SPACES Nepal JUN-JUL 2019

VOL 16 NO. 8 | JUNE-JULY 2019

ART | ARCHIT ECT URE | INTE RIOR

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Contents

Vol. 1 6 No. 8 / Ju n e - Ju ly - 2 0 1 9 S P A C E S N E P A L . N E T

18 INTERIOR ATTIC

24 ARCHITECTURE SUSTAINABLE SCHOOL DESIGN

34 INTERIOR DRIFT FROM TRADITIONAL BATH TO MODERN SHOWERS

38 PERSONALITY RAJESH PRASAD SHRIVASTAV

47 CRAFTS POTTERY

54 INTERIOR LIVE IN SPACE DESIGN PARADIGMS

68 PRODUCT PIA

74 ART ICONIC BHAIRAV

78 NEGLECTED HERITAGE THE EARTHEN BUILDINGS OF UPPER MUSTANG DISTRICT

Contributors

Volume NO. | -XQH -XO\ 2019 CEO

Ashesh Rajbansh Editor-in-Chief

Ar. Sarosh Pradhan Contributing Art Editor

Madan Chitrakar Kasthamandap Art Studio

Madan Chitrakar Madan Chitrakar

Kai Weise Weise Kai

Bansri Pandey Asha Richa DangolAdhikari Anne Feenstra Sushmita Ranjit

Alisha Adhikari Apekchhya shrestha

Consulting Editor

Prabina Shrestha Junior Editor

Shreya Amatya Pratap Jung Khadka Tejal Rayamajhi Contributing Editor

President of Society Of Nepalese Architects (SONA) Advisor

Prakash Bahadur Amatya Ar. Pawan Kumar Shrestha Ar. Pravita Shrestha Kirti Kusum Joshi Photographers

Pradip Ratna Tuladhar Director- Operation & Public Relation

Anu Rajbansh

Debbie Rana Dangol Siddhartha Jung Khadka Legal Advisor

Yogendra Bhattarai Financial Advisor

Kiran Rajbhandary Accountant

Pratima Sherpa

Rohit Khadgi Intern

Sudikshya Dongol Ikchha Pokharel Prithvi Jung Khadka Sajeet Rajbhandari Sandesh Shrestha Published by

IMPRESSIONS Publishing Pvt.Ltd. Kopundole, Lalitpur, GPO Box No. 7048, Kathmandu, Nepal.

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IMPRESSIONS Publishing Pvt.Ltd. Ph: 977-1-5181125, 977-1-5180132 spacesnepalmarketing@gmail.com 6 / SPACES MARCH - APRIL 2019 spacesnepal.net

Prabal Dahal Shreesha Nankhwa

Suyog Prajapati Prabal Dahal

Madan Chitrakar is a senior artist and an art- writer based in Kathmandu. As a leading art writer of the country, on many occasions he has taken Madan Chitrakar is aNepali seniorArt beyond the borders - through his writings in many artist and an art- writer based in prestigious publications abroad - notably Kathmandu. As a leading art writer inofJapan, India and Two well the country, onBangladesh. many occasions acclaimed books Tej Bahadur Chitrakar he has taken Nepali Art beyond - Icon of a Transition’ 2004 and ‘Nepali theIssues borders - through -his writings Art: Miscellany’ 2012 remain to in many his credit, prestigious in additionpublications to the numerous abroad notably in Japan, India and writings on Art and Culture in English and Bangladesh.

Twohewell Nepali.

Presently, is acclaimed associated with Tribhuvan Department books TejUniversity, Bahadur Central Chitrakar - Icon ofofFine Arts and2004 Kathmandu University, a Transition’ and ‘Nepali Center for ArtMiscellany’ and Design -as a member of Art: Issues 2012 the respective Subject Committee. remain to his credit, in addition to the numerous writings on Art Kai Weise is a Nepali national of Swiss and Culture in English and Nepali. origin who has been working as a planner Presently, heinis the associated withRegion. and architect Himalayan Tribhuvan Kai Weise University, has been Central facilitating the Department ofofFine Arts and systems establishment management Kathmandu University, Centerand for was for World Heritage properties involved in earthquake response Art and Design as a member of theand for theCommittee. culture sector in rehabilitation respective Subject Nepal and Myanmar. He is president of ICOMOS Nepal and fellow of the Institute Kai Weise is a Nepali national of ofSwiss Advanced Durham University. originStudies, who has been working as a planner and architect in the Asha Dangol is a contemporary Nepali Himalayan Region. Kai Weise has visual artist. He is co-founder of the been facilitating the establishment Kasthamandap Art Studio and E-Arts of management systemsDegree for World Nepal.

He holds Master’s in Fine Heritage properties University, and was and has Arts from Tribhuvan involved in earthquake response been creating and exhibiting his art since and rehabilitation for the 1992.

He has 10 solo art culture exhibitions to his credit.

Dangol participated sector in Nepal andhas Myanmar.

He in numerous group shows Nepal in Nepal is president of ICOMOS andand his workofhas exhibited in different fellow the been Institute of Advanced countries outside Nepal.

The artist Studies, Durham University. experiments with painting, mixed media, ceramics, installation, performance Richa Adhikari did her bachelor’s and video. in Architecture from Kathmandu Engineering College. She is Prof. Anne Feenstra is the laureate by art, culture, offascinated the Global Award for literature, Sustainable music, food,2012 lifestyle/ interior.

Architecture (Paris) andHer former affinity writing developed to Dean at to Architecture of CEPTdue University her penchantHe forhas reading. is (Ahmedabad). set upShe Sustainable Mountain Architecture (SMA) in winter passionate about sustainable living 2013/14.

Teamaesthetics SMA hasdĂŠcor. tried to create and minimal pro-ecology, pro-people, pro-local, frugal contemporary interventions in the built environment of the Himalayas.

Swastika Paudel

Shweta Shakya

Sumina Tha Shrestha

Malakar Swastika Paudel completed her Bansri Sumina PandeyTha is Shrestha an architect Santwana from India who is in love with stories. She has been bachelor’s in architecture from writing about several issues on architecture Kathmandu Engineering College. Her sparksgraduate when exploring since 2007.

She came to Nepal in 2010.Prabal At enthusiasm Sushmita Ranjit is a passionate Dahal is a recent differentof Architecture places andfrom heritage. She the time,always she established a training centre Architect seeking and of Bachelors believes all forms of art are in creating possibilities for being a Kathmandu Engineering College, of architecture/engineering in Nepal. After connection with each other and is lifelong learner. She enjoys on an an enthusiastic writer- interested completing her masters in International seeking to understand and express interactive design experience and in buildings, urban design and Project Management from Germany in them through various mediums. believes that Architecture is less conservation. Former President of about mathematics and moreand about Association ofShakya KEC Architecture Shweta is an aspiring architect technologies in Germany in Qatar. visual heahas been for writing passion exploring traditions After connections coming backand to emotions Nepal, her love (AKAR), for with that we feel related place for various functions cultures.

Beingsince a heritage storytelling got hertotothe write and performarticles a and enthusiast, has been play in Nepali at aLike theatre in Kathmandu. we spend our time. ‘Tying high school.

At theshe moment he involved in projects concerning understanding and Currently, continues write about thread to theshe beads’, designto should is serving as an International preservation traditional architectural connect the true essence of where Services Director atofRotaract Club constructs within Kathmandu Valley. construction technologies in Nepal. it stands, what it represents and of Budhanilkantha. He also enjoys During her spare time, she pursues how to carry it forward. Her handsparticipating in various national Alisha Adhikari is an architect at writing as a hobby. on knowledgeMountain for architectural Architectural events.

Sustainable Architecture. For the built-form, space planning, product past 5 years, she has worked in Western Sumina Tha Shrestha is a designing execution Australia and andsiteNepal.

Sheover believes in Ar. Sumina Tha Shrestha is a practicing practicing architect whohas has recently joined her decade long hasininstilled architect who architecture thatcareer is rooted its culture and recently the Masters program thejoined Masters program for Energy environment.

TSince moving backtoto Nepal, her to gather specific experience for Energy efficient Buildings at she has been learning specialize in design andabout dĂŠcorand forpracticing She received her She received her undergraduate in design process a Pulchowk. hospitality sector.and practices that lead toIOE, architecture from Khwopa Engineering sustainable built environment. undergraduate in architecture from College, Bhaktapur.

Having keen Apekchhya shrestha is a Khwopa Engineering College, in keen traditional Prabal Dahal is a recent graduate Bhaktapur. of interest Journalist who specializes in Social Having interest architecture, in Sumina also enjoys singingalso and writing.

Bachelors of Architecture from Kathmandu Media and Content Writing. Her traditional architecture, Sumina Engineering College, an enthusiastic Besides this she loves to spend her words can help you tell your story enjoys singing and writing. Besides spare time with friends and enjoys writer- interested in buildings, urban design to the world. At image Ark, she this she loves to spend her spare and conservation. Former President of making new acquaintances. She is a produces words, images, and ideas. time with friends and enjoys making Association of KEC Architecture (AKAR), strong believer in exploring architecture Before she used to work new acquaintances.

She is a strong through traveling. he hasImage beenArk writing articles for various atfunctions Walt Disney in Florida, believer in exploring architecture sinceWorld high school.

At the moment USA. through traveling. he is serving as an International Services Director at Rotaract Club of Budhanilkantha.

Shreesha is an aspiring Santwana Malakar being an He also Nankhwa enjoys participating in various national Architectural environmentalist with aevents. penchant architect and, words being her for writing. She is interested in best friend, Santwana Malakar Suyog Prajapati an author and scholar sustainable living, is alternative has close affinity to anything with specializing in Nepalese history and energy and creating a betterart future a creative side. She is an introvert iconography. He has a master’s degree in for the planet. Her works have been but occasionally likes to stretch out Buddhist Studies from Tribhuvan University published in a number of magazines her boundaries to explore and learn and has taught Buddhist art at Lotus and publications in Nepal.

Shehas also been new things. She feels her passion Academic College, Patan. He curren edits Shop, blogs Bhaktapur for words empowers her to speak workingtlyatwrites The and Peacock for IT companies while dreaming of out through writing. She loves to since 2007, documenting their renovation trekking thetraditional Himalayas. read, travel and believes happiness projectsacross involving NewȽrɣ houses and Buddhist narrative woodcarvings. can He be found in the smallest of writes in order to raise awareness about the things. indigenous heritage of Kathmandu valley.

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

Those submitting manuscripts, photographs, artwork or other materials to SPACES for consideration should not send originals 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 spaces.editor@gmail.com or sent to the address mentioned above.

Editorial Enjoy!

Ashesh Rajbansh / CEO

NEWS

7th Episode of SONA Architect Speaks

A

rchitect Speaks series organised by Society of Nepalese Architects has been bringing architects from diverse expertise to the limelight. The 7th series brought two amazing speakers Ar. Ananda Manandhar from Baha Spatial Agency and Ar. Milan Wagale from Vernacular Architecture to share insights on their practice. Both of the speakers had different subject matter for discussion. Ar. Manandhar had presented his international award-winning design in Larpak and Ar. Wagale shared the principles, challenges, and need for universal access design.

The event was held in Bougainvillea events on 17 May 2019 with the participation of architects and students.

Ar. Manandhar shared the ideation of the post-disaster reconstruction which was the main criteria for international design competition by Build Academy. He shared the design objectives, process and the output of the project in Larpark, a village situated in the northern part of Gorkha, Nepal. The criteria were to respond to earthquake-prone areas, costeffectiveness, and sustainability. But the design evidently deserved recognition because it did more than meeting criteria, the local architecture was thoroughly studied to come up with a modular, flexible and sustainable design that respected the socio-cultural and environmental aspects and reflected the vernacular architecture of Larpak which profusely used stone and timber. In the process, the project aimed to empower the community through capacity building programs which defined the true meaning of resilience against adversities.

However, the audience were skeptical about the voluminous timber the design would require. All the views accorded strict policies for forest management and conservation should be made. Also, construction speed and timber farming policies were discussed.

A short presentation was given by Bella Casa who were the sponsors of the event. They presented their new products about Phomi, an innovative solution for cladding in interiors and exteriors. The advanced technology with sleek design aroused curiosity in many and showed potential in the Nepalese market.

The program was forwarded again with the presentation of Ar. Milan Wagale on Universal Design. He emphasized on designs that should be accessible and inclusive. Ar. Wagale shared the 7 principles of universal design illustrating equitable use, flexibility in use, simple and intuitive, perceptible information, tolerance and error, low physical effort and size and space for approach and use. Ar Wagale expressed that even though the concept of universal design is not new, architects and designers have not been given the attention it deserved and its principles have not been scrutinized by many. He added that the core value of these principles is compassion. The audience was in agreement and implied that change can come in policy level and building codes need to be regulated to support universal design. The audience from the academic background expressed their gratitude for the insightful presentation and requested that such crucial topics needed to be incorporated into the curriculum. The program ended with informal interactions with a tea break.

