SPACES Nepal MAR-APR 2012

MARCH - APRIL 2012

ART - ARCHITECTURE - INTERIORS - ACCESSORIES

www.spacesnepal.com

for

RENOVATION

adaptive reuse The Story of Swotha

Aluminium Composite Panels (ACP)

Stylee or Sensi Se sibility ty

Rustic radiance

HOUSE or not to house To

A HOME with a HABITATION Price NRs. 100/- IRs. 65/-

AMA GHAR

JK cement

Jorpati,Kathmandu,Nepal Tel: 4911701, 4426554 Fax:977-1-912868 Email: info@topwinsys.com topwinsys@yahoo.com Website:www.topwinsys.com

20 HERITAGE

Volume 8 Issue 3

March - April 2012

The Story of Swotha

by Ar. Swati Pujari The value of preservation and the preservation of values go hand in hand. A one year series on change and preservation begins with the renovation of two buildings at Swotha, Patan.

46 ARCHITECTURE

A Home with a Habitation - Ama Ghar

by Ar. Kalpana Bhandari “Ama Ghar” or “Motherly Home” a home for orphans and underprivileged children, in Godavari, showcases minimalism in design; passive and active solar energy management; and waste and rain water management.

46 ARCHITECTURE

Aluminium Composite Panels (ACP) - Style or Sensibility

by Ar. Shristi Shrestha Following the ongoing trend of using ACP or Aluminium Composite Panels, a comprehensive analysis of the material, its installation, its benefits and disadvantages

42 ARCHITECTURE

16 Interior

House or Not to House

by Ar. Yatra Sharma A common sight along the river corridors of Kathmandu - the Sukumbasi or squatters, and the dilemma of eviction versus distributing land titles is discussed and analyzed here.

Rustic Radiance

by Artex Pvt. Ltd. ‘Those who want to make it find a way, those who don’t, find a reason’ and interior designer Rishi Shroff has definitely found a way. Once a residence, the eatery - Grill me is now a challenge turned into an opportunity.

20 ARCHITECTURE

Rainwater Harvesting, a smart way of life!

by Ar. Diskhya Poudyal “The term ‘GREEN’ is contextual. The concept of ‘Green Architecture’ means different in different places. For Nepal, Green Building is the building which is energy efficient, cost effective, structurally stable and sustainable.”

-B. L. Shrestha

50 ADVERTORIAL Just a Click Away

by Ar. Swati Pujari Bipassana International - the up and coming name, buzzing in the field of home automation brings to you custom designed solutions in security and convenience - a Smart Home.

COVER PHOTO : Ashesh Rajbansh

MARCH - APRIL 2012

ART - ARCHITECTURE - INTERIORS - ACCESSORIES

www.spacesnepal.com

www.spacesnepal.com

for

50 BOOK RELEASE

RENOVATION adaptive reuse The Story of Swotha Aluminium Composite Panels (ACP)

Stylee or Sensi Se sibility ty

Architecture of the Newars Rustic radiance

HOUSE

To

or not to house

A HOME with a HABITATION Price NRs. 100/- IRs. 65/-

AMA GHAR

Dr. Niels Gutschow presents a tribute to the heritage of Nepal - his three volume book ‘Architecture of the Newars: A History of Building Typologies and Details in Nepal’ - a comprehensive compilation of 40 years of research.

Volume 8 Issue 3

March - April 2012

Regd. No 30657/061-62 CDO No. 41

Managing Editor

Ashesh Rajbansh

Editor at Large

Siddhartha Lama

Editors

Contributors

Public Relations Marketing

Dikshya Poudyal received her B.Arch degree from IOE Pulchowk campus in 2010. She carries a passion for writing and believes that architecture has always been something that carries with it the essence of time and culture.

Prakash Bahadur Amatya Kripa Shrestha

Marketing /Correspondence

Kajal Pradhanang

Subscription/Marketing Ass.

Anish Shrestha

Contributing Art Editor

Madan Chitrakar, a regular contributor to SPACES, is an artist, art critic, writer, and holds a masters degree in History and Culture besides a degree in Applied Art from J. J. School of Arts in Mumbai, India and Iconographic Design from the Netherlands. His writings on art include the book on his late father Tej B. Chitrakar, ‘Icon of a Transition’, published in 2004. He is presently associated as visiting faculty in the KU Centre for Art & Design. (madanc@ntc. net.np)

Ar. Swati Pujari Ar. Sushmita Ranjit Shrestha

Contributing Editors

Madan Chitrakar Kasthamandap Art Studio Ar. Sworup G. Koney (President - Society of Nepalese Architects) Ar. Debesh Raj Bhattarai (General Secretary - Society of Nepalese Architects) Ar. Jinisha Jain (Delhi) Ar. Chetan Raj Shrestha (Sikkim) Barun Roy (Darjeeling Hills)

Contributors Accounts / Admin Senior Correspondent Photographers Design / Colour Separation

Printed at

Madan Chitrakar Ar. Dikshya Poudyal Dipa Shrestha Ar. Bansri Pandey Ar. Kalpana Bhandari Ashesh Rajbansh Pradip Ratna Tuladhar Digiscan Pre-Press Naxal, Kathmandu. Phone: 4436817 Format Printing Press Hadigaon, Kathmandu. Phone: 4010160

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IMPRESSIONS Publishing Pvt.Ltd. Kupondole, Lalitpur Post Box No. 227, DPO Lalitpur Phone: 5544606

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DISTRIBUTION

Ar. Yatra Sharma, is a post graduate in Urban Management and Development studies from the Netherlands, Institute of Housing Studies. After graduating in Architecture from Pulchowk Engineering College, she was involved in various architectural projects in both government and private sector. Currently, she is teaching at Khwopa Engineering College and is involved in a range of architectural and urban research works. (yatrasharma@gmail.com)

Shristi Shrestha is a final year architecture student at Nepal Engineering College, Bhaktapur.

She has worked as a trainee architect with John Sanday Associates in Kathmandu, and along with architecture journalism Shristi is also interested in interior design and energy efficient design.

Mid & West Nepal

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ADVERTISING & SUBSCRIPTIONS Kathmandu IMPRESSIONS Publishing Pvt.Ltd. Ph: 5544606 email: market@spacesnepal.com Birgunj Kishore Shrestha, Hotel Kailash, Adarsha Nagar.

Ph: 522384, 529984. email: hotelkailash@wlink.com.np Itahari Naya Bazar, Dharan - 05 Biratnagar Ph: 025-5-21164/025-525118, Cell: 9842054110

SPACES is published six times a year at the address above. All rights are reserved in respect of articles, illustrations, photographs, etc. published in S P A C E S . The contents of this publication may not be reproduced in whole or in part in any form without the written consent of the publisher. The opinions expressed by contributors are not necessarily those of the publisher and the publisher cannot accept responsiblility for any errors or omissions.

Those submitting manuscripts, photographs, artwork or other materials to SPACES for consideration should not send originals unless specifically requested to do so by SPACES in writing. Unsolicited manuscripts, photographs and other submitted material must be accompanied by a self addressed return envelope, postage prepaid. However, SPACES is not responsible for unsolicited submissions. All editorial inquiries and submissions to SPACES must be addressed to editor@spacesnepal.com or sent to the address mentioned above.

from the editor What is building green? It’s not just another overly used phrase but in recent times, green buildings, sustainable architecture and energy conservation have become social, or rather existential, responsibilities. Gone are the days of low fuel efficiency - it is neither affordable nor appropriate. And it is not just about mechanics either. In this issue of SPACES, we focus on the matter of green buildings. Our writers mention how 40% of the total energy consumed in the world is used by buildings, thus highlighting the responsibility of the building sector towards sustainability, energy consumption - and about green architecture.

The term ‘Green’ and its multiple façades were discussed in a recent seminar ‘Towards Green Building’, organized by the Department of Architecture, Institute of Engineering, Pulchowk Campus and VSBK/ CESEF program Nepal. SPACES Magazine participated in this four day seminar and shares the experience in this issue. So what is Building Green? Is it about the use of materials, technology or energy? Is it even affordable to build a green building, or is the price of saving the planet too high for the limited budgets of the general public? The key points made at the seminar try to answer these questions, and their answer is that a green building can have different meanings in different places, and different contexts. To quote Ar. B.L. Shrestha of Shelter and Local Technology Development Center, “The term ‘GREEN’ is contextual. The concept of ‘Green Architecture’ means different things in different places. For Nepal, Green Building is a building which is energy efficient, cost effective, structurally stable and sustainable.” One must understand that bigger is not always better- the bigger your building, the more energy it uses in lighting, heating, cooling etc. Also, more expensive is not always better. If the materials you use are very expensive, they either consumed a lot of labour, time, and energy in their production, or they were transported from a distance, increasing their energy consumption during transportation. Our writers bring to you issues, features and ramifications of building (and also not building), green.

In this issue we also focus on building technologies, both old and new. We explore a once popular building trend using lime mortar/plaster called Bajra, , highlight entrepreneurs producing quality cement products for tiles and pavements, and feature how building materials are expanding the horizon for architects and designers enabling them to create innovative interiors and exteriors.. And for all our readers who love flipping through SPACES to see the architectural beauty of our buildings, outdoor spaces, palaces and courtyards, we bring to you ‘Traditional Homes, Swotha’. This primarily photographic feature of a recently opened Bed and Breakfast at Swotha, Patan, shows us the conversion and renovation of an old residence into a contemporary, well equipped building - a place where the old blends with the new.

