Vol 11 No. 06
A R T
A R C H I T E C T U R E
I N T E R I O R
June 2015
Conserving
artistry And architecture the lost
sculptures of Kathmandu
Building homes out of
Price: NRs.100/- IRs.100/- USD 5.95 EURO 5.95 GBP 4.95
old bottles
www.spacesnepal.com
Rebuilding RECONSTRUCTING
Designing
an open-plan office
Bamboo
housing in Nepal Importance and Opportunities
A distinctive voice in
Nepali art
Contents Volume 11 NO. 06 | MAY
S P A C E S N E P A L . C O M
30 CONSTRUCTION
Bamboo housing in Nepal, importance
37
ARCHITECTURE
42
Conserving artistry and architecture
Rebuilding, reconstructing
Architect Drishti Manandhar visits Yathka Baha, a fascinating, historical bahal in Kathmandu. Bahals have traditionally played an important role in maintaining the norms of Newari society and lifestyle in the Valley. Originally a Guthi Ghar of the Tamrakar family, Yathka Baha now hosts their Guthi temple on the ground floor and an office space on the first floor. The exceptional skills that local artisans in medieval Kathmandu possessed is clearly visible in the finest of woodcarvings seen on the Pāsukhā Jhyā that adorn the roof struts of the temple. It is imperative that cultural heritage sites such as Yathka be conserved and maintained especially in the wake of the destruction caused by the April 25 earthquake.
As the rebuilding phase progresses, we all need to remember to remember the earthquake of April 25 and let the experience inform our building and construction choices. This is one decision that the individual home and property owner can make to ensure that when the next big quake hits (and it certainly will), their homes and buildings are able to ensure the safety of occupants if not come out of the earthquake unscathed and undamaged. At SPACES, we have always believed in disseminating such information and reminding our readers of the necessity of being prepared. We look at a few articles that appeared in the magazine the past year in the hopes that the valuable information presented in them will help us all deal with the aftermath. As we rebuild and reconstruct, we must all remember to put safety first, and use the knowledge and resources we have at our disposal as judiciously as possible.
and opportunities
Bamboo has emerged as a viable material for building construction post the 7.8 magnitude earthquake that hit Nepal on April 25 destroying hundreds of thousands of homes at the cost of thousands of human lives. As engineer Bijaya Laxmi Rai points out, Bamboo works because chances of failure for houses constructed using this material during earthquakes are minimal given that it acts as a shock absorber. Additionally, even if the structures fail, there is a very good chance that human lives are less endangered as bamboo is a lightweight material.
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60
The lost sculptures of Kathmandu
The “Remembering the Lost Sculptures of Kathmandu” research project and exhibition ART was displayed at the Nepal Art Council in April. Ashish Dhakal-Upadhyay talked to the artist, Joy Lynn Davis about her project experience, which included five years of rigorous research and painting. Davis started her independent project to bring to light the issue of Nepal’s stolen and lost sculptures, a task that was definitely not an easy one. Davis hopes that the exhibition increased awareness about the stolen sculptures of Nepal, and might also perhaps encourage voluntary return some day.
72
Building homes out of old bottles
Bottle houses can play an important role in helping those who cannot afford or do not want ARCHITECTURE to use more traditional construction materials build liveable, environmentally sustainable homes, especially at a time when hundreds of thousands of houses have been destroyed by the April 25 earthquake and its numerous aftershocks. Suranjan Koirala writes about the bottle house in Khahare, a model house that was constructed in 2010 as an alternative and a possible solution to the many outdated and environmentally unfriendly practices common in building design and construction throughout Nepal.
54 ART
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A distinctive voice in Nepali art
Birendra Pratap Singh’s retrospective at the Nepal Art Council featured a substantive collection of the master artist’s work, spanning a range of styles and moods, and created over the course of over forty years. Art writer Yam Prasad Sharma examines Singh’s works and calls them studies of the human mind. Sharma talks about the artist’s mastery over multiple mediums and materials—drawing, painting, pen and ink, printmaking and lithograph, among others as he explores the plural meanings of what he calls the artist’s flowing shapes and images.
48
Safety in mixed-use buildings
In Kathmandu, residential buildings often change to restaurants, doctors’ IMPACT clinics, apartments, or educational institutions. Ananta R Baidya, PE talks about how such unmanaged “change in use” creates potential unsafe conditions. Fire resistance capabilities, emergency escape mechanisms and the structural integrity of buildings are all impacted.
70 FROM THE SHELF: The Gods are Leaving the Country 74 PROFILE: Shyam Badan Shrestha 76 ARTSCAPE: Sanjeev Maharjan 78 STORE WATCH: Turnkey Promotions
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editorial Nepal Earthquake 2015 Reflections Sometimes when our World turns upside down – it strangely gives us more energy and strength….to appreciate our Community Spirit, Share Resources and Extend that Helping Hand ! Life at these times is about testing our balance and becoming more human and stronger inside-out. Normalcy has slowly yet certainly returned to Kathmandu two months after the 7.8 magnitude earthquake shook our nation. As we publish the first issue of SPACES since the quake, we make it a point to remind us all not to forget the April 25 earthquake but instead let the experience inform our building and construction choices from this point onwards. Thus, we would like to start on a positive note in the feature “Rebuilding, reconstructing” where we look at articles on a range of topics - from the reusability of concrete to the need for strictly implementing the National Building Code published by SPACES this past year with the intention that the valuable information presented in them will help us all deal with the aftermath. We also look at the possibilities bamboo housing can open up for Nepalis in both rural and urban areas in “Bamboo housing in Nepal, importance and opportunities”. Bamboo has emerged as a viable material for building construction post the April 25 earthquake. “Building homes out of old bottles” examines the roles ‘bottle houses’, homes built using mud and old bottles, can play in helping people who cannot afford to or do not want to use conventional building materials build liveable, sustainable homes. The bottle house building methods comes across as being especially relevant at a time when hundreds of thousands of homes have been destroyed and damaged by the quake. Our regular architectural column features the exquisite Yatkha Baha, a traditional, historically significant bahal in Kathmandu. The article, “Conserving artistry and architecture” not only details the beauty and significance of the Yatkha Baha temple, especially the exceptional woodwork seen on the Pāsukhā Jhyā that adorn the roof struts of the temple, but also calls for more quality conservation efforts to be undertaken in the Valley. In “The lost sculptures of Kathmandu” feature we take a look at artist Joy Lynn Davis’ research project and art exhibition, that brings to light the issue of Nepal’s stolen and lost sculptures. Our regular art column, on the other hand, features a review of a retrospective exhibition of one of Nepal’s most revered master artists. Birendra Pratap Singh’s magnificent paintings and ink drawings are discussed and analysed in “A distinctive voice in Nepali art”. On an ending note – our prayers and heart goes out to all those who have suffered loss by the devastation from the earthquake, yet we see that these hard times have brought tremendous community spirit and an understanding among people to join hands to help each other. We do hope that this would bring in a new era of strength, stability and development for Nepal.
Sarosh Pradhan / Editor in Chief
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Volume 11 NO. 06 | May
CEO Ashesh Rajbansh Editor-in-Chief Sarosh Pradhan feature editor Rachana Chettri Creative Manager Deependra Bajracharya Contributing Art Editor Madan Chitrakar
Kasthamandap Art Studio Junior Editor Sristi Pradhan Contributing Editor President - Society of Nepalese Architects
Photographers Intl. Correspondent Head- Operation & Public Relation Business Development Officer Marketing Officer subs/admin officer Accounts Legal Advisor
Ar. Jinisha Jain (Delhi) Ar. Chetan Raj Shrestha (Sikkim) Barun Roy (Darjeeling Hills) Pradip Ratna Tuladhar Hemant Kumar Shrestha Bansri Panday Anu Rajbansh Debbie Rana Dangol Biken Raithore Pramila Shrestha Sunil Man Baniya Yogendra Bhattarai
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Regd. No 30657/061-62 CDO No. 41 SPACES is published twelve times a year at the address above. All rights are reserved in respect of articles, illustrations, photographs, etc. published in SPACES. The contents of this publication may not be reproduced in whole or in part in any form without the written consent of the publisher. The opinions expressed by contributors are not necessarily those of the publisher and the publisher cannot accept responsiblility for any errors or omissions. Those submitting manuscripts, photographs, artwork or other materials to SPACES for consideration should not send originals unless specifically requested to do so by SPACES in writing. Unsolicited manuscripts, photographs and other submitted material must be accompanied by a self addressed return envelope, postage prepaid. However, SPACES is not responsible for unsolicited submissions. All editorial inquiries and submissions to SPACES must be addressed to editor@spacesnepal.com or sent to the address mentioned above.
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Contributors Dr Madhav Mangal Joshi
Yam Prasad Sharma
Dr Madhav Mangal Joshi, the Vastu Shiromani, is a Vastu, Feng Sui and Dowsig expert. The chairperson of the Vastui Bibhag at the Nepal Jyotish Parishad, he is also the founder principal of Global Vastu Pratisthan and chairperson of the Nepal Vaastu Sangh. He is associated with numerous projects at home and abroad. He has been conferred the Swami Vivekananda Award as well as an honorary doctorate of Vastui Shastra in recognition of his contributions to astrology and Vastu.
Yam Prasad Sharma (PhD) is a Nepali art historian and contemporary Nepali art critic. He teaches English and Art History at Lalitkala Campus, and is visiting faculty at the Kathmandu University School of Arts where he takes classes on Art Theory and Aesthetics. He has a Doctorate in English, and has been researching Nepali art–specialising in contemporary Nepali painting–for many years now.
Bijaya Laxmi Rai
Ananta R Baidya
Bijaya Laxmi Rai is an engineer by profession. She is an assistant designer and planner (on behalf of the contractor) at the Sanjen (Upper) hydroelectric project. Rai is interested in technical writing (Sustainability; Green Technology; Disaster Risk Management; Women, Children and Societies, among other topics). She is also an amateur researcher (Seismic Vulnerability).
Ananta R Baidya, PE is a licensed California professional engineer currently practising in San Diego. He has taught ‘Engieering Codes’ at the Kathmandu University as part of its visiting faculty.
Drishti Manandhar
Ashish Dhakal-Upadhyay
Drishti Manandhar is an architect, graduate from the Pulchowk Institute of Engineering, currently working at S G Designs. Fascinated by Space - she loves to eat, read, sketch, talk (in radndom order) and write about the acquaintances in her environemnt. An art enthusiast by nature she is fascinated by the ability of words and its power in expression.
Ashish Dhakal-Upadhyay is a student whose interests in literature, poetry and the performance arts inform and enrich his writing. He completed his A-Level from Budhanilkantha School and has been writing and editing since he was in middle school. He has written for the national English daily “Republica” in the past.
Suranjan Koirala
Shristy Chhetri Shristy Chhetri is a graduate in International Relations and Psychology from Wesleyan College, Georgia, USA. She began writing as a blogger and now is a freelance writer for magazines and newspapers. She has always believed that words have the power to express and to change.
Suranjan Koirala is a student of Development Studies and charter member of the Leo Club of Kathmandu. He has worked in fields ranging from marketing and management to computer assistance and data base entry.
COVER PHOTO : Tridevi Design and Builders P. Ltd. © Ashesh Rajbansh
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WINNERS OF
Winners of the JK Cement’s Architect of the Year Awards (AYA), an annual celebration and recognition of excellence in architecture, were announced in Kathmandu on March 14.
ANNOUNCED IN KATHMANDU
In its 24th year, this prestigious award is a much-anticipated event for leading architects from the Indian subcontinent. The jury meeting took place at the Radisson Hotel, Kathmandu, on the evening of March 13. Architects from all parts of India—Anjali B Yagnik (Bangalore), Arijit Choudhury (Guwahati), Bharat Seth (Surat), JatinderSaigal (Faridabad), Jwatbor Singh Cajee (Shillong) and Madhumita Roy (Kolkata)— flew in for the special event here, as did architect Mustapha
THE JURY MEETING FOR THIS YEAR’S JK CEMENT ARCHITECTURE OF THE YEAR AWARDS (AYA) TOOK PLACE IN KATHMANDU WITH AN ESTEEMED EIGHTMEMBER PANEL OF ARCHITECTS—INCLUDING NEPAL’S OWN BIRESH SHAH—DECIDING ON THE WINNING PROJECTS
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Khalid Palash from Bangladesh. Nepal’s own Biresh Shah completed the eight-panel jury of noted architects. Architect B Sudhir from Trivandrum acted as the jury panel’s professional advisor. The announcement of the award winners took place at a gala event at the Hotel Radisson. Sunil Kulkarni from Pune was announced as the winner of the ‘Architect of the Year’ award for the Elantas Beck India Ltd project in Pune. The ‘Green Architecture Award’ similarly went to Madhav Joshi, also from Pune, for the CCCR (Center for Climate Change and Research) office building project at the IITM Campus, Pune.