SONA has been organising such insightful programs that have beneficial for the students as well as professionals. Also, these programs have aided in creating a social network among the architects, professionals, and students. Acknowledging the current practices and issues would certainly show a way forward. Therefore, such interaction programs are indispensable and need to be held once in a while.

NEWS

IEC Interio Schema event was to communicate with professionals and nonprofessionals audiences in meaningful and compelling interactions. The program was inaugurated by the chief guest: Ms. Ani Choying Drolma, a well-known singer and humanitarian

I

EC Interio Schema is the sequel to the annual interior design exhibition being held since 2011, which has been continued till 2019. Every year this event is organized by the final year students as their thesis project. This year IEC Interio Schema VIII – DESIGNER’S HIVE was organized by the final year interior design students of batch 2016 of IEC College of Art and Fashion from 22nd -23rd March 2019 at Royal Empire Boutique Hotel, Gairidhara. Through this exhibition, the final year students developed their concept to a physical, three-dimensional structure. The aim of this

This event would help to raise awareness among people about interior designing and create the value of it. It would also help to promote local interior designers among the big corporate society. The exhibition had showcased the models of 13 upcoming Interior Designers from IEC College of Art and Fashion. This year student had focused on Future oriented commercial projects like apartment, design studio, music institute, recycling center and gallery, gaming hub, dance studio and so on. On the last day all the participating students and supporters had got the certificate by the Guest of Honor, Ms. Priyanka Karki (Versatile Actress of Nepali Film Industry) and Mr. Aayushman Desraj Joshi (Actor of Nepal Film Industry). On that occasion IEC had donated Rs one lakh to Ayanka Foundation which is run by Ms Priyanka Karki and Mr. Aayushman Desraj Joshi.

IEC TALK - YES, WE CAN

I

EC College of Art and Fashion organized IEC TALK - YES, WE CAN, "SHARE YOUR EXPERIENCE WITH IECIANS" on 19th May 2019 at Academy Hall (Pragya Bhawan), Kamaladi. The talk program was all about sharing the experiences and success stories of renowned, influential and inspirational personalities. Among them, the invited guest speakers were Mr. Sixit Bhatta - Co-founder and CEO

of Tootle, Ms. Aayushi KC - Founder and CEO of Khalisisi, Mr. Ahmed Dulla - Founder of Dulla Shoes and The Factory Team, Mrs. Kamala Shrestha - Beauty Expert and Founder of Siam Beauty Salon, Mrs. Deepa Shree Niraula - Actress / Director of Nepali Film Industry, Ms. Bini Bajracharya - Head of Design and Development at Sabah Nepal, Ms. Shailaja Adhikary - Managing Director of IEC Group of Companies, Ms. Sushma Singh - Owner of Women's Planet / Ex-IECIAN and Mr. Sushovit Ranjitkar - Owner of Red Paper Design / Ex-IECIAN. They spoke about their success story, struggles, personal experiences, tips to be successful in Nepal and opportunities in Nepal, how to be a job creator and not a job seeker, their key to success, opinion on youngsters' attraction toward abroad study and so on.

Event like this is expected to boost up the confidence in students and facilitate them to implement the acquired knowledge in the broader scenario. About 1000 - 1200 students have been targeted. Ms. Subekshya Khadka - Miss Nepal International 2012 hosted the event gracefully.

NEWS

Coherence – New Series

by Pagoda Group

O

nce again, the Pagoda Group is back with a new series.

Pagoda Group has had remained a very active artists’ group in the Nepali art scene for the last few years.

The group has some of the promising and emerging artists as the members; they are Roshan Pradhan, Pradhymna Shrestha, Pasang Bikram Lama (Mangol Putra), Rudra Bahadur Pun, Mala Shrestha, Lisha Gaihre and Kishore Jyoti (Young Flame).

The new series entitled Coherence was formally inaugurated

by K.K.Karmacharya, Chancellor, Nepal Academy of Fine Arts – the Chief Guest of the occasion, on Saturday on 23rd March, 2019 at Nepal Art Council hall. The event was made special with the presence of special guests including Madan Chitrakar, noted artist/art writer and presently Principal of Sirjana College of Fine Arts, Ms. Sangeeta Thapa, Director/ Curator of Siddhartha Art Gallery, Mukesh Malla, artist/art critic, and Atul Koirala, Member Secretary, Sushil Koirala Memorial Foundation. While Pradhumna Shrestha – one of the artists, made a welcome speech on behalf of the Pagoda Group, Ms. Srija Koirala was the host for the program.

Commenting on the Pagoda group and its’ activities, Mukesh Malla described the works in the Show as unique with admirable contents. In his opinion, it was because the artists were able to create modern forms without losing the flavor of traditional norms and values. Another speaker, Er.Atul Koirala was of the view that an artist remains hidden on every human being. But it all needs to be groomed and well guided while young. Sangeeta Thapa expressed her views that she has had been following the Pagoda Group for a long period. And she found in each of the successive exhibitions, the Group making new progress. She described the works with plenty of surreal, spiritual and fusion elements. And she also invited to hold next edition of exhibitions at Siddhartha Art Gallery in near future.

Chairperson of the event, Madan Chitrakar admired the dedication and sincerity of the group towards the art. He added their works have remained unique especially because of a harmonious diversity - maintaining the beauty of Nepali culture.

Finally K.K. Karmacharya, the Chief Guest of the occasion thanked the organizers for inviting him as the chief guest and congratulated all the artists of Pagoda Group for the exhibition.

The Works While describing the body of works, it indeed presented an amazing unified look and seemed to present really a coherent body – connecting all the various style and contents in a common platform. It is in spite, each member of the Pagoda group has own specialty and an identity, in their works. All the seven member artists showcased their works.

Berger Paints Nepal Launches “Weather Coat Long Life”

B

erger Jenson & Nicholson (Nepal) Pvt. Ltd., manufacturer of decorative paints since 2000 in Nepal has launched its new Brand Weather Coat Long Life. This is one of the most innovative premium exterior paint designed on PU & Silicon Technology that comes with a 10 year performance warranty.

PU provides excellent film strength and unmatched sheen to the house for years and also protects from scorching sunlight.

Likewise, Silicon Technology provides excellent protection from heavy rainfall, fungus and algae growth on exterior walls. The product as suggested by the tagline ‘Gham Pani Chhekxa, 10 Barsha Tikxa’ protects your house from weather conditions like Sunlight, Rainfall for years.

Berger Paints is synonym to Best in Class paints in Nepal and

has already introduced several innovative products such as Silk Glamor, Silk Luxury, Weather Coat All Guard,Weather Coat Anti Dust, Silk Illusions, Seal-OPrime and the entire Xp Range Products that operates through Automated Xp Machines.

Berger Paints continues to amaze & delight its customers through its innovative products.

NEWS

SIRJANA 2019 – A Collective Art Show

A

n annual Show of art – exclusively confined to the members of Sirjana family, the Sirjana College of Fine Arts and the Sirjana Contemporary Art Gallery, has had remained a regular feature in the annual calendar for some time. The latest of the edition Sirjana – 2019 was inaugurated by H.E. Francois-Xavier LEGER, the Ambassador of France to Nepal on April 19, 2019 at Nepal Art Council Hall, Kathmandu.

During the opening of the event Madan Chitrakar, the Principal of the College, while welcoming the guests also opined the Show has had remained an annual show to reveal the constant progress made by the each faculty members and members of the Gallery during the last past one year. It also displayed the independent creative strength of each of the artist.

H.E. the Ambassador of France meanwhile admired the rich art heritage of Nepal and praised the level of art Nepal achieved in the recent times. He wished all the best wishes and success of the Exhibition. Navindra Man Rajbhandari, the vice-chairman of the College Board delivered vote of thanks to all the people involved in making the exhibition a success. The management of the exhibition was led by Bijaya Maharjan, the Head of Graphic Communications and the Show was curated by Saroj Bajracharya, a well known artist/art writer and a curator.

The show SIRJANA 2019 remained special for various reasons. In addition to the regular collection of modern works of Painting and Sculptures, the event was made more interesting and popular by making each exhibition day – marked by events like a classical dance, recital of evergreen light music: and the each program was preceded by introductory remarks by an expert of respective genre.

TYPOGRAPHY SHOW 2019

S

irjana College of Fine Arts recently brought to public entirely a new but also very different kind of Art Show to the art-lovers of Kathmandu. The five days long exhibition entitled Typography 2019 was formally inaugurated at Nepal Art Council Hall by K.K.Karmacharya, the Chancellor of Nepal Academy of Fine Arts on March 24, 2019.

The show totally exclusively dedicated to TYPE FONTS, showcased a wide spectrum of possibilities how different Type fonts could be redesigned locally – without depending on the fonts available in the market, and how different art forms also could be imagined and designed as an art, sole based on the Type fonts or the letters of alphabet system. The Show proved entirely a new initiative in the annals of art here, first time ever in Nepal.

The Show remained an amazing panorama of works created by the students of Graphic Communications Department of the College; and was well curated and organized by the concerned Department led by Bijaya Maharjan the head of the Department. To the art lovers and the students alike, the event proved entirely a new experiment – shedding light on many untold aspects of ‘Typography’. The Show was well received by the viewers.

NEWS

The fire of change: 2nd solo exhibition of Sanyukta in Nepal On 16th of April 2019, eminent Culture expert Satya Mohan Joshi and Ganesh Ram Lachhi, jointly inaugurated an exhibition of paintings by Sanyukta Shrestha at Classic Gallery, Patan.

Sanyukta Shrestha is a researcher on Nepali cultural history with special interests in ancient and medieval illuminated manuscripts from the Kathmandu Valley. He is professionally a software engineer based in London since 2004 who remained active as an artist, author and a filmmaker. To his credit, is a Nepal’s first Animated movie ‘The legend of Sankhadhar,’ directed by him.

Sanyukta, although having living abroad, always seemed interested on and about the history and culture of Nepal. So when asked why he choose to exhibit his works in Nepal rather than the place he’s been living, to him Nepal remains a special place and his mind is always in it. Also, he always wished to get more connected to the people here. Although he’s been a regular participant in Group Art Exhibitions every year in London, this is his 2nd solo Exhibition in Nepal.

During the exhibition, when asked on his favorite paintings he chose two of his favorite paintings and described them in brief: about the background, concepts of the paintings and how it caught his mind. The first painting he described was based on the concept of nationality. He added the way we are used to the issue has consequences, often also harmful. The second painting is about the feeling of emptiness – comparable to a notion of beauty as the loyalty a king usually has towards his

throne.

During the inauguration, a book titled “Fragments of Nepali History in UK” was also launched. The book contains all the essays he penned and been already published to this date.

It deals mostly with the research works based on evidences.

Regarding the book, he stated that by publishing the book he wished to share what he’s seen and analyzed.

He has the honor to be awarded with a number of National and International awards in paintings, digital media, and other fields as well. Currently he has a lead role in the cultural activities of the Nepali community in London.

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INTERIOR

ATTIC

A LUSH AND SOPHISTICATED HANGOUT PLACE TO SEE OR TO BE SEEN AT. Text : Santwana Malakar Photo : Pradip Tuladhar, Aliz Shrestha & Sandesh Shrestha

INTERIOR

WITH NEPAL COMING OUT OF ITS SHELL AND MODERNIZING, THE LIFESTYLE HAS BECOME MORE EXTROVERTED. THE HOSPITALITY SECTOR HAS BOOMED SIGNIFICANTLY IN THE PAST FEW DECADES AND HAS GIVEN US WONDERFUL EATERIES SCATTERED ACROSS TOWN- DIVERSE DESIGNED SPACE CATERING DIVERSE GROUPS, OFFERING DIVERSE CUISINES. TEN YEARS AGO, A GROUP OF OLD FRIENDS DECIDED TO TURN AN UNUSED ATTIC IN UTTARDHOKA INTO A HIP BAR FOR YOUNGSTERS TO HANG OUT; THUS BEGAN THE JOURNEY OF ATTIC. FROM THERE, THEY SHIFTED TO TANGAL, AND NOW TO GYANESHWOR, CATERING A WIDER RANGE OF ACTIVITIES AND VISITORS. AFTER YEARS OF EXCELLENT SERVICE AND THEIR CONTRIBUTION IN THE MAKING OF MEMORIES OF FOR THE PEOPLE, ATTIC HAS NOW BECOME A PART OF THE CITY’S LIFESTYLE.

INTERIOR

INTERIOR

T

he new space in Gyaneshwor is designed by the same person who designed the space in previous two locations- Ms.Pranita Shrestha who has also worked on a lot of other projects in the hospitality sector. Some of her best works are the Reef Lounge and Bar, Karma Bar & Lounge, Dunga Restro & Lounge Bar, Rolling Stone Rock Bar and Lord of Drinks. Her passion for her work and keen eye for detailing can be seen in all of her designs. Her works are not just visually aesthetic but they are also very functional and comfortable for the users. Attic holds a special place in her heart as it was one of the first designs she did and she also has emotional connections to it.

