SPACES Nepal MAY-JUNE 2012

MAY - JUNE 2012

ART - ARCHITECTURE - INTERIORS - ACCESSORIES

www.spacesnepal.com

Renovation for Adaptive Reuse II

yala mandala KWALAKHU

IN THE MIST OF

Alpine Price: NRs. 100/- IRs. 65/- US$ 5.95 EURO 5.95 GBP £ 4.95

Architecture a rendezvous with Christian Müller

UNITING

NEPALI ARTISTS

Bagsof

Emerging New Faces

Enriching Enr hing Nepali pali

Painting

Dirt

to Durable Buildings www.facebook.com/spacesnepal

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29 Architecture

Volume 8 Issue 4

May - June 2012

In the mist of Alpine Architecture…a rendezvous with Christian Müller by : Ar Kalpana Bhandari Alpine architecture has similar characteristics to architecture of Himalayan regions in Nepal.

Therefore, the works of Christian Müller can be inspiring for Nepalese tourism in terms of design, management and promotion.

32 Interior The Fresh White Splashes of Water DURAVIT by : Ar Sushmita Shrestha-Ranjit The untouched scene of purity, the unobstructed transparency showcasing the crisp and elegant products reflects the finesse of 200 years of experience of Duravit, the sanitary-ware on display at Tripureshwor, Kathmandu.

40 Heritage Renovation for Adaptive Reuse II Yala Mandala, Kwalakhu by : Ar Swati Pujari The series on Adaptive Reuse continues with Yala Mandala, Kwalakhu, Patan, a conglomeration of art, history and culture. Yala, an art gallery that collects, designs, manufactures and preserves pieces that are exclusive to the Nepali ways.

50 Art

22 Architecture

Emerging New Faces: Enriching Nepali Painting by : Madan Chitrakar If one is to follow critically the trails this young generation has traversed so far, it has given a good lot of reasons of a better hope. More amazing is their appetite to explore in diverse ways and express it in newer visuals: and indeed this new phenomenon has given a new dimension in Nepali Painting.

54 Art Uniting Nepali Artists by : Usha Sharma Antonio Nodar, a Spanish photographer worked with more than 300 Nepali artists during his three weeks stay at Nepal for his project “...from portrait to self-portrait, The Nepal Album”. The article also focuses how his project sucessfully brought together so many artists from various generatoins and genre in the same platform.

Bags of Dirt to Durable Buildings

© CALEARTH INSTITUTE

by Ar. Bansri Pandey The technique of building walls by stacking bags of sand is not new. The novelty is in the idea of building houses or permanent structures with sandbags.

COVER PHOTO ASHESH RAJBANSH

61 Opinion Chaos, Commotion and Confusion in Kathmandu by : Ar. Chandani K.C. Kathmandu is a brewing pot of chaos, commotion and confusion which is at a verge of overflowing.

Add to all this, the ever so slow road widening process of Kathmandu and what you get is a disaster in waiting.

Volume 8 Issue 4

May - June 2012

Contributors

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

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

Ar. Chandani K.C. completed Masters of City and Regional Planning from University of Texas at Arlington and Bachelor of Architecture from VNIT, Nagpur.

She has worked in numerous urban planning projects in the United States and is currently working as Urban Planner in DUDBC. Her interests include urban research and regional development and she is keen to be involved in designing cities that are convenient, healthful and aesthetically pleasing.

Usha Sharma, completed her Diploma In Interior Designing from IEC, Bagbazaar in 2007 and is currently working as an Interior Designer at Aakar International, Battisputali. She is currently studying fine arts at Srijana College of Fine Arts, Lazimpat and is also a photography enthusiast. Her fascination is towards Art and Architecture.

Ashesh Rajbansh

Editor at Large

Siddhartha Lama

Editor Features

Ar. Swati Pujari

Editor Products Director - Editorial

Ar. Sushmita Ranjit Shrestha Sarosh Pradhan

Director - International Affairs

Rajesh Lal Joshi

Director - Business Dev. & Fin.

Lalit K. Pradhan

Business Dev. Consultant

Ashok Verma Birendra K. Agrawal Jyoti B. Shrestha Kripa Shrestha Roshan Lamichhane

Marketing /Correspondence

Kajal Pradhanang

Subscription/Marketing Ass.

Anish Shrestha

Contributing Art Editor Contributing Editors

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

Contributors

Accounts / Admin Int’l Correspondent Correspondent Photographers

Madan Chitrakar Ar. Chandani K.C. Usha Sharma Dipa Shrestha Ar. Bansri Pandey Ar. Kalpana Bhandari A. Rajbansh Pradip Ratna Tuladhar

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from the editor Time brings change – whether we like it or not and so is it with SPACES. With a new team in place, we continue bringing a glimpse of the visual reality and its debate, the spirit of the place in all it’s positivity as well wrinkles that we notice in our environment as well as beyond. We would like to start by thanking Uday Sundar for all his efforts as the editor for SPACES for developing it these past years – who leaves us now for new pastures and we wish him well. We also welcome all the new members in the team who bring in renewed energy with their respective experiences and look forward to their contribution positively for SPACES. This issue is an interesting blend of chaos, confusion and order our writers have observed, explored and put together. As Nepal continues with the political instability with the dissolution of the Constituent Assembly without a Constitution – our general visual environment reflects this confusion too. But surprisingly with the decay of existing corners of the cities, new interesting spaces seem to sprout up almost as regularly to catch our eye and bring it for focus.

Yet the rich pockets of cultural heritage – art, architecture and craft that we are blessed with continue to remain as a source of inspiration for the observant. The challenges for each of us remains whether you look at it from an internal or external perspective from your space – a search for a cohesive identity that reflects and binds us Nepalese together in each of our vocation. Sometimes the day-to-day experiences of survival within our cities – the roads or traffic, the river or the garbage, the power cuts or the fuel shortage is a microcosm of our reality which each of the featured local projects has struggled against and succeeded in their own many ways.

The reality of our deteriorating environment beyond the pages of SPACES remains a lull before the storm and we do hope that future articles will strive to bring in the awareness and be a medium for change. We should not give up as we begin untying these self-created knots – it just demands a lot more education, challenge and respect for each other as well as ourselves. As we learn and share this - we will then realize the richness that we still have and what we can build creatively.

Pegasus Children’s Project In Nepal is a commendable project featured – utilizing the need of the hour, turning bags of dirt into durable buildings.

Imagine if we could recycle, reuse some of the abundant disorganized garbage in our environment to build these shelters for the needy by employing local Nepali workers. With the Yala Mandala story in Kwalakhu - Swati continues to write incisive features on Adaptive reuse. The earthy Nepali textures and feel of this space is even more striking as you reflect upon the projects professional and sustainable business potential.

Finally the feature on Uniting Nepali Artists delves deeper into this creative contemporary chord that exists today. This is an important exercise on Unity not only from the creative viewpoint but the more profound message perhaps being for the larger good for the Country as a whole. .

