SPACES Nepal MARCH 2017

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Vol 12 No. 08 March 2017

A R T

3rd International Nepal Buildcon and Nepal Wood Expo 2017

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

Vastu Shastra Guide to Coloring our Homes

End of a style

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I N T E R I O R

Nepal Earthquake and Reconstruction

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Contents Volume 12 NO. 10 | March

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36 ART End of a style

14 Review

58 Interior

42 Interior

3rd International Nepal Buildcon and Nepal Wood Expo 2017

Felt Wall Panels

Vastu Shastra Guide to Coloring our Homes

52 Report

74 From the Shelf

64 Artscape

Nepal Earthquake and Reconstruction

The Elements of Style

Trees of Nepal

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Volume 12 NO. 10 | March

Contributors

CEO

Ashesh Rajbansh Editor-in-Chief

Ar. Sarosh Pradhan

Sukrasagar

Director- Products and Materials

Ananta R. Baidya

Ar. Pravita Shrestha Contributing Art Editor

Madan Chitrakar Kasthamandap Art Studio Junior Editor

Shreya Amatya Sristi Pradhan Advisor

Ar. Pawan Kumar Shrestha

Preksha Baid

Kritika Rana

Asha Dangol

Subscription and Administrative Officer

Riki Shrestha Contributing Editor

President - Society of Nepalese Architects Ar. Jinisha Jain (Delhi) Ar. Chetan Raj Shrestha (Sikkim) Barun Roy (Darjeeling Hills) Photographers

Sukrasagar, is an archaeologist and a specialist in Nepali culture and history. He, co-authored Street Shrines of Kirtipur: As long as the Sun and Moon Endure (2014), with Mehrdad Shokoohy and Natalie H Shokoohy. The book focuses on the shrines’ chronology from the earliest specimens to the end of the twentieth century, the reasons for their erection, their typology and their iconography with the aim of providing a broad understanding of such features in a wider perspective for all Newar settlements. He is also the co-author of Jarunhiti (2013).

Pradip Ratna Tuladhar Intl. Correspondent

Bansri Panday

Ananta R. Baidya, PE is a licensed California professional engineer currently practising in San Diego.

He has taught ‘Engieering Codes’ at the Kathmandu University as part of its visiting faculty.

Director- Operation & Public Relation

Anu Rajbansh SR. Business Development Officer

Debbie Rana Dangol Legal Advisor

Yogendra Bhattarai

Preksha Baid, is founder and director of Y-walls Design, a space design studio based in New Delhi.

Founded in 2009, the studio came out of her passion and love for spaces, culture, tradition and craft.

Baid incorporates new designs using interesting and exciting materials, and with techniques that may appear to be unconventional to many. That is also what sets her apart and makes her one of the most unique in the kind of work she does.

Financial Advisor

Kiran Rajbhandary

Published by

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

Phone: 5181125, 5180132, info@spacesnepal.com Design/Layout & Processed at DigiScan Pre-press

Printed at Wordscape The Printer, 9851037750

Kritika Rana is a graduate from IOE Pulchowk Campus. She is currently practicing architecture at Prabal Thapa Architects. She is keen on research- based writings about architecture and the sensation of spaces. She believes in understanding the essence of space and its influence in human behavior. She is also interested in energy efficient and sustainable design in contemporary scenarios.

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

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

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

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Editorial The construction industry felt fresh breadth of energy as the third edition of ‘Nepal Buildcon International Expo 2017’ and ‘Nepal Wood International Expo 2017’ was completed successfully showcasing modern efficiency from more than 100 construction related companies from Nepal, India, Dubai, Germany, China, UK, Turkey and Vietnam.

Footfalls from builders, contractors, engineers on various aspects of building construction and architects increased the possibility of raising the quality standard and speed up the construction and reconstruction processes that the country needs along with its development trail.

Nepal is very well known for its art in various forms and any enthusiastic tourist will be surprised to see so many of them get confused thinking where to start from. Some artists continued legacy generation to generation and some were curious enough to define their personal style that gave a new dimension. Gyankar Vajracharya of Bhaktapur who authored a distinctive style in Nepalese Art of 21st century with much charming beauty. He had an extra hobby of collecting iconological details of Ganesh figures and collected more than 250. Remaining always inquisitive and giving untiring effort are the best known distinctiveness of Nepalese artists. Many authors of the works of arts remained unknown due to the lack of written history about the artists and not signing the authorship on the paintings and icons they produced. So he also remained silent and unnoticed, he passed away in February 2017. It was an end of ‘New’ style.

Earthquakes are natural and unpredictable disasters causing damages to existing physical infrastructures. The country experienced the devastating force of nature in 2015. Such tragic events forces societies to confront issues of reconstruction of physical infrastructures. Prioritizing rational management of such events by socially responsible authorities, lives will be saved despite the destruction of infrastructures. We still have to see the damaged heritage monuments alive again and the communities and settlements live their normal life. The reinstalling of golden statue of King Yoganarendra Malla in its original place and position sitting on top of a stone pillar standing in front of Degutaleju Temple in Patan Darbar Square encourages us for being positive .

Designing a ‘home’ in accordance with Vastu integrates the placement of specific rooms as per the orientation of the Sun confirming the favorable planetary alignments as well. Additionally, the harmony is achieved as a result of a pleasing ow of colors, patterns and textures throughout the space. The ancient scholars emphasized the fact that colors can be used to set an atmosphere, inspire our behavior and also have a major impact on our well-being. The selection of material and color to develop interesting wall solutions lead to finding of striking material and distinctive style that is normally not thought of. The solution has excellent sound absorbing quality and colorful surface explorations. Life is still vibrant!

Ashesh Rajbansh / CEO

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Review

3rd International Nepal Buildcon and Nepal Wood Expo 2017

T

he third edition of ‘Nepal Buildcon International Expo 2017’ and ‘Nepal Wood International Expo 2017’ kicked off at the exhibition hall in Bhrikuti Mandap on February 9. The three day long expo is jointly organised by Media Space Solutions (MSS), Nepal and Futurex Trade Fair and Events, India to provide platform for both national and international construction material manufacturers and domestic traders to promote their products and services.

The event was inaugurated by the Honorary Ministry of Physical Infrastructure and Transport, Mr. Ramesh Lekhak. Er. Hari Ram Shrestha, Ar. Rajesh Thapa, Ar. Suman Nanda Vaidya, Mr Surendra

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Sharda, Mr. Tara Bahadur Kunwar, the presidents of NEA, SCAEF, SONA, FNFFEA and Federation of Heavy Equipment respectively were the distinguished guests.

More than 100 construction related companies from Nepal, India, Dubai, Germany, China, UK, Turkey and Vietnam among others participated in the expo. As many as 110 stalls were housed at the exhibition, where products like laminates, plywood and veneers, woodworking machinery plants and accessories, machines and equipment for special product groups, machines and technical equipment for assemble, packaging, fittings and accessories, edge

banding machines among others were showcased. Moreover, a wide continuum of products and services necessary for the construction industry including interiors, construction material, engineering and architecture were stationed at the expo.The show availed its participants and visitors an opportunity to exhibit, exchange and invest.

Some of the old companies as well as new companies both national and international had participated in the exhibition. Brands such as Hi macs, Milano, Jowat, Siseu were introduced for the first time in Nepal. The number of footfall was over 60,000 over three days.

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The visitors for the expo were mainly comprised of Traders, Dealers, Contractors, Builders, Architects, Engineers, Interior Designers, Students & Faculties from Engineering and Architectural background, representatives of various development agencies and general public.

As per the feedback collected from the exhibitors, the total expected turnover over the next six months would be over 150 crore NPR.

Experts Views

Endorsing creativity Er. Hare Ram Shrestha - President of NEA

Nepal Engineers’ Association (NEA) is one of the supporters of 3rd Nepal Buildcon International Expo. We conversed with Er. Hare Ram Shrestha, president

of

NEA,

regarding

their

support,

ideas for further development, and the role in exhibition in our current building scenario.

1. What was different about 3rd Nepal Buildcon International Expo? What were your impressions of it?

This exhibition is a good attempt to bridge our professionals with the state of the art technology found in our sector. Especially furnishing and construction. The stalls I visited were really impressive. I saw good choices and options for building and construction. I was sort of surprised to find that many impressive stalls were hosting products that were manufactured in Nepal. It made me very proud and I’m hopeful for the future of our industry.

2. How can this platform be further improved so that it yields better results for everyone involved?

With the earthquakes that damaged thousands and thousands of houses and aftershocks that have still not left us, we should still be looking for a way to get past it. We could do this by promoting and creating products that will help the reconstruction process. The exhibition featured many state of the

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art products, which I laud. But not all can afford them. We need to feature products that would be reasonable with everyone’s economic condition so that they will have options. We need to have financially sound options for people from both rural and urban areas and all from various economic backgrounds. And above all, focus should be on products that help to curb the threat of damage due to earthquake– construction wise and price wise.