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The winners were announced at a gala event that took place at Hotel Radisson on the evening of March 13. Pune’s Sunil Kulkarni was announced as the ‘Architect of the Year’
The commendation award for ‘Hill Architecture’ went to Akshat Bhatt from New Delhi for the Hotel Mana project in Ranakpur, Rajasthan. The ‘Private Residence’ commendation award went to Shefali Balwani, Mumbai, for the ‘House on a Stream’ project in Alibaug. Nanda Kumar Birudavolu from Hyderabad was announced as the winner of the ‘Public Building’ commendation award for the Hotel Avasa project in Hyderabad.
Nepal, Seychelles, Sri Lanka, Kenya, Uganda and Tanzania— was won by Palinda Kannangara from Sri Lanka for the Hotel by the Waterfalls project in Ramboda, Sri Lanka. The ‘Focus Countries Commendation Award’, went to Tin Tsin Fong Kee Shui from Mauritius for the Villa and Chalet at La Plantation Margyery project in Tamarin.
Akshat Bhatt from New Delhi was also announced as the winner of this year’s ‘Young Architects Award’, this time for the Discovery Centre project in Bangalore. The ‘State Commendation Award’, on the other hand, went to Partha Ranjan Das from Kolkata for the International Statistical Education Centre project in Kolkata
The esteemed jury panel had reached Kathmandu on March 12 while the AYA secretariat was busy in the Nepali Capital making arrangements for the display of the 153 projects that had entered this year’s event. The jury started work on the morning of March 13, at exactly 9 am. MP Rawal, the administrator of JK AYA, facilitated the process while the panel’s professional advisor B Sudhir acted as a bridge between the jury members and the AYA secretariat.
The ‘Focus Countries Architect of the Year Award’—open to architects from Bangladesh, Bhutan, Maldives, Mauritius,
All eight jury members had been taken to Radisson’s NepaDuku Hall on the evening of March 12 to see the displays of the
projects that had been arranged inside the hall. The same display could be viewed by guests— architects, government officials, town planners and students, among others—on the evening of March 13 when the gala event took place. The organisers were supported by SONA (Society of Nepalese Architects) in preparing invite lists for March 13’s gala event, and distributing them
all over Kathmandu. Students from various architectural colleges in the Capital had also helped put up the displays for public viewing. Details of all 153 projects will now be exhibited in architectural colleges around the country in a bid to get the upcoming generation of architects in Nepal better acquainted with building and design trends in the subcontinent.
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JURY MEMBERS AT THE PATAN MUSEUM’S ARCHITECTURAL GALLERIES
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Indian architects Arijit Choudhury, Madhumita Roy, Jatinder Saigal and B Sudhir viewed the exquisite architecture of the Patan Museum’s newest restored wings and walked through its architectural galleries as Rohit K Ranjitkar, country director of KVPT talked them through details and nuances of traditional Newar architecture SPACES Magazine organised a visit to the Patan Museum’s Architectural Galleries for members of this year’s AYA jury on the morning of March 14. As Nepal’s first and only such exhibition spaces, the Architectural Galleries at Patan Museum showcase some of the finest specimens of wood and stone work to have been reclaimed from Kathmandu’s traditional architectural past. The pillars, struts, tympanums on display at the galleries embody the richness of Nepal’s architectural history and record the style and design changes that took place in indigenous Newar architecture before the influx of more European styles changed the Kathmandu cityscape. As architects Arijit Choudhury (from Guwahati), Madhumita Roy (from Kolkata), Jatinder Saigal (Faridabad) and B Sudhir (from Trivandrum) were taken on a tour of these galleries as well as the adjoining Sundai Chowk, Mul Chowk and Bandarkhal Gardens, they were talked through the details and nuances of traditional Newar architecture by none other than Rohit K Ranjitkar, country director of the Kathmandu Valley Preservation Trust (KVPT). Also joining the group was the SPACES Magazine team including CEO Asesh Rajbansh. The architects commended the attention and detail with which the architectural gallery has been planned and were delighted by the mastery and ingenuity with which the old Newar builders, craftsmen and artisan built the Patan Durbar Square.
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PASHUPATI PAINTS ANNUAL DEALER’S MEET The Pashupati Paints Annual Dealer’s Meet concluded at the Hyatt Regency in Kathmandu on March 14
CUSTOMERS WIN BIG Winners of Pashupati Paints’ “Dashain tihar Khusi Ko Bahar” scheme were handed their prizes at a programme that took place on March 3 Pashupati Paints officials handed over prizes to the winners of their “Dashain Tihar Khusi Ko Bahar, Pashupati Paints Ma Pakka Upahar”—a scheme offered by the paint company during the festive Dashain-Tihar season last year—at a programme that took place on March 3. The Pashupati Paints Annul Dealer’s Meet for the year 2070-71 concluded in Kathmandu’s Hyatt regency Hotel on March 14, with over 250 dealers from western and central regions of Nepal travelling to the Capital to attend the event. Key personnel from the company presided over the event which aims to enhance relationships between dealers and company shareholders. The event also witnessed the launch of the company’s newest collection of paints under the new Luxuria Style banner. The collection, which features textural paints which create the kind of striking visual impact that can transform plain walls into interesting ones and add vibrancy to any personal space, is the newest addition to the company’s collection of worldclass paints. Luxuria Style paints are also available in a range of textures. As the Dealer’s Meet was held with the main objective of appreciating and acknowledging the work of
dealers as well as their cooperation with the company, the focus of the event was on how such effective and collaborative work has aided the growth of Pashupati Paints as a company. Eleven dealers were upgraded to the company’s prestigious Picasso Club for their outstanding performance Trophies and gifts were also handed out to appreciate the outstanding work done in the past year. Two dealers, one each from the central and western regions, were felicitated as top dealers of the year. They were each presented an iPhone 6 as a token of appreciation. As Nepal’s first paint manufacturing company, Pashupati Paints has been producing world-class paints and pigments and supplying them all over the country for the past 29 years. The company has set a benchmark for the paint industry in Nepal, and as the first company of its kind to receive the Nepal Standard (NS) mark, it has established itself as a prestigious name in the Nepali market.
The bumper prize, a Royal Enfiled bike for one winner, went to Dhruba Khanal. The second prize, one Mahindra Rodeo scooter each for three winners, went to Maheshwor Mahat, Bishwa Nath Poudel and Ram Chandra Paudel. Forty other people won free round trip tickets to Kathmandu as well. In a statement issued on the day, Shailendra Kumar Sitaula, country manager of Pashupati Paints said, “We are always looking for opportunities to spread happiness throughout Nepal”. Customers buying over 30 litres of any of their paint products—Excoat Plus Exterior Emulsion, Luxuria EcoSafe, Luxuria Premium Interior Emulsion and Ex-coat Exterior Emulsion—were eligible to participate in the scheme.
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interact with one another on a professional level but also celebrate their professional acumen. Organisers Asian Paints also promoted their newly launched products amongst the designers and discussed the current scenario of paint-related problems as well as their solutions in Nepal. The interior design industry in Nepal is seen as a fast-growing business and supporting organisers MaxCore predicted that the coming years will see recordbreaking growth in all spheres of the design spectrum. The programme stressed on the need for Nepal’s design community to strive to work and grow together, sharing knowledge and information to paint a bright future for the country’s design industry.
A GATHERING OF DESIGNERS Architects, interior designers and other design professionals from all over Nepal got together at the “Interior Designers’ Meet” organised by Asian Paints on April 15 at Hotel Yak and Yeti More than 120 architects and interior designers as well as other professionals related to the design spheres attended the “Interior Designers’ Meet” organised by Asian Paints on April 15 at the Hotel Yak and Yeti seminar hall.
the country at one venue, was organised by Asian Paints with the assistance of the Interior Designer’s Association of Nepal (IDEA) and The Max Core Corporation, a premium interior and architectural design company.
The event, which focused on uniting interior design professionals from all over
The gathering was not just an opportunity for interior designers and architects to
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interior
Designing
an open-plan office A transparent, interactive workplace interior THE MAIN REQUIREMENT AT THE AVANT VENTURES PVT. LTD. OFFICE WAS THAT OF AN OPEN OFFICE SPACE WHERE EVERY STAFF MEMBER COULD HAVE A DECENT WORKING SPACE WITH ADEQUATE NATURAL LIGHT TEXT: Tejita Vaidya Amatya photos: mohein ranjitkar
The branding of the company is given priority in the interior design of the office space. As soon as a person enters the building and gets into the reception area, s/he can feel the presence and essence of Avant Ventures.
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The only closed rooms are the managing director’s cabin and the video conference room. These rooms too hold glass doors and thus promote transparency
O The design of the building permits maximum intake of natural light and breeze, thus cutting down on artificial lighting and cooling requirements.
ffice spaces have become very important and receive much preference in today’s modern-day living. These spaces are given as much or sometimes even more importance than dwelling spaces these days as a person spends eight or more hours a day, five to six days a week, at their office. An office hence has to be comfortable with all its elements driving the productivity of the staff. Yet, it must also embody the principle and theme of the organisation at the same time. Enhanced ambiences in offices not only push the staff forward but also add face value of the organisation in the market. Providing the best possible working space to employees may seem to be a costly investment, but one cannot overlook the profitable side of enhanced output that is received in return. It has been practically proven that a good workspace is directly proportional to productivity in a given organisation.
The design scheme for the Avant Ventures Pvt. Ltd. office space– spread over an area of 2600 sq. ft.–was entirely conceived by husband-wife duo Kundal and Tejita Amatya and the energetic team at Conception Interior Pvt. Ltd. The design theme was envisioned with the view that the architectural nature of a building should be in harmony with the interior space, as the two are inseparable. The huge building was designed so as to blend in with the surroundings. And the interior design of the office had to do justice to the infrastructure. The design of the building permits maximum intake of natural light and breeze, thus cutting down on artificial lighting and cooling requirements. This quality of the building had to be cashed into the interior space as well. The client’s main requirement was that of an open office space where every staff member could have a decent working space with adequate natural light. After fully understanding the requisites of our MAY 2015 SPACES / 23
major design theme, the aim was to create a design that would be an amalgamation of the outside and the inside.
Low height partitions host horizontal elements that harmonise with the building. The use of elements, colours and materials has been closely monitored to create this atmosphere, promoting openness and encouraging interaction among all.
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As any designing task takes off with the planning stage, furniture layout was duly planned to fulfil all the requirements. Space was allocated for the reception, waiting area, working cubicles, meeting/ discussion spaces, video conference room, rest rooms, coffee corner, server and store room. The flow of the space has been designed to lead from a public to a private area. That is, the reception and waiting area welcomes all at the entrance itself. Outside visitors are received with courtesy, and there is the provision of comfortable waiting sofas. Apart from space planning, the branding of the company is also given
priority in the interior design of this office. Thus, from the very first, i.e. as soon as a person enters the building and gets into the reception area, s/he can feel the presence and essence of the company. The large reception counter with horizontal structures has two levels, one to greet guests and another to maintain privacy for official work. The white, saintly backdrop divinely holds the company name and logo thus dominating its existence. The reception area is well equipped with necessary office amenities like a copier and printer, among other things. The large windows on the east bring in the inspiring morning sun and ample amount of natural light. The bamboo hung from ceiling provides a space to hide the rope light, creating a soft glow for the
of the reception area. Clean, separate male female restrooms have been incorporated for additional benefits. As one enters through the accesscontrolled doors, a refreshing aroma of coffee greets one, rejuvenating the mind. The coffee area hosts a small ledged table supported from the wall from to sip one’s drink. The preparation counter holds a coffee maker along with a sink for water access, and open- and closedstorage, perfect for a functional pantry. As the pantry area is a bit further from the windows, lights have been fixed onto wooden planks hung from the ceiling. This is a small informal chill-out place to loosen up among colleagues. Immediately thereafter are located small meeting rooms that accommodate four to six people. A low wooden partitioned space serves as the boundary as does all glass partition between the two meeting spaces. This space is hence semi-opened and thus calls for a little etiquette; occupants will need to lower their voices while putting their thoughts forward. As there are surrounding working offices, this space has been designed so as to promote the openspace concept.
evenings. The view of the rest of the office is uninterrupted from the large accesscontrolled glass door towards the rest of the office. A straight eye-level view is obstructed by the use of frosted stickers on glass to maintain some privacy. The bare RCC ceiling, mustard coloured beams and pillars, white walls and natural wooden finish are all brought together by the use of coloured paper lamps hung from the ceiling; the colour of the paper lamps being the same colour as the brand colour of the company. Restrooms are towards the west
Working spaces are planned within the existing pillar grids of the building. Each grid houses a team with a supervisor. Each staff member is provided a comfortable worktop especially designed for using laptops, a low-height partition to help focus on the task at hand, and adequate closedand open-storage spaces. Every worktop gets a fair share of natural light, but at the same time has been planned so as to be a glare-free space. The supervisor sits among the team and gets a mildly larger area over which to spread work. Again, an open workspace for the team leader allows mingling, motivating the group but not bullying them. A discussion table is placed in the centre of each team area to encourage group planning. The only closed rooms are the managing director’s cabin and the video conference room. These rooms too hold glass doors MAY 2015 SPACES / 25
and thus promote transparency. The conference room has a large meeting table facing an audio-visual presentation wall. This is a well equipped space with all necessary gadgets. A fairly good-sized display unit holds artefacts the company wishes to show off. The large north window is kept undisturbed for flow of natural light, while in case of digital presentations, black out blinds are used for. The high partition and the door attempt to cut down the spread of noise into the office area during presentations. The coffee area hosts a small ledged table supported from the wall from to sip one’s drink. The preparation counter holds a coffee maker along with a sink for water access, and open- and closed storage,perfect for a functional pantry.