United We Stand. Read on.

Sarosh Pradhan

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

Bagsof

Dirt

to Durable Buildings Text: Ar. Bansri Pandey

The technique of building walls by stacking bags of sand is not new. It has been used for military purposes and flood control since long because sandbags are easy to transport, fast to assemble, inexpensive and resistant to water as well as bullets. The novelty is in the idea of building houses or permanent structures with sandbags.

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

© CALEARTH INSTITUTE

It was an Iranian-born architect named Nader Khalili who popularized the notion of building permanent structures with bags filled with earthen materials. Inspired and convinced that the only way the world’s poor could ever afford a home was to build with earth and fire; Khalili closed his offices in Los Angeles and Tehran at the height of a successful career in 1975 to set out on a motorcycle trip into the deserts of Iran. He spent five years studying the traditional desert earth architecture, ceramic houses and master masons with the ancient art of the potters.

In 1984, he was invited by NASA in their first lunar habitat symposium to brainstorm ways to build shelters on the moon. Here, he presented a concept to create domes by stacking bags filled with lunar dirt, just the way a potter coils a pot. Later, he further refined and patented his idea to create more permanent, shock resistant structures on earth. He filled polypropylene bags with on-site earth and arranged in layers with strands of barbed wire placed between them to act as mortar and reinforcement. These prototypes known as ‘Super-adobe domes’ were built at California Institute of Earth and Architecture (Cal-Earth) which was founded by Khalili in 1991. In 1993, live-load tests to simulate seismic, snow and wind loads were performed on a number of domed earth-bag structures at Calearth and these exceeded code requirements by 200%, which proved Super-adobe technology (sandbags with barbed wire) safe for human habitation. Khalili’s sustainable solutions to human shelter have been published by NASA, awarded by United Nations and the Aga khan award for architecture.

BAGS USED FOR CONSTRUCTION Material research on the bags has shown that the majority of existing bags of both natural and synthetic materials can be used. Although, natural woven jute bags are not recommended as they use toxic chemical preservatives, instead polypropylene bags are widely used for permanent construction. To protect these bags from the effects of sun and erosion, the earth-bag house is plastered with materials such as mud, cement spacesnepal.com

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May - June 2012

or a combination of clay, sand and lime. There are many types of materials which these bags can be filled with.

By filling the bags from the land and reinforcing it with galvanized barbed wire, almost any earth can be used.

Apart from earth, any non-toxic material which is inert and dense enough to not compress when stacked up, is good for filling the bags. Crushed volcanic stone, rice hull, vermiculite, clay, gravel are some of the other materials which have been used.

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

HOW TO BUILD THE EARTH-BAG BUILDING? “Every man and woman should be able to build a home for their family using the earth under their feet, integrating some features of modern technology to make their homes resistant to fire, flood, earthquake, hurricane, and other natural disasters.” says Nader Kahlili.

It has been observed that one person familiar with the basics of earth-bag building system can easily train others to assist the execution. This makes the process more affordable and feasible even in remote areas.

Following is a brief outline of its construction process:

RUBBLE TRENCH FOUNDATIONS: It is important to create a rubble trench foundation for the dome as it helps keep moisture from penetrating into the bag wall. The trench shall be filled with rocks, gravel or concrete debris. The first layer of bags can either be placed at ground level or slightly below ground level, in the trench.

STACKING EARTH-BAGS: Bags should be filled on-site before they are placed.

As bags are filled, their open ends can be sewed with string, but sewing can be avoided by folding the corners of the open end and placing the bag tightly against the sealed end of the adjoining bag. Using the trench as guide, the first row of bags shall be placed over the rubble. Once a course of bag is placed, it should be thoroughly tamped to make the fill material as compact as possible.

© CALEARTH INSTITUTE

One simple method of anchoring a door frame is to place a piece of threaded rod between the bags, a chunk of wood fastened with a washer and nut at the other end. Then the door frame can be attached to the other end and tightened against the wall. Once the frame is fixed, the excess threaded rod can be cut away.

The bags are gradually stepped in to building the dome. While working on the conical top of the dome, one can actually climb around on the outside like you would on a small mountain. As you close in at the top of the dome, it becomes important to angle the folded end of the bag to adapt to the angle of the circular course. This can be easily achieved by arranging the contents of the bag to make the angled shape.

© CALEARTH INSTITUTE

ANCHORING A DOOR FRAME:

COMPLETING THE DOME:

© CALEARTH INSTITUTE

As the courses proceed, the two strands of 4-point galvanized barbed wire should be spaced about 4” inside from the edges of the bag. The barbed wire helps lock the bags as well as resists the tendency of the wall to expand outward because of the weight above. The wire shall be placed between every course as the wall goes up. To make stronger connections, courses shall be laid in a brick-like pattern (running bond) as the wall goes up.

© CALEARTH INSTITUTE

Similarly, standard culvert couplers can be used as window supports as they are inexpensive and available in most parts of the world. It is easy to set the couplers wherever you want, and just stack the bags around them.

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

APPLYING PLASTER: Once all the bag work is complete, the structure shall be plastered as soon as possible to avoid prolonged exposure to the sun. Mud plasters are most commonly used on earth-bag structures, but lime and cement plasters may also be used if you place a mesh over the bags to hold it in place. A final color coat can be applied by painting the plaster.

waterproofing the homes in heavy rain locations, the system seems to lack a foolproof method. Experiments suggest that covering the structure with cement-rich stucco will do much work. But in rural areas, the cost will be a major hindrance to this method. In some shelters, the structures were covered with plastic sheeting and then plastered with mud. This, if required, can further be painted with roof sealer to increase the resistance to water.

MERITS AND LIMITS: Earth-bag building technology is as much accepted as it has been doubted. Despite the structural testing conducted on earth-bag homes and various prototypes built across the world, the local building codes do not yet support them making it difficult for the home owner. Being an unfamiliar alternative construction method, many banks are not ready to extend financial assistance to the builder. Still, even if a bank and the local building officer agree, there might be other difficulties.

To remain structurally sound, these homes are engineered to be small. Bigger structures can be accomplished by building a series of interconnected domes, or by extending underground.

Grain bags and barbed wire are available throughout most of the world or can be imported for a fraction of cost. Filling earth can be taken from the site itself or can be brought at the cost of transportation from a nearby source. Some countries have advantage of mechanized gravel yard that produce vast quantities of rejected fine gravels, which can be purchased for a cheap price. The ease of construction also reduces the skilled labor required for the work. The cost of the covering plaster is a critical aspect, where one needs to carefully choose the method and material of plastering. The plastering method can either boost or save cost of your shelter.