It is interesting to note how in architecture, like in many other fields, things come full circle. Our traditional buildings, which are already energy efficient, are renovated and reused by adding modern features. Meanwhile, our modern builders borrow the ideas of traditional construction to make new buildings ‘Green’. What goes around, comes aound it seems!

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KITCHEN SPECIALIST

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Price: at request

2

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URBAN

Design

3 spacesnepal.com

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March - April 2012

P R O D U C T S

MAC

Decor

1

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1 • • •

A dining table with 6 chairs Made of compressed wood, product of China Price: NRs 71, 500.

2 • • •

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3 • •

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Bar Rack Made of compressed wood and glass, product of China Price: NRs 42,600.

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A R C H I T E C T U R E

Ama Ghar - A Home with a Habitation, at Godawari amidst its serene surrounding

MASTER PLAN spacesnepal.com

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March - April 2012

A R C H I T E C T U R E

A HOME with a HABITATION

AMA GHAR Text: Ar. Kalpana Bhandari

Nepal, a developing country, still has an underdeveloped education and health system, especially with regard to children. According to UNICEF, 4.8% of children under the age of 5 died in 2010; 650,000 children were orphaned in 2009, and 39% of children under 5 years of age were underweight (according to World Health Organization). Statistics like this, and numerous other related issues like child marriage, child labour, urbanization etc, highlight the necessity to provide children with basic rights.

With these very feelings, Mr. Shrawan Nepali, along with co-founders Ama Tika Basnet and Shekhar Silwal, initiated the Ama Foundation in 2001. The word ‘Ama’ (literally meaning Mother) represents love, faith, affection and belonging in our culture. Ama Ghar was started under this foundation by Mr. Nepali to commemorate his upbringing by his godmother Ama Tika Basnet.

“Ama Ghar” or “Motherly Home” is a home for orphans and underprivileged children, 20 kms south of Kathmandu, in Godavari. In 2012, Ama Ghar moved from an abode for 14 children in a rented house, to its own building that houses as many as 46 children and 7 staff members.

The DESIGN Besides being a home for children, Ama Ghar also features exemplary Green Architecture. The requirement for the building was to accommodate 70 children and 30 staff members.

The client also wanted the building to have a ‘home like’ environment instead of a ‘hostel’. The architect, Prabal Thapa, has designed the building with a minimalist approach, and whilst meeting the requirements, has also managed to keep the 1

A passage in Ama Ghar with exposed brick walls and exposed concrete slabs/ lintels etc. decreasing the need for finishing material

dependence on non- renewable sources of energy to a minimum.

Ama Ghar is built on 13-ropanis of land (1 Ropani = 5476 Sq. Ft.). Since the area is contoured, sloping from east to west, the building is oriented towards the west to harmonize with the hills. Active and passive solar techniques have been incorporated for maximum usage of solar energy to meet heating and lighting needs.

The building has open plumbing and electrical system which makes repair and maintenance hassle-free.

In addition, the problem of water supply has been carefully tackled with wastewater management and rainwater harvesting. Ama Ghar is located on moist grounds so the French Drain foundation1 was built to keep the building dry, and avoid any kind of seepage/leakage through floors.

French Drain is a trench covered with gravel or rock that redirects surface and groundwater away from an area. French drains are common drainage systems, primarily used to prevent ground and surface water from penetrating or damaging building foundations, Source: http://en.wikipedia.org/wiki/ French_drain

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PASSIVE SOLAR ENERGY Courtyard Planning The building of Ama Ghar is U-shaped, opening to the west. The northern wing is longer than the southern wing so that the rooms in the Northern and Eastern wing get the afternoon sun all year round.

Since the kitchen and toilets are mostly occupied in the mornings, these rooms have been planned to receive the early morning sun, thus minimizing artificial lighting requirements. All rooms have cross ventilation to provide cooling requirements for summer.

Drainage pipes reveled in the building facade for easy access in maintenance

Planning and layout All the walls of Ama Ghar are 14” thick, in order to insulate the heat inside the building. The U-shaped building has common activity areas, and rooms for boys, girls, and staff or visitors. The ground floor of the northern wing has rooms for a children needing mobility assistance, a study/library, and access staircase to the boys’ rooms on the first floor. The eastern wing has a common activity room, office room for staff, and a staircase to the girls’ rooms in upper floors. The southern wing houses the kitchen and the dining area – as well as covered sit-out spaces.

The concrete block paved courtyard is used for games. The building as well as the courtyard faces the garden, and open fields to the west. The courtyard has raised platforms for plantations that are also used for seating. Since the site has contours, the amphitheatre space is designed in steps facing a gazebo that acts as a performing stage. The curved ramp is designed for ease of access for wheelchair users.

A section of the building showing gutters in the multiple levels of the roof for rainwater harvesting

Solar Path - the movement of sun and its apparent impact on the building and its active and passive solar techniques

ACTIVE SOLAR TECHNIQUES PhotoVoltaic Cells (PV Cells) are positioned on the southern slope of the building. The electrical energy from PV Cells is adequate to light the rooms and cook rice in the kitchen of Ama Ghar. spacesnepal.com

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THE MINIMALIST APPROACH Ama Ghar is minimalist in design and cost. The building has an exposed brick faรงade which eliminates the need of plaster and paint. The concrete surfaces are also exposed in ceilings and walls, without plaster or paint, which appears raw yet finished.

The openings and balconies/ verandahs are supported and

covered by light metal sections. A traditional essence is maintained through the slope roof, facilitating rain water collection as well. The wooden rafters in the roof are visible, and so is the jhingati roof in some places. The rooms of children are open (i.e. no doors), thus reducing the cost of wooden fixtures. The aluminium windows further enhance

March - April 2012

the heating system in the building and avoid the problems caused by wooden windows such as sagging of sections, dust accumulation, termites attack, etc. The open plumbing and electrical systems reduce the cost of concealing these features. In addition, the lobby in the first floor has a skylight, thus reducing artificial lighting requirement.

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A R C H I T E C T U R E

The kitchen of Ama Ghar, showing reveled electric wiring decreasing the need for concealing/ false ceiling as well as for easy maintenance

GROUND FLOOR PLAN

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FIRST FLOOR PLAN

A R C H I T E C T U R E

WATER TREATEMENT SYSTEM

WASTE WATER MANAGEMENT Ama Ghar incorporates decentralized wastewater treatment system (DEWATS), along with organic waste management. The treatment system, designed for 100 people, has treatment capacity of 8 cubic meters of waste water per day.

The DEWATS here has three stages of wastewater treatment.

The Primary Unit: The primary unit involves the sedimentation of wastewater and sludge, and their primary treatment in septic tanks. This unit treats black water and organic solids to produce 5m3 of bio gas per day, which fulfills one-third of fuel requirement for cooking.

The Secondary Unit: In this unit, both black and grey water is treated in a chambered Anaerobic Baffled Reactor (ABR). The ABR reduces biological and chemical oxygen demand by anaerobic digestion inside the chambers.

The Tertiary Unit: The final unit involves aerobic/anaerobic treatment inside Horizontally Planted Gravel Filters (HPGF) that reduces colours and odours.

TOP FLOOR PLAN

After tertiary treatment, the vegetables/garden plants absorb phosphorus and nitrogen. The treated water is used for flushing of toilets and gardening, thus, decreasing the use/ requirement of fresh water. The byproduct, biological and chemical oxygen demand (BOD and COD, or the biological and chemical remnants), are discharged into the nearby Godavari River.

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RAINWATER HARVESTING In maintaining a traditional Nepali homes essence, the sloped roofs of Ama Ghar drain the rain water to gutters and pipes for rain water harvesting. After adequate treatment, the water is collected in a separate tank. This harvested rainwater is adequate for household purposes for 5-6 months every year.

Ama Ghar has synchronized architecture with energy sustaining methods, thus, making it an example of sustainable architecture. The Ama Ghar building not only reflects traditional Nepali Architecture in its exterior, it also demonstrates a practical approach to environmentally sustainable

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technology as a whole. While the city faces drought and power shortage most of the time, these aspects of water supply and electricity are well tackled at Ama Ghar. Architectural aestheticism, structural stability, ecological sustainability and cost effectiveness are assets of Ama Ghar. It is also an exemplary building that highlights the importance of non-renewable energy, and advantages of renewable sources of energy. It is obvious that the current power cuts, inadequate water supply, and gas shortage can be tackled with careful investment in environment friendly and ecologically sustainable technologies in the construction of a building. ď Ž

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A D V E R T O R I A L

Control via ii-Phone, Phone ii-Pad Pad and Android devices

JUST A

Click away...

Y

Text: Ar. Swati Pujari

You open your eyes in the morning to your favourite tune, walk into the shower and your geyser is already turned on, by the time you step out, your coffee machine is brewing your favourite coffee. Sipping on the freshly brewed coffee you turn on the television and catch up on the morning news.

When you leave for work, you don’t have to worry if the lights are still on or if you forgot to turn off the television, you can check the lights (and just about anything else) from your computer or your phone and turn them off or on as you like, or have a customized setting that turns off all selected fixtures and appliances when the clock says it’s your office time. When you come back home, your house greets you with a warm flood of lights and music, so you don’t enter a cold dark building. When you go to sleep, you can turn off all the lights, or keep the night lights on as per your convenience, and activate a security field in and around your house, with just a click of a button, while comfortably wrapping up in your blanket.

This is precisely what Bipassana International strives to bring to you, a house that is customized to fit your needs and choices, providing you the comfort

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A D V E R T O R I A L

2

1

1. Entrance Scenario Switch to control customized lights, all at once 2. Access Control to activate the lock as well as other automation features like curtains, lights, security sensors, etc.