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The managing director’s chamber is towards the south, receiving southern sunlight. This space is furnished with a large working table facing the rest of the office, and a few storage cabinets and a wall-hung shelf to holds a few books. The glass door and glass partition allow this
space to remain intact with the rest of the space. An attached rest room is an added boon for this area. Again, the rest room has been completed with natural stone and white fixtures, maintaining the sense of tranquillity perceptible throughout the office. A comfortable space for the server and a record room remain undisturbed but are easy accessible if required. The building windows are enhanced with horizontal louvers to access adequate amounts of natural light. All the windows are used as essential parts of the interiors, thus the incorporation of blinds or screens have been avoided. Again, the low height partition hosts horizontal elements that harmonise with the building. The use of elements, colours and materials has been closely monitored to create this atmosphere, promoting openness and encouraging interaction among all.
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Harnessing energies SINCE ENERGIES FLOW IN FROM THE NORTH EAST TO THE SOUTH WEST OF A HOUSE, THE NORTH AND EAST SIDES MUST BE KEPT OPEN TO ENSURE THAT A HOME HAS AN ABUNDANT CIRCULATION OF POSITIVE ENERGIES
TEXT: MADHAV MANGAL JOSHI
Similarly, toilets are never built at the NE corner. Because energy flows from the NE to the SW, it will first flow through the toilet if one is built in the NE corner of the house. And a toilet isn’t the most positive of rooms in a house. This will result in the flow of negative energies throughout the home. Since energies flow in from the NW to the SW, the North and East sides must be kept open to ensure that a home has an abundant circulation of positive energies. Now let’s talk about room arrangements. There are basically three types of energies continuously flowing on our planet Earth. They can be listed as follows: 1. Life force energy: This energy flows from East to West. This energy directly affects the health of humans living on Earth. 2. Geo-magnetic energy: This energy flows from North to South. This energy directly affects the mind. In fact, this also directly affects the iron content in our body (called bio-magnetic energy). 3. Gravitational force When the aforementioned energies enter any home, they flow from North to South and East to West, as you might have figured out yourself. And when they enter, they meet and result in a resultant force (energy) that flows from North East (NW) to South
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West (SW). This resultant energy is called Bio-electromagnetic energy. Perhaps you are wondering what the significance of this resultant energy might be when there already are three different energies affecting the human mind and body. Well, in Vastu, the rooms in our homes, for instance: the bedrooms, the puja room, the kitchen, the toilets, et cetera; are all arranged based on the flow of this bioelectromagnetic energy. That is why one must know about this energy and its impact before one builds a home. Normally, the main entrance to a home isn’t placed at the SW corner. This is because the energy that flows from the NE to SW will escape through any gate built in the SW corner.
A. The Puja Room If a puja room can be built in the NE, the energies will first get into that room and then proceed to the rest of the house. During this process, the positive vibes from the room also move to other rooms of the house. In case a puja room cannot be built in the NE corner, it can also be built towards the East. If even that is not possible, then the North is also a proper direction. The room must not, however, be built in the SW corner of a house. If that is done, the person worshipping becomes more relaxed and their concentration diverts from the puja.
According to the tenets of Vastu, the master bedroom of a house is normally built in the SW corner. This is done because when energy flows in, it rests first at the SW corner, and when it overflows in there, it spreads to other parts of the house
B. Master Bedroom According to the tenets of Vastu, the master bedroom of a house is normally built in the SW corner. This is done because when energy flows in, it rests first at the SW corner, and when it overflows in there, it spreads to other parts of the house. This ensures that the person living in that room gets the most of the energy. This will also make sure that the person in the room gets more power in the house. For similar reasons, children’s bedrooms should not be built in the SW. This will make them more stubborn and arrogant.
C. Kitchen The best positions for a kitchen are South East (SE), North West (NW), South and East. While cooking, the cook must face East so that s/he gains the energy flowing in from the NE. If East is not feasible, the cook can also face the West. However, one mustn’t face the North or the South because it results in negative vibes. In fact, the South is normally faced while conducting inauspicious actions. For example, while we are cooking for the dead, we face South.
MAY 2015 SPACES / 29
construction
Bamboo
housing in Nepal Importance and Opportunities
TEXT: Bijaya Laxmi Rai
BAMBOO HAS EMERGED AS A VIABLE MATERIAL FOR BUILDING CONSTRUCTION POST THE 7.8 MAGNITUDE EARTHQUAKE THAT HIT NEPAL ON APRIL 25 DESTROYING HUNDREDS OF THOUSANDS OF HOMES AT THE COST OF THOUSANDS OF HUMAN LIVES. BAMBOO WORKS BECAUSE CHANCES OF FAILURE FOR HOUSES CONSTRUCTED USING THIS MATERIAL DURING EARTHQUAKES ARE MINIMAL GIVEN THAT IT ACTS AS A SHOCK ABSORBER. ADDITIONALLY, EVEN IF THE STRUCTURES FAIL, THERE IS A VERY GOOD CHANCE THAT HUMAN LIVES ARE LESS ENDANGERED AS BAMBOO IS A LIGHTWEIGHT MATERIAL 30 / SPACES MAY 2015
B
amboo grows in tropical and temperate climates in different soil types, even poor quality soil. There is much unproductive land, unsuitable for use as conventional crop and pasture lands that is available in Nepal for bamboo farming. Research has shown that 81 species (5.2% of the world bamboo species) belonging to 23 genera (24% of the world genera) are found in Nepal. It has also been noted that both tropical bamboo, found in Southeast Asia and temperate bamboo, found in Bhutan and Tibet, are found in Nepal. Studies have also shown that the Eastern Terai belt alone produces more than half of Nepal’s total bamboo production due to the region’s humid climate. Many of houses in Siraha, Saptari, Sunsari, Morang and Jhapa are constructed from bamboo and remain standing more than thirty years since they were built. Bamboo grows at altitudes ranging from 1000m–3500m in the country.
Properties
Spruce
Bamboo
Elasticity Modulus
1100 KN/cm
2000 KN/cm
Compressive Strength
4.3 KN/cm2
6.2-9.3KN/cm2
Tensile Strength
2
8.9 KN/cm
14.8-38.4KN/cm
16 KN/cm2
Bending Strength
6.8 KN/cm2
7.6-27.6 KN/cm2
14 KN/cm2
Shearing Strength
0.7 KN/cm
2.0 KN/cm
9.2 KN/cm2
2
2
Steel St37 2100 KN/cm2
2
14 KN/cm2 2
2
(Source: DB, Deutsche Bauzeitung 9/97)
From an engineering standpoint The bamboo plant constitutes an accumulation of lignified vascular bundles on its exterior, which provides maximum tensile strength, modulus of elasticity, flexibility, shearing and strength. In addition, due to the presence of an outer silicate coat, one can boil water inside bamboo sections as the plant can withstand temperatures of up to 4000C without burning. Some research has even suggested that bamboo has tensile strength of up to 40KN/cm2. To put this in perspective, we can note that extremely strong wood has tensile strength of up to 5 KN/cm2 whereas the tensile strength of steel is up to 37 KN/cm2. Due to its extreme flexibility, bamboo is used in the construction of many curved structures and archways. Structures ranging from luxurious condominiums to simple suspension bridges can be constructed from bamboo. MAY 2015 SPACES / 31
In disaster risk reduction The 2010 Haiti earthquake, which measured 7 on the Richter scale, led to the collapse of 280,000 buildings and killed 316,000 people. However, even though a more powerful earthquake occurred in Chile a month after the Haiti disaster, the quake caused the deaths of less than 600 people as the structures that dominated the area were lightweight buildings. INBAR (International Network of Bamboo and Rattan) has further stated that in CostaRica, all houses that stood at the epicentre of a 7.6 Richter scale earthquake survived without any damage in 2012. The 7.8 magnitude earthquake that struck Nepal on April 25 killed over 8600 people and led to the damage and destruction of hundreds of thousands of buildings. The earthquake and the aftershocks that followed (particularly the strong shocks that were felt on May 12) brought the importance of proper construction techniques and materials to everybody’s focus. The importance of using lightweight materials like bamboo in building construction cannot be denied in an earthquake-prone country like Nepal. Bamboo has emerged as one of the most viable material for building construction
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in the country. Chances of failure for bamboo houses are minimal as the material itself acts as a shock absorber during the strong shaking caused by earthquakes. Additionally, even if the structures fail, there is a very good chance that human lives are less endangered as bamboo is a lightweight material. The bamboo plant, which can be found in relative abundance in Nepal, is also well suited to hold the soil it grows in. The plant has an interlocking root system that holds soil firmly, even on steep slopes. The roots also hold on to the saturated topsoil of riverbanks. Many people in Nepal still live by riverbanks (as in the case of the Bagmati River in the Capital) as well as vulnerable steep slopes. The bamboo plant itself can also be extremely effective in soil conservation and has the potential to minimise losses caused by landslides and floods. In Bangladesh for example, 73% of the country’s population live in bamboo houses. Bangladesh is a poor country that has high population growth rate and has to cope with many natural disasters, seasonal floods chief among them.
The truth is that bamboos may be difficult to incorporate into construction trends initially, but if we think of the rudimentary stage of steel and cement, we realise that the former is merely a lump of iron ore while the latter is sand block.
Roofs, walls, trusses, doors, windows and scaffolding can all be easily and efficiently constructed from bamboo treated with boric acid and formaldehyde. The material provides maximum tensile strength, modulus of elasticity, flexibility, shearing and strength
The environmental factor In the carbon sequestering debate, there are competing claims as to whether bamboo or wood sequesters more carbon. If we look at the speedy growth rate of bamboo, we can note that it can indeed absorb more amounts of carbon than wood can. But if bamboo is used for short-lived objects, it will regenerate more carbon in short periods than wood will. However, as we are concerned with bamboo housing, which usually lasts for 30-40 years if constructed with proper treatment, bamboo is far better at carbon sequestering than wood is in this particular regard.
Also, bamboo is equally effective in consuming poisonous nitrogen. As per INBAR, it has been calculated that in Costa-Rica 70 hectares of bamboo plantation are sufficient to build 1000 bamboo houses per year. If these houses were built with timber, 600 hectares of natural forest would be destroyed each year. Also, processing of bamboo requires only 1/8th of the energy that would be required by concrete and 1/3rd of that required by wood to build a structure of the same capacity.
MAY 2015 SPACES / 33
doors. A small framed opening on a structure’s upper wall level can act as window as well. • Scaffolding: The bamboo poles are lashed together with horizontal canes using soft lashing. The weight acts vertically on the canes. In Nepal, 70-80% of bamboo sales from local depots are for use in scaffolding. Internationally, though the use of scaffolding for high rise building is restricted in China, it is still in practice in Tokyo and Hong- Kong.
The economic benefits As bamboo is widely distributed throughout Nepal, it can be made easily available at cheaper rates here. Also, its extensive use eliminates transportation cost as well as the use of heavy cranes and machineries during construction. In Bhutan, houses were built by INBAR using approximately 25.5m3 of bamboo, less than an equivalent timber-framed home and at nearly half the cost at US $ 140/m2.The urbanisation rate of Nepal is 3.7% per year (highest among all SAARC nations). This means that there is high demand of construction materials (such as cement and steel bars) here leading to obvious surge in material costs. Social factors Usually, vulnerable communities—women and marginalised groups—depend on bamboo use for survival. If training and technology are enhanced, then bamboo can be used to uplift these groups. In real construction In real construction, bamboo is initially treated with boric acid and phenol formaldehyde to prevent decay and insect attack, as well as to preserve the material and enable it to stand for a very long duration. Paint and distemper are applied as needed afterwards. • Roof: a) The simplest form of a roof consists of purlins and beams supported on perimeter posts. The halved culms are 34 / SPACES MAY 2015
first laid down with the convex parts facing upward. Then, other halved culms are laid, covering the joints between previously laid convex culms. This technique lends solid connection as well as appearance. b) To construct corrugated sheets, bamboo mats are dipped in resin, dried and heated under pressure and pressed to be made flat. These are joined together to make a bamboo sheet. Through several technologies, matbased composites have been developed from bamboo, like the bamboo mat board (BMB), bamboo mat veneer composites (BMVC) and bamboo mat corrugated sheets (BMCS). • Wall: Whole or halved stems or even strips of bamboo are nailed with each other to make a bamboo mat. This mat is then nailed to a bamboo post, acting as a bamboo frame or post. Cement or lime or mud plaster can be then added for better hygiene and appearance. • Truss: Bamboo has strength comparable to that of teak and Sal. Since bamboo has desirable tensile and compressive strength, it can be used for making trusses. • Door and Window: Bamboo mat shutters hinged to bamboo frames or panel boards which are further fixed to frames or walls, can act as bamboo
The silver lining Today, there are a number of exemplary bamboo constructions seen in Nepal. Nepali NGOs, RES Nepal with GEF/SGP and INBAR, have built prefabricated bamboo houses in western Terai, Kanchanpur for former “Kammaiyas” or bonded labourers. ABARI, Nepal, is building a bamboo ABARI learning centre in Dhulikhel to teach and demonstrate techniques in bamboo construction practices. Habitat for Humanity (Habitat Nepal), has announced that it will launch 100000 houses (most made of bamboo) by 2016. The Government of Nepal is also building 50,000 such classrooms all over the country. RES Nepal trains and mobilises society regarding bamboo construction. The truth is that bamboos—which are found in different shapes, sizes, strength, colours and textures— may be difficult to incorporate into construction trends initially, but if we think of the rudimentary stages of steel and cement, we realise that the former is merely a lump of iron ore while the latter is sand block. It is the advancements in technology that heal the many discrepancies that originally exist in these materials over time. Also, bamboo can be manufactured as wood using the modular system. Moreover, international bamboo codes are already available for bamboo construction.
