SPACES Nepal SEPT-OCT 2010 by SPACES Nepal

ART - ARCHITECTURE - DESIGN

SEPTEMBER - OCTOBER 2010

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CONTEMPORARY NORWEGIAN ARCHITECTURE

LUMBINI - ITS CHALLENGES NOW AND THEN

THE ARCHITECTURE OF FOREIGN ARCHITECTS IN NEPAL

Shanghai World Expo 2010

September-October 2010

Price NRs. 100/- IRs. 65/www.spacesnepal.com

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September-October 2010

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CONTENTS

Cover Photo © Implementing Experts Group

33 ART

36 ARCHITECTURE

When Art becomes Therapy

Carl Pruscha

by Ar. Swati Pujari Philip Holmes, a Dental Officer who earlier served in the British Army, established The Esther Benjamins Trust (EBT) in 1999 in the memory of his late wife, Ester Benjamins. The Trust, besides rehabilitating victimized and vulnerable children of Nepal, provides creative vocational trainings like ‘Himalayan Mosaics’, preparing them for a sustainable career.

by Ar. Bansri Pandey In the early 1970s, UNDP funded a planning office in Nepal, for which the Austrian architect Carl Pruscha was selected to lead it. Besides his involvement in the development of the Master Plan of the Kathmandu valley, Pursha’s continuous experimentation with bricks proved that it is possible to fuse traditional as well as contemporary thoughts and build styles.

40 ARCHITECTURE A Dialogue between Form and Function by Ar.Swati Pujari The Siddhartha Children and Women Hospital at Butwal is the only building listed under Nepal in ‘The Phaidon Atlas of Contemporary World Architecture’. The building, bearing the architectural style of the world famous Japanese architect, Tadao Ando, is a debate of whether form follows function or vice versa.

45 ARCHITECTURE Shanghai World Expo 2010, ....the world is a stage by Ar. Sarosh Pradhan World Expos have long served as an experimental platform for architectural and urban innovation. At the exhaustive Shanghai World Expo 2010, organized around the relevant theme of Better City, Better Life - urban futurism stands at centrestage. www.spacesnepal.com

September-October 2010

50 INTERNATIONAL Contemporary Norwegian Architecture 2000-2005 by The National Museum of Art, Architecture and Design, Norway ‘Contemporary Norwegian Architecture – 20002005’, a touring exhibition put together by the National Museum of Art, Architecture and Design of Norway, was brought to Nepal on the 19th May 2010, which showcased in five categories, fifty contemporary examples of Norwegian architecture.

67 ANALYSIS

SOLUTIONS

OPINION

SPACES CONNECTS

62 INTERIOR From a Hilltop by Sanjog Rai Constructing one’s house in Kathmandu, that too for a novice, is a once in a life time’s experience. The interwoven complexities of the owners vision, the design, the designer, the building contractor, the choice of available building materials compounded by the restriction of a limited budget can leave one relieved..... or cheated.

The Architecture of Foreign Architects in Nepal by Ar. Biresh Shah After the shift in power from the Rana regime, Nepal opened up to the outside world only after 1950. This brought in modern developments into the country, and due to the lack of technical expertise to match these developments, brought along with it foreign thoughts, ideas and influences.

75 HERITAGE Lumbini - its challenges now and then by Rupesh Shrestha Lumbini, the birthplace of Lord Gautama Buddha, carries a history of more than 1500 years. Following the development of the Master Plan of this World Heritage Site by the Japanese architect Kenzo Tange in 1978, Lumbini has seen a flurry of debatable building activities, marring the true essence of the Master Plan. September-October 2010

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VOLUME 6 ISSUE 6

DISTRIBUTION Kathmandu

September-October 2010 Regd. No 30657/061-62 CDO No. 41

East Nepal

Managing Editor / Editor Uday Sunder Shrestha, B.E, B.Sc. Photography / Production Control Ashesh Rajbansh Consultant-Marketing & Sales Krishna Shrestha Assistant-Marketing & Sales Anish Shrestha, Bina Bhattarai Public Relations Prakash Bahadur Amatya Editorial Assistant Swati Pujari, B. Arch. Contributing Art Editor Contributing Editor

- Madan Chitrakar - Kasthamandap Art Studio - Darjeeling Hills Barun Roy - Delhi Ar. Jinisha Jain - Sikkim Ar. Chetan Raj Shrestha

Accounts / Admin Rajesh Dali International Correspondents Ar. Sarosh Pradhan Correspondents Ar. Bansri Pandey Kalpana Bhandari Rupesh Shrestha Design / Colour Separation Digiscan Pre-Press Naxal, Kathmandu. Phone: 4436817 Printed at Format Printing Press Hadigaon, Kathmandu, Phone: 4010160 Published by IMPRESSIONS Publishing Pvt.Ltd. Kupondole, Lalitpur Post Box No. 227, DPO Lalitpur Phone: 5544606, 5526040

R.B. Newspaper Traders, Kathmandu Ph: 4232784 / 4215652 / 4216658 Skypass Cargo (P) Ltd., Kathmandu. Ph: 4701293 Parbati Shrestha Naya Bazar, Dharan - 05 Ph: 025-5-21164/025-525118, Cell: 9842054110

Mid & West Nepal

Allied Newspaper Distributor Pvt. Ltd., Kathmandu Ph: 4261948 / 4419466 Delhi M.L. & Sons Shivaji Stadium Complex Shaheed Bhagat Singh Marg, New Delhi-110001 Ph: 0091-01-32421262, 23362688 Darjeeling, Sanjana Limbu Kalimpong, Gangtok The Digital Den Top Floor, New Super Market, Darjeeling - 734101 Cell: 99323 - 85772 eMail:subbaangel@yahoo.com ADVERTISING & SUBSCRIPTIONS Kathmandu IMPRESSIONS Publishing Pvt.Ltd. Ph: 5544606, 5526040 email: market@spacesnepal.com Birgunj Kishore Shrestha, Hotel Kailash, Adarsha Nagar. Ph: 522384, 529984. email: hotelkailash@wlink.com.np Dharan/ Parbati Shrestha Itahari/ Naya Bazar, Dharan - 05 Biratnagar Ph: 025-5-21164/025-525118, Cell: 9842054110 SPACES is published six times a year at the address above. All rights are reserved in respect of articles, illustrations, photographs, etc. published in S P A C E S . 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.

LETTERS Inquiry

Subscriptions

I had booked a flat in Ambe Residency at Chabahil, Kathmandu. The number of the flat is E-3. It has been some time now and we are unaware as to when the project will be completed and when we be able to receive the flat. Is it possible for SPACES to find out about its progress ?

Himalaya College of Engineering (HCOE), affiliated to Tribhuvan University (TU), was established in June 2000 AD with an aim to provide quality education in engineering and produce qualified engineering graduates. The College has been conducting BE programmes of Institute of Engineering (IOE) and now that Bachelor of Architecture has also been launched, the college and students are interested to subscribe to your popular magazine. Could you kindly provide us the procedural details.

Ranjana Sharraf (amitsharraf@gmail.com)

Need PDF version At your earliest convenience, I would like to request a PDF version of the "Museums: Monuments for Masses" article from the May-June 2010 issue. Hope Stockton, VernerJohnson l MUSEUM ARCHITECTS & PLANNERS (hstockton@ vernerjohnson.com)

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Sagar Devkota, Himalaya College of Engineering (sagardevkota@ hotmail.com)

September-October 2010

For SUBSCRIPTIONS Call Pratima or Anish at: 01-5544606 / 01-5526040 Email: market@spacesnepal.com Kupondole, Lalitpur

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EDITORIAL This September / October 2010 Issue concludes the sixth year of SPACES. And what a way to end this sixth volume! We are proud to announce that the Society of Nepalese Architects (SONA) has officially collaborated with SPACES for a common objective – promotion of architecture and its allies! SPACES considers this collaboration to be a landmark in its history and a recognition of its relentless efforts to promote, inform and educate all those involved with ‘Art, Architecture & Design’. Henceforth, SONA and SPACES will draw on each other’s strengths towards this common objective, which we believe will benefit not only the fraternity but the society as a whole.

“SOCIETY OF NEPALESE ARCHITECTS COLLABORATES WITH SPACES.”

With this common objective in perspective, we felt that the first step would be to create a forum where we could gather on a regular basis and talk. Consequently, the program ‘Meet the Architect’ was formulated and with support from the Institute of Engineering, Pulchowk Campus, the first gathering was held at the seminar hall of its Architecture Block on 27 August 2010. The full house said it all, indicating

CONTRIBUTORS

Ar. Biresh Shah, a post graduate in Architecture Studies from Massachusetts Institute of Technology, is the Exe. Director of the architectural firm, Archiplan in Kathmandu. In the past 17 years, besides teaching at the Tribhuwan University, he has worked in New Delhi, Bombay, Boston, and Kathmandu, undertaking a wide range of projects in architecture, urban design, conservation and urban planning. (biresh.shah@gmail.com)

Sanjog Rai is the chief designer at Abstract Studios. A gravely misguided autodidact, he's dabbled in many things, including music and photography, and previously even worked as a columnist and film critic for The Kathmandu Post. His taste is gonzo, sometimes mirroring the films of the great surrealist directors, like Luis Buñuel, who sought to paint this subjective world as they saw fit. (barefootshepherd@ gmail.com)

that we were on the right track. Hence from now on, we will be holding interactions on a regular basis. If you are concerned on any relevant issue, or know of architects/ academicians/designers/ artists, who you think could share his/ her knowledge with us, then please do email (spacesnepal@gmail.com) or call (01-5544606), as this forum is for you and for your society. Another major announcement! We have collaborated with INSITE (www.insiteindia.in), the official publication of the Institute of Indian Interior Designers (IIID). Henceforth, SPACES and INSITE will be exchanging information and articles which are relevant to their readers, and which we hope will be a major link in the field of architecture and design between our two countries. Coming to the focus of this issue - within the last half century, Nepal has been exposed to a variety works by foreign architects. The fact that Nepal opened up to the outside world only after 1950 compelled the country to be dependent on the expertise of other developed countries, having practically no authority on major decisions. However, Nepal has come a long way since then, and as architect Biresh Shah writes in his analytical article, ‘The Architecture of Foreign Architects in Nepal’, it is definitely necessary to analyze these past works, not only to analyze where we stand, but also to focus on where we should head towards. The cover article is a dream project for any architect – The World Expo. The official website of Shanghai World Expo lists the first expo to have been held in London in 1851. That is more than 150 years ago! In terms of Nepal’s participation, the current one at Shanghai is its third, while the first was at Hanover, Germany (2000) and the second at Aichi, Japan (2005). Nepal no doubt has learnt the ropes from the two earlier participations since this third one seems bigger and better. Unfortunately, the importance of the participation, at least in the perspective of design, has been brought down to a mere money making venture. The Nepal Pavilion, a matter of such national importance and pride, was initiated through a tender bid from the government, when it should have been more of a national design competition. Objecting to this process, SONA, under the executive board led by its then President, Ar. Bibhuti Man Singh, made a few attempts to bring the matter to the authorities notice, but to no avail. The project went to the highest bidder........ Until the next issue..

September-October 2010

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September-October 2010

MESSAGE FROM SONA

EPALESE A

ITECTS

SOCIETY

ONA is pleased to inform all its members that SONA and SPACES have made a collaborative relationship for the common goal of both SONA and SPACES. I do believe that this collaboration will inspire the whole Architectural Fraternity to dedicate themselves in the common endeavour of creating Art and Science in Architecture for better and notable works of architecture through this unique platform of SPACES.

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The SONA-SPACES collaboration relationship may provide support to both Architects and SPACES in several ways, while staying in mutual understanding. While SONA will assist to collect design and write-up materials regarding the profession for publishing, the collaborative relationship would also work for conducting presentations and talk programs on contemporary Architectural practice as well as any other useful topic related to modern architecture and modern construction technology.

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ART - ARCHITECTURE - DESIGN

MEMORANDUM OF UNDERSTANDING between Society of Nepalese Architects (SONA) and Impressions Publishing Pvt. Ltd. August, 2010 The purpose of this Memorandum of Understanding (MOU) is to establish and define a collaborative relationship between Society of Nepalese Architects (SONA) and Impressions Publishing Pvt. Ltd., publisher of SPACES magazine as under: 1. Objective of the MOU: • To promote architecture and its allies. 2. On the part of Impressions Publishing Pvt. Ltd. a. Provide a wide spectrum of information in the field of Architecture and its related design fields (Interior/Engineering) and products (Materials /products) in its magazine SPACES. b. Assist / Organize programs which will fulfill the Objective of this MOU. 3. On the part of SONA a. Assist through all possible means to steer SPACES to meet the Objectives of this MOU, without being irresponsible nor unethical towards its own society, SONA. Signatories:

Ar. Swarup G. Koney y President, President Society of Nepalese allese es e sse e Architects Architec eccts ts Kathmandu, Nepal epal epa pal pa p all a

Er. Uday y Sunder e Shrestha Editor / Publisher SPACES SPACES / Impressions Publishing Publishin Pvt. Ltd. Lalitpur, Lalitpur, Nepal

The true advantage of this collaboration would be to provide a consolidated platform, where the architectural fraternity can share and exchange their views on architectural practice and modern construction technology. I am very much hopeful that we will be successful in achieving this common goal. SONA would like to specially thank Er. Uday Sunder Shrestha, Editor of SPACES and his Team for their continuous support to bring the creations of Architects into the public platform through the magazine. Besides this, SPACES has also been trying to research and document the hidden architectural treasure of the old ‘Malla’ era, as well as other ethnic design and imported European Architecture of the Rana regime. Actually SPACES has been playing a vital role in the architectural field by documenting such the creation of Architects and also giving value to the traditional architecture of Nepal. On behalf of the Society of Nepalese Architects (SONA), I wish a very grand success to this SONA & SPACES Collabration.

Ar. Swarup G. Koney (President) SOCIETY OF NEPALESE ARCHITECTS (SONA) Thapathali, Kathmandu

September-October 2010

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September-October 2010

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September-October 2010

NEWS AND HAPPENINGS Kala-Punja II Kathmandu, 8 July 2010

is instituted by Kuntala Maskey, wife of the President of SOMA, Karna Maskey, as a mark of respect to his revered teacher, Lain Singh Bandel.

After their first exhibition The paintings at the exhibition in 2008, members of the among other members, included Society of Modern Art (SOMA) those by Lain Singh Bangdel, collectively presented their art works at the Nepal Art Council in Kathmandu. The exhibition, inaugurated by the Minister of Information and Communication, Mr. Shankar Pokharel, had an added flavour this time - two senior artists, Kali Das Shrestha and Dil Bahadur Chitrakar were felicitated with the Bangdel Memorial Award. The award carrying a token money of Nrs. 10,000 each, besides a letter of appreciation

Karna Maskey, Govind Lal Singh Dangol, Shanker Raj Singh Suwal, Rama Raj Maskey, Chini kazi Tamrakar, Shankar Nath Rimal and Syam Lal Shrestha, SOMA is a society formed by artists who, at one time or the other, had been under the tutelage of Bangdel.

was the turn of a premium quality interior emulsion with a strong USP relevant to the dormant need of all consumers, the Berger Rangoli Easy Clean Paints. The launch of both these products has provided an in-and-out sheen to walls.

Berger launches Rangoli Easy Clean Kathmandu, 16 July 2010

On July 16 2010, a Press Meet was organized at Hotel de la’ Annapurna by Berger Jenson and Nicholson(Nepal) Pvt. Ltd, in interest of bringing a new resistant shade to interiors of Nepali homes. With this aim, ‘Berger Rangoli Easy Clean’ emulsion paint was launched at Hyatt Regency on July 11 2010, and a Press Meet was organized thereafter. It was only 3 months prior that they launched the Weather Coat All Guard, a premium exterior emulsion, and now it

‘Berger Rangoli Easy Clean’ is a product which is formulated with cross-linking polymers (CLIP technology) and micro-fined pigments. The essence of these ingredients ensures smooth flow, dispersion, anti-fungal and anti- fading properties with minimum porosity. These properties also exhibit high wash-ability and ease in maintenance. Berger Rangoli Easy Clean also promises unmatched luxurious velvet sheen and fresh look for years, as the stains on walls can be readily removed. It avails more than 5000 shades, or any other shade that their consumers can think of.

Manager of the company, ‘Berger Rangoli Easy Clean’ would be 10 percent cheaper than other high quality emulsions produced by the company. With a sprawl of its products in the Nepali market in the last ten years, Berger Jenson and Nicholson is the second largest paint manufacturer in Nepal, with two factories in Bhaktapur and Hetauda. The company has nine major headquarters, four inside and five outside Kathmandu valley, and a number of dealers in each city to reach its consumers. Shortly after introduction of Berger Rangoli Easy Clean, the company launched a new promotional scheme to its consumers on Aug 22nd , ‘Rangey Haat Offer’, which is valid from August 23rd until November 16th, 2010. Earlier, Berger had celebrated schemes like Bhagya Rangaaun, Dhan-tanaatan and Rung-Fu in previous years.