3. Video Door Phone to view and talk to visitors from inside your home, then let them inside with the press of a button.

3

and security you would expect at a place you call home. The design of a residence comes from its users; your home should fit your needs and nobody else’s. That is why you employ a designer - to understand your needs as a user or as an owner and put to paper and then to the site what is most appropriate for you, considering your lifestyle and your budget. Home automation systems are basically the next frontier in this process. Just as the placement of your windows bring in natural light and ventilation where you need it, and the placement of your furniture allows you to use your space as per

your wish and needs, similarly, a well designed automation system helps you safeguard and use your home and all its aspects the way you need.

It also brings control of your entire house to your fingertips.

home. Rather it customizes its products and services, gives you consultations, and helps you make the right choice that suits your requirements - while keeping in mind your budget.

Bipassana International is an up and coming name in the field of home automation in Nepal, and a conversation with Mr. Keyur K. Shrestha, its Managing Director, lets you know why. Bipassana International is not just a supplier of products related to home automation, neither is it a company that simply installs foreign products in your

A project at Bipassana starts with site visits and/ or requirement studies; understanding the client’s needs is vital. The next step is the actual design and consultations.

There are a variety of products and features available and according to your requirements and budget, a custom design of your automation system is provided to you. At the

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A D V E R T O R I A L

Wireless door sensor.

Gas leak sensors, Motion sensors, Glass break sensors are also available

Upload your floor plans to control your features with an extra level of convenience

Curtain control switch and multi room audio keypad

Lighting automation switches and 5.7 inches touch screen interface

core of this design are the features of Security, Surveillance, Lighting, Energy Management, Access Control, Entertainment, Interfaces & Software and, Video Intercom. Once you are satisfied with the design of your system, installation drawings are prepared and Bipassana International provides you with the budgeting, bills of quantities, and recommendations regarding any issue in the design and installation.

After installation, these techniques help you predefine customized settings for time of the day or your events and moods, thus identifying lights, music and security as per the occasion. For example, let’s say you are having a party. You can customize a setting called PARTY (for example), and just by clicking that option the system automatically spacesnepal.com

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dims the lights, turns on the fountains in your garden, plays your selected playlist, and maybe even throws laser beams to the sky and activates your security gate.

Bipassana International actually provides a service not just in installing and design of the system, but customizing system settings as well, helping you set environments that makes you feel at home, no matter what your mood.

So what exactly are the kinds of things home automation systems can control? Well firstly, you can have a video door phone at the entrance to your home, so when a visitor arrives and buzzes in, you can see who it is in your screen and talk to them via this door phone, and then decide whether to let

March - April 2012

the visitor in or not. You can install sensors in your driveway where, as you drive in after dark, the lights are automatically switched on, and a certain time after the driveway is cleared, they are switched off again. These sensors can detect occupancy and control the lights accordingly, thus ensuring there is no waste of energy. You can install smoke detectors that signal the system to turn off the air conditioning if smoke is detected in the house to avoid the spread of smoke. You can also select entertainment systems like movie rooms and home theatres, and have them custom designed and fully automated. You can install a music system that gives you the option of using a single music source, yet controlling it locally so it

A D V E R T O R I A L Lighting is one of the most powerful methods interior designers use to change moods, add elegance and intimacy. Create scenes for different tasks in a room such as dining, reading a book or the entire family to celebrate a birthday party.

can play different music in different parts of the house, all originating from the same source. You can install sensors in your doors and windows and check which of these are left open and which are closed, you can even check and control the operation of lights as well as curtains and blinds. You can install a security field in and around your house that, if breached, sends out eight different pre-recorded phone calls. You can install all this in either a wired connection concealed in the ceiling, walls etc, or select the wireless options. And all this you can control either from the system’s remote control or touch screen, or from your computer, laptop, i-pad, i-phones, android phones etc. via internet/ LAN.

requirements of its clients, Bipassana International is also launching a compact automation system package called Milan that is focused on the semi private spaces in a house, primarily the living and dining area. This system offers security and affordability, whereby the entire system can be installed in an amount up to (not starting from) NRs. 3.5 Lakhs or NRs. Three Hundred and Fifty Thousand.

In order to install just about any of these features, there is one very important requirement. You will need a stabilized voltage for the motherboard that controls the entire system. This mother board is something that looks like the CPU of a computer, and basically connects and controls the entire

system while occupying minimal space. So whether you live in a small compact apartment, or a large palatial mansion, as long as you can spare space equivalent to a small drawer, you can install this system.

Bipassana International redefines living experiences and with just some small changes, gives you the option of making your life safer, more convenient, and enjoyable, by designing and installing an automation system that serves your lifestyle and also ensures the security of your family and your home, no matter where you are, with just a click. .ď Ž

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Aluminium skin coating

Aluminium Composite Panels (ACP)

Style or Sensibility

Adhesive

Protective film

Plastic core

Aluminium skin

Text: Ar. Shristi Shrestha

Constructed mainly for dry construction and fast erection, the trend of ACP cladding has been followed widely in the past few years in the city. It has been employed mostly in commercial buildings and has been the rage these days for its aesthetics, durability, variety and workability. Used frequently for external cladding of building façade, its usage also includes any other form of cladding such as partitions, false ceilings, interior wall etc. So is it merely a fashion trend or intelligent engineering? What is its correct installation process? This article focuses on ACP –its structure, installation, its pros and cons.

WHAT IS AN ACP? Aluminium Composite Panel (ACP) or Aluminium Composite Material (ACM) is a type of flat sandwiched panel that consist of a non-aluminium core (fire proof or plastic) bonded between two aluminium sheets coated with Polyvinylidene Fluoride Coating (PVDF) or polyester paint (PE) by an adhesive. Number of these ACPs are fixed within an aluminium section (spacer system) resulting in a cladding which basically is a typical metal curtain wall.

Although these panels are used extensively in building exterior curtain walls, it has also been used as decorative materials of interior walls, bathroom, doors, ceilings, kitchens, balconies of home and hotel and so forth. It is also used as decorative materials in shops as column covers, fascias and canopy equipment enclosures and beam wraps, signage etc.

TYPES AND VARIETIES Thickness of aluminium section The recommended thickness for ACP use largely depends upon the height spacesnepal.com

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at which it will be installed owing to the wind velocity experienced at that altitude. Panels are available at thicknesses of 1mm, 2.5mm, 3mm, 4mm, 5mm and 6mm. Mr. Saurav Bahety, C.E.O of Aalutuff, one of the leading brands in manufacture and supply of ACP, recommends using panels of 2.5mm thick aluminium sections for buildings that are up to 10 storey high and 5mm thick aluminium sections if the buildings are higher than that but lower than 25 storey.

Area According to Mr. Bahety, 4ft X 12ft panels are mostly used for exterior works, whereas, 4ft X 8ft and 3ft X 12ft panels are mostly used for works like ducting, false ceiling, partition, etc.

Though the panels are manufactured as straight and flat panels, they can be bended to a certain degree if needed.

Colors and texture The panels are available in different colors and texture like silver, flash silver, gold, flash gold, white, red, black, marble design, wooden design, golden mirror, silver mirror, brushed panel etc. (as required).

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FEATURES OF ALUMINIUM PANELS: Efficiency: 1) Fire resistance of ACP can be highly improved by using a fireproof core (but this option is not easily affordable and thus not available in Nepal).

2) Aluminium has high resistance to corrosion. It reacts with air to form aluminium oxide, an extremely hard coating that seals the aluminium surface from further degradation.

3) Compared to steel, aluminium is extremely lightweight, approximately one third the density, resulting in low loads on buildings, which is particularly important where large spans are involved.

4) The durability of ACP largely depends upon the quality of the material. Aalutuf, one of the leading brands offers 15- 20 yrs of warranty.

5) It has good corrosion, pollutant and moisture resistant (Aalutuf adopts the protocol of ASTM B-117, IS 13781-1993, and IS 101 (PT6/Sec 1)-1998).

6) Available in a variety of colors and textures.

7) Is lightweight and easy to process.

8) It can be re-used and is easy to maintain.

9) These panels require careful attention to waterproofing, as lack of sufficient waterproofing may allow moisture to enter the seams around or above the panels.

10) Some panels are self cleaning and also clean the air around them.

Such panels use titanium dioxidebased technology .Titanium oxide

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The structure of an ACP is composed of the following layers: 1) Protective film 2) Coating-basic level( PVDF or polyester) 3) Aluminum Alloy sheet (of varying thickness) 5) Adhesive 6) Polyethylene core 7) Adhesive 8) Aluminum Alloy sheet 9) Ground coating 1

on exposure to sunlight, acts as a catalyst in breaking down organic substances. At the same time, it forms a water-attracting surface (as explained by Ar. Manjushree Sthapit, (Asst. professor, NEC).

Impact resistance Although aluminium has higher impact resistance than other metals, it is still lower than the impact resistance of a concrete structure. Hence sometimes, dents are observed in the buildings.

This is observed especially if thickness of aluminium is less than required.

It is also susceptible to storms or hurricanes as the composite strength is not high and easy to break when the surface bends.

Thermal insulation and protection: 1) Aluminium is one of the best reflectors of UV rays and electromagnetic waves. Hence the color stays for long. But, the fading of color of the panels largely depends upon the quality of PVDF coating.

2) Insulation can also be installed between the partition board and the ACP hence improving energy efficiency of the building.

3) If installed in tray binding system, the insulation provided increases dramatically.

4) Some ACP products are also helpful in reducing internal building temperatures by achieving a high SRI (Solar Reflectivity Index). Such ACP can reduce internal building temperatures (reducing AC loads in warm climates) and also potentially reduce heat island effects which can be detrimental to natural habitats.