Š CALEARTH INSTITUTE

One of the oldest uses of earth-bags is in the control of devastating floods. This fact has been well exploited in various examples to make small pond structures using earth-bag building system (bags + barbed wire). But when it comes to

Cool in summer and warm in winter, earth-bag homes win over the contemporary way of construction in the level of comfort and thermal insulation they provide. Another succeeding factor is the ‘do-it-yourself’ methodology and easy availability of materials that make this technology very cost effective.

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

Nader Khalili’s innovative earth-bag building technology has also made marks on the beautiful hills of Nepal.

Pegasus is a charity for creating loving and ecologically sustainable environment for disadvantaged children around the world. In 2001, Angela McCarty and her son Simon visited Nepal and were touched by the condition of street children. Simon returned to UK, raised funds and started the Pegasus project at Raitar near Kathmandu in 2006. The project included shelters for 80 children 10 staff and a small school. Simon and his team chose Cal Earth’s super adobe building method as they saw it as a good option for the community as it used earth and very little wood.

© BANSRI PANDEY

PEGASUS CHILDREN’S PROJECT IN NEPAL

During its construction, more than 100 local Nepali workers were employed. This project has been an example showing how local unskilled people can bring together few bags of dirt and make durable building for themselves. 

© BANSRI PANDEY

In July 2007, most of the buildings were completed and in August, the children moved into their new Eco-homes. This unusual shelter is getting very popular with the children as it keeps them cool in summer, warm in winter and of course they are so much fun!

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

IN THE MIST OF

Alpine

Architecture a rendezvous with Christian Müller

Text: Ar Kalpana Bhandari Photo Courtesy: Christian Müller

ALPINE ARCHITECTURE INVOLVES “THE CREATION OF AN INCREDIBLY WELL STRUCTURED UNIVERSE ... WHOSE DRIVE TOWARDS BUILDING A NEW NOTION OF BEAUTY ALLOWS HIM TO EXPLORE ALMOST BOUNDLESS TERRITORIES” – ARCHITECT BRUNO TAUT

The word Alpine is derived from the Alps. Alpine Architecture is the architectural practice in regions at an altitude ranging from 2000m to 3000m above sea level, and is prominent in Europe, mostly in Austria, Slovenia, Italy, Switzerland, Germany, and France.

49, was born in Switzerland. He received his degree in architecture from ETH Zurich and founded Christian Müller Architects in 1999. Currently he operates in The Netherlands as well as Switzerland.

Müller has been residing in The Netherlands since 1993.

The most challenging feature of Alpine areas, or Alpine architecture, is the harsh climate and sparse intractable landscapes, which require a durable and functional design rather than an artistic expression. However, for a sustainable Alpine architecture, it requires utilitas, fermitas and venustas.

The success of Alpine architecture depends on functioning recreational centers, ease in accessibility, and high on facilities. Typically, this incorporates the usage of locally available materials, like wood and stone, and local manpower.

Müller contemplates that each building site demands its individual design and peculiar construction process. Therefore, it is difficult to generalize Alpine architecture. Tough in every country the architect takes utmost responsibility for his creation, the results may vary a lot depending the country. Adding that the success of each project also depends on the craftsmanship he stresses how contextual architecture is reflected in any particular project. He is enthralled by the omnipresence of architect as a planner, as a designer, as a financial consultant, and as a marketing advisor. Müller also believes that each project should give its core team of contributors - client, designer and advisors - freedom in experimenting new methods and

Christian Müller is an architect pursuing the evolution of Alpine architecture that incorporates functionality and durability along with comfort and aesthetics. Müller,

building design innovations. “I am not into signature. I am fascinated by individual demand of each project, its process and the result”.

Müller believes that Alpine architecture should work in close alliance with sustainability. And if it doesn’t, then architecture becomes less significant. He explains that in tourism and hospitality business, especially in Alpine regions, the inhabitants and the site should respond to sustainability. He works to make a project with mutual interaction and understanding with local people, interested in exchange that, as a whole, is an aspect of functioning hospitality and tourism industry.

Furthermore, only sustainability can promote tourism which is a basis of income and development of rural areas, especially in high altitudes.

Müller has over 20 projects in Switzerland, Germany and The Netherlands like Holiday Villa Vals, Pearls of Oisterwijk, Holiday Park, etc.

Some of Müller’s projects on Alpine architecture in hospitality sector are illustrated below.

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

 Villa Vals embedded in its landscape in Summer 

Villa Vals in Winter

VILLA VALS, SWITZERLAND “Each project is unique, each process different, each solution provided reflects the style appropriate to the challenge set.”Villa Vals Holiday Villa Vals in Vals, Switzerland, is joint venture of SeARCH and Christian Müller Architects. Designed by Bjarne Mastenbroek and Christian Müller, the villa is ideally located in renowned Swiss village hosting a world famous thermal spa designed by architect Peter Zumthor. Exhibiting less residential characteristics as well as belonging to its surrounding yet not dominating it were the demands of its developers.

A side of the hill was excavated 36 feet deep and reinforced concrete retaining wall was constructed.

A concave aperture was given to the façade of the site with a box spacesnepal.com

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of 52 feet width and 26 feet depth for the building. A two-and-a-half storey building was aimed at the site. The ground floor had common spaces and a bedroom opening to the patio. The rooms on the first floor were planned on split levels accessed through a long corridor, exhibiting its unique cloistered apartment character. The intention of remaining concealed yet accentuating was to keep the panoramic view of narrow mount valley and the neighborhood undisturbed by construction.

Even though Villa Vals is less resembling to contemporary practice, it embraces local building techniques, materials, and craftsmanship. The façade as well as the interior of the building uses stones recovered from the site. Besides, in compliance to the characteristic of Alpine architecture, a simple barn (made of wood and stone) existing in the site was incorporated in the design. A 72 feet long tunnel was

May - June 2012

excavated ascending from the barn to the concave aperture of site.

The walls of the building are insulated from the ground, thus avoiding the moisture and dampness of land. With an aim of minimum dependence in artificial means of energy, sustainable mechanical systems, such as a ground-source heat pump, heat exchanger, and radiant floors have been incorporated in design. The house also uses hydroelectric power generated at the nearby Zervreila Water Dam. Villa Vals has received a number of recognitions, like Wallpaper* Design Awards 2011 “Best New Private House”, London Winner ‘Green Good Design Award’, The Chicago Athenaeum, Chicago. Some of notable publications of Villa Vals include AD Architectural Digest, March 2010 , Moscow, Architectural Record, 4/2010, New York, GRAND DESIGNS, May 2010, Epping, UK, and many more.

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

The block aligned along the trees without interfering them.

These blocks are horizontally running parallel to ground

HOLIDAY PARK, GERMANY Designed by Christian Müller Architects and Krill Architecture, the master plan is spread in an area of 14 hectares. Since the site had a forest, it was but natural to keep the essence of nature whilst exhibiting the contemporary and luxurious living. This Holiday Park is aimed to be sustainable by combining buildings with nature rather than contemporary holiday parks that serve as suburbs. Aimed to host 145 houses in the area, the design proposes holiday houses, swimming pool, spa facilities and health centers.