According to Mr. Manoj Mishra, Marketing September-October 2010

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NEWS and HAPPENINGS

Engineers Day 19 July 2010, Kathmandu Presided by the President of NEA, Er. Hari Om Srivastav, the third ‘Engineers Day 2010’ was celebrated on 19 July, 2010, with a series of programs, ending with a dinner at the Nepal Academy Hall in Kathmandu. Accordingly in the first half of the program, and to specially mark the event, four engineers who had contributed significantly to this field were honoured in four different categories: Youth Professional Engineer Award, Best Entrepreneur Engineer Award, Martyr Nawaraj Bista Award, and Life Time Achievement Award. The engineers honoured in the four categories were Anil Shakya, Lek Bahdur Gurung, Badri Prasad Dhungel and Ishwor Raj Onta respectively. In the second half of the program, technical sessions were conducted under which some of the major ongoing engineering projects in the country were presented and discussed upon. The papers presented were: ‘Status and Problems of Melamchi Project’ by Melamchi Project, ‘Local Infrastructure Development Initiatives and Challenges’ by DoLiDar, ‘Achievement and Sustainability of Small Town Water Supply and Sanitation Sector Project’ by Small

In quest of integration - A VOYAGE Kathmandu , 21 July 2010

Town, ‘In Road Network Development’ by Department of Roads, ‘Targeted Intervention and Pro-poor Infrastructure Development’ by Poverty Alleviation Fund, and Upper Tamakoshi Hydropower Project.

“Subtle variation of the natural phenomena and the ambiguous quality of nature attracts my inner soul,” says Sagar Manandhar, a Post Graduate gold medallist in Fine Art from Benares Hindu University, at his first solo exhibition in Kathmandu. Sagar’s ‘Voyage, an endless journey’, canvassing his experiences via acrylic and mixed media were an inspiration of synchronization of colours, textural values and linear continuation. The paintings were illustrations of city landscape - the difference, the similarity and in-between of two cities - Kathmandu and Varanasi. Sagar also explain his

September-October 2010

emotions in his paintings. He visualizes different festivals, multicoloured cultural rituals, sounds and the architonic structure of the two cities. With a display of as many as 57 paintings, 25 of which were painted after returning back to Kathmandu, Sagar progresses from concrete and rigid overview in his initial works, to exploring the vibrant colours and their forms in his final compositions. The paintings are aerial views of city landscapes, but however not confined to a frame - which best exemplifies Sagar’s vision as the artist he aspires to become.

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NEWS and HAPPENINGS

Portrait Expression

Varsha

Kathmandu, 2 August 2010

Pramila Bajracharaya Shakya, one of the members of the Kasthamandap Art Studio, held her 8th solo exhibition at the Srijana Contemporary Art Gallery on the 2nd August 2010. Although her earlier exhibition ‘My Collection’ were more of landscape abstracts, the exhibition this time focused on women feelings in both joy and sorrow. Pramila is a quiet, soft spoken girl and her paintings

Kathmandu, 23 July 2010

With the onset of monsoon, Nepal Academy of Fine Arts (NAFA) organised a Women Art Exhibition entitled ‘Varsha’ with 112 female painters and sculptors, who displayed their art from July 23 to August 7, 2010. The event, as its title suggested, celebrated art combined with womanhood. The exhibition aimed on focusing folk art, and the participants were from different parts of the country exhibiting the essence of their folk art and culture. The major node of exhibition was the sample of ‘Punjya’, the Newari folk art, and Mithila art; which made the exhibition different from what is seen otherwise. Other important highlights of ‘Varsha’ were the famous ‘Paubha art’, and other contemporary realistic and abstract art and sculptures.

reflect the softness as she experiments with expressions of a single slit eyed women, colour, cows and cacti – to bring out her moods and feelings of joy or sorrow of the moment; the sorrow probably reflecting the recent loss of her father.

SONA Goes Green Kathmandu, 10 August 2010

Society of Nepalese Architects (SONA) organized a conference on Green Leed Certification and other related issues on Tuesday, 10th of August 2010. The conference which was attended by many leading architects of Nepal saw a presentation by Mr. Pramod Pandey, from Mahaphant Group, Thailand, which focused on green and environment friendly construction technology. Mr. Pandey also presented related research on the production/ installation/

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maintenance and waste management of materials and technology, all important aspects for the assessment of any product as ‘green’. In the same note, the program highlighted SHERA boards, an environment friendly product of Mahaphant Group. These fibre-cement boards, which can be used for cladding as well as partitions are, claims to be weatherproof, fire and termite resistant, flexible and durable.

September-October 2010

The program also included a presentation by Mr. Binod Shankar Pandey on rain water along with remarks from Mr. Niruman Shakya, Ambassador of Green, SONA. Also at the program, a

collaboration between Society of Nepalese Architects (SONA) and SPACES for the promotion of architecture was officially announced by Ar. Debesh Bhattarai, General Secretary of SONA.

NEWS and HAPPENINGS

Kathmandu Valley Down The Ages

Hari Prasad Sharma, a 74-year-old artist, born to a Brahmin family amidst a Newar community witnessed the traditional setup of Kathmandu Valley before it entered the modern era of art and architecture. The artist had deep impressions

of the pictures of his community, knowledge of its history and culture, which he canvassed in oil and water colours. The artist portrayed ancient and medieval Kathmandu, the Golden Era of culture, history, architecture and lifestyle, in his paintings; as a documentation for present as well as future of art and architecture in Nepal.The exhibition of the realistic paintings, categorized under History, Culture and Religion section, housed a heritage walk to the newer generations of artists who knew the words but did not have the picture; who knew the Valley and now knew its poem.

September-October 2010

Kathmandu, 10 August 2010

Art lovers of the post modern era were fortuitous to have seen a collection of 58 paintings exhibited by artist Hari Prasad Sharma in Nepal Art Council, from August 6th to August 28th 2010, titled â&#x20AC;&#x2DC;Kathmandu Valley Down The Agesâ&#x20AC;&#x2122;, which was jointly organized by Aarohan-Gurukul and Nepal Heritage Society.

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September-October 2010

NEWS and HAPPENINGS

Architect In Focus: Sachin Baral, MUD Architecture is: Space Matrix – Context – Volumetric Expressions Designing is: Thinking with the User

IOE, SONA & SPACES Collaborates for ‘Meet The Architect-1’ Lalitpur, 27 August 2010

The Architecture Department of the Institute of Engineering (IOE), Society of Nepalese Architects (SONA) and SPACES recently collaborated to create a forum to meet on a regular basis to conduct presentations, talks, or whatsoever that would be of interest to the architectural fraternity and thereby promote architecture and its allies. Accordingly, on Friday, August 27th 2010, the first of output of this collaboration was an informal interaction under the theme, ‘Meet the Architect’, at the seminar hall of the Architecture Block, IOE, Pulchowk Campus. The participants were professors of IOE, members of SONA, professional architects, students of architecture and few other interested people. This program, also being the official declaration of the collaboration between IOE, SONA and SPACES, had the young architect, Sachin Baral, presenting his works. Architect Sachin Baral, besides being an academician, is a 38-year-old enthusiast of architecture having a diverse experience in architectural practice. This contextual

architect practices his architectural ethics with Axis Design Consultants (P) Ltd, Kupondole as Project Architect, and at the same time shares his academician passion with students of architecture as

open for interaction with the architect. “Most of the times, and as designs evolve from the site itself, a name clicks when I initiate my design and this often becomes my inspiration,’ explains Sachin on the specific

thesis supervisor in Kathmandu Engineering College. After the welcome address by Ar. Swarup G. Koney, President of SONA, the program started with a thirty minute overview of Ar. Baral’s design works consisting of residences, institutions, retail architecture, and commercial buildings, both in Nepal as well as Australia, after which the floor was

names given to his designs. The names, Cave, Glass Box, Tube, Rotato, Cubist, Jewel, concisely summarizes his design concept (the Cave Glassier was featured earlier featured in SPACES – Jan/Feb 2008) Another interesting project that drew the attention was the Balaju Water Park - an ‘ambitious project,’ as Baral

September-October 2010

quotes. Incorporating and around Baisdhara at Balaju, the project design was initiated in 2005, but is still in the proposal stage as it is yet to obtain the required official approval. Architect Baral obtained his bachelor’s degree from Shivaji University, Maharashtra, India and his Masters in Urban Design from University of Hong Kong. With such an academic background, it is but natural

that his designs reflect the modern contemporary style, although initially he did foray into introducing Nepali traditional elements into the design, “Its still a long way to go, and I would want to learn other prospects of architecture. It would be really interesting.” (Ar. Sachin Baral can be reached at: 9849375980; sachinbaral@ hotmail.com)

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ART

When Art Becomes Therapy Text: Ar. Swati Pujari

IMAGINE A WORLD WHERE CREATIVITY TACKLES ALL TROUBLES. IMAGINE A WORLD WHERE DEDICATION TOWARDS AN ART FORM CAN NOT ONLY PROVIDE AN OUTLET AND HELP YOU DEAL WITH YOUR PAST BUT CAN ALSO PAVE A WAY FOR YOUR FUTURE. This is precisely the kind of world Esther Benjamins Trust is trying to create for the three hundred or so Nepali girls and boys rescued from circuses and juvenile homes across India, along with street children and vulnerable siblings of the trafficked victims. Esther Benjamins Trust (EBT) was established in 1999 by Philip Holmes, shortly after his wife, Esther Benjamins took her own life (citing childlessness as the reason in her dying note). Esther Benjamins Trust was established in her memory, especially in an attempt to keep her dream alive – that of helping innocent children. EBT focuses on the vulnerable and victimized children of Nepal, a country both Esther and Philip had never visited, but were fond of as they lived and worked amongst Gurkha families, during Philip’s career as a Dental Officer in the British Army.

Later the Trust focused on the lost children of Nepal, who were either wandering into the other side of the border and without any identity, or locked up in one of the juvenile detention camps of India. Today, EBT has rescued more than 300 children, mostly from India. But the children living in the juvenile correction centres in Nepal, along with their convicted parents were the next to be rescued. Other groups that the trust focuses on are the street children in Nepal and the hearing impaired school leavers from the ‘School for the Deaf’ at Bhairahawa.

Moving Ahead – The Rehabilitation

The Esther Benjamins Trust maintains two refuges, one at Godawari The Story of the Rescued and the other at Bhairahawa. But when Philip initially moved to Bhairahawa, a city near the Indian border, the children from India and rescued trafficked Nepali children from Indian circuses. Children are rescued they reach from many deprived villages of Nepal, especially along the border, a ‘Half-Way House’ at slaved in circuses across India, where poor families often send their Hetauda, where they are children, binding them in signed contracts. Once they reach the provided with primary circus their entire life takes a dramatic turn; any education they training and education, a received back home is replaced by rigorous training and dangerous preliminary preparation performances. for re-entering society. Philip Holmes with rescued children September-October 2010

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ART

The younger children and siblings of the trafficked victims, re-enter school through the efforts of Esther Benjamins Trust. Growing up, these children continue with their education, and Esther Benjamins Trust continues to support them. But for some children, who are much older when they return, the story is completely different. Many of them miss their education for years and are hence not comfortable rejoining schools. For many of them, their only hope for independency is through the vocational trainings provided by EBT. According to Ms. Kamana K.C. Shah, Promotions Officer at EBT, the older children were given many trainings, from tailoring to making beaded jewellery, but the most sustainable career that they were able to create, was through ‘Himalayan Mosaics’.

Making a Mosaic ‘Himalayan Mosaics’ is fast becoming a commonly heard phenomenon across Kathmandu. These mosaics, made by the rescued victim turned artists of EBT, are created using cut ceramic tiles arranged in different artistic patterns. Most of the patterns are nature inspired and that of religious symbols. The most popular patterns amongst these are that of animals and birds, especially with foreign tourists, whereas the local crowd seems to be more attracted to religious symbols like ‘Om’, ‘Buddha Eyes’, Ganesha’, etc. The Buddha Eyes or The Eyes of the Swayambhu is a popular piece amongst the visitors as well. The counterpart of Himalayan Mosaics in the Terai, Bhairahawa Mosaics, creates more local designs like ‘The Rickshaw Man’, which is one of the most popular patterns from Bhairahawa. Recent designs from Himalayan Mosaics are the ‘Animal Eyes’ and the eight auspicious signs or the ‘Astamangala’. The process of making a mosaic begins with ply boards, which are cut into required sizes and delivered at the workshops. Here the boards are selected according to the design, which is traced or stamped onto them. Then comes the meticulous job of cutting the

Stamping the pattern on to the board

Artist at the Himalayan Mosaic makes the eye of the tiger

Artists at the Godawari Workshop with their art displayed on the wall

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ceramic tiles into required shapes, which are then ground for an immaculate finish before pasting on the ply boards. All instruments used are simple hand tools, like cutters, filers, sand paper, etc. Once the design is completed, it is left to dry, following which the near ready mosaic is grouted using grey or white cement paste. This grout not only covers any gaps that were created during the process, but also firmly secures the tiles. Finally the piece is cleaned and hangers are added in the ply board, making the mosaic ready to go on a wall. The products of Himalayan Mosaics are available in a variety of sizes; the most popular amongst them are 15cm X 15cm and 32cm X 32cm. Most of these mosaics are purchased as souvenirs or as decorative art, and are more appealing in smaller sizes, especially with the tourists. The normal price for a popular souvenir sized mosaic ranges from Rs. 1200 to Rs. 5000. Another popular mosaic is the commissioned name plate; the normal size of this piece is 7cm X 22cm (subject to change depending on the length of the name) and costs between Rs. 1400 – Rs. 1500. The cost for raw material for these mosaics normally accounts for 50% of the selling price and the other 50% is remunerated to the artist. Some of the more elaborate works from EBT and the Himalayan Mosaics are the 3m X 2m commissioned mosaics of ‘Jungle Scene’ and ‘Wedding’ which can be seen on the walls of Courtyard Hotel, Thamel, and Kittney School, Taukhel, Godawari respectively.

Himalayn Mosaics products are available at: Melange Home Incentives, Durbar Marg; Courtyard Hotel, Thamel; Tibet Guest House, Chhetrapati, Thamel; Maruni Sanctury Lodge, Chitwan; Bakery Café, Pulchowk and Kathmandu Contemporary Art Center, Jhamsikhel, Pulchowk.

Half way through making the mosaic

An Artist demonstrates the process of Grouting

Tools and materials used in making a mosaic

September-October 2010

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ARCHITECTURE “THE HORROR VISION IN THE CENTRAL DIAGRAM OF A LAND CONSUMING CENTRAL OCTOPUS DESTROYING THE VALUABLE AGRICULTURAL LANDS HAS MEANWHILE AS I UNDERSTAND BECOME ALMOST A REALITY.” -Carl Pruscha reflecting on his research of Kathmandu Valley in the early 1970's

Past Situation: The towns and settlements in harmony with environment credit: Franz Hubmann

Present Trend: Fingers of a central urban octopus growing to endanger agricultural land and historic settlements

Carl Pruscha

It was in the 1660s when the first Austrian visitor ‘Johannes Grueber’ came to Nepal. His reports in Europe are believed to be the first eyewitness accounts of our country. His gift to King Pratap Malla is said to have been a telescope which probably was the first piece of western technology in Nepal. It was a very important beginning for Nepal to look beyond its boundaries and search for new developments, new exposure and new technologies existing in the other parts of the world.

Text: Ar. Bansri Pandey Images: Carl Pruscha

In 1962, Harvard University Professor ‘Eduard Sekler’ was travelling through India studying urban areas and the rapid changes brought upon them by modernization. With an advice of a friend, he came to Nepal during his visit to explore the country’s unique and naturally divine land. Recognizing the qualities of an intact urban form, he realized a great need for a planned development and preservation of the historic essence of the place. He took many memories with him back to Europe which inspired him to promote what he saw in Nepal and what was possible for its future.

The Master Plan of Kathmandu Valley In the early 1970s, the United Nations Development Programme (UNDP) funded a planning office in Nepal and the Austrian architect Carl Pruscha, a former student of Sekler, was

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Future alternative: Multi-nucleated growth pattern. Historic settlements and proposed new settlements in harmony with natural environment

selected to lead it. And this way, after about 300 years of Grueber’s visit, once again, Nepal and Austria began a new relationship that is still fresh in history. Carl Pruscha, a physical planner and an architect in the services of UNDP, engaged himself in physical regional planning of Nepal on a nationwide scale. His primary involvement was for the development of the master plan of Kathmandu valley and to help Nepal in preparing a detailed inventory of the valley’s monuments and cultural sites. When the several years of survey was completed, the inventory had about 888 number of sacred places identified. Upon completion of research and gathering the material, Pruscha requested assistance from UNESCO, the Rockfeller Foundation and the Austrian Government to have it published in two volumes to become the basis for UNESCOs declaration of Kathmandu Valley as a World heritage site. This two-volume government publication was then entitled ‘Kathmandu Valley: Preservation of the Physical Environment and Cultural Heritage, a Protective Inventory’. While preparing this master inventory, he consulted his scholarly friend and mentor, Professor Sekler, who had visited Nepal frequently and had cultivated a deep sense of attachment with Kathmandu valley culture. Sekler eventually became associated with UNESCO to prepare the Master Plan for the implementation of the project, which was called ‘Conservation Master Plan of the Cultural Heritage in the Kathmandu Valley’.