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Architecture
36 / SPACES MAY 2015
artistry architecture TEXT: Drishti Manandhar photos: A. rajbansh
YATHKA IS A HISTORICAL, FASCINATING PLACE. ORIGINALLY A GUTHI GHAR OF THE TAMRAKAR FAMILY, YATHKA BAHA NOW HOSTS THEIR GUTHI TEMPLE ON THE GROUND FLOOR AND AN OFFICE SPACE ON THE FIRST FLOOR. THE EXCEPTIONAL SKILLS THAT LOCAL ARTISANS IN MEDIEVAL KATHMANDU POSSESSED IS CLEARLY VISIBLE IN THE FINEST OF WOODCARVINGS SEEN ON THE PĀSUKHĀ JHYĀ THAT ADORN THE ROOF STRUTS OF THE TEMPLE
H
idden off the main road just north of the Kathmandu Durbar Square is a place that speaks volumes about traditional Nepali architecture. Yathka Baha is an area noted for its architectural significance. While the main courtyard is surrounded by residential houses today, a large Stupa reminiscent of the Swayambhunath still stands in its centre, and the main shrine building here features a wooden Toran (tympanum) with an unusual depiction of seven Buddhas—believed to date back to the 12th century—carved onto it. The wooden struts used in the building, moreover, are believed to be from at least the 14th century. Yathka Baha is, in essence, a representative of Kathmandu’s architectural history and glory.
the norms of Newari society and lifestyle. Such courtyards are generally constructed by a family, and their descendants reside in them for generations. A Bahal is hence not just a unit of residence but also a unit of kinship. Originally a Guthi Ghar of the Tamrakar family, Yathka Baha now hosts their Guthi temple on the ground floor and an office space on the first floor.
The main building was renovated in 2002 by the Kathmandu Valley Preservation Trust (KVPT) under the supervision of Tej Ratna Tamrakar, one of the proprietors of Yathka Baha. It was through Tamrakar’s efforts that a Japanese company funded the project, although the conservation effort was certainly not easy to carry through. As is often the case, The exceptional skills that local internal politics and government artisans in medieval Kathmandu ignorance with regards to the possessed is clearly visible preservation of these national in the finest of woodcarvings heritage sites proved a major seen on the Pāsukhā Jhyā setback to preservation. It was that adorn the roof struts of only when the building was set the temple. The Pāsukhā Jhyā to be demolished and rebuilt as is a small window with five a concrete structure that seven units symbolising the Pancha of the Tamrakar Guthi members Buddhas. The struts are invested in it to become private carved in the form of Yakshas owners and sole proprietors (attendant deities or nymphs), of Yathka Bahal. Most of the one of them gracefully balancing building’s structural elements a baby on her hip. Similarly the were replaced during the Yathka is a historical, Toran is one-of-a-kind with renovation project with elements fascinating place. In Kathmandu, intricate detailing and exquisite such as the windows, struts and Bahals have traditionally played design. doors being restored. an important role in maintaining MAY 2015 SPACES / 37
38 / SPACES MAY 2015
The cultural heritage of a nation and the management of the same are a shared responsibility—the government, local proponents and members of local communities are all accountable. The destruction of some of Kathmandu’s oldest and most beautiful temples and monuments as a result of the April 25 earthquake make it all the more imperative that emphasis is put on quality conservation work
The struts belonging to the central temple have been carved in the form of Yakshas (attendant deities or nymphs). The Toran is one-of-a-kind with intricate detailing and exquisite design. MAY 2015 SPACES / 39
The main building was renovated in 2002 by the Kathmandu Valley preservation Trust (KPT) under the supervision of Tej Ratna Tamrakar, one of the proprietors of Yathka Baha.
Yathka Bahal continues to face many difficulties in spite of the brilliant restoration work, however. A lack of enforcement of rules and regulations means that concrete buildings continue to grow haphazardly within the courtyard complex. Furthermore, a generator has been installed near the premises, posing a constant threat to the heritage site with its constant emission of vibrations and polluting agents. “We need to take the right steps right away if we are to preserve our identity and stop it from fading away. The quality of material still available here, and the local skills at our disposal are exceptional. The only problem is that we don’t value them,” says Tamrakar. Recent times have seen many conservation projects in the valley. While some of these projects—most notably the work the Kathmandu Valley Preservation Trust has been carrying out in the Patan Durbar Square over the years—have been meticulously thought out and carried through to perfection, others have not been executed with as much
40 / SPACES MAY 2015
forethought and diligence. The destruction of some of Kathmandu’s oldest and most beautiful temples and monuments as a result of the April 25 earthquake certainly make us question the quality and effectiveness of such endeavours. The emphasis now, especially, should be on the quality of conservation work and documentation, which itself is an integral part of conservation. The cultural heritage of a nation and the management of the same are a shared responsibility—the government, local proponents and members of local communities are all accountable. Our heritages shape much of our lives and beliefs, and are integral parts of our identity. It is important to place the issues of conservation within the overall process of urban development and interlink it with issues such as tourism development and the revitalisation of the local economy and local governance. We must all realise that our heritage is more than a record of the past—it is an integral part of the urban identity now, and an asset for the future.
Yathka Baha is an area noted for its architectural significance. While the main courtyard is surrounded by residential houses today, a large Stupa reminiscent of the Swayambhunath still stands in its centre.
MAY 2015 SPACES / 41
Rebuilding RECONSTRUCTING
WE NEED TO REMEMBER TO REMEMBER THE EARTHQUAKE OF APRIL 25 AND LET THE EXPERIENCE INFORM OUR BUILDING AND CONSTRUCTION CHOICES
42 / SPACES MAY 2015
7.8
The magnitude earthquake that shook Nepal to the core on April 25, killing over 8000 people and destroying tens of thousands of buildings and residences, did not come unexpected. For years, non-governmental organisations and the media had been warning us all of ‘the big one’, and for years, most of us had listened, although it is difficult to say how many of us were actually prepared for the quake when it hit us.
B
y all accounts, the April 25 earthquake was not the ‘great quake’ experts had predicted. The tragic loss of life and damage to infrastructure—including the destruction of structures of great cultural, historical and architectural significance—in Kathmandu’s heritage sites, was not as great as had been estimated. We managed to scrape by with our hospitals and medical service buildings intact, and less than a quarter of Kathmandu’s residential buildings were destroyed or damaged. The airport did not sustain damages, neither did any of the major highways. We did not lose mobile connectivity even on the day of the earthquake and electrical power was back by the third day. In Kathmandu, many buildings damaged by the quake are now being pulled down and dismantled. There are others that are being plastered over or being supported by wood and iron beams while shop fronts open up for business each day. It seems as if the public has been left on its own to deal with the disaster, especially in terms of the safety of buildings, and the fact that we came out of ‘the big one’ with far less damage than had been anticipated seems to have given us a false reassurance. We need to remember to remember the earthquake of April 25 and let the experience inform our building and construction choices. This is one decision that the individual home and property owner can make to ensure that when the next big quake hits (and it certainly will), their homes and buildings are able to ensure the safety of occupants if not come out of the earthquake unscathed and undamaged. Safety must be a concern for every one of us, and we must all make an effort to become as informed as possible about the dangers of earthquakes so that we might take all necessary steps and precautionary measures to reduce these dangers. At SPACES, we have always believed in disseminating such information and reminding our readers of the necessity of being prepared. We look at a few articles that appeared in the magazine in the past year in the hopes that the valuable information presented in them will help us all deal with the aftermath. As we rebuild and reconstruct, we must all use the knowledge and resources we have at our disposal as judiciously as possible. MAY 2015 SPACES / 43
Rebuilding RECONSTRUCTING
BEING PREPARED BUILDING BETTER BUILDINGS AND BEING PREPARED ARE THE TWO BEST THINGS WE CAN DO TO SAFEGUARD OURSELVES AGAINST THE DAMAGE AND DESTRUCTION AN EARTHQUAKE CAN CAUSE Hima Shrestha, the director of earthquake engineering research and training at the NSET, a structural engineer with over two decades of experience in the field, wrote about earthquake risk reduction and preparedness in Nepal for the July 2014 issue of Spaces. The arguments she made in her articles are as relevant (if not more so) almost a year later, at a point when Nepal and its people are recuperating from the biggest earthquake the region has experienced in over 80 years. They help us see how building better buildings and being prepared are the two best things we can do to safeguard ourselves against the damage and destruction an earthquake can cause. Shrestha talks about three crucial seismic risk reduction strategies: • Do not increase risk • Decrease existing risk • Prepare for possible consequences HOW TO NOT INCREASE RISK • Buildings must be regular in plan, elevation and structural system. • Buildings must have sufficient redundancy. • Demand Capacity Ratio (DCR) of each structural element as well as the whole structure should be less than one. • Each building must contain one complete load path. • There must be no hammering between adjacent buildings. • The structural elements of buildings must not have any damage or deterioration. • There must not be any diaphragm discontinuity.
44 / SPACES MAY 2015
• •
• •
The building and structural elements must not be slender. The structural and non-structural elements of buildings must be properly connected. Buildings must have sufficient ductility. Buildings must have sufficient strength.
HOW TO DECREASE EXISTING RISK • Intervention of buildings must take into account the National Building Code in terms of design, material and construction. • The compatibility of the solution must meet the functional. requirements of a given structure. • Possible cost implications must be made to take into account the indirect cost of retrofitting such as relocation costs, availability of construction techniques, materials, equipment and workmanship etc. HOW TO PREPARE FOR POSSIBLE CONSEQUENCES • Prepare before an earthquake strikes. Identify escape routes, family communications, vital records etc. • Prepare an emergency kit/go bag. Make sure you have fresh water, food, a first aid box and flashlight among other necessities.
IMPLEMENT THE NBC THE FACT THAT A MAJORITY OF HOSPITALS, SCHOOLS AND PUBLIC BUILDINGS IN THE CAPITAL SURVIVED THE APRIL 25 QUAKE WITH LITTLE DAMAGE IS FALSELY REASSURING. THE NATIONAL BUILDING CODE (NBC) NEEDS TO BE STRICTLY IMPLEMENTED AND ADHERED TO NOW MORE THAN EVER In February this year, Sanjeeb Man Tamrakar, a civil engineer with an interest in the structural design of buildings, talked about the need for good construction in helping safeguard lives during earthquakes in his article “Buildings that will bear the brunt”. He talked about the necessity of following building codes stating that they are designed to protect the lives of occupants as well as the integrity of the buildings in question.
requirements of the NBC. The building bylaws that already exist in Nepal need to be complied with in all cases as per the rules of the municipalities. Often, the simplest of earthquake-resistant features can be incorporated into buildings at nominal extra costs.