3. What are the challenges of organizing exhibitions like this?

We didn’t really have to face extraordinary challenges. We helped the organizing committee with our presence and the promise of our 20,000 engineer members. It wasn’t a financial investment. It was more like generating positive vibe and supporting the committee. But I do think that we needed more time for coordination and exhibition. An exhibitor has to invest around Rs. 700,000 to Rs 1,000,000 to make the stall for three days. That’s a lot of money for a very short amount of time. Internationally, when exhibitions like these are organized, they go on for four or five days. So maybe we can think of incorporating that practice here as well. That will ensure that the investment from the exhibitor is justified by the number of visitors that will undoubtedly add with the days. But that is just my impression.

4. What does NEA gain from supporting events like these?

As an engineers’ association, our job is to build individual engineer’s capacity. But we also have to support any event that is related with our field, i.e. construction. We

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are always supporting such events and at other times, organize them ourselves too. We want to create a positive effect and express our support in the field of development and construction. These happenings will always boost morale of the professionals here and inspire young people to be creative in our problem solving. It is our duty to endorse and support it.

5. What are your hopes for the next year’s exhibition?

What I understand from the talk with the organizing committee is that the number of exhibitors and visitors are increasing every year. Maybe in the coming years, it will grow in a larger scale. But what I’m mostly hopeful about is that when the traders,

manufacturers, and retailers see the new products and goods exhibited in events like these, they will have an idea of what is happening internationally.

With any luck, people here will think of manufacturing these new things and there will be a birth of a new industry or industries.

I’m also hopeful that someone will think up of a way to produce cost effective materials for the earthquake victims.

The goal is for them to create materials that the victims can buy cheaply but still be profitable for the manufacturers.

This is an entrepreneurship idea that I hope someone can materialize. It will be revolutionary and very rewarding for our people. n

A chance to do more Ar. Suman Nanda Baidya - President of SONA

1. What was different about 3rd Nepal International Buildcon from the last two?

It is a lot similar to the exhibitions in ’15 and ’16. I found there were more stalls for finishing materials. There were many displays for ply products and heavy equipment was a new addition. But I felt that they were all high-five products. I thought they could have added products fit for middle class people, or even more fitting for earthquake victims. If they bring in more economical or light

materials, then it could have been beneficial.

2. How can this platform be further improved so that it yields better results for everyone involved?

It is already a good platform for the businesses in this industry. Suppliers and contractors get accessibility to different companies that would have normally been difficult. But maybe there’s a lot of display and not enough of knowledge sharing. For

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that, a talk program or an interaction program would have improved things tenfold. People could have been involved in debates which would have helped extract new information that businesses can eventually help them with. Besides that, I thought they should have featured products that would have been suitable for our local climatic conditions. I’m talking about products that would suit our geographical conditions and socioeconomic situations.

3. What are the challenges of being a part of exhibitions like this?

The consumers will get a lot of ideas from the exhibitions. But as far as the challenges go, I suppose time will tell.

4. What does organization like SONA gain from supporting events like these?

This is an opportunity for us to create good relationship with the clients and the consumers as well. We met many vendors. It was also a chance for them to know more about us.

So in the future, if there are related programs, people will invite us and our architects because I saw many potential business partners take our contacts. It is a two-way relationship because if they want to expose their products to us then they can do it through us and we also get clients.

SONA’s members also get a chance to be introduced to the new and innovative ideas which might inspire

Discussions for better understanding Ar. Rajesh Thapa - President of SCAEF

Society of Consulting Architects’ and Engineers’ Firm (SCAEF) is one of the supporters of 3rd Nepal Buildcon International Expo 2017. We talked to Ar. Rajesh Thapa, president of SCAEF regarding the exhibition, and the organization’s role in it.

1. What were your impressions of the exhibition?

I thought it was good. It was very nice to see new products. Of course after earthquake in 2015, we have been concentrating on reconstruction.

There were additional products there for finishing, which I think is good. I personally find products from Skylight

interesting. I had known about them before but seeing the goods from France was better. There was a stall for pipes for extreme temperature.

2. How can this platform be further improved so that it yields better results for everyone involved?

them to create new things of their own.

5. What are your hopes for the next year’s exhibition?

I think that exhibitions like this contribute a lot during the process of development. Construction is a neverdying industry. It always requires skilled manpower. Events like these remind these skilled personnel that they are needed and inspire them to do better. On a personal level, I hope that the exhibition features items that are within the budget of middle class as well. Featuring products that are financially feasible will increase the popularity of such products. n

I think the exhibition could have been better. Maybe they could add a bit more of electrical products. They might have left it out or maybe I missed? Also, I think that if they had arranged stalls relating to one field in groups instead of having it scattered around, then it would have been fruitful. People of certain professions might want to be focused on one thing and having similar stalls would have been really helpful. Mixing it all, in my opinion is not the best idea.

I was a part of a different exhibition last year where we had a counter to take questions from the visitors regarding reconstruction and building and other queries. Young engineers and architects took in the questions which were appreciated by the people. I think Buildcon exhibition can lend the idea of conducting an awareness talk program during the event. If they can answer questions en masse instead of individual

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inquiries, it will save time and there will be better communication and information flow.

3. What are the challenges of being a part of the exhibition?

We were here to support Buildcon.

But I didn’t see organizations like us have any definite roles in it.

Our logos were there, we sat on the dais during the inauguration, and that’s it. We didn’t have a role beyond that. The organizers could have made better use of professionals like us at their service.

4. What was the different about this edition?

There was definitely variety, hence a good mix of products. One of the good things of organizing such exhibitions is that as we go on, we improve. On the other hand, it helps Nepali manufacturers immensely because we have to put a standard which is always good. It compels quality. If you’re selling the same products in the same place and time as your competitors, then you have to be as good as them. So we should attempt to match those levels.

Consumers now look for quality. They don’t want just a bulb hanging from the ceiling. They want a good bulb and a better lampshade. And that is where quality and presentation come.

Stepping into modernity Mr. Surendra Sharda - President of FENEFFEA

3rd Nepal Wood International Expo 2017 took place simultaneously with the Buildcon Expo. Federation of Nepalese Furniture and Furnishing Entrepreneur’s Association (FENEFFEA) was one of the supporters of the Wood Expo. We talked to Surendra Sharda, President of FENEFFEA, about the exhibition and what it means for everyone associated with furniture.

1.What are your expectations from the 3rd Nepal Wood International Expo?

It’s crucial for exhibitions like this to happen. The manufacturers, retailers, and customers will know about the products in the market. Especially the furniture related manufacturing

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products. Most of the professionals still resort to the traditional method of working and carving for the furniture.

A lot of plywood companies had been featured here. I think it is beneficial for us, it felt like they were giving out ample information for other methods as well.

5. What does organization from SCAEF gain from supporting events like these?

This is a chance for the young professionals to have a firsthand experience. They can forge a connection with professionals of the country. Engineers and architects will learn faster.

6. What are your hopes for the next year’s exhibition?

I hope they feature products that are being used as every day products by people. Door handles, lights, switches, etc., for example.

I hope they also create a space for discussion on various topics that will inform and aware the public. n

2. How can this platform be further improved so that it yields better results for everyone involved?

Somehow, if they find a way to make it more informative for the manufacturers then it would be very beneficial for our field and the exhibition would mean more to us. This exhibition featured many companies and innovative ideas.

But my contention is that we still need to see more ideas here. For example, they can feature more techniques for wood working. It is something that I really think is important. They can include experts who can teach how to operate the machines. They can teach how to make the products, how to give perfect finishing touches, and how to improve the workmanship.

A lot of changes and developments are happening nowadays. It’s important for us to know what they are and how they work. We got to see some of it through

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the stalls from India. If the number continues, then it means that our manufacturers here won’t have to go out seeking them. In many ways, this will benefit mainly those who can’t go out of the country for information.

3. What are the challenges of organizing exhibitions like this?

Our involvement in the exhibition has been very beneficial. But we had a really short time to conduct and operate things from our side. If we had more time we could have invited a whole lot of people to the exhibition from other districts as well. There are many outside of this valley for whom this exhibition is an event of interest. If we are given a head start and informed about the exhibition with a huge time margin, then I can assure that many would be pleased.

So I’d like to request the organizers to inform us a bit early and not in the last-minute like this time.

4. What are your hopes for the next year’s exhibition?

I hope that we are pre-informed about the event so that we can circulate the information to everyone outside the valley and all over the country. Many of our participants and interested professionals need an early notice to leave their work and be a part of event like this.

5. Is it beneficial organizing exhibitions like this in Kathmandu?

Certainly. We can conduct exhibitions like this in large scale here. All the logistic details – like moving of objects, people are already in line and there’s an idea of how to do it. People have no problem of the exhibition being in Kathmandu, because they can have many other things accomplished in their time here. But the thing is they just need time to organize their personal schedule.

Use of quality product now, saves trouble in future Mr. Raj Bandu Rajbhandari - Executive- Project Sale, Ghorahi Cement Industry Sagarmatha cement is the product of Ghorahi Cement Industry which, according to Raj Bandhu Rajbhandari, is enjoying popularity in the west of Nepal. Seeking to expand their business in the valley and beyond, they have been involved in aggressive marketing, their participation in the Buildcon expo being one of the strategies. We talked to him regarding the results, the experiences, and the feedback that they have received during their time in the exhibition.

