of continual tectonic activity occurring under the land surface - Nepal is, thus, very seismically active. Earthquakes are earth

movements and the force which occurs on a building is a result of the inertia of its own mass. The force of the motion is proportional to the mass - the heavier the building, the more the inertia force or the earthquake load on the building.

Construction materials are known to be a primary factor affecting the vulnerability or strength of a built structure. Stone or brick laid with weak mortar, such as mud, are weaker compared to masonry built using strong binders such as concrete mortar.

“In common practice, more focus seems to go into aesthetics rather than enhancing the inherent strength of buildings. Perhaps this is an area we need to intervene in,” says Mr. Shree Ram S. Basnet, Chief Editor of the National News Agency. Mr. Tirtha Koirala, News Chief at Kantipur Television, highlighted gaps in appropriate policy instruments and effective implementation necessary for all stakeholders in building construction. “Understanding, at the public level, is very important and the media must build capacity on covering such issues,” he further added.

Trained masons and contractors in local municipalities are lacking in Nepal, an important aspect of disaster reduction is to put in place monitoring and training systems for masons in the country. The market must provide safer construction materials; quality engineering education, quality material suppliers and contractors are also imperative. A sound earthquake awareness program is critical for all local municipalities as well as institutionalization of a suitable permit system for quality construction.

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Winners announced for Surya Nepal Asha Social Entrepreneurship Awards 2013 text by SPACES corresponent Five winners have been announced and awarded at the 3rd annual Surya Nepal Asha Social Entrepreneurship Award (SNASEA). Along with the five winners, Dr. SandukRuit and Team from Tilganga Institute of Ophthalmology were awarded with special recognition for their innovative, enduring and life changing services to people from all strata of life, around the World.

The award ceremony was a gala event held at Hotel Yak & Yeti on 28 March 2014. In attendance were local luminaries and leaders from media, business houses, development agencies and other supporters of social entrepreneurship in Nepal.

Special Recognition Dr. Sanduk Ruit and Team, Tilganga Institute of Ophthalmology For excellence in innovation and impact – that has contributed to advancements in the medical field, and provided life changing services to people from all strata of life, around the world.

Supported by Surya Nepal Private Limited, and organised by ChangeFusion Nepal - SNASEA finds, celebrates and inspires Nepalese social entrepreneurs and change makers. Following a month long ‘Call for Applications’ from midDecember 2013 to mid-January 2014, a record setting 119 applications and nominations were received from all over Nepal. All 14 Zones and 40 Districts of Nepal were represented.

Through a gruelling ‘reality test’ of leading semifinalists, the team and advisers were able to finalize a top ten list of social entrepreneurs. Dr. Sanduk Ruit and Team from Tilganga Institute of Ophthalmology were chosen to be specially recognised by SNASEA.

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Left to Right: Suman Shakya, Madhukar KC, Prem Bahadur Lama, Dipak Prasad Koirala, Fulmaya Tamang

Winners Suman Shakya, SmartPaani For championing against overexploitation of water through business and promoting eco friendly methods to overcome the ever increasing challenge of water shortage.

Madhukar KC, MatribhumiUrja For his tireless pursuit of innovation that has positively affected the health of many people, and helped conserve the environment.

Prem Bahadur Lama, Ashapuri Organic Farm For his commitment to healthy living and selfless promotion of commercial organic farming knowledge among farmers from all over Nepal.

Dipak Prasad Koirala, Junar Kendriya Sahakari Sangh For collective effort that has systematised and promoted junar fruit and farming by working with public and private sectors that has led to better income and support for previously exploited farmers.

Fulmaya Tamang, Bhattedanda Women Farmers Cooperative For their struggle and inspiring courage that led to social and economic upliftment of women in need in the community and encouraged the pursuit of education among children.

Finalists Ratna Bahadur Newar, Tamakoshi Community Resin and Turpentine Shanti Shrestha and Nirjala Shrestha, Friend Handicraft Sunita Nhemaphuki, R&D Innovative Solution Tej Kumari Tiwari, Nepal Society of the Disabled Multipurpose Cooperative Ujjwal Chapagain, The Himalayan Rabbit Farm

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march 2014 / 19

NOVEMBER 2013 / 65

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The Surya Nepal

Asha Social Entrepreneurship Award text by SPACES corresponent

The Surya Nepal Asha Social Entrepreneurship Award (SNASEA) was envisioned in 2011 as the first ever award of recognition for Nepali social entrepreneurs who have created value in the ‘People, Planet and Profit’ schema. SNASEA’s integrated community vision and corporate social responsibility strategy are aligned with the stated priorities of the Government of Nepal which has identified the promotion of small and medium-size enterprises as the foundation for the country’s socioeconomic development and the key mechanism for employment generation.

The Asha Social Entrepreneurship award platform focuses on creating enduring value through community empowerment. The annual Social Entrepreneurship award organized by Change Fusion Nepal vision celebrates hidden entrepreneurs and initiatives and highlights their missions and impact.

In a nutshell, SNASEA recognizes the extraordinary achievements of ordinary people. In the past two years, SNASEA has acknowledged 13 social entrepreneurs and enterprises for exemplary work and has incorporated two additional components – the Social Entrepreneurship Bazaar and Seminars for exchanges and interactions to promote ideals of social entrepreneurship.

Chiranjeevi Poudel

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SNASEA 2013 invited applications and nominations and received 119 entries out of which ten finalists were selected and five winners announced on March 28. The award ceremony featured special recognition for Dr. Sanduk Ruit and the Tilganga Institute of Ophthalmology Team for outstanding contributions in restoring eyesight among the Nepali people. Spaces had insightful conversations with the five 2012 winners - Shanti Dolma Shakya, Chiranjeevi Poudel, Prachanda Shakya, Jasmaya Pun and Dr. Bishal Dhakal.

through job creation and skills transfer.

“Certainly, there were changes after we won the prize on the qualitative level.

We have gained trust in our identity and our competencies are now better known with increasing positive perception of our work. An understanding of the employment needs of the visually impaired is now considered important in the community. The more visuallyimpaired people we train, the more we can employ. Awareness raising via events such as the SNASEA will definitely help us.”

Shanti Dolma Shakya was awarded for providing an alternative to artificial dyes and mobilizing and empowering local communities with skills and training.

“We faced many difficulties and economic challenges but after winning this award in 2012, our staff has grown from 13 to 18 members from the Tamang community.

The money we received from the award was invested back into our program for computers and utensils.” Shanti is a member of the Business Service Center, a project of the Federation of Business Profession Women Nepal (FBPWN) and has also worked at Sabah Nepal and Eka Desh Ma.

Prachanda Shakya was awarded for promoting and preserving the legacy of traditional art through his training institute and for opening up avenues of employment and learning for the younger generations. “Before winning the SNASEA prize, I thought my training center for handicrafts was small. When I was selected as a winner, I realized its importance and started to divert all my energy to it. With the prize money, I was able to buy raw materials; with the help of my students, we built two traditional doors (11 feet by 2 meters) which are now with a private collector in Doha. The award was a source of encouragement and I am currently a member of a new project aiming to build Swayambhu Nath in Lumbini. I also plan to build a university for students passionate about

Chiranjeevi Poudel was recognized for addressing challenges in employment generation for the visually impaired

Shanti Dolma Shakya

Prachanda Shakya

Jusmaya Pun

Dr. Bhisal Dhakal

handicrafts; it would be a blessing if we can find shareholders or funds to implement this project. So far, there are 80 Nepali and foreign students. We introduced a Traditional Art Course to our students. We are pleased that the Delhi University has approved our proposal to incorporate the Traditional Art Course in its curricula.”

Jusmaya Pun was awarded for exemplary work in Allo production in Parbat and Dhaulagiri Zone where she and her team trained women in the necessary skills. “Winning the prize will always be a dream come true and an unforgettable moment in my life. Our team is committed and we travel to remote villages such as Rukum, Rolpa,

Kalikot, Dhandeldhura, Myagdi and Baglung. Helping local communities with training in weaving and business education for livelihood sustenance is a great joy. We spent some of the prize money on small machines and orientation classes. An American tourist buys our goods in large quantities. We are still on the lookout to buy a new and sophisticated machine for good finishing rather than the handmade process.

We hope to do better and enhance productivity each year”.

Dr. Bishal Dhakal was awarded for developing an innovative solution to health care problems faced by patients and for enhancing easy health care access. “Though none of my family has

a business background, this award helped me to learn business development through different interactions.

Awareness of our work has increased substantially along with the importance of innovative health care solutions. We have had tremendous media support.

With business growth, we now employ approximately 70 people. When we won the award, we could reach only 500 households but after the award we were able to reach 1000 households. We are looking into more innovative solutions to help patients. Our new focus is Telemetrics and Telemedicine. So far, we have three outlets that provide innovative healthcare services and we hope that every health care solution will allow easy accessibility to patients.”

march 2014 / 21

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NEEK

Electro Tech 2014

text by SPACES corresponent

Can you brief us about your company?

R We established Rathi Group in the year 1987 AD from Biratnagar. We have employed up to 150 staffs in our company. Under Rathi group, we have other subsidiary companies like Annapurna Electrical, which is a first switch company of Nepal, where we manufacturing company units, switches and other accessories. We also have Annapurna Impex which is another allotment of Rathi Group which specializes on all kinds of electro products.

NEEK Electro-Tech 2014, will be held from 4th – 8th April at Bhrikuti Mandap Exhibition Hall, Kathmandu, from 10am to 5:30pm. The 7th International ElectricalElectronic Exhibition & Symposium ,Federation Of Electrical Entrepreneurs Of Nepal objective of the event is to convey and communicate with all the power and power products manufacturers and consumers under one crown, so that a substantial and considerable exchange of ideas, knowledge and information can take place. The event will also focus on the history of electrical engineering, modern developments, invention and current development of electro businesses of Nepal. Bringing together the national and international manufacturers, exporters, importers , agency, dealers, contractors, engineers , experts, designers , architects, policy makers, technicians and buyers of electrical and electronic products and services, alternative energies and all related companies , organizations, consumers and individuals will form a mega platform of trade and information. Keeping a firm alignment with the modern trend for green /eco-friendly quality products’ while focusing on minimizing waste and pollution, energy savings and safety. This year the exhibition is bedecked with the theme “Quality to ensure security”. Spaces had a conversationwith Rajendra Rathi, Director of Annapurna Impex of Rathigroup.

Is the National Electrical-Electronic Exhibition growing market and how has the loadshedding problem hindered in electronic sales in Nepal?

R I would say electronics are a growing market everywhere in the county. We provide

quality products from China and India. The international companies of China and India now value and realize that the sales of electronic goods sales are growing in our country.

Even though Nepal is poor as a country, we have a good revenue from remittance and as more remittance are used to build houses and buildings, the need of electronic goods of all kinds are in much demand. However due to load shedding 30 -35 percent sales on electronic goods have gone down, if there is proper perceptive of the need of electricity, businesses of electronic goods growth will increase by 25 percent.

But are Chinese electro products in demand and is it of superior quality?

R We research and look for only quality Chinese and Indian brands, we have specialist

in our organization that take into regard on quality and life extent of each products.

Our country has a problem in voltage fluctuation. So due to this fluctuation of high and low voltage , many electronic goods cannot handle such fluctuation, hence though we sometimes get complain from our customers , We take the report of our consumers and we advise our dealers regarding the report and defect, so that they will improve the products when we import . We are always ready to guide them and research on every problem faced by our clients, we always request for better quality electro products for Nepal. So that next time we can bring better products and present better services year after year.