Nepal has been classed into three zones: Zone A, Zone B and Zone C in the Nepal Building Code (NBC). In high-hazard areas, it is imperative that architects and engineers adhere to more rigorous standards when designing buildings. Different levels of resistance need to be recognised for different classes of structures. The fact that a majority of hospitals, schools and public buildings in the Capital survived the April 25 quake with little damage is falsely reassuring. We who live on one of the world’s most seismically vulnerable areas cannot afford to be complacent. The NBC needs to be strictly implemented and adhered to now more than ever. Non-engineered buildings, common throughout rural and urban areas all over Nepal, often fail to meet the
MAY 2015 SPACES / 45
Rebuilding RECONSTRUCTING
SAFETY FIRST HOUSES IN THE CAPITAL ARE OFTEN ADORNED WITH ORNAMENTAL ELEMENTS EVEN WHEN PROFESSIONAL ENGINEERS AND ARCHITECTS ARE NOT CONSULTED REGARDING THE ACTUAL STRUCTURE OF THE BUILDINGS. ORNAMENTATION SHOULD BE IN FACT BE LIMITED, AND WHEN INSISTED UPON, BE REINFORCED WITH STEEL AND PROPERLY EMBEDDED OR TIED TO THE MAIN STRUCTURE OF THE BUILDING The saying prevention is better than cure has been half-heartely repeated so many times that we very often forget its significance. “For Avoiding Hazards” was an article that looked at the possible ways through which earthquake, electrical, toxic gas and biological hazards might be minimised by taking preventative measures. The author, Sunil Dev Pant is director of environmental and occupational
46 / SPACES MAY 2015
health research and development at Nepal Building Aspirations, and in his article, he stresses on how damage caused by earthquakes, while being unavoidable, can be limited by taking precautionary steps. He talks about how earthquake-prone countries need to build earthquake-resistant residences. He points out that in highhazard areas, engineers and architects avoid irregular and asymmetrical designs including L or T shaped
buildings that are susceptible to torsion or twisting about their longitudinal axes. Building symmetrical buildings that distribute force equally throughout the structure is hence an extremely effective preventative measure. In an argument that comes across as particularly relevant to Kathmandu, Pant talks about ornamentation. Houses in the Capital are often adorned with ornamental cornices, vertical and horizontal projections, as well as fascia stones even when professional engineers and architects are not consulted regarding the actual structure of the building. Pant talks about how ornamentation should be limited, and when insisted upon, be reinforced with steel and properly embedded or tied to the main structure of the buildings. Symmetry is again discussed as being central to the safe design of a building as it is asymmetry that leads to torsion during earthquakes causing buildings to collapse. Symmetric simplicity, the author says, is the best approach.
REUSING, RECYCLING CONCRETE CONCRETE REUSABILITY IS SOMETHING THAT CAN HELP SALVAGE A LARGE AMOUNT OF THE CONCRETE FROM BUILDINGS DAMAGED AND DESTROYED BY THE APRIL 25 EARTHQUAKE, AND TURN IT INTO A RESOURCE
Debris from houses destroyed or damaged by the April 25 and the subsequent May 12 earthquakes are still being cleared in various parts of Kathmandu. While the reusability of brick does not present much of a conundrum to contractors and builders, the reusability of concrete is something that is perhaps not as obvious. Concrete reusability—as Bijaya Laxmi Rai, an engineer with interests in disaster risk management, green technology and sustainability—is something that can help salvage a large amount of the concrete from demolished buildings and turn it into a resource. Used concrete, as the author points out, is a material that does not need to turn into solid waste. Rai calls for the crushing of uncontaminated concrete from demolition sites to form RCAs— recycled concrete aggregates. The physical properties of RCA, the author points out, vary from those of natural aggregates. They are more angular, have a rougher surface texture and require more water to produce workable concrete than smooth rounded aggregate. RCAs have multiple major and minor uses. The major and minor uses would be in: GRANULAR BASE AND SUB-BASE OF ROADS RCA provides adequate stability, load support, good compaction, and requires less cement for sub-base use. In many
applications, RCA proves to be superior to natural aggregates. The fines content of RCA may restrict drainage, particularly when in use as a sub-base, but it facilitates compaction. CONCRETE BLOCKS Concrete blocks, which are made with a mix of Portland cement, sand and other aggregates along with water, present a great way of reusing concrete. RETAINING WALLS AND TERRACED GARDENS Used concrete can be reused as backfill to make partial retaining walls to control soil erosion on slopes or to create terraced gardens. Broken concrete blocks are put at the base and covered with soil or fines to fill the in-
between spaces for this purpose. They can be compacted with rammers or rollers to ready the planting sites. Wire gabions can also be filled with used concrete to provide additional stability to retaining walls. PATHS AND WALKWAYS Broken pieces of concrete can be used as concrete paving stones for paths and walkways. EMBANKMENT FILLS RCAs have high friction angles, good bearing strength, negligible plasticity and good drainage characteristics for embankment construction. Large-sized crushed concrete may be used as riprap revetment, which is effective in controlling soil erosion.
MAY 2015 SPACES / 47
Impact
SafetyIN MIXED-USE buildings IN KATHMANDU, RESIDENTIAL BUILDINGS—INCLUDING HISTORIC ONES—CHANGE TO RESTAURANTS, DOCTORS’ CLINICS, APARTMENTS, OR EDUCATIONAL INSTITUTIONS. SUCH UNMANAGED “CHANGE IN USE” CREATES POTENTIAL UNSAFE CONDITIONS. FIRE RESISTANCE CAPABILITIES, EMERGENCY ESCAPE MECHANISMS AND THE STRUCTURAL INTEGRITY OF BUILDINGS ARE ALL IMPACTED TEXT: Ananta R Baidya
"Images of a Century—The Changing Townscapes of the Kathmandu Valley" depicts nostalgic pictures that shed light upon changes that took place in the Capital following the 1934 earthquake. Today’s Valley has changed more drastically and dramatically. The public must understand that unmanaged changes can result in disastrous and unnecessary loss of life, property, history and culture. Such changes create public safety hazards during earthquakes and fires. The April 25 earthquake has been a harsh lesson for us all. Uncontrolled “mixed use” continues to take place in the buildings of Kathmandu. Buildings, including historic ones, are being used differently than originally intended. Residences change to restaurants, doctors’ clinics, apartments, or educational institutions (colleges, high schools or nurseries). Buildings with shops or restaurants at street level with offices above are not uncommon. Customers, under signs reading
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“Momos”, enjoy their food while the owners and their children peek from upper floors. These current practices manifest a misunderstanding of “‘use or occupancy”, and a disregard for the dangers posed by “change in use or occupancy” and “mixed use or occupancy” “Occupancy” categorises the use of a room or space, taking into account the total number of individuals that can potentially occupy that space. It is an evaluator of risks to public safety. Different spaces can have different occupancies. A “mixed-use or mixed-occupancy building” is a building with spaces with different fire risk potentials based on uses. Change from a designed use to another use is termed “change in use or occupancy”. Unmanaged “change in use” in spaces and buildings creates potential unsafe conditions to adjoining rooms, the building, and the neighbourhood. Fire resistance capabilities, emergency escape mechanisms and the structural integrity of
buildings are impacted. It intensifies the already amplified public hazards risks created by the current state of uncontrolled urbanisation, inadequate infrastructure, ineffective and incomplete building and land development codes. Public and rescue personnel are placed at greater risks from earthquakes and fires disasters. Walk with me from Ranipokhari via Kamalachi to New Road to fathom the potential human, property and heritage losses and impacts to existing, new, and historic structures in the event of another disaster. My narrative could run like this: “Low rise buildings along the Kamalachi alley have been replaced by new tall buildings. How they have been engineered and designed to remains questionable. The sun’s rays beam down this narrow alley. I experience claustrophobia. Images of these tall buildings collapsing inward onto the Rani Pokhari-New Road corridor implode in my mind.Uncontrollable chaos results. At Asan square, the heavens open up! I feel some relief from the claustrophobia. Asan’s business continues to bustle with aromatic spices, pooja ingredients and daily necessities. The historical “sattal” cries for renovation amidst the new tallbuildings that dwarf the Annpurna, Ganesh and Agima temples. I am travelling through the south-western alley, one of six, towards IndraChowk through Jana Bahal and stop in front of the historic “PaltanGhar” (built 1833 BS). In 2012, a gas cylinder explosion on the ground floor ignited an inferno at “PaltanGhar” (TilganaGhar or MaanMandir). Narrow alleys, prevailing inadequate infrastructure and water supply prolonged
and protracted fire-fighting operations. The ground floor had been converted from its original residential use to a restaurant. The “paltan” of carved infantrymen helplessly witnessed the national loss, the damages and an individual’s life-altering injury during the fire. I notice the plaque, memorializing the devastating 1917 Jana Bahal fire, at the entry to MachendraBahal. Cap houses and copper and brass utility stores line the homes on both sides of the alley. Residences occupy floors above the stores. At IndraChowk, the historic AkashBhairab Temple is dwarfed by the surrounding new tall buildings containing shops, warehouses, restaurants, residences. Bead stringers, flute sellers, sari stores, money exchanges and rickshaws bustle in commerce. What will happen to AkashBhairab and this commercial centre should these surrounding buildings collapse and fall? I am walking via Makhan Galli to MaruTole. The memorable song, “Wochugalli, thochugalli…Parbati Maiya...”, reverberates in my ears. The Taleju Temple (1549 AD), the gateway to Kathmandu Durbar Square (KDS), one of Nepal’s seven world heritage sites, still stands tall and imposing. KDS represents over three centuries of Malla, Shah and Rana history, politics and art, and the priceless architecture of Hanuman Dhoka Durbar ", in spite of the damages incurred during the April 25 earthquake. In 1846, Jung Bahadur Kunwar (Rana) successfully executed “KotParva”, the bloody coup. High Nepali officials were slaughtered at “Kot”, the palace armoury. Henceforth, the Ranas ruled as de facto prime ministers for 104 years.
Sweta Bhairav peeks from a large “tikki jyyaha”. It is opened annually during the IndraJatra festival. During one such festival (1768) Gorkha King Prithivinarayan Shah attacked Kathmandu and defeated the Malla King. Thus began the Shah reign. “Kal Bhairab” and numerous rebuilt temples were devastated in the destructive 1934 earthquake. The statue of the wrathful Bhairav watches over Basantapur from his perch this time around, although other temples have toppled over. Can you imagine the potential consequences of natural or man-made disasters along these narrow alleys, linked to and lined with culture, commerce, politics, significant historic events, national historic and world heritage sites, structures and buildings (new and old). A local engineering professional once rightfully categorised them as “the death trap zone”. I am scared. How about you? Random thoughts and questions float through my mind. • How many residents of these mixed-use spaces along these alleys escape during natural or man-made disasters? • Are fire fighters trained and fire engines equipped for Kathmandu’s current realities? Fire engines are parked behind grilled shutters: a few are functioning while others languish in disrepair. • Shouldn’t Kathmandu’s fire stations, essential emergency facilities, be upgraded to modern earthquake and fire resistance standards? • Can national treasures be protected and preserved from potential fires, earthquakes and man-made hazards? • I recently learned that every day tankers truck in water to the two underground storage facilities at the fire station on a daily basis to meet emergency needs. How will the fire-fighting system operate
"Rajesh Hardware, with its branches almost all over Nepal, leads the market with A to Z hardware supplies. Rajesh hardware has been serving for more than 3 decades in the market." Contact: Dhumbarahi, Kathmandu, Nepal Tel.: 01-4008696, 4428747, 4428083
MAY 2015 SPACES / 49
Before spaces are converted or used for other purposes, non-structural and structural concerns, impacting fire and earthquake safety, need evaluation. The number of potential occupants, based on the types of use, determines the hazard level and prescribes fire protection mechanisms, structural system requirements, and other safety features
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effectively to address fire hazards in mixed-use buildings with this mismanaged public water supply system? Can “chowks” be designed as emergency staging locations to ensure publicsafety? The destruction and devastation of “toles”, monuments and historical sites from manmade and natural disasters will surely be devastating and unfathomable. Mismanaged “mixed use” or “change in use” of existing historical or new buildings creates hazardous conditions, endangers occupants, diminishes public safety, and impacts living environments. Public safety hazardsresulting from unmanaged “mixed use” in buildings are real. Because “occupancy” issues remain misunderstood and possibly ignored, what must or can be done?
The media continues to report on many recent fires. The Paltan Ghar inferno of 2012, however, still exemplifiesthe impact of “unmanaged mixed use”. Tenants and landlords unknowingly, created “mixed-use buildings” through a “change in use”. The ground floor turned into a restaurant. A spark, an unprotected cooking gas resulted in the inferno. An individual received a life-altering injury. My training tells me that before spaces are converted or used for other purposes, nonstructural and structural concerns, impacting fire and earthquake safety, need evaluation. The number of potential occupants, based on the types of use, determines the hazard level and prescribes fire protection mechanisms, structural system requirements, and other safety features. Fire protection requirements in structural systems impact structural safety. Floor and seismic loads impact foundation systems. Escape mechanisms for occupants may prove insufficient. Mitigation will require building area, height and location limitations, additional fire protections,
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sprinkler systems and additional infrastructure improvements, among other things. I know that “mixed use” in existing and new buildings can be made viable and safe with planned infrastructure developments including properly managed pressurised water systems, proactive fire-life and structural safety regulations, controlled use of spaces and controlled hazardous flammable material storage and properly trained and managed fire-protection personnel and equipments. Mixed occupancy management, engineered fire protection systems andadequate infrastructure developments ensure safety. Preventive pre-disaster mitigation, controlled through effective and appropriate codes, ensures public safety and diminishes potential suffering. Public safety from manmade fire hazards and natural earthquakes is insurable through the proactive, timelyinclusion and enforcement of “mixed use” in the Nepal National Building Code. State-of-the-art mitigation methods are available for the taking. Additional research is unnecessary. Land Development Stakeholders cannot remain silent on “mixed use” when unsafe fire-life safety environments resulting in devastating future consequences will be created. Judicious implementation of known “mixed use or occupancy” standards must be implemented. Otherwise, occupants pay through loss of life, limb, property and livelihood. The public, communities and history need protection from potential fires and earthquakes in “mixed-use” or “change- in-use” buildings. Others learn. In November 1942, a fire in the Coconut Grove Nightclub, Boston, USA, killed 492 people. Subsequently laws, rules were developed, implemented to prevent loss of life and ensure safety.