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Published in 1977, this basic document is still the blueprint for the government’s efforts in heritage conservation. This Master Plan has helped to nominate seven historical sites of the Kathmandu Valley to UNESCO’s World Heritage List. Kathmandu Valley – the capital region of Nepal, covering about 15 square miles – is the area where for the first time an attempt had been made to develop a comprehensive development under the co-ordinated concept of Regional Physical Planning. After his analysis of the valley, Pruscha, believed that the problems of the valley are physical rather than social and should be relatively easy to solve with sufficient financial and technical assistance. Thus, in order to establish a sound framework and direction for the future growth of the Valley, various plans were considered and the proposals for a Multi-Nucleated Development were decided on as most appropriate. Urbanization and population distribution, transportation and infrastructure, preservation of physical environment and cultural heritage, are the three main pillars of his recommended development policy for the valley. In his concept, he recommended the urban complex of Kathmandu-Patan to be guided in its growth to absorb new population in acceptable standards of density. He suggested revitalizing the Bhadgaon area through planned development and settlement expansion to the south and southwest. He envisioned the settlements as eventually circling the entire valley along the slopes of the emerging foothills. Considering that transport arteries are often the carriers of unwanted urban sprawl in the form of ribbon development, he also recommended a combined action of the proposed Land use and Transportation policy so that it is possible to utilize these arteries in a directed manner to guide the urban growth.

The CEDA Building His design for the CEDA building was an attempt to blend physical, cultural and spiritual landscape of the valley while maintaining its contemporary expression. Using the existing terrace landscape, he created an eight story building which merged with the site so well that it looks like a continuation of man-made nature into man-made building. His choice for the building material narrowed down to bricks as it was a predominant building material since many centuries, giving Kathmandu valley its unique position among all Asian towns. Structural Engineer Mr. Zenon Zielinsky who was then working for Ford Foundation in Calcutta, contributed by designing a special prefabrication system for concrete panels that replaced the use of wood for ceilings and floors.

“More difficult to me as a foreigner was the design’s integration into the spiritual network of Nepal’s culture,” explains Pruscha. Taking an inspiration from the geometry of the Mandala with its circle and its square, Pruscha designed the floor plan to indicate its abstract symbol. The administrative part is designed as a square while the circle was reserved for the conference space. Since this is not a pure spiritual building, the circle is designed as an open one. It is placed axially in direction to Swayambhu from where its spiritual connection may be established. The third complex of the building was given a triangular form as a mediator between square and circle. Its function was to provide the living quarters for the invitees.

As a first achievement in attracting local leaders to express themselves with their problems in front of the national panchayat, Pruscha and his team had proposed to invite them to the valley and provide basic instruction courses, seminars and workshops. Therefore, he had requested the Ford Foundation for aid to construct a suitable building to conduct such activities. Later, when the Chairman of the National Planning Commission asked Pruscha to prepare designs for this building, he selected a site on the foothills of Kirtipur at the edge of the rice-fields. Today, we know this building as CEDA building located inside Tribhuvan University.

September-October 2010

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The Tara Gaon Hostel

Later, he was also asked by the Government to prepare a plan for the development of Lumbini. But after visiting Lumbini, he realized that it was still an untouched site almost unchanged since the days of Buddha. It was a place of such sacredness that he felt overburdened to touch it. Thus, he requested UNESCO to ask the architect Kenzo Tange, whom he knew from his studies at Harvard to serve as their consultant. Tange visited the site and invited him to join his planning team in Tokyo, where both of them collaborated for several months. Unfortunately none of the proposals became implemented.

During 1971, the chairwoman of Nepal Women’s Organization was planning to build a small village with little bungalows for foreign visitors, preferably young researchers or artists who were staying several weeks or months in the valley for professional reasons. Carl Pruscha convinced her to choose a special house type for temporary usage which became the standard unit for the Taragaon Hostel in Boudha, Kathamndu. As a result, a central small plaza was created with the cluster of 16 small units grouped around a communal building, for which the brick vault commonly used for pilgrims’ lodging was selected instead of the pitched roofs commonly found in the valley. The building was constructed outside of the large stupa of Boudha, one of the most important centres of the northern Lamaism. Be it Taragaon hostel or CEDA, in most of the buildings he designed during his stay in Nepal, Pruscha was continuously experimenting to evolve a new form of architecture using bricks. Gradually, he was successful to prove that it was truly possible to build traditional and modern both at the same time. All these projects, for which he did not charge any fees as an architect, were actually not part of his obligations to the United Nations. But for him, they were important examples to demonstrate practically what he was to talk and propose as the adviser in physical planning.

Thanks to Pruscha, apart from his own contributions to Nepal he also proposed many personalities of outstanding reputation like Sekler, Tange, Kahn, Zielinsky, who otherwise would not have been put in the position to contribute in Nepal.

Beyond Himalayan Vernacular After spending about ten years in Nepal, Carl went back to Vienna where he served his following ten years teaching architecture at the Academy of fine arts. Another twelve years he served as the Rector of the University of Arts. Upon retirement, he was invited by the Getty Institute in Los Angeles as a head of Studio for Habitat, Environment and Conservation research scholar to spend six months there. The outcome of this research was the publication titled as ‘Himalayan Vernacular’. He is also an honorary member of the Senate of the Academy of fine arts, an honorary professor of the Technical University, Vienna and the chairman of the Austrian committee of the arts. “More than any of the other arts, Architecture is place-specific. This is why Nepal has been so crucial in the development of Carl Pruscha...Like birds that migrate every winter from Siberia to North India, and then back again, some instinct brought him out to Kathmandu. There he came to life. Perhaps it was because he was young and full of creative energy, but somehow his work in Nepal is truly extraordinary, producing in his architecture a sequence of brooding monumental images, as mythic and enigmatic as the Himalayan ranges that lie all around.” mentions Charles Correa in the book ‘Himalayan Vernacular’. Pruscha’s contributions in Nepal were more like the telescope of Greuber. They gave Nepal, a new vision to see beyond its existing boundaries. It was a fresh new beginning for the country to understand and appreciate what a planned regional development can do for a nation.

Tara Gaon Hostel Master Plan

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September-October 2010

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Tadao Ando's Siddhartha Children and Women Hospital at Butwal

A Dialogue between

Form and Function O

The hospital can be considered to be the brain child of Dr. Rameshwor Pokharel, Pediatric Surgeon and the former President of Association of Medical Doctors of Asia (AMDA) – Nepal. During his tenure as president, collaboration between AMDA–Nepal ne of the most commonly known phrases and AMDA–International (based at Okayama, in architectural vocabulary is 'Form and Japan) developed to form the Siddhartha Children Function.' Coined by Architect Louis and Women Hospital, Butwal. When asked about Sullivan, this dictum was associated with modern the initiation of the project, Dr. Pokharel states that architecture, especially in case of industrial in 1995 (when the project was conceptualized), design. Through time, the expression itself has there were more 45,000 deaths per year in become debatable, with newer architectural children below five years of age, besides 130 expressions such as ‘De-Constructivism’, creating neonatal deaths (within 28 days of birth) per blends between form and function which, to say 1000 births. As a paediatric surgeon these were the very least, are completely non-industrial. Such not the kind of statistics he was comfortable with. notions certainly challenge the prevailing dictum With a notion to help change these statistics, and although these non-industrial expressions are Dr. Pokharel prepared a proposal for a children’s gaining momentum, it is note-worthy how many hospital in Nepal, and the collaboration with prominent modernists still remain true to formal AMDA-International provided an opportunity for its geometry, a key element in function oriented materialization. industrial designs. One such architect is Tadao Ando, a Japanese Architect and the winner of the This opportunity also presented itself with another 1995 Pritzker Architecture Prize. prospect. The collaboration was initiated at a program organized by Mainichi newspaper in Ando’s first building in Nepal was initiated shortly honour of AMDA; the newspaper eventually funded after he won the Pritzker Prize. The Siddhartha the project on behalf of its readers. Children and Women Hospital at Butwal was designed and constructed with support from When the initial ideas were settled, Tadao Ando a popular Japanese newspaper ‘Mainichi’. It is was approached for the design. He was interested said that the newspaper initiated this support in the proposal as this would be his first hospital after being impressed by the efforts of Nepalese building and also his first building in Nepal; he doctors in the rescue operation of 1995 Kobe worked pro bono for the project. The hospital Earthquake, a cause to which Ando had donated project initiated in 1995 was inaugurated on 2nd his prize money from Pritzker. November 1998.

Text: Ar. Swati Pujari

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Project Initiation

September-October 2010

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Form and Function The hospital complex is a 10 bigha forest land (67725 sq m) and the main building is located to the right – off the main entry axis. The project is constructed in three phases; the first phase – Out Patient Department (OPD), was exclusively designed by Tadao Ando. The initial sketch prepared by Ando defined the volume of the two storied OPD and the second phase of the project, a single storied Paediatric Ward. Details of the buildings including the interior arrangements were developed by the local consultant, Architect Kishor Thapa, along with the associate architects at Tadao Ando Architects and Associates. The second phase was designed by Kishor Thapa and was approved by Ando before the commencement of construction; currently the third instalment – the Maternity Ward, designed by Kishor Thapa and Mira Gyawali, is currently waiting for concurrence from Tadao Ando.

Functionally the building remains dependent on artificial light and forced ventilation, both of which are not proper, and with the lack of natural light and ventilation the environment only degrades. A surprising revelation in the process of designing this building comes as the fact that Tadao Ando never visited the site before or during the design process, which in fact explains a lot. The built form, balanced and pure as it may be, is completely isolated from the rest of the environment, and yet most of Tadao Ando’s works have an interesting interplay with the outside, especially considering the daylight.

The built volume is an hierarchical interplay between multiple cuboids, both solid and voids bound by surfaces. A prominent cubical volume, consisting of the ramps, intersects the main body at a sharp angle, creating an emphasis on the master-plan. The vertical dominance, on the other hand, is created at the back facade of the building with a towering cuboid, flanked by two pseudo cuboids of the main block on either side. Unlike most of Ando’s previous works, the Siddhartha Children and Women Hospital is not constructed in exposed concrete but rather exposed brick, which is more typical in the local environment. The prominent faces of the building are blank and un-interrupted, appealing to the viewer with its purity in form, by its clear lines and sharp edges. Windows are clearly a rarity in these facades. Yet as one moves into the interiors of the hospital, the clarity and balance of the outside is comfortably ignored. It is perhaps expected for a hospital to have a certain sense of chaos, but the chaos should clearly be a matter of occupation rather than that of arrangement. Much of the spaces are re-arranged according to the growing requirements and these spaces now portray the sense of a make-shift arrangement during some calamity. This sense is further highlighted by the dim lighting and the lack of ventilation, owing to the scarcity of windows and ventilations in the built form.

The built volume is an hierarchical interplay between multiple cuboids, both solid and voids bound by surfaces.

Ideologically a modern building would be equipped with all fundamental modern amenities, which give these modern buildings the luxury to create isolation. Unfortunately for the Siddhartha Children and Women Hospital, modernism comes only in the form and not so much in the function. September-October 2010

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However in the extreme climatic conditions of Butwal, the presence of daylight as well as natural ventilation have not been given due importance. These climatic problems are further stressed by Architect Kishor Thapa, as he explains the complexity in pouring concrete during peak summer months, when the reinforcement would heat up to such an extent that they had to stop the pouring of concrete.

Ar. Kishore Thapa with Ar. Tadao Ando

The shape of the hospital building is based on an extremely simple, rectangular form. In respect of construction method or materials, our possibilities were limited due to difficulties of cost issues and availability of local technology. For this reason, the Siddhartha Children and Women Hospital (SCWH) became a facility that has a slightly different expression from the buildings I have completed so far. The exterior walls are made of locally manufactured red brick; the interior is covered with mortar and finished with white paint that gives bright and clean impression to the space. A colonnade is designed on the west façade. Windows behind this colonnade provide shelter from the strong sunshine and create a comfortable inner environment for the patients and visitors. All spaces that are for children (lobby, medical examination rooms, inpatients and outpatients hospital wing) are consecutive and organized along the colonnade. Realizing openness and brightness that is appropriate for the local climate, was one of the main themes of the design. The entire building process - placing the concrete, piling the brick, plastering and painting the walls - was carried out by the unified power of local residents. - Tadao Ando Architects and Associates

Tadao Ando, a self educated architect and one of the most renowned Japanese architects of all times, established his firm, Tadao Ando and Associates in 1969. A few of his representative works are the Rokko Housing I (1983), II (1993), III (1999) Kobe, Hyogo; Church of the Light (1989), Ibaraki, Osaka, Pulitzer Foundation for the Arts (2001), St. Louis, U.S.A., Modern Art Museum of Fort Worth (2002), U.S.A.

Key Players in the Design/ Construction of Siddhartha Children and Women Hospital, Butwal: Architect: Tadao Ando Architects and Associates, www.tadao-ando.com Local Consultant, including detailing and interiors: Architect Kishor Thapa, k_thapa413655@yahoo.com Architectural Assistance: Architect Mira Gyawali Structural Consult: Engineer Saroj Karki Electrical Consult: Engineer Arjun Dhungana Sanitary Consult: Engineer Shyan Amatya Construction: CE Constructions Credits: Interview with Architect Kishor Thapa, Secretary, Ministry of Tourism and Civil Aviation Interview with Dr. Binod Parajuli, Director, Siddhartha Children and Women Hospital Telephonic Interview with Dr. Rameshwor Pokharel, Paediatric Surgeon, Teaching Hospital, Co-ordinator, AMDA Mechi Hospital, and former President, AMDA- NEPAL Drawings and Mr. Tadao Ando’s Statement provided by – Ar. Mira Gyawali, Department of Urban Development and Building Construction

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When asked about these changes, Dr. Binod Parajuli, Director, Siddhartha Children and Women Hospital, explains that these changes are made due to the needs, yet he does not believe that any of these changes are in fact drastic. The hospital management has been advised not to make any changes in the outside of the building but they are permitted to change the interior as per their need. He also comments that as a user, he does not feel It is noteworthy here that the building is user friendly. though the local context was This issue is also stressed by prioritized in the perspective of Dr. Pokharel, when he explains using exposed brick instead of how his comments on the concrete, the local counterparts feasibility of the design were not in the project failed to emphasize very well received initially. Yet and give due importance to the he clarified himself saying that local climatic conditions. a hospital needs to be doctor based and nurse based, where The problem also lies in the the doctors and nurses should fact that much of the original be able to reach every part of the purpose of different spaces hospital within three minutes as have been distorted to fix the human life can be saved within growing needs. Yet the hospital three minutes, and not more. infrastructure has not been It was then that they received able to grow at the same pace permission to change the as their requirements. Many interiors, if required. arrangements have been made that not only disturb the building Design and Reality but also the built environment. The Siddhartha Children and Essential lobby and waiting Women Hospital is an example of spaces, which could serve as a breathing space in such a heavily segregation between form and function, and between design chaotic environment, are now and reality. Much of what was reused for patient observation and partitions have been added designed in the initial stages, especially in terms of internal to create more divisions in space, perhaps for multiple use. planning, was eventually not used on location. In addition, the built form clashes with the use, the lack of required amenities only contribute to this chaos. But one thing is certain, at the Siddhartha Children and Women Hospital, one cannot be clear whether the form follows the function or if it is the other way around, and perhaps the dictum shall always be put to debate. Unfortunately for the hospital though, the form and the function do not contribute to the most fundamental of all architectural dictums – that of complimenting each other.

September-October 2010

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September-October 2010

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WORLD EXPO 2010 SHANGHAI CHINA, SAID TO BE THE BIGGEST GLOBAL EXPO THAT HAS EVER BEEN STAGED, RUNS FROM MAY 1St TILL OCT. 31St, COSTING AN ESTIMATED $45 BILLION WITH A PARTICIPATION OF OVER 242 COUNTRIES.

Shanghai World Expo 2010 .....the world is a stage Text: Ar. Sarosh Pradhan Images: SP & MP

The detailed scale model of Shanghai city at Shanghai's Urban Planning Museum.

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The expo’s theme ‘Better City, Better Life’ resonates louder as one scans through Shanghai’s Urban Planning Museum - a must see museum in the city, even before entering the Expo. If America’s thinking was ‘Xtra-large size’ of the West, China seems to mix a similar thinking with the cultural undertone of the east. The Huangpo river-side development, zoning and traffic management and the world class airport are the tip of the iceberg that unearths a city trying to come to terms with the high energy it possesses. It also spells out the infrastructural background that is necessary to attract an international event. The sight of a detailed scaled model of Shanghai city gives you an insight into the city – sparking the thought of the Chinese mind delving into the mechanics and evolutionary vision of the city. Expo 2010 is staged in an area between Nanpu Bridge and Lupu Bridge along both sides of the Huangpu River in downtown Shanghai covering an area of 5.28 sq.km. If one googles and checks the transformation from 1994 to 2010, the spot satellites interestingly reveals Shanghai’s urban transformation into a futuristic city as the financial hub of the country. Factories, docks and shipyards have given way to innovative and experimental-iconic architectural creations that seems to stress the arrival of China. A rapid growth of a city that today generates 20% of China’s industrial production and has become the world’s number one port, also contrasts in the disappearance of farming belts within a period of 15years. www.spacesnepal.com

September-October 2010

The Expo 2010 is divided into five zones with three in Pudong side and two in Puxi Area. Zone A and B comprises of the Pavilions of Asian nations along with the Urbanism pavilion, Pavilion of city being and Pavilions of international organizations. Zone C has the Pavilions of European American and African nations whereas Zone D comprises of Pavilions of Footprint and Pavilions of Enterprises. Zone E has Pavilions of Future and Pavilions of Enterprises. When one enters the Expo area, the complexity of the exhibition area slowly unravels as different country pavilions sparks their voice in different rhythms. If there was conservation, beauty and cultural highlights in some of the Asian pavilions – there seems to be more experimentation or breaking away from the craft of the past, to free flow - free form structures of the developed nations. The initial Disneyland wonder slowly fades as you begin to savour the Country Pavilions.