What are your views on The 7th International Electrical-Electronic Exhibition & Symposium Electro-Tech 2014?

R This our third time participating in the

electro tech event and this year we are the diamond sponsor for this event. Rather than focusing on sales we tend to generate awareness and promote on new quality technologies that can benefit communities all over the country. Our main visitors are engineers, architects, electrical companies, students, policy makers , technicians and from other various organizations. Our priority is on quality products and services. We are optimistic that such expos will help generate the importance of electro technology in Nepal. we have also conducted electrician and dealers awareness and seminar programs all around the country, which allows the electricians to learn about our products and services. Such seminars are an advantage because people in this field gain knowledge , exchange ideas and have innovative conception.ec Tech 2014

march 2014 / 23

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Information Communication & Technology Association Of Nepal text by SPACES corresponent

T

he ICT Expo is scheduled for April 24 –April 28, 2014 at Bhrikuti Mandap Exhibition Hall in Kathmandu. The Expo hosts more than 25 local-level exhibitions each year and this number is set to grow in the future. The Expo was established in 2008 with the engagement of renowned ICT businesses in Nepal. Spaces held a consultation with Mr. S. Sainju, Coordinator of the ICT Expo, for insights on this landmark exhibition.

Mr. Shovan Sainju, Expo Coordinator ICT Association of Nepal

What is the vision of the Expo for ICT in Nepal?

R “We are a non- profit organization and we tend to promote superior computer technology, education, products and services in rural and urban areas of Nepal. We have provided training seminars and programs to computer engineers, teachers and social services in remote areas of Nepal - they now have a better prospect for understanding new technologies and can contribute to their community and to our country. We wish to be a prominent association for representing the ICT Industry and Trade in Nepal and to facilitate the development of strategies and to meet the necessary requirements for advancing ICT development. While promoting the ICT market, we also provide and protect the necessary rights and benefits of all ICT product importers, distributors, dealers and ICT professionals.”

How will the Expo help the Business, Education and Government Sectors?

R “The ICT Expo is a yearly event. We are happy that this is our 7th year. We have conducted seminars throughout Nepal – recently, we assisted approximately 75 schools and colleges in promoting the advantages of computer technology and education. Our mission is to assist in the fields of technology transfer, export, import and formulation of national policies. We promote and exchange knowledge, skills and technology in the field of ICT to similar types of organizations in and outside the country. Similarly, we organize IT awareness campaigns, such as the INFO-TRADE, along with ICT conferences, seminars and workshops with national and international resource persons throughout the country. Various sectors in the country also gain through our facilitation of training programs geared at enhancing access to IT in rural areas. We are dedicated to effective organizing and to be a part of charitable events as a division for Corporate Social Responsibility.”

What is your perception of the 7th ICT Expo impact on visitors and businesses?

R “This year, the ICT Association of Nepal is organizing its 7th branding expo - it is sure to be a ‘must attend’ event for businesses looking to share their sustainable solutions with more than 100 stalls. Participants are also looking for ways to save money and to give Expo visitors a feel of the latest technologies. The Expo will be held from April 24 –April 28 at the kick-off to one of the busiest shopping times of the Nepali New Year. Exhibitor spaces for this show are limited so remember to get your business on the list for the 7th ICT Branding Expo!”

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Insights on the Information Communication Technology Association of Nepal text by SPACES corresponent

T

he Information Communication Technology Association of Nepal is an umbrella organization of ICT product importers, distributers, dealers and professionals and the forerunner in issues related to information technology in the country. This year the ICT Association will merge information technology with consumer electronics directly linked to information, communication and technology giving ICT itself more utility and value. The association espouses public-private partnership ideals and assists the Government of Nepal in ICT-related objectives such as the National ICT Policy.

Advocacy of user rights such as cases of warranty, guarantee, counterfeit, fraud is part of the association’s mandate.

of ICT businesses and professionals, the association works as an enabler of the ‘Naya Nepal’ paradigm. Spaces held a conversation with Mr .C.N. Upadhyaya on the ICT Expo and his valuable insights on policy making and awareness.

How do visitors to the ICT Expo in Bhrikuti Mandap benefit from it?

R “We bring together all concerned professionals, technicians, engineers, architects, designers and policy makers under The yearly ICT Expo at Bhrikuti Mandap is a premiere platform one roof. We also give on information and technology trends and products. Mr. more priority to students.

C.N. Upadhyaya, Treasurer of the ICT Association of Nepal, Government school students manages events that showcase products and issues ranging do not have to pay entry from electronics, furniture, education and pharmaceuticals fees, and private school throughout the country. He is also the founder of Computer students are provided Association of Nepal (CAN Info Tech) and was the ideator with maximum discounts.

Mr. C.N. Upadhyaya of the Educational Consultancy Association of Nepal Event.

Similarly, we provide free Treasurer The ICT Expo at Bhrikuti Mandap focuses on promoting stalls for several NGOs. The ICT Association of Nepal information and communication technology in Nepal, in both digital generation has arrived urban and rural areas. Along with protection of the rights and awareness of trends and products will definitely help businesses, consumers and students as well as spur progress in Nepal.”

What are your thoughts on outsourcing?

R “I can assure you that software engineers in Nepal are now neck-to-neck with international software engineers but the problem lies in the lack of marketing. The ICT Association provides a platform for them; the Government must better understand the advantages of outsourcing. There are more than 60 software companies but these are not recognized by the Government or by policy makers. If the Government fully understands the value of outsourcing, it can earn ten times more revenue than through remittances for example. The IT Sector is the future of Nepal - if the policy makers take this into consideration, the Government can earn more revenue through taxes. It must provide electricity facilities for ICT companies and only then will there be room for improvement in Nepal.”

How can the ICT Expo exhibition be improved?

R “The Government should look into parking issues as a major aspect of improvement. There are many areas where it is possible to make underground parking spaces. What we lack are large exhibitions halls. We have only one focal exhibition hall which is the Bhrikuti Mandap. There are no toilet facilities for visitors. We need more exhibition halls in Kathmandu as well as in other cities in Nepal. If the Government is ready to agree on lease arrangements, there are many private companies ready to take on the project. If they do so, the Government can monitor private companies and gain revenue through it.”

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march 2014 / 27

Views

Business of

Electro Technology in Nepal

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text by Pujan Joshi

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E

lectrical and electronic goods manufacturers, traders and hydro-power projects contribute substantially to the development of electric power, the grid and component areas in Nepal. The country suffers chronically from absence of a proper electrical supply system. In order to safeguard consumer rights, the Nepal Electrical Association (NEA) was established in 1940. The NEA officially transformed into the Federation of Electrical Entrepreneurs of Nepal (FEEN) during the 19th Annual General Meeting of the NEA in 2009. Current development objectives in electro technology play an important role in building the business and the Electrical and Electric Goods Sector in Nepal. Express goals of committed quality electro product dealers in Nepal include strengthening the private sector and the economy by expanding business horizons beyond Nepal.

Commerce and service providers in modern electro technology range from manufacturers, retail sales, wholesale suppliers, exporters, importers, Hydro energy system as well as Wind and Renewable Energy Technologies. In recent years, services have scaled up to incorporate consulting, construction, installation, engineering, site survey along with project development, contractor and assessment services. On the information, awareness and education levels, the business agenda must inculcate cost effectiveness and affordability as well as a life span assessment of quality electro products. Public information on electro products, services and alternative energy sources can eventually assist in improving the Sector as a whole. Dependence on fossil fuels, cheap and low quality electro products has exacerbated an already precarious situation. An energy-efficient, clean and healthy environment is the need of the moment; improved efficiency in electro-energy and resource use as well as financial savings from cost reduction and quality enhancements with higher life spans can significantly advance productivity and, thereby, lead to an eco-friendly, healthy and safe working environment in Nepal.

The Electric Light Solution Company in Kathmandu was recently presented a certificate of recognition in appreciation of valuable contributions to the Mr. Binay Shah ARCASIA Forum held in Kathmandu in October 2013. Mr. Binay Shah, Managing Director of Electric Light Solution, says confidently, “Since our products are recognized European brands, our customers are architects, engineers, interior designers, housing companies and consumers who prefer quality products rather than cheap products that have recently taken over the Nepali market. In Nepal, quality electro goods and services for the electrical and digital building infrastructure is essential as electricity is a primary need. We aim to provide high quality products for all Nepali people. However, the flood of cheap Chinese electro products makes our business complicated due to people looking for cheaper products. However, they must understand that the life span of such products are short and do not meet safety standards such as the European standards.”

The Asia Pacific Trade Concern (APTC) in Kathmandu has built its 24 year-old business and brand by providing quality products and services.

Product distribution rests Mr. C.N. Vaidya on some of the best products used worldwide. In Nepal, customers hail from prominent businesses along with the educational, housing and hospital industries. Mr. C.N Vaidya, Managing Director of Asia Pacific Trade Concern, says, “I think our country needs a specific and proper standard in electrical and digital building infrastructures. In the absence of a standard, many consumers are being cheated - the Government and policy makers must address issues of a standard policy in Nepal. With certified products and services, we will see improvements and the necessity of quality electro products. From its inception, the

APTC has remained attentive to providing quality products and services. Our consumers are returning customers who trust our products. Today we provide lifetime guarantee products and in the case of a default, our specialists are brought in to fix the problem. We are a reputed name in the market because we bring the latest technology to Nepal. All our products in Lighting Aesthetics can be monitored via an online system. We are pleased to see that many people see the benefits of superior technology. We will continue to boost efficiency of our products and services for quality assurance and timely services at competitive prices.”

The Hyonjan Electrical Engineering Fabricator Company in Kathmandu recognizes that sourcing of materials and components have direct bearing on timely service delivery and Er. L.R. Tamang product quality. Over the years, Hyonjan has, thus, developed and maintained a network based on trust and quality. Er. L.R. Tamang, Executive Director of the Nepal Electrical Contractors Association and Director of Hyonjan Electrical Engineering Fabricator, says, “We try to involve our customers right from the design stage. Customers are apprised, from the beginning, regarding the shape of the product and, most importantly, how the product will meet their requirement. This ensures that there is no communication gap between our valued clients and us. At the same time, the customers recognize that every rupee invested in the product is a worthwhile investment. We have trained our staff to ensure the best possible quality. in the factory amd we encourage to report valid quality lapses irrespective of whoever has committed it and serious efforts are made to not repeat such lapses in the future. Each of our products is unique as we focus on integrating customer needs with use, cost and aesthetic values. Besides, timely delivery of orders has helped us win and retain customers. We now receive orders from customers throughout Nepal.”

march 2014 / 29

Views

Save energy.

Save money.

text by Er. Mahesh Mahato

T

he world is becoming aware that energy is a finite and expensive resource; this, in turn, could affect economic development worldwide in the next decade. It is prudent of us to make optimum use of limited resources and seek ways to improve energy efficiency.

Suggestions on simple and easilyimplementable measures to save energy are enumerated here. Economic use of energy means better use of energy without compromising requirements, the living standard, safety and quality. There are proven methods to achieve this while the most probable reasons for unsustainable use of electricity are a lack of awareness, suitable technology and local expertise.