Situated next to the German embassy in Gyaneshwor, Attic draws attention of the passersby with its traditional form and modernly transparent facade. Ample parking, segregated for two wheelers and four wheelers is provided. Previously, a part of a palace complex, the newly extension housing Attic reflects some of the previous grandeur. A modest porch acts as a transition between the outdoors and indoors. The space is divided into two floors. The lower floor holds a casual dining space and the layout is flexible to accommodate spaces for performances.The upper floor is a mezzanine that is more formal. It is connected by a staircase that also segregates the bar from the dining space, making it more private. On the rush hour, when the place is filled with music, food, conversation and laughter, you can catch a quick breath on a small yet pleasant courtyard adjacent to the bar and the dining area. Attic serves Nepali, Indian, oriental and continental menu and is one of the favorite stops for foodies. The back of the house is where the magic food is cooked and plated.

It is connected by a service corridor on the side of the building which does not interrupt the function inside.

Each space has been planned and placed precisely to ensure a good circulation.

Throughout its journey, also in the two prior locations, the main concept of Attic has remained the same.

Everything - its name, its design elements and even the details in the furniture has its own story. The interpretation of the name 'Attic' can be seen from the moment you step into the double height entry with exposed roof truss. Ms. Shrestha has also played with metal roof structures interestingly and created

INTERIOR

faux Attic spaces in many areas. These false roofs combined with brick wallpapers on some areas give the nostalgic feel of the first outlet of Uttar Dhoka. The choice of material on the interior is subtle - earthy tones create a comfortable ambience that emphasizes on user experience instead of stealing the focus.The earthy tones are broken with splashes of lavender and grey, making the space more fresh and positive.The bar and the formal dining area is the renovated part of the old palace and the rest is the extension. The vaastu suggests the upper floor space to be calm and romantic which was why Ms. Shrestha decided to retain the old elements and utilize the space for fine dining. The main highlight of this space is the ceiling- covered with marvelous metal sheet motifs which has witnessed many royal engagements held beneath it. Minimum intervention like white arches above the windows and reviving the ceiling with silver tones has highlighted the old elements and tied it to the new design.

The design elements associated with traditional Attic space- wood and CGI sheets have been used creatively in the furniture. This feature is highlighted in the bar counter- silver CGI sheet with strip lightings create a rhythmic effect. The backdrop of the bar is a number of small faux Attics holding the beverages. The overall composition of these creative ideas, lighting, color and textures create a private yet playful ambience with a bit of mystery.

Ms. Shrestha initially planned to use the traditional weaved moodas as seats, however they have been improvised to be more practical. The taller versions of these moodas are used as bar stools. Smaller ones are scattered around the tables, combined with couches to create an informal dining space. These stools have become one of the signature design element that sustained through the prior two locations. On musical evenings, the layout of the informal space is improvised to cater a stage and the seats are arranged around it to be filled with people.Clustered frames hang in the walls that holds the memories of the 10 years long journey of Attic- photos of emerging artists, of the founding partners and the guests. All these captured moments show the growth of the establishment and the associated minds behind it.

From designing the first Attic in Uttardhoka, Ms. Shrestha feels a lot has changed in the design market scenario. Due to the advancing technologies and the knowledge of clients along with the designers, it is now easier to bring the design out of the paper and into the reality. She feels that there are lots of young minds in the market now who are bringing new ideas with them. However, she feels that practical knowledge of the market is very essential. When asked for suggestions to the upcoming designers, she said that patience, hard work and the right amount of confidence is the key to success. She also feels that, even though the market is progressing there are still comparatively less female designers. She urges them to come out of their shells, take some risks and create opportunities for themselves.

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Text : Nirjala Maharjan / Chris Deegan Photo : A. Rajbansh

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Maggie Doyne:

W

e created our first school, the Bamboo school, 8 years ago with a very small grant. We felt that we wanted to start with the concept of a community school where children in need could have their basic needs met, food, health care, and a safe place to be each day. We were the first school in the region to officially ban corporal punishment in the classroom. Once we achieved this, we started on building curriculum, developing teachers, hiring a principal and school leaders, implementing after school program, and creating a healthy school culture. Five or six years in, we outgrew our initial bamboo facility and our lease expired. Luckily my co-founder Tope had the foresight to take some money from a grant award we had received to invest in a larger piece of property nearby. That's when we began focusing on our longer term goal of building a better, more sustainable facility. We knew after running the bamboo school for quite a few years that we needed the new campus to be earthquake proof, safe, sustainable, durable and easy to maintain.

This led us to the drawing board for the blue prints of what would soon become our new green campus ! " WHEN I LOOK BACK AND THINK OF HOW FAR WE'VE COME, I'M SO AMAZED AND PROUD. I CAN'T BELIEVE THAT OUR STUDENTS ARE LEARNING IN THESE BEAUTIFUL RAMMED EARTH CLASSROOMS, EATING ORGANIC FOOD FROM OUR SUSTAINABLE FARM, AND EXPLORING THESE OUTDOOR SPACES THAT WE'VE CREATED FOR THEM. IT'S INCREDIBLE TO SEE THIS DREAM COME TO LIFE. "

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Ar. Prabal Thapa: It was the early 80s when Architect Prabal Thapa had his first encounter with architecture. As a Pre-engineering student at the Punjab university in the city that was planned by Le Corbusier, Chandigarh. He later went on to pursue architecture in the Vienna technical university for 8 years, where he honed his craft and gained valuable knowledge of technical know-how especially in the field of alternative construction methods.

His adventurous spirit and love for travel led him to his first assignment in Rolwaling, east-central Nepal.He worked very closely with the local craftsmen anddiscovered many parallels between his training and the prevailing vernacular construction practice that responded to the terrain and the passive solar techniques. Many assignments that followed his initial job took him in many other remote parts of Nepal. These experiences along with his initial training has crafted the bigger picture of the architecture he is practicing and is known for today.

Through his working principles he is translating the indigenous skills to contemporary taste, adding value to the final product and preserving traditional skills and architecture in the process. In all of his projects his core belief in innovation, and experimentation shines through. They are all examples of how sustainability in use, materials and strategies can be applied to create a holistic design that is both contemporary and vernacular.

The founder of Blink now organization Maggie Doyne first approached Architect Prabal Thapa in the year 2013 much before she became famous as a CNN hero, with a vision of a “green school” that will be “little more than a school.” Working with the principles of energy efficiency design architect Prabal Thapa began with a plan that would utilize the site’s solar orientation, wind movement, the natural terrain and addressing the client’s need at the same time. The planning also addresses future growth of the school and growth of Surkhet as well.

The focus was also on utilizing locally available materials and balancing it with the need of the school. According to Mr. Thapa the key in the successful implementation of projects of this nature is the willingness of the client for experiments and constant coordination with the site supervision team.

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The Kopila Valley school is located in Surkhet Valley of Mid-Western Nepal. The new buildings has sixteen classrooms, a library, a computer lab, an administration wing, a kitchen and cafeteria, a science room, and an open-air classroom.

The classrooms emulate the vernacular hillside dwelling in form and thermal consideration. Southern verandas shade the interior spaces from harsh heat gain throughout most of the year, while large openings coerce southwestern prevailing winds through the classroom interiors.

ZONING The administration offices and cafeteria block are positioned as a visual and acoustic buffer along the property line at the street, provide security, and filter people and views into the site. By placing the service spaces along the road, the most valuable, sheltered interior space was devoted to educational programming. The classroom blocks are placed to create a sense of enclosure for the campus; the upper block with optimal solar exposure capitalizing on the site’s hillside presence with views down into the valley, the lower block favoring prevailing winds and creating a strong formal axis with the futsal field and cafeteria. The library and computer lab is positioned more centrally, tacked onto the main circulation promenade. Following the property line to the North, the slight rotation of the upper school’s monolithic rammed earth mass gives the upper school its own identity, and a powerful and resolute presence on the site. The science lab and open air classroom is tucked to the south, and is carefully placed to avoid existing trees.

This single story rammed earth and open-air first floor classroom is concealed in a green shroud of papaya and mango.

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STRUCTURE

The classrooms feature load-bearing rammed earth walls with a diaphragm consisting of steel I-beams and c-channels, giving the classrooms a contemporary interior.

The architects and project team focused on reducing the amount of concrete and cement use, and made most

decisions balancing budget, ease of construction and procurement, use of local materials, and the project’s total embodied energy. After structural timber was priced out, steel was preferred to concrete. The rammed earth walls contain about four and a half percent cement, and the floor slabs throughout are just two and a half inches thick.

Two thick concrete tie beams band the two story-classroom walls together, and ensure a responsible and safe stance towards the region’s well-known seismic potential.

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Designed with a number of ecologically responsible features, the selection of construction material and construction techniques have been chosen to suit the local climate and geology. Focus on energy efficiency and management of waste and water has been incorporated. The use of both passive and active solar power also contributes to making this an environmentally friendly and sustainable ‘Green School’. The campus is a leader in sustainable construction and quality education, the students and faculty are able to interact with and learn from key parts of the various systems. With their new Green School, Kopila Valley wanted to make a serious commitment to environmental responsibility. The school combines passive solar design, passive ventilation strategies , active solar power and solar cooking, rainwater harvesting, and black and grey water recycling.

ACTIVE SOLAR Insufficient and unpredictable power supply from the national grid demands an alternate backup energy supply, a photovoltaic energy management system is an easy way to guarantee the classrooms have power during operation hours. The 25.1mW system is installed with an on-grid connection, which will eventually allow the school to sell their excess power back to the grid.

KVS provides lunch and an afternoon snack for all of its students and staff, accounting for about 500 meals per day.The prior school facility went through an excessive amount of LPG cylinders per school year. To achieve energy independence and promote a cleaner cooking philosophy, Kopila Valley opted to install a concentrated solar cooking system . The average daily radiation profile in Surkhet allows for all meals to be prepared using the system.

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WASTEWATER TREATMENT The biological process of wastewater treatment removes the majority of contaminants from wastewater or sewage. After processing through an anaerobic baffle reactor and settler, and a series of reed beds, grey water becomes fit for re-use in toilets and cleaning, and black water fit for the campus’ irrigation.

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BIOGAS The solid waste from the wastewater treatment system is used to create biogas. Biogas burns very cleanly, and will be used to power the Bunsen burners in the science lab classroom. The biogas-slurry that comes out of biogas systems is also rich in nutrients, and is used as fertilizer for the school and adjacent farm’s plants and vegetables.

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LANDSCAPE The interior learning environments are complemented by a landscape design which focuses on various types of spaces that are critical for development: active, experimental, gathering, individual, and ecological. The planted slopes are meant to fortify the hillside and more effectively manage storm water. Managing the quantity and quality of storm water is crucial in the mid hills of Nepal, especially during the long monsoon months. This not only helps to control flooding and erosion but useful for ground water recharge and for maintaining adequate moisture content in the soil. The planting scheme also provides fodder for the campus’ adjacent animal husbandry programs. On the farm, each class has ownership over a crop plot and can learn about the native plant species, local ecology, and harmonious agricultural practices.

Architects : Prabal Thapa Architects Structural Engineers : MRB and Associates Water filtration systems, biogas and rainwater harvesting : Smart Pani Solar Systems : Sun Farmer

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INTERIOR

DRIFT FROM TRADITIONAL BATH TO MODERN SHOWERS Text : Sumina Tha Shrestha

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esides toilet facilities, a complete bathroom demands bath facilities too. This falls under the cleanliness category which is directly linked to the human healthiness and hygiene.

The designs and development of baths shows gradual progress from very early time to this modern date. Globally, the bathroom designs have experienced immense touch to the modern technology followed by natural extracts. Nepal, has experienced a variety of bathing behaviors depending upon the cultures and traditions. Basically, being a strong believer in traditions, Nepalese people, especially the Hindus consider running water the purest form and utilize the water for performing Pujas (to worship gods and goddesses). It is believed that taking baths from running water sources keeps our body healthy, pure and eventually prevents from attacks form evils. Running water sources are known as Hitis and Dhungedharas. Scientifically, it can be assumed that the use of water from running water sources recycle the water chain.

Similarly, they prefer well for drinking water purposes which are installed inside or nearby their houses. They don’t prefer well water for worshipping and taking bath as they believe running water the purest form of water. Scientifically, the belief has been proved beneficial for the people as the content of iron in well is comparatively less than that of running water because well water is stagnant and the floated water content is well filtered. On the contrary, running water carries the mineral content with its flow and direct contact to the ground from its source, distribution channels to the area of utilization. This also can be apparently seen from the high content of rust (yellow substances) seen in the surface of water spouts which is seen very less in case of well water.

From the traditional beliefs to the modern baths, science and technology has tremendously used. Traditional bathing behaviors talk about the state of being pure to primarily maintain their physical and mental health and giving more inclination towards the social and cultural well-being. The modern technology dictates much focus to the physical and mental health. Modern bath taking behavior demands a varied bathing unit depending upon standing or sitting positions. Installation of the bath units, their mechanisms and maintenance differ according to their types which are explained below.