Better City, Better Life

Zoning

Nepal Pavilion

hina had been on my mind for a long time. There is constant chatter of India and China as being the world’s economic equations. However after visiting Beijing, Shanghai and few other smaller places – one needs to see it to believe the change of this communist country. If China started on the communistic ideology and footsteps of Mao, today it is in competition with the capitalist. Shanghai would give New York city a run in terms of the infrastructure and the vibrancy of the city. The spirit of competition and China’s arrival as the world’s economic engine could not be a better time to couple it with the staging of the World Expo 2010 in Shanghai.

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CANADA

AUSTRALIA

FINLAND

HOLLAND

KOREA

ISRAEL

SAUDI ARABIA

ROMANIA

RUSSIA

ENGLAND

PORTUGAL

INDIA

AXIS STRUCTURE

USA

CHILE

SWEDEN

PAKISTAN

POLAND

JAPAN

DENMARK

FRANCE

SWITZERLAND

LUXEMBURG

CZECH REPUBLIC

CHINA

TAIWAN

Dots, lines, curves What truly amazes at the Expo - is the ‘variety’ in the built form that mankind today has learnt to express themselves. They say variety is the spice of life – and the expo seems to do that rather boldly, spearheaded by a nation with surging ambition, where a mighty building boom has rattled the earth for a quarter-century. China has truly come a long way from its Maoist days of red and gray and isolation from the world or the Cultural Revolution. There is hardly a product in our homes today not manufactured in China; hardly a category of building or infrastructure that has not been superseded, in scale, length or cost somewhere in the People’s Republic. Two years ago - Beijing staged the most extravagant Olympic Games in history, with an opening ceremony that awed a world still used to thinking of China as an undeveloped nation. In part, the World Expo 2010 clearly seems to be Shanghai’s voice to outshine Beijing.

It seems that the Expo has connected the dots of the Nations of the World and brought it into some sort of line or free form that truly amazes and educates the visitor. September-October 2010

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Nepal, Spain, Germany... Nepal Most pavilions represent their country’s cultural history and progressive urban ideas in an effort to convey a clear sense of national values and identity. The Nepalese Pavilion is no less, if not striking and popular with the expo visitors. Ranked in the top 10 ten pavilions, the Stupa and the feeling of Nepal is evident in one 's experience. Themed as Tales of the Kathmandu City and Seeking the Soul of a City Exploration and Speculation, the pavilion’s highlights are the Araniko Centre and the works of 2 years of the 350 Nepalese families and craftsmen. Artists, musicians, dancers and performances from Nepal are also regular features of the exposition. The highlight perhaps was the recent Nepal Day celebration on the 3rd of September with "eternal flame of peace" reaching Shanghai from Nepal. We do wish for political stability and peace be with Nepal – although it appears to be only a distant shine for the moment. Few of the other interesting pavilions not to be missed are that of Germany, Spain, Japan and Switzerland. I am sure there are many others not to be missed – but one requires the time and the patience to go through an hour or two long lines in some of the popular ones. To get a glimpse of the pavilions is like seeing the respective country through a small window. The German pavilion is interesting in the way it sits in an origami-like pavilion that says more about its time than its place. www.spacesnepal.com

September-October 2010

Spain

Germany

ARCHITECTURE

The pavilion stretches the mind on what the international style of 2010 might be. Conceptualized as ‘Balancity’ it appears to describe the form of the building with four visually out-of-balance volumes that combine to create a single, unified composition. Balance could just as easily refer to as the compromised solutions that this pavilion and many others offer in representing their official cultures. An impossibly balanced 6,000-square-meter building may draw architecture buffs, but most visitors to the German pavilion perhaps want to see castles and a taste of Germany. Walking through the twisting inner portion of the building, visitors stroll past views of picturesque city views and do take pictures of castles with a live princess. After completing this nostalgic circuit, one makes their way inside, through an exhibition collection with the latest German innovations, from urban design to shoe design. One hopes they take away some new ideas of German design prowess. But more likely they will take away a beer insignia from the gift shop. With the Spainish Pavilion, architect Benedetta Tagliabue of EMBT (an architect who has been to and loves Nepal) has created pure drama in the architectural form. From a first glimpse of the building’s snakelike, basket-covered form to the climactic view of a 6.5-meter-tall animated sculpture of a baby, are few of the theatrical events for visitors. The façade made out of over 8,000 wicker panels is woven by craftsmen in Shandong Province and explores the experimentation with organic materials to dress the surface. It is said that the workers stripped and treated willow stems to produce a range of panel colors, and arranged the colours to form Chinese characters, which bring a tiger-skin pattern to an already fierce façade. A circular plaza marks the entrance to the building and splits it into a wing of exhibition space and a wing with offices and a tapas restaurant. From the plaza, visitors funnel in, making the entrance not only dramatic but also a bit scary with so many people crowded together. They arrive at a long cave-like tunnel, whose rounded, rough walls are used as giant projection screens. Here, bones hang from the ceiling and a flamenco dancer jumps to life from a supposed slumber on the floor stage. Then visitors move into a high-ceilinged room sliced by five long, thin video screens and enclosed by dark walls finished with what appears to be a cross between lace and lava. Finally the route opens into a bright, open space dominated by the giant baby perhaps signifying the curiosity and simplicity of a child to the world around and more wicker panels.

Free form – Free thinking World Expos have long served as an experimental platform for architectural and urban innovation. At the exhaustive Shanghai World Expo 2010, organized around the relevant theme of Better City, Better Life - urban futurism stands at centrestage. The Expo is recorded as the world's largest and costliest fair ever held, and only time will reveal its ultimate impact on how we make and manage cities. After three decades of spectacular growth, China passed Japan in the second quarter this year to become the world’s second-largest economy behind the United States paving its way into the free market. The recognition comes for China this year with the staging of the World Expo, when Tokyo said that Japan’s economy was valued at about $1.28 trillion in the second quarter, slightly below China’s $1.33 trillion. The competition in the free world market also seems to have opened the minds of the Chinese into some free form and international events such as the staging of the World Expo 2010. Just when we Nepalese are grappling with political blindness and power cuts, it surely comes as a contrast to have neighbours – from whom we could well learn from, and worth a visit to attend this once in a lifetime event. Perhaps the ending message could be that - if one clings on to the past – you don’t live the present, and if one only dreams of the future – you may miss the present. China seems to be doing it all this century.

GERMAN CREDITS Overall responsibility: German Federal Ministry of Economics and Technology Organisation and Operation: Koelnmesse International GmbH Architecture: Schmidhuber + Kaindl GmbH, Munich Exhibition: Milla und Partner GmbH, Stuttgart Execution: Nüssli (Deutschland) GmbH, Roth Photo Copyright : © Architecture Schmidhuber + Kaindl / Exhibition Milla + Partner / Photo: Andreas Keller

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Contemporary Norwegian Architecture 2000-2005 Text: Nasjonalmuseet for Kunst, Arkitektur og Design (The National Museum of Art, Architecture and Design)

TRANSFORMATION In a society of continuous and rapid change, buildings have a limited life span. The decline of industry and the reorganisation of industrial production have left behind a mass of built fabric that can give room for new functions. Such recirculation poses a number of challenges, but it also presents the possibility to give the building a unique identity through the interplay of old and new.

‘Contemporary Norwegian Architecture – 2000-2005’, a touring exhibition which was brought to Nepal on the 19th May 2010 showcased fifty contemporary examples of Norwegian architecture. The building themes were represented according to five different elements of architectural theory and practice viz: Transformation, Form and Function, Symbol and Identity, Materials and Construction, and, Contrast and Proximity. The exhibition was put together by Nasjonalmuseet for kunst, arkitektur og design (The National Museum of Art, Architecture and Design), Oslo, and was on a world tour from 2005.

Opinions will always differ as to what characterises a successful and meaningful transformation of an older building. How has the architect dealt with the gap between user demands and commercial interests on the one hand, and conservation issues on the other? Should the original identity of the built fabric be allowed to dominate, whilst the new elements are subordinate? Or do the equal balance of the history and the present give the building its unique qualities? The projects in this category are examples of the meeting between old and new. The starting point and the conditions for each project may vary, but they share the transformation they have undergone to allow for new functions and extend their life span. The results show different approaches to the concept of transformation.

“ARCHITECTURE WOULD NOT SURVIVE FOR GENERATIONS IF IT DID NOT HAVE THE ABILITY TO ADAPT TO CHANGING FUNCTIONS AND OTHER MEANINGFUL TRANSFORMATIONS.” – FRIEDERICH ACHLEITNER, ARCHITECTURAL HISTORIAN

In the following pages are presented ten selected projects from the exhibition, two of each category, in an attempt to focus on the contemporary trend of architecture – architecture without borders. www.spacesnepal.com

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Credits/ Photos: Jiri Havran

Loft refurbishment, Oslo Askim / Lantto Arkitekter MNAL AS

Ventilasjonsrom

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Bad Kontor

Lager

Baktrapp Arkiv

Kontor

Kopi

This loft refurbishment in an old townhouse exposes the original loft, visually integrating the existing timber structure and brickwork into the new spaces. The loft areas have been opened up with extensive use of glass, and the new rooms form a free-standing installation in the centre of the old loft, physically separated from the surrounding cold spaces. The glass partitions ensure adequate daylight despite the small roof openings.

Terrasse

TekjĂ¸kken

Hall

Arbeidsplasser

Bibliotek

MĂ¸terom kaldt loft

kaldt loft

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Credits/ Photos: Nils Petter Dale

Oslo School of Architecture, Oslo Jarmund / Vigsnæs AS Arkitekter MNAL The new Oslo school of architecture is based in an existing building from 1938, located by the Akerselva River in the eastern part of central Oslo. The exterior of the existing building has conservation status. The architects have kept the block open towards the river, and combined the new programme with the logic of the existing building in a set of transformative steps, weaving the building together with the surroundings in one spatial sequence: • An access court has been cut out of the existing 1st floor slab, marking the entrance and bringing daylight in to the ground floor foyer. • A strip has been cut out of the existing slab along the inside of the existing building, bringing daylight to surrounding functions. • A simple, U-shaped circulation zone is established along the strip. • A new string of teaching rooms completes the U and forms a bridge across the entrance area.

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FORM AND FUNCTION Is it the form that enables you to recognise the thing, the product, the building? Architecture moves in time with social, economic and cultural conditions. New patterns of working and living mean that traditional functions can be reconceived, resulting in new interpretations of space. The modernist credo “form follows function” has lost some of its legitimacy. The single-cell offices and the hierarchical structure that we find in many modernist office blocks can hardly be regarded as successful solutions to the challenges of today. Our time requires a greater openness, where architectonic space is formed by the activities and movements of the inhabitants to a much greater extent. The modernist insistence that function is the deciding factor in determining the form of a building today triggers a host of questions concerning the validity of established typologies. Should a school building, that houses new pedagogical activities and needs a great deal of flexibility, still have the attributes we associate with a traditional schoolhouse? Are we ready for a freer, more sculptural language of form, requiring a different approach?

”IT IS THROUGH FORM THAT ARCHITECTURE EXPRESSES ITSELF, THIS IS HOW IT IS SEEN AND UNDERSTOOD.” – NIKOLAUS PEVSNER

Dwellings for the Homeless, Moss Code: Arkitektur AS This group of dwellings is based on an architectural competition from 2001 for a total of 24 units, spread over different six sites. One of the aims was to encourage the users’ sense of ownership. All units have individual entrances and sheltered outdoor spaces, and the relationship between inside and outside has been designed to give the best possible overview and visual control of the transition zones between public and private. The basic dwelling element is an insulated two-storey box with one unit on each level, and an external secondary structure of stairs, screens, terraces and sheds. Careful simplification of plan and construction has allowed the area for each unit to be increased from 30 to 43 square metres.

Credits/ Photos: Alexander Tufte, Hans Petter Smedby, the architect.

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SYMBOL AND IDENTITY Architecture presents and represents. A project can have a symbolic value already before it is realised. A building can signal a political message, create a regional identity and give a sense of belonging.

Grelland Motorway Service Station - By the Way Motorway Restaurant, Holmestrand Lund & Slaatto Arkitekter AS

Credits/ Photos: Espen Grønli

The building, based on the winning entry in a competition in 1997, is a cafeteria spanning the motorway, a part of a service stop with petrol stations on either side. The design is a conscious break with the conventional Norwegian roadside restaurants. Placing the restaurant across the road gives easy access from both sides. A concrete structure spans the road on one middleand two end supports. On this bridge, six columns support two long girders, with a series of transverse beams giving the roof its curved shape. The functional volumes are placed on this bridge as separated volumes, emphasising the sculptural qualities of the floor plate and the roof. The facades are full height glass, with an automatic exterior sunscreen shielding the building and preventing glare for passing motorists.

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The design of buildings of this character presents several challenges and forces certain conscious considerations. An obvious formal language and superficial symbolism can run counter to the development of a unified, meaningful content. The American architect Philip Johnson held Frank Gehry’s Guggenheim Museum in Bilbao to be the most significant building of the 20th century. When asked how he rated the building as a place to exhibit art, he said: “When a building is as good as this, fuck the art”. Is it right to let symbolism take precedence over functionality? How obvious does the symbolism need to be, and who can actually read it? Should architecture also be capable of reinforcing the identities of people with a different historical or cultural background? The buildings in this category represent different interpretations and solutions in response to these challenges.

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Credits/ Photos: The architect, Jiri Havran

Mortensrud Church, Oslo Jensen & Skodvin Arkitektkontor AS The church complex is located on a small wooded hill and consists of two buildings, the parish centre and the church itself, set on a common sloping concrete floor. Some of the pine trees have been retained within the complex, and the bedrock protrudes up through the church floor. The tension between these disturbing elements and the desire for a â&#x20AC;&#x2DC;quietâ&#x20AC;&#x2122;, self-referential internal space is a conscious choice. The main structure is a composite of steel profiles and drywall slate. The weight of the stone gives bracing support to the external glass walls.

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Credits/ Photos: Nils Petter Dale and Gerhard Zugmann

Bibliotheca Alexandrina, Alexandria SnĂ¸hetta AS The task was to build one of the biggest libraries in the world, and to revitalise the idea of the ancient library of Alexandria. The project emphasises a simple geometry inspired by the philosophers of antiquity. The main building, the library, has a circular plan. The external wall is clad in carved stone. The roof plane cuts a circular section through the elliptical volume, the cut inclined in relation to the horizon. The library complex also includes cultural facilities, a small school and a planetarium located on the main plaza.

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MATERIALS AND CONSTRUCTION The materiality or construction of a building can be emphasised or played down, and materiality or construction can support and add new layers to the architectonic concept. Creative use of materials and structure is usually not an aim in itself, but rather it is a tool in the realisation of a building that works on A changing society requires new forms of living and a new flexibility for new patterns and situations of life that change all levels, which gives the building an identity. according to the life cycle of the population. A school building The material of a faรงade or a structure can have a needs new structures with the necessary openness for future strong presence; it can reinforce the architectonic pedagogical activities, and environmental concerns and new spatial constellations provide new conditions for housing. expression and make the building easily recognisable. The light reflecting off a dark surface Through innovative use of materials and construction methods, new and unconventional spatial arrangements appear flexible of brick creates a shifting, fleeting expression, a structures and elements that do not limit, but provide room for textile can give maritime associations, and the personal freedom. slender pedestrian bridge becomes a landmark.

Glaxo Smith Kline Innovation Centre, Oslo Arcasa Arkitekter AS

Credits/ Photos: Terje Agnalt

This research office complex has an urban side and a park-related side. It is divided into several parts, with the conference centre and other communal functions set in a sculptural volume elevated on columns. The materials are light. The conference rooms are clad inside and out with light grey metallic panels, ash is used for floors and built-in furniture and limestone in stairs and entrance areas. Vertical timber strips round off the internal corners.

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Warehouse at KneppeskjĂŚr, Oslo Niels Torp Arkitekter AS This temporary warehouse forms a connection between road-borne and water-borne goods traffic. It is a fabric-covered modulated steel structure on a concrete base, each module measuring 16 x 48 metres, with a 1.8 metre roof light strip between each module. The building is 100% recyclable. The cold storage part is un-insulated, and the translucent fabric lets in a minimum of 10% of the available daylight. To each gable is added an 11 x 40 metre awning to provide a partially protected storage area.

Credits/ Photos: Jiri Havran, Hallmaker AS

CONTRAST AND PROXIMITY Adapting to oneâ&#x20AC;&#x2122;s surroundings is to communicate with the existing man-made or natural environment. This communication does not strive to copy or repeat, but rather, it tries to create a dialogue and a relation between the original and the new. How active can a new element entering an existing context be allowed to be? Through its design, a building can reinforce the experience of the character and singularity of an existing environment by simultaneously making use of both contrast and careful adaptation. Not by declaring itself as the dominant opposite, but rather by appearing as a natural contemporary expression, taking its self-conscious and effortless place within an existing context. In this kind of charged interaction between old and new, a richer and more complex message is communicated. This category shows projects that bridge between history and present, the interplay between nature and new construction; contrast and proximity, emphasis and adaptation in both urban situations and in the cultural landscape.