2

5

3

6

4

7

Stage 1: The RCC frame structure is completed.

Stage 2: Installation of the aluminium section is carried out.

Stage 3: Aluminium composite panel (ACP) is installed.

Stage 4: Installation of insulation (extruded polystyrene foam).

Stage 5: Installation a of internal partition board (calcium silicate board/ fiber cement board).

Stage 6: All external works is completed.

Stage 7: Aluminium glazing is fixed. ((photo courtesy: Innovative Creators) Stage 8: Weather proof silicon filling is done between the panels.

Removal of protective film is recommended soon after installation (within 45 days) since residual glue may be left from protective film and stick onto lacquered coated surface of panels.

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Environmental aspects and carbon emission 1) Recycling the aluminium uses only up to 5% of the total energy required for extraction and can be recycled for generations without limitations.

2) The core is made up of polyethylene i.e. plastic hence is non-biodegradable.

3) Inspite of being one of the most abundant metal, aluminium is the most carbons emitting metal during extraction. However, eco friendly ACP is also available that focus on minimizing building’s carbon footprint and making significant contributions to the sustainability of a building. The reduced carbon footprint may be achieved by * Maximum utilization of Post Consumer Recycle Content (PCR) in the raw materials resulting in no harmful effect on the environment. * Energy Efficiency measures during its product’s life cycle.

INSTALLATION PROCESS: WALL CLADDING V/S TRAY BENDING SYSTEM Wall cladding, the more popular installation practice among the two, is where the panels are simply placed among the aluminum section erected taking support on a curtain brick wall. Whereas, tray bending system is where the ACP is folded to a match box like structure and placed amongst the aluminium section. The difference is that in this system, brick curtain walls are omitted and internal partition board and insulation is used.

“ACP is the need of time. But in this country, it has been abused. These panels have been developed for dry construction and fast erection. Hence, inspite of the popular practice of cladding the ACP to a brick curtain wall in a RCC frame structure, it isn’t the correct installation method and not the way ACP cladding is done in developed countries. In fact, construction of a brick curtain spacesnepal.com

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wall is not even advised since it results in unnecessary increment of construction cost, decreases the insulation property of the building as well as increases the dead load of the building.” states Ar. Ujjwal Maan Shakya, one of the pioneer users of ACP in Kathmandu who strongly encourages tray bending system.

The pictures below show stepwise installation of ACP in tray bending system to be followed in Nepal Airlines Co-operation Office, Sinamangal.

BENEFITS AND DIFFICULTIES WHILE WORKING IN TRAY BENDING SYSTEM Benefits: Better earthquake resistance Since the weight of aluminium panels and the partition board is very less as compared to the brick walls, i.e. less total dead load of the building, the performance of the building during an earthquake is better.

Decrease in the total construction cost Although the cost price of ACP installation is high, (NRs. 300-500/per square feet depending upon its strength), the total construction price becomes comparative low if the curtain brick walls are replaced by a smooth surfaced partition board like calcium silicate board (this omits the need for plastering) and insulation. Along with the deduction of construction price of the brick walls, here, price for plastering and coloring is also omitted resulting in significant saving. Moreover, lighter building equals to thinner columns and beams and less reinforcement bars.

Better insulation Placement of insulation materials between the board and the panel will aid in thermal efficiency of the building resulting in less energy consumption.

Faster construction This feature comes handy especially in commercial buildings where time is actually money; faster construction will result in maximum profit for the owner.

Difficulties: Lack of skilled workmanship One of the main difficulties in practicing tray bending installation system is difficulty in finding the required skilled manpower. Since the skilled labor is not available locally, mostly it has to be imported from India.

The selective use of ACP An important aspect to discuss here is the haphazard use of ACP, a trend for which the user is responsible and not the material. One can witness the use of ACP in newly constructed buildings in areas of historic importance without any regard to the built environment of the place thus ruining the architectural, historic and cultural fabric of the place.

It can be argued that ACP is a stylish and sensible innovation, which can prove to be a blessing for commercial as well as decorative purposes. Yet one should be aware of its benefits as well as demerits, and also realize its installation process and features.

This would result in the proper use of the material instead of the haphazard nature of its current introduction into the buildings in the city. 

REFERENCES: 1) http://www.archclad.com.au 2) http://en.wikipedia.org/wiki/Sandwich_panel 3) http://www.blazelead.com/ALUMINIUM-COMPOSITE-PANEL--ACP/UNIVERSAL-METAL/ NP/2655415-26348-4/ 4) http://www.architectandbuilder.com.au 5) Interview with Ar.Ujjwal Man Shakya, Managing Director and Senior Architect, Innovative Creaters 6) Interview with Ar. Manjushree Sthapit, Asst. Professor, N.E.C. 7) Interview with Mr Saurav Bahety, C.E.O, Aalutuf March - April 2012

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HOUSE or not to house To

The dilemma of Eviction Vs Land Titles in Kathmandu Text: Ar. Yatra Sharma

While hauling across the heavy-trafficridden Kupondole Bridge, the sight of squatter settlement in a squalid setting outlining the Bagmati River strongly imprints in the mind of the general passerby. Such blighted settlements have remained along rivers of Kathmandu for so long that it is almost impossible to visualize the mainstream waterline without them-as if to say squatter settlements are a component of riverbanks in the valley.

Such plight often makes the public wonder why these inhabitants chose to live in such degraded environment and why they are tolerated here?

One instant reaction towards the situation is the perception that squatter settlements devaluate the image of a city and should be directly removed.

While some feel that these dwellers

have no alternatives and therefore the government should create housing prospects before removing them. But both these option- one of evicting and the other of providing alternative housing- are remarkably controversial to implement.

On one hand forced eviction involves clearance through violent force and large scale housing demolition when individuals, families and entire communities are displaced temporarily or permanently against their will, from their homes, land and businesses in the pretext of city beautification or environmental hazard. This approach leaves them homeless and hopeless aggravating the circle of poverty, discrimination and social exclusion; and therefore considered against human rights.

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On the other hand, alternative housing is more often a financially, legally, technically, socially and politically controversial approach. It involves excruciatingly difficult and time consuming processes of accurate selection of beneficiaries; community cohesion, participation and consensus; land selection and plotting; infrastructure development, housing design and construction; temporary or permanent resettlements; housing to new buildings and adaptation; regulations and monitoring over informal property transaction- all these based on pre-formulated policy framework and support from various stakeholders including the general public. Even then, the consequences of this course of action remain indecisive and unpredictable over the period of time it gets accomplished.

Either way, both approaches present a dilemma so deep and the probable solution so indecisive that they trigger a perplexing question- whether to house or not to house the urban landless mass unable to afford a respectable shelter in this thriving city of Kathmandu?

SO MANY! OR HOW FEW! Kathmandu, being the primate city in the country with disproportionate concentration of all major facilities within its region, thousands of people migrate to the city in search for better opportunities of employment, education, economic activities and other amenities. Many of them are also internally displaced, pushed out from their villages due to political conflict, that have chosen to settle permanently within the safer periphery of the city.

Most of these are poor and unskilled migrants unable to afford a proper shelter in this growing urban area with soaring real estate prices. Due to lack of an alternate, most migrants have resorted to so-called unauthorized or informal housing in the absence of developed land within their reach.

As a result, Kathmandu has been experiencing increased number of squatter settlements over the last few decades. spacesnepal.com

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In 1985, it was estimated that there were only 17 squatter communities in Kathmandu valley, but now the number has grown to 71 (DUDBC, 2011)1 with further emerging settlements. These settlements are communities in the city squatting illegally on public land that are environmentally sensitive areas such as river banks or flood plains, steep slopes and vacant spaces under high voltage electrical transmission line. Characterized by vulnerability and poverty, these settlements are growing each day and their physical existence getting more and more visible in the city.

The approximate population of 25,000 squatter2 in Kathmandu amounts to a mere 1% of its total population. Although the number is still on a minor scale the issue is not insignificant. Towards the end of 2011 we have seen more of these “illegal” buildings sprouting frequently with a much solid stance. What used to be sacks are now concrete structures claiming their place proudly amidst all the raging controversies. Ignorance is definitely not bliss in this contextwithout a quick resolution, these issues shall only escalate and become more complex to solve if lingered too long.

INITIATIVES SO FAR Despite much inaction, the government of Nepal has initiated some efforts in providing secure housing to the squatters with support from Lumanti3 in the recent past.

These efforts have been aimed at squatter issues both within and beyond the valley. But the nature of the problem within the valley is rather unique and sensitive due to relatively high land rates, than the rest of the country. Most of the engagements in land development such as site and services or land pooling in the Valley have been targeted to general public or government officers who can afford it and not specifically the urban poor. Attempts to utilize the expensive land for social causes such as providing them at subsidized rates are extremely controversial and

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unsupported by policies. Therefore the initiations made towards these issues have not fully resolved into an adequate solution.

Kirtipur Resettlement Housing Program, for instance, was conducted for housing squatters who were evicted for construction of Bishnumati Link Road in 2005. With support from Lumanti, Kathmandu Metropolitan City and other national and international NGOs, the program re-housed the evictees from Bishnumati area to a parcel of 6 ropanis (1 ropani= 5476 sq.ft.) land in Kirtipur upon construction of individual housing units. Due to scarcity of land in the nearby area and high land prices close to it, the resettlement area was selected 10km away from city centre at a location with comparably lower land rates (3million rupees 4per ropani, in 2003) (Sengupta and Sharma, 2009).