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conservation
CALL TO STOP DEMOLITION OF STRUCTURES ALONG ANCIENT
Sunakothi Road “RED PAINT SCARE IN SUNAKOTHI”, A DISCUSSION EVENT THAT TOOK PLACE AT THE YALA MAYA KENDRA, STRESSED ON THE IMPORTANCE OF TAKING CONCRETE STEPS TO PREVENT THE GOVERNMENT FROM DEMOLISHING HISTORIC MONUMENTS AND PRIVATE HERITAGE HOMES IN THE AREA AS PART OF ITS ROAD EXPANSION DRIVE
A
discussion event that brought to question the government’s decision to demolish hundreds of homes, temples and other structures of historical, social, artistic and archaeological significance in the Sunakothi area as part of its road expansion drive, took place
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at the Yalamaya Kendra, Patan Dhoka, on April 15. Titled “Red Paint Scare in Sunakothi”, the event was attended by around 80 individuals—Sunakothi locals, architects, planners, retired bureaucrats, and the Nepal representative of UNESCO, amongst them.
The participants, many of whom were influential, concerned individuals, have vowed to take the matter up with related authorities. It was unanimously decided at the meeting that concrete steps need to be taken right away to prevent the demolition of the numerous historic monuments and private heritage homes in Sunakothi, considering the immediacy of the issue. It was concluded that the imminent destruction of Sunakothi to make room for a larger motorway must be stopped immediately, since it is illegal (against the Ancient Monuments Act), illogical (against recommendations of all plans that have been made for Kathmandu Valley so far) and immoral (an ancient community and their culture will be destroyed just so that some housing colonies and stone quarries further south have more room for vehicular movement). Fortunately, there is an alternative road—which was recommended by the government and UNESCO way back in 1975—as well. It was decided at the Red Paint Scare event that the focus should be on building this new road instead of destroying the Lichhavi and Malla era heritage that line the Sunakothi road that is currently in use.
The purpose of the meeting was to take immediate action to stop any attempt to begin destruction, and to drum up local activism supported by players who can potentially influence government policies and actions. At the event, architect Padma Sundar Maharaja, a local resident presented the historical, social, cultural and archaeological background of Sunakothi. Heritage documentarian Alok Tuladhar presented a short video that pinpointed the built-up structures that will be permanently destroyed by the road widening project. Journalist Kanak Mani Dixit moderated the discussion. Much work has been done since the discussion event — earnest discussions are taking place with concerned individuals and groups, plans are afoot to take the debate to the masses via the traditional media, and more in-depth research is taking place to dig out more relevant facts and figures.
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art
A distinctive voice in
Nepali art BIRENDRA PRATAP SINGH’S RETROSPECTIVE AT THE NEPAL ART COUNCIL FEATURED A SUBSTANTIVE COLLECTION OF THE MASTER ARTIST’S WORK, SPANNING A RANGE OF STYLES AND MOODS, AND CREATED OVER THE COURSE OF OVER FORTY YEARS
TEXT: yam Prasad Sharma
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T
he images and shapes are not fixed and concrete, but plural and flowing. One image melts into another as in a dream, signifying the multiple aspects of our live. The images and events appear bizarre, magical and mystical. Animals melt into men, and men melt into trees. One image flows into another. The house stands on the back of the animal; the tree stands on the house; the bird is perching on the tree; the roots of the tree emerge from the bird. On another canvas, a cottage stands on the head of a lion. The contrary images are all put together through free association. Despite this connection of unusual images, there is a rhythmic flow to the form of these artworks. When I asked him about the subject matter of his paintings, Birendra Pratap Singh replied, “Environment is the theme of my artworks. The world and the environment have an organic unity, that is, all the elements in the world are connected to each other as the organs in our body are. When one element goes missing, the chain is broken and nothing can function independently. One element depends on another. If the relationship between them is tense, there will be destruction. And if the relationships
between different constituents are harmonious and rhythmic, the universe exists as a single entity. I am concerned about depicting this link in my work.”
“I don’t pretend to be somebody else. This pretention and acting is very hard for me. That’s what I can’t do. I don’t want to be Rembrandt, Monet, van Gogh, Cezanne, Picasso, Dali, Emil Nolde, Rothko nor Jackson Pollock. I want to be myself. Thus, my works are different, like myself. I feel comfortable being myself.” —Birendra Pratap Singh
To create this rhythmic harmony, the subconscious drive of the artist gives way to artistic automatism, a stream of consciousness that steers the process. One image pulls another, it reminds the viewer of another one; this process continues perennially. In a minute, our mind travels thousands of miles. In another sense, Birendra Pratap Singh’s works are not only explorations of the environment but also studies of the human mind itself. Some of his works are expressionist and articulate inner feelings and emotions through the distortion of images and colours. The artist does not reproduce objects and events of the world as they are but represents them subjectively using strange, unusual and altered shapes and colours. It is difficult to represent inner emotions in realistic paintings, but expressionist artworks show the invisible and intangible sides of the self in concrete visual forms. The human figures in Singh’s expressionist paintings seem either to be aquatic creatures or imagined aliens out of works of fiction.
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Some of the artist’s characters are looking out of window as if from jails. The window separates the internal and external worlds; the world of the self and the romantic world outside where the inhabitant of the prison wishes to go. Yet, there lies tragedy, for the exterior is as suffocating as the interior. Our romantic attitude makes us feel unsatisfied with the present and our context, and leads us to always search for a better and brighter life. Sketches from his school time depict Singh’s sharpness, confidence, imagination and spontaneity. For him, creating visual shapes never seemed a painstaking job, but pleasurable play. In this context, Birendra Pratap Singh’s own words may be relevant, “I feel as if I was already ready to paint when I was born.” His enjoyment of his chosen mediums in the past has made him technically perfect in the present. His explorations of colour and images are microscopic. He dives into the sea of his imagination, locates bizarre and unusual creatures, insects and animals, and presents them in the form of painting. It does not matter whether his images convey any message or not; they have rhythmic curves, lines and shapes that appeal our senses aesthetically. Generally, we do not listen to music for message but for pleasure. One unique style perceptible in his paintings is that he never crowds his canvas with unnecessary figures and images. He leaves enough blank space for breathing. Nevertheless, this blank space is as valuable as a moment of silence is meaningful in the middle of musical composition. The juxtaposition of sound and silence enhances the value of each other.
The artist does not reproduce objects and events of the world as they are but represents them subjectively using strange, unusual and altered shapes and colours.
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Another striking feature of the artworks is the balance between simplicity and complexity. The spontaneous gestures and free flowing lines remind us of our childhood. At the same time, they take us to strange and unusual imaginative worlds. His images float between figures and abstractions. At first, we see a concrete image representing something; next, gradually, the concrete image changes its shape, becomes distorted and dissolves into an abstraction. On the other hand, as we look at the abstract images, recognizable figures begin to appear within them. There is a play between abstraction and signification. Tension and flux
persist between identified and unidentified images. The ripples coming out of the flux make the paintings dynamic and lively. Human beings float in the sky as the birds. Some canvases are covered by immense eagles casting a dark shadow on the land. Dreamy and dreary landscapes create a sort of gloomy ambience. In this context, the renowned art critic Narayan Bahadur Singh aptly says, “Birendra’s drawings are not representations of the external world but they are the pictures that his mind sees within himself.” The artworks created on the theme Bungmati depict inter-art relationships among sculpture, architecture, woodcarving and painting. One art form explores the subject matter of another art form. One art form is connected to another art form. The artist has sees a need for the conscientious preservation of the cultural heritage of
Singh’s works are not only explorations of the environment but also studies of the human mind itself.
Nepal. To depict Kathmandu’s Newar architecture, the artist uses exaggeration as a tool to attract the viewer’s attention. Other natural and cultural heritages the artist has explored are Khaptad, Thakkhola and Muktinath. Singh has used multiple perspectives in his pictures. The same thing can be viewed from different angles at the same time. Even in profile view, both eyes are visible. The hidden things in real life have been depicted in these artworks. Of course, his artworks are both in monochrome and colour; yet, the artist seems to prefer monochrome. The colour black has simplicity, strength, gravity, intensity of expression and clarity of presentation. Singh has created desired effects using perspective, light and shade, even when using pen and ink. The artist has mastery over multiple MAY 2015 SPACES / 57
mediums and materials—drawing, painting, pen and ink, printmaking and lithograph, among others. He does not limit himself to one particular medium. His expression and mood determine his medium and material. BirendraPratap Singh was born in 1955, at a time when western techniques had already entered Nepali art. He studied art at the Banaras Hindu University, and the influence of the holy city is seen in his work. When a person reaches the ghaat (cremation ground) on the banks of the Ganga, s/he becomes sentimental and is overwhelmed by poetic feeling. Similarly, the artist could not control his creative urge and has created poetic visual compositions on his canvas during his days as an artist there. Most of his paintings have feminine delicacy, gracefulness and softness, symbolising creativity, fertility and aesthetic sensibility. One can imagine a feminine figure and the gentle curves of his paintings. The sense may be clarified from Ratan Kumar Rai’s statement, “Behind each crooked line, there is a gentle Birendra.”
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Singh's images float between figures and abstractions. At first, we see a concrete image representing something; next, gradually, the concrete image changes its shape, becomes distorted and dissolves into an abstraction.
The artist has also explored the image of the Shivalinga, the union of prakriti and purusa—the female and male principles, respectively—the individual self and the cosmic being, the source of creation and destruction, the entrance to the spiritual world. In the structure of the Shivalinga, the vertical cylindrical shape symbolises the male principle that penetrates the circular disk representing the female principle. The union of the two symbolises enlightenment—the self within the universe, and the universe within the self. The philosophical theme of ‘earth, body and mind’ is coherent with the image of the Shivalinga. The images and themes put us in a state of meditation where we ask such fundamental questions as: How was the earth created? What is the difference between body and mind? How did the body emerge? Where will our body be lost? Can our mind answer these questions? The artworks make us aware of our existence. They give us some sense that we are different from other beasts.
This is a quest for existence and the roots of our creation. The artist also juxtaposes the mundane world of cobwebs with a sublime one; what we ought to do and what we are doing. Do we have meaningful direction in our lives, or are we going on and on in vicious circles and always returning to the same point, as Sisyphus pushes the stone up and enjoys as it rolls down? As I asked him how his works came to be so unique and individualistic, Birendra Pratap Singh explained, “Look! I am different from you. My face is different; my hand is different; my voice is different; so is my mind. I walk in a different way, I choose different colours, I move my brush in a different way, create different shapes and images. Thus, my works are also different. I don’t pretend to be somebody else. This pretention and acting is very hard for me. That’s what I can’t do. I don’t want to be Rembrandt, Monet, van Gogh,
Cezanne, Picasso, Dali, Emil Nolde, Rothko nor Jackson Pollock. I want to be myself. Thus, my works are different, like myself. I feel comfortable being myself.” How Singh differs from other Nepali artists is in the way he listens to his own inner voice rather than simply taking inspiration from other artists; the way he has confidence in his own lines, colours and strokes, and the way he understands that each artwork has its own individual identity. We find the sincere voice of the true artist in his works. Irrespective of the meanings these artworks convey, we get novel aesthetic experiences from his creations.