It is in the best interest of alpine architecture practice to promote the nature rather than modify it. The houses, therefore, are designed as boxes that seem to pop out from the slopes in land and run horizontally along the adjacent tree or landscape.

These houses are designed in a prefabricated modular system that has minimum impact on the environment. With this idea, the central facilities like a swimming pool, spa facilities and a health centre are buried into the hills. Other activities include wood chopping, mountain biking, hiking, canoeing and many other outdoor events.

Christian Müller has also been a name associated with many awards like ‘GREEN GOOD DESIGN’ Award in Chicago, Dublin, Athens in 2010, Nomination for ‘Swiss Art Awards’, in Best Architect category in 2003, Top Talent by Wallpaper in 2001, ‘Bathroom Design Award’, Category, Utrecht in 1998, iF Product Design Award, Hannover, 1998, etc. Besides the honors and awards, Müller also actively participates in teaching and academics as a Lecturer and in panel discussion at Cairo

University, Faculty of Engineering, Egypt, in 2011, as a Critic in final reviews at Berlage Institute in 2010, as a Lecturer at Chandigarh College of Architecture in 2009 and ArtEZ Academy in 2007, as a Guest critic at Delft University of Technology in 2001, and as a Lecturer at renowned Harvard University Graduate School of Design in 1994, etc.

Where the concept the skyscrapers may seem a long wait for the future for Nepal, the use of indigenous materials and local architecture prevails significantly.

The Alpine architecture has similar characteristics to architecture of Himalayan regions in Nepal. Both the places are rural, in high altitudes of their respective countries and have limited resources but great potential for promising projects. Both practices and success of architecture in these places greatly depend on their functioning and both incorporate the usage of local resources, building materials, construction technology, and traditional (building) facilities.

Müller further adds that the professionals need to work with same approach in both places to achieve specific desired results.

Therefore, the works of Christian Müller can be inspiring for Nepalese tourism projects and developments in terms of design, management and promotion.

Architecture is a response to the environment. If it fails to preserve essence of nature then despite the aesthetics or luxury it beholds, it fails.

Architecture is bound to sustain with nature and, therefore, a functioning sustainable architectural practice is both the responsibility and the demand of time. 

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REFERENCES: Müller, Christian, Personal Interview, Kathmandu, May 18 2012 www.christian-muller.com www.archrecord.construction.com

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I N T E R I O R

The Fresh White

Splashes of Water,

DURAVIT Text: Ar. Sushmita Shrestha-Ranjit

The integrated space of the showroom that connects client with presentation; a friendly ambience that does more than just selling a product.

As you enter the Duravit showroom and walk along, you get charmed by the products.

The untouched scene of purity, the unobstructed transparency showcasing the crisp and elegant products reflect the finesse of 200 years of experience of Duravit, the sanitary-ware on display at Tripureshwor, Kathmandu.

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Official represented by C Plus Pvt. Ltd, the showroom with array of Duravit sanitary wares was launched in 2011.

The concept of selling products by a real size display and not by catalogues makes the showroom unique and resourceful. The overall layout has been worked out by the in-house designers from the headquarters of Duravit at Hornberg, Germany. Their concept of working on the layout of the showroom seems very particular and thoughtful. Meanwhile, the composition of different series of sanitary ware in each section (refer the layout drawing*) has the unobstructed and clear visual settings to focus more on the product and hence not distracted by other features inside the showroom. The main idea being to highlight the product efficiently, all the background is made up of ply board and finished with somber white shades of color. While the bronze tile flooring uplifts the light color partition walls giving a solid and integrated base for a uniform walking space. The layout is also Dimensions displayed for the product makes it convenient for the clients to interpret and relate to what they actually require for their home. This concept depicts the strength of the product to make it more practical and user friendly.

Also, the basin bowls displayed in a row defines simplicity, yet quite sophisticated to Nepalese context. spacesnepal.com

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The layout of the showroom provided by the in-house designers from Duravit, at Hornberg, Germany.

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Composed is the combination of a water closet and a wash basin with a vanity unit designed for Duravit by Philippe Starck in 1994. A primitive washing bowl, bucket, hand pump and a nail are the inspirational forms for the designer to come up with this bold style called as ‘Starck Barrel’. This is one of the best-selling items of bathroom furniture and is also being used in luxury skyscraper well known as Burj Khalifa.

With an average price range and an excellent value for money, this simple D-Code series combination can satisfy the need of a perfect bathroom interior blending with any desirable surroundings.

well coordinated with ample natural light and efficient artificial lighting, which intensifies the charm of the display are. This gives a comfortable ambience for clients to spend at least some couple of time on each section to understand with much convenience and hence persuading them for a right buying instinct. Moreover, this sober ambience gives an explicit corporate image to exhibit concept, style, their growth and popularity. Since 2011, the showroom has had many events, where the clients come and conveniently explore, interact and understand the trend of a living bathroom.

All the products in display have been categorized and grouped according to its designers from different periods of time. But in common, all sanitary wares are crafted in white shades of colorprobably the master color dedicated to this century old brand name. And to make these display in a foreground, standing out as white as it can reflect, the wall in the background gets recessed with much dimmer shades of white. Well, the stage and the performer in perfect balance of display! Duravit has some famous names like Lord Norman Foster, Philippe Starck, Sergei Tchoban, Sieger Design, Phoenix Design, Matteo Thun, Herbert Schultes, Frank Huster, Eoos, Christian Werner and Andreas Struppler as designers who have indulged in various series of product, ranging from ceramic sanitary wares, to solid wood bathroom storage furniture all having the common theme of “minimalist realism and clarity .” Ranging from quite an affordable price, similar to other available brands in Kathmandu, to as expensive and exclusive as high –tech- fully digital and water proof accessories, the showroom is inclusive and spacesnepal.com

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affordable in different ranges. Also, add on to the presentation of products in the showroom, it makes this brand amicable to everyone who drops in whether you buy it or not!

BACKGRODUND: Duravit Company carries its credibility from 1817 AD providing facility of earthenware crockery to porcelain products to bathroom furniture and accessories to special products like mirror wall, sauna, pools, and multifunctional corner shower to special feature of bathtubs with water inlet from the base to sustainable system like dry urinal. All in one, this brand blends creativity with functionality and is a company that has created history on bathroom furnishing.

This company has diversified factories and showrooms all around the world. One of them that stand proof is at Tripureshwor, the busiest commercial hub in Kathmandu city. This brand has set a new definition for the relation of man with water; breaking boundaries from just a necessity to hygiene to unconditional luxury.  ACKNOWLEDGEMENT: • Mr. Prashant Agrawal, Chief Operative Officer, C Plus Pvt. Ltd. • Ms. Anita Maharjan, Staff, C Plus Pvt. Ltd. • Mr. Nagendra Bhattarai, Showroom Manager, C Plus Pvt. Ltd.