T

his simple stuff will save energy and money right now. Unplug seldomused appliances such as an extra

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refrigerator. Unplug chargers when not charging. Every house is replete with plastic power supplies to charge cell phones, PDAs, digital cameras, cordless tools and other personal gadgets - keep them unplugged. Use power strips to switch off televisions, home theater equipment and stereos when not in use.

Enable the “sleep mode” feature on the computer, allowing it to use less power during periods of inactivity. The “hibernate mode” turns the computer off in a way that does not require a reload or refresh.

Allowing the computer to hibernate saves energy and is more time-efficient than shutting down and restarting the computer each time.

U

se sunlight wisely. During the winter season, leave shades and blinds open on sunny days, but close them at night to reduce the amount of heat lost through windows. Close shades and

Er. Mahesh Mahato, Managing Director–Cosmic Electrical

blinds during the summer or when the air conditioner is in use or will be in use later in the day. Set the thermostat on the water heater between 120 and 130 degrees Fahrenheit. Lower temperatures can save more energy, but hot water might run out and extra electricity used to boost the hot water temperature. Use the power-save switch if the fridge has one and make sure the door seals tightly. Check the seal on the oven door, and use a microwave oven for cooking or reheating small items. In the clothes washer, set the appropriate water level for the size of the load; wash in cold water when practical and always rinse in cold. Clean the lint filter in the dryer after each use.

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R

emember to flick the switch when leaving a room. Remember this at the office too. Turn out or dim the lights in unused conference rooms and when stepping out for lunch. Work by daylight when possible. A typical commercial building uses more energy for lighting than any other building. One of the most important uses of energy is in lighting.

By its very nature, it is an overt example of conspicuous energy consumption and, therefore, an easy prey in the energy savings drive. It is reported that the lighting load consumes approximately 22 percent of the total power generated in Nepal and 8 percent in developed countries.

Power uses compared to an incandescent lamp Halogen 70% CFL 20% LED 10% Efficient hot water use Hot water accounts for approximately 25 percent of household energy use. A few steps to increase hot water energy efficiency will save on energy bills while maintaining similar levels of performance, comfort and convenience. Use a shower timer to remind everyone in the household to take shorter showers. Turn off the hot water system when on holidays. The industry will be able to save considerably and investments in the power factor improvement device will be paid back within approximately 13 months.

Calculation of Benefit from Power Factor Improvement Assumptions: Maximum Demand : 1000 kW Existing Lagging Power Factor: 0.8 Planned Lagging Power Factor: 0.95 Cost of power factor improvement device: Rs. 500 per kVAR Then, Demand charge = NRs. 90.00 per kVA per month (for industrial consumers) kVA demand at 0.8 power factor = 1250 kVA so, demand charge per month at 0.8 power factor = 1250 x 90 = NRs. 112,500.00 before power factor correction. kVA demand at 0.95 power factor = 1053 kVA so, demand charge per month at 0.95

power factor = 1053 x 90 = NRs. 94,770.00 after power factor correction.

So, monthly saving = NRs (112,500.00 – 95,760.00) = NRs. 17,730.00 kVAR required improving the power factor from 0.8 to 0.95 Total kVAR required to improve the power factor from 0.8 to 0.95 = 421 kVAR

include making optimal use of natural light. Use LED, Fluorescent or Compact Fluorescent Lamps (CFL) instead of incandescent lamps - they require five times less energy than ordinary bulbs for the same amount of light. Avoid using low voltage halogen down lights for general lighting as they are not energy efficient.

Clean lamps and diffusers regularly as dust causes loss of efficiency.

So, the total extra investment for power factor improvement device = NRs. (421x500) = NRs. 210,500.00 By using the pay back investment criterion with 10% discounting rate, the initial investment on power factor improvement device will be paid back in 13 months (approx.) by saving the maximum demand charge per month.

Energy saving tips: A good lighting management system must be followed, for example, when lights are not needed, they should be switched off.

This lighting management system can be implemented by a manual switching system for residential use; by using timer, photocell, dimmers for commercial and residential use; and by using PC base centralized lighting management system for industry, large commercial buildings and public lighting. Energy efficient lamps should be used where possible. Tips to reduce impact on electricity bills can

Electrical supply authorities have specified a minimum permissible power factor level to encourage industrial consumers to produce reactive power. A simple and economical method to produce reactive energy locally is to switch in parallel onto the installation, a bank or banks of capacitors which improves the power factor. The most economical power factor is in between 0.92 to 0.95. Energy audits must be carried out on an annual basis by qualified and experienced experts for loss reduction, particularly in industry and hospitals. For new construction, it is strongly recommended that the most effective and energy saving electrical and allied system designs be carried out by reputed consultants.

march 2014 / 31

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cover story

The bare necessities – ELECTRICAL ACCESSORIES

text by Ar. Drishti Manandhar

by Dhristi Manandhar

B

uilding a spatial structure is not simply about the structure enclosed by four walls and a roof – a part of the process is to ensure that all requisites for accurate functioning are met. Electrical accessories that are fitted well and ready for use are key; electrical fittings are integral aspects of home design with safety and utility bearing considerable responsibility. They help save power and cut expenses; they can make your home ‘a hazard free zone’. In current technological terminology and needs, these considerations help transform a space, a structure into a shelter, a habitat. A home is considered modern if it possesses quality telephone cables and fittings, adequate interior lighting, an internet outlet, television sockets and other modern amenities.

Electrical Wiring Diagrams show how a finished home wiring or rewiring project will eventually look, comprising details such as placement of lighting, light switches and

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power outlets. Appliances in approximate locations and the interconnection between receptacles, lighting and permanent electrical services in a building are also sketched in the Electrical Wiring Diagram.

Electrical symbols not only show where something is to be installed but also the type of device to be installed.

The term ‘electrical accessories’ covers many smaller elements as well such as fuses and plugs which, although small, are as important as the larger ones for ensuring that the electricals operate smoothly and efficiently.

Lighting, on the other hand, is among the most important facets of electrical accessories. Getting the lighting right is not simply about strength or brightness, it is more or less about the plan which determines where lights are placed and how they function within overall home décor.

Whether it is the living room or bathroom, the right form of lighting evokes subtlety, gives the character home décor needs and

creates ambience. Light fittings and lamps themselves are elements of the overall design and, when chosen to fit perfectly with the style of the room, they have the potential to give life to the space. “It is because of light that we are able to see things. It is very important to have the right quantum of light in any particular space. Excessive use or lack of it can completely ruin a project,” says Ar. Siddharth Gopalan who is Head Designer at Siddharth Gopalan Designs. To begin with, he states, “Light is instrumental in creating an image when it comes to a residential building, for branding at retail spaces and to assist in mood at a hospital or resort.”

The impact of all well-thought out details – sumptuous furnishings, opulent flooring and luxurious wall coverings can be best viewed with suitable lighting. “In the current context, ambience is created by the play of lights,” says Ar. Sanjay L. Shrestha, Head Designer at Outre. He further adds, “The combination of both natural lighting and artificial lighting should be prioritized to

get the best output. Interplay of indirect lighting and direct lighting should be considered for optimized results.�

In recent times, strong emphasis is laid on the latest trends in technology and material use.

If suitably planned, lights can, potentially, exude the uniqueness of the designed space.

There are many design innovations and trends that help designers provide clients with optimal solutions. The secret to creating an enviable space does not rely on the money spent on it but how well it is designed. Planning spaces cohesively and making sure all services are integrated into the plan will yield accurate results. Detail and design, therefore, determines outcome. Electrical accessories are among the pre-requisites to creating a beautiful space where people can live with safety, comfort and ease.

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cover story

Urban Regeneration as a tool for

Earthquake Risk Management S. B. Sangachhe, Technical advisor, National Society for Earthquake Technology-Nepal

The National Society for Earthquake Technology Nepal (NSET) has implemented several earthquake risk reduction initiatives - the Urban Regeneration in Historical Areas of Kathmandu Project is a turnkey project.

A conceptual plan for urban regeneration of the city core of Kathmandu, the project poses a new model for city core redevelopment as a pilot program in a small block within a dense settlement based on a pre-feasibility study conducted in 2011. A feasibility study was undertaken by NSET as part of the Public Private Partnership for Earthquake Risk Management program with funding provided by the Office of Foreign Disaster Assistance of the USAID (full form??). Important to note, urban regeneration is seen as a way to increase urban mobility for urban equity and emergency preparedness.

An Overview The Urban Regeneration of Historic City Core Project is a pilot program recommended by Kathmandu Metropolitan City’s Risk Sensitive Land Use Planning (KMC RSLUP). The program’s feasibility study was piloted in the Jhonchhe-Chikanmugal area in the historic city core - one of Kathmandu’s most vulnerable areas. The pilot program proposes measures to increase community resilience grounded on area redevelopment; urban mobility for urban equity; and conservation and retrofitting of the historical and cultural monuments.

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Kathmandu faces increasing pressures wrought by new development and redevelopment. Rapid increases in population and subsequent development are not supported by improvements in the existing physical infrastructure such as roads, drainage, parking and water supply. Compliance to the Seismic Code has posed great risk to city residents and the city’s unique heritage. Visibly, each new development and redevelopment appears to tear down the old fabric and rich socio-economic character.

The urban growth planned to improve urban life has, in fact, negatively affected the city’s vibrant social, cultural and environmental fabrics. With the evolution of the term ‘sustainability’, urban planners, developers and policy makers throughout the world have begun to rethink the balance between development and heritage conservation.

In Nepal, individual redevelopment efforts are sparse and are not integrated into a holistic approach to sustainable urban redevelopment of the historic cities, with the exception of the Bhaktapur Development Project (1974 -1986) supported by the German Government.

A Regeneration Initiative The Urban Regeneration Project hopes to be a ‘win win’ scenario for heritage conservation and urban regeneration.

Urban planners and policy makers, till date, have not sought practical solutions with to enhancing urban mobility

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and forging a balance between new development and the old urban fabric and townscape. How do we retrieve and preserve the collective memory of a community as a bridge between the ancestral and the future generation?

A study on practical aspects of heritage conservation and sustainable urban regeneration with a focus on urban mobility, economic development and earthquake risk reduction of the city core is a crucial part of the project design.

What role can heritage conservation and sustainable urban redevelopment play in sustainable urban development? Specific objectives of urban regeneration include improvement of the city infrastructure; improvement of urban mobility for urban equity; sustained generation of economic activity; transformation of old and earthquake-vulnerable buildings into an earthquake-resistant neighborhood; improving the quality of life; preservation of cultural and architectural heritage as well as ensuring positive social inclusion and cohesion.

Pilot Site and Characteristics A pilot project site was chosen with due consideration given to community participation and willingness. The requisite site characteristics include degraded and over populated city centres that call for complex urban renewal and redevelopment; under– utilized urban land and urban tourism on potentially valuable locations that necessitate increased land-use efficiency through land recycling, in– fill development and redevelopment of underutilized historic city core area: derelict or abandoned tourist areas due to economic restructuring and competition from other tourist hubs that require promotion of local economic development based on restructuring and privatization, foreign investments and technology transfer; below par residential areas that pose public health hazards as well as natural (seismic) and technological risks and demand sound urban mobility, efficient infrastructure and open spaces.