6. How is supporting this exhibition valuable for FENEFFEA? Wood is directly related to our type of business it’s the main raw material. So Nepal Wood exhibition is definitely valuable for our federation.

Our federation is also planning to do similar type of exhibition which will be beneficial to our member association and their members. From this exhibition, some of our members from valley benefited. They got more information from the displayed machinery and other accessories. It is a right place for inquiries, where you get in-depth knowledge which is documented. Because they exhibit new technology, those who are working in a more traditional method will or might seek machines to make their ends meet. In future we expect more such type of exhibits in its next edition. n

1. What was different about 3rd Nepal International Buildcon from the last two?

This year we felt that there were more visitors. The increased visitors in the third edition make us feel that the exhibition is doing really well.

2. Has your expectation from the previous two exhibitions come to life? What were your expectations from this expo?

Ghorahi Cement Industry’s market in the west is good. We considered that this would be a good time to expand our business here as well.

So our participation in the exhibition is a part of the promotional activities.

We’ve been caught up in it for quite

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some time now. With the earthquake reconstruction and various civil projects, we expect our hands to be full of one thing or the other until monsoon. This is something of what you can call peak season as well. So the visitors’ flow was also good.

3. How is the market like right now? What would you have wished the market (or consumers) would have been like?

Like mentioned earlier, we’re expanding our market. Either way, we’ve invested a lot in new technologies. We use latest worldclass technologies so that it will reduce the cost of production. If it takes less for electricity pole, if we make use of the x-ray machine, then we can guarantee consistency in quality. So I don’t know how much the consumers are aware about these things. If they are, then it’s good. If they aren’t, then it’s again our job to make sure that they know.

4. Is Nepali market challenging or idiosyncratic in its demands?

Not really. But the thing is, finding the quality of the cement is a challenge.

You can’t decide it with naked eyes.

You need to conduct tests to know the consistency. It’s also not easy to maintain a steady price of our products because the transportation via road or flight affects the cost.

5. An exhibition lets you peek into what your competitors are up to. What are your thought regarding that?

We’re more focused on spreading the message that if the consumers use quality product now, it will save them a lot of trouble in the future.

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6. Where do you think your products stand in the market right now?

Our company currently manufactures two products – Sagarmatha OPC cement and Sagarmatha PPC cement. We believe that given the project location of our clients and their knowledge about our product, we deliver quality in a competitive price. We’re proud of what we are and I think the customers are happy as well. Of course the clients knowing more about the product would have definitely helped. If we meet our goal of having a strong hold on the market in Kathmandu as well, we can say that we are doing really well.

7. What do you think about the exhibition?

We saw a lot of new faces interested to know more about the product.

They’re the end-consumers. Their interest is good for the business and we hope it will bring us good results.

8. What are your expectations for the next year’s exhibition?

We hope to do better. Hopefully our promotional activities will reap us successful results and that more people will know about us.

Meanwhile, we will continue our work of marketing and promotion. n

Ensuring steady growth of business Mr. Shrikant Tyagi - VP-Sales, Zoren Hops

Zoren Hops have been specializing in producing machinery.

In their three years in Nepal, they have taken an impressive hold of the market while supporting the Buildcon Expo simultaneously. We talked to Shrikant Tyagi regarding their time in Nepal and the exhibition.

1. What was different about 3rd Nepal International Buildcon from the last two?

This time, I think, the visitors are more product specific. While having many visitors is good, we had families coming in as if to celebrate holidays the first time around. But now, the industries are specific. It’s more business-to-business.

2. Has your expectation from the previous two exhibitions come to life? What were your expectations from this expo?

During the first Buildcon exhibition, our goal was to enter Nepali market successfully. We got a lot of enquiries thanks to the exhibitions. We expect to sell as many products as we can in the market, and expand our clients

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this year. We also hope to create a good client base.

3. How is the market like right now? What would you have wished the market (or consumers) would have been like?

Nepal has a limited and small market, so we have our limitations here. This year we wanted to launch some aluminum systems. In these three years, we’ve seen so many things.

We realized people here need more technical things. We need more quality specific products and we’re focusing on them.

4. Is Nepali market challenging or idiosyncratic in its demands?

Challenge is ever-present. They know nothing about our products.

So we need to describe them in detail. We sell machines, which is a new thing in Nepal. People here are not aware about it much. So it is a challenge to make them aware.

Besides selling the machines, we are training them to operate it and also helping them to market the products.

During this process, we realized that the technical data is required to smoothen the entire process.

5. An exhibition lets you peek into what your competitors are up to. What are your thoughts regarding that?

Well, I hope we will be the largest brand in this industry in Nepal in the next few years. When we first came here, we hoped to enter the market successfully. I think we’ve checked our goal as we are holding around 40 percent of the market. But we expect to increase and have a hold of at least 55 to 60 percent.

6. Where do you think your products stand in the market right now?

After the earthquake, people are more concerned about what they want.

They are not just concerned about the price – they want quality in affordable price. So our motto is to give quality in reasonable price to our clients in Nepal.

We are planning to launch consumer awareness drive in Nepal this year, which will be the first of its kind in Nepal. We hope to acquaint them with our products and the new technology, so that they can use it and benefit from it. We firmly believe that all this is required to complement the use and purchase of our products.

7. What do you think about the exhibition?

The experience has been good so far.

We’re selling machines, so we can’t

expect a lot of clients. Installing plant is a long process but the exhibition has ensured a steady growth of our business. We have already installed three plants, one each in Kathmandu, Lalitpur, and Bhaktapur. We’re planning on installing them in Biratnagar and Pokhara as well.

8. What are your expectations for the next year’s exhibition?

I hope the next year’s exhibition will be even better. Maybe the organizers can invite some specific industries. In our experience of conducting shows like this in around 23 countries, the organizers usually ask us what kind of industry or people we expect from them. That will definitely help our business to be more specific and make it productive. I’m also sure the exhibition hall will be more lavish next time, which will certainly help attract the visitors more. n

Increased visibility proving beneficial Ar. Pawan K. Shrestha -C.E.O., Nepal Construction Mart

Nepal Construction Mart is 3rd Nepal International Buildcon Expo’s online partner and have been closely following the event from the very first. We talked to Pawan K. Shrestha regarding the experiences, and the opportunities that the exhibition has brought the company’s way.

1. What was different about 3rd Nepal International Buildcon from the last two?

I liked the stalls very much and felt that the management was better. There

were more visitors. The stalls were well managed than previous two events. Also, found overwhelming participation from the new companies as well as repeatation of previously participated companies.

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2. Has your expectation from the previous two exhibitions come to life? What were your expectations from this expo?

The number of visitors increased this time around. They are also pre-informed and aware about what they need, giving us a feeling that they were at the exhibition with a purpose, a welcome change. We saw the business turnover greater than before. Even the walk-in visitors left only after placing orders. Previously, the exchange was more businessto-business (B2B). We also had versatility in the products, thanks to the various International business persons. We even got to meet our clients face-to-face giving us a chance for direct information exchange.

3. What were some of the challenges of partnering with the exhibition?

We had a really short time to manage things from our side. As online supporter, we have our own responsibilities. Also, to achieve success for an event of this scale, we need to do a lot. So we felt that we were running out of time.

4. How can this platform be further improved so that it yields better results for everyone involved?

I think the management should do their best to maintain the standard.

They should focus on bringing new companies with new varieties of products which are not available in the nepalese market. To make the expo talk of the town, the organizers should conduct side programs like, product launch, seminars, interactive program with professionals, etc.

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The duration of expo can be extended for few more days to increase business as well to get the maximum return from their investment. The exhibition can also benefit from hosting awareness portal for the coming exhibitions. It is so that the visitors, clients, and consumers alike can know more about the products or services they are looking for.

5. What are some of the advantages of partnering with exhibitions like these?

It has added plus point to our visibility factor. We have made many new partners, which we wouldn’t have been able to had it not been for this event. We received high-level recognition by the country’s known professionals. We experienced international level of human resource management, stall management

and program management ideas and strategies. We could be in the loop with businessmen from international level and see the materials they have, because it’s very difficult to know and find those products in Nepal.

6. What are your hopes for the next year’s exhibition?

Every year, the exhibition sees something new and better. We hope that in coming years, there are more of the smart buyers – clients and consumers who purchase the products knowing its full usage and potential.

That does justice both to the products and the clients as well. We were lucky in getting good offers of partnership since we joined the exhibition and we hope this streak continues into the next and the next after that. We also hope to see more innovative products along with an increase in our sales. n

Create awareness towards available options Mr. Srijal Bhattarai - Managing Director, Media Space Solutions Pvt. Ltd, Nepal

1. What are your expectations from the expo?

Nepal Buildcon & Nepal Wood International Expo has reached its 3rd year. This expo has always aimed at getting new products and technologies being used in various countries into Nepal as the country as a whole is on a major construction sector booming phase.

Specially after the earthquake that shook the nation, we have been

focusing on the reconstruction activities. This year, we had major participation from Heavy equipment companies and companies that deal with pre-fabricated materials.

Our major expectation from the expo was to get as many B2B clients to visit the expo so that the technologies that we are trying to bring in from abroad is easily available throughout the country and our domestic

companies get good benefits by becoming the authorized distributor/ Resellers for these products.