Shower It is a place where one can take a bath under a spray or a simple adjustable showerhead nozzle. Shower can be installed in a small shower stall or a bathtub with a barrier of plastic shower curtain or door. Going back to the invention of shower, the oldest shower was patented in England in 1767 by Willam Feetham, which was operated by a hand pump. Several types of showers have been invented with the development in technology. According to a user’s luxury required and their affordability, one can decide to select the type of shower for a comfortable bath. In addition, aesthetics for the bathroom, type of plumbing system, choices between walk-in and over-bath shower, water pressure, etc. also needs to be considered while selecting a shower. Depending upon the type of shower selected, certain parameters are different, and certainly some pros and cons are there which one has to be aware of.

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Designs of the shower can however be influenced a lot by the factors like whether it is prefabricated or custom, its door type, shower head type, shape and style, enclosure and any significant addition on it. Also, shower materials like tile, stone, fiberglass and acrylic give the shower space a different look and aesthetics. Material usage for the shower can give bathroom an elegant touch and a unique look.

Endless varieties of color and styles of shower materials are available, but a visualized design and selection of material can create an eye-catching finish. Comfortable functioning of shower can be enhanced by addition of some distinct features like built-in seats to take a rest while having a shower, hand-held shower heads, steam generators, LED lightings, etc.

Besides design and aesthetics, one should also give a due attention to the technical part of the shower, simply the water system and pressure which varies with the type of shower selected. The water pressure can be checked easily by using a pressure gauge with the help of an expert.

Depending upon the water system, showers are of three types, namely unvented water system, Combination boilers and Gravity system. Unvented water system heats up a large amount of cold water and stores it in a water tank under high pressure for immediate use. Combination boiler heats up water as much as a user requires and it does not store hot water. The last one Gravity system utilizes a cold water tank which is usually stored in an attic space that trickles water down via gravity. For increasing water pressure, water pump can be used.

While using a shower with both hot and cold water supply, shower has to run sudden runs of cold and hot water.

Temperature variations occur when the pressure between hot and cold water is not balanced. So, if someone flushes the toilet, the cold water is reduced and the shower turns very hot which can cause burns. On contrary, if hot tap is used, shower will turn chilly cold. However, in case of thermostat, there won’t be any problem like this.

Electric showers works with the help of electricity, heating cold water taken from the cold water mains (supply) passing through a heating element inside the shower unit. This type of shower has well in perspective of energy efficiency because there is no wastage or storage of heated water which do not give a chance to run out of hot water. On the contrary, these showers are little bulky and also, it requires higher capacity supply of electricity which runs from fuse box to the dedicated circuit directly. It is less expensive in compared to mixers while at the same time is economical on the

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water usage Integral models with pumps can further improve its flow rate also with improved designs which are eventually much expensive.

Shower Mixer from its name itself use both the hot and coldwater supplies, mixing the water in the unit as it reaches the showerhead. These are very suitable for the homes with a combo-boiler or large hot water cylinder as they depend on readily available hot water. In case of low pressure, a pump can be added.

Thermostatic shower is another type of shower which is helpful for the prevention of risk of scalding or freezing while turning on a tap of flushing a loo. After setting a desired temperature and selection of mixer, it automatically maintains the temperature of water at the point of shower head by feeding of right amount of hot and cold water. It is much similar to the electrical shower, but different in a sense that thermostatic showers are much safer in case the users also can be children and elderly people.

Eco version shower can also be used in cases where both electric and mixed showers can be operated. In compared to the conventional showers, this shower limits the water flow and

reduces the water usage to fifty percent. Digital showers also adjusts the flow and temperature of the water. The shower can be controlled by a panel located within a ten meters radius of the shower which communicates with the power unit. The power unit can either be in the loft or airing cupboard. Hot water passes through the ceiling or wall up to the shower head.

Concealed shower is one of the finest models of shower designed in a sense to feel the sense of taking bath in rain shower as the shower unit is not visually seen; actually it is attached on the surface of ceiling and planned with Led lights to suit to its best. Also, multiple flow settings in shower are available nowadays like even spray for body wash, strong jets of water to help soothe an aching body just like jets in a bathtub or hot tub, massage settings and mist setting according to the users’ choice and need.

Water saving showers has also taken the market as water efficiency is now being concerned topic for all. Several forms of water-saving shower heads like aerating, mixing water with air to reduce the amount of water used.

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WATER AND SANITARY ENGINEERING IN NEPAL:

EXPERIENCES OF RAJESH PRASAD SHRIVASTAV TEXT : PRABAL DAHAL PHOTO : SANDESH SHRESTHA

WHEN THE FIRST SOLAR WATER HEATER IN NEPAL WAS SET UP AT BUDHANILKANTHA SCHOOL, STRAW-MAT SUKUL WAS USED FOR INSULATION. LATER, SHEEP WOOL WAS USED BUT THAT DEVELOPED FLEA PROBLEM AND HAD TO BE TREATED CHEMICALLY…” ANECDOTES OF THIS NATURE ARE PLENTY IN THE PROFESSIONAL LIFE OF ER. RAJESH SHRIVASTAV WHO BELIEVES IN LEARNING FROM EXPERIENCES.

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C

ompleting school from Juddhodaya Public High School and I.Sc. from ASCOL Campus, Shrivastav graduated from Muzaffarpur Institute of Technology in Bihar with a degree in Mechanical Engineering 45 years ago. Upon graduation, he worked in India for about 3 years with TATA Steel and moved back to serve the homeland and started his career Balaju Yantra Shala. Ever since, he has been actively involved in various projects; mostly in Nepal, but not limited to it. CBC, John Sandy, Design Cell, Technical Interface, Archiplan and CE are some of the architectural/ engineering firms in the country who seek Mr. Shrivastav for consultation related to sanitary engineering.

Shrivastav’s earlier professional endeavors include reuse and restoration of an abandoned pressure line system at Research Laboratory at Thapathali in the 70s. Also, around that time, Shrivastav, with his team, developed Solar Water Heater technology which was used with local available materials for the first time in Budhanilkantha School. With several experimentation on materials, angle of inclination and technology, it took some time for the technique to develop properly and now, the matured technology is widely used throughout the country. Mr. Shrivastav mentions about how he had to set up solar water heating system for free in several locations just to grab the interests of people and hope for their acceptance of new technology.

Water and sanitary engineering are part of the building construction and maintenance system along with Mechanical, Electrical and HVAC service systems. The use of modern indoor toilets and bathrooms is a relatively new concept for our country although the use of ghyampos to collect faeces in the traditional toilets can be traced back to Malla era. Even during the earlier period of modern indoor toilet use in the country, there was less importance given to design and sanitation of toilets. People were relatively less aware about the fact that toilets could be breeding grounds for diseases and therefore requires to be clean, well ventilated and have proper water supply.

According to Shrivastav, bathroom/toilet and kitchen are important spaces in a building and need to be designed properly. They need to be well ventilated and have good lighting.

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Poorly ventilated and insufficiently lit bathroom/toilet and kitchen promote fungal and bacterial growth. These spaces need to be provided with direct sun if possible to clear out germs. Shrivastav adds that bathrooms need to be on low pressure compared to other rooms so that the unwanted air from bathroom does not flow towards the living spaces. He points out that there is a general lack of fresh air in design/ construction practices and recommends mechanical ventilation in areas which cannot be ventilated through openings.

In Shrivastav’s view, the practice of the design of sanitary systems by engineers is a relatively new concept and it is also very difficult to get good quality sanitary fittings in the country. The general lack of ethical business practice and lack of sustainable business thinking has made the task of finding good sanitary fittings very difficult. Of course, there has been an improvement in terms of availability of variations of fittings and varied

quality products, but the business practice does need to improve from suppliers’ as well as customers’ side.

Citing examples of good sanitary practices of the French, Shrivastav talks about the unsafe practices in Nepal. For instance, the height of public urinal from top lip to floor should be two feet as per the standards but an unsupervised plumber maintains the height up to 30”.

At times, even half of an inch in positioning of sanitary fixtures can make unpleasant experience for the users. Shvivastav, therefore, emphasizes proper designing and supervision of sanitary systems. He told about how Nepalese returning from abroad imported sanitary fixtures and had problems with them not functioning correctly. Upon investigation, it was realized that the fixtures were designed for high water pressure system used in many countries abroad while the system used in Nepal is low pressure.

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He started to make consultants and clients aware about this and recommended low pressure fixtures to anyone thinking of importing fixtures from abroad. Shrivastav shares how difficult it is to convince people in the country to use new technology.

His lifelong experiences of introducing solar systems, HydroPneumatic Systems, PVC and C-PVC Pipes Lines in the country has taught him about the risks, challenges and lessons of starting something new in the country. Galvanized Iron (G.I.) pipes were so very popular and people were reluctant about the use of plastic C-PVC pipes when Shrivastav first introduced them in the country. Upon a lot of convincing, trials and errors; slowly and steadily people’s mindset changed. Now, C-PVC is highly popular for sanitary Water Supply Pipe Line.

Advocate for detailed sanitary drawings for easy construction and maintenance as well as prior planning for sanitary systems rather than post-construction dilemmas, Shrivastav gives examples of many hotels and residential buildings whose toilet positions had to be changed after bad user experiences of the spaces as a result of poor sanitary engineering. In our country where there has been many cases of abuse of authority, water and sanitary engineering has been affected by immature political actions leading to unplanned developments.

Lack of proper drainage and sewerage system in Kathmandu valley is one of the outcomes of this. At the same time, the culture of vandalism and stealing make the professional environment difficult. Shrivastav remembers an incident at a Medical College around ten years ago. While he went there for inspection, many water fittings mainly of metal were missing. He is amazed by the professional stealing of sanitary fittings in the country. This is a result of public’s lack of feeling of societal responsibility towards public institutions.

With decades of practice in Nepal, India, Butan and some other countries, Shrivastav believes in honesty and hard work which is rare these days. He recommends that fresh professionals in the construction industry should be more serious about their work rather than just making easy money. When one meets engineer Shrivastav, one can feel in his presence the years of experiences, magnitudes of professional challenges and dedication he has invested in order to improve sanitary engineering in Nepal. From his beautiful home at Babarmahal, Shrivastav travels to various sites inside and outside of valley as well as the country, for his professional consultations are valuable and essential for several projects.

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A NEW HOME AFTER

362 YEARS Text : Shreesha Nankhwa Photo : Sanuraja Bajracharya

A HOME IS MADE, NOT BY THE BUILDING ITSELF, BUT BY THE PEOPLE IT HOUSES. SIMILARLY, A BUDDHIST BIHAR IS INCOMPLETE WITHOUT THE PEOPLE WHO MAKE IT THEIR SPIRITUAL HOME.

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and nothing more. However, with time, it began to develop as a place for Buddhist discourse. New “Bhikshu”s, followers who had given up their domestic lives to follow Buddha’s path and start an ascetic life, started getting ordained in Bihars. Slowly multifaceted rituals were developed and certain components were deemed necessary for a proper functioning Bihar.

Buddhists associated with Bihars can be divided into two categories. Followers who give up their homes and families to become traditional monks or nuns are known as “Bhikshu” and householder Buddhists monks and nuns who continue to have a home and family life while still associated with Bihar, following Buddha's teachings and serving followers are known as “Grihastha Buddha Acharya”. An order of householder/ renounced Buddhist monks-nuns is known as a “Sangha”.

Each Bihar has a Sangha and they are considered essential to a Bihar and its religious activities.

Whenever a new Bihar is built a corresponding Sangha is also established to conduct and oversee the religious activities taking place within the Bihar. And hence, the newly established Nepal Vajrayana Mahabihar in Lumbini has also founded a Sangha for its functioning. The establishment of this new Sangha is a historical accomplishment in Nepalese Buddhist Society and in Nepal. "This is the first time in 362 years that this kind of Bihar is being built and it is the first time in 362 years that a new Sangha has been established." says Ven. Naresh Man Bajracharya, the president of Nepal Paramparagat Boudha Dharma Sangh which is taking the lead in the building of the Nepal Vajrayana Mahabihar. "The last Bihar and corresponding Sangha to have been established was in Nepal Sambat 787 during the rule of King Pratap Malla.

This last Sangha was established in Gunakar Mahabihar, Chusyabaha in Kathmandu." He adds.

A Buddhist Bihar, as artistic and well crafted as it may be its primary function is not just to act as a religious monument and showcase cultural and religious art and architecture. A Bihar's main function is to provide a place to stay for the disciples who follow Buddha’s path. Back in the days of Lord Buddha, his disciples left their homes to pursue an ascetic life or “Sanyashi Jivan”. Since they had left their homes and their families to pursue enlightenment, they needed a place to stay. And that was the main purpose that Bihars served.

To aid Buddha and his ascetic disciples, many followers of Buddha donated their lands and helped build a shelter in those lands. These simple shelters were the beginning of the modern day Bihars. In the beginning, Bihars were simple and austere, built just to provide basic shelter

In order to be qualified to be a member of a Sangha, a person must be a Buddhist monk or nun and not just a Buddhist layperson. They must also be knowledgeable about Buddha's teachings and practices. Moreover, they should be involved in spreading the teachings of Buddha among the greater population for their welfare.