This Jhochhe-Chikamugal pilot site is a culturally-diverse social housing development in downtown Kathmandu and a high-income family residential area besides being among the culturally-rich neighborhoods of Kathmandu. Many of the buildings are over 50 years old - the JhochheChikamugal housing stock was in desperate need of redesign, replacement and repair. The majority of the buildings in the neighborhood are still vulnerable to impending earthquake and fire. Preliminary diagnoses of the site revealed critical problems associated with the historic city core area. The area itself is characterized by dense settlement, poor accessibility to emergency services, limited mobility, highly-vulnerable buildings without possibility for seismic retrofitting, poor infrastructure, underutilized tourism and economic potential, and valuable cultural heritage and vernacular architecture facing high risk of seismic and fire hazards. A situation survey and analysis was conducted in AprilJune 2011. Additionally, the building condition, use, shape, age and typology were ascertained in the building survey.

An Urban Regeneration Concept A conceptual plan of urban regeneration of the pilot site was developed on the basis of existing building and land use, socio-economic and cultural heritage surveys as well as available physical and social infrastructure data. The driving force and ideology of the concept plan incorporated affordable and safe housing development with increased urban mobility; promotion of mixed land use and conservation of traditional urban form alongside development of vernacular architecture, cultural heritage and the community’s socioeconomic wellbeing.

Urban conservation programs developed around the world, in the past, have concentrated on integrating concern for urban heritage preservation within an overall scheme for socioeconomic development. Urban regeneration is often understood as the process of changing, transforming, improving or regaining the

march 2014 / 37

cover story

city by regenerating the old, dilapidated, deserted or abandoned urban structures.

A cost-benefit analysis for the project took into consideration physical, socioeconomic and environmental improvements required with a seismic risk reduction mechanism in place indicating that ROI for urban regeneration would be considerable and the urban generation processes technically, economically and financially viable.

Following a consultative meeting, KMC and DUDBC recognized the need for a study on urban regeneration planning.

Feedback from and interactions with the community as well as local and central government agencies further refined the goals of the urban regeneration process with due consideration placed for complexity in urban dynamics.

Objectives of urban regeneration efforts are to draw investors, create employment and renew the urban economy; increase urban mobility for urban equity and emergency response; build affordable and safe housing and develop local infrastructure; improve living conditions to prevent natural (seismic) and manmade (fire) risks; combat pollution; and augment the architectural and cultural heritage of the historic core so as to promote cultural tourism.

In Conclusion Without a doubt, a project of this scope must ensure that stakeholder engagement and concerns are addressed from project inception to completion. Many lessons, both positive and negative, were learned including the need for awareness raising as a part of the urban redevelopment project. Vernacular and modern technical approaches, with seismic code compliance, must place emphasis on community involvement and community capacity development.

Earthquake safety is vital and essential and while efforts at transparency were difficult, the economic vibrancy of a city core depends on urban mobility. An appropriate and successful public-private partnership model of investment is, therefore, a decisive necessity for urban regeneration initiatives today.

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march 2014 / 39

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Sustainable Mountain Architecture

Towards a Better Balance Anne Feenstra, Principal Architect, arch i

42 / SPACESNEPAL.COM

text by Veneeta Singha

I believe that architects all over the world must try to create buildings that have a soul.

The ownership cannot be with the architect, it has to be in the hands of those who use the spaces every day!

architecture

A

nne Feenstra, a Master in Architecture from Delft University, The Netherlands, has established a collective platform for architecture, arch i, along with four young and ambitious architects. Anne has been practicing architecture in the European continent and in London (William Alsop architects). In 2003, he established his own design group-AFIR. He has been lecturing and teaching in India, United Kingdom, Afghanistan, Germany, Nepal and The Netherlands.

How did your engagement with mountain architecture start and evolve?

R Sustainable Mountain Architecture (SMA) seeks

to forge a greater balance between biodiversity and human intervention. In Nepal, academic ideals such as “a dynamic livelihood methodology for the impoverished rural populace” can be completely out of sync with the local people who live just a short 2-hour walk out of Kathmandu. A similar disconnect between the urban and the rural appears to be happening within architecture. The words we use at the Pulchowk Campus in Patan for the built environment show a gaping disconnect with the rural reality. I have always sympathised with the rural world. I grew up in a small rural village in the Netherlands where we would ride bicycles into the meadows and woods.

I lived in Amsterdam and London and hold a Master’s degree (1993) in architecture from Delft University. My work won me the 2012 Global Award for Sustainable Architecture in Paris. My organisation, arch i, is a non-profit network with teams in Delhi, in Kabul and, hopefully, soon also in Kathmandu.

Architects and planners usually speak an urban language in which the disconnect imagines a rural world different from the lived reality of the rural people. Architects must try to take a bigger responsibility in remedying this disconnect.

Our ADB Project in Afghanistan is in a Buffer Zone Area which was created during the ‘Great Game’ between the British Empire and the Russian Czar - the Wakhan Corridor.

We were assigned to design three small buildings including the Visitor-cum-Community Centre for the planned Pamir National Park. Its eclectic design includes windows that

follow the asymmetrical network pattern of the locally-built rock stone walls. Our overarching philosophy is for the designs to blend completely with the amazing landscape and context. The actual name of the Project came from one of the local Wakhis - “the house with dancing windows”.

In architecture, what are the main elements of and issues in sustainability?

R Vernacular architecture has evolved over thousands of

years and this is exemplified by many ‘architecture without architects buildings’ found all over Nepal. The HKH Region is vast with many lessons learnt by and from every country - China, Bhutan, Pakistan and so on. The mountain areas of the HKH Region are primarily rural. Perhaps architects should reconnect with the rural settings and use their powers of observation. In foundational terms, sustainability must inculcate ownership. The philosophy of SMA relies on engaging with the local communities and creating ownership - it is their building, their space.

The Afghan “Dancing Windows” Project is a case in point.

We used contemporary design features but rendered it completely within the context by using different locally available stones. The hard light-grey granite stones were used for a part of the building that received the harsh Pamir winter blizzards and the stone colour changes, almost imperceptibly, into warm pink and yellow sand stones over the South-facing entrance facade of the structure. Turning towards the East, dark brown basalt and green-grey stone were used for the walls. A key facet of sustainable architecture is local building materials. This is march 2014 / 43

architecture

it is possible to combine contemporary design and innovation with the skills of the fantastic Newari masons and use carefully crafted metal and timber works successfully

not only important in terms of reduction of transportation energy, reducing the carbon footprint but also in engaging ourselves with the available local skills and craftsmanship.

Our projects (since 2004) are the first buildings in Afghanistan with double glazing. “Dancing Windows” was built to use maximum passive solar energy and it has a 12-layer roof made of mud, straw and clay. Dense clay is for waterproofing; straw is for thermal insulation. We aim to blend our designs and built spaces with the local context and landscape.

To explain sustainability to my students in the Netherlands, Kabul, Delhi or here at the Pulchowk Campus and Khwopa University, I underline the fact that architecture is about making choices. It is, thus, imperative to clarify what is NOT sustainable, then try NOT to do that. The chances that you end up with more responsible work, therefore, are higher. For the ultimate definition of sustainability, I refer to Professor Jana Revedin, President of the LOCUS Foundation, but I believe durability, responsibility, ownership and common sense are key components.

Taking a regional view, what are some of the opportunities in and threats to sustainable mountain architecture?

As I stated earlier, there is a massive amount of crossborder learning in the mountain areas of South Asia. The hidden stories, particularly the ones beyond the colonial influences, which lie within the regional architectural paradigm are very interesting. With Ar. Anju Malla, Ar.Himanshu Lal and Ar.Bikash Palikhey, we have been able to demonstrate that in Nepal it is possible to combine contemporary design and innovation with the skills of the fantastic Newari masons and use carefully crafted metal and timber works successfully.

R

At the ICIMOD HQ, we transformed the fairly barren reception into a warm and inviting ‘welcome area’. With 44 / SPACESNEPAL.COM

the chilly winter winds here, we designed a professional reception that blocks the wind flow. For informal meetings, we created a ‘buzz area’ that has become very popular.

Thanks to the great support of DG David Molden and his team, Ar. Anju Malla and I could choose Newari masons for the building work and we used five different flat stones from the Nepali mountains. Twenty five of these stones were, in turn, encased in three metals that have been a part of Nepali culture for thousands of years - copper, brass and silver. The design reflects the richness and beauty of the colours and materials of the Nepali mountains. The story for this Project is Nepali culture. Another interesting aspect of this project with ICIMOD was that we re-used existing 80-year old Sal wood for the reception desk. Rather than using fresh wood, we prefer to use existing material that has lost its initial function. The key design starting point here was ‘re-use’ from the three R’s.

architecture

What are some of the lessons learnt in sustainable architecture in the West that we, in Nepal, could incorporate?

We must not confuse architecture and the built environment with a business model from the West or the East. The system of ‘copy and paste’ does not work for creating architecture. The “world class city” concept of going to Shanghai, Dubai or Singapore, clicking pictures and building something similar in Nepal can also be disrespectful to the history and culture of the place and be highly unsustainable. The historical planning process and cultural layers of a place are of fundamental importance in any design project and vision. The urban fabric of Kathmandu must be re-examined in light of water usage, waste management and utilities such as electricity. The lessons that Nepal can learn from developed countries are, first of all, to not make the same mistakes that have already been made in these places including in infrastructure development that focuses on cars only. We must look carefully at all the systems. Here there is a dynamic of co-existence built into centralized and de-centralized systems.

Unsustainable practices and bad design can break a cycle of sustainability, often irreparably. The centralized systems in fully developed countries will be difficult to maintain in the long run as they are not self-sufficient and are also very expensive.

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What were the goals and accomplishments of your exhibit at Climate+Change in the Nepal Art Council?

Our two-week long event at Climate+Change in the Nepal Art Council arose from a simple question posed by ICIMOD’s Anja Rasmussen: “What solutions can my teams bring to Nepal in the field of architecture?” The answer was “Inspiring examples of sustainable mountain architecture!”

Through twelve presentations, moderated platform discussions, three “Get Your Hands Dirty Workshops” (with artist Sujan and architect/builders Narayan and Monir), we had a fantastic response from inspiring architects such as Prabul Thapa, Deepak Pant and Kai Weise, to name a few.

We aimed to highlight good practice examples in Nepal.

Some of these are based on the values of vernacular architecture, some use more innovative techniques and some are hybrids. With the substantial number of visitors at Climate+Change along with outreach by PhotoCircle and Blue Coffee and the informative www. sustainablemountainarchitecture.tumblr.com, we feel we have reached out to the next generation of Nepali architects. At the Pulchowk Campus, Khwopa, NEC, KEC and so on, I think some of the bright students will now be inspired to choose building solutions of and for today while others will, hopefully, chose the path of preservation and conservation of Nepal’s unique heritage.

The SMA Scientific Committee was instrumental in selecting the 19 examples; we also encouraged the audience to be a part of the exhibit by offering their own best practice examples. Sarosh Pradhan and Rohit Ranjitkar joined with their work and we now have 27 projects and still counting! There are a myriad problems associated with both urban and rural spaces such as traffic management, pollution, river systems, global warming, ozone depletion etc. Young people today need solutions that must be cost effective as well as sustainable models to build and replicate. SMA tries to create more sustainable ‘evidence’ - the evidence of architecture is firstly in the tangible. Our growing exhibition is a pool of such examples.

I walked with my wife from Sanepa to Kirtipur just a few days back. The urban still holds a deep- rooted connection with the rural in Kirtipur. During the SMA exhibition talks, Ar. Kai Wiese highlighted a very good example of how the rural and urban can actually go hand-in-hand. There are too many conflicts in land allocation. We must better understand and appreciate the value of the ‘un-built’.