Another expectation was to create awareness among general public towards the options that are available for constructing a house. We had managed to get major items required for construction of houses under one roof. A consumer walking in could get choices and decide in terms of Price Quality, Durability etc.

2. How can this platform be further improved so that it yields better results for everyone involved?

Over the years, we have been developing this platform to create a direct buyer seller meeting opportunity during the expo where special rates can be offered to interested buyers. Based on the feedback collected from the exhibitors and the visitors, we are continuously trying to improve the show from all aspects.

We have also noticed that after the exhibition, factory visits have been organized for interested buyers and distributors in Nepal and abroad.

Looking at all these activities, we believe that this platform can be further improved as a center point where domestic and international companies can look forward to a partnership over time.

3. What are the challenges of organizing exhibitions like this?

There are many challenges while organizing exhibitions like this. From human resource to management to logistics, there are numerous challenges that come up all the time.

But having done this for 3 years now, we have learned to tackle these challenges as a team. We strive to make exhibitions a complete package to achieve short & long term marketing and organizational goals with the objective of being the finest organizer of focused international trade shows and events in Nepal.

4. What are your hopes for the next year’s exhibition?

Our hopes from this exhibition in the coming years is to create international exposure to Nepalese companies, creating a platform for alliance between domestic and International companies and contributing to the architecture, building, construction, design and engineering industry by

ensuring that the best quality products of international standards are made available at competitive prices in Nepal.

We would also like to take this opportunity to thank all the organizations, associations and individuals that supported us throughout. We would specially like to thank Nepal Engineers’ Association (NEA), Society of Nepalese Architects (SONA), Society of Consulting Architectural & Engineering Firms (SCAEF), Federation of Nepal Furniture & Furnishing Entrepreneurs Association (FNFFEA) and Federation of Heavy Equipment Entrepreneurs Association of Nepal (FHEAN) for their valuable support which contributed towards the success of the show. n

Continuity for superior construction Mr. Namit Gupta - Director, Futurex Trade Fair and Events Pvt. Ltd, India

Futurex

is

the

organizer

of

the

3rd

Nepal

Buildcon

International Expo 2017, serving as a constant hotbed for ideas to improve and expand the construction industry. They also organize different exhibitions in SAARC countries. We talked to Namit Gupta from Futurex to talk about their work, their aspirations, hopes, and the exhibition.

1. What are your expectations from the expo?

The exhibition is basically a platform where we are connecting the international companies with the local so that they can associate easily. It’s

a great way to see what materials are available in the country so that whenever there is a requirement for new or innovative technology, they’d know where to get it. We’re happy to say that we are expanding and the

March 2017 SPACES / 23

Review

demands are increasing. So we’ve added heavy equipment this year, making this edition bigger than past two. Because we’ve taken this to be an educational platform, we want people to know more, inquire more, and ask more. Once they realize that they can do many new things with the available resources, it is when we’ll consider the objectives of this expo fulfilled and our expectations met.

2. How can this platform be further improved so that it yields better results for everyone involved?

I think that everyone involved in this industry – architects, directors, engineers, builders, etc. – should come together. Their goal should be to introduce new works to the general public so that they will have the courage to seek it while building their houses or offices. Because this platform is for the general public as well as the industry leaders. Having the products in their home ground will give them a huge advantage. It is cost-effective and time-efficient.

So whatever we’re doing, we will continue doing it because it is the only way how we’re going to improve.

3. What are the challenges of organizing exhibitions like this?

We have to do our best no matter what because the challenges never end. We have to have the patience to learn to improve on any situation that comes our way.

But when we give a job here, the workers are a bit laidback and do in their own time and way. They don’t work nights. It was a bit challenging for us to convince the locals to complete the work on time so that we could meet

24 / SPACES March 2017

the delivery date. Their mindset is that they can do. They work as per the time schedule. And it’s not that they are not learning, they are. I’ve seen a lot of improvement as far the fabrication is concerned, even with local vendors.

They are also trying to adopt the technology or the style of working. But yes, it was something extra to worry about.

4. What are your hopes for the next year’s exhibition?

We have big hopes for next year. All those who participated this year are very happy. We’ve been approached by five companies who want to become title partner and we are discussing it with them. It shows that companies want to be involved in this grand venture. As per the industry specialist or the industry leaders in Nepal, they feel and believe that this is one of the best exhibitions ever.

That is what we wanted.

For next year, we plan to increase the participation from heavy equipment sector. There should be involvement from paint companies too. But personally, I feel that manufacturers should take an initiative when it comes to the involvement. Once they are in loop with us, they can extend their communication with the architects, builders, other businesses that need them, and even the consumers.

Normally the companies send their marketing managers, heads, or technical personnel for the same purpose. This kind of information exchange will give the businesses idea about what the people want, adding value to their products. Different companies have and will benefit from this valuable practice.

We hope to see this trend flourish and contribute in the advancement of our field in the coming years. n

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News

Solo Art Exhibition of Ramesh Barahi The first solo art exhibition of Mr. Ramesh Barahi was organized from 16th - 20th February, 2017 at New Chenn Gallery, Kulimha, Swotha.

This exhibition was inaugurated by senior veteran artist Vastagopal Vaidya. Mr. Ramesh Barahi’s art consists of Machendranath Jatra, Swayambhunath, still life and nature.

Mr. Ramesh Barahi was born to Mr. Maheshwor Barahi and Mrs. Ramita Barahi on 16th Kartik, 2044. Since

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Barahi family has always contributed in making of Rato Machindranath chariot (rath) for the jatra (festival), Mr. Barahi could not help in that work which saddens him. Due to his physical inability, he drew the chariot only in paper to fulfill his wish. Mr. Rubin Shakya is his teacher who came up to his home daily to teach him all about art. His father Mr. Maheshwor Barahi also supported for his works. n

March 2017 SPACES / 27

News

In Between the Third Eye

E

rina Tamrakar is known for her figurative canvases that depict nature, sense and sensibilities of feminine beauty, the strength of women as well as their pains and sorrows. Her paintings are dominated by vibrant vermilion red. pale grey, black and hues of blues.

In her present collection of works ‘In Between the Third Eye’.

Erina brings together her journey and experiences in art.

The exhibition shows Erina’s works inspired by her travels from Lomanthang in Mustang, and ancient places from her home country Nepal. The works on view take influence from ancient images that she encountered in her travels and are symbolic in nature.

Erina is a co-founding member of Kasthamandap Art Studio and an Assembly Member of Nepal Academy of Fine Arts.

In addition to her 15 solo exhibitions in Nepal and Korea.

Erina’s works have been exhibited in many national and international galleries since 1990 including France. Tibet, India. Sri Lanka. South Korea. USA. Belgium. Germany.

Netherlands. Japan. Dubai and Bhutan. n

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March 2017 SPACES / 29

Event

Kathmandu Triennale

K

athmandu Triennale is the inaugural edition of a new format.

But its conception has a history. The prior two international events by Siddhartha Art Foundation: Kathmandu International Art Festivals 2009 and 2012 were stepping stones to the Triennale. The Festival and Triennale connect at several points, including programs and approach. The scale is obviously larger than the Foundation’s prior efforts which requires the various professionals who have come on board to support the event. The festival is expected to sensitize audiences to such events for future efforts. Making a space for meaningful experiences is a big priority.

The festival has over 60 artists and more than 10 curators who are showing existing works but

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own audiences. Each person plays an integral role, from volunteers to our student coordinators, artists and curators – everyone will be working together.

The main theme of the inaugural edition is The City. That has been further defined by our Curator Philippe Van Cauteren through the juxtaposition of The City: My Studio / The City: My Life. With this as the instigating point we are hoping artists will realize a diverse body of work.

most are producing original sitespecific installations. The event is collaborative in spirit. There many partners, a network of institutions that generously brought our cause to their

The second KIAF was a historic milestone. It was a great learning opportunity. Although, footfall and programs were aplenty, it did not have much international coverage.

Other considerations within the Triennale have been developed

News It will be an exciting time in Kathmandu for all art lovers.

from experiences of other events like Photo Kathmandu. The only one true expectation that the festival want to keep is to see visitors who would have otherwise never visited an exhibition, come and have a great experience.

Following will be the main highlights of the event: - Murals and street art by Amrit Karki, Martin Travers and Kiran Maharjan - Bidhata KC’s lifesize metal Macchendranath chariot at the Nepal Art Council - Conversation with Patron Artist Francis Alys pre-openning.

- Song Dong’s Eating the City where the ‘eating’ event will be held on

opening day (24 March, 2017) - Heide Hinrichs’ project with one of the original books compiled by Brian Huaghton Hodgeson which will be exhibited at the Siddhartha Art Gallery - Cai G. Quien’s gun-powder performance with the Nepal Army at Tundikhel on 28 March, 2017.

- Symposium curated by Veeranganakumari Solanki - Special screenings by Shortwaves Films Festival (Poland) at the Alliance Francaise - Community screenings by Michael Candy (Australia) - Performance art between 24 – 28 March by national and international artists. Some of which will be held in public spaces

Although there are certain advantages to working in Kathmandu, the main difficulties to organizing an event of this scale are funding and time. Most corporates are yet to understand the value of such events in terms of mileage and marketing. And the government agencies established to support such efforts do not mobilize their resources beyond self-promotion.