The work of the Sangha is to spread the message of Buddha's teachings far and wide. A Buddhist who is not a monk, but a simple layperson who relies on the leadership of a monk for his/her religious activities is known as a Jajaman in Nepali or Upasak/Upasika in Buddhist circles. It is the duty of the members of a Sangha to perform essential rites, rituals and worships at the homes of a Jajaman, as well as act as their religious advisors and lead them in their religious lives. They preach and act as

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the religious leaders within their communities. "Within Buddhist communities, we don't ask people where they live or where they are from, we ask them which Bihar they belong to because that is their spiritual home.�, says Bajracharya.

On 18th May 2019, the Nepal Vajrayan Mahabihar Sangha was formally established and its executive team ordained into the holy order. Ven. Prof. Dr. Naresh Bajracharya was consecrated as the Chakreshwor, which is the highest order within the Sangha. The Chakreshwor acts as the religious leader for all the householder monks within the Sangha. Ven. Guruma Neeta Bajracharya was consecrated as the Chakreshwori, and she will act as the religious leaders for all the householder nuns within the order.

Second on the hierarchial order in the Buddhist Sangha are the four Mahasthavir (Sanskrit, most seniors) or Thyapa Aaju as they are called in Newari. The four Thayapa Aaju selected were Rev. Sankha Ratna Bajrachayra of Patan, Rev. Uttam Bajra Bajracharya of Kathmandu, Rev. Pushpa Ratna Shakya of Bhaktapur and Rev. Sangha Ratna Bajracharya of Kirtipur.

Next on the hierarchy are the four Sthavir (senior) or Thayapa (in Newari). The four Sthavirs selected were Rev. Manjushree Ratna Bajracharya and Rev. Bikash Ratna Bajracharya of Kathmandu Rev. Rajbhai Bajracharya of Patan and Rev. Dr. Manik Ratna Shakya.

The Chakreshwor and Chakreshwori, were anointed and coroneted by the Reverend de-thayapas (senior Bhikshus) of Kantipur, Lalitpur, Bhaktapur and Madhyapur (Thimi) in the presence of the members of Nepal Traditional Buddhist Association, Centers and all the Branches. The four Mahasthavirs and the first three Sthavirs anointed and coroneted by the Reverend Chakreshwar and Chakreshori.

The currently established Sangha is revolutionary in terms of its treatment of women. Previously, all the positions within the Sangha were created for and occupied by male monks. The status, position and responsibilities of women within the Sangha were dependent on the position their husbands occupied and they could not hold any position independently. However, the newly established Nepal Vajrayan Mahabihar Sangha has broken tradition and created specific positions for women as female counterparts of the existing positions available for male monks.

The position of Chakreshwori was also not previously available but was created in Nepal Vajrayan Mahabihar Sangha specifically to include female members of the Sangha into the leadership position. In the coming days, as members get added to the Sangha, positions that act as female counterparts of existing male positions will also be added.

Currently 10 members have been ordained into the Nepal Vajrayan Mahabihar Sangha and there are plans to expand the Sangha to 53 members with special positions being made for women that were not available till date.

CRAFTS

Pottery Text : Richa Adhikari Photo : Aliz Shrestha, Sandesh Shrestha

POTTERY IS UNIQUE ART OF MAKING ARTIFACTS FROM CLAY. THE TERM POTTERY IS DERIVED FROM FRENCH WORD 'POETERIC' OR LATIN WORD 'POTIUM'. THE LITERARY MEANING OF IT IS THE DRINKING VESSEL. THE OBJECT MADE FROM CLAY AND HARDENED

BY FIRE IS TERMED AS POTTERY. IT HAS BEEN INDISPENSABLE PART OF HUMAN LIFE FROM BEGINNING OF THE HUMAN CIVILIZATION. THE HISTORICAL EVIDENCE SHOWS THAT POTTERY WAS THERE BEFORE 10000 YEARS IN AROUND THE NILE RIVER. THE MODERN CERAMICS WAS INTRODUCED IN 1980 IN NEPAL. POTTERY SQUARE IS ONE OF GENUINE TRADITIONAL POTTERS MARKET IN BHAKTAPUR WHICH DATES BACK TO THE 16TH CENTURY.

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Clay utensils hold a major significance in our Newari culture.

Before the onset of copper commercially, clay utensils were adamantly used. With cheap and factory manufactured substitute like plastic and steel easily available everywhere pottery is a rare trade practiced by only a few families. Some of the major places where pottery industries still remain are Thimi, Chyamhasingh, Pottery Square, Byasi etc. in Bhaktapur District, Harishiddi, Imadol, Khokana, Bungmati, Balifal and Patan, etc. in Lalitpur District and Jyatha in Kathmandu. Pottery square in Bhaktapur is one of the places where pottery is still made commercially in a large scale.

An afternoon in Bhaktapur transports us back in time, its culture and heritage intact and ever welcoming. Historically more isolated than the other two kingdoms, Kathmandu and Patan; Bhaktapur to this day has been able to retain its old heritage charm. Handicrafts are still made by hand here and not imported. It is a fascinating process to watch traditionally spun and fired, clay pots which are a fine example of Bhaktapur’s thriving craft trades.

Bhaktapur has two famous pottery square, one is located to the south of Bhaktapur Durbar Square close to Taumadhi square; the other Pottery square is in Suryamadhi, located to the east of Dattatreya temple and Square. In any given sunny day the damp alleys of Suryamadhi are lined with the mud clay bowls which serves the world famous Juju dhau, curd made only in Bhaktapur. Though the Pottery square in Suryamadhi is said to be the oldest one, the pottery square in Taumadhi is more commercial, vibrant and popular for decorative ceramics.

Pottery Square in Taumadhi is more welcoming, with its wide open brick courtyard, filled with different shades of gray and brownish red clay pots lined in the sun for drying. The central courtyard is the dry area used for sun drying the clay vessels. During the dry season or winter season the whole area is filled with khutrukke (clay piggy bank), ghyampo (clay pot for collecting and storing water) or diyo as one tries to maneuver the clay maze to visit the souvenir shops which sell many ceramic and clay items, ranging from decorative items such as miniature animals, statues of deities, glazed ceramic wind chimes, etc ceramic cups to name a few.

Alongside the main square to the south several potters can be seen engaging in traditional potter’s wheel and just behind the potter’s wheel are traditional nepali straw fired clay kilns.

CRAFTS

Pottery made in Bhaktapur are considered superior to those made elsewhere, primarily because they mostly use black clay, called “Dyo Cha”, literally meaning “clay of God”. Black clay is said to be supple in nature, and the most appropriate quality of mud for pottery. However, there are two types of clay that goes into making any clay products in Bhaktapur. The black clays are known for their flexibility while the gray clays have more strength and by mixing them both the objects can be transfigured into bigger shapes and sizes. The malleable quality of the clay allows the potters to shape their objects with great ease and at a very fast pace.

In Nepal, pottery industry is one of the traditional industries which use locally available raw materials and local technology.

This is clay based cottage industry. The traditional items of the pottery industry are related with the cultural and religious practice as well as related with the day-to-day items. Pala (a small bowl shaped clay pot), gagri, surahi and ghyampo, flowering pot, makal, heater, handi, khutrukke, and other gift items are produced by traditional pottery industry in Nepal. The ceramic products are the modern products of pottery industry in which different chemicals or glaze are used and made with modern equipment and tools. Ceramic products include different items like cup, plate, and other decoration materials and gift items. Most of these products are sold in Kathmandu and other cities and decent amount of these products are also exported in other countries as handicraft products.

CRAFTS

Pottery has been adopted as a main occupation especially by the Prajapati community in Nepal. Within the Newari caste system, the production of pottery is a family occupation. Children begin learning this craft at a very young age, as early as four or five years old and master the craft through practice and the skills are passed down through generation. Everyone has their own role in the family. We can witness so many generations of family at work together in pottery square. The young men are occasionally seen doing the demanding job of bringing the clay from the storage area or attending to a shop. Middle aged men and women can be seen moulding or beating the clay or tending to the vessels lined up for drying in the sun.

Meanwhile baje and bajai can be seen seating around the square basking in the sun, engaging in quite chats and occasionally nodding off to sleep.

70-year-old Laxman Prajapati, who has been doing pottery since as young as he can remember shares his own memories to any attentive listener as he soaks the warm winter sun and enjoys the hustle and bustle around him.

These days all the family members in the potters (producers of pottery) are not involved in pottery industry. As the business is not quite large and stable, the present generation aren't as inclined as the old generation to learn their family trade. They learn pottery only as a hobby. It shows that the charm in this industry is slowly being faded and is in the threat of disappearance as the new generations are adamant to pursue it further. The change in lifestyle, other substituting products and many more problems have been threatening this industry. Both the producers and sellers have their fair share of problems. Unavailability of raw materials, lack of good storage space are few of the problems that producers have to face and as the demand of the products are dependent on various festivals, sellers have to face the problems of their own.

Previously only the Prajapatis of Bhaktapur were allowed to dig for the clay, and only once a year near Sipadol. As there were no means of transport back then, they had to carry the clay from the field to the storage units and every family used to take their share from the storage every few days. In present day, one of the main problems the potters of Bhaktapur are facing has to do with the clay as portions of the land from which the clay comes are privately owned. The potters used to be able to take clay freely from this property for religious reasons, as most religious statuary and other objects are made from clay. Now, younger generations are not as religious as past generations, and they do not see this as a valid reason to take clay freely from this piece of land. In addition, portions of this land are currently under town planning, making it even more difficult for the potters to have access to this clay. One tractor full of black clay is cost minimum of Rs 1500 to 3000, which last for up to three months for the porter to make various kinds of mud vessels. Similarly those few families who are in pottery business are dubious about the expansion of the industry in modern context. There is no organized group to solve the problems related with this industry. The

CRAFTS

CRAFTS

only cooperative related with this industry, Nepal Ceramic Cooperation is trying to solve some of the problems related with this industry, but effort from only one group is not enough to solve all these problems. There is lack of training for production of the products and lack of management ideas for export of the products.

Most of the ceramics products produced here are exported through different intermediaries. The involvement of third party results in the producers not being well benefited. Srijan

Prajapati, owner of a pottery shop in pottery square believes that only the knowledge or skill is not enough in the present times, one needs a shop or a seller to sustain in this trade. He has been practicing pottery from a very young age and has been conducting pottery classes in his shop. He is working on opening a pottery institute in pottery square where he wishes to teach pottery to anyone with willingness to learn.

He is optimistic about the pottery scenario in Nepal as he has seen positive change in recent times as many restaurant and businesses have initiated to use clay pots in their business

CRAFTS

Available at Dhukuti

whether it will be in form of ceramic cups, plates or decorative item. Matka chya is one such initiative who commissions their matka (clay pots) from pottery square, has been able to attract youngster through their creative and sustainable approach.

This industry has witnessed tremendous demand for and utilization of its products and, in turn, has provided means of livelihood to a large numbers of workers employed directly or indirectly in it.

There is a huge demand for Nepali handmade ceramic products in the international market due to their improved quality. Buyers are willing to pay a premium price for handmade goods, which are propelling exports. These products are exported as handicraft products to many countries. In spite of its vast potentialities, the industry still suffers from several limitations resulting in its improper, unbalanced and inadequate growth. That is why it deserves the attention of economists, planner, researchers and authorities concerned. By including ceramics and clay items in our day to day life, we would be choosing a sustainable, local and organic approach. Ceramic tableware, storage vessels and ornamental objects are just some of the few items which can substitute plastic. To have something handmade or one of a kind in our home creates an honest appreciation for the craft and there are many ways in which we can include pieces of ceramic home decor in our interiors.

INTERIOR

LIVE IN SPACE DESIGN PARADIGMS TEXT

: PRABAL DAHAL

PHOTO : ALIZ SHRESTHA SANDESH SHRESTHA

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ocated at a peaceful location near Boudha, the Live in Space design studio inspires awe and praise for its comfortable waiting space, inviting idea space, and interesting wall accessories. Apart from the main meeting area where clients feel at ease in a space of homely wooden textures on floor and walls while discussing ideas for their dream project, the design studio features various showpieces of human figures, animal figures, abstract objects and miniaturized versions of architectural marvels which incite creative thoughts and make the visitors feel like they are in the correct position in time and space for innovative actions.

“Live in Space” with an aim of making any place liveable/ lively was formed by a group of enthusiastic friends. Aspiring to establish a design studio while studying at college, the group took part in various design competitions and involved in problems identification before setting up a facebook page on September 01, 2017. Using links from family and friends, apart from maintaining good communication and zeal for exploring ideas from interning at various institutions, the group was able to consolidate all their wills and aspirations into a well functioning design studio within 10 months.

Architects Anjan Shakya, Rustam Lama and Suza Tamang: friends turned business partners, with the help of employed interior designers and architects work relentlessly to accomplish engrossing design projects, adding value to the name of “Live in Space”.