In May this year, seven projects designed and built by my teams in Afghanistan and India will be exhibited in the heart of Paris. I believe that architects all over the world must try to create buildings that have a soul. The ownership cannot be with the architect, it has to be in the hands of those who use the spaces every day! march 2014 / 45

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The Tough Love

of architecture – Gautam Bhatia

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architecture

I

hate architecture. I for all the formal burdens it carries, the definitions and themes and theories and all the self-inflicted wounds of anthropology and art and culture it confesses to address. Every act of building is today loaded with a host of conflicting intentions that belittle the profession and undermine the intelligence of ordinary people.

For all its professed scholasticism, for all its remedies to social ills and national housing statistics, for all its reminders to itself for its worthiness, and its perennial harking to a better life, architecture is a failure.

A mere glance across the Indian city and its collective of buildings is a daily reminder of that failure. Despite constant resuscitation of its self-worth in annual awards and monetary congratulations, the profession has been in self-denial for far too long. The impoverished Indian city is poorer for the contributions made to it by architecture.

Consumerism Yet, there is nothing theoretical about architecture and city life in India; it’s a messy, gut wrenching, tiresome, demanding, contaminating experience. You merely have to step outside the gate of your house to feel as if you have been released into the monsoon current of the Ganga. You can observe all you like, make theoretical and demographic assumptions about the city and shops and hoardings and unlaid drains and ineffective master plans, but eventually the physical side of the city will swallow you up completely. More than ever, it will toss you between great extremes.

Extreme poverty, unimaginable wealth. A labourer defecating on the sidewalk, and in the house behind the same sidewalk, a man taking a jacuzzi bath. A family occupying a 12 square meter tenement, another a 12000 square meter country estate. The ad hoc nature of the city is enough reason to remain indoors or walk with your eyes on the ground. Certainly there is no place for architecture in it. The city either consumes architecture like food before a starving child, or destroys it once and for all. So if you want to protect your creation, put up a high boundary wall and seal your turf.

Against the backdrop of economic changes and the rise of consumer culture, it is hard to remain connected to the city. The application of commerce to architectural endeavours makes the place into a restless theatre of surfaces. The builder buys land, sells houses, auctions office blocks, rents commercial space, leases malls… the city is a place of momentary opportunity. Style is irrelevant, as is architecture.

Only occasion matters. Building is an event. Nobody needs the architect. Versailles can be created by a wedding planner, the Taj Mahal, by Pappu Tent House. In the glow of the neon, the builder too is transported into a heightened state of selfabsorption and pretension. He is left with the belief that his work has changed the quality of people’s lives.

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architecture

The schizophrenic character of the new India is today on permanent display. Wads of notes change hands between builder and agent, the transaction taking place in full public view, on the bonnet of a car.

Italian marble and French glass panels are sold by drunk Haryanvi youth. Hundreds of mud shanties filled with migrant labour huddle under the high- tech reflections of steel and glass office structures. Rajasthani labour and children mill around vast tracks of new housing, suburban malls and glistening office structures, each displaying the promise of its California original. Come to Lakewood City, Live Life King-size in Montego Park. For God’s Sake Do It. Just get away from the wretched city.

All around the big cities, a perfect world is being copied and erected from the latest American and European models, and at the grand scale of a whole new town.

The difference between office, home, and recreation - their distinctions earlier enacted through architecture - are now blended into a singular mass of building - an architectural type that is enclosed in glass, sound proofed, air conditioned, looks onto a garden landscape, has underground parking, and all facilities and services.

A sense of urbanity can be created inside the boundary wall, even a belief that nothing of value lies outside the gated community.

The isolated residents of these seductive transit camps, caught in the cycle of commerce, are forever moving with the flow of money and material, sharing pool, sauna, parking and tennis court, living in a permanent pretense of community.

Disjointed and exclusive, they know the apartment blocks can exist anywhere, regardless of the urban reality around them.

Names Even the names give no clues to function.

Malibu Gardens, can be an apartment complex or an office, or a club, or a mall.

Malibu Gardens can be in Malibu, California

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So self-absorbed and controlling is building, that the experience of ordinary day to day living has disappeared from architecture altogether or Bangalore, India. Malibu Gardens can be a tandoori restaurant in Lucknow, or a club in Karachi. Architecture’s only value lies in its elimination of geographical distance.

So self-absorbed and controlling is building, that the experience of ordinary day to day living has disappeared from architecture altogether. Since all the choices have been made for you, you no longer open windows, bang doors, look for the light switch, change a bulb, feel enclosed by walls, draw curtains, close the blinds, repaint ceilings, wash floors, get lost in corridors, get stung by a hive under the eves, smell the thick air of a summer cooler, feel the heat of a coal fire in the fireplace, watch the monsoon rain seep in architecture through the glass, rub your nose in the frosted fog of a winter mirror, lie on a water cooled stone terrace on a summer night.

No. Architecture requires no exertion, no effort. You are no longer the cause of the transformation you enact to space. Space is democratic, finite and controlled. Every vantage in a building renders every other vantage in the building visible. You see at once, your desk in your 5th floor office, your colleagues in the open plan layout, your car in the company parking lot. Your occupation of space is convenient and transitory - not familiar or comforting - because it always lets you know where you are in the architectural scheme of things. Like a monkey on GPS in the given environment of a zoo.

Ideas The current decade of the 21st century, the period of supposed economic prosperity and growing social respectability has

been unfortunately mismatched by parallel architectural ideas. The Indian city has been painted, and painted often and with shameful and irresponsible brush strokes, creating as a result a whimsical, opaque and loveless canvas.

Glass office complexes, mega malls, imitation apartment towers, Italianate villages or modernist abstractions of minimalist formalism, the public audience - as uninvolved and uncaring participants of the work - is left to bear urban life as an accidental misfit in their midst.

In the absence of ideas, architecture’s value becomes suspect. And all that has been newly put up needs to be willfully destroyed. Without evidence of its destruction the chances of anything new rising seem remote.

Till then I too come armed with references to technology and tradition, I too, approach every project as a new form of personal fulfillment. Brushed steel columns if it’s an office, a skylight atrium for a mall, and plate glass if a house.

Accordingly, phrases assume their rightful professional tone. ‘I’m trying to recreate the duality of urban enclosure as both physical confinement and symbolic representation’, is an old favourite. In designing a farmhouse the entrance hall becomes an ‘Arrival Loggia’. The drawing room can be christened ‘Entertainment Galleria’, the bedroom marked on the drawings as ‘Sleeping Chamber.’ If people have made a financial success of their life, my job is merely to make them enjoy it all the more. I love architecture.

The writer is an architect.

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Psychology of Architecture

high ceiling space

“Architecture, “Architecture,of of ofall all allthe the thearts, arts, arts,is is isthe the theone one onewhich which whichacts acts actsthe the themost most mostslowly, slowly, slowly, “Architecture, but butthe the themost most mostsurely, surely, surely,on on onthe the thesoul.” soul.” soul.” but

architecture

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The character of form and spaces, people encounter in their life best defines the nature of psychological behavior they possess.

low ceiling space Architecture, in general, deals with and in the material sphere. We are, as yet, unaware of a spiritual consciousness in architecture.

However, the spiritual is as important as the tangible in architecture and in the philosophy of architecture. Architecture can be a feeling, a proportion, a word, an attitude, a color or an activity. The psychology of architecture is related to intangible features such as an emotion, a perception, the imagination, a feeling, the intellect and happiness. We spend our most of our conscious lives inside buildings and our thoughts are often shaped by their walls. There is surprisingly scant research on the psychological implications and nature of architecture. How do different spaces influence cognition? Is there an ideal kind of architectural structure best suited for different modes of thinking?

The essential and fundamental basis of architecture is the creation of livable spaces for people; and psychology is the study of people. This then creates a perfect overlap

of the two seemingly unrelated fields.

If architects have an understanding of psychology, the built world could promote a better life in all its manifestations. The relationship between architectural design and psychological variables can also significantly contribute to the creation of better buildings and a better environment. Architectural psychology deals with the psychological processes that shape interactions between people and the environment that surrounds them. These take the form of spatial perception and thinking, orientation behavior, spatial experience, territorial behavior, living requirements and satisfaction and, importantly, local identity(s). In relation, a worthwhile undertaking would be to assess the growth of architecture as solutions for shelter in which it is deliberately manipulated as a psychological device. Research on psychological architecture provides an understanding of the manner in which people respond to and behave in built spaces, both real and virtual.

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architecture

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“Architecture has to do a lot more than look good and be built well to consider it a success infact, it has to speak to all of our senses and not just our eyes. This is where connects architecture and psychology.”

minimal design space “I should say: the house shelters daydreaming, the house protects the dreamer, the house allows one to dream in peace.”, Gaston Bachelard, The Poetics of Space.

Can we re-imagine the extent to which a design process would prove effective if we knew what our clients were thinking? Can we form a picture of every thought in our minds regarding the client’s precise need? The reaction to architecture cannot be predicted.

And courage underlies an open heart and open expressions. Significantly, the visibly changing aesthetics in architecture tend to communicate an everevolving understanding of psychology.

Understanding, therefore, lies in whether architecture affects psychology or if human poignancy influences architecture.

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An actual space represents a context and is often dependent on perception.

Borrowing from the psychology of perception, to see something means to determine the place of structure in the seen entity. Emotions are, of course, an important part of architecture aroused as they are by challenges such as creative assignments and problem solving. A given situation can provoke strong emotional responses in architects triggering the psychology of human emotion and, thus, the creation of an environment.

Designers, specifically, create best when and as they move towards a better understanding of their own creative abilities. The more individuals recognize their own value, attitude and resulting behavior, the more psychologically

red space

balanced they become. Realization of one’s own emotional state and situation in relation to architecture will guide the understanding of others’ psychology. This form and level of bonding and awareness can become a valuable tool in interaction. The emotive response of an individual to a created space also varies with perceptions of it.

In holistic terms, the importance of imagination often guided by respective intellect is central and key to the improvement of architecture.

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The space an architect creates represents his power of imagination. Whereas an understanding of space arises from the user’s perception, the level of understanding between creator and user determines the fulfillment wrought by the created space. An ability to understand internal feelings and their importance in the creative work lead to balanced architecture and balance in architecture.

Finally, a building’s robust character is the medium that affords human contentment, and is, in turn, associated with elementally psychological factors.

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L Sparkles in Patan Sarosh Pradhan & Associates

text by Ar. Drishti Manandhar

AiLa restaurant is a new bistro in town recently opened in Kumaripati, Patan. On the sixth floor of the Trimurti Complex about two hundred metres from the Jawlakhel crossing, this space showcases an unique ambience complimented with an interesting view of the Himalayan Range along with the view of the Patan City in the foreground.

The architect and the owner both strongly believes that a name - for a project could be contextual and makes a difference in it’s development. According to the architect Sarosh Pradhan, the concept of the space is derived abstractly from Aila – relating to the fluidity of space and the perception of bubbles, while pouring a glass of aila.

Concept Located close to the traditional newari settlements of Patan, the name Aila, (local Newari raksi - hard drink) was a name which the designers as well as the owner consented into during the design brainstorming process.

Space The first thing you notice when you reach Aila are the bubbles floating on the entrance glass walls that greets the visitor. As you step in, the undulated ceiling freely flows connecting the various spaces setting up the mood further.