For KT 2017, there is absolutely no support from the Nepal Academy of Fine Arts (NAFA). In fact, the organization is currently embroiled in a internal yet public tug-o-war between reigning Academicians (who all come from different political party nominations).

Time is another constraint. The event has been planned and executed within a year’s time. An impossible task or one that is open to many unassumed risks.

There are many considerations that have shaped the envisioned impact on the art scene. Foremost of these was the idea to bring artists to Kathmandu so they may create works locally with support from art students, artists and other volunteers. Several considerations were also put in place to prepare audiences for the exhibition.

The outreach has been able to reach as far as Mugu in the West and Jhapa in the East.

The festival also has side projects like a story-map of Patan Museum for kids.

Such efforts will be easily replicable for other projects and engagement can be continued post-event. The international media coverage we have already received is very exciting and the fact that more than 15 journalists from around the world are travelling to the country to see the show means Kathmandu’s art scene finally gets its limelight in the global art stream.

Hopefully, our children spaces at our major venues and guided tour programs can also help develop new audiences and better understanding of arts as a valid tool to engage the masses in critical dialogue. n

March 2017 SPACES / 31

News

RESTORATION of

KING YOGNARENDRA MALLA STATUE

T

he golden statue of King Yoganarendra Malla, which collapsed during the Great Earthquake of 25 April 2015, has been reinstalled in its original place and position sitting on top of a stone pillar standing in front of Degutaleju Temple in Patan Darbar Square. It had stood there for 322 years before collapsing due to the shaking from the earthquake. The four stone pieces of the pillar separated during the collapse.

The gilded copper statue was severely damaged, having been hit by a fallen stone.

King Yoganarendra Malla ascended the throne in December 1685 and ruled until his death (by poisoning) in November 1706. The statue was first erected in the year 1693.

It took nearly two years after the earthquake to rejoin the collapsed pillar and repair the damaged gilded copper statues.

The pillar is back in its original position. Let us hope it will remain forever now.

Foreign experts and students from the University of Applied Arts, Vienna executed the joining, fixing and erection of the stone pillar and gilding the gold. The University of Applied Arts, Vienna also funded all the expenses incurred in the project. The expert team was

32 / SPACES March 2017

News

comprised of metal and stone conservators Martina Haselberger, Kathrin Schmidt, Magdalena Hopfensperger, Magdalena Treml and Marina Paric.

Kathmandu Valley Preservation Trust actively managed the entire repair and reassembly project, and the repair and mending of the statues was by craftsmen Tarhibabu from Patan. n [This was a project of the Kathmandu Valley Preservation Trust in collaboration with the Department of Archaeology, Government of Nepal.]

March 2017 SPACES / 33

Advertorial

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O

ne hundred percent foreign owned and managed, Sky Light was founded in 1995 by Philippe and Patricia O’Sullivan and is now run by their sons, Samten and Raphael O’Sullivan.

In Nepal, Sky Light represents Technal a French company – that fabricates and supplies comprehensive, high quality aluminum systems. The key aspect of Technal is that they fabricate own accessories, which are engineered and designed to fit their own specific systems.

Beyond this, Technal offers exclusive finishes, a wide spectrum of colors, distinctive aluminum systems, design flexibility for architects, developers and home owners.

Technal has independently approved testing facilities that are able to assess thermal performance, weather tightness, wind resistance, and product durability.

Sky Light has installed Technal systems in various projects around Nepal, such as the Hyatt Regency in Boudhanath, the award-

Glazing the roof of the world Sky Light, Nepal’s leading aluminum fabrication company, has solutions for all your aluminum and glazing needs. Whether you are considering building a new hotel, constructing your own private villa, or simply doing some athome refurbishments, Sky Light offers quality work and products.

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As a less expensive alternative to Technal, Sky Light is the sole distributer for MN Metal Supply, which also offers a quality product and is fabricated and installed using the same processes and guidelines. The company has its own fabrication facility in Lalitpur with equipment that is imported from Italy and Germany with a permanent body of highly

LOYA PEB, a company which was initially involved in conventional industrial construction work, envisaged a demand for speedy, pre-engineered building solutions. This led to its foray into the pre-engineering building steel building segment in 2009 and from then there has been no looking back.

The company has its primary manufacturing unit – a huge 100,000 sq. ft. shed located in MIDC Shendra, Aurangabad, India, which has been constructed using their systems. The shed is home to sophisticated equipment that manufactures all the components resulting in high quality finished products. The system’s components include Roof Cladding Systems, Wall Cladding Systems, Fixing Accessories, Crane System, Standing Seam Roofing System, Turbo Ventilating System,

Mezzanine Systems, Insulation Materials, etc. LOYA PEB’s latest addition, Light Gauge Steel Framed Structures (LGSF), can be used for smaller, ancillary buildings and residential installations and are more cost effective than conventional structures.

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with civil engineering backgrounds and over three decades of experience in the construction industry. The company has constructed more than 3.5 million square feet in a period of 8 years – more than 350 projects across India and abroad.

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March 2017 SPACES / 35

Art

End of a style TEXT & Photo: Sukrasagar

An ability to create and establishing a new style is an achievement for an artist that makes him greatly satisfied because it is like an invention. In the long run it would contribute to the society and future generation will copy and might also make the money out of it. It is birth of a new style.

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ArT

D

ue to the lack of written history about the artists and not signing the authorship on the paintings and icons they produced during historic times, so many authors of the ancient works of arts created by our ancestors remained unknown. Many artists who went to Tibet, China, Mongolia and even to Central Asian countries to work there in the field of art are unnoticed due to the lack of their signatures. Uncountable numbers of artists went into oblivion. Only Araniko and Jivaram are two figures known to us today who worked in China during 13th and 15th centuries respectively. Two more artists Wonguli and Akhiraj were known from Ngor monastery of Western Tibet and one more from Mustang who did the great work of vajradhara painting inside Thupchen Monastery of Lomanthang. He was Devananda.

Even within the country the traditional artists do not do so and sign the product till few decades before. This is their innocence of one’s own importance. The modern artists and image makers do not repeat the mistake.

A silent artist who was doing his duty continually without knowing his own achievement and contribution to the society but concentrated only on his work remained always behind the curtain.

In modern society, a critic is always necessary in all fields of the profession from politicians to writers and singers to dancers. The platform for such situation is there in the form of different newspaper, journals and even writing a book on their achievement. This part of publicizing is much more effective in publication than the audio and visual like TV and radio. A critic works as an agent bringing out such talents.

There are many painters whose nice works are exhibited in the shops of Thamel for sell but without their own style and authorship.

The paintings are excellent but lacks distinct style. They are mixed of all. One can guess how many artists would have been working there to create such a vast collection, certainly

innumerable in terms of number. All are simply the Paubha painters. Few names of the artists still could be picked up from the crowd of 21st century because of their distinct styles or way of paintings, medium of paintings and scale of their perfection.

Here is a story of an artist in 21st Century Nepal.

Very few people noticed him. He is silent and

March 2017 SPACES / 37

Art

keeps working all the time in his small gallery cum sales shop in a small house to the east of Bhaktapur Durbar Square. The ground floor of the house measures hardly 10 feet wide and 15 feet in length that stands to the left of the street leading east from the Durbar Square immediately after passing Chaturvarna Mahavihar.

Though small in area it has three storeys and is made of Chinese bricks easy to notice. The shop has small and narrow

38 / SPACES March 2017

two bays opening and is covered with all sorts of iconological drawings and paintings looking like Paubha (thanka in Tibetan) style, but they are not. The paintings can neither be termed as Paubha nor classified as a realistic one. It stands distinctly of its own and could be classified in between both the schools of realistic and paubha. This is the style of the artist and the artist is the author of this particular style. The paintings neither exhibit complicated

fine works of Paubha nor rough like an ordinary painting. It stands in between those two. Still it carries its own beauty in execution with broad lines filled with minimum coverage of the colors.

When one talks about a Paubha, one feels that the paintings would be minute in execution and crowded with many figures of different dimension that are painted with thinnest lines possibly followed by tiniest designs

ArT

March 2017 SPACES / 39

Art

Since the start of tourism in Nepal, this shop was standing there selling the paintings created by him. Neither did he publish anywhere nor did he ever make any advertisements about his profession. He simply did his job and enthusiastic tourist passing through there purchased them. He made his living with this profession throughout his life. Earning a meager income to run his life with one son and wife, he never knew he has his own style, a distinctive school of art.

with an intricacy. But his paintings are way away from such complicated details. His paintings are always filled with charming beauty, simple and easy to understand because almost each painting of him is inscribed. It gives important names of many emblems held by Gods and Goddesses what are they called that have been enveloped within the modern pressure of foreign language of other than Newari.

The figures have firm and flowing lines drawn directly with the brush.

The charming beauty of the female goddesses, lovingly anthropomorphic figure of Ganesh and dreadful appearance of Bhairavas and Mahakalas are the successful execution in color. His paintings do not lack the muscles, vigor and are always filled with strength. The figures are sturdy, cheerful, and confident in lines with full of muscles filled with vitality. All icons look very lively.