The studio has been primarily involved in designing interior spaces along with residential buildings, commercial projects and performing stages/theatres. A typical project starts with a meeting on office or at site where requirements of the client is discussed along with rate of design and sample design ideas. Then, measurement is taken of the space to create conceptual design. Conceptual design incorporates knowledge of building science, Vastu and structural engineering along with use of design softwares.

Once conceptual designs are made, the client is presented using various presentation tools including cutting edge Virtual Reality 360 degree visualization. Clients can very well experience the space visually before it is manifested in the

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physical world. Upon evaluation by the client and associated consultants, ideas are merged from conceptual designs and detail construction drawings are made. Further detailing, bill of quantities and construction are the final end products derived from multitude of ideas, analysis and decision making.

Live in space, just like any other design studio, faces challenges while converting conceptualized drawings into construction elements. The team reports of several troubles like differences and/or inadequacy in measurements, lack of materials for selection, and budget constraints. Taking every problem as a learning opportunity and maintaining honesty with the clients and within the members, the team has so far been able to rectify the complications and complete the projects successfully.

The team has a belief that no project is insignificant, for the outcomes of smallest of projects can impress some clients to add trusts for larger projects. While the primary concern for now is to increase team involvement and participation, the studio members want to grab as much opportunities as possible for their growth and at the same time, take part in development of the field of architecture in Nepal.

The team has an understanding that there is high scope for architects in the country. Of course, at present, there is general lack of knowledge about architects and value of architectural designs. People think it unnecessary to hire an architect for a project which can be done by an engineer because people are not aware about the beautiful experiences in space that architects can create. The hope for architects is strengthening as the trend is evolving for the good: slowly but surely.

Of many projects the team has completed so far, a comfort housing interior makeover reminds the team of sense of happiness achieved from completing a project with high

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level of client satisfaction. The comfort housing project included transformation of interior spaces of a family home.

Bedrooms, living room, family room and staircase had to be transformed to represent the family adding positive architectural interventions for efficient use of spaces.

To achieve success of the project, the studio team communicated effectively with the clientele. Apart from studying the physical space which was to be transformed, all the members of the family were asked what their preferences were and what kind of spaces they wanted.

This paved ways for research into how the aspirations of family members should be portrayed in the designs.

Consolidating ideas from space analysis and inputs from the family, design solutions were prepared, evaluated, modified and put into effect. The final outcomes made both the clients and the design team happy.

After successful interventions, the living room has wooden flooring and distinct wallpaper with olive green background and golden damask pattern. The showcases are light wooden color and there are two distinct types of seating: one creamy L’sofa and other high backed dark teal single

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seaters. The living space feels cozy and uses soft ceiling lights for sufficient lighting during night time while the natural light from the windows floods the space with ample lighting during day time.

The family room uses white background wallpaper with light gray damask and wooden panels for skirting. A television hangs on the wall along with show pieces. Comfortable white couch, rectangular carpet with blue border and light wooden table furnish the living space adequately for family time. Just above the couch is a rectilinear wooden wall shelf where family photos are on display along with some show pieces collected by family members. Previously cluttered family space was transformed into a well spacious area for quality time.

The master bedroom features a queen size bed accentuated by leaves textured creamy wallpaper framed by indirect lighting.

Wooden textures make the air conditioner look subtle while wooden wall protrusions enhance the symmetrical setting of the bed. The wooden closet space is framed by white lines providing a sense of continuity from the white door to the room, and the area is lit with recessed lighting.

Golden rectangular frames on a white background with central frame binding floral wallpaper ornate daughter’s room providing a kind of a regal feel to the space. Combination of diffused and recessed warm lighting create a comfortable space for resting on centrally located white bed with headboard shelves for decoration and display. Son’s room has simple turquoise walls with sliding cupboards. The bed is adjacent to one of the walls where wooden projections feature some decorative items. The flooring to this room, like other rooms, is wooden.

“Live in Space” team believes in taking inspirations from the surrounding and constantly learning while taking calculated risks. While identifying and creating scope within the country, the team also aspires to work on international projects in the near future. The team prioritizes travelling to learn from experiences and hopes to inspire young people to put efforts for the development of the country.

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Influence of Color in

HOSPITALITY BUSINESS Text : Sushmita Ranjit HUMAN’S FEELINGS FOR THE ENVIRONMENT ARE GREATLY INFLUENCED BY THE COLOR. COLOR HAS THE POWER TO RULE THE WORLD BY ESTABLISHING PRODUCT, PLACE AND BRAND. IT PLAYS A KEY ROLE FOR PRESENTATION AND COMMUNICATION. THE COLOR NOT ONLY REFERS TO THE PAINT ON THE WALL AND CEILING BUT ALSO IT MEANS THE VARIETY OF MATERIALS AND ITS TEXTURE USED TO IT. “SCIENTIFIC RESEARCH HAS REVEALED THAT COLOR HAS A POWERFUL PSYCHOLOGICAL EFFECT ON PEOPLE’S BEHAVIOR AND DECISIONS MAKING.” THIS IS WHY IN CLIENTELE BUSINESS SUCH AS IN HOSPITALITY SECTOR MATERIAL SELECTION WITH WIDE VARIETIES OF COLOR HAS BECOME THE MOST FUNDAMENTAL PART OF DESIGN AND DÉCOR TASK. OUTSTANDINGLY, THE HOTELIERS AND RESTAURATEUR HAVE BECOME CONSCIOUS ABOUT THE COLOR SHADES THEY USE FOR LOGO DESIGN, BRANDING AND ADVERTISEMENTS.

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Lounge the most hospitable place: Lounge of a hotel is the first and last impression for its visitors who enters and leaves with full of cherishing and vivid memory. It is a space that never sleeps and a vibrant space to gather. Hotel lobby has become a multi-use space these days. Instead of just a reception and a lounge to check in and check out, it is a place to relax and connect, and even a place to get productive with causal business talks grabbing a glass of coffee or wine. Therefore, a lobby has to have an inviting, warm, relaxing and refreshing ambiance to cater today need. It needs a lot of effort from the architect and an interior designer to make the lounge beautiful, inviting and pleasurable. The choice of the color for cladding materials for walls, floors, ceiling and false ceiling, colors for furniture and furnishing and dĂŠcor items has to be planned within a theme. All of this effort is then enriched with the most appropriate light and lighting fixtures, like the final icing to the beautiful cake. Only then, the space can narrate a story with grave enthusiasm setting a vibrant memory to its users for their lifetime.

Some general tips to color selection: Selection of colors may vary as per the clientele of a hotel or restaurant it has been designed for, whether it caters the business group or a leisure and entertainment group. For hospitality group that focuses on business clientele the selection of materials and its colors have to be such, that

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it creates a formal environment that instigates a decision making capabilities to its users with a positive lasting memory for future business opportunities. While the hotels and restaurants that cater purely to leisure have to have a unique concept to design and dĂŠcor with colors that are most suitable to the theme and location it has been built around. Like the ones within the city can have bright multi-colored theme hotel lobby, restaurants, cafĂŠ and pubs that reflects the contemporary ideas for a modern Nepal. Others that are designed and built nearby and amidst the forest and villages should take the inspirations from the immediate location, however not forgetting the uniqueness of the heritage value we are surrounded with, either at hilly, terai or mountain region.

The psychological effect of color: Different shades of blue represent intelligence, communication, trust and efficiency. It is also commonly used to create a sense of calmness and serenity and is considered to boost productivity. It is also seen as a sign of stability and reliability and

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hence using the tints and tones of blue can be best choice for a restaurants that sells for seminars, workshop and business meetings.

Green is a natural color. It can be used to evoke a sense of tranquility, abundance or sumptuousness (luxury). It may make the space look very rich and chic and simultaneously create an ambiance for relaxation.

Color schemes with orange and yellow are often captivating and is quite popular because of its flexibility. These colors can beautifully match and contrast with a rustic or earthy toned looks. Overall it can create a warm and fun feeling ambiance to the interior space. Yellow specially can increase metabolism and hence gives energy. Therefore, it might be the best choice for restaurant or breakfast area in a hotel.

Use of neutral colors like grey and brown is making the interior space of the hotel look bold and classy. Usually the style these days becomes a fusion of traditional and contemporary design. Such interiors space should be enhanced with vivid focal points; be it a ceiling or wall dĂŠcor, or even bright accessories at specific corners which has to be well thought-out from a designer from the beginning of the design stage.

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Selecting white for the hotel or restaurant interior always makes the space stand out clean and elegant. However, if you do not focus on using dĂŠcor and styling products properly then the use of color white may go bland and mediocre. Equally important is to use a dash-of other colors from the pallet to enhance the interior ambiance.

Agreeing that color can make or break anything: Having a hint between the relation of different colors and mind, body and emotions of users within the enclosed space, we can now figure out that each color can trigger the mood and state of mind differently. Responding to colors is a part of human nature and can help us to choose between products, decide any place to visit and even to boost productivity. Hence, considering the effort to choose right color is an important investment for every hospitality businesses like hotels, restaurants, wellness spas, clubs, and cafĂŠs, to make clients appreciate the place.

There should be guidance from a professional team to work on suitable color combination for creating and amazing experience with happy, positive and comfortable ambiance for their visitors to keep coming back for recurring business opportunities.

Henceforth, seek expert’s knowledge to make colors work for, and not against you!

PRODUCT

PIA Text : Apekshya Shrestha Photo : PIA

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ounded in Nepal in 2017, Pia is a lifestyle brand whose mission is to promote and preserve traditional crafts by designing unique contemporary products to be executed by local artisans. Pia aspires to preserve ancestral skills that have lived on for generations but are rapidly disappearing, washed away by the demands of fast-paced, modern life. All of Pia’s collections of home decor and accessories are handcrafted by people who still practice their ancestors’ crafts.

Pia’s mission is to showcase and promote artisans’ work to enable them to continue, through their crafts, to enrich their country’s heritage and culture. They honor ancestral skills by making products that have their place in today’s lifestyle.

PRODUCT

THE ARTISANS COPPER AND THE MAKER: RAJ, THE COPPERSMITH

CONNECTING THE ENDS: LALU, THE EMBROIDERER

Raj, Pia’s coppersmith, sits in his little workshop under a tin roof at the end of one of the many cobblestone alleys of Kathmandu. He welcomes his visitors with a wide smile, and proudly shows the pieces he has crafted for temples and local exhibitions. So beautifully, he shapes flat sheets of copper and brass into masterpieces. He has been doing this since he was 15, following the steps of his father, who learned them from his father.

A little further, Lalu, the embroiderer with dancing fingers is only remembered at the wedding season when he creates the most sumptuous saris for socialites and celebrities.

We met Raj and his craftsmanship in his 50’s, but the story behind this 50-year-old coppersmith starts from a little boy looking up to his father, watching and learning the moves he made as a one-man army. An army, he shaped himself to become a part of as a young adult with a belief that he still carries, “Traditional crafts have to be taught, if there is someone who has the skills, they have to be passed on to the younger generation. An ancestral skill needs to be practiced and preserved.”

“I feel good working on handcrafts because I’ve been working with my own hands since the very start. Sometimes, I have my challenges in finding the right resources and having to work using different techniques. Like, Pia’s products are a bit different from others, they demand perfect finishing. When I work for others, a little scratch wouldn’t really matter. But, I am still learning with every design I work on. And, my craft has taught me, if you put on hard work, you will achieve great things.”

“I think I’ve made my parents proud, this is what I know I’m good at, I am carrying on an ancestral skill. This is a form of art. I remember I made Panchayati Raja Jayanti Stupa long ago at Sankhapark, Maharajgunj. It feels like an achievement to me. I am going to work as a coppersmith as long as I can.”

LIVING FROM WHAT THE JEWELERS

YOU

CREATE:

SUNAR

BROTHERS,

Coming from a family of farmers, the Sunar brothers had to start from scratch. Today working with gold, silver, and copper is an absolute achievement. Passing on the skills to each other, Sunar brothers have been crafting metals, turning them into jewelry with expert strokes, twists and turns of their hands.

Now at 30, the younger brother Buddha Sunar is happy being a metalsmith and feels like he has yet to do a lot more with the skills he learned in the past 17 years. “I keep getting better after all these years”, he says.

“I’ve been working on embroidery from the very start, I learned it and I’ve realized that this is the best I am at. I learned embroidery in India, lived and worked for a couple of years in Delhi. Then I decided to come here, work in Nepal 20 years ago, and have been here ever since. It was great when I first started out, I got work from different boutiques in Nepal here. This is my profession, I earn and live through embroidery. This is how I make my living, so it means a lot to me.”

“Working for Pia is different from others, the fabrics and the materials are very different from the ones I usually work on.

Plus, I have to really focus on finishing. I learned new things and techniques. We keep doing and keep learning.”