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interior

Aila prioritizes on human experience, comfort and great food. Serene and immaculately composed, the interiors are a sophisticated interpretation of contemporary luxury, contextualized to suit individual setting.

From the entrance area one is visually connected to the entire length of space immediately. The space is divided into a formal circular seating and an informal table-chair seating which further focuses of different zones such as a Performance and Music area, a Bar and a Recreation area.

This space is able to accomodate upto a maximum of hundred and twenty five seats at a time. The design is flexible enhough to to host different events, functions and seminars at according to the spatial and functional demand.

Areas are observed visually segregated by the use of different furnishings and furniture. A formal area hosting four circular seating and the circular arrangements of couches at the fine dining area add abstractly to reflect the circular theme of bubbles. The informal area has a variety of seating with casual table and chairs to lounge couches. The vibrant colors brings out the youthful energy within the interiors. Moreover the bluish green color tone adds to the energetic and vibrant environment.

Bamboos are experimented and have been used as an integral part of the interior texture. It’s placement on the linear wall, interestingly lighten up the wall space. The bamboo’s placed in an interesting zig-zag manner highlights an alternative natural material for both it’s natural and cost efficient quality in the interiors. The lights glowing through the bamboos uplift the sense of the space to a whole new level. march 2014 / 57

interior

The bar area can accommodate up to ten people seating at one time, and has a provision of watching television for news, sport or music events or programs during event nights. The billiard area next to the bar seems to be a casual hangout place at the far end corner. A place where you can lounge about, play and definitely savor the delicacies prepared by their Thai specialist chef.

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For the live music performances happening here every Fridays - a centre stage with the backdrop of the entire Lalitpur city can be enjoyed. The extra ordinary view from the sixth floor is an added quality the space radiates. The circular details on the ceiling area of the live performance zone adds a circular juxtaposition of circles uniting with the and circular bubble theme further.

Dinesh Rai, it’s promoter remarks that Aila prioritizes on human experience, comfort and great food. Serene and immaculately composed, the interiors are a sophisticated interpretation of contemporary design, contextualized to suit individual setting.

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art

The BFA Exhibition:

A Culmination of Creative Ideas on a Platform

text by Sagar Manandhar

The contemporary art scene in Nepal is in a state of flux with a rich palette of creative ideas and forms being introduced and reintroduced by a new generation of artists.

The graduating batch of students from the School of Arts and the Center for Art and Design at Kathmandu Universityis currently at the threshold of their professional artistic careers.The exhibition held by students of Bachelor of Fine Arts at NAFA hall, Bal Mandir, Naxal is a culminating initiative of the final year students through which their capabilities and hardwork are confidently and visibly evident. A second showcase of team effort, the correlation of experience 62 / SPACESNEPAL.COM

and philosophy with concept is delivered with precision in the exhibition. It is also a student platform for exploring the Contemporary Arts and an opportunity to cross-fertilize knowledge for the future.

Dialogue and mentoring were a crucial part of the artistic process so as to enhance creative possibilities and to hone ideas and conceptsdeveloped by the young minds. The learning curve as well as many trials and errors allowed for both renewed support and clarity during the endeavour.

As a meeting point for assorted visual languages, the collective work of the

students represents individual personality within each creative genre. The students were encouraged to explore media forms while working on the final project. Video installations, collaborative art installations, paintings and mixed media work werethe artistic milieu. As a result, the final works interact with viewers to present different levels and aspects of an environment and a journey within the four walls of the gallery space. The graduating team from the Fouryear Programme is a group of 12 Studio Art Major students: Bhawana Ghimirey, Karma Chhetu Gurung, Rabin Maharjan, Suresh Maharjan, Roshan Sakha, Pramesh

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Sherchen, Rabindra Kumar Shrestha, Saran Tandukar, Shreejana Shakya, Nhooja Tuladhar, Shiva Prasad Upadhaya and Sudeep Balla.

Rabin explores the transformation and changes experienced in long- term cityscape development through his work which reveals the contrasting aesthetics of the present and of the past. His aim was to raise awareness of the loss of historical spaces now transformed into technologically and architecturally-complex structures which, unfortunately,disrupt an important balance with nature maintained by older forms of architecture. Drippings of enamel paintin the disciplined areas revealboth passion and observation within the thematic performances.’Nostalgia’is an important message. The ‘Dharahara’ presents a nouveau horizon brought about by experimentation. By transforming photographs on a wooden block and the linear facts of a changing cityscape on a glass panel, he presents the chaotic infrastructure that is our city at present.The work also reveals an immutable connection with signs and symbols of popular culture.

A 3-dimensional approach realized through a flat dripping of enamel paints creates an immersive pattern rather than a conventional work of art.

Suresh describes the numerical in his compositions by making use of a book on Astrology - the Toyanath Panchang-as a guide for a visual representation of numbers.

His attemptat non-representational form is definitely worth a watch. In a culmination of color evaluation and viewer engagement, his work is successful both as intense study and as a mathematical interpretation of form. The connection between the rigid thematic forms and the artist himself is both subtle and impressive.

Nhooja’s video art reveals a playful ambiguity. Materialized impressions of life as moving pictures and a series of short films tell stories of imperfect character. A perception of personalities and their attendant tales reveal that the interconnections between two video installations are perfectly explored allowing the viewer some breathing space with which to watch the remaining clips.

Roshan delves into the idea of gaming and fun through a visual interpretation which takes the form of nostalgia for a

child’s play time. His works are fragments of excitement taking the viewers down mysterious memory lanes. He presents conceptual facts, including the notion of interactive artistic concern, in works of art that are not only visualbut an interactive immersion by the participants as well. The playful nature of his media messages can be related with his use of color;the works exhibits a keen influenceof the Rubric Cube along with facial characterization in the overall compositional language.

Karma’s2-dimensional visionary sense and approach present the pride of working people.Depictions of workers, such as the farmer, tailor, sweeper, cobbler and rickshaw driver,are central in his work;his creative ideology puts every form of labour on an equal footing. On a thematic level, every occupation is known to have suffered

discrimination in our society -this receives concentrated analyses in his compositions.

A strong message of awareness about “the job” and its importance is the principal motif in the ‘My Work My Pride’ series.

He has paved the way for a new form comprising a composite format presented via a method of realism.

Shreejana collaborated with autistic and orphaned children – shepresents the power of children through her work in which she captures the power of imagination tied to working with children. The children themselves brought to the fore her own “inner child.”As we see the creative output, unexpected designs start to formulate.

Interestingly, a work of art on a t-shirt gains valueas we look closely at the history and evolution of the work. Her creative ideas approach a new balance - the search for a march 2014 / 63

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art

new graphis juxtaposed with the original ideas as presented by the autistic children.

Pramesh’s comic series depicts an archetypal struggle to understand life and to find the right path. He began the work by creating a character symbolizing optimism.

The protagonist is set in situations that reflect his world which he documents and comments thus reflecting changing times and an ever-changing contemporary society.

The collection of comic strips hints at his own self and delves into character as the audience experiences becoming a part and parcel of the creative comic strip itself.

Monochromatic composition and digital enhancements have paved a good pathway rendering the work complete.

Sudeep’s creations reflect songs and the effects of songs. He portrays society in unique compositional aspects where songs are vibrations of chaos and stasis.

Interestingly, his work is enhanced by expressive concern transposed onto pictorial forms. A 3-dimensional language of illusion and form puts the viewers centrestage and, thus, the work has a powerful sense of creativity in which photo-manipulation and its reverberations are beautifully constructed. Reflecting the mists of uncertainty and difficulty, this nouvelle concept of utilizing 3-dimensional illusions caught the eye of many art enthusiasts.

Saran’s‘Beauty in Unity’ aims to unify Nepali people from different communities and walks of life. The artistic fabrics exude communal, social, personal and cultural

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significance. By bringing together pieces of cloth, he creates a message of unity for Nepal, in which a collage of cloth on the wall functions as a bridge and as a metaphor. Collaborative effort and conceptualization further enhance the work in the public space while creating an awareness of the beauty of art. Binding the composition together, the cloth as medium creates interesting patterns.The creative process itself is presented in a short video documentary which allows the viewer to interact with the artwork.

A spontaneous ‘cutand paste’ of cloth serves as anemblem of Nepali ethnicities and castesthat is represented in a finale output of mood and media.

expressions and articulations that have arisen from diverse schematic thoughts.

Rabindra’sworks present the line as the primary and core sense. A collaborative work of 20 Nepali artists, it represents abstract feelings and the symbolic soul of the universe. The correlation between tangible and abstract forms rendered by a potent ambiguity of the lines forms the central creative ideology. A successful collaboration among many artists, the work also evokes belief in individual composition. Eighteen different canvases of a single composition were used in conjunction with differing vibes akin to a theater where the viewers experience

Bhawana’s ‘Shakti’ is a representation of power and strength - ‘shakti’to protest against injustice and ‘shakti’ to speak up and find your voice. Women today are dominated, abused, harassed and made to feel inferior or easily defeated. Derived from personal experience,Bhawana raisesa voice for women’s empowerment; the message for women is that they should raise their voice against injustice and believe in themselves.The blazing red colors on the women figures project a vital message to stop violence against women.

Shiva’s works project and showcase his observations of places and environmental spaces. The expanding construction in Kathmandu Valley served as his inspiration - the aesthetics of rural landscapes are set off against concrete urban development.

He delineates the duality of the process whereby the construction of cities becomes the deconstruction of nature.

Panoramic landscape viewsare beautifully presented; the space suggests natural forms and elements. The deconstruction of photographs on display in an installation view is amply representative.

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heritage

The Tundal

Aesthetic, Spiritual and Pragmatic Values text by Dr. Yam Prasad Sharma

The Tundal - a small carved wood block - is a traditional Nepali architectural design possessing both spiritual and aesthetic values. Tundals are placed diagonally at the end of a wall beam and used to support the slant roof outside the wall. Tundals are also considered to protect temples and buildings spiritually by virtue of carved imagery. Another interpretation is that they encourage procreation and reproduction in war-torn regions. The Tundal is a quintessential example of the Nepali woodcarving.

Images carved on a Tundal range from simple decorative patterns and images of animals, humans and divinity to diverse activity as well as erotica. These patterns create visual rhythm, melody and music. In general, a Tundal is divided into three parts — the lower, the middle and the upper parts which represent heaven, hell and earth. Visual rhetoric is potently present in a Tundal and in the Tundal series which typically run from one corner to another in an architectural form. Erotic images carved on the Tundal are believed to function as motivation for procreation. In addition, floral patterns also create visual poetry. Tundal imagery is known as key to understanding divinity and the self. Explorations on the mystery of creation are also intimated on Tundal symbolism and narratives.

A popular saying posits, “Lightning will never travel by the temple because she is considered a virgin.� Her feminine reticence alters her course away from the temple and, thus, the Tundal protects the temple from lightening and tempests. By virtue of the immutable nature of this belief, the Tundal, with carved erotica, is an integral part of temple construction even today.

Critics opine that the erotic images carved on the Tundal facilitate intimacy and marital harmony among young married couples. Additionally, the tradition of young married couples visiting temples is seen as imperative in light of the fact that these erotic images help them gain selfknowledge.

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heritage

Tundal imagery is known as key to understanding divinity and the self. Explorations on the mystery of creation are also intimated on Tundal symbolism and narratives.