The figures, all the times, are related to the iconology of the Hindu religion or Buddhist pantheon. At maxim, few 40 / SPACES March 2017

devotees sometimes fill the space of the paintings. Many times, they are inscribed as well. He never forgot to mention how the inspiration of painting the figure came to his mind and from where was that copied or invented from the slokas of certain manuscripts or borrowed from someone else.

There are many painters in Nepal but he followed his own style that is quite different to others. Unlike other painters he had an extra hobby of collecting iconological details of Ganesh figures. His first attention was attracted to survey if there is different kind of Ganesh icon wherever and whenever he went. Recognizing the difference immediately, he goes back home and draws the sketch. He has collected more than 250 different Ganesh figures. The Ganesh figures are the greatest inspiration of his

ArT

work as he had hobby of learning more about Ganesh, Bhairava and Mahakala. Besides them he loved drawing animals, birds, other gnomic figures and utensils of religious importance. He had drawn enormous numbers of iconographic figures. He did not paint anything else.

He never used any modern techniques to make easy copies of the sketches thus to save time and then paint on that later. He felt cheating doing so, nor does he needed pencil drawing beforehand. He did his drawing directly with the brush. He said there was no such thing like pencils before. Our ancestors did directly the sketches by brush then colored them

afterwards. That is why their products were of much importance.

A figure like Narayan Bahadur Singh is felt daringly necessity to guide the twenty first century artists in Nepal.

Narayan Bahadur Singh was a great art critic of 20th century. He was serving successfully in this field for long. But once he died in 1980s, no other art critics could succeed his stature. Though some tried to take the place but could not gain the height.

The artist presented herewith is nobody other than Mr Gyankar Vajracharya of Bhaktapur who authored a distinctive style in Nepalese Art of 21st Century.

A keen eye never fails to detect such

talent. Dina Bangdel, an art critic and a writer on art who is the only daughter of prominent artist of 20th century Nepal, late Mr. Lainsingh Bangdel recognized his skill and picked him up as a talented artist. A nice book on his single handed drawings is coming out in a book form from abroad in near future.  n

He died on February ‌ 2017.

May his soul rest in peace in heaven for ever.

March 2017 SPACES / 41

Interior

the Vastu

Shastra

Guide to

Coloring our Homes TEXT : Ar. Kritika Rana

In the ancient period, colors were extracted naturally from the available vegetables and flowers developing a rich palette.

Incorporating the traditional Hindu beliefs, the colors were used to bring harmony in the home and lives of all. Holi, the festival of colors is an indication of the importance of colors since the ancient times.

42 / SPACES March 2017

VEDIC AWARENESS OF COLOR

According to the Hindu Mythology, the Vedic scholars had an understanding of the sun’s energy creating the seven colors. This is explained by the illustration of Lord Surya, the sun god, as a charioteer on a chariot pulled by seven steeds- each steed representing a single ray of color in the visible spectrum. Moreover, the ancient scholars emphasized the fact that colors can be used to set an atmosphere, inspire our behavior and also have a major impact on our well-being.

Vastu Shastra is a traditional Hindu system of architecture that concentrates on the ‘science of dwelling’ to create auspicious buildings for the inhabitants.

For centuries, designers have been using the colors guided by the Vastu to create a peaceful and healthy home with abundance and prosperity. The design principles of Vastu Shastra focus on establishing the harmony of a dwelling with reference to nature and the universe as a whole. The main ideology includes the elimination of all possible obstructions to enhance the continuous flow of all the natural energies involved.

Designing a ‘home’ in accordance with Vastu integrates the placement of specific rooms as per the orientation of the Sun confirming the favorable planetary alignments as well.

Additionally, the harmony is achieved as a result of a pleasing flow of colors, patterns and textures throughout the space. Although Vastu Shastra is highly concentrated upon even in the contemporary scenario; the significance of color and the Vastu principles associated with it, are often overlooked.

Incorporating the guidelines of Vastu while designing a residence ensures that the natural energies that constantly surround us are harnessed to its maximum potential.

Interior

THE VASTU GUIDE TO COLORS

Even centuries ago, the Vedic scholars had an understanding that colors have an astounding effect on our body, mind, emotions and thought processes. While some hues are believed to create a positive vibration around us; others are associated with negative energies and should be completely avoided. It is therefore vital to draft the right color scheme to achieve the perfect balance in our home and thus our lives.

The energy of the Sun is directly extracted into this vivid yellow color which stimulates the mind instilling patience and wisdom. Especially for rooms devoid of direct sunlight, yellow is believed to increase the brain function that can serve as an advantage in office and study rooms.

Similarly, yellow provides the clarity of mind and is auspicious for pooja rooms as well.

The Vedic scholars associated orange with spirituality and transcendence, explained by their choice of saffron robes still in existence today. Subtle orange hues with its versatility and wide application range works for any part of a home. Especially in Vastu, orange is one of the best hues as it encourages optimism, joy and knits the family together. Having the ability to stimulate our appetite and inspire conversation, orange is the best hue for dining spaces. Moreover, orange is believed to provide a push for aspirants to pursue any dream in their lives.

The blue hue instantly brings back the memories of the tranquility of the clear blue sky and freshness of the deep blue sea. When used graciously in an interior space, it connects an individual with the nature nurturing a calm and peaceful state of mind.

Therefore, the blue hue is perfect for spaces centered on relaxation such as bedrooms and meditation room.

However, we should always opt for lighter shades as the darker shades are known to have reverse effects by bringing feelings of melancholy.

Merely picturing red, the color of the blood that runs through our body keeping us alive gives the boost of energy, activity and determination.

From the ancient times, red was used to symbolize power and bravery relating to fire. However, red possesses an overstimulating quality, which may induce aggression. Vastu recommends to use a lighter tone of red to retain the liveliness, elegance and warmth in the living and dining rooms.

March 2017 SPACES / 43

Interior

Green, the color of the nature with its healing properties brings harmony and peace into any household. The serenity associated with this hue helps to calms down temper or any ill-effects therefore, soothing the mind. With its close connection with intelligence, green is the most favorable hue for study rooms. Along with rejuvenating the mind, green offers hope and generates a positive ambience for partaking in any challenge.

Since, the Vastu ideologies recommend to use light colors in our home, pink is one of the best hues for a happy life.

As pink is the lighter shade of red, it possesses all the positive characteristics eliminating all the negative ones. A room painted in pink radiates joy, warmth and purity throughout the space.

Dark Colors

Dark shades are often associated with negative energy and feelings such as frustration and despair.

While furniture can be of dark shades such as black, brown and grey, it should be completely avoided while painting the walls.

light Colors

Light shades are believed to welcome the positive energies in our home. Therefore, pastel which are the softer and delicate shade of hues are most favorable to paint the walls of our homes.

The lighter shades of violet inspire trust and can used liberally in living spaces for a soothing ambience. Violet is also believed to stimulate the mind and promote mental activity in the children’s bedroom or study room.

44 / SPACES March 2017

Symbolizing purity and elegance, white combines flawlessly with any other hue, when used as a contrast. The Vastu Shastra highly emphasizes the need to paint the ceilings in white, perhaps because of its quality to reflect the light and brighten the room.

Interior

COLOR SELECTION BASED ON RASHI

The primary purpose of Vastu Shastra is to improve the sense of well-being of the residents and spread happiness throughout the house. The rashi or zodiac sign of the owner plays a crucial role in fulfilling this purpose. Therefore, the colors we choose to paint our house with should be in conformation with the same.

Aries Taurus Gemini Cancer Leo Virgo

: Coral red : Milky white : Green : Rose red, pearl white : Ruby red, dim white : Emerald green

Libra Scorpio Sagittarius Capricorn Aquarius Pisces

: Cement color, milky white : Pink, coral red : Golden yellow : Dim red : Pink, blue : Yellow, pure white

COLOR SELECTION BASED ON DIRECTION

It is scientifically proven that we perceive color only because of light. When light falls on an object, it absorbs all the colored rays of the visible spectrum while reflects only one colored ray which is actually the color of the object.

According to the Vastu Shastra, as the strength (intensity) of sunlight is dissimilar in different cardinal directions, a certain hue is believed to work best for each direction. The Vastu principles state that each direction is associated with a planet; therefore the color selection should also be based on the direction the room faces, aligned with the color of the planet governing the same direction.

Directions Main Directions

Sub- Directions

Planet

Color

East

Sun

White

West

Saturn

Blue

North

Mercury

Green

South

Mars

Pink, Coral Red

North- East

Jupiter

Yellow

South- West

Rahu

Green

South- East

Venus

Silver White

North- West

Moon

White

March 2017 SPACES / 45

Interior

COLORS FOR DIFFERENT SPACES

The age- old practice of Vastu Shastra integrates recommendations for the suitable placement of rooms through the house. The most favorable direction for each room is designated on the basis of its orientation to the Sun. Additionally, this establishes an alignment to the most accurate planet each representing a particular color. Painting the walls with these hues ensures that the purpose of the space is fulfilled to gain its maximum benefit.