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Nordvegen Historical Centre, KarmĂ¸y

Credits/ Photos: Kay Erik Rosted and Hans Einar Johannessen

Telje-Torp-Aasen arkitektkontor AS The site is part of a larger cultural heritage site at Avaldsnes on KarmĂ¸y on the West coast of Norway, with the 13th century Olav church as the main focus, in addition to several burial mounds. The centre houses an experience exhibition that communicates the particular place this location holds in the history of Norway, and it documents the ongoing archaeological excavations in the area, both on land and in the sea. To retain the significance of the old church on the site, the new centre has been set into the ground. Access is via a common approach and a path leading down to the grass-laid roof deck. September-October 2010

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Credits/ Photos: Espen GrĂ¸nli

Summer House at Hvasser, TjĂ¸me Lund Hagem Arkitekter AS This summer house is organised as a wind screen around an external atrium. The spaces open out on this sheltered court, which faces the view and the ocean. The structural elements are in laminated timber, the cladding is untreated pine that over time will turn a silvery grey.

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FROM A HILLTOP

Against the odds of surviving a nosebleed Text: Sanjog Rai

The glassed “wall” reflects the variegated moods of the day.

eliberating one’s first house in Kathmandu is tricky, even with the luxury of a few page spreads. After all, how does one ramble on about the experience without going knee-deep into the intrinsic philosophy of the design and injecting some context of its environment and background; or, equally as important, without scribing about the industry people you stumble over? That’s a year’s worth of experience and residual thoughts to condense. And if you, like me, have had to slave through a fairly modest budget, it’s tempting to sum it up as feeling relieved and cheated at the end—one way or the other.

THOUGH THE LAND WAS SMALL, THERE WAS STILL SERENITY—A CERTAIN JE NE SAIS QUOI—IN BEING ABLE TO SEE AS FAR AS POSSIBLE...

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My definition of being cheated is like dining at a restaurant with tasteless, commonplace food and rude waiters, whilst being overcharged for a bottle of carbonated drink. (Yes, thank you, your breathtakingly skillful execution of pouring a cheaply available drink into a glass certainly justifies paying several times its price.) Just as I overpaid my engineer, whose lack of thorough input and imagination made my job much more difficult; or the contractor, who had a poor grasp

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of intricate concepts, like a straight line, and whose general idea of curing (a process where you hydrate cement with water from 14 to 28 days) was possibly waiting for the monsoon. He also ran several different sites, none too well—I fired him eventually. I guess most days it’s like working with an eclectic crew of artists, inspired to peculiarly reinterpret your every instruction. I’m not an architect by profession (or expertise). I work at a company (Abstract Studios) I started with a friend, dealing with design and film in general. Though distantly related, many in the construction field would rightfully consider me a layman (I much prefer “autodidact”). But I also know I’m not singular here. Over the year, I’ve met many who designed their own house as a move fueled by frustration, rather than desperation. Be it of the scores of houses that are derivative, inflexible with budgets, or just onanistic on the overzealous architects’ part, unmatched by a similar level of aesthetic or structural clarity. Just as there are good architects in the whiskey glass, the other half is filled by ....never mind.

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1. A simple frame structure requires little to set itself apart. 2. Wood-printed tiles and a bougainvillea plant unassumingly greet visitors at the doorway. 3. The underlying idea is to partially emulate the open flow of a studio apartment. 4. Cornices are absent to accentuate clean lines and wide, empty spaces.

My own construction started at the conclusion of several months of search for a location with an uncommonly open hilltop plot, where the road went no farther, visible effortlessly from several miles around it. I knew almost immediately what had to be built there. It made perfect sense—as an ardent admirer of Japanese architecture, especially of the Zen philosophy to get rid of the unnecessary (i.e. minimalistic)—that any house which would stand there had to be a composite of simple forms, understated to allow its elevated environment to flourish. And it had to be done with basic, readily available materials from the ground up; if only because, in any medium, form should transcend the limited materials and budget one works with. We palpably don’t need expensive Italian marbles in the bathroom or triple-glazed glass in the windows (albeit the latter would have been nice) to live comfortably. Though the land was small, there was still serenity—a certain je ne sais quoi—in being able to see as far as possible, even if that view was still confined within our dust-blanketed Kathmandu. It felt very much like one could breathe more deeply, something I’d found impossible (a condition more psychological than geographical, I suspect) in lands several times its size. But all that would have been diminished had it been just a cliff, instead of its gradual slope that helped preserve a delicate connection to the lower grounds,

bequeathing a grand illusion of size to the location that would have been otherwise lost in crammed neighborhoods. It further reassured me in what I wanted when I realized its viewpoint would stay unspoiled, even to the distant future. My design revolved around using large, wide glasses (dark tinted) with minimal frames in between. As with a view this spectacular, I felt any intervention would have been inelegant and unnecessary. On the ground floor, however, the view was purposefully blocked by tall compound walls to maintain a sense of privacy for the living area, whilst working dialectically with the floor just above, where the large glasses resided. To further exploit the untamed vista, a rooftop garden was also built, with glass-clad railings, a pond full of lilies and a few planted corn crops (just for laughs). Little details weren’t forgotten, like the wooden terrace staircase (from the cheapest of old woods I could find for a bona fide feel), whereas the local canon seemed to be the terribly vanilla, circular staircase. It was a little piece of memory—my own, awkward homage to my grandfather’s decades-old (and long demolished) wooden home in Dharan, which had a similar, wide wooden staircase of local aesthetics greeting visitors.

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The kitchen becomes apparent to visitors only halfway inside the living room. The separation isn’t physical, but superficial to maintain a sense of transition in space.

In a way, the decisions that need to be made about the everyday minutiae is quite the tightrope act of balancing an elephant on a unicycle without a safety net—what with the multitudes of unseen (and some days, tedious) decisions that could easily flip the tone of one’s house. I found immense pleasure in some, like the bathroom doors. Simple flush doors, like all my other doors, with one little difference: a thin, vertical (ordinary) mirror glass on the side that functioned uneventfully to point out the bathroom. It was this spirit of subtlety that I frequently found deeply lacking in local designs, where the louder (or flashier) is perceived more effective. Or the PVC parquet floor in the kitchen in response to finding many local kitchens with clinical, glossy tiles in the absence of the soft touch of wooden texture (what is the kitchen, if not the most intimate of settings). But my interests in homes weren’t necessarily architectural always; many times it was anthropological. The way with which a group of people came to live together over a passage of time was something that endlessly intrigued—

The bedrooms have an ever-changing backdrop.

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and troubledâ&#x20AC;&#x201D;me to the last day. Just as you never find families living under a roof the same way, as some built enormous houses only to lament later of how it isolated them from their kids; others, through the indelible years of living together, found spaciousness in almost deliberately small, rented apartments. It was this intangible notion of flow and harmony that captured my imagination most in architecture.

Greeneries and plants provide a texture far better than any man-made materials.

When it was finally over, I could only let out a sigh of relief. There is obviously an enormous learning curve, and even now I find myself rediscovering and finding new perspectives through which I feel could have made the house so much more than it is now. Alas, that list would go on till doomsday, too. But I am sure of one thing more than ever: a good design ought to be unpredictable, a surprise, even in its use of the idiomatic, time-tested blueprint, and sometimes a risk (though not literally, of course). In its simplicity or nutty imperspicuity, it ought to challenge and refine our very notion of what is possible, especially with limitations. Otherwise, it is reduced to nothing more than a shtick.

The evening sunâ&#x20AC;&#x2122;s effluence over the rooftop garden.

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ANALYSIS IN A COUNTRY WHERE THE ROLE OF THE MODERN ARCHITECT IS BEING ACKNOWLEDGED ONLY NOW, THE EXPOSURE TO THE VARIETY OF ARCHITECTURAL PRODUCTION REALIZED BY THESE FOREIGN ARCHITECTS OFFERS SIGNIFICANT LEARNING FOR THE NEW ARCHITECTS IN NEPAL.

The Architecture of

FOREIGN ARCHITECTS

in Nepal Text: Ar. Biresh Shah

The 1st Stream: Foreign Practitioners in Kathmandu

epal opened up for modern development only after 1950. Thereafter and as the experience of constructing modern building types was rather limited in Nepal, a wide range of foreign architects have worked and contributed to the architectural design of the country. Their involvement with projects in Nepal within the last fifty years has followed diverse streams and the production of architecture by these foreign architects, therefore, corresponds to the nature/characteristics of these streams, established by the scale, complexities, funding and intent of the projects. Together, this body of work illustrates a rich and diverse range of architectural ideas and responses in Nepal, as the requirement for modern building types has transformed with the pace and nature of modern development.

As the Valley opened up for modern development in the 1950’s, and after the end of the Rana regime, a number of technical assistance projects arrived from various countries and international institutions. For the early architects like Robert Weise, who came with Swiss assisted projects, the Valley must have been a great sight to behold - the ancient cities of the Valley set between large expanses of lush green paddy terraces, meandering rivers, and the surreal baroque garden palace compounds built at the turn of the last century. Weise was among the first of these foreign architects who made Kathmandu their home and set up their practices for extended periods.

The work of foreign architects can be categorized in the following four broad streams.

Robert Weise’s designs, like the Hotel Yellow Pagoda, re-introduced local architectural scale and forms.

Along with Weise, the other major architects who stayed to make significant contributions were Carl Pruscha, David Dobereiner, Gotz Haagmueller and John Sanday. Besides them, many other foreign architects have worked towards the design and construction of numerous community-based projects throughout Nepal, like schools and hospitals/health centers, which were funded by sources outside the country. And we need to learn more about this specific body of work. Their architecture evolved from their personal experiences of the Valley, as they put to use their training in the western universities in realizing their specific architectural ideas. Charmed by the rich traditions here, they developed design ideas rooted in the context rather than promoting stereotypes from their countries of origin. Weise designed residences, hotels and office buildings. He is credited with the re-introduction of local architectural scale and the sloping roof forms, evoking two very significant characteristics of the traditional architecture of the Valley. His office also was one of the earliest private practices

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ANALYSIS

to hire Nepalese architects returning to Nepal after completing their education abroad. Weise designed several prominent architectural landmarks like the Annapurna Hotel, The Yellow Pagoda Hotel, the Nepal Army Headquarters, besides a large number of single residences and projects in the Tribhuwan Unversity Campus in Kirtipur.

and Kathmandu. His important projects are the Patan Museum, the Keshar Mahal Gardens and his own house in a traditional courtyard in Bhaktapur. These projects demonstrate the wide range of contemporary design possibilities in restoring old buildings for contemporary use.

The 2nd Stream: Work of Internationally known Architects

Pruscha came to the Valley on a UNDP assignment to produce the first urban development plan for the Valley in the late 60’s. During the time he spent here, he also supervised the preparation of the first inventory of cultural monuments of the Valley. His significant contribution was in the design and construction of the Tara Gaon Hotel and the Institutional building CEDA for Tribhuwan University. The Taragaon Hotel was designed to provide lodgings for foreign consultants coming to the Valley on extensive stay. The complex constructed almost entirely in exposed brick with wooden windows evokes the spirit of the small traditional town form, using an entirely new architectural form, the exposed brick vaults. The resulting built-form is modern, yet feels so much part of the tradition of the Valley. Recently this building has become part of a huge hotel complex. The building has recently been subject to some temporary modifications which totally disregard its original architectural quality. The author initiated the documentation of this building with the help of the students of the Tribhuwan University, since the original drawings had been lost. This was possibly the first instance of a modern building being documented in the Valley for research and restoration purposes.

The second stream belongs to the works of internationally renowned architects, who were contracted by international aid agencies or organizations to design specific buildings or complexes in Nepal. Most of these were single project involvement within a limited timeframe, and rarely demonstrates innovative efforts by the architects in a new challenging context.

The Family Planning Centre, designed by Louis I. Kahn, remains the most famous and controversial projects in the country after it was covered by a metal roof in 1995.

Kenzo Tange prepared the Master Plan of Lumbini, Buddha’s Birthplace. He also designed the most important buildings in the Master Plan. After the Second World War and as South Asia embarked on a process of modernisation, Tange's Lumbini Project is the only project in modern Nepal by an internationally renowned architect which offers a comparison in terms of scale and scope of other Prestige Projects by prestigious foreign architects in South Asia, like the Capital Complex of Dacca and other large important complexes. However, being located in an obscure southern region of the country, the project failed to generate the

The Center for Economic Development and Administration (The CEDA building), an independent center of the Tribhuwan University, was designed by Pruscha in the 70’s. The building, again in exposed brick, is set into the terraced agricultural landscape as a series of geometrical forms which offer a complex composition to create strong public spaces. In this building the architect has again pursued a fresh architectural idea through the design of a modern composition of forms set in a primordial landscape, which evokes his deep understanding of the Valley. Gotz Haagmueller, an Austrian Architect, came to Kathmandu to work with the GTZ-supported Bhaktapur Development Project in the 70's and has made Bhaktapur his home since then. Although most of his work has been in the area of restoring several heritage buildings of significance, he has used his long experience and knowledge of traditional architecture of the Valley to establish design innovations in adaptive re-use of historic buildings in Patan, Bhaktapur September-October 2010

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The Narayanhiti Palace designed by American architect, Benjamin Polk.

The Trauma Centre, recently built through technical assistance and funding from India, occupies a very prominent urban site on the Tundikhel, but its gesture to the city as a large architectural addition is feeble.

The architecture of the Chinese project grants, the Birendra International Convention Centre and the new Civil Hospital, although occupying important and visible sites, are indifferent to making any connection to the city.

enthusiasm that it perhaps deserved. It also took a long time to get off the ground. Subsequently when it did pick up momentum, it fell prey to speculative development, both within the Master Plan area and outside it. Its contribution to contemporary architecture thinking has been very limited too. Among the most famous and controversial projects in the country is the Family Planning Centre (funded by the USAID), designed by Louis I. Kahn. This project, among Kahn’s last projects, was designed in a largely governmental institutional area. Kahn even prepared a Master Plan of the entire area, which was followed only partially. Kahn designed a symmetrical composition of exposed brick piers interspersed by vertical strips of wooden windows. The building was topped off by a one-store high exposed brick parapet with deep punctures enclosing large roof terraces (possibly meant to be ‘courtyards in the sky’). In 1995, the current resident of the building,

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the Ministry of Health, decided to put a metal roof over the terraces to create more floor space. The local architecture community protested by taking out public protests. A media campaign was launched, and simultaneously a legal case was filed in the apex court by the Society of Nepalese Architects. However, the bureaucrats of the ministry prevailed, since rules to protect contemporary building as cultural assets were feeble. Tadao Ando, the renowned Japanese architect, designed a Women’s and Children’s hospital in Butwal, which was supported by a Japanese Charity Organisation (AMDA) in the 90's. Benjamin Polk, the American architect, designed the new Narayanhiti Royal Palace. Some of the leading Indian architects also made their mark. Achyut Kanvinde designed the Rampur Agricultural Campus and Habib Rahman designed buildings in the TU Campus. Barring Polk’s Narayanhiti Palace, which sits almost in the middle of the City restructuring that took place under King Mahendra, none of the other projects really captured the imagination of either the public nor the architects. In the design of the new Royal Palace building at the top of a newly created boulevard, Polk achieved a rare resolution of the issue of cultural identity and monumentality in a modern project without being very extravagant or resorting to kitsch.

The 3rd. Stream: Works of Foreign Design ‘Invisible’ Consortiums in Public Projects The third stream of work by foreign architects relates to the construction of large and programmatically complex building complexes, which were built as technical assistance projects. The bilateral agencies which executed these projects brought their own consortium of architects/consultants to ensure a certain standard in design and construction. Most of these projects required the design and construction of building types which had no precedence in the Valley. Therefore functional design, ease of maintenance, limitations of construction technology in a developing country and minimizing use of energy, were the principal design considerations in these projects. Generally, architectural scale and materials which fit in easily

ANALYSIS

Among the works of 'Invisible' Consortium Architects, the International Terminal Building is perhaps an exception in terms of its sensitivity towards the city.

The architecture of foreign missions, like the Norwegian and US (below) Embassy, significantly demonstrate the country’s cultural identity.

60’s and early seventies, dedicated to the development of institutions related to modern communication. Designed by the architects of various Departments of the Indian Government, they demonstrate the modern architect’s preoccupation of translating modern functions into new architectural expression. Although it would be difficult to establish these projects of having any exceptional architectural merit, they demonstrate a certain rigor of design and detailing as well as an acknowledgement of the civic context. The new Trauma Centre, which occupies a very prominent urban site on the Tundikhel, is the latest addition in this category of buildings. While no one doubts its resolution of a rather complex programme, its gesture to the city as a large architectural addition is at best feeble. The Chinese Government on the other hand brought in its own government architects to design the Birendra International Convention Centre and the new Civil Employees' Hospital. Both these projects were grant projects from the Government of China; their design and construction being undertaken by Chinese consortiums. While both projects occupy very important and visible sites, their architecture is quite indifferent to making any connection with the City.

in the landscape were considered, besides which, setting a new quality of construction standards was also an important objective. At the behest of JICA, consortiums of Japanese architects were brought in to design the Teaching Hospital Campus, the Sano Thimi Tuberculosis Centre and the Disaster Mitigation Centre among others. The Japanese projects achieved a high standard of programmatic and technical resolution as well as construction quality, while remaining largely indifferent projects architecturally.

Exception perhaps is the International Terminal Building of the Tribhuwan Airport, which was an international loan project with international consultants and constructed by international contractors. The linear building, which is sited at the top of a sloping topography, is seen as an extension of the series of terraces in the foreground landscape. The use of exposed brick as the major façade material further integrates this rather large building with the city.