During the Dashain Festival, the tradition of Tika signifies blessings from elders for children to be borne so that they may carry forward the family name and good works. In earlier times, war and conflict meant that the population of a state decreased considerably. Children were, thus, considered to be a boon. In relation, erotic imagery in the Tundal was used as instruments of motivation which is considered chief among the pragmatic values of the Tundal. Other critics believe that erotic images carved on the Tundal are keys to understanding the self and the spiritual world. Why does nature signify reproduction and rebirth?

The answer then is: to continue life and for continuity itself. Who requires this continuity? Popular belief systems hold that an invisible force wields control over the activities of all living creatures.

Explorations of the mystery of life are also thematically interwoven in the Tundal’s erotica.

Tundal imagery is also linked to Tantrism.

Traditional religious practices argue the transcendental importance of enlightenment and the union of the self with the cosmic being and the mortality of mundane desires such as hunger and sex. In this cannon, study of the Sastras as well as meditation are seen as essential. Tantra brings enlightenment within reach of common people. Sex, in tantric practice, is the beginning of the journey of enlightenment. An erotic union also constitutes a union of the self and the Supreme Being - the male and the female principles are Prakriti and Purusa; Uma and Maheswor; Samvara and Vajravarai. A union such as this means that the duality of the self and the other is dissolved and this moment of enlightenment lives in perpetuity.

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New Generation of Energy Saving As Nepal still suffer from proper problematical electricity problem, the consequences of fluctuation of high and low voltages has had dire consequences in energy consumption and electronic components of all ranges that makes us livid for paying energy bills. However today we see various innovative energy saving products in the market in lighting products that are energy-efficient bulbs: CFLs, LEDs, and energy-saving incandescent and other products. Today with such products you can light your home using the same amount of light for less money and remember to compare the costs and savings when using energy-efficient light bulbs with other substandard products .Spaces advises you to choose high-quality products with the greatest energy savings, choose bulb and other products that have earned the energy star or special recognition that meets international standards.

Master Glow LED bulb A60 Master Glow LED bulb A60 is ideal for wide applications of general lighting, and industrial OEM equipment lighting in open luminaries or recessed fixtures.

MASTER LED GU10 MASTER LED GU10 is ideal for a myriad of applications including track lighting, general architectural and landscape lighting, display case fixtures and cabinet lighting.

Legrand Arteor Mirror Red

Legrand Arteor Stainless Steel

Legrand Arteor Switch & Socket

Legrand Arteor Skirting Light with Detector

Novalier 3W E14 2700K 230V B35 CL Dim Novalier 3W E14 2700K 230V B35 CL Dim is ideal for installation in various kinds of fixtures where people can easily enjoy the art of light played together with glass.

Legrand Arteor Graphic Casual

Legrand Arteor Tattoo

FYI: Electric Light Solution Kamaladi Chowk, +977 4430056

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Master LED MR16 Lamps (4w/7W) Master LED MR16 lamps with superior lighting performance and transformer compatibility.

Legrand Arteor Power Unit

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EGLO THEBE Pendant lamp, chrome / opal glass, white lampe suspension, chrome

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EGLO AVES Wall lamp, chrome, crystal, black, appliquĂŠ, chrome, cristal, noir) Elegant lighting series made with organza material and superior crystal details 23

EGLO REBELL Pendant Lamp, aluminium burshed, crystal foil, white lampe suspension, aluminium brosse, plastique transparent, blanc.

Extraordinary lighting series Including a unique aluminium shade and attractive crystal foil.

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FYI: Electric Light Solution Kamaladi Chowk, +977 4430056

Sunix Solar Charge Controller 3 years warranty NEPQA2013 Compliance In-built SMPS Based Mobile charger Very Low Self-Consumption High Quality ABS cabinet High Voltage Protection Good Workmanship

Osda Solar Pv Modules 10 Years Warranty on Product Material & Technology Power Output Warranty: 10 Years 90% & 25 years 80% IEC61215 and IEC61730 Certified & NEPQA 2013 Compliance High Performance Yield (KWh/KWp) High Quality Tempered and Toughened Glass

SUNIX SOLAR PRIORITIZER WITH BUILT-IN CHARGE CONTROLLER 3 years warranty Prioritized Solar Energy Saves Grid Power, Electricity Bills Saves Cost of Replacing Inverter Makes Battery Life Longer Easy Installation Robust Design

Sunix Solar Led Bulbs 3 years warranty, Long Lifespan of 50,000 hours Solid-State, Shock/Vibration Resistant No RF Interference, No Buzzing Noise No Fluorescent Flickering, Low Power Consumption

FYI: P.S.S. Renewal Energy Nepal Pvt. Ltd. Sunrise Energy Pvt. Ltd. Sano Bharyang - 15, Ring Road, Tel : +977 4272877, 4272915 march 2014 / 73

from the shelf

The Nepalese Legacy in Tibetan Painting David. P. Jackson, author of ‘The Nepalese Legacy in Tibetan Painting’, is a curator at the Rubin Museum of Art since 2007 and professor of Tibetan Art and Studies at the Hamburg University for 14 years. He has also authored several books and articles on Tibetan art including ‘A History of Tibetan Painting’ (Vienna, 1996).

In ‘The Nepalese Legacy in Tibetan Painting’, he illustrates how the destruction of India’s Buddhist monasteries in 1203 AD led to loss of artistic inspiration within the Tibetan art fraternity. However, Nepal remained the surviving bastion of traditional arts where the Newari artists of Kathmandu valley formed and sustained their artistic style and expressions. The Newars developed their style gradually, demonstrating their excellence in paintings, sculptures and woodwork. This was not lost on the Tibetans who learned from the skilled neighbors and, thus, the particular style spread throughout Tibet. This approach and method is now known as Beri which matured over four centuries reaching its height during 1360 to 1460 AD when it was finally adopted as Tibet’s universal painting style.

Furthermore, Jackson explores the nature and extent of the Beri style showing its chronology, the accepted religious patronage and its geographic scope which came to define its development. The Nepali legacy in Tibetan painting itself places Beri in a context more complex than previously imagined. As Jackson explains in the book, he admires, above all others, paintings created for the Ngor Monastery by Newari artists and their Tibetan followers in the Fifteenth Century which is often referred to as the Ngor style. In addition, he delineates the tools with which to identify the Beri style paintings whilst highlighting the incredible decorative arches and scroll works; distinctive decorative aspects as well as the color palette and structure. The book is an exhaustive historical documentation of the style further enhanced by comparative analyses with other Tibetan artistic styles.

A distinctive story narrated in the book concerns a group of Newari artists and a magnificent set of Mandala paintings created by them. The founder of Ngor, Ngorchen Kunga Zangpo (1382 -1456 AD), commissioned a set of Vajravali Mandalas to six Newari painters who subsequently traveled from Nepal to Tibet and presented themselves to the Abbot.

During this journey, they were offered many opportunities to paint at other locations - places less remote and far richer than Ngor. The Mandala paintings by these six Newari artists are now considered true masterpieces. Jackson’s implicit message in the book is the hope that the presented collection of images and documentation will stimulate appreciation and understanding of these highly-esteemed and magnificent works of religious art.

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artscape

Artist Spotlight: Flow of Endurance

by Asha Dangol

Ragini’s paintings are themed on sociopolitical and ecological concerns. Surreal figures emerge from floating lines and colors conveying a provocative dialogue on nature’s silent pain, problems and suffocation and, finally, nature’s right as a living entity. In ‘Flow of Endurance’, the blue figure depicts the celestial goddess ‘Ganga Mai’ attempting to collect garbage and plastic from the Bagmati River. Wearing white gloves and boots, she tries to reach polluted areas where she holds a bottle in one hand and, in the other,

she tries to catch some floating fruits offered to her by devotees.

Her oversized heads and snakelike eyes evoke surreal moments.

The painting also articulates a free movement of lines and colors.

Ragini has captured the transparent feelings of the holy river with blue signifying purity; red, in turn, symbolizes religious and cultural monuments. “When I am close to the Bagmati River, I try to understand its unspoken language and feelings - they speak to me about their woes,” states Ragini.

Ragini Upadhyay Grela Ragini Upadhyay Grela is a printmaker and internationally-renowned artist from Nepal – she has held over 60 solo art exhibitions in Nepal, India, Europe and countries in Asia. She is the President of Womens’ Artists Group of Nepal as well as the Founder and Curator of the Artist Proof Gallery. Member of the BP Koirala Foundation, she was honored with the Birendra-Aishwarya Memorial Medal in 2002, from Kate and Robert Wilson, London in 1986 and awarded in Nepal in 1979, 1985 and 1988.

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go gadgets

HOME

Automation

text by Keyur Shrestha

W

e have all had fabulous experiences watching movies in theatres.

Big screen magic and the mind boggling surround sound takes us back, perpetually, to the theatre.

Affordable home theatre systems have, as a parallel trend, now begun to define a living room. A bunch of remote controls to control audio and video devices such as the television, amplifier, DVD player, setup box and so forth can, however, be a big hassle. Would it not be cool if one could just sit and enjoy the entire home theatre experience with just a touch of a button on the Smart Phone?

Bipassana International Private Limited, a local company specializing in home automation, has successfully implemented customized home theatres. The ‘perfect movie experience’ in the privacy of the home is now a reality.

Providing full-fledged sound and acoustic analyses and, of course, speakers and amplifiers such as the Denon, Boston Acoustics,

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JBL, Harman Kardon, and KEF, even extreme movie junkies and audiophiles are sure to be gratified.

Prices for basic models start from Rs. 50,000. Please mind the size of the room too. A basic model can deliver a full blast experience for a small room with sound analysis well taken care of.

Whether it is a projector-based system or television, all electronic devices will switch on, the lights will dim, curtains close and air conditioning set creating the perfect atmospherics. All high-definition movie databases open automatically in an app. Choose the movie and the system will wirelessly stream the content onto the television and control the movie from the app itself. After the movie, press “leaving room” and all the equipment will function as programmed. With a home theatre experience of this magnitude, a visit to the nearby theatre will surely be old-fashioned.

Bipassana International’s Experience Center offers trials to experience the system first hand.

Views

Snapper Photo is renowned as the place to be for your entire photo, digital imaging needs in Kathmandu, Nepal for over twenty-five years.

Our overriding goal is to make you, our customer, feel comfortable and satisfied with your experience here. Our commitment to sales quality and customer satisfaction is second to none. The entire premise of our store is based upon your ability to come in, touch, feel, experiment, ask, and discuss your needs without sales pressure. At Snapper, we have strong feelings about our customers and, to that end, our sales and support teams are dedicated to making your experience with us a pleasant and lasting one.

7th Floor, Kesha Plaza, New Road, Kathmandu, Nepal, Phone: +977 1 01-4224645, email: contact@snapperphoto.com march 2014 / 79

store watch

Rigid and Flexible Surface Printing

at Foto Hollywood

by Pranita Rana

FOTO Hollywood has recently launched a service solution, based on the award-winning Versa UV Technology with the Versa UV hybrid LEJ-640. A one-of-its-kind printing machine was introduced, for the first time in Nepal on June 21, 2013. The service was provided by Foto Hollywood in Classic Complex, Kathmandu and is a fully automated state-of-the-art printer which offers possibilities for business expansion via the service availability of 3D printing on rigid and flexible surfaces with the new model,Roland LEJ 640.

The Versa UV hybrid LEJ - 640 prints CMYK plus white and clear inks on both roll media and rigid substance up to 13 millimeters thick (0.51 inches). With the LEJ - 640, you can print white on a variety of clear media for text and graphics which stand out well.