PRODUCT

WEAVING A PATH TO LIFE, DEVLAXMI, THE KNITTER Dev started knitting when she was a very young girl; like every child, she was inspired by her mother. A pair of knitting needles in her tiny hands, crisscrossing in a rhythm that danced to the melody in her young mind. Now 41, she reminisces, “My mother used to knit. She taught me to make bags and t-shirts.

There were 8 of us in the family. Sometimes, we would work in the brick factory; we would have to carry 100 bricks a day and walk a long way for about Rs.100. Sometimes we would make yarns, there were times I even had to go break coals with my elder sister. After learning how to weave and knit, I didn’t have to find any other job and I continued with this work for Kumbeshwar Technical School where Pia found me.

I started building my house and I hope to finish it soon.”

Stories like these are endless. The number of talented people leaving Nepal is increasing every day as traditional craftsmen are fewer and fewer.

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DIY

CONCRETE BENCH Styling : Dhaasoo Photo : Sandesh Shrestha

This issue of SPACES covers an amazing DIY for assisting you to create your own cool place using only 3 recycled and up-cycled items so that nothing goes to waste helping minimize the wastage that is hampering the environment. A perfect little sitting area where you can relax with your loved ones.

DIY

What you need : Concrete blocks - 6 Bamboo - 4 feet x 4 units Cushions - 2 units

Where to get : Concrete blocks manufacturer

-

Any

concrete

Bamboo - Any construction site Cushions - Furniture shop

1

Step 1 -

Get bamboos cut into 4 feet each.

Step 2 -

Start piling up concrete blocks on top of one another from one side. 3 blocks on each side (right and left)

Step 3 -

2

Once you have placed 3 concrete blocks on left, start sliding bamboo into the top cavity.

Step 4 -

Assemble concrete blocks on the right side, start putting bamboo into the top

3

cavity, align the blocks.

Step 5 -

Add cushions! And you are ready to relax !

“THINK SECOND HAND FIRST�

Dhaasoo was founded in 2015 with an ambition to minimize scrap and waste problems. "DHASOO" which also means awesome was established to Reuse, Upcycle and create items for daily Utility needs. Dhasoo products mostly deals with glass, metal, wood, auto parts and everything that can be upcycled. It's store is currently located in Bakhundole, Lalitpur.

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ART

ICONIC BHAIRAV A MURAL FROM BANEPA Text : Madan Chitrakar Photo : Bijaya Maharjan

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istorically, wall paintings or murals have had always been an important part of Painting tradition in Nepal. As a living testimony of the tradition, many historically important murals continue to exist, even today, albeit many in a state of neglect in the medieval Buddhist Vihars scattered all over the capital Valley. It does continue to inspire and remind of the medieval glories. Many of the famous murals lie also within the interiors of medieval palace complexes – like, especially inside the famed 55 windows of Bhaktapur Palace complex.

But none have attained an iconic status than a huge wall painting of Lord Bhairav, painted on the western walls of Chandeswori Temple at Banepa, a town few kilometers east of the capital.

This is primarily so because of the unusually a mammoth size.

Moreover, the wall-painting has had always remained open to the public, since the time immemorial: and also because of the unique stylistic feature inherent in it. So it has had become so popular and iconic today that it has had appeared time and again, on innumerable glossy tourism brochures and in the books: and no visitor to Banepa would like to miss it. Some interesting aspects therefore, do deserve a few lines here.

The Bhairav So then, let’s see some of the things - interesting to know and look at. First, this amazing huge mural has a height of about 15’ft.: and it depicts a divinity known as Lord ‘Chandeswor Bhairav’. In Hindu beliefs, a Bhairav is regarded as the wrathful manifestation of Lord Shiva, one of the three primary deities in the belief. As according to the beliefs here, Bhairav has five million sub-manifestations: and this Bhairav is considered only one of the many Bhairavs protecting various corners of Nepal.

But interestingly, the temple where the mural of Bhairav is painted, is dedicated to a mother Goddess – Chandeswori, not to the Lord. Before understanding why not the Lord, it is desirable to know first, little about the well-known cult of ‘Eight Great Mothers or the cult of ‘Astamatrika’. The beliefs associated with the cult have that all the Mother Goddesses are the wrathful manifestations of Goddess Parvati, the eternal spouse of Lord Shiva himself. Goddess Chandeswori is being one of them. It explains the presence of Bhairav – a manifestation of Shiva himself, why he is here - in the mural. Here, he is more as the protector of his spouse - always in guard and vigilant outside her abode – the temple. And it also explains why he is known as Chandeswor Bhairav or the Lord of Chandi, his spouse.

As a result, in a day to day life, the locals of Banepa town worship Chandeswori with high reverence as the chief guardian deity of the town: and the Lord, in the process, is practically or almost relegated as a subsidiary but a guardian deity.

Accordingly, while the main deity – the oddess resides inside the sanctum-sanctorum and the Bhairav is placed outside, only in a painted form. Nonetheless, over the years today, however,

to an outsider, the mural evokes more interests because of its gigantic size and a unique presentation. While the mural has gained an immense popularity outside the town, the tales and roles of the deities remained less important to the outsiders.

The Artistic Dimension In the painting tradition here, Bhairav has a wide presence.

Throughout the history of Nepali Painting, there have been multiple examples of Bhairav depictions. Discussions on all the examples do not fall within the scope here. But what has remained true that irrespective of the sizes, the Lord is found in art – in various capacities – either as the central figure in a Paubha to various other manifestations – like for example ‘Das Maha - Krodha’- translated ‘Ten Great Angers’: or as subsidiary elements. The Painting Museum at Bhaktapur also has a beautiful series of eight manifestations of Bhairav – all seen in a state of anger, also accompanied with their respective spouses.

Here the use of term ‘Anger’ makes an interesting sense and relevance. For, Bhairav is the primary embodiment of anger: and is the first wrathful form of Lord Shiva. And the efforts of Nepali artists to render ‘Anger’ as an expression has had remained typical. The facial contours evolved to express anger has had remained unchanged since centuries. The facial angry look of Bhairav has remained an ideal model for other deities in wrathful mood or pose. So in addition to Bhairav, in all the deities when there’s a need to convey to express anger in the looks, be in a paper or a painted mask, the established look of Bhairav is considered ideal: and thus followed unfailingly.

And back to the Chandeswori Bhairav, like all the Bhairav images, he is depicted well in following the details as provided in the iconographic instructions. Here too, he is seen with eight hands; of which, four right hands hold the first holding a corner of an elephant skin, the second with a musical drum known as ‘Damaru. The third is with a skull cup cover made of half human skull – known as Katri and the last one is seen holding a cup made out of human skull. Similarly, the first left hand, again is holding another corner of the elephant skin, the second with a ‘Trishul’ – a trident – a known of Lord Shiva but here also fitted with three human skulls, the third is with a unique emblem – the head of Lord Brahma (reminding all the punishment he meted out to Brahma for the incest he committed with his own daughter Saraswati) and the lastfourth hand is in a gesture of Varada (blessings).

The complexion of the Lord is given blue and is surrounded by amazing set of attendants – beginning with the sons of the Lord Shiva like Ganesha and Kartikeya or Kumar to other sub-deities like Singhini, Byaghrini (lioness and tigress), few burning corpses to the dogs and jackals with human with flesh in their mouths. Apparently, it is an attempt to create

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'An image of Ghanta-karna, demon - a ritual art used during Gathamugha festival, but note how close to the image of Bhairav' the ambience of Lord’s chosen abode – a burning place of human corpses. And lastly, as in all the Bhairavs, he is seen standing on a dead body, or a demi-god known as ‘Betaal’. All these features described above and the body posture, often also has led to confusion – with a Mahayan Buddhist deity ‘Maha-kal’ – an angry emanation of one of the five celestial Buddhas, Aksobhya. A careful student of related studies would easily however, differentiate the actual identities – instantly with the individual features found on both.

But the most interesting part of the Chandeswori Bhairav is how stylistically he is rendered or presented here. Unlike the set -style of divine imageries in other Nepali art, this mural is so graphically stylized. Rendered in a very simplistic graphic form, the style is amazingly comparable to a contemporary work of an illustration or graffiti in a modern rendition. To see the differences, a clever art-enthusiast may compare the style here with the painting of Bhairavs found in the Bhaktapur museum. While the latter is more carefully executed with meticulous details, the mural has very bold outlines – bold application of flat bright colors. And interestingly but, it has not missed the

needed elements as prescribed while creating the deity. This is specifically noticeable when observed in the works of the head gear – seen following the typical Newar School, but yet well stylized. The presence of a crescent moon and a green serpent on the top of his head/crown prove the point.

Although it is hard to state when did the tradition of painting of this mural began here, for sure, the style suggests it indeed has a very hoary origin. This is because the style of imagery is very close to or even may belong to the period when the art of Painting actually began to evolve – beginning with the highly simplified art forms meant for rituals. This is evidenced by an example of an art – called ‘Bau-khwa’- an essential paper painted work, used during rituals and festivals. It depicts a face of a demon also in a very angry look.

Rituals to Follow Yet one more interesting but untold aspect behind this popular mural is how certain set of rituals are strictly observed: and who are the ones - ordained to paint – remaining strictly within the ancient practice since the hoary times. Like most of the religious art in the Valley, the mural is repainted every year during the 11th month of Nepali calendar ‘Falgun’ –

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(February-March). Writer Jeet Bahadur Manandhar has provided some interesting details in this regard.

According to him, like any other tasks related to religious paintings, here too, according to the tradition, the mural is painted by a particular clan of ‘Chitrakars’ from Bhaktapur.

Obviously, they’ve had been ordained by the state in the medieval times, to do it all – land endowments as the annual compensations. According to Manandhar, the process of repainting begins when the priests of the temple visit the assigned Chitrakar family with ritual black powder as the puja offerings – and also, as the formal invitation to repaint the deity. This is done a week before the full-moon of Falgun. On the 11th day, workers start making a scaffolding – so as to enable the artists to paint the large sized mural.

Two artists arrive on the site on the 12th day and begin the works – first worship the god with duck’s egg. The beginning of painting is made – as the first act, the eyes of the green serpent found on the head of the god is lightly covered by white: and is followed by painting the entire surface of the wall in white. Chitrakars from Bhaktapur need to work and stay there for subsequent eight nights. They are expected to complete the entire repainting – exactly as of the details of the earlier painting, by the full-moon day of Falgun. The task is considered complete: or considered complete when the painters repaint the eyes of the green serpent from the head of the Lord Bhairav.

Reference: Jeet B. Manandhar - Chandeswori ka Bhairav, Nepali Sanskriti, Bhadra-Kartik 2045 BS

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THE EARTHEN BUILDINGS OF UPPER MUSTANG DISTRICT Text & Photo : Kai Weise

In Winter only the old and young remain in Upper Mustang

THIS IS ONE OF A SERIES OF ARTICLES ON THE ARCHITECTURAL DIVERSITY OF THE CENTRAL HIMALAYAS. THE CENTRAL HIMALAYAS, WHICH IS ROUGHLY DEFINED BY THE POLITICAL BOUNDARIES OF NEPAL, CONTAINS AN EXTREME RANGE OF PHYSICAL SETTINGS WITHIN A BELT THAT IS LESS THAN 200 KM WIDE. THREE CASE STUDIES HAVE BEEN CHOSEN TO ROUGHLY DEPICT THE THREE CLIMATIC AND ETHNIC ZONES OF THE CENTRAL HIMALAYAS. UPPER MUSTANG HAS A COLD-DRY CLIMATE AT AN ALTITUDE OF ABOUT 3500 METERS WITH THE INHABITANTS BEING CULTURALLY LINKED TO TIBET. LOWER DOLAKHA REPRESENTS THE COOL-WET CLIMATE OF THE FOOTHILLS AT AN AVERAGE ALTITUDE OF 2000 METERS WITH INHABITANTS ORIGINATING FROM BOTH NORTH AND SOUTH. JHAPA HAS A HOT-WET CLIMATE AND WAS ORIGINALLY INHABITED BY TRIBES CLOSELY RELATED TO THOSE OF THE GANGETIC PLAINS IN NORTHERN INDIA. THESE ARTICLES ARE DERIVED FROM A PAPER PRESENTED AT THE ICOMOS CONFERENCE “SEISMIC PERFORMANCE OF TRADITIONAL BUILDINGS” IN ISTANBUL IN NOVEMBER 2000.

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Newer construction of buildings near Jomsom using stone and pinewood

Stone and mud masonry with traditional windows and coloured mud wash

New buildings in Jomsom using cement and stone with new design details

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pper Mustang district lies on the southern edge of the Tibetan Plateau. From here the Kali Gandaki River flows south, cutting through the Himalayan range. The river flows through the world’s deepest gorge, flanked on either side by mountain massifs rising over 8000 meters. The gorge functions as a wind tunnel, and the barren cliffs are eroded by the strong winds. This region north of the Himalayas, lies in the rain shadow of the summer Monsoons and the average annual rainfall is only around 150 mm. The settlements of Upper Mustang lie at an altitude between 3500 and 4000 meters.