During site visits most inhabitants express the location factor has made them compromise their economic opportunities since increased distance from prior location has created difficulty in access to employment. On the other hand, urban experts argue that with growing road network and increasing transportation facilities, Kirtipur should be not be considered a “distant” location from the previous locality. Although the project is considered much successful, the bitter reality is that four out of the forty houses remain empty today. This presents a question to the replication of similar resettlement projects that remains uncertain to the livelihood of settlers that need to move far away from their preferred location.

Another breakthrough initiation was made by the government in 2009 by assigning a budget of 15 crore (20072008 fiscal year) for upgrading any one of riverbank squatter settlement in the city. In order to aptly utilize the amount, Lumanti together with ACHR5 worked together with the government and proposed a land sharing project in Sankhamul squatter settlement that would also include residents of Bansighat and Kuriagaon squatter

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settlements. The idea was to divide the land into two parts and share – one for accommodation of existing squatters in an apartment building with tenure security and the other for public use i.e. commercial development and green space. This would not only provide formal housing and eliminate the possibilities of forced evictions but also improve the surrounding river area. The commercial buildings would provide cross subsidy for construction of housing, making the project financially self-sustainable. However the concept of apartment housing was not appreciated by the community who wanted to own their own piece of land parcel and also the government river-setback regulations caused legal hindrances. Thus the first, government led on-site squatter upgrading effort in Kathmandu was rejected.

After rejection of the land sharing project, the government of Nepal focused its attention outside Kathmandu Valley towards housing the deprived and marginal communities including squatters through a project called “Janta Awas”. As for within the valley, the government has bought a piece of 4 Ropanies of land in Ichangu Narayan (approximately 10km away from city centre) as part of 20082009 fiscal year’s budget for future resettlement of squatters residing in vulnerable conditions. Currently the government in collaboration with Lumanti is trying to identify settlements that need to be resettled immediately and designing apartments on the newly bought site for the purpose.

MAJOR CONSTRAINTS Throughout the process of implementing these initiations, three major constraints were brought into light.

Firstly, the institutional flaw in successful execution of the project lies in the lack of a policy framework.

Such policy is to be the guideline for step-wise execution for transfer of land ownership, construction procedure, payments, form of tenure, transfer of use right and other legal aspects that is extremely important for carrying out the project- all of which need to be

Below Sankhamul Bridge

Pathivara Squatter along Dhobikhola Corridor, north of Chabahil Chowk

approved by the Cabinet of Ministers of government of Nepal. Without such a policy no form of upgrading project can be executed in a systematic order. In realization of this drawback the government of Nepal has recently formulated a policy which, waiting in the desk of cabinet ministers for approval for more than a year, only reveals the hesitation of the related bodies in resolving the issue.

Secondly, a critical technical problem lies in demarcation of land occupied by riverfront of squatter settlements (80% of squatter settlements in Kathmandu valley are along Bagmati River or its tributaries) created by the duality of records in current satellite maps Vs legal survey records. As per regulations, the official cadastral maps have to be referred for any construction works. The cadastral map of Kathmandu Metropolitan prepared by the Survey Department in the year 1965 indicates a wider course of Bagmati River and its tributaries which have substantially narrowed down today. Much of the river flow in the past was over the area that is now dry land occupied

by the settlements today (Cadstral map 1965). So, most portion of land occupied by riverfront squatters at present does not legally exist in the survey records made in the past!

Due to lack of updated data, the government is forced to overlook existing conditions. However, NGOs like Lumanti and squatter federations demand for on-site upgrading based on the argument that government has revised rules according to requirements as per changing times and conditions many times in the history, and similar should be the case for squatters in order to allow occupation of riverside land for housing instead of evicting them based on records that are no longer relevant. This duality of records also creates a dilemma whether to allow on-site upgrading or to resettle the squatters elsewhere.

However, considering the limited government budget for social housing, scarce land in Kathmandu and the loss of livelihood created by resettlement, the second option is not preferable to majority of squatters who are sensitively attached to their

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existing localities. As such the government has neither been able to satisfactorily resettle the squatters nor to legalize on-site upgrading.

through mutual understanding and collaboration (Draft Working Policy 2010, pp. 6-7). However, these initial efforts are yet to materialize.

Thirdly and most importantly is the political and legal crisis of issuing land titles or “lalpurja” to the squatters as put forward by squatter federations as their foremost demand. Although time and again, political bodies such as the “Nepal Sukumbashi Samashya Samadhan Ayog” have distributed land titles over various parts of the country, the general public often questions the validity and legality of such actions. There are two doubtful aspects to issuing land titles- one is in true identification of squatters, since there are many land and property owners who claim to be landless and it is extremely difficult to assure that the most deserving candidate has received the benefits rather than a fake candidate with intentions of capitalizing the land value; second is in gentrificationwhereby issuing of land titles opens windows for transaction of property in a formal basis and, in doing so, the market forces will push the deserving urban poor out of their land and pull middle income citizens in. Through such transactions squatters will again remain landless and move into another informal settlement creating a vicious circle of landlessness and aggravating irregularity.

From the standpoint of squatters their demands for right to housing without forced eviction and access to alternative affordable housing seem valid and necessary but pressuring legal bodies to provide land titles puts a deadlock to negotiations.

There are definite legal boundaries that the government has to abide by and there is little flexibility it can adopt at current times. Possibly, the matters of land titles can be settled through a strong political movement as seen in cases of Thailand8 where squatter communities have been upgraded in large scale in the past years based on ad-hoc practice rather than systematic legal procedures. As of now, the squatter federations in Nepal, like in Thailand, are well empowered and possess a good knowledge base such that they can revolt politically. NBBSS and NMES are well associated with NGOs such as Lumanti, Action Aid Nepal, Water Aid Nepal and international organizations like Asian Coalition for Housing Rights (ACHR) and Slum Dwellers International (SDI), through

THE RIGHT ATTITUDE Amidst all the constraints, in the last two years, the government has approached the squatter issue in Kathmandu with a positive outlook.

It has taken a constructive step in formulating policies and initiating projects to address the situation in a participatory method by working through a coordination committee that includes not only political representatives, governmental, non-governmental and international bodies but also representatives from squatter federations, namely NBBSS6 and NMES7 so as to resolve issues

which they attain international exposure and trainings. So it seems important to recognize the capacity of squatters in retaining their occupied land.

At the same time, there is a chance that if the government of Nepal becomes a federal state as intended, the squatters may need to lower down their demands and succumb to any housing solution put before them or else the next strong government may not hesitate in evicting the settlements in the course of revitalizing the city.

There is definitely no correct solution or the best approach to solve this multi-faced problem.

The key lies in case to case analysis, participative planning and mutual agreements of all the stakeholders involved. Flexibility and compromise from both demand and supply sides is necessary; and cooperative attitude of both parties seems essential in resolving how to house the squatters of Kathmandu. The issue here is the dilemma between evictions as opposed to provision of legal titles.

Both extremes are not possible, the solution should be mid way. 

REFERENCES CODI 2008, 50 Community upgrading projects, CODI Update, Vol. 5, Community Organizations Development Institute: Bangkok.

DUDBC 2010, National Shelter Policy, [unpublished draft proposal], DUDBC, Ministry of Physical Planning and Works, Government of Nepal Sengupta U. and Sharma S. 2009, ‘No longer Sukumbasis: Challenges in grassroots-led squatter resettlement program in Kathmandu with special reference to Kirtipur Housing Project’ , Habitat International, Vol. 33, p. 34-44.

Sharma, Y, 2010, Land Sharing Experience in Kathmandu: Case In Sankhamul Squatter Settlement “ Institute of housing Studies, Rotterdam Interview and draft article feed-back from Prafulla Man Pradhan , Advisor at Lumanti, Regional Capacity Development Advisor at UN Habitat.

END NOTES 1 Interview on 10th Jan, 2011 with DDG Dr. Mahendra Subba in Department of Urban Development and Building Construction (DUDBC). Interview with NEST staffs that were a part of a survey conducted in 2011 on “Physical Mapping of the SquaƩer SeƩlements in Kathmandu Valley”.

2 This population does not include the total slum population or other informal settlements in the city. According to the report “State of Asian Cities 2010/11 “ by UN habitat the slum population in Nepal in 2007 was 59.4%.

3 LUMANTI support group is a non-government organization dedicated to the alleviation of urban poverty in Nepal through the improvement of shelter conditions.

4 Interview with Prafulla Man Singh, Advisor of Lumanti states the price was only 500,000 per Ropani.

5 The Asian Coalition for Housing Rights (ACHR) is a regional network of grassroots community organizations, NGO’s and professionals actively involved with urban poor development processes in Asian cities based in Thailand.

6 Nepal Basti Basobas Samrakchan Samiti, formulated in 2000; also known as SPOSH 7 Nepal Mahila Ekta Samaj, formulated in 2000 8 Community Organisation Development Institute (CODI), an independent body in Thailand has support various community-led development activities in providing secure tenure to urban poor in a large scale over the last decade.

each house with 100 square meter of roof area collects rainwater, then a volume of 160,000 liters can be collected1. This is the theoretical aspects of rainwater collection but the practical aspects also need to be addressed side by side.

USEFULNESS:

Rainwater

Harvesting A SMART WAY OF LIFE! Text: Ar. Diskhya Poudyal

Aaaa! Paani Aayo! Paani Aayo!

Its 4 a.m. in the morning and Maili didi shouts as if she has hit gold mine. Well, precious than gold, and very rare in Kathmandu valley, is nothing but drinking water.