1. http://www.duravit.com

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Renovation for Adaptive Reuse II

yala mandala KWALAKHU

Text: Ar. Swati Pujari

Kwalakhu, a place with a history of its own, is a residential settlement in Patan, less than 500 meters NorthWest of the Patan Durbar Square. Surrounded by monuments like the Hiranya Varna Mahabihar (Golden Temple), Bangalamukhi and Kumbheshwor temples, Swotha Narayan Temple and the Palace complex of ancient Lalitpur, Kwalakhu is a charming neighbourhood, a melting pot, of different crafts, cultures and architecture within the realms of traditional Newari art and lifestyle.

The Rajbhandari House, a residence, a cafe, a gallery, and at one point in time a local school.

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Acquiring, Preserving, Designing and Manufacturing - the products at Yala Art Gallery May - June 2012

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Folklore suggests that the neighbourhood has been a historically significant location since the Kirat times and a majestic Peepal tree (Ficus religiosa or Sacred Fig) in the area is often cited as the remains from the prehistoric Kitati era. Such speculations, although not proven, have been verbally transmitted in stories from generation to generation adding to the charm and mystery of the place. The historicity of the place is further heightened by stories from the Rana times when the Rajbhandaris of Kwalakhu were known to have business relations with the then reigning Ranas. As such the architecture of the area seems to have influences from all surviving time periods, as early as the ‘brick on mud mortar’ Malla architecture to the lime plastered Rana style and the cement concrete structures of the present times.

NEIGHBOURHOOD AND THE ‘RAJBHANDARI HOUSE’: A walk around Kwalakhu brings you face to face with residents of different cultural backgrounds, within the Newar community.

Incidentally it also brings you close to different

Display at the ground floor gallery of Yala

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traditional professions, which included trade and to a very large extend art. Even today, majority of the shops in the neighbourhood display metal sculptures and fabrics including Pashmina along with Nepali paper products.

It is befitting that this neighbourhood now houses Yala Mandala - a conglomeration of art, history and culture of all of Nepal. Yala Mandala Pvt. Ltd. is an art gallery that collects, designs, and manufactures and preserves pieces that are exclusive to the Nepali ways in terms of

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Recently maintained section of Yala waiting for its adornment by the products.

clothing, accessories, art, architecture and furniture and lifestyle products.

A play of light, material and energy at the top floor of the gallery. This space is frequently used for hosting traditional musical performances.

The building housing Yala is named the ‘Rajbhandari House’ after the family name of its original owners. Originally the building was a residence, but it also housed a local school at one point in history. In 2006 a section of the building was opened, after renovation by UNESCO, as the ‘Kwalakhu Cafe’. Today the cafe is housed in an inner section and a part of the building is converted to Yala Mandala Art Gallery. Tracing the history of the building itself, it seems these quarters have adapted and transformed themselves as per the need of the time and place. Transformation - a key for the survival of many heritage homes through history is the essence of this place. A section of another building in the same courtyard has recently been renovated to be transformed into the offices of Yala.

Visually the buildings housing the gallery and the offices are similar to their original counterparts but parts of the interiors have been modified as per the needs of the function. Some of these spaces are opened up longitudinally with areas flowing into one another.

The internal surfaces and spaces have been designed using traditional inspired finishes, furnishing and furniture ranging from jute mat flooring to low-height seating and timber furniture.

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than renovated. All external elements including the exposed brick wall and the carved timber windows are simply cleaned and re-finished with a fresh layer of linseed oil. Internal surfaces too have been simply cleaned and re-finished with either jute mat or mud flooring and a fresh coat of wall paint.

Interestingly the renovation of the building is not supervised by any professional designer or conservationist. The artisans, who have been trained through generations in their respective fields and who work with Yala, were given control over the respective details. The outcome is a product of their hands-on training and years of experience. The maintenance and preservation of all elements in the building is done in traditional techniques, depending on the traditional know how of this generation of artisans. And the intervention is so minimal that no extensive construction is done in any part of this building, all spaces have been adapted rather than redesigned.

The top floor of Yala Art Gallery adorned by the products of Yala, not only as display but also as a part of the very space.

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An array of products of Yala, ranging from metal utensils to buttons and jewelry.

“RENOVATION IS NOT A PROJECT, IT IS A LIFESTYLE” - MR. PRABIN CHITRAKAR, YALA For centuries, building and building maintenance has not been about hiring professional help, it was always an endeavour of the community and the family.

Of course the international norms of conservation are better followed by a conservationist and perhaps the end result is also better, but conserving a building one has been living at should not be a farfetched and unaffordable task. There was a time when the ‘sikarmi’ (carpenter) living around the corner would be called upon to fix a staircase, when everyone knew how to clean their jhingati roofs and how to polish their telia floors. Today this knowhow

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is diminishing, with the lack of people who are aware of such technologies; hence it is important to promote the artisans who still have the traditional knowledge by promoting the lifestyle of renovation and adaptive reuse.

“The people who work in these traditional arts do not realize their own capacity, yet they are the ones who are realizing these visions and who actually make it happen”, adds Mr. Chitrakar. The idea behind the renovation of the office buildings at Kwalakhu is the resurrection of this traditional technology without the intervention of any foreign knowledge or the influence of a

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school of design. It is not only by visiting a museum that the general public can learn of the splendours of this place, at Yala the visitors can feels the space around them and hopefully can get inspired to adapt these ideas into their own homes.

Even with all the potential social benefits of the endeavours at Yala, it is important to note that these actions are not only for a social cause, there is a professional, promotional and business aspect to this place and all that is done here.

The highlight is that the place and the people have realized a way that will cause promotion as well as preservation.

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Yala Art Gallery - a view from the inner courtyard

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Top floor of the newly renovated building which will house the offices of Yala. This space is finished with mud wall plaster, flooring and telia tiles flooring.

Fabrics of the finest quality, hand crafted in Nepal.

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YALA With a tag line of ‘creativity in every sphere’, Yala strives to provide and inspire just that - creativity in every sphere. Yala Mandala designs, develops and manufactures products and services that are inspired by the local community and their trade skills. The products at Yala include jewellery, natural buttons, paper products, knitwear, clothing and accessories, natural rugs, candles, bath and beauty products, paintings, furniture and furnishing, artefacts and collectables. All products of Yala are handcrafted in Nepal. The gallery, at the ‘Rajbhandari House’ is a fusion of art, craft, tradition and architecture which presents the unique yet traditional products of Yala in a jovial atmosphere of a traditional mud and timber based building.