Kitchen

Living Room

According to Vastu Shastra, living room should be placed in the North-West corner of the house in order to establish a harmonious relationship between the family members. White, the color favorable for the aforementioned direction were adopted in the traditional living room setup in the form of white cushions spread over the entire space. Nowadays, modifications can be seen with a balance of welcoming and serene hues- bright yellow, beige or tan with blue or green.

As the living room is where the family and friends come together, these lively colors work wonders.

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The most important rule of Vastu is that the cook should always face East while cooking while the water tap should be in North-East direction. The South-East corner of the house which is the location of the ‘fire angle’ is the most favorable position for the kitchen. The second most favorable position is North-West which corresponds to the source of air. Therefore, the colors of purity and cleanliness, silver and white are the best hues for kitchen. Similarly, soft tones of yellow, orange and rose can also be used in moderation to avoid the glare from the plain white. For instance, modern commercial kitchens also use light shades to brighten the space and enable the chefs to focus and see better while cutting and cooking. Moreover, light colors help in easy spotting of the grease and food remains that allows to keep the kitchen clean and hygienic at all times.

Interior

Dining Room

In the ancient times, cooking and dining were parallel activities, the fundamentals of a kitchen. Today, however dining room is an integral component of any abode that brings the family together purely for the enjoyment of food.

Vastu recommends to place the dining table in the SouthEast location, perhaps to confirm that it achieves maximum natural light. Associated with sunlight and possessing the ability to stimulate the appetite, orange is the most favorable hue for the dining room. Similarly, in a tropical climate, peach which is a lighter shade can be used to depict a cooler effect. Moreover, to generate a calm and comfortable ambience in a dining room, pink, green and blue can function as secondary colors.

Study Room/ Children’s Bedroom

According to Vastu, North-West corner of the residence is most preferred for a child’s room which is conducive to learning. Under any circumstance, the South-East location should be avoided for any bedroom as it discourages sound sleep and causes a child to lose interest in his studies. Green has shown to increase concentration in children which makes it the most suitable hue to promote study. Correspondingly, light green along with shades of light yellow will add vivacity and joy to the space.

Moreover, blue can be used as an accent to generate a tranquil atmosphere in a child’s room especially to calm down aggressive children.

Master Bedroom

The bedroom of the principal individual of a house should be located in the SouthWest direction as per Vastu. The head should be positioned at south; whereas in all the bedrooms the north direction should be avoided at any cost. This is because the north direction is believed to supply our body with magnetic energy that in turn excites the blood thus disturbing our sleep.

For the master bedroom, a combination of both masculine and feminine colors- blue and pink respectively will establish a balance between the couple. Additionally, using the brown hue especially in the furniture and will provide stability which is a necessity of this particular bedroom. Green, the color of hope and cultivation can also be used a secondary hue in the master bedroom.

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Pooja/Prayer Room

For an auspicious home, the Vastu principles guide to place the Pooja room in the North- East direction. The deity should either be placed in the North or East according to the function the home-owner desires. If an individual yearns to gain knowledge, he should worship in proximity to the northern wall facing the idol positioned there.

Correspondingly, sitting in the eastern side of the room and facing eastward towards the divinity is essential for economic prosperity.

Golden yellow, the hue associated with the NorthEast direction is ideal for a space centered for worship. The right selection of colors can help generate a serene and sober ambience which is vital for a clear mind. Therefore, subtle and subdued shades of sandal, green and violet in the prayer room will encourage concentration along with forming a state of intellectual clarity.

Bath Room

According to Vastu Shastra, the bathroom should never be placed in the East corner of the house. Vastu recommends to place the bath room either in the West or South direction painted in the corresponding colors blue and pink respectively. Therefore, light shades and pastel tones of these hues paired with white is ideal in a bathroom. This will ensure that the bathroom is naturally bright and stays clean as well.

Main Entrance

In Vastu Shastra, the appropriate positioning of the main entrance is pivotal; as it is believed that the entryway is the portal for energies, either positive or negative that flows through the entire house. Moreover, keeping the doors and windows open whenever possible ensures that there is a proper inflow of energy through the house at all times.

Depending on the orientation of the plot, the Vastu ideologies guide to locate the entrance door either in the North, East or North-East direction. The corresponding colors can then be chosen as per the selected direction, nevertheless it is crucial to select the light shades.

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Interior

CHOOSING THE COLOR SHADE

Colors along with its characteristic properties have the ability to manipulate the temperature of a space. For instance, the cooling feature of blue, allows an individual to feel cold; while the warm temperature of red has a converse effect.

Therefore, in Vastu, according to the amount of light penetrating the room, these qualities of hues are taken into consideration. However, as lighter hues are often associated with positive energy and darker colors with negative energy; Vastu recommends to avoid using darker shades.

A room with poor daylight conditions can be brightened with the choice of light tones of preferably warm colors. Deep warm colors tend to absorb more light than cool colors, therefore opting for a light tone will minimize the effects and maximize the warm sensation which is a necessity in the absence of daylight.

On the other hand, for southern spaces that are engulfed in sunlight throughout the day, have the advantage of warm colorful rays of the sun. Hence, use of yellow, peach or other bright tones should be avoided to prevent glare or overstimulation.

Moreover, to absorb the warmth and retain it over time, deep shades are ideal.

For rooms in the north, a northern window allows comparatively cooler light to enter the room. This may create a chilly effect which can be aggravated by painting the walls with cool hues such as blue or green. Warmer hues such as orange and pink can be used to achieve a sense of warmth and thus maintain a balance.

As for the ceilings, there is a strict rule that the human temperature should be more than that of the ceiling. Therefore, the Vastu Shastra recommends to paint all the ceilings throughout the house in plain white, and avoid the using any other shade. n

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Architecture

E

arthquakes are natural and unpredictable disasters. Often when earthquakes occur they cause damages to existing physical infrastructures. Incalculable human loss and suffering result from these damages to infrastructures.

Nepal Earthquake and reconstruction TEXT & Photo : Ananta Baidya

Such tragic events forces societies to confront issues of reconstruction of physical infrastructures. Socially responsible authorities would be expected to prioritize rational management of such events – pre and postearthquake. Societies serious about the “value of life” would not oppose but value measures and recommendations that prevent these types of tragedies. If and when these issues are taken seriously, lives will be saved despite the destruction of infrastructures. Societies that have seriously undertaken earthquake resistant designs in their infrastructures have reported minimum loss of lives. Recent earthquakes in South America and Japan bear testimony to this.

This earthquake has cost Nepal the loss of about 10,000 lives and human anguish and suffering resulting from the loss of around 5,00,000 building structure. It’s toll on the destruction of heritage has been monumental and irreplaceable.

A critically important lesson and admission after the recent 2015 GorkhaNepal Earthquake should be that Nepal was ill prepared to handle the earthquake impacts. A serious commitment by Nepal to avoid this mistake will help direct priorities, recognize and implement earthquake resistant design in all reconstruction and new projects.

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If current efforts at reconstruction and new construction take into account the science of modern earthquake engineering, public safety can be achieved at all levels and in all types of facilities used by humans. There are many different aspects and issues related to the rejuvenation process need discussion. For this article, the many differing concepts of the many “R’s” of reconstruction such as repair, restoration, retrofit, replication, rebuild and renovation will be presented.

After any high magnitude earthquake, existing buildings or structures or infrastructure should be investigated by competently trained technical staff to evaluate distress and damage levels.

These evaluations determine the level of risks and should be based on the use and type of reconstruction.

After the recent 2015 Gorkha-Nepal Earthquake, buildings were tagged GREEN, YELLOW or RED. Post-earthquake technicians were hastily trained

Architecture

cation between two moving tectonic plates. Further training of technical staff and the certification of these trained individuals by authorized agencies of the government should be a program that is developed from now onwards. The correct tagging will help set the methods that will be appropriate for the reconstruction.

A building or structure correctly (properly) receiving the green tag based on the Visual Rapid Assessment Procedure is considered to be safe for use or occupancy. Issues of major risk to lives do not arise. No extensive technical upgrade will be required.

to conduct the Visual Rapid Assessment. This training should have been to certify technical personnel as a part of the Pre-Earthquake Disaster Management Program as Nepal was well aware of the risk associated with seismic events, given her geographic lo-

An isolated building with peeled plaster, minor non-structural cracks, and mostly intact and in plumb could be repaired if it gets the green tag .

Renovation or repair or restoration are processes that generally do not require structural involves. Repair may involve painting, replacement of elements such as nuts and bolts type and kind for kind as a result of rusting.

A building or structure that is essentially out of plumb and buttressed by bracing systems would be identified

with a “YELLOW” tag. Buildings that are intact but with exterior non-structural walls that are damaged belong to the “YELLOW” category. Exterior damages may not indicate major collapses or damages but being out of plumb sends a warning signal that there may be issues.

Yellow tag is a caution identifier and sends the message that occupancy of the structure is not allowed as the risk involved is not known pending further investigation by trained and qualified engineers. People will be allowed to pick up valuables from these structures with supervision but its use is prohibited. A yellow tag could revert back to green with minor repair or turn to red tag subject to retrofit or demolition.