The government architects from India executed a number of buildings in the city like the General Post Office building, the telecommunications buildings, and hospital projects like the Bir Hospital, the BP Koirala Institute of Medical Sciences in Dharan, and more recently, the New Trauma Centre in the Bir Hospital. The General Post Office and Telephone Exchange Building were among the very first buildings constructed between the mid-

A similar design attitude can also be observed in the design and construction of Foreign Embassy compounds in the city. These include the US Embassy compound, the Japanese Embassy and the Ambassador’s Residence, the German Embassy, the Chinese Embassy, the Russian Embassy, the Danish Embassy, the Norwegian Embassy and the new Indian Embassy (now under construction).

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The Taragaon Hyatt Regency, designed by a group of Japanese and Indian architects, claims to have integrated the essential and formal characteristics of the traditional built environment but in fact is quite far from this claim.

Internationally, the architecture of Embassy buildings are a significant opportunity for the country to demonstrate its cultural identity. The architecture of foreign mission also offer an opportunity to contribute to the landscape of a city by inserting a fresh architectural vision to an established architectural context. Most of the embassy buildings in Kathmandu, designed by architects from their respective countries, do not seem to be very successful in this regard. Perhaps the concern for security, functionality and specific national norms/standards were a greater design concern for the designers. However, the design and construction of the Norwegian Embassy is an exception. While the architectural concept was developed by Norwegian Architect, Kristin Jarmund, the design development of the project leading towards construction took place in Kathmandu in collaboration with Nepalese consultants. The project was constructed by a Nepalese contractor as well. The design idea consciously seeks to fit and contribute to the city fabric, while offering us a glimpse of modern Scandinavian aesthetics.

The 4th Stream: Architecture For Private Sector Commercial Projects The last stream of works by foreign architects relates to large construction projects requiring master planning and advanced technical/design services in large-scaled commercially driven projects promoted by the Private Sector. For reasons of economy, as well as working practicality, a majority of the architects have been large architecture offices from India. Initially these architects were employed in large hotel projects like Soaltee, Taragaon Hyatt Regency, Radisson, Yak and Yeti and the Fulbari Resort. However several high-end resorts outside the Valley have also been designed by non-Indian architects as well. The Taragaon Hyatt Regency Hotel, which opened its door only a couple of years ago, is arguably the most important new hotel in Kathmandu today. Designed by a group of Japanese and Indian architects, it claims to have integrated the essential spatial and formal characteristics of the traditional built environment. What has been achieved seems to be quite far from this claim. The two most

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important parts - the traditional built form and the scale and spatial composition, have been ill considered in this design. The hotel has been planned along two very strong axes perpendicular to each other (reminder of a baroque plan), thus preventing shifting vistas, a significant aspect of the traditional space. The other aspect is the massive scale generated by a sloping tiled roof of almost twentyfive feet high pitch. In the last five years, as investment intensified due to booming property markets in the construction of multi-storied residential apartments and modern shopping centres, the influx of large architecture firms from India has intensified. The superior experience and capacities of these foreign architecture consortiums makes them the natural choice of private sector investors for undertaking large complex building types, which have to be completed within limited time frames. In this category of work, the foreign architects have worked for Clients based in Nepal, financed by Nepalese Banks, constructed by mainly Nepalese contractors and approved by Nepalese authorities. Therefore, the level of interaction with local stakeholders has been much greater in these projects than in previous technical assistance/grant projects. But this also pits the national architecture professional community in direct competition with this category of foreign architects, which is an issue that needs debate.

Conclusion Foreign architects, in the past fifty years, have realized their architectural intentions and visions in Nepal through a variety of channels. In a country where the role of the modern architect is being acknowledged only now, the exposure to the variety of architectural production realized by these foreign architects offers significant learning for the new architects in Nepal . Arguably these architects come from a background of modern architectural training and practice much older than ours. But we need to document and attempt to understand their work and contributions within our developmental context. This can be of significant value to us to establish firmly our own pursuits and directions in architectural design, as well building capacity to undertake architectural challenges in the future.

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HERITAGE

Lumbini

Text :- Rupesh Shrestha

its challenges now and then

Introduction Lumbini, where Gautama Buddha was born presents mysticism and symbolism due to the elemental nature of thought present in this sacred place. The name Lumbini is said to have been derived from that of the queen of Koli (Devadaha), whose daughter was Mahamaya, the mother of Gautama Buddha. It is also assumed that the name Lumbini is a colloquial derivation of the word Rummindei (the queen of King Anjana of Devdaha). Later Rummindei was pronounced as Lummindei, and still later, as Lumbini. The name Rummin is identical with Lumbini of Lummini, the form written in the inscription in the Pali Language, in which the middle or initial “R” of Sanskrit is always replaced by “L”. This site is still locally called Rummindei. The term Buddha means “Enlightened One”, and signifies that the person to whom it is applied has solved the riddle of existence, and discovered the doctrine for the cessation of misery. It was by his attainment of this supreme ‘Enlightenment’ or ‘Wisdom’ that the warrior prince, Siddhartha Gautama, became a Buddha. Siddhartha Gautama belonged to the Sakya clan. The word Sakya means ‘Powerful’ and the families that bore the name had a reputation of pride and haughtiness. They were of the warrior caste (Khattiyajati), but cultivated peaceful arts of agriculture. Lord Buddha propounded

Behold ye now this monk austere, His matted locks, his penance fierce; From the fair town called Kapila, His great retirement shall be made. The mother that shall bring him forth, Shall Mahamaya be by name; Suddhodana his father’s name, His own name shall be Gautama. [Extracted from Introduction to the Jataka or book of “Buddha’s Birth stories”] September-October 2010

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we can assume that Lumbini presented an undulating landscape of considerable beauty.

Hinayana, a simple religion in which he followed to a large extent. This was a direct and simple philosophy that appealed to the masses. In 1896, Gen. Khadga S. Rana of Nepal (Commanding General of Western Nepal) and archaeologist, Dr. Alois Fuhrer of Germany (Archaeological Surveyor, north-western Provinces and Oudh under Archaeological Survey of India), became the first pioneers in discovering the southwestern plain of Nepal - the Lumbini Garden. It lies in the Terai about 20 kms west of Siddharthanagar (Bhairahawa) in Rupandehi District of Lumbini Zone in the Republic of Nepal. Geographically, historically and politically, Nepal occupies a position in between two great empires of India and China and has drunk deeply from the two culturally rich springs, drawing inspirations from both its grand neighbours, as the political current ebbed or flowed - an influence clearly illustrated in the building styles of Nepal. In addition, there is the religious, cultural and philosophical effect of that great tide of Buddhism, which swept through the continent of Asia before and after the beginning of the Christian era, inspiring every people and every activity in its vicinity.

Geographically, historically and politically, Nepal occupies a position in between two great empires of India and China and has thus been greatly inspired and influenced by changes in their political and cultural history.

History and its present development The descriptions of famous ancient Chinese pilgrims, Huian Tsang (who travelled through India between AD 629 & 645) and Fa Hein (who travelled between AD 400 & AD 414) indicate to this area, saying, “Lumbini, where the Lord was born, is a piece of heaven on earth where one could see the snowy mountains amidst a splendid garden embedded with stupas and monasteries.” Buddhist literature describes Lumbini as a pradimoksha – vana blessed with blooming sal-trees and masses of beautiful flowers, and a place where bees of five colours hum. The sweet warbling of various birds and other natural scenery in Lumbini was compared to the Chittalata (mind captivating) grove of Indra’s (Hindu rain god) paradise in heaven. From these descriptions, www.spacesnepal.com

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The undercurrent of Buddhism which runs throughout the religious system of the country during the entire history originated at an early date. It is recorded that in the 3rd cent. BC., the Mauryan emperor of present day India, Ashoka, made a pilgrimage to Nepal and commemorated this event with the foundation of innumerable stupas and pillars as a token of his success in bringing the inhabitants into the Buddhist fold. Lumbini was lost in oblivion until it was discovered by the German Archaeologist, Dr. Fuhrer, wandering in the foothills of Churia (Siwalik) range, and the Ashokan pillar presented the first epigraphic evidence relating to the life history of Lord Buddha - the most visible landmark of the Sacred Garden. The historic importance of the pillar is evidenced by the inscription engraved in the pillar (in Brahmi script). Also, the Nativity Sculpture (found above the Marker stone) and Marker stone itself are important as it fixes the place of the Nativity of Buddha with deftness and precision and provides answers to the controversies regarding the birthplace of Lord Buddha. There are multiple facts that leads to a logical conclusion that Lumbini is the birthplace of Lord Buddha. From excavations it has been found that the Ashokan pillar stands on its original base of unburnt brick platform which concludes that the Pillar is at its original location. Furthermore the inscription in the pillar “si la vi ga da bhi cha”1 (interpretations are varying, but translations is believed to mean “at the centre of marking stone slab”) pointed out there is a marker stone on a brick platform. Excavations done also have proved that the marker stone is on seven layers of brickwork which might have represented seven steps taken by Lord Buddha immediately after his birth2 . On account of geological nature of the marker stone, it is has been clearly accepted among the scientific community that the stone is non-Ashokan3 . Thus concluding that the marker stone is also at its original location.

The Ashokan pillar, discovered by Gen. Khadga S. Rana and Dr. Alois Fuhrer in 1896, presented the first epigraphic evidence relating to the life history of Lord Buddha. From Dr. Fuhrer’s records, the Ashokan monolith was 22’-4” high, standing upon a masonry platform, and bore, about 9’-8” from its base, a well preserved inscription of the Mauryan period in five lines. The pillar tapered slightly, as its circumference at the base was 8’-3”; near the inscribed portion 7’-5”; and at the top 6’-6”. There are stories that the pillar, burnished and polished to a unique mirror-like lustre, was surmounted with a horse-capital, which was afterwards sundered from it by the machinations of a wicked dragon . This can be agreed upon with the fact that an Ashokan pillar always comes with a capital as in case of Sarnath of India

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congregational religious structure was already built in 3rd Cent. BC pointing out that brick building started from Lumbini4. Beyond any dispute, Lumbini has been ascertained as the authentic birthplace of Lord Buddha.

According to Prof. Kenzo Tange, “The form of a circle enclosing a square is a mystical universal symbol of purity and simplicity. Architecturally no built structures are to be added to the garden except the essential forms like offices, meditation cells, utility blocks and restoration of Mayadevi Temple.”

In 1967, United Nations Secretary General, U Thant (himself a Burmese Buddhist), visited Lumbini and made an appeal in front of the international community for assistance to maintain and improve the pitiable plight of this world famous pilgrimage site. Suggestions of development of Lumbini as an international pilgrimage and tourist centre then came into light. And since the implementation of the Master Plan for the development of Lumbini, prepared by Prof. Kenzo Tange in 1978, Lumbini has been a marked scene for development, both as an international pilgrimage as well as a tourist centre. The Lumbini Development Trust (LDT) was consequently formed in 1985 to co-ordinate the planned development works and activities. LDT can be considered as a result of amalgamation of two broad concepts: one is the direction of broad universalism and the other in the direction of contributing to the living standard of the people of the region - an appreciable approach for project sustainability. Lumbini was then enrolled in the World Heritage Site (WHS) in 1997 AD following compliance with its cultural criteria (iii) and (vi).

Prof. Dr. Sudarshan Raj Tiwari, a noted architectural historian of Nepal, in his research article ’Mayadevi Temple’, presents mathematical evidences that the ‘multiple layers of remains extending upto various historical periods’ attests to the fact that the site has been of great importance throughout history starting from Lord Buddha’s birth. Through analytical geometry, he further elucidates that sequences of construction are found to be centrally above the pedestal of Nativity Sculpture, which has been a focus of worship and various stages of construction have been done taking this very centre. Thus he concludes from his research that the Mayadevi image and the temple are in their rightful place and the speculations that it came from elsewhere are entirely wrong. Furthermore his papers discusses on implications on history of building at Lumbini since a

The Master Plan The Master Plan mainly consists of circle, square and lines, which are laid out in definite order, proportion and relationship to each other. It is focussed on 7.7 sq. km., centring on the Sacred Garden and the Ashokan Pillar, with an additional area of 64.5 sq. km. to be developed in its support. The Lumbini Development Area is 5 by 5 miles, while the central 3 X 1 mile strip is divided into three 1 X 1 mile areas5. • Circle – The most predominant and basic form in the Master Plan representing the six aspects of Buddhism. • Square – Used along with the circle representing five aspects of Mahayana of Buddhism. • Line –The main axis of the Master Plan joining the centre of the Sacred Garden to the Lumbini Centre, seems to provide a sense of hierarchy to the Master Plan. The Lumbini Centre, accommodating materialistic aspects (hotels, schools, hospitals), is envisioned as a sort of impurity and is kept well away from the Sacred Garden. Similarly, the Cultural Centre is a transitional space, a form of a buffer zone, and the Monastic zone is for diversity of the Buddhist understanding of knowledge, accommodating libraries, research centres and monasteries. The true crux of the Master Plan, the Sacred Garden representing enlightenment, is then approached, which is accommodated at the extreme end.

The ultimate objective of the plan is to create an atmosphere of spirituality, peace and universal brotherhood and non-violence consistent with the time as well as to convey Buddha’s message to the world. Here, the Sacred Garden is seen as a crux for Lumbini as a Buddhist religious centre. The Master Plan, oriented north-south, envisages three main elements in the future development of Lumbini – the Lumbini village, the Monastic Enclave, and the Sacred Garden, surrounded by green areas. Each of the three elements comprises of 1 X 1 square mile totalling to 3 X 1 square mile area.

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The Sacred Garden The Sacred Garden area, surrounded by a pond and a circular levee to protect against inundation, restricts new constructions so that its archaeological value may be preserved. Besides the Ashokan Pillar, another most famous monument is the Mayadevi temple. It has a stone relief having the Nativity scene of the Buddha, which is worshipped from the beginning of the Christian era. This nativity scene of Buddha was installed by the king Naga Malla of Western Nepal, who ruled over one of the two states which flourished from about 11th to 15th century in the Karnali zone of Nepal. It is pointed out by scholars that the temple of Mayadevi was constructed over the foundation of more than one earlier temple or stupa. At present the Mayadevi temple is the heart of all monuments of the holy site, bearing the testimony of several phases of construction over the centuries. It was reopened in 2003 on the 2547th auspicious birth anniversary of Lord Buddha and contains ruins of the earlier temple structure that date back to the 3rd to the 7th century B.C. However, this new construction and its design have not been spared of world criticism, brought about by the charge of it having negative impact on the archaeological remains, affecting the visual experience and understanding(both historic and spiritual) of such an important archaeological site 6. In this context, Prof. Dr. Jiba Raj Pokharel, the chief architect of the new Mayadevi temple and former Dean of IOE, Pulchowk Campus,

The new Mayadevi Temple, containing the ruins of the earlier 3rd to the 7th century B.C. structure, was reopened in 2003. This new construction however invited world criticism that itâ&#x20AC;&#x2122;s design affected the visual experience and understanding of such an important archaeological site .

The entire development of the Master plan is tied together by the eternal flame and a central link comprising of a walkway and a canal, which establishes the solitude and sanctity of the Sacred Garden and offers pilgrims time and space to prepare as they approach the Sacred Garden. On either sides of the axis are the monastic enclaves, which are surrounded by a green forest. The 3 X 1 mile strips on both sides of the central strip were designated Restricted Areas. It was proposed that the concerned authorities should adapt zoning regulations for the additional 16 sq. miles area to act as a buffer zone that will assure the preservation of agricultural environment. This area would be developed for agricultural purposes and would provide food for local people and for the visitors, thus helping to raise the standard of living of the inhabitants.

says that he had tried to maintain the form, texture and colour of the previous structure constructed by Keshar Shamsher (the then commanding officer for Lumbini). Moreover, Dr. Jiba Raj reiterates that recommendation of UNESCO regarding the need of paying attention to the non-intrusiveness, reversibility, shelter, visibility, focus, access, worship and authenticity has been given consideration to the extent possible in his design. Justifications for the construction were made emphasizing the living character of the site and religious sensitivity and inappropriate conditions back then. He further explains that the construction process of the

The marker stone (and the Nativity sculpture) fixes the place of the Nativity of Buddha with deftness and precision and provides answers to the controversies regarding the birthplace of Lord Buddha.

The Nativity sculpture inside the Mayadevi temple depicts Mayadevi with her right hand holding on to a branch of a sal-tree with a new born child standing upright on a lotus pedestal shedding an oval halo around his head, while two celestial figures pour water and lotuses from vessels of heaven as indicated by the delineation of clouds.

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Puskarni, on the south of the Mayadevi temple, is the famous sacred bath pool where it is believed that Mayadevi took a bath after giving birth to Lord Buddha. The structure, laid in fine brick masonry, is of a secular nature and has three projecting terraces in a descending order. During the course of renovations of this sacred pond, it was found at the bottom, two artesian wells one with Hot water and other with cold water. In Birth-Stories of Buddha it has been said after Mahamaya gave birth to Gautama Buddha he apparently fell to the ground and walked seven paces. Two-dragon kings appeared and washed his body with hot and cold water from wells in the vicinity. Keeping this fact also in mind we can ascertain Lumbini as birthplace of Lord Buddha. A pool of oily liquid also appeared to be used by the Queen for cleaning herself after the delivery. This memory of a river with oily character still exists and is called Tillar Nadi (oil river) which flows through south â&#x20AC;&#x201C; east of the Ashokan pillar.