Yala also promotes local and traditional art by hosting events

dedicated to and presenting the local music, food etc. Heritage is not limited to its tangible products, every aspect of this tradition, from the art to the rituals and the beliefs should be experienced. So at Yala, it is not only the products but the atmosphere and the energy of the place that one can experience, especially during these events and during the sessions of music therapy and cooking classes. No aspect of the tradition is compromised for the benefit of the visitor, instead the visitor blends in the experience and perceives as per their comfort.

‘Renovation for Adaptive Reuse’ is an initiative of SPACES to feature buildings and spaces that have been renovated or rather reused inserting new activities and hence new life into places that at one point seemed to have served their purpose. The Rajbhandari House with its history of transformation and adaptation, and its current occupancy promoting the art and craft of Nepal, is a splendid example of what can be achieved, even with minimal intervention. A space that is quite, calm, well lighted, well ventilated, thermally comfortable and reminiscing the past of the rich Nepali culture, the quarters of Yala

Another initiative at Yala is the promotion of traditional architecture by preserving and renovating abandoned or neglected buildings and inserting activities in such spaces, starting from their own office space opposite to the gallery.  May - June 2012

showcase all that is beautiful about Nepal and also inspire people to create beauty incessantly.

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Emerging New Faces

Enriching Nepali

Painting Text: Madan Chitrakar

A true work of Art, irrespective of where it is created, has always been a resultant by-product of mental exercise of a set of people with creative impulses - we call them ‘the artists.’ As a state of mind of any human being in general but more specifically of an artist, always remains on a move, an ‘Art’ therefore, with no exceptions, should always reflect that state of vibrancy. A viewer must be able to share the dynamic experience of the concerned artist. If someone denies it he or she is either an absolute ignoramus or the person is in no way can be described as an artist - a mere copy cat - always seeking to emulate others.

In the modern Nepali Painting, critically speaking, precisely this state of vibrancy and dynamism has had been missing for a reasonable length of time.

Instead, Nepali Painting has had remained, as if in a pool of stagnation – characterized by recurring imageries described as art - manipulated here and there: and always driven by an extreme display of obnoxious vested self- interests. But it is the ‘Art of Painting’ that suffered ultimately during this period - in terms of nobility and creativity.

And this is what precisely needed in a modern creative exercise.

ARRIVAL OF A FRESH NEW GENERATION Luckily for Nepali Art, presently the things seemed to be changing for better, thanks to the arrival of fresh new generation of artists - entirely a new set of faces. They are almost ‘the fresh’ from their respective academic institutions. If one is to follow critically the trails this young generation has traversed so far, it has given a good lot of reasons of a better hope. Apparently, this generation in addition to the needed academic exposures, is full of enthusiasm spacesnepal.com

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and above all, a right attitude to explore and create anew. And in the process, they’ve revealed an impressive array of diversity in thoughts and forms – good enough to describe as vibrant and dynamic. More amazing is their appetite to explore in diverse ways and express it in newer visuals: and indeed this new phenomenon has given a new dimension in Nepali Painting. And in the following lines, efforts are made to describe some of the emerging features of this new generation - with the help of selected

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representative four emerging artists Bijaya Maharjan, Hitman Gurung, Sagar Manandhar and Sushma Shakya with some of their representative works.

SPECTRUM OF DIVERSE THOUGHTS AND EXPRESSIONS The choices of the artists made here are based on the unique nature of respective individual thoughts and the diversity in the visuals they’ve created than anything else. True that each of them has independent thoughts behind his or her

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forms expressed, a commonality what bind every one of them is the genuine will and appetite to sincerely engage in explorations - before coming into a canvas. And it resulted in the expressions – clearly reflecting the abilities to transfer what they believed in. This made the difference and thus their works remain more consequential in the crowd. The spectrum of thoughts varied so wide while Bijay’s desire to go deeper into the forms created out of the nooks and the corners found in the formation of earlier Kathmandu architecture to Sagar’s quest for loftier musings like the meanings and the elements that make a human life. And to express such abstract thoughts visually and effectively, it needs a good amount of confidence technically and a good lot of thinking.

AN INTEREST IN ARCHITECTURAL ABSTRACTION So while commenting on the individual works, let’s begin with Bijaya’s love and fascination for unusually simple yet mysterious forms created out of the medieval architecture. Bijaya’s honest quest to find abstractions in it is obvious

in his works. Bijaya’s recent series revealoften there are usually two color contrast mass of two color huge forms seeking to converge - but always remain parallel. The smaller nooks and corners protruding out of nowhere are the additional mysterious elements. To a lay observer, it may look and mean little - a very common form, apparently with no good reasons and meaning behind this strange composition.

But to enjoy these simple yet mysterious compositions, one really needs to listen to its demystifying notes.

As said earlier, are only two or three flat masses of colors as the central and the only elements. And in between lays narrow strip of white. And let’s compare it his earlier pencil sketch- depicting a rural lane. Here, one would find an open street is flanked by two shaded areas of row of houses. And when this play of chiaroscuro remained the source of Bijaya’s inspiration, it led him to the abstractions - one would find the flat forms appearing in his later modern compositions. And it also explains the weird sticks like coming out of the flat shapes or shaded roof-eaves. But to reach that understanding, Bijay’s explorations in

between, has remained long and sincere.

It is in this background one would notice a rich sense of color and forms needed in an abstract work.

A VISIBLE DISPLAY OF HUMAN MIND AND THE BODY And an entirely a different topic is chosen to explore by Hitman Gurung. In the annals of art, human forms remain one of the most explored forms - explored by many artists- since the time immemorial.

Yet one is never seemed to tire looking in it. Artists continued to express human forms to newer forms in every passing day. Hitman is one of the latest to attempt in it. His works chosen to describe here depicts multiple self-portrayals or a self with multiple hands (see g). A simple and a cursory glance, would not narrate much.

The composition consists of minimum of the elements. Primary elements are provided three dimensional effects by monochromic light and shadow in a flat background. Yet a viewer is drawn to it and is provoked right deep down: and keeps him or her engaged for no good reasons. Why? The fact is that the imageries have remained an outright

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Mr. mouse is strong and everywhere... medium: Acrylic on canvas From left: Second piece collection- Investment Bank, Third piece collection- Maureen Drdak

reflection of the series of psychedelic experience the artist would like share with the viewers. And to attain that state of compelling dialogue with the viewers, let’s not forget - Hitman’s journey may have had been through the various stages of human emotion and experiences.

And it has provided him a lot of needed inputs to create a live experience. ‘My Mouse is Strong and is Everywhere’ is a unique example. The work reflects those stages of experiences stated in the earlier lines. To transfer those feelings in a canvas, what is needed at this stage is the technical language- Hitman is well familiar with. Technically, in Hitman’s works, the inspirations he has drawn from the contemporary style of expressions – prevailing in China today is hard to miss.

But there should be no reasons to have qualms about it so long as the expressions remain strong and is able to create impacts. And Hitman has indeed proven successful – with his strong visual narrative.