An isolated building, structure that has collapsed totally should clearly receive the “RED” tag. Reconstruction of such structures should be conducted as though it were a entirely new building or structure using modern earthquake engineering science, methodologies and means. This approach will ensure public safety in the future. For historic and heritage structures, means and methodologies are there to maintain external and internal architectural am-

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Architecture

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Architecture

a modern construction that should be reconstructed, replicated, duplicated using modern methods of earthquake engineering design, based on engineering calculations and modern engineering systems while duplicating the external and internal ambiance architecture.

When structures receive either the Yellow or the Red tag, other forms of reconstruction, based on more extensive investigations and engineering analysis and design, will be required.

These yellow tagged buildings are subject to investigation and recommendation for reconstruction may be repair, retrofit, or demolition.

biances and to build them using modern earthquake engineering science.

When individual structures are damaged by disasters such as earthquakes such that they can lead to collapse and endanger lives in the adjoining areas, the structure, including the adjoining structures, should also be tagged “RED”.

Building and structures that are out of plumb and have major structural such as damaged or broken structural elements such as beam, columns, and connections of beam to column, connection of exterior or interior walls to supporting systems, fallen parapets, walls, and other appendages should receive their “RED” tag.

The red tag identifies a heightened level of risk and danger. Occupancy of such structures is not allowed at

any time because of the damage and the risk involved. Such structures will require extensive investigation about the earthquake resistance capability.

Original design calculations, drawings and construction will be needed to evaluate and recommended the needed and need modification will be required. Such structures may need to be demolished if seismic retrofit based on modern earthquake engineering principles cannot be completed. Its reconstruction may involve demolition and rebuilding or retrofit.

Retrofit is another method of reconstruction that is misunderstood in Nepal. Retrofit is a process that involves a total reevaluation of the systems in a building or structure to ensure reasonable maximized level for safety for people that occupy the building or structure. It involves evaluations based on global and all elemental safety considerations using modern engineering principles such as earthquake engineering science.

It involves conducting forensic study of original design and engineering, assumptions and engineering calculations, adequacy of details and connections to evaluate safety.

When such buildings happen to be heritage or historic structures that have received the RED tag or have been completely demolished to dust like Kasthamandapa, the historic value of the site remains but the historic structure or building can only be replicated or reconstruction as a duplicate image of what was there. Such a structure is

The deficiencies are carefully evaluated item by item and in the context of their role in the global stability of the building or structure. Necessary remedies are prepared and implemented based on modern earthquake engineering and earthquake loading as determined by the current state of the engineering sciences. n

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Architecture

March 2017 SPACES / 57

Interior

Felt Wall Panels Corporate Office, New Delhi

TEXT & Photo : Preksha Baid

W

e were commissioned to develop interesting wall solutions for a co-corporate environment. The brief was also to use textiles to develop the wall panels. The felt wall panels are surface explorations using felt (nonwoven textiles) as a material. Felt is the oldest form of fabric known to humankind, it even predates weaving and knitting. Various techniques of cutting, stitching, layering, folding and inserting have been explored to develop range of wall surfaces that are also excellent acoustic solutions. Felt as a material has excellent sound absorbing qualities and is excellent material for surface explorations. The approach started from simply exploring ideas around assembly of small units of felt material that can be arranged geometrically with use of two colors. Abstract impression of nature is expressed with repetitions as an element to bring the tactile quality to a corporate space.

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Interior

Felt is the oldest form of fabric known to humankind, it even predates weaving and knitting. Felt as a material has excellent sound absorbing qualities and is excellent material for surface explorations.

March 2017 SPACES / 59

interior

the concept

The idea was to develop interesting wall panels using felt as a material.

We were exploring different formats in which the visual flow works as a graphic. First the graphic sketches were made and then the unit explorations were done to check which units can be repeated to create the graphic identity. One of the important consideration was to ensure that the design would fit in the existing interior scheme of a corporate space.

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choosing for this project

We were commissioned to develop interesting wall solutions for a cocorporate environment. The brief was also to use textiles to develop the wall panels. The felt wall panels are surface explorations using felt (nonwoven textiles) as a material. Felt is the oldest form of fabric known to humankind, it even predates weaving and knitting. Various techniques of cutting, stitching, layering, folding and inserting have been explored to

develop range of wall surfaces that are also excellent acoustic solutions.

Felt as a material has excellent sound absorbing qualities and is excellent material for surface explorations.

The approach started from simply exploring ideas around assembly of small units of felt material that can be arranged geometrically with use of two colors. Abstract impression of nature is expressed with repetitions as an element to bring the tactile quality to a corporate space.

interior

March 2017 SPACES / 61

interior

the longevity of felt in this project

Felt is a durable material. It can be easily maintained by using a hand vacuum or a duster. Felt as a material has excellent sound absorption quality. We had used wool composition in the felt material with a surface coating of fire resistant to make it more practical for interior applications.

Satisfaction from the client

The clients loved the introduction of the bright colours and tactile surfaces of felt in a corporate space. The panels had a 3 d surfaces so it didn’t make the wall look very flat. n 62 / SPACES March 2017

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From the shelf

The Elements of Style

“For a man’s house is his castle”, wrote Sir Edward Coke at the beginning of the 17th century.

The phrase has become a cornerstone of the way we think and live. Yet, by a stroke of historic irony, the great lawyer’s memorable line was penned at the very time when Inigo Jones was building the first modem house in England, the Queen’s House at Greenwich - that precocious expression of polite taste and perfect monument to a new domestic ideal. From this date on people cared for their houses not merely as strongholds of safety and domestic wealth: they loved them for their architecture. Today we are heirs to a legacy of fine building and to a continuing fascination with the details and stylistic elements which give our houses their character.

The desire to know and understand the history of our homes has never been stronger. We are, perhaps more than ever before, aware of the crucial importance of our

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great architectural traditions and the central position they occupy in what we have come to call our heritage.

At the heart of this concept of heritage lies our idealized image of the period house, which, great or small, ostentatious or plain, has come to epitomize so many of our notions of civilization. In recent years, academic interest in the planning, stylistic development and detailing of historic houses has increasingly become linked with the more passionate and practical enthusiasms of the conservation movement. As a result, the houses we live in have become a major concern - the subject of both a large body of scholarly and investigative endeavor and often intense public discussion and debate.

One of the foremost defenders of traditional values in design and workmanship, the Prince of Wales, has repeatedly stressed the influential role which fine architecture can play in our everyday existence. As the protagonist of a humane architecture based on human scale and sound techniques and materials, he has championed the idea that

From the shelf

good building is not only an index of civilization, but also an important contributory factor in the quality of life which we enjoy.

Today, those who value the best of the old in our heritage are convinced of its relevance to the new. But there is, it has to be said, a great deal that must be learned or re-learned.

In recent decades more modem tendencies have prevailed, and we have come perilously close to losing much of the rich vocabulary and even the grammar which gave our architectural language in previous ages its subdety and fluent charm. What we need now is a return to visual literacy, an understanding of all the elements and details of the house as they have changed through five centuries.

Primarily, The Elements of Style is intended as a visual and documentary resource for people concerned with the details of houses, whether as owners, conservators, architects, interior decorators or designers. Between the practical approach and the academic there is no real

division of interests: a chief desideratum in each case is sympathy for matters of detail, a belief in the importance of accuracy at the most meticulous jevel. It is not a book about great architects; although inevitably their names and works appear among these pages, their stories are told elsewhere, and the interested reader will have no difficulty in tracking down more information. Nor is it a study of grand houses to the exclusion of the more modest. We have chosen to place the greatest emphasis on that category which the 18th-century architect and his builder called the “good middling sort of house”; for in such houses we may discern much of the genius of each age and in full measure those qualities which the first architectural writer in English, Sir Henry Wotton, required of all fine building: “Firmness, Commodity and Delight”. n This is not a Book Review; this is just an effort to conveying information to the readers on rare and valuable books on art and architecture. This column aims to give a helicopter view on such books and thus presents the excerpts and illustrations either from the preface, introduction, jacket or main contents of the book from the shelf. This book was kindly provided

by Mandala Book Point, Kantipath, Kathmandu (Tel. 4227711).

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Artscape

Trees of Nepal His paintings are not realistic but represent the images of nature and his imagination creating forms and colors create the rhythm of the nature. He uses flat and dry brushes to create the effect of trees and branches. The predominance of blue suggests the mystery and romantic feeling of nature.

Asha Dangol

Krishna Manandhar - Born in 1947 in Bhotahity, Kathmandu, he did his Special Course in Graphic Arts from Sir J. J. School of Arts, Mumbai, India. His selected exhibitions are Maharastra Kala Pradarshani, Bombay Art Society in 1968 and 1970, SKIB-71, Exhibition in 1971 to 1989, Asian Show Fukuoka Art Museum, Japan in 1973 & 1976, Biennale Art Exhibition, Dhaka, Bangladesh in 1981-83. His selected awards are: Bronze medal, Sir J. J. School of Arts, Mumbai 1978, Best Prize, National Art Exhibition, NAFA, Kathmandu 1971, Shiksha Puruskar, T.U 1987 & 90 and Rastriya Pratibha Puraskar 1999.

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