ÂŠ Anand Gupta

new Mayadevi temple incorporates brickwork with lime surkhi mortar and that steel structures with nut and bolt joints have been used to support the archaeological ruins to facilitate easy dismantling when required.

Monastic Zone While the Mahayana West Monastic Zone consists of 29 plots (21 being reserved for different countries), the Theravada East Zone consists of 13 plots (9 plots similarly reserved). Out of these 30 reserved plots, only 10 monasteries have been completed so far, while 12 plots are undergoing construction. The monasteries built have represented architectural style of their respective country but the desired population density has not been achieved as required by the Master Plan. In each of the two monastic zones there are two plots of land for the construction of meditation centres. In order to unify the various styles, landscaping is intended to be coordinated according to the Master Plan. A space known as a Monastic Plaza, made up of circular or semicircular steps, will be located in the centre of each monastic zone. Each plaza will be serving as a central gathering point and will have a symbolic sculpture placed at its centre. But the present development here have been widely criticised for damaging the essence of the Master plan as will be discussed later in this paper.

China

Myanamar

Korea

Germany

New Lumbini Village & Cultural Centre Several cultural facilities having a strong international flavour and landscapes suitable to the functions are planned in the Cultural Centre. These include facilities for international conferences and seminars, museum, library, etc., for research on the Buddhist thought and philosophy. In addition, facilities of accommodation for pilgrims as lodging houses, hotels and facilities for daily requirements have also been accommodated in the Master plan.

The Monastic Enclave, representing the two sects of the Mahayana and Theravada school of Buddhism, is situated in the north of the Sacred Garden and symbolizes the understanding of knowledge. Plots (29 Mahayana & 13 Theravada, totalling 42) have been allocated to different countries in this enclave for constructing monasteries which provide an insight of the religion and life of the people of the respective country. At present, extravagant monasteries have been constructed by people of different countries following Buddhism, reflecting their interpretation and manifestation of Buddhism, thereby creating a fascinating map of Buddhist philosophy revered around the world.

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According to the Master Plan, the new Lumbini Village and the Cultural Centre are designated as the main entry points of the site. It is located at the extreme north of the Master Plan and on the intersection of Bhairahawa – Taulihawa Highway. As per the original Master Plan it is divided according to purpose, viz.: New Lumbini Centre, Cultural Centre, Pilgrims Accommodation Zone, High School, Roads and Landscaping. Besides these components, the Peace Stupa, Staff Colony and Crane & Bird Sanctuary are additions made to the original master plan. It is necessary for the Lumbini Village to be completed as soon as possible so that all activities which are detrimental to the sanctity of the Sacred Garden can be shifted here.

The Peace Stupa in the New Lumbini & Cultural Centre

Where the problem lies “Physical barriers and locks provide the most obvious controls on the use of spaces, but an individual behaviour is also constrained by what he thinks is appropriate, admissible or possible.” – Bourdieu, P. 1977 According to the priorities as mentioned in the Master Plan, it was scheduled that all the major construction works would be completed by the year 1985. The total cost estimate then was US $ 55 million. But different circumstances led to the delay of the project execution resulting in a huge cost overrun, which according to a task force formed in 1999, would be 4.2 to 4.5 times higher. The team also presented recommendations for speedy progress of the Master Plan, which were never implemented. As CK Lal in his article ‘The Prince of Peace’ writes in the Nepali Times, “The fascination of the Nepali power elite with the Buddha and his birthplace is on display in the excesses of the Lumbini Development Trust, where a new set of bosses takes over after every change of government at Singha Durbar ...Besides the usual accusations of cronyism and nepotism that continue to undermine the efficiency of the Trust, the rapid turnover of its key personnel in the last twelve years has also been a factor in its stagnation.” There is a discontent that has arisen due the manipulation of the Master Plan, resulting in its true essence being subdued by the present development carried out. The Master Plan was prepared to keep mundane activities outside the Sacred Garden and a sense of hierarchy to the plan was given for preserving the true essence of the Master Plan. A certain scale for future buildings to be constructed was also specified so that the works do not subdue the monumentalism of the Ashoka Pillar and the Sacred Garden. Contrarily, the Monastic Zone has now started to become a more dominating sector than the Sacred Garden or the Ashok Pillar. These architectural built forms, colour schemes and material usage at the monastic zone have failed to accentuate the plan originally conceived by Prof. Kenzo Tange, as many of the building controls, (like prohibition of construction within a 20m www.spacesnepal.com

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zone from the axis of the main pedestrian path of the Monastic Plaza and the entrance courts, and limiting the height of buildings to 3 storeys -not exceeding the average height of the surrounding trees), have not been followed. The boundary wall is physically an eyesore and philosophically, a barrier to the flow of vibrations as per the original Master Plan. The main entrance leads directly to the Sacred Garden, which is totally against the sanctity and purity of the site. The Master Plan also mentions that only a single plot be made available to each party. Inspite of this, more than one plot has been allocated for some countries and there is no demarcation between monasteries and their adjacent open spaces. At the same time, infrastructure development is lagging behind compared to monastery construction due to ineffective mobilization of funds by LDT for timely completion of site development.

It must also be mentioned here that UNESCO too has published a report stating that there have been some activities which violate the basic essence of the Master Plan. For instance, the Peace Stupa in the Lumbini Center is built entirely against the Master Plan and violates its spiritual and technical aspects7. It is now seen as a counter point of the Ashok Pillar which in its absurdity has affected the monumentalism and spiritualism brought about by the Pillar. There has been a realisation of a lack of a comprehensive conservation and management vision of World Heritage Property. Thus an Integrated Management Plan is being opted to solve issues and conflicts regarding conservation and development of Lumbini. A growing discontent is also festering amongst the locals that development works are confined within the walls of the Master Plan, and that they have not received a share from the developments being undertaken, resulting in a lack of emotional attachment..There is no doubt that long term conservation of Lumbini and its sustainable development can be achieved only by considering the economic empowerment of the communities living in its immediate surroundings. Appropriate models for local development programs should be thought over with an integrated approach to meet all concerned stakeholders. These programs should address the existing socio-economic factors and community participation should be given top priority for the project to be sustainable.

Other issues Lumbini has several opportunities for environmental tourism, which until now, has been under promoted, limiting it simply as a religious destination. Lumbini and its surrounding areas are endowed with a rich natural setting of fauna and a favourable agricultural environ. A further development of forests, grasslands, and wetlands would reflect nature as it is represented in Buddhism and the natural habitats of the Tarai. However, the problems of encroachment, unplanned urbanization and pollution are alarmingly on the rise and are taking its toll on tourism. Furthermore, experts are of the

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opinion that the proposal to transform the existing domestic airport into an international one would have an adverse effect in an environmental perspective, and rather recommend Lumbini be declared a ‘no fly zone’. As we advocate international tourism and intra–regional tourism, that there has been a lesser exchange of tourists among the countries of South-Asia today is not due to the lack of travel urge but due to economic exigencies. Once the country has achieved a satisfactory level of development and economic capabilities, religious pilgrimage will generate a large volume of regional tourists. A pilgrimage route connecting the four great holy places of Buddhism – Lumbini, Bodh-Gaya, Sarnath, and Kushinagar can further be developed transforming Lumbini into a nexus for regional tourism. Some noteworthy efforts have been made for Lumbini, such as the recent decision by the Ministry of Industries to limit industrial activities in an area of 15Km from the Northern, Eastern and Western boundaries of the Master plan, as well as stricter screening

A CERTAIN SCALE FOR measures for the operation of the existing industries. FUTURE BUILDINGS TO BE CONSTRUCTED WAS ALSO Conclusion SPECIFIED SO THAT THE The late King Birendra Shah had appropriately ned the importance of Lumbini in one of his WORKS DO NOT SUBDUE defi speeches, “Although Gautama Buddha was born in Nepal, he belonged essentially to the whole THE MONUMENTALISM world and to all times. He blazed a trail leading OF THE ASHOKA PILLAR humanity to cast off parochialism and seek liberation and enlightenment. For us in Nepal, AND THE SACRED the way of life which Buddha practised and GARDEN. CONTRARILY, propagated has remained an inextricable part of our cultural heritage. Nepalese civilization has THE MONASTIC ZONE brought about a marriage between Hinduism and Buddhism making them inseparable.” HAS NOW STARTED TO BECOME A MORE In this world of wonders in which all things are inter-linked in a unique manner as a string DOMINATING SECTOR of tapestry, it is but natural that we respect and conserve what is feasibly possible for the THAN THE SACRED co-evolution of today and for the generation to GARDEN OR THE ASHOK come. Lumbini presents an enormous potential as a cultural, touristic and religious site, making PILLAR. it worthy of an effort towards preservation of its

ACKNOWLEDGEMENT Prof. Dr. Sudarshan Raj Tiwari, Institute of Engineering, Lalitpur Prof Dr. Jiba Raj Pokharel, Institute of Engineering, Lalitpur Ar. Kai Weise, PAHAR Nepal, Planners’ Aliance for the Himalayan and Allied Regions Ar. Punya Sagar Marahatta, Lecturer, Institute of Engineering, Lalitpur

Outstanding Universal Value both in terms of its historical significance and spiritual meaning. The values being inter-related, enhancement made in one should not compromise the other.

REFERENCES • • • • • • • • • •

Angela, A, Cueppers, C, Ghimire, H, Rai, R, Suwal, R, Bhuju, U, Weise, K, Jenkins, M, Selter, E, 2006, Lumbini: Present Status and Future Challenges, UNESCO Publication, Kathmandu. Fuhrer, A. 1896, in H.R Joshi & I. Joshi (eds), Antiquities of Buddha Sakyamuni’s Birth-place in The Nepalese Tarai. The Nepal Studies : Past and Present, 1996 Tiwari, S.R. 1996. ‘Maya Devi Temple. Recent discoveries and its implications on history of building at Lumbini’, Tribhuvan University Journal, XIX. Pokharel, J. R., Reconstruction of Maya Devi Temple on the Birth Spot of Buddha( Unpublished). Kathmandu UNESCO-ICOMOS 2005, Mission Report Reactive Monitoring Mission to Lumbini, the Birthplace of the Lord Buddha, Boccardi, G & Gupta, D, Nepal. Lumbini Development Trust 2007, ‘International Monastic Zone’, About Lumbini, viewed 21 June 2010, http://www.lumbinitrust.org/monasticzone.htm#1 Lal, C.K . 2002 , ‘The Prince of Peace’, The Nepali Times, 24 May, viewed 16 June 2010, http://www.nepalitimes.com.np/issue/2002/05/24/ StateOfTheState/6399 Rakesh, Ram D. 1994, Cultural Heritage of Nepal Terai, Nirala Publications, Jaipur, India. Shakya, Min B. 1986, A Short History of Buddhism in Nepal. Young Buddhist Publication, Lalitpur. Bidari, B. , Greetings from the Birthplace of Lord Buddha Lumbini, Nepal, The World Heritage Site, Lumbini.

END NOTES de va na pi ye na pi ya da si na la ji na vi sa ti va sa bhi si te na; a ta na a ga cha ma hi yi te hi da bu dhe ja te sa kya mu ni ti; si la vi ga da bhi cha ka la pi ta si la tha bhe cha u sa pa pi te; hi dab ha ga vm ja te ti lu mi ni ga me u ba li ke ka te 2 Excavations were carried out in 1990’s by Japan Buddhist Federation (JBF) and Lumbini Development Trust (LDT). 3 Pillars for Ashokan stone are derived from hills south of Chunar railway station in Bihar, India. Whereas marker stone found in Lumbini is made from local stone. 4 See MAYADEVI TEMPLE – Recent discoveries and its Implications on history of Building at Lumbini by Prof. Dr. S.R. Tiwari. 5,7 See Lumbini: Present Status and Future Challenges by UNESCO, 2006 6 Mission Report, UNESCO – ICOMOS, Joint Mission to Lumbini, World Heritage Site – Nov. 2005 1

September-October 2010

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September-October 2010

SOLUTIONS HOME

EXTERIOR PAINT If you have decided to give the exterior of your house a new coat of paint, don't rush it. Painting a house is not an easy task and will cost you a lot of money. Therefore any decision you make has to be well thought of as you will want it to last for at least 3 to 4 years before it can be changed again. One of the best things you can do when looking for exterior house paint ideas is to try to blend with nature. Just take a look at your surroundings. Notice how the greenery in your garden blends so perfectly with the misty blue mountains in the background, or the vibrant colours of flowers that grow in your garden. Nature itself is such a beautiful palette and all you have to do is think of your house as the focal point and choose the colours that will look best in your particular environment.

1. Surroundings and Style Conservative neighbourhoods sometimes frown if you use bold and vibrant colours on the exterior. Unless you want to be controversial, it would be better to stick to simple colours such as white, cream, beige and grey. 2. Hiding flaws Most houses have some flaws as a result of inadequate design or due to unavoidable developments and requirements. These can be hidden by the use of colours in the correct way. 3. Choosing the correct exterior paint Exterior paints were earlier limited to lime whitewash or cement based paints. These paints, though inexpensive, have a very limited resistance to atmospheric effects of sun and rain, resulting in a dull and drab exterior within a very short period of time. In some cases, walls with no slab projection cover will also invite water seepage into the room inside. However, paint companies now offer special exterior paints which not only retain the freshness of a new coat of paint for a longer period of time, but also help to prevent seepage of rain water into the interior of the building. However one important thing to remember here is that these paints are not a substitute for maintenance of the drain or piping system. Nonetheless, these paints give an added layer of protection to your exterior wall, and it prevents moisture from depositing.

When choosing exterior paints you have to consider three essential things: the amount of paint needed for the job at hand, the recommended brand and price bracket you wish to stick to, and the guarantee offered. • The Amount: Usually when using these special exterior paints, you would not have to re-paint many times. So just purchase a small amount more than required for any retouching that may be needed in the future. • The Price: Remember that expensive exterior paints do not necessarily mean that it is the best. On the other hand, a very cheap price naturally indicates a lower quality in terms of life and water tightness. There are quite a few companies in the market producing such products. Hence don’t rush into buying, but evaluate your options. • The Brand: There are a lot of brands in the market, but it is always safe to go for well known brands, since usually they ensure the best product.

Choice of colours can both highlight detials or hide or flaws

•

The Guarantee: Normally, the better the brand, the higher the guarantee of the product. If you want you can opt for a lesser known brand, but never choose one with a low guarantee proposition, because you will end up paying more in maintenance bills. The Home article will be a regular feature in this Solutions section. If you have any queries regarding your home, do write to us at: spacesnepal@gmail.com

September-October 2010

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SOLUTIONS PHOTOGRAPHY

COLOUR MANAGEMENT Text & Images: Ashesh Rajbansh

TO MAKE SURE THAT YOUR PHOTOGRAPHS ARE DISPLAYED CORRECTLY YOU NEED TO THINK ABOUT COLOUR MANAGEMENT. YOU SHOULD START BY CALIBRATING YOUR COMPUTER MONITOR - AND IT’S NEVER TOO SOON. Without doubt, your favorite photos will eventually be displayed somewhere. Whether you print them yourself or use a lab, display them online or even submit them for publication, you want the colors in your images to be reproduced accurately. To view the colours as you intended, your computer monitor needs to be calibrated. This is why monitor calibration is soo important. Colour management is the process of making sure that the colors in your photos remain consistent throughout the digital workflow that starts with a calibrated monitor. There is little point in trying to figure out why the colours in your prints don’t match the colors on your monitor, for instance, if you haven’t calibrated it. www.spacesnepal.com

September-October 2010

Blue cast The problem arises because most monitors are not set up for photographic editing. When you buy a monitor, it is set by default to a white point of a temperature of around 9300k. The result is a strong blue cast, producing colours which are perfect for viewing games and graphics, but which bear little resemblance to reality. The cast is strong enough to ruin any attempt to accurately reproducing the colors in your photograph. The good news is that calibrating your monitor is simple to do. To do it accurately you need a special monitor calibration tool that measures the colors displayed on your monitor. Even the cheapest re accurate enough for the demand of most of the photographers. Big thing is that the cost is relatively small compared to your overall investment on cameras and computer equipment and failing to bring good result.

SOLUTIONS

How to calibrate your monitor?

What is Colour Management

How monitor calibration works

The aim of colour management is to ensure that the colors in your photographs remain true all the way through your digital workflow. The colours captured by your digital camera should be precisely displayed on your monitor and reproduced as accurately as possible by your printer.Colour management can be perceived as advanced topic, but actually it’s quite simple and easy enough for any photographer to implement.

A colorimetric device measures the monitor’s colour output with great precision and with much more accuracy than the human eye. The software supplied with the calibration tool displays preset colours on your monitor, which the device measures. The software then calculates what changes need to be made to the monitor’s display so that the colours are displayed as they should be. This information is then stored in a profile, which is saved on your hard drive. When you start up your computer the software loads the profile into your monitor driver. The calibration tool also measures the range of colours that your monitor is capable of displaying. This information is saved in the monitor’s colour profile.

There are two things you can do that will ensure colour accuracy for the beginners. They are : a. Calibrate your monitor with colorimetric device. b. Work in the sRGB color space Remember no two monitors reproduce color precisely the same way.