Various moods and different expressions of the people are captured in non representative forms. Among the five elements : Earth, Air, Sky, Fire and Water various people have their own definition and interpretation. Some may feel Fire as stronger elements and some may feel air is a vital elements. So these mixed approach of the people are gathered here. These twelve panel dipicts the group of society and each panel interpret the multiple importance of the elemets.

But they are linked to each other. The universe is the synthesis of these elements.

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PHILOSOPHICAL MUSINGS OF UNIVERSE AND EXISTENCE Next example of this generation is Sagar Manandhar. Until the recent past, his imageries were observed as abstractions rooted in the architectural contents. And it had given a display of a set trend – to follow a ‘natural flow of spontaneity’. And as we see now, Sagar seemed to have soared to a newer plane – seeking to express from an entirely a new angle. He is here now to interpret the meaning of our very existence. Or in other words, he tries to share and convince a viewer

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Tilte: Chaitya Medium: Acrylic on paper Size: 54 x 75 cm Date: 2006

to accept his interpretations or the ways – expressed in bold, bright and simple geometric forms – reminding the iconic works of Indian master H.S.Raza.

Sagar’s rapid journey to an entirely a new imageries, vindicates our earlier arguments – a creative person do need to be dynamic.

Sagar’s works cited as examples are ‘Tatva’ – the Elements and it is based on what he describes as the basis of existence of the universe or a human life as described in sub-continental or in Chinese philosophy. To narrate it, his choices of forms are different hues of colors in mini-compartments- replete with spontaneous free forms. Although the artist likes to describe the forms as nonrepresentative, his compositions do stay as a metaphor what he describes. And it conveys a strange message – seeking to mesmerize with the sweet color scheme.

REDEFINING NATIVE FORMS An entirely a new thinking has inspired Sushma Shakya to explore in her paintings.

She remains our concluding example of new generation with a will to explore differently. In Sushma’s works, it is obvious her interests converged on ancient motifs found in earlier architectural objects- like stone water spouts. She re-envisioned her own forms over it and presented before the viewers. In other words, she re-visualized so that a viewer can share and re-imagine as she did in her paintings.

To make her point, she has chosen a set of motifs including the water ripples and the

floral waves: and she seeks to captivate the viewer to stay for some time with her newfound embellishments.

DIVERSITY ENRICHES ART From the four selected examples cited here it is hoped, a reader would have a general idea how the Nepali Painting is being shaped today. And it should also be obvious now how an important role is being played by the younger artists backed with the diverse in thoughts and forms - in making a new history. Unlike in the past when artists are usually stuck in one’s signature style for ages, the newer generation has a will to explore constantly and come out of stagnant or stale forms immediately when they realize it is time to do so. Like argued earlier, in absence of that will to create differently, the amount of satisfaction we have now from this generation would not have been possible.

Moreover, what is more satisfying to note that younger generation, in addition to being academically sound, also remains equally aware of a need to keep abreast with the latest and prevailing flow of forms and trends elsewhere. No need to add that they therefore, are also well familiar with the post-modernists ways of expressions. Whenever possible they’ve well demonstrated they are capable of creating accordingly. This attitude does helps to enrich Nepali Art in the long run.

An interesting example is provided by an impressive work of Bijaya Maharjan - in the form of an installation work- titled ‘Door’. Here Bijaya has painted the door in the most realistic way possible in a wall of his work-place but added it with real stone slabs and ancient locks as supporting elements - so that a viewer can experience a live and a unique experience of travelling behind the time. 

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The artist at the job, taking the initial picture

UNITING

NEPALI ARTISTS Text: Usha Sharma

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Veteran artist Madan Chitrakar and his interpretation of himself.

Antonio Nodar , a Spanish photographer with his project …from portrait to self portrait ,The Nepal Album arrived at the valley in Jan 10, 2012.His arrival eventually brought together more than 300 contemporary Nepali artist on same platform through the presentation of the project which inaugurated at the Kathmandu Contemporary Art Centre(KCAC) gallery at Patan Museum on Wednesday ,March 28.The presentation included works of contemporary painters,sculptors,traditional artists,cartoonists,fashion designer, illustrator, mithila artists and other genre of artists from across Nepal.Most of the participants of the project claim that this exhibition is one of its kind for the Nepali Art Community.

Antonio Nodar was born in1954 in Spain and is currently based in London. He worked in theatres for 15 years.It was in the 1980s when he started his career as a photographer for local press and newspapers.’’Photography comes up naturally and it started without any purpose”he replies when asked why he shifted from theatres to photography.The photographer has no formal training and says that he learnt photography from people who knew photography.

The acclaimed project…from portrait to self portrait…began in 1996 with the participation of three European artists.”There was never any plan behind this project.It just happened”says the photographer.People appreciated the

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unique idea and gradually it developes into being an entrepreneur. The first project included 97 artists from Spain.The first exhibition was held in 1997 in Barcelona which won the art critics award for”Best Gallery Exhibition”that year. The photographer takes portraits of artists, gives them a black and white copy as canvas and the artists create their self portraits. The presentation and medium of the self portraits depend on how the artists want to express themselves. The original portraits taken by the photographer and the self portraits made by the artists are always displayed together.

Antonio launched Vol I of …portrait to self portrait..in 2011 with the diptychs of artists he worked with in Eurpe.

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The project was introduced to the Nepali art enthusiasts with the help of The Elsa Peretti Foundation and Kathmandu Contemporary Arts Centre (KCAC).Celia Washington who is the founder director at KCAC initiated the idea of bringing the project to Nepal.”I like interacting with the people , so I am here.

I don’t choose people they choose me”, the Spanish photoghrapher replies when asked how the project started .He further continues “People select me and I just go with the flow”.

Antonio has photographed over 300 Nepali artists during his 6 weeks stay at Nepal.”time and numbers don’t exist for me .Its the moment in the project that really matters”he comments on how the artists were selected.

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The number of the artists for the project were never finalized and there was no selection made.It was an ongoing process and the photographer appreciated every artists approach to the project.His passion for the project and love for people guided him to accomplish the project.”the whole project was intensive and dynamic.i photographed a few artists as soon as I arrived Kathmandu and we were receving works from artists until the last minutes of the final presentation”Antonio shares his experience.

Antonio and the success of the project proved to be a catalyst for bringing almost every art fraternity together.The project successfully

captured the vitality of contemporary art scene in Nepal.The equal participaton of such huge group of artists and the grand presentation of the project will certainly be a renaissance for the contemporary art in Nepal.

Sanjeev Maharjan ,co-ordinator of the project and also one of the participants of the project says that through the project he was able to discover so many new creative people.It was an wonderful experience to see different generations of artists coming together to dissolve in the same place.The whole art community liked the ideas and concept of the project.”The opening was grand and there was no expectation of such huge response.”