The solar radiation in summer is intense and temperatures

can rise above 20 C. In winter, temperatures can drop below -20 C with relative humidity dropping below 50%. In January it often snows. Settlements depend on water, which is scarce and when sources dry up, settlements are moved to a more advantageous location. The eroded remains of the earthen walls of old settlements can be seen throughout Upper Mustang, blending in with the wind-beaten cliffs.

Upper Mustang is closely linked with Tibet, both culturally and historically. The Kingdom of Lo was under the domination of West Tibet, Ladakh and Jumla in turn.

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Earthen structures in Ghami partially collapsed still show their overall resilience

Timber reinforcement of stone masonry seldom found in Mustang

The settlement of Chaile with steep cliffs across the deep Kali Ganaki gorge

Earthen sundried bricks with straw used as an alternative to rammed earth

Texture of rammed earthen faรงade with small window and coloured mud wash

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The courtyard in front ChampaLakhang in Lo Manthang

It was only in 1795 when the Gurkhas took control of Jumla, that Lo became a part of Nepal. The inhabitants of Upper Mustang, the Lobas and the Baragaonlis are of Tibetan origin. They practice Tibetan Buddhism and the ancient Bon religion. The economy of the region was based on the trade route between Tibet and India, which wound up the Kali Gandaki valley. Trade died down to a trickle when the border to Tibet was closed in 1950. Agriculture is restricted to the summer months and only to the places where artificial irrigation is possible. Most people move down to the cities in the south to find jobs during the winter months. Since 1992, a restricted number of tourists have been allowed to visit Upper Mustang.

Upper Mustang has a rich culture of courtyard dwellings.

Adapted to the harsh climate, the courtyard houses give protection and security. Numerous variations of this building typology can be seen throughout Mustang. The ground floor is generally used for storage and stables.

One enters the courtyard through the main gate, where

the ponies are tethered and unloaded. The kitchen, the living room, the prayer room, the bedrooms and the toilet are on the first floor. The flat roof is used for household functions including the storage of fuel wood. The windows of the rooms open out onto the courtyard. There are only few openings on the external walls. Steps are carved into a single log, which is generally used as a ladder.

The main construction material in Upper Mustang is earth. The earth walls that are generally 45 cm thick are constructed either of sun dried earth blocks (pop) or rammed earth (gyanka tha).

The sun-dried blocks are often strengthened by mixing cut wheat or barley stalks and husk. The walls are then constructed using mud mortar with the vertical joints being filled with small stone pieces. Only few stone rubble masonry buildings can be seen, which is more predominant in lower Mustang. Earth construction is preferred wherever the soil quality allowed.

Rubble stone masonry, when used is of low quality. The foundations and plinth are nevertheless always of stone rubble

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Old chorten gate next to new building with large windows using glass

masonry. The foundation depth is a maximum of 60 cm. The rubble masonry is often raised up to one meter above the ground floor level. This is sometimes only a protective layer outside the main earthen walls.

The flat roofs give the freedom to construct irregular shaped rooms and add extension. Each room is enclosed with earth walls, the roof or next floor being supported by central wooden posts. Wooden brackets on the posts give better support to the main beam, which are supported on the ends by additional posts or stone wall-plates. The joists are usually round sections of 15 cm diameter, placed 45 cm apart. The joists are covered with planks or split wood, a layer of wheat stalks and twigs covered with approximately 10 cm of packed white clay. The side walls are raised slightly above the level of the roof to clamp down the beams and joists. These parapets are often covered with stone slabs and are used to dry firewood for the winter.

The openings along the external walls are usually small.

In some cases a double frame is used to support the thick rammed earth walls. Nevertheless, the larger windows that open onto the courtyard use the traditional Tibetan design. A single frame is use, often carved and painted. Wooden blocks that span the width of the wall are fixed perpendicular to the top member of the frame, which is then covered with wooden planks to hold the earthen wall.

The wood used is most often Pine, though in the older buildings the main structural elements were constructed of Juniper. The forests that supposedly covered certain parts of the slopes of Upper Mustang are no more, and wood has to be carried up from the community forests of Lower Mustang. The traditional buildings of Upper Mustang are ideal for the place. The materials are locally available, and are cheap. Construction can be done without very skilled

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labour. The thick earthen walls and the packed earth on the roofs are good for insulation. These same buildings can be adapted for the accommodation of tourists, especially the beautiful courtyard houses.

There are nevertheless various points that would need to be looked into.

Wood needs to be used efficiently and the wooden elements need to be minimised. Community forestry geared for the building sector needs to be supported. It would be possible to look into improving the earth used for construction. The harnessing of passive solar energy needs to be studied. Solutions are needed for the appropriate instalment of sanitary facilities and disposal systems.

When seismic forces act on rammed earth walls, one usually finds the formation of cracks and separation along construction joints. All wall joints need to be reinforced. The flat roofs, which are covered with earth, are heavy, and the wooden structural elements need to be securely anchored into the walls. The posts should have proper foundations with spread footings. Flat roofed buildings give the freedom for irregular shaped buildings and easy extension. The various parts of the buildings should be separated using crush joints.

Upper Mustang is accessed easier from the Tibetan Plateau than from the rugged terrain to the south. A road that at the time was planned along the Kali Gandaki River, to connect the road-head at Beni with the Tibetan boarder has now been constructed.

Transportation used to be restricted to pack mules or porters taking 7 to 10 days from Pokhara, the nearest city.

The closest airport is in Jomsom with regular flights to Pokhara.

Transportation used to be expensive and prices of materials brought in from Pokhara become 3 to 4 times more expensive.Now there is a road that has been constructed prices have come down and many more products are available. The road has however destroyed one of the top trekking routes in the world. A major impact on the region is also caused by tourism. In Jomsom, luxury resorts have already been constructed using reinforced concrete.

ARTSCAPE

PACIFICATION OF SWET BHAIRAB Swet Bhairab, the manifestation of the most ferocious face of Lord Shiva, which is open for the public during the Indra Jatra festival at Basantapur. “Pacification of Swet Bhairab� is one of his rare paintings in his art journey. Here in this painting, he has clearly balance for the two religions. He has depicted the meditative Buddha inside the mouth of the Swet Bhairab, where he has cleverly maintained a peaceful harmony between these two characters.

Asha Dangol

Jagdish Chitrakar Born in 1947 in Keltole, Kathmandu and son of late artist Amar Chitrakar, Jagdish Chitrakar has started his art journey only from 1977 and became as a freelance painter from 1980. He did Leadership Training in Mass Media from Indiana University, USA in 1970 and did M.A. in Public Policy and Administration from University of Wisconsin, Madison, USA. Jagdish has received Special Prize in 1979, Second Prize in 1985 and Best Prize in 1987 in National Fine Art Exhibitions.

FROM THE SHELF

WALTER ISAACSON author of Steve Jobs

The computer and the internet are among the most important inventions of our era, but few people know who created them. They were not conjured up in a garret or garage by solo inventors suitable to be singled out on magazine covers or put into a pantheon with Edison, Bell, and Morse. Instead, most of the innovations or the digital age were done collaboratively. There were a lot of fascinating people involved, some ingenious and a few even geniuses. This is the story of these pioneers, hackers, inventors, and entrepreneur— who they were, how their minds worked, and what made them so creative.It’s also a narrative of how they collaborated and why their ability to work as teams made them even more creative.

The tale of their teamwork is important because we don't often focus on how central that skill is to innovation.We have far fewer tales of collaborative creativity, which is actually more important in understanding how today’s technology revolution was fashioned. It can also be more interesting.

We talk so much about innovation these days that it has become a buzzword, drained of clear meaning. How did the most imaginative innovators of our time turn disruptive ideas into realities? The Internet was originally built to facilitate collaboration. By contrast, personal computers, especially those meant to be used at home.

As Wordsworth said of the enthusiasts who were present at the beginning of the French Revolution, “Bliss was it in that dawn to be alive.”

EVENT

PROMOTING EXCELLENCE IN DESIGN Text : Shreesha Nankhwa

BERGER SPACES INTERIOR DESIGN EXCELLENCE AWARD 2018, ALSO KNOWN AS IDEA AWARDS, IS THE FIRST AND ONLY NATIONAL LEVEL INTERIOR DESIGN COMPETITION TO BE HELD IN NEPAL. THE COMPETITION, WHICH WAS OPEN TO ALL PROFESSIONALS AND STUDENTS STUDYING ARCHITECTURE OR INTERIOR DESIGN, HAS CONCLUDED.

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he competition was divided into student category and professional category. In the student’s category, all the designs sent in by the applicants were reviewed and 17 designs by students from eight different colleges were shortlisted for further consideration. On 22nd January 2019, the seventeen shortlisted students presented their designs to a jury panel which consisted of Architect Sanjay Lal Shrestha, Architect Siddharth Gopalan and Interior Designer Prekshya Baid. The presentations took place at Yala Maya Kendra, Patan in the presence of the jurors as well as heads of departments and teachers from the respective schools that the presenting students represented.

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After the presentations, the jurors selected the top five designs to be considered for the final voting. For the next 10 days, the videos of the top five designs were posted on Facebook and public voting was done which made up for 25% of the score.

The likes and shares of the videos were considered for the scoring and based on that, the final scoring was done.

The winner of the student category of the IDEA Awards was Ms. Riya Sthapit of Kathmandu Engineering College. Her design was a minimalistic coffee shop that was inspired by different roasts of coffee.

She took different tones from the roasts of coffee and showcased it through different furniture and an accent wall, all in the back drop of white. She won a cash prize of Rs. 50,000 as well as a framed certificate acknowledging her win.

The first runner up of the student category was Ms. Sneha Shrestha of Kathmandu Engineering College. Ms. Shrestha had created a design coffee shop based on nature. Her concept was called “Chaya ma Coffee”, and it included elements like a plant based centerpiece and a leaf shape on the ceiling so that the clients would be drinking coffee under the shade of the leaf, hence the name “Chaya ma Coffee”. She won a cash prize of Rs. 30,000 along with a framed certificate.

The second runner up was Ms. Sarina Shilpakar of Kantipur International College. Ms Shilpakar had created a restaurant concept based on Nepal’s tea culture which she called a “tealaya”. The restaurant also incorporated the growing coffee culture in Nepal as well as the growing fast food industry. She tried to bring together a zen concept with extensive use of bamboo as well as Nepali handicrafts. She won a cash prize of Rs. 20,000 along with a framed certificate.

The final two in the top 5, Mr. Pasang Kaji Sherpa and Mr. Adesh Raj Shrestha, both from Kathmandu Engineering College, were also presented with framed certificates.

In the professional category, it was further divided into two sub-categories; residential and commercial. The professional interior designers or architects who wished to enter this competition, were asked to submit a project of their own that had been completed within 2018. Their designs, project concept, floor plan and corresponding images were submitted to a jury panel made up of Mr. Promod Ubery, Architect Sanjay Pradhan and Architect Prabat Thapa. The jury panel congregated at Hotel Summit on 5th February 2019 to review the applicant’s designs. After reviewing the designs the best designs were shortlisted by the jurors for further consideration. A site visit was scheduled on 5th March 2019 and the jurors visited the shortlisted sites. Further scoring was done based on the site visit and the winners for both the sub-categories were decided by the jurors.

Ar. Varun SJB Rana won the commercial sub-category for his design of Babar Mahal Revisited and Interior Designer Vidisha Kasera won the residential sub-category for her design in Medicity Homes. Both the winners were awarded with a solid silver plaque as a token of love and certificates of appreciation acknowledging their work.

EVENT

The winners were all honored during the final Awards ceremony that took place on 5th April 2019 at Hotel Annapurna. The Chief Guest at the ceremony was Engineer Shankar Nath Rimal and Ar. Shrinkhala Khatiwada was the special guest. All the winners were awarded their prizes by the Chief Guest in the presence of architects, interior designers, businessmen, students, teachers, members of different associations including SCAEF, NEA, SONA etc.

During the ceremony, video presentations of all the winners were also shown and sound bites of the designers were presented.

All the winners were excited to be there and to have been a part of the competition. Ms. Riya Sthapit found the competition helpful in terms of design thinking. “It experienced a growth in my design thinking and design process” she said. Ms Sneha Shrestha also mentioned that it was a great experience and she enjoyed having the freedom to design what she wanted.

She also added “Everyone should participate in such design competition as you will get a chance to learn a lot.” The competition also helped Ms. Sarina Shilpakar get out of her comfort zone, interact with people she hopes to work with one day and present her ideas in front of a mass. “This platform also helped me express myself, expand my vision and taught me the importance of software handling” she added.

All the three student winners of the competition agreed that this kind of competition is very hepful and very much needed in Nepal and hope to see more of such competitions in the future. “It provides a great opportunity outside of your academics. I hope it continues and expands so that other students can also have this kind of opportunity” says Ms. Sthapit. Ms. Shrestha agreed that such competitions give space of young creative minds to create more designs. Ms Shilpakar added that this competition was like a test of fire and she learned a lot from it and got motivated and she would like to see more of such competitions in the future as well.

Glimpses of IDEA award ceremony

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