The article is based on “Birendra Pratap Singh, A Retrospective (1971-2015)”, an exhibition that took place at the Nepal Art Council, Babar Mahal, from March 27 to April 26
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art
the lost
sculptures of Kathmandu THE “REMEMBERING THE LOST SCULPTURES OF KATHMANDU” RESEARCH PROJECT AND EXHIBITION CAME OUT OF FIVE YEARS OF RIGOROUS RESEARCH AND PAINTING. ARTIST JOY LYNN DAVIS TALKS ABOUT HER PROJECT EXPERIENCE
TEXT: Ashish Dhakal-Upadhyay
For Joy Lynn Davis, the artist, the lost sculptures of Kathmandu Valley sing a far more solemn song than imaginable. Davis has been coming to Nepal for the last 12 years, and every time she’s heard about sculptures being stolen or being rediscovered in foreign museums or homes. “This was very disappointing,” she says. “These artefacts are testimonies of a culture and are very important.” Five years ago, Davis started an independent project to bring to light the issue of Nepal’s stolen and lost sculptures. This was definitely not an easy task. Even for a Nepali, to be frank. There is the extensive research involved—visiting locals and finding people with memories of what the different temples and precincts from which sculptures have been stolen used to be like before the statues disappeared. Davis
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JOY LYNN DAVIS 18th Century Ganesh, Bhaktapur, Nepal (sculpture stolen in 1988, current location unknown) Acrylic with 23 kt.gold on cotton paper, 40x30", 2014
was also a foreign national, someone—who at the time she started the project—couldn’t properly speak or understand Nepali. And then there were the paintings that needed executing (one realises the meticulous artistry that has gone into them only once one sees them). But Davis succeeded in the task she had set for herself. She read through volumes of books written on stolen and lost artefacts of Nepal. Davis discovered that in the 1980s Lain Singh Bangdel and Jurgen Schick had worked on separate projects (“Stolen Images of Nepal” and “The Gods are Leaving the Country” respectively) to document Nepal’s stolen artefacts. It is upon their research that the artist has built her own project. MAY 2015 SPACES / 61
JOY LYNN DAVIS 14th Century Uma-Maheshvara, Bhaktapur, Nepal (sculpture stolen in 1985, current location unknown)
JOY LYNN DAVIS
Acrylic with 23 kt.gold on canvas, 40x30", 2011
12th Century Vishnu with Lakshmi and Garuda, Bhaktapur, Nepal (sculpture stolen in the late 1970s, current location unknown) Acrylic with 23 kt.gold on cotton rag paper, 40x30", 2012
Davis did her homework. She visited sites and spent time with the locals. “I used to record every word they used to tell me and then later ask someone to translate them for me,” she says. And she painted, spending about six to 10 weeks on one painting, for the last four years. When asked why such work, she smiles. “These sculptures are invaluable. I want the world to know how important these sculptures
JOY LYNN DAVIS 12th Century Saraswati, Pharping, Nepal (Head of sculpture stolen in early 1980s, repatriated in 1999, currently at Nepal's National Museum) Acrylic with 23 kt.gold on cotton rag paper, 40x30", 2012
were and what having them stolen means.” So far she has recorded over 200 such thefts and this information has been included alongside a searchable database at a website launched with her exhibition, "Remembering the Lost Sculptures of Kathmandu Valley", which opened at the Nepal Art Council on April 10. It is true that there have been various instances when once lost artefacts from Nepal have resurfaced around auction houses and museums around the world. And while Davis agrees that these artworks certainly look beautiful in homes or museums, she also adds, “But their values are incomparable here, in their original home.”
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JOY LYNN DAVIS 15th Century Dancing Ganesh, Sanga, Nepal (sculpture stolen in 1985, current location unknown) Acrylic with 23 kt.gold on cotton rag paper, 40x30", 2012
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JOY LYNN DAVIS 17th Century Dancing Goddesses, Sankhu, Nepal (sculptures stolen in the early 1980s, current location unknown) Acrylic with 23 kt.gold on cotton rag paper, 40x30", 2011
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JOY LYNN DAVIS 15th Century Lakshmi Narayan, Patan, Nepal (sculpture stolen in 1984, auctioned internationally in 1990) Acrylic with 23 kt.gold on cotton rag paper, 40x30", 2013
JOY LYNN DAVIS 12th Century Uma-Mahesvara, Dhulikhel, Nepal (sculpture stolen in 1982, repatriated in 2000, now on display at Nepal's Patan Museum)
Davis hopes to increase awareness about the stolen sculptures of Nepal, and also perhaps encourage voluntary returns. “These sculptures are everywhere around the world and they should be returned,” she says, “The collectors need to understand than the artefacts have a deeper meaning and significance here that they will ever have in their homes.”
Acrylic with 23 kt.gold on cotton rag paper, 40x30", 2013
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JOY LYNN DAVIS 5th Century Chaturmukha Shivalinga, Pashupati, Nepal (sculpture stolen in 1987, current location unknown) Acrylic with 23 kt.gold on cotton rag paper, 40x30", 2013
Davis’ artistic style is as striking as her ideas. The paintings are done on large canvases and feature the seat of the stolen sculptures and the daily life that surrounds them. Perhaps that’s what gives the paintings their natural texture. On one of these canvases you will find children playing around; on another, a woman standing with a plate of offerings for God; some sculptures stand alone in the growing wilderness. Lynn’s brilliant use of light and shadow in these paintings gives them an almost photographic quality. You might find that you are tempted to brush off that uncooked rice from the idol’s head, or ring that bell hanging in the distance. But perhaps nothing is more remarkable than the golden sculptures you will find in these paintings. In some, you will find entire sculptures painted in gold while in others it will be just a part that’s been painted in the precious metal.
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JOY LYNN DAVIS
JOY LYNN DAVIS
JOY LYNN DAVIS
17th Century Visnhu with Lakshmi & Saraswati, Bhaktapur, Nepal (sculpture stolen in 1985, recovered and now the property of the Department of Archaeology)
17th Century Surya and Goddess, Patan, Nepal (sculptures stolen in the early 1980s, current location unknown)
17th Century Maha-Lakshmi, Patan, Nepal (sculpture stolen in 2010, current location unknown)
Acrylic with 23 kt.gold on cotton rag paper, 40x30", 2013
Acrylic with 23 kt.gold on cotton rag paper, 40x30", 2013
Acrylic with 23 kt.gold on cotton rag paper, 40x30", 2013
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These sculptures are invaluable. I want the world to know how important these sculptures were and what having them stolen means.� JOY LYNN DAVIS Davis shows a photograph of a stolen idol to locals as she talks to them about the statue's original home and purpose.
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Gold represents the stolen portions of the sculptures in Davis’s paintings. The artist comments that the use of gold leaf (23 carat) in her paintings makes it easier for people to identify which sculptures were stolen and also stands for the commoditisation of the sacred. Davis says, “Gold is commonly used to denote wealth and status. We see gold being used in many paintings, especially Thangka. Gold means that God is present. And at the same time, gold also signifies riches and greed. These sculptures were sacred before but then they were stolen for money.”
For more information about the project, visit www.rememberingthelost.com
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from the shelf
Stolen Gods JIIRGEN SCHICK, THE AUTHOR OF “THE GODS ARE LEAVING THE COUNTRY”, COMPILED THE BOOK WITH GREAT PAINS AND CARE, PRODUCING VALUABLE PHOTOGRAPHIC EVIDENCE OF THE STOLEN ART OF NEPAL
he English edition of Jiirgen Schick’s “The Gods Are Leaving the Country” was first published in 1996, eight years after the publication of its German edition. Although the political situation in Nepal had changed considerably in the interim, the situation in which Nepalese art finds itself had not. Art theft was still occurring, and if perhaps not on such a grand scale as during the 1970s and 1980s, the reason seemed to be largely that by that time not very much remained worth stealing. The English edition is a thoroughly revised and updated version of the German.
Schick was fascinated by the strange beauty and the deep symbolism of this art, whose exuberance and masterful quality would immediately have deprived anyone with opened eyes of the illusion that Nepal was what we so deprecatingly call an "underdeveloped country”. The moment he arrived in Kathmandu, his eyes did not fail to appreciate what he saw in this ancient city: magnificent wood-carvings on windows and doors, beautiful sculptures in stone and metal found in temples, monasteries, old palaces, houses... almost everywhere. His first thought was to take photographs of these Nepalese art objects of the valley as photographic documentations. But he soon realised that some of the objects he photographed were missing or stolen shortly afterwards.
Kathmandu Valley, which is like an open treasure house, has been the seat of
Schick, who compiled this book with great pains and care, has been able to produce
T
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ancient art and culture for over two thousand years. Schick first visited the Valley in the late 1970s. He says that on his arrival, one of the strongest impressions made on him came through his contact with Nepali art. At that time, Nepali art could still be viewed in its undiminished fullness; the art treasures of a culture that was more than two thousand years old still seemed almost untouched.
most valuable photographic evidence of the stolen art of Nepal with “The Gods Are Leaving the Country”. The photographs published in this book, particularly the "before-after" documentation, serve the purpose of documenting clearly and providing unimpeachable evidence for the theft of Nepali art. Practically all the art that has ended up in the West from Nepal from the 1960s onwards, and that fills its collections and museums, was obtained in Nepal by theft. This book wants to help ensure that at least the works of Nepali art that have not yet been stolen remain in their homeland. “The Gods Are Leaving the Country” was the first work to provide conclusive documentary material in support of Nepal's right to have its stolen works of art returned.
This introduction of to “The Gods Are Leaving the Country” is composed of excerpts from Lain Singh Bangdel’s 1989 preface to the German edition of the book and Schick’s own introduction to the 1996 English edition of the same. It has been published with the sole intent of conveying information regarding what we believe is a valuable book to our readers.
The photographs published in this book, particularly the "before-after" documentation, serve the purpose of documenting clearly and providing unimpeachable evidence for the theft of Nepali art
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architecture
Building homes out of
old bottles BOTTLE HOUSES CAN PLAY AN IMPORTANT ROLE IN HELPING THOSE WHO CANNOT AFFORD OR DO NOT WANT TO USE MORE TRADITIONAL CONSTRUCTION MATERIALS BUILD LIVEABLE, ENVIRONMENTALLY SUSTAINABLE HOMES, ESPECIALLY AT A TIME WHEN HUNDREDS OF THOUSANDS OF HOUSES HAVE BEEN DESTROYED BY THE APRIL 25 AND MAY 12 EARTHQUAKES.
TEXT: Suranjan Koirala photos: lola odessy waters
I
f you take a bus towards Dakshinkali from the old Bus Park, in around 45 minutes, you will come to a place called Khahare. And there you will find a curious little building that is Nepal’s first bottle house, a structure constructed and maintained by the Kevin Rohan Memorial Eco Foundation (KRMEF). The bottle house, which is also called the ‘poor man’s dignified house’, was first constructed in 2010 as an alternative and a possible solution to the many outdated and environmentally unfriendly practices common in building design and construction throughout Nepal. It is an environmentally low-impact home designed and built using materials and technology that reduce its carbon footprint and lower its energy needs. The bottle house uses building methods that prove environmentally responsible and resourceful throughout the building’s lifecycle: from sitting to design, construction, operation, maintenance, renovation, and
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destruction. In other words, the bottle house design involves finding a balance between home building and sustainability. The bottle house practice expands and complements classic building designs in terms of economy, utility, durability, and comfort. Collected from embassies and restaurants in Kathmandu, the unused and largely non-degradable glass bottles used in the construction of the house also lend it a beautiful touch. Bottle walls such as these can be constructed in a number of ways. Typically, they are erected on a foundation that is set into a channel in the earth to add stability to the wall. Rebar can be set into the foundation to add structural integrity. These walls range from one-bottle to twobottles in thickness. Primitive mixtures, such as cob, can be used as workable pastes to bind the bottles. Cob, for instance, is spread thickly onto any previous layer of bottles. This is followed by another layer that is pressed into the mixture.
Bottle houses are inexpensive to build; the materials for construction are cheap and easy to collect. Also, because they use bottles that would otherwise be considered waste, bottle houses can do wonders in terms of solid waste management. But besides aiding Nepal tackle pollution—and perhaps more importantly since the April 25 and May 12 earthquakes—bottle houses can play an important role helping those who cannot afford or do not want to use more traditional construction materials build liveable homes. A person with a small piece of land can build a bottle house simply with the dirt that comes from digging it and the requisite waste bottles. Since the cost of bricks is high here in Nepal, even buying bottles becomes the better option for those hesitant about collecting bottles from the streets. Bottle houses are typically made on a foundation that is set into a trench in the earth to add stability to the wall. The trench is filled with regular fragments or pieces of rock used in masonry and then filled in with
The bottle house in Khahare is a model house that was constructed in 2010 as an alternative and a possible solution to the many outdated and environmentally unfriendly practices common in building design and construction throughout Nepal cement. Fragmented rocks can be set into the foundation to add structural integrity. Bottle walls themselves range from onebottle to two-bottles thick. A natural building material made from subsoil, water, some kind of fibrous organic material (typically straw), and sometimes lime can be used as a workable paste to bind these bottles. The paste is spread thickly over each successive layer of bottles as new layers are pressed into the mixture. Typically, a two-finger separation is used as a means of spacing the bottles although any feasible measure of spacing can be employed.
The bottle house is socially responsible and environmentally friendly. The heating and cooling systems naturally installed in these eco-friendly houses moreover help create balanced indoor temperatures, and the ventilation system provides clean and fresh air. Bottle houses have the potential for helping Nepali communities and their surrounding environments in numerous ways. It would seem wise at this moment to look into such building techniques to facilitate the construction of safe, structurally sound and sustainable homes for the average Nepali.
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Personality
Shyam Badan Shrestha THE EPITOME OF WOMEN’S EMPOWERMENT TEXT: Shristy Chhetri
“WHEN YOU EMPOWER A WOMAN, THERE IS A POSITIVE TRICKLEDOWN EFFECT UPON HER ENTIRE FAMILY, AND THAT IS WHAT WE ASPIRE TO CONTINUE DOING”
N
epal Knotcraft Centre (NKC) Pvt. Ltd. is a pioneering manufacturer of macramé products, recycledwood items and products made of natural fibers. Taking inspiration from Nepal’s rich natural and cultural beauty and building on traditional skills, the Centre provides employment to women from across the country and creates unique products for homes and offices. Shyam Badan Shrestha is the Chairperson of NKC. Back in 1984, when economic independence was inconceivable for most women, she started with Rs 200 as an initial investment and began knotting along with two of her other friends. A strong advocate for women’s economic empowerment, it was her interest in handicrafts that landed her in this field.