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Nepali art enthusiasts are overwhelmed with the outcome of the project.The project might not have reached to every artists but most of the participants claim that no other exhibition has been able to bring such a diverse flock of creative people.From painters to sculptors,from printmakers to traditional painters,the exhibition showcased works of almost every range of artists in and outside the valley.The exhibition dislplayed works of various division of artists and their own interpretation of art.The emendation of the portraits included unique collages and installations.Some portraits depict minimal works of brush and colors

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while some artists made detailed self portraits.

It was intereating to how a few manage to voice the current issues like shortage of gas and fuels.

Over 300 artists and their charismatic embellishments,the exhibition was not only pleasing to observe but it definitely set a landmark in the contemporary art scene in Nepal. Undoubtedly,the most significant achievement of the project‌from portrait to self portrait ‌,The Nepam Album is that it successfully united so many generations and genre of artists.

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The project has been a hard work and has special meaning to every individual responsible for its accomplishment.Antonio Nodar and his project leave abysmal impact on Neapli artists .While whole art community commends Nodar and awaits the launch of ..from portrait to self portrait…VolI,he humbly says”I only take

pictures,the real effort comes from artists.

It is their art work that makes my project interesting.”Antonio also revealed that this is not the final exhibition,it is only a presentation.

He hopes to come back soon with the real exhibition,where he will be dissolving Nepali artists and European artists. 

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O P I N I O N

Chaos commotion Text: Ar. Chandani K.C.

confusion

As you walk in the streets of Kathmandu, you will notice the development it has witnessed over a period of time.

There is an increase in just about everything. There are more cars, more houses, more high rise buildings and so on.

Development has indeed taken place in Kathmandu but this has been accompanied by numerous problems. Problems of environmental deterioration, traffic congestion and other disamenities have plagued Kathmandu for a long time. Growth of Kathmandu has been unplanned, creating chaos in the pattern of land use. Kathmandu has grown haphazardly until it could grow no more leading to this commotion we are in right now.

People migrating from the rural areas in search of jobs and better opportunities are adding pressure to Kathmandu.

According to the preliminary report by the Central Bureau of Statistics, currently, the population of Kathmandu Valley which was 1.6 million 10 years ago is 2.51 million. With such a large population living in Kathmandu, traffic congestion is definitely a major issue. Roads in Kathmandu cannot handle the sheer number of vehicles on the roads. The roads were built when the number of vehicles was half of what it is right now. The mobility

IN KATHMANDU

in Kathmandu is very uncertain and the time for any trip is unpredictable. One incident at any junction affects the entire road network. Take for example the Trichandra Road, one demonstration in front of the campus and it brings the entire traffic of Kathmandu to a standstill. Pedestrian pathways and bicycle lanes are a dream in the current scenario. Everyone is just concerned about the smooth running of their vehicles on the road. Why would the politicians be bothered about the pedestrian pathways or cycle lanes when they hardly, or should I say never, use them? For someone coming from outside, Kathmandu is a nightmare of constant honking and ruthless driving by everyone on the roads. Driving here is not for the faint hearted. You need to be fearless. If you are slow or weak, you will be hit, squashed to a wall or scolded by people.

Road widening has been a hot topic in the recent time. It is a good initiative by the government as it will definitely improve the infrastructure of the road and ease out the traffic problems of the capital, the only metropolitan city in Nepal. However, we should understand that this is only a temporary solution to the problem. Widening the roads will not solve the pertinent

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problem in the long run. It will rather encourage people to travel more by using their private vehicles because the widened roads are more convenient. The government has not been able to maintain the existing roads and on top of it this demolition drive has just back tracked their work. It was initially a good step but what’s the use if you cannot finish the work you started.

The road widening process was started amidst protests and appreciation by the Kathmandu Valley Town Development Committee which is currently the Kathmandu Valley Town Development Authority spearheaded by Keshav Sthapit.

The drive was to cover 400 kilometers of road in Kathmandu but only 10 percent of the road had been completed so far.

Keeping aside the issue of the road widening itself is the problem in the process of road widening. It is impossible to drive let alone walk in the widened roads. The demolished roads now have electricity poles standing in the middle of expanded roads, half removed islands, bull dozed pavements and the rubbles of the demolished houses on the side of the roads. If you pass through the roads in the Kamal Pokhari area you will see demolition of houses in the ground floor but the cantilever from the first floor has been untouched. How will the electricity board shift the electric poles? Is the demolition of the first floor not in the criteria of road widening? The Baneshwor road was demolished in the beginning but nothing has been done after that. The electric poles in Baluwatar area were shifted after a long time but they seem to have forgotten about the electric lines which are lying in a tangle on the road. The government should realize all this and speed up spacesnepal.com

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the process. On top of it monsoon is going to start very soon.

This will add to the problem as it will be more difficult to drive or walk. These situations will make it vulnerable to major and minor accidents. This has already been experienced by me when driving in the Bishal Nagar area in one of the rainy days.

The obstructions on the road, huge pipes and bulldozers made it impossible for me to drive which ultimately led me to skid and swell my leg. Monsoon season and most of the girls opt for flip flops. Imagine wearing flip flops and walking on the muddy roads of Kathmandu. Now, we should all opt for rain boots.

There is a lack of coordination between the authorities which resulted as there was no plan at the beginning of the process.

The KVTDA job was to do the demolition then it was up to the Department of Roads (DOR) to construct the roads. However, DOR has not started this process. This is not just the question of roads but also the health of the people. Human health is at a major risk. Dust and pollution were already an issue in Kathmandu. Add to this the dust from the rubbles on the side of road and what you get is a disaster in the waiting. It is always important to have your plans ready before you can start your work. Didn’t these people think about the post demolition work?

What are their plans about the rubble? Were they planning to leave it forever on the sides of the roads or in some cases on the road itself? So many questions are still unanswered.

The government needed to adopt other feasible options.

It should have done selective improvements to remove bottlenecks or to provide alternative routes. The demolition drive and reconstruction of roads needed to go hand in hand.

O P I N I O N

There are number of solutions given by experts over time for the problem of traffic congestion. One of the solutions to the acute problem of traffic can be decentralization.

We have to decentralize the business activity from Kathmandu to other cities. We need to establish potential cities which will be developed as self contained entities reducing the pressure on Kathmandu. We always talk about response rather than mitigation. Decentralization is mitigation as it will not only relieve the traffic congestion but will help in increased efficiency and equity along with higher responsiveness of governments to the demands of the citizens. Since people come to Kathmandu for better education and health facilities, if we provide these facilities in other potential cities than people would not come to Kathmandu for these facilities hence relieving the pressure on it. Better employment opportunities at other cities will also help Kathmandu. One of the issues in Kathmandu has also been the international airport.

The construction of a new international airport in Pokhara or other cities will make international and local tourists to use it rather than come to Kathmandu and take buses or vehicles to their respective destinations. Demolition of illegal houses is good but demolishing houses is not the best solution, we need to think about other strategies which will be successful in the long run. ď Ž

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