Be it for the purpose of drinking or other use, we are forced to confront the problems which seem eternal. Also important, is the fact that we doubt the quality of water and usually boil it for drinking. This definitely questions the purity of the ‘drinking’ water supplied in the municipal grid or even extracted from deep boring wells. From quality to the quantity of water, rainwater harvesting can give relief to many, if not all!

WHAT IS RAINWATER HARVESTING? Rainwater Harvesting is the process of collecting and storing rainwater before it reaches the aquifer. It can be used for drinking, after filtration, various other household purposes and for irrigation in large spacesnepal.com

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scale. The roof of our houses can make considerable contribution for collecting water during rainy seasons. The main idea is to collect water in containers before it reaches the stratum level of the earth.

Kathmandu Valley receives 1,600 milliliters of rainfall annually and if

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Successfully collecting rainwater can ease the users from water scarcity during dry seasons. Also, the water stored can be made free from impurities and hence assures purity. But this condition is for those who have enough space in their house for the installation of such systems. But what about those who lack space, those who cannot install an extra tank in their house? Can they also have the facility of rainwater harvesting?

Well, now it seems possible, and hopefully the water woes will ebb soon in the valley.

A bid to harvest 5 million liters of rainwater was announced on March 1, 2012. A campaign has been launched by Kathmandu Valley Water Supply Management Board (KVWSMB) with the support of Center of Integrated Urban Development (CIUD). As ground work for this campaign, 10 ponds are currently being recharged through rainwater harvesting system in Kathmandu Valley. Dallu area and Trichandra College currently serves as demonstration areas2.This is a positive initiation, firstly to make people aware of the usefulness of rain water, secondly to minimize water scarcity during dry seasons, and, thirdly to help people understand the effort made in the community level to integrate those who cannot individually start a rainwater harvesting project at their small premises.

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Image source http://www.mppcb.nic.in/rwh.htm

HOW DOES RAINWATER HARVESTING SYSTEM HELP? The installation cost to set up the rainwater harvesting system depends primarily on the volume of water collection desired by the users. However, a simple installation costs around Rs. 45,0003. The long term advantages of this system are considerable, as the cost for its maintenance is low and the purity of water can be relied on.

A smart decision is to design and provide provisions for a rainwater harvesting system early in the design of the building. This will not only save the cost of retrofitting in a completed building, but the owners/users of the building can also enjoy the 10% subsidy in the total installation cost provided by DUDBC (Department of Urban Design and Building Construction). For this a comprehensive design should presented in the building permit drawings. The noteworthy thing is that it has been 10 years since the implementation of this campaign in order to make everyone, especially the city dwellers, aware of the value of rain water, yet the popularity of this campaign is meek.

the perfect location for deep boring (in case of availability of land), calling tankers to refill the underground containers, or sleepless nights just to wait for water to pour down your tap!

There are various methods to install rain water harvesting system. Some are easy enough and do not require expensive equipments. Some of the useful tips for collecting rain water at your premises are as follows: •

•

•

• •

HOW DOES RAINWATER HARVESTING WORK? Collecting rain water is easy but a smart technique makes it easier, practical and feasible. If you would like to make it an integrated part of your building water supply system, then it is a onetime investment only, which is an extra cost to be more specific, but can prove to be a lifelong solution. Installation of a rainwater harvesting system can free the users from activities like finding

•

Decide a part of your roof as catchment area. Then make a gully system along the edge of your roof (concrete slab sloped roof or CGI). A proper drainage pipe from the flat roof terrace would make the system more viable.

Connect these pipes to a container having sand filtration to trap impurities.

Also to get rid of contaminants the water from the first rain can be drained off from a separate valve. Later on, this valve can be closed to divert the rain water into the filtration container. However, sweeping your terrace regularly can also minimize the hassle from impurities to some extent.

Clean water is then collected in an underground water tank.

The overflow from the tank is then sent to a recharge pit which helps maintain the ground water table.

The water that is replenished through such a system can be useful for various activities; from drinking to washing by easily extracting from a tube well, in the long run.

Simple filtration and chlorination can make rainwater drinkable.

REALITY AND REFLECTION: Rainwater harvesting helps recharge the depleting ground water and maintains a balance in the natural

system of earth strata. The ever increasing populationm and their demand for drinking water, is not fulfilled

by Kathmandu Upatyaka Khanepani Limited (KUKL). This has led to rampant extraction from deep boring wells, such actions are neither monitored by the government nor can they be called illegal. But more importantly, without denying the fact that the water table in Kathmandu valley is drying up due to the lack of a source to recharge itself, most of the rainwater mixes with the gutter system of our city. Also, the misconception that rainwater harvesting is expensive is widespread. But if the cost of annual water demand and its scarcity are compared to the calculations of installing a deep boring system or some tankers fetching gallons of water to our houses, then one wouldn’t find rainwater harvesting an expensive option if adapted wisely. 

REFERENCES: One Planet Solution Pvt. Ltd., Smart Pani (water related product brand) Bid to harvest 5 million of rainwater, KATHMANDU POST, March 1st 2012 Image source: (http://www.mppcb.nic.in/rwh.htm, Madhya Pradesh Pollution Control Board

1

2

3

Source - One Planet Solution Pvt. Ltd., Smart Pani (water related product brand) Bid to harvest 5 million of rainwater, KATHMANDU POST, March 1st 2012 Ibid, One Planet Solution Pvt. Ltd., Smart Pani

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B O O K

R E L E A S E

ARCHITECTURE OF THE NEWARS I In 1962 Niels Gutschow first visited Nepal during a trekking expedition. In 1970, after graduating architecture, he returned to the country with his team to renovate the Pujahari Math, Bhaktapur, as a wedding gift to the then crown prince Birendra Bir Bikram Shah Dev. Today, 40 years later, Dr. Niels Gutschow presents a tribute to the heritage of this country, which has been a second home to him, in the form of his three volume book ‘Architecture of the Newars: A History of Building Typologies and Details in Nepal’.

This book presents a complete history of the architecture of Kathmandu valley and its neighbors over a period of 1500 years. The three volumes of

the book include, Volume I - The Early Period, from 200 A.D. to 1350 A.D. showcasing the architectural development before the Malla times; Volume II - The Malla Period from 1350 A.D. to 1769 A.D. and; Volume III - The Modern Period from 1769 A.D. until present.

the process of documentation for the book, which includes making hand-drawn as well as digital measured drawings, exemplifying the beliefs of Dr. Niels that creating and publishing records is a way of preserving history and architecture.

‘Architecture of the Newars’ documents the research done by Dr. Niels and his team over the last 40 years. The book includes documents in the form of photographs and drawings, both hand-drawn and digital. A total of 862 photos and 939 drawings are published in the book, depicting the architecture of Kathmandu and its neighbors.

The book identifies and defines the typology of the buildings and their different parts and elements.

‘Architecture of the Newars’ was first published by Serindia Publications Inc., Chicago, Illinois in 2011, and printed at Vögeli AG, Langnau, Switzerland. The book was available at Vajra Book Shop, Jyatha, Kathmandu, in limited volumes. Although the initial volumes of the book are now sold out, readers may still purchase the book from Serindia Gallery, Bangkok. The listed price of the book is US $ 450, with a further shipping charge of US $ 25 in the United States and US $ 50 in Asia, which can be ordered from Vajra Book Shop, either at the outlet or online at www.vajrabookshop.com. The equivalent cost, inclusive of shipping charge, in Nepal is NRs. 38,000/-. 

The first part of the book includes five sections, beginning with a section titled ‘About the waning skills of measured drawings’. In this section he writes “The trembling line of the free hand suggests a sense of life, while the straight line seems to be dead”. This note describing spacesnepal.com

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Rustic radiance Text-Ar. Shristi Shrestha

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A

A circular black and red signage opposite St. Mary’s School in Jhamsikhel directs you to a narrow lane leading to one of the best continental cuisine places in town- Grill me. Previously a residential building, the restaurant now hosts outdoor and indoor seating areas with an open bar, and a private lounge.

Owners Ninesh Tiwari and Anudan Rana, and interior designer Rishi Shroff, deserve applause for converting it into such a trendy eatery.

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“We didn’t want anything too prim and proper” says Mr. Rana, so they have opted for a rustic look. One can feel the amount of work that has been put in to retain its raw simplicity - and yet maintain interesting detailing. Stone, wood, and iron, are the three basic elements used to create a rustic ambiance, and the entire place is united with a ‘hide and seek’ of circles.

Sculptures by Meena Kayastha, called ‘Lyrics from the Junkyard’, made of discarded materials, adorn the premises. They blend well with the rustic ambiance of the place.

The main entrance, with parking to the right, leads up to the outdoor eating area and the lounge and bar. A stonewall barrier cuts off visual connection from the road, providing diners with privacy. The first thing that catches the eye is the open bar. This in fact was the only requirement of the clients. Looking the way it does now, it’s hard to believe that this was once a garage! The side and the front walls of the garage have been removed giving the bar a breezy feel. Walls have been left bare, staying true to the raw theme, and blue neon lights decorate the walls.

Here, one can’t help but notice the circles. A signature element of the design, compositions of circles have

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been used on the walls, bar table, behind the liquor stand, and as a cut off in the angle beams.

The luminosity of the lights behind these circles adds a different dimension to the bar. Another thing that one can’t help notice is the use of wood.

Though new, the wooden tables and bar stools have been designed to look old, worn out, and put back together.

The outdoor spaces tempt the guests even in the winter months with its stone fireplaces. In summer, these fireplaces are decked with stones and candles. A lounge with blue cushions is right at the entrance, followed by wooden sitting areas. A junkyard sculpture, ‘Lyrics of the Last Era’ is displayed next to the sitting. Pendent lights hanging from the ceiling, along with the radiance of blue lights from behind the walls and beneath the sitting areas, give the place a magical feel during the evening.