With no formal training and with hardly any idea of crafts and management, the work was not her forte when she started, but the challenges and demands she faced throughout her journey have been a major driving force that have helped her attain the heights she has reached today. Shrestha had been a teacher for 13 years before she ventured out as an artisan. Today, she is also president of the Natural Resource Development Centre, a research-based institution that has so far identified 42 fibre-rich plants which can be used for weaving in the country, and created over 70 varieties of marketable products. She is also a member of the Federation of Handicraft Association of
In 1984, when economic independence was inconceivable for most women, Shyam Badan Shrestha started with Rs 200 as an initial investment and began knotting along with two of her other friends. She is chairperson of the Nepal Knotcraft Centre today 74 / SPACES MAY 2015
Nepal, and has held the presidencies for the Rotary Club of Budhanikantha and WEAN Co-operative in the past. Mostly using fibre-rich plants like bamboo, corn husk, sisal, cattails, papyrus, banana, as well as wool and straw—some 20 source materials in all— the products at Knotcraft are handcrafted by women from various ethnicities such as Newar, Rai, Limbu, Gurung, Tharu, known for their indigenous weaving traditions. These women use natural plant material native to the low-lying wetlands of the high Himalayan range. Given the abundancy of such raw materials here in Nepal, Shrestha points to the immense potential an industry like this has here. NKC has women weavers in 11 districts. It is through these groups that research and surveys are conducted to search for more natural fibers. These groups transform natural fibres into marketable products harnessing traditional and indigenous weaving skills. They also train the community, mainly women, in entrepreneurial and marketing skills so that they can connect to or find appropriate markets and survive selfsufficiently in the long run. Individual products are made to fit modern spaces. The designs of products have evolved over time to suit contemporary demands,
and the designs that Knotcraft produces today are equally stylish to have in households, offices, business complexes, restaurants and hotels. Continually improving in quality and increasing in production volume, products from NKC are exported to USA, Japan, Germany and Denmark. The basic skill required at Knotcraft is weaving, a traditional skill passed onto mainly women in a lot of ethnic communities in Nepal. These skills are on the brink of extinction today, mostly due to modern advancements. Shrestha is, hence, in a mission to save the authentic and almostforgotten artistry of Nepal, that—when practiced in a large scale—can help many women from the rural areas to progress, be independent and confident, and gain access to education and other opportunities for their children in the future. “When you empower a woman, there is a positive trickledown effect upon her entire family, and that is what we aspire to continue doing”, she states. It is indeed a long-term investment that she has been thoughtfully making for over three decades now. Shrestha believes in the power of research and development, a vital necessity for Nepal that imports raw materials like cotton or wool, or other resources, despite the fact that it has the potential to cultivate these within its borders. She sees the irony in our attraction towards commercial products the Chinese market has introduced here whereby foreigners admire authentic crafts produced in Nepal. But she further adds, “The ascending popularity of green and eco-friendly products is an indication that product like ours will become equally competitive in coming times.” She gives a few pointers that she feels will help small-scale companies like the NKC foster into full-fledged large scale ones. • Commitment from concerned authorities, especially government bodies, in helping introduce modern technology and resources. • A well-co-ordinated and integrated approach among INGOs, government bodies and local communities to
NKC has women weavers in 11 districts. These groups transform natural fibres into marketable products harnessing traditional and indigenous weaving skills. They also train the community, mainly women, in entrepreneurial and marketing skills so that they can connect to or find appropriate markets and survive self-sufficiently in the long run
cultivate raw materials on Nepal’s fertile grounds • Proper allocation of funding for research and development to explore more fibre rich plants in Nepal • Long-term planning and investment must not be limited to skill-oriented training but infuse entrepreneurial skills in the same, helping create or search for proper markets. Her fervour and zeal for her work know no boundaries, and when asked why, she opens up emotionally. He father died when her mother was pregnant with her. Orthodox practices and beliefs saw her as a jinx and she grew up feeling the same was true. It was the hardships her mother faced as a widow and a single mother that fostered and strengthened her determination to support women. Today, the very people who condemned her, praise her for her bravery. She is a living example of how one can rise among criticisms and hardship and blossom, like a lotus in a puddle of mud. Her extraordinary ability to cope and conquer and her strong will are amongst the reasons she has a phenomenal personality today. There has been no returning back for Shrestha since she has first associated herself with NKC. However, the years between 2007 and 2010 marked a hiatus
for the company—a time that also marked a transition for Nepal, which, at the time had just come out of a 10-year civil war. In 2007, the factory was shut down due to labour militancy, and although business resumed after three years, Shrestha says starting over was difficult because many skilled artisans from the company migrated abroad for work. She finds the political system in the country to be the least effective and sees the effects of its inefficiencies taking a toll on low-income and middle-class citizens. When approached with the question of whether or not she finds it difficult being a working woman, she says that the question is a paradox in itself as we never ask men the same thing. Our attitude as such is therefore an indicator of the patriarchal nature of our society, she points out. She says that no matter what height a woman has reached, she will always be looked at as the primary caretaker of the house. It is indeed her role, but with the advancement of modern families, such role distributions are being distributed. She emphasises on the fact that modern-day children should be brought up with similar values if we want to attain proper equality between men and women. She is thankful towards her husband, who has helped her throughout her journey, and is also one of the key reasons she has been able to get where she is today. Here is a message she wants to convey to everyone: “It is through people like you that we get to spread the word around. We need your help to pass this message about the need for women’s empowerment. With our weaving, we bring you close to nature, we preserve our culture and at the same time help women become independent. It will be only through your support that we will be able to reach where we aspire to get. Your genuine support and help is what we need”
The NKC showroom, which represents Shrestha’s mission for women’s empowerment and cultural preservation, is in Kupondole
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ARTScape
Collaborative Mural This mural was made during the three-week artist residency programme Maharjan was part of in Vijaya Nagar, India. It is a result of a collaboration between 60 school students from the New Model Govt High School, Toranagallu, Bellary. The mural drawings were created by the students using chalk on black boards as per the artist’s concept coordination during the workshop. Drawings and a few colours have been used on the blackboard where the students have created drawings from their own surroundings, cultures, daily life and nature. These drawings were beautifully carved with fixatives, sprayed, and now hang on the walls of the school.
ASHA DANGOL
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Sanjeev Maharjan Independent visual artist based in Kathmandu. He is the co-founder of Drawing Room Kathmandu and one of the board members at Srijanalaya, a non-profit art organiation. His works consist of drawings, paintings, photographs, installations and murals. He loves to work and research independently as well as collaboratively with local and international artists.
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storewatch
Ornaments
for your home and office THE WONDERFUL WORKS GALLERY FEATURES HAND-MADE, HANDCRAFTED DECORATIVE PIECES AND ORNAMENTS FOR BOTH INDOOR AND OUTDOOR SETTINGS
T
here is a crafts store in Patan Dhoka called the Wonderful Works Gallery. It features hand-made, hand-crafted decorative pieces and ornaments that have a distinctly Nepali feel to them. On display are miniature stone spouts and temples, models of Nepali musical instruments and stone impressions of the elephant-headed, pot-bellied Ganesh. The outside of the store is decorated with terracotta owls and tortoises and porcelain swans shaded by the foliage of the green trees that are found in the vicinity of the building. This serene space is managed by Turnkey Promotions, a company that was established with the intention of getting individuals and organisations with the skills to produce genuine hand-products on the Nepali handicrafts market map. The group believes in “responsible tourism promotion” and places the utmost importance on “people, place and product”. Turnkey is involved in research, marketing and promotion. 78 / SPACES MAY 2015
The store is a Turnkey Promotions project that was opened as an outlet that showcases the works of entrepreneurs and artists The Wonderful Works Gallery is a project that was opened as an outlet that showcases the works of entrepreneurs and artists. The Gallery contains numerous hand-crafted decorative products—including pottery and stone work for outdoor garden spaces—that hope to familiarise customers with the artists who make the products they are purchasing and the entrepreneurs through whose efforts the products have reached them. As a company that looks after the marketing and promotion for artists and entrepreneurs and their work, Turnkey Promotions cater to a client list that includes artists and collectors, developers, interior and exterior design companies and hotels and restaurants. The products they promote include garden ornaments, mementos (made as ordered in bulk), and art and craft pieces.
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Open Spaces
The School of Creative Communications presents a unique blend of creativity and communication. We provide a platform for those who dream of nurturing their creativity through communication. We offer training programmes on art, photography, writing and languages. We have been conducting SCC Explore Photography workshops since our establishment in 2009. We have been organising the SCC Blue Bag, a sharing programme with a scholar once every month for the past few years. We are located at Kupondol, Lalitpur, Nepal (link road to the Bagmati River). www.scc.org.np facebook.com/scc.kathmandu
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his photo was taken in Bhaktapur during the second SCC Photo Yatra. The majority of Bhaktapur’s population is Newar. Many members of the community still practice old farming methods, using traditional agricultural tools and equipments.
THE PHOTOGRAPHER Sanjeeb Maharjan is an entrepreneur. He worked as a photographer for a couple of years before starting his own business. He is very passionate about photography and is an SCC alumnus.
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connects 27 Aditya Hardware Enterprises Bluestar Complex, Room # 522, Thapathali Ph: 9851007818 sanjay_kyal@yahoo.com 21/53 ATC Pvt. Ltd. 336/21, Ganesh Man Singh Path-2, Teku Road Ph: 977-1-4262220 info@atc.com.np 86 Berger Jenson & Nicholson (Nepal) Pvt. Ltd. Berger House - 492, Tinkune, Kathmandu Ph: 977-1-4466038 info@bergernepal.com www.bergernepal.com 29 Bestbuy Nepal Pvt. Ltd. Kupondole Ph: 977-1-5523289 / 5545481 info@bestbuynepal.com www.bestbuynepal.com 59 Communication Corner Pvt. Ltd. (Ujyaalo 90 Network) UjyaaloGhar (Behind Central Zoo) Jawalakhel, Lalitpur Ph: 977-1-5000171 info@unn.com.np www.unn.com.np 81 Foto Hollywood Civil Bank Building, Kamladi Ph: 977-1-4169060 www.fotohollywood.com.np 03 Furniture Land Blue Star Complex Tripureshwor, Kathmandu Ph: 977-1-4224797 sales@furnitureland.com.np www.furnitureland.com.np 48-50 Jagadamba Cement Neupane Tower, 6th Floor Tinkune, Kathmandu Ph: 977-1-4111500 jcement@wlink.com.np
02 JK White Cement 14 Kuleshwor, NayaBasti, Kathmandu Ph: 977-9851050650 prashant.chaturvedi@jkcement.com www.jkcement.com
21 Skylight Pvt. Ltd. Naxal (Opp to Police HQ), Kathmandu Ph: 977-1-4423851 info@skylight.com.np www.skylight.com.np
13 Maruti Cements Limited Tripureshwor, Kathmandu Ph: 977-1-4257566 maruticement.info@gmail.com www.maruticement.com
04 SubisuCablenet Pvt. Ltd. 148 ThirbumSadak, Baluwatar Ph: 977-1-4429616 info@subisu.net.np www.subisu.net.np
85 Marvel Technoplast Pvt. Ltd. Heritage Plaza - II, 2nd Floor, Kamladi Ph: 977-1-4169122 info@marvel.com.np www.marvel.com.np
09 Technical Associates Services Pvt. Ltd. Thapathali, Kathmandu Ph: 977-1-4219999 sktulshyan@gmail.com www.tas.com.np
27 MD Furniture Maharajgunj (Opp. U.S. Embassy, Nabil Bank Building, 2nd Floor) Ph: 977-1-4721484 mdfurniture@snet.com.np www.mdfurniturenepal.com
05 Universal Electrocom Tripureshwor, Kathmandu Ph: 977-1-4251622 / 4251623 uec@wlink.com.np
35 Natural Furnishing & Construction Pvt. Ltd. Lampati, Kalanki Ph: 977-1-4032282 arjunnatural123@gmail.com www.naturalfurnishing.com.np 51 National Society for Earthquake Technology (NSET), Nepal Bhanisepati, L.P. Ph: 977-1-5591000 www.nset.org.np
82 Worldlink Communication Pvt. Ltd. Jawalakhel, Lalitpur Ph: 977-1-5523050 sales@wlink.com.np www.worldlink.com.np 15 Yeti Airlines Tilganga, Kathmandu Ph: 977-1- 4464878 reservations@yetiairlines.com www.yetiairlines.com 07 Yeti Polychem Pvt. Ltd. Dillibazar, Kathmandu Ph:977-1- 4421501 / 9851004448
11 Pashupati Paints Pvt. Ltd. Maitighar, Kathmandu Ph: 977-1-4258209 pashupati@paints.wlink.com.np 77 Pyramid Vaastu Consultant 244 RudraMarga, Ratopool, Kathmandu Mobile: 9851151618 / 9815717618 mundharanp618@gmail.com
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