You need a colorimetric device to start with, the process is simple. 1. Turn your computer on and let the monitor warm up for around 30 minutes (for LCD) 2. Turn off screen saver and any power management settings that you’ve applied before. 3. Dim the lights or close the curtains to prevent any ambient light from shining directly onto the monitor. 4. If you have used Adobe Gamma Loader or any other software to calibrate your monitor in the past, you should disable them or preferably uninstall them to prevent double colour management which will destroy all effort to bring accurate colour. 5. Follow the instructions that come with the device to install the software on your computer. 6. Once you have the software installed, go ahead and start the program. The procedure varies according to the device and/or manufacturer. But you need to give informations like the type of monitor you are using etc. 7. Most calibration software has basic and advance options. The basic option is adequate for most photographers. The calibration software sets the luminance, white balance, gamma, black point and white point. After the calibration process is completed, any of the settings on monitor like brightness, contrast etc. must not be changed. Or the calibration is destroyed and needs to be done again. The colour performance of your monitor gradually drifts over time. Ideally CRT monitor should be calibrated every two weeks and LCD monitors every four weeks. This ensures that the colors of your photos are correctly reproduced as intended. The Photography article is a regular feature in this Solutions section. If you have any queries regarding photography, do write to us at: spacesnepal@gmail.com

September-October 2010

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SOLUTIONS DESIGNING

REVIT vs AUTOCAD Are you spending more time in DRAFTING rather than DESIGNING?

3. Why should I spend my time, money & energy in migrating from AutoCAD to REVIT when AutoCAD can do all the work that I need in the office? Of course, AutoCAD is a powerful drafting software, which is why it has been used worldwide so intensively. But if going one step forward can double the productivity in your office with less overhead and infrastructure cost, than it surely needs a second thought. It is true that most firms assume that if they implement a BIM solution, they’ll experience productivity losses during the transition period. Indeed, a Revit implementation web survey conducted by Autodesk cited an average productivity loss of 25-50% during the initial training period on Revit. But the reality is that these initial productivity losses get quickly wiped away by productivity gains. For Example: Following is the table, comparing productivity between CAD tools and BIM tools during different stages of the design process. Task

CAD (hrs)

Hours saved

Time savings

Schematic design

190

100

53%

Design development

436

220

216

50%

1023

815

208

20%

175

159

91%

1,824

1,141

683

Construction documents Checking and coordination Totals

Let’s go back to 1990. About 90% of architectural and engineering firms in India used drafting boards for drafting and only 10% used CAD applications.

BIM (hrs)

The above findings are based on experiment carried out by Lott+Barber architects from Georgia who compared the time spent on different stages of the design process for two projects of similar size and scope.

Today in 2010, About 90% of architectural and engineering firms in India use CAD applications (like AutoCAD) and only 10% use BIM based applications 4. Can we create good quality rendered 3D images and walkthrough in REVIT? (like REVIT). Yes, Revit is very useful visualization software using Mental Ray engine for Rendering and Walk-through which is the same as 3ds This indicates that a new revolution is on the way. Can REVIT really Max. Although, for creating animated walk-through, REVIT 3D model replace AUTOCAD? Many say “YES”, many say “NO”. can be exported to 3ds Max or similar rendering software for further development. Let’s ask these 5 questions before we form our own conclusions. 1. What is so special about REVIT? REVIT uses a technology called “BIM – Building Information Modeling”. Due to this technology, the software is like a semiautomatic machine. While you draw a plan of a building, it makes elevations, sections, 3D views and schedules automatically; saving you time, money and energy.

5. What are the disadvantages of REVIT? Revit is more powerful and advance than our current drafting software. But as it is a new software, it is continuously under development. There are still many tools which need to be incorporated and developed for better productivity. But with each new version launched in the market, we see new heights being achieved.

BIM software thinks the way you think of the design and this is what SUMMARY makes it different from CAD application, giving you more time to This is the age where we need to give quality, economy and speed – all design rather than draft. together. 2. Is it necessary to have CAD experience to use REVIT? REVIT is the technology of tomorrow. Sooner or Later the equations will change NO, it is not necessary to have CAD experience to learn REVIT. and we will have more professionals and firms working with REVIT than CAD. REVIT is specifically designed as a tool for thinking intuitively about Let’s pace up and be more productive with our drafting and designing tools. buildings and their behavior. As a result, the software is easier to understand and learn than other drafting software. But any previous Written By: Ar. Bansri Pandey, Autodesk Authorized Author * AUTOCAD®, AUTODESK®, REVIT®, 3dsMax® are registered trademarks of Autodesk Inc. and/ knowledge of CAD or drafting will surely help in gaining confidence or its subsidiaries and/or affiliates in the USA and/or other countries. All other trademarks, over REVIT. brand names or product names belong to their respective holders. September-October 2010

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Ceiling is rotted because of water or moisture

Ceiling is destroyed from termite

Sealant Material

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SCG SmartBoard is a new generation of fiber cement material with Firm & Flex Technology made the board gain strength, durability and elasticity in one time. SCG SmartBoard, with state-of-the- art composition of Elephant (SCG) Portland Cement, Silica and Special cellulose fiber through Autoclave process, is specifically designed for various ceiling, wall and flooring applications both internal and external usage.

AUTHORIZED DISTRIBUTOR

Ashra International Pvt. Ltd.

Importer Interior Turnkey Contractor New Baneshwor, Kathmandu, Nepal Tel.: 2042273, 977-1-4484310 Email: ashraint@wlink.com.np, info@ashra.com.np Website: www.ashra.com.np Contact Person: Jeetendra Karna 9851119971 Bishal Ghimire 9855022709

For more information, Please contact: The Siam Fibre - Cement Co., Ltd., Thailand Tel: +662 586 3838, +662 586 4992 Website: www.siamfibrecement.com

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September-October 2010

OPINION CONTINUING WITH THE THEMATIC PRESENTATION OF SPACES, THIS ISSUE FOCUSES ON `INTERNATIONAL ARCHITECTS WHO HAVE WORKED, OR ARE WORKING IN NEPAL AND THE IMPACT OF THEIR WORKS IN NEPAL'S ARCHITECTURE'. IN THIS REGARD, A SET OF QUESTIONS WERE FIELDED TO A NUMBER OF ARCHITECTS TO FIND OUT THEIR OPINION REGARDING THE IDEAS, WORK AND EFFECT OF THESE INTERNATIONAL ARCHITECTS.

Do you feel that involvement of International Architects has enriched the architectural scene of Nepal? If yes, please mention any specific architect or their works that you feel is inspiring. NP: YES, Kenzo Tange and his Lumbini masterplan, Robert Weise in all his projects in Nepal and Sikkim, L.I.Khan in the Family Planning Building, Gotz Hagmuller in Garden of Dreams, Patan Museum and Bhaktapur, John Sanday in Hanuman Dhoka Palace Restoration. BMS: International Architects have certainly enriched the Nepali scene. To say otherwise would be blind or conceited. But we are capable of being both at the same time. Haven’t we all been wowed by Kenzo Tange’s brick monuments in Lumbini?

Or with Carl Pruscha’s brooding spaces at the CEDA complex? Need we say more? C’mon folks, give your ego a rest. Give credit where it is due. KW: Various international architects such as Robert Weise, Carl Pruscha, Niels Axel and more recently architects such as Kristin Jarmund have enriched the architectural scene. However the contribution of the internationally acclaimed architects such as Louis Kahn, Kenzo Tange and Tadao Ando have not been given the respect or required understanding.

Do you feel non-Nepali architects have done justice to architecture in Nepal? If not, how do you think their involvement should be regulated in order to ensure this justice? NP: Yes definitely Ar. Narendra Pradhan, Narendra Pradhan & Associates. (npas@ wlink.com.np) (NP)

BMS: All international Architects that come to my mind appear to have dutifully and respectfully imbibed the local context, assimilated the ambient stimuli and responded superbly. This is more than can be said of all of us local bums who are still groping. Regulation? Perish the thought! And who will regulate the regulators, pray tell me?

Ar. Bibhuti Man Singh, Technical Interface. (tecinter@wlink.com. np) (BMS)

Ar. Kai Weise, Nepali Architect of Swiss Origin. (paharnepal@ gmail.com) (KW)

Haven’t we gone through that before, with a thousand pagodas blooming over every staircase or water tank? KW: I believe there are a lot of commercial buildings being designed by non-Nepali Architects who seem to have little understanding or interest in the Nepali context. However, this cannot be controlled until Nepali architects themselves do justice to architecture in Nepal.

Have you ever worked with a Non-Nepali architect? Can you share you experience regarding the same? NP: Yes, I have had the opportunities to work with various non-Nepali architects in my professional and student careers.

the Royal Palace of Nepal and Utkal University in Orissa, both of which I was also involved in. My two months training under them were very inspiring.

1968: during my practicum with M/S Chatterjee and Polk, Calcutta, the principals , Mr.Benjamin Polk and Mr.Binoy Chatterjee, were actively working on various projects including

1971-74: With Robert Weise in WCAE. I was involved in the designs of Hotel Malla, Yellow Pagoda, SOS Childrens’ Village (Sano Thimi), Hotel Annapurna extension program ( Hilton chain

September-October 2010

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OPINION

Do you feel that the society/ architectural society of Nepal, is sensitive towards the works and involvement of these International Architects? Please elaborate. were negotiating collaboration), Royal Nepal Army barracks in Chauni, Bhaktapur, Kharipati and the Head Quarters, Sikkim House in Delhi, all the Sikkim government projects during my stay as resident representative in Sikkim which included the new Secretariat ( which was approved by the Chogyal but never constructed), Government of Sikkim Standard Housing Schemes for various calssifications of government employees, Sikkim Jewels, etc. Mr. Weise was like a true guru for me and he taught me all aspects of professional practice and ideology which I follow to this day. I am truly grateful. 1976: BDA in collaboration with Mr. K.L.Shrestha and UDA ( Ram Bahadur Shrestha) was awarded the prestigious USAID project, Institute of Agriculture and Animal Science ( IAAS) in Rampur. M/S Kanvinde and Rai were also appointed as advisors by USAID for the project. As the principal architect for the project, I had various interactions with Mr. Achyut Kanvinde, Mr. Shaukat Rai and Mr. Morad Chaudhuri and I got to know Mr. Kanvinde quite well. I also had the opportunity to understand the various processes of design formulation, land use and physical planning prior to finalisation of the master plan from him. During my subsequent visits to Delhi, I was invited to meet him in his office and join him for lunch at the Volga restaurant, his usual haunt. 1985-87: During my masters program in USC, Los Angeles, I was employed by DMJM (Daniel Mann Johnson and Mendenhall), which was at that time, one of the largest technical consulting firms in USA. I was put in the Design

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department the head of which were Ceasar Pelli and Anthony Lumpsden (both worked with Eorro Sarranen earlier). Pelli left the office to start his own practice four months after I joined but I got to work with him (especially on weekends) on various projects such as Marriot Hotel in San Francisco, Mercy Hospital of Sacramento, Ojai Country Club in Ojai and San Bernardino International Airport. Although it was a very big office with thousands of staff, we, the design team, were encouraged to formulate our own ideas in the projects by both Pelli and Lumpsden. Both Pelli and Lumpsden are known as the “fathers of curtain wall” as they introduced this technology in many of their projects. 1984-87: My thesis guide appointed by the department in USC ( University of Southern California) was Frank Gehry (also an alumni). Although he is known for his eccentric contemporary designs, he was very sympathetic and positively helpful in guiding me on my thesis program which was a traditional housing project in Kathmandu. He also defended and supported me vigorously during all my reviews and final presentation. We used to meet regularly in his studio and every weekend, at the Saturday Club, an exclusive architects’ gathering to which he and my sponsor, Kurt Meyer, had sponsored me as a temporary member. BMS: I have only interacted with them, never worked with, under or above them.

NP: NO ! Unfortunately all professional societies and organisations have been very indifferent to the international architects and their works in Nepal. They have been viewed as encroachers into the exclusive profession within our country. Very few interactions have been made with them and they have not been given their dues for their contributions to our country. BMS: Society in general is indifferent to their presence, for they know not, bless them. Architectural society, however, are sensitive and rightly so, as it affects their dal and bhat.

KW: International architects are seen as a threat and not as competition. There are very few architects who like competition. I remember even my father had problems after working here for 30 years since he was a foreigner. There are times when I myself feel the bad vibes, though no one can say anything directly since I am a Nepali citizen

Have you identified any ideological differences between Nepali and international architects? What, in your opinion is the reason for these differences, if any? NP: Yes. There have been ideological differences. The fact remains that the expat architects have taken the pains to carry out thorough research and studies on all aspects of our traditional buildings and have successfully incorporated the same in their works here. They have also published their works as reference for our future professionals. They have not been given due credits and appreciations by our fraternity.

whose local works have really inspired us.

BMS: Taking it down to ‘we’ and ‘they’ in general: we are drifting towards them, and they are wandering around towards us, in terms of world views and perceived destinies.

Like deep, deep sea tides, suffice it to say that these trends exist. But there is a shared feeling of despair and disillusionment on both sides. I just found a perfect word for this mental state : ‘huzun’, a Sufi word to describe a devotee’s despair at his distance from his ideals, or God if you lilke.

Witness the rush towards ‘modern’ in our midst, and the preference for restoration/ KW: No, other than when I did my renewal/ renaissance/ practical training in my father’s regionalism from those looking office. I presume this does not in. Excluded from this equation count. are the neighbours, none of

September-October 2010

A little foreign input now and then is certainly healthy, but the presence of certain architectural fiefdoms, complete with globe trotting absentee architect-lords and local tillers doing the donkey work churning out dull stuff, is something we should all be concerned about.

So between ‘we’ and ‘they’ there is mutual contempt most times. They tend to be patronizing and prescriptive, as if they possess the wisdom of the ages. Having been through a lot they well might, but we refuse to believe that one size can fit all and would prefer experiment/experience/ excitement, in keeping with the new found freedoms.

KW: There are good architects and no-so-good architects. One should not categorize between whether they are Nepali or not.

September-October 2010

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SPACES CONNECTS

DESIGN

Red Buddha Folk Art Traditional Nepali Designs adapted for Contemporary Living Project: Baudha Kitchen, Kathmandu T: 977-1-444-2512 E: mikekraj@wlink.com.np

Archiplan Pvt. Ltd, Kathmandu

John Sanday Associates Pvt Ltd

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A-Not Architecture and Architects

Reverie Designs Architecture, Interior, Landscape, Construction Management Project: Master design of Mahindra - Logan, Agni Inc., BID, Balaju; Siddhi Shaligram Briddhaashram, Bhaktapur T: 977-9851074127 E: shaqueleo@hotmail.com

Shah Consult International (P) Ltd

SLTD( Shelter and local technology development centre) Cost Effective Technology & Research Project: Pokhara Housing, Pokhara; Housing for Mushahars families, Siraha T: 977-1-4270696 E: bhshrestha@wlink.com.np

SPADECO (Spatial Design Company Pvt .Ltd) Architecture, Engineering, Interior, Construction Management Project: Nepal Pavilion Expo 2005, Aichi, Japan; Kathmandu Medical College Extension, Kathmandu T: 977-1-5526040 E: spadeco@hotmail.com

Architecture, Interior, Landscape, Planning, Conservation, Valuation, Construction management

KVPT (Kathmandu Vally PreservationTrust)

Project: National Planning Commission, Kathmandu; Nepal Midpoint Community Hospital, Nawalparasi T: 977-1-5526061 E: anot_architects@hotmail.com

Project: Radha Krishna temple, Project: Agriculture Development Patan; Kal Bhairv temple, Kathmandu Bank H.O. Extension, Kathmandu; T: 977-1-5546055 Muni Bhairav Commercial Complex, E: info@kvptnepal.com Kathmandu T: 977-1-4468866 Prajwal Hada and Associates E: shahcoint@wlink.com.np Architecture, Interior, Landscape, Structure, Planning, Construction Sarosh Pradhan and Associates Management Architecture, Interior, Planning, Project: Civil Mall, Kathmandu; Ashok Graphic design

Technical Interface

Cinema Hall, Patan T: 977-1-4672747 E: prajwalhada@yahoo.com

Architecture, Interior

Design Cell, Kathmandu Architecture,Engineering,Planning, Interior design Project: Krishna Tower, Kathmandu; Chitwan School of Medical Sciences, Bharatpur T: 977-1-4423165 E: admin@dcell.wlink.com.np

Historic preservation

Prabal S. Thapa

Project: Tilganga Eye Hospital, Kathmandu T: 977-1-4249290 E: createer@mail.com.np

Project: The Bakery Café, Sundhara, Kathmandu; TEWA, Lalitpur T: 977-1-4270260 E: sarosh.pradhan@gmail.com

Sustainable /green architecture

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Project: Tiger Mountain Lodge, Bardia; Amaghar Children’s Home, Godavari T: 977-1-4434628 E:ptarch@infoclub.com.np

Architecture and Interior

Innovative Createers Architecture, Interior, Sustainable/ green design

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Vastukala Paramarsha Project: Comfort Housing, Kathmandu; Great Lotus Stupa, Lumbini T: 977-1-5542418 E: vastun@enet.com.np

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HIMALAYAN FLORA ENTERPRISES Landscaping, Ornamental plants, Cut Flowers, Foliage, Orchids T: 977-1-2220783 E: himalflora@gmail.com

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PARK GALLERY Contemporary Arts T: 977-1-5522307, E: parkgallery@wlink.com.np KASTHAMANDAP ART STUDIO Creativity and visual art T: 977-1-5011573, E: kasthamandapartstudio@gmail.com GALLERY 32 Photography, Art, Poetry T: 977-1-4241942, E: info@dent-inn.com

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