Two doors open up into the indoor eating area and two sculptures are displayed on the doorway.

The plaster of the existing building was chipped off for a rugged look and embellished with circles.

Tables are arranged on either side of the walls with a gleams of light from behind decorative

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wooden beams are used in the false ceiling. A kitchen, cold kitchen, and a washroom co-exist on the ground floor, next to the indoor sitting. A separate circulation area for the staff is provided along with a stairway that leads to the offices and lounge.

A metal stairway decorated with circular cut offs leads to a private lounge that can serve 15 people.

Accompanied by a balcony sitting area, the lounge has its own restroom and service entrance and hosts karaoke. The walls here are particularly interesting.

Intended to be different from the lower floor, the paint on the wall seems like chipping off mud paint. This adds to the worn out look of the space. The orange cushions complement the mud-brown walls and the radiance of lights from behind the sitting areas and the false wooden beams gives an electric feel to the space.

The balcony seating area adjacent to the lounge has a captivating ceiling which Mr. Shroff refers to as “stars on the ceiling”. Designed as if the pieces were sewed back together, light shining through random circles on the ceiling gives an illusion of distant stars.

One can say that this restaurant is not just one of the many places with a popular “rustic” themes. Ingenious use of metal, wood and light has made the place different from others. Especially during evenings, the blue lights from least expected places renders a vivacious feel. ‘Grill me’ is successful in distinguishing itself from other restaurants around town and it certainly delivers a one of its kind eating experience. 

H E R I T A G E

for

RENOVATION

adaptive reuse Text: Ar. Swati Pujari

The Story of Swotha

H E R I E T A G E

The value of preservation and the preservation of values go hand in hand. A one year series on change and preservation begins with renovation of two residential buildings at Swotha, Patan.

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In a country fascinated by the new, why would anyone want to preserve something old? This is a question conservationists in our country have been asking for years.

A house is a symbol of status, building a new house is a symbol of achievement. It is the dream of every Nepali to have a house in Kathmandu. It is the dream of every homeowner in Kathmandu to rebuild a new structure, which is by far bigger and hence better than the other buildings in their neighbourhood. Haven’t we all heard the expression, “I couldn’t do much in life, but I’ve built a new house” or, “I’ve added a floor to the house built by my parents”, thus emphasizing their achievement as people who have built something new?

So in effect, people who come into money end up showcasing their wealth and status by building something new. It is not a new trend; remember how the kings of the past built new monuments, palaces and temples to symbolize their status? And remember how even then it was a competition between neighbouring kingdoms? After all that is how the palace complexes of Kathmandu, Patan and Bhaktapur were built. So why not let the same trend continue with the rest of the population and let them compete with their neighbours in respect to their buildings, and thus their statuses?

So in a scenario like this, what are the values that we strive to preserve? Why do we showcase our tradition and traditional values to the world, but fail to preserve them in our own lives? Why is it that tourists pay a certain fee to enter our monument zones, temples, and palaces, but the private buildings adjacent to these are demolished to make way for newer and apparently ‘better’ construction?

H E R I T A G E

Heritage conservation and preservation of monuments have always been critical issues; everyone talks about the values of these buildings or artefacts. But the question is, what are these values? According to our law, anything more than a hundred years old is given the status of a monument and thus should be preserved, but is that the only definition of a monument? Can a building not be important due to its uniqueness or its aesthetic appeal? Can a building designed by a famous architect, or built using a rare technology not be a monument? Also, do these values remain the same?

Can values, like people and societies, change with time? We all understand that change is inevitable, so is it not possible that the reason old buildings are not preserved is because the values of society have changed over time, and what was essential then has become, perhaps, a burden now?

So what are the ‘values’ of today and shouldn’t conservationists try to understand these new social values and guide conservation trends accordingly, instead of stating that because it is a monument it has to be preserved? A large population in Kathmandu is educated and aware of our cultural wealth and importance, but has that awareness been enough? Is it the lack of awareness or interest amongst house owners that is causing the trend of demolishing old private buildings? spacesnepal.com

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Back façade of the  building showcasing the mud plaster which will be preserved

It is perhaps a mixture of both. Many homeowners are not aware about how to preserve their buildings, and find erecting a new building a much simpler and hassle free process. But it is also true that many homeowners suffer from a lack of interest. They find building a new building more profitable both in terms of investment as well as returns.

Yet there are some buildings and spaces that are, in recent times, renovated in an avant-garde fashion, with ideas and inspirations that address the issues of conservation as well as current values. This series on heritage and conservation features is dedicated to find such projects where old buildings are renovated, and new profitable activities are created for them, thus meeting the needs of preservation as well as profit. This series will continue for one year and will feature multiple projects where conservation has lead to the adaptive reuse of spaces, and will also study the issues and problems faced by the owners and conservationists during the process. The series will culminate with an analysis of the issues related to modern conservation, addressing conservation principals as well as the changed social values.

The projects featured in this series are a mixture of conservation and entrepreneurship, and the parties

involved have tried to find a balance between the two, without sacrificing the ideals of either. Yet in some cases, the objectives of these projects may not strictly follow the text book definition of either conservation or entrepreneurship, or both. But these projects are an attempt at fulfilling the current needs of society, and not necessarily the ideas of imported or borrowed theories - thus they demand flexibility in part from all their stakeholders. The realization of these projects is not by an objective guidance or text book theory, but by subjective involvement between the owners, conservationists, stakeholders and most importantly, the neighbouring society.

This journey begins with a feature of the ongoing renovation of two private houses at Swotha, Patan, adjacent to ‘Traditional Homes-Swotha’ (previously featured in Jan-Feb 2012 issue of SPACES). The renovation, started in November 2011, is carried out as a process by which the external facade of the buildings was conserved but the cement plaster over the front outer wall was removed. This is done in order to showcase the brick facade, indigenous to the mud based architecture of the buildings. The mud plaster over the back wall of the building is preserved as is and the structure of all the outer walls, including the doors and windows. The March - April 2012

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The old and the new, a section of new timber added to an old tham (traditional pillar)

internal walls however are removed to make way for a new partition to accommodate new activities. These new walls are constructed with cement mortar, to decrease the wall sections, but will be plastered using mud based plaster, therefore creating a traditional allure.

According to Dr. Rohit Ranjitkar, who is heading this renovation, the two buildings, previously owned by a single family, showcases the input of multiple generations. The proportions of the ground floors suggest that this section of the building was built prior to the 1934 earthquake, but the proportions and details on the top floors of one section suggest the development of a much later period. The roof of the other section has been converted to a flat roof - as opposed to the traditional slope - and one of the outer walls was plastered using cement. Yet the inner walls as well as the outer wall in the back section are finished in mud plaster. Thus the building has been constantly adapted as per the needs of the family.

The current intervention in the buildings will convert it to a guest house, which operationally will merge with the adjacent Traditional Homes - Swotha. Although the three buildings will act as one entity in its function, the ownership spacesnepal.com

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of these two buildings will be different from that of the building currently housing Traditional Homes. Combined, the three buildings will have a common courtyard (achieved by demolishing the boundary walls) and common facilities, thus reducing the overhead and operation cost, but acting as a larger unit and serving a larger number of clients.

The facility thus created will be converted into a boutique apartment hotel that although commercial, will maintain the prestige of being a privately owned heritage property.

The east wing of the hotel, currently under renovation, will accommodate three rooms per floor with a suite at the top floor which will have access to an added private balcony, amongst other facilities. This section will maintain its flat roof and necessary waterproofing will be done using modern materials, although not visibly, and the space will accommodate a water tank, solar water heaters etc. This section is approximately 450 square meters in area, and the expected cost of this renovation/ conversion is close to NRs. 9 million, which includes renovation, finishing, furniture and all other required services. The commercialization of these facilities will be encouraged but controlled, keeping in mind the targeted clients. In this way these three privately owned buildings will be preserved with the help of their

H E R I E T A G E

A section of the front faรงade of the building where the cement plaster was removed

owners, who are more interested in adapting their buildings according to their needs rather than demolishing and rebuilding.

Thus the economic motive of the entrepreneurs, as well as the preservation motive of conservationists and of society is fulfilled.

This complex is located near Patan Durbar Square, on the way to Bangalamukhi, at a historic location called Swotha. The society at this area has been able to maintain its traditional fabric to a large extent, although not entirely. Initiatives like these are appropriate and should be encouraged to preserve the traditional aesthetics of these areas, without sacrificing the current economic needs of the owners and other stakeholders. The project is expected to be complete in early November 2012.

But this project is not without its share of troubles. The issue of whether the government views this as a renovation, remodelling, maintenance or rebuilding project is unclear. The legal permits required for each of these endeavours are vague, thus neither the conservationists involved, nor the government officials, are certain about what kind of permits are to be issued here. It is no wonder that many homeowners find it easier to demolish an old building and build a new one, since the official procedure for such endeavours are easy to understand - unlike the procedure for conservation or adaptive reuse projects.

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The front façade of the buildings where the cement plaster was removed and a balcony at the top floor was added.