Layers of clean- in create custom patterns and an embossing effect are perfect for premium brands. At 64 incheswide, the LEJ - 640 allows you to explore a wide range of applications from a single device - from packaging prototypes and POP to wideformat signage and windows display. Additionally, it reproduces smooth gradations in highlights and shadows. A fully-automated,

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built-in sensor determines the proper print head height for each printing job. This feature prevents head strikes and ensures that reliable, high quality printing is enhanced by the Roland Intelligent Pass Control Technology which delivers smooth gradations and flawless solid fills with virtually no banding in every print mode.

It is integrated in an all- in-one device and the Versa UV prints your design perfectly with finishing graphics that have rich special effects created by a 3-dimensional layer of clear coat ink.

Seventy two ready-to-use textures from Roland Texture System Library are available thereby adding luxury and distinction to your prototypes and comps. Choose any combination of matte and gloss finishes and layer them for interesting pattern use. For example, you can add a glass finish to cosmetic pop displays to create a luxurious luster. You can choose from a wide variety of board stock for an outstanding result; you can also create realistic packaging prototypes using corrugated cardboards and other rigid materials. It is suitable for both small and large businesses and is specifically in demand from interior designers and architects as well as keen individuals from any businesses.

store watch

Electric Light Solution

Electric Light Solution in Putalisadak was established in 2007 - starting initially with Massive lighting products from Belgium, it has earned a worthy reputation in Nepal’s Electro products market by introducing authentic European brands. Electric Light Solution is a key distributer of European Electro goods and services in the Electrical and Digital Building industries. Furthermore, the company expanded into brands such as Legrand and products that specifically focus smart functions such as Myrius, Myline, Eglo, Mark Slujd Arteor, DPX, Miniature Currents Circuit Breaker (MCCBS). Smart functions such as computerized products, screw less fitting, shrouded terminals, childproof sockets and Linc-lock deliver high value usability.

Electric Light Solution has provided advanced quality Electro goods and services to organizations such as the Dwarika Hotel, Barahi Hotel in Chitwan, the UNICEF, the Modern Indian School, KIST Bank and Grand Bank, to name a few.

Recent and innovative development trends in electro-technology are seen as significant growth opportunities within the business sector in Nepal - Electric Light Solution is committed to providing market solutions in this sphere. Electric Light Solution store range of Philips & Eglo Austria functional ceiling and wall lights are not only bright but are also cost effective and energy efficient, with these electric goods you have an advantage of beautiful aesthetics with cost reduction. The superior quality materials of Philips and Eglo Austria functional ceiling and wall lights are resistant to

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yellowing and hence these products last longer. The company is optimistic that riding the wave of innovative developments in the international marketplace can contribute to an ‘open market’ dynamic in Nepal.

open spaces

‘Open Space’ is a newly-dedicated column on Spaces Magazine where the School of Creative Communications (SCC) will aspire to showcase photographs on art and culture in Nepal. SCC is located at Kupondol, Lalitpur, Nepal. www.scc.org.np http://www.facebook.com/scc.kathmandu

The photograph was taken at Dugana Gadhi, Tatopani in Nepal during a traditional marriage ceremony procession, the Janti. The bridge is called Changol Khola ko Pul and connects five villages in Tatopani, Sindhupalchowk District.

About the photographer Dawa is a professional traveler - he has been involved in the travel industry since a decade. He graduated in Photography from the School of Creative Communications and engages in opportunities to explore the amazing aspects of nature through his view finder.

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Views

r e . c r e ate

Your Story. Your Moment. Your Life. www.fotohollywood.com.np

stunning vibrant prints that endure the test of time

Nepal’s largest digital photo & 3D Printing on any rigid and flexible surfaces 1st Floor, Classic Complex, Kamaladi, Kathmandu - Nepal Tel: +977 1 2004774 | Email: info@fotohollywood.com.np www.fotohollywood.com.np

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connects 02 JK White Cement 14 Kuleshwor, Naya Basti, Kathmandu Ph: 977-9851050650 prashant.chaturvedi@jkcement.com www.jkcement.com

21 Imperial Developers Pvt. Ltd. Sanepa, Lalitpur Ph: 977-1-5544564 info@imperialcourt.com.np www.imperialcourt.com.np

03 Everest Bathware Tinkune, Airport Road Ph: 977-1-4480680 padam@everestnp.com

22 Nepal Ekarat Engineering Co. Pvt. Ltd Jaycess Marg, Thapathali Ph: 977-1-4243436 info@neek-transformer.com www.neek-transformer.com

04 Beko Putalisadak, Kathmandu Toll Free No: 1660 01 12345 4422190 www.beko.com.np 05 Annapurna Electricals / Annapurna Impex Kathmandu, Nepal Ph: 977-1-4247968 ae4nepal@gmail.com www.rathigroup.net 07 Deluxe Trading Company Putalisadak, Kamaladi, Kathmandu Ph: 977-1-4245317 deluxe@mail.com.np 08 Triveni Byapar Co. Pvt. Ltd Triveni Complex, Ramshah Path Ph: 977-1-4261456 triveni@mos.com.np 09 Electric Light Solution Kamaladi Chowk, Kathmandu Ph: 977-1-4430056 binayshah76@yahoo.com www.massivelight.com.np 11 Parth International Babarmahal, Kathmandu Ph: 977-1- 4245432 info@parthinternational.org www.parthinternational.org 13 Technical Associates Services Pvt. Ltd. Thapathali, Kathmandu Ph: 977-1-4219999 ta@ta.com.np www.tas.com.np 14 Starnet Enterprises Pvt. Ltd. Sinamangal, Kathmandu Ph: 977-1-4416175 info@starnetenterprises.com www.starnetenterprises.com 17 Index Furniture Metro Park Building, 1st Floor, Lazimpat Ph: 4415181 info@indexfurniture.com.np www.indexfurniture.com.np 19 Bombay dyeing thanvi & Sons Share Market Complex, Putali Sadakl Ph:977-1-4242046 thanviandsons@gmail.com www.sevgroup.com.np

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25 Federation of Electrical Entrepreneurs Nepal Bhotebahal, Kathmandu Ph: 977-1-4248835 info.feen@gmail.com www.feen.org.np 26 The Ghangri Café Pulchwok, Lalitpur (Inside Hardic Fitness Center) Ph: 977-1-5528703 ghangricafe@hotmail.com 27 Yogesh Trade Link Bhotebahal, Kathmandu Ph: 977-1-4243804 mkrathi2006@yahoo.co.in 31 Premier Wires Pvt. Ltd. Panchayan Marga, Thapathali Ph: 977-1-4229922 info@shardagroup.com www.shardagroup.com 32 SEV Enterprises Pvt. Ltd. Gwarko, L.P. Nepal Ph:977-1-5201089 / 2122030 sanjayasev@hotmail.com www.sevgroup.com.np 33 Balterio - Navin Distributors Pvt. Ltd. 1st Floor, A.T. Complex New Plaza, Kathmandu Ph: 977-1-4430785 balterio@navindistributors.com www.balterio.com 39 Bira Furniture Patan Industrial Estate, Lalitpur Ph: 977-1-5522253 contact@birafurniture.com.np www.birafurniture.com.np 40 Akash Light Tahagalli, Sundhara Ph: 977-1-4262438 akashlites66@gmail.com 41 Atc Pvt. Ltd. 336/21, Ganesh Man Sing Path-2 Teku Road Ph: 977-1-4262220 info@atc.com.np 41 Rajesh Sanitary Ware Tripureshwor, Kathmandu Ph: 977-1-4260714 rajeshsanitary@gmail.com

49 Yeti Airlines Tilganga, Kathmandu Ph: 977-1- 4464878 reservations@yetiairlines.com www.yetiairlines.com 50 R.K. Light Centre Jay Maa Plaza, 1st Floor, Sundhara Ph: 977-1-4226823 rklight@enet.com.np 51 Kitchen Concepts Pvt. Ltd. Teku Road (Near to Bakery Café) Ph: 977-1-4221858 nepalkitchen@wlink.com.np 58 P.S.S. Renewal Energy Nepal Pvt. Ltd Sano Bharyang, Ringroad, Kathmandu Ph: 977-1-4272877 info@energy-pss.com 59 MD Furniture Maharajgunj (Nabil Bank Building) Ph: 977-1-4721484 mdfurniture@snet.com.np www.mdfurniturenepal.com 59 Skylight Pvt. Ltd. Naxal (Opp to Police HQ), Kathmandu Ph: 977-1-4423851 info@skylight.com.np www.skylight.com.np 60 Vishal Plastocab Industries Pvt. Ltd. Balkumari, Lalitpur Ph: 977-1-5100374 vivek@tater-group.com www.tater-group.com 60 Machinery & Electric Complex Tahagalli, Sundhara, Kathmandu Ph: 977-1-4242435 mecktm@mos.com.np 61 Relative Advetising and Marketing Pvt. Ltd. Bijuli Bazar Bhawan, Baghdurbar, Kathmandu Ph: 977-1-4239836 relativead@ntc.net.np 65 Pashupati Paints Pvt. Ltd. Maitighar, Kathmandu Ph: 977-1-4258209 pashupati@paints.wlink.com.np 66 Pioneer Electrocables Pvt. Ltd. MLK Building, Kupondole MLK Building, Kupondole Ph: 977-1-5544771 electric.cable@yahoo.com www.sardaonline.com 66 Mega Electric Cable & Wire Industries Pvt. Ltd. Nepalgunj, Banke Ph: 977-9848112727 megaindsutries@yahoo.com

67 Krishna Chemicals & Paints Industries Pvt. Ltd. 315/17, Ganeshman Singh Path 3, Tripureshwor Ph: 977-1-4267969, 4258375 office@kcpi.com.np 70 Worldlink Communication Pvt. Ltd. Jawalakhel, Lalitpur Ph: 977-1-5523050 sales@wlink.com.np www.worldlink.com.np 71 ICT Association of Nepal Computer Bazaar, Putalisadak Ph: 977-1-4419290 ictnepal@live.com www.ict.org.np 74 Nepal Republic Media Pvt. Ltd. JDA Complex, Bagh Durbar Ph: 977-1-4265100,4261808 circulation@nagariknews.com 77 Buddha Air Jawalakhel, Lalitpur Ph: 977-1-5542494 www.buddhaair.com 79 New Snapper Photo New Road, Kathmandu Ph: 977-1-4224645 newsnapper@hotmail.com 81 Ashesh & Nekhvam Jyatha Margh, Kathmandu Ph: 977-9841222896 asheshd@hotmail.com www.nekhvam.com 83 Eco Green Multipurpose Pvt. Ltd. Adwait Marg, Baghbazar, Kathmandu Ph: 977-1-4244831 nepalecogreen@gmail.com www.nepalecogreen.com 85 Foto Hollywood Civil Bank Building, Kamladi Ph: 977-1-4169060 www.fotohollywood.com.np 87 Marvel Technoplast Pvt. Ltd. Heritage Plaza - II, 2nd Floor, Kamladi Ph: 977-1-4169122 info@marvel.com.np www.marvel.com.np 88 Berger Jenson & Nicholson (Nepal) Pvt. Ltd. Berger House - 492, Tinkune, Kathmandu Ph: 977-1-4466038 info@bergernepal.com www.bergernepal.com E-mail: info@bergernepal.com

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