Traditional Homes-Swotha, the existing guest house facility, with the buildings under renovation in the backdrop. All these facilities will merge together operationally to create a boutique heritage hotel

As mentioned earlier, change is inevitable. Projects like these where old buildings are neither used in old ways nor demolished and reconstructed into new structures but adapted according to present need are examples of change, in both the social values as well as the society’s approach towards these buildings. This change needs to be accommodated not only in society but also in the legal processes, so that these projects are not only made hassle free and easily accessible, but are actually encouraged by all parties involved, be it the government, society, professionals of conservation or homeowners. ď Ž spacesnepal.com

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PRESS RELEASE

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Graaha or Makar Crocodiles in Nepali Art

Text: Madan Chitrakar

Man’s fascination to draw animals is as old as man’s history. It begins with when men still dwelt in caves: and animals were drawn or created in cave ceilings in Altamira or Lascaux. May be in those days they had a reason for drawing bulls for their own survival – the animals as a rich source of food.

So are in the civilizations of Mohenjo-Daro or Harappa where bulls or cows – useful for multiple reasons, made strong appearances in clay seals. So are the horses or other wild animals in ancient Egyptian and Mesopotamian civilizations.

But what one finds astonishing is the imagination of creatures beyond the forms found in reality. As the available evidences go, an earliest example is found in Assyrian Art – a winged-bull created in some 700 B.C. circa. An imagination of a four footed mammal with wings at that early stage of history is unthinkable and perplexing! Since then presence of mythical beings - birds or animals in art has always been common in many of the ancient or medieval art. Flying dragons, unicorns or phoenix or monsters or genies are some common examples and it continued to remain regular features in the many of the art and architectures in both East and West. But more often than not, it had always been inspired or derived from a native animal or a bird found around the place where it was been created. That is to say artists usually create forms with which they are reasonably familiar.

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NEPALI ART: A PROLIFIC PRESENCE OF ‘GRAAHA OR MAKARS’ In this context, Nepali art tradition too has remained very interesting.

It has its rich share of mythical creatures. The examples are aplenty and most of them are still very well in public view – right up to this moment as medieval architectural contents. Some famous examples include– a hybrid man- an upper half of a man with lower body of a serpent –described as ‘Nagaraja’the king of serpents or a half-bird half man described as ‘Garuda’- the legendary mount of Lord Vishnu.

But they remain only in selected places.

But a strange and an amazing creature which has made unbelievably an omni - presence in various contexts of Nepali art and architecture- other than the mythical lions, is an image of a hybrid creature – a crocodile in the upper half and the body of a bird- replete with two bird-like legs and decorative wings. As the important upper half –the head is of a crocodile, it primarily retains the character of the aquatic animal.

Described as ‘Graaha orMakar or Hiti-Manga’ in local Newari dialect, since the time immemorial, it has come down in the Nepali religious and art tradition as a giver of holy water – so essentially needed in every sacred act of worship. As a result, ‘Makar’ has made strong appearances whenever or wherever there is a context of natural flow of holy waters - that is in water spouts - manifested in stone gargoyle sculptures. In addition, it has a wide spread and more regular presence as an integral part of medieval architectural embellishment – as wood carving or as metal repousse works. Not to mention the

presence of crocodile ‘the Makar’ in the painting tradition as well in various roles and manifestations.

An attempt is made here to make a brief observation on this interesting phenomenon.

IN PAINTING Let’s begin with the tradition of painting wherever crocodile are seen or depicted in the stated weird form of ‘Graaha or Makar’- with reference to few available examples.

Its manifestation in Nepali painting is astonishingly diverse and is amazing.

It has continued to appear since the medieval times to right up to this moment in various manifestations.

One of the most prolific and regular appearances are when it is seen in two sides of the outer rectangular extensions in all the four sides of a Buddhist Mandalas – a geometric diagram designed to assist in an act of meditation - essentially included as all important guardian deities.

Two evidences cited here span some four hundred years from one another. Yet they serve the same purpose and are found almost in similar positions. The ‘Mandala of Sambhara’ – a Paubha dating 16th century circa – remains one of the earliest examples when a ‘Makar’ is seen in a Nepali painting. The next evidence cited here is a Mandala painting dated 1021 Nepal Era corresponding to late 19th century circa has too has a very close continuity in drawing the shape and its placement. The visible difference between the two can and is noted only in the artists’ changing taste for more details as a result of growing external influences creeping in the then local trend. Yet more amazing is the inclusion of Makar as part of decorative elements in the paintings painted for the Tibetan clientele as late as 18th century circa. Unlike

the paintings meant for local clients, an example cited here has two Tibetan holy men – monks of the red cap sect (Nying Ma-Pa) as the central figures in the Paubha. Here, two diminutive Makars are found flanking outside the halos of the holy men. Such presentations are hardly found repeated in the works painted for local devotees. Interestingly, here the creatures are painted green than the usual red in other Mandalas.

An image of a powerful head of a Makar is also found included along with the heads of other strong and powerful animals like elephant or lions in the medieval paintings whenever there was a need to attribute or demonstrate a display of an extra energy to a particular deity. Inclusion of crocodile as one of the extra heads in the depiction of multi- headed- all powerful Hindu or Shakta deity like ‘Guheswori or Guhyakali is one good example.

It leads us to believe that in the medieval times, the notion of crocodile as a source of great energy was apparently very strong.

So in the image we’ve included here the goddess Guheswori, in addition to many other heads, also has a head of a Makar. It visually describes the deity also possesses the aquatic power and strength like that of a crocodile. Similarly, in the narrative scrolls from the Nepali medieval art, crocodile are found depicted as normal aquatic creature – residing in a pool and has an encounter with a cursed elephant.

As illustrations, Makars are painted based in the narratives of Hindu mythological story of ‘Gajendramoksya’- the salvation of the cursed elephant. The example given here is a folio from a prayer book used

by Gen. Ranbir Singh Thapa- the youngest brother of Gen. Bhimsen Thapa in early 19th century circa.

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IN SCULPTURAL TRADITION: AN INTEGRAL ELEMENT More surprising than in the painting, Nepali medieval architecture is obsessively replete with the image of ‘Graaha or Makar.’ In the medieval tradition, an inclusion of this mythical creature had remained so prolific that it had virtually become an integral part of the architectural tradition. The most strong and visible example is the globally acclaimed tradition of stone water spout. All the popular stone water spouts found in the Kathmandu Valley narrate the extent of wide spread popularity of the tradition nurtured since near two thousand years.

And till today it continues to remain all visible examples of its past glory. Virtually with no exception, all the stone spouts have the head of the carved head of Makar or a crocodile gargoyle – releasing water from its mouth. The most important feature of this unique tradition is its unmistakable continuity in its form and the style of presentation – since the earliest to the late nineteenth century after which the tradition went in decline. The front part has always a head of the mythical creature whereas the body is carved has floral motifs – derived mostly from the similar tradition found in the northern Gangetic plains. Stylistically, there may remain a little variation in the minor details as a result of local improvisations or the passage of time. But in essence, beginning from the Licchavi times to late Malla period, the tradition of stone spouts remained intact, vibrant and alive.

More astonishing is how the Makar has a place in metal and wood works of medieval architecture. An interesting example is the tradition of placing a tympanum in each and every important door way – be it a place of worship – irrespective of Buddhist or Hindu shrine or a main spacesnepal.com

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entrance of a palace. Also in addition, whenever there is a need to provide an arch-like niche to a deity, the basic paraphernalia remains the same.

The tradition has a rigid standard that the contents of such decorative arch should invariably remains same and unchanged. The normal contents include other than the central figures of Chhepu- or the ‘Kirti- mukha’the all powerful protective monster, the sides must by flanked or protected by the two mythical crocodiles looking in two opposite directions. So a careful observer would note that from all important palace entrance like the Golden gate of Bhaktapur Durbar to Patan Durbar or to every entrance of a Buddhist Vihar, the composition and the elements remain unaltered except in some rare cases.

In addition, even in a stone Buddhist stupa wherever there is a niche created for the deity is created the upper arch is always embellished with the same contents- that is both the ends flanked by ‘Graaha or Makar or Hiti-manga’.

Origins: a Sub-continental Culture A popular belief held by many here that many of the contents or the motifs mentioned above including the ‘Makar’ have its origins here. To think otherwise it may not be easily acceptable. And it is partly true. But it is also true that in the hoary past many of these weird motifs forms had had interesting origins elsewhere but had passed through many gradual phases of transformation before it came to be established as a very important and integral part of Nepali Art.

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The entry of a hybrid-crocodile as we find in the local art tradition as ‘Makar’ is one of such glaring examples. First and foremost is a fact that the art tradition of Nepal has always remained concentrated in the Valley of Kathmandu and the Valley has never remained a natural habitat for this aquatic anima. So there is very likelihood of local artists were familiar or got inspired by this weird animal to enter into their imagination.

Going by an early example, depiction of crocodile in a stone water spout is found in Handigaon as early as early Licchavi period of 4th or 5th AD circa. It means by the time the artists had well knew the need to depict form of crocodile or ‘Makar’ in a stone spout – meant for the flow of holy water. And here it becomes natural to conjure a fact that the tradition made the entry along with the art-forms from the Gangetic plains in the South where the rulers from both the sides had had close blood relations.

And it is widely believed the tradition to sculpt a decorative head of crocodile or a ‘Graaha’ had a beginning with a religious belief to provide a lofty or sacred status to a natural flow of water- specifically meant to lustrate the deities every morning during the Vedic times.

Also apparently to the early men, a presence of an image of a crocodile may have provided them a notion of the animal as a perennial source of holy water. And as time passed by, the tradition gained a widespread acceptance not only throughout the Indian sub- continent including

the Valley of Kathmandu but also spread far and wide in South Eastern civilization of Java, Sumatra as well.

And in other word, this amazing phenomenon although so popular and has remained so integral part of our visual culture, is a result and an extension of a wider Sub- continental heritage.

Madan Chitrakar April 17, 2012 madanc@ntc.net.np

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