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Vol 12 No. 08 January 2017
A R T
A R C H I T E C T U R E
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I N T E R I O R
Father-Son duo featuring ... Hotel Heranya a blend of traditions and modernity Tolan in Newar Architecture
Walk the Street
Labim Mall in Pulchowk
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Technical Associates new advt
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Contents Volume 12 NO. 08 | January
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26 Interior
42 Architecture
Hotel Heranya a blend of traditions and modernity
Tolan in Newar Architecture
48 ArT
34 Architecture
54 Interior
Father-Son duo featuring their unique styles under the same platform
Walk the Street: Labim Mall in Pulchowk
A Colorful World for Growing Children
66 Report
74 From the Shelf
77 Artscape
In natures dictionary the word ‘waste’ doesn’t exist
Educational Environment
Resurrection
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Volume 12 NO. 08 | January
Contributors
CEO
Ashesh Rajbansh Editor-in-Chief
Ar. Sarosh Pradhan Director- Products and Materials
Sukrasagar
Kritika Rana
Usha Sharma
Sraddha Ghimire
Dibash Adhiraki
Asha Dangol
Ar. Pravita Shrestha Contributing Art Editor
Madan Chitrakar Kasthamandap Art Studio Junior Editor
Shreya Amatya Sristi Pradhan Advisor
Ar. Pawan Kumar Shrestha Intern
Riki Shrestha Contributing Editor
President - Society of Nepalese Architects Ar. Jinisha Jain (Delhi) Ar. Chetan Raj Shrestha (Sikkim) Barun Roy (Darjeeling Hills) Photographers
Pradip Ratna Tuladhar Intl. Correspondent
Bansri Panday Director- Operation & Public Relation
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). 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.
Anu Rajbansh SR. Business Development Officer
Debbie Rana Dangol Business Development Officer
Usha Sharma completed her Diploma in Interior Design from IEC, School of Art and Fashion in 2007. Since then, she has designed a number of showrooms, offices, residential spaces and other related structures. Her other areas of interests include fine arts and photography.
Priti Pradhan Legal Advisor
Yogendra Bhattarai
Sraddha Ghimire, Owner of Concept Design Pvt Ltd is an Architect, completed her degree from School of Planning and Architecture Delhi. She has been working in Nepal for last 10 years after completing training in Suvarnabhumi international airport in Bangkok. Her Portfolio includes residences, hospital, bank, housing and corporate buildings in the architectural field. Interior design portfolio includes banks, offices. hotels and residences.
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Dibash Adhiraki, an architect, completed his sturdy from Kathmandu Engineering College. He is currently working at civil international Consultant Pvt. Ltd. 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. 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 We celebrate life and present you yet another informative, entertaining and colourful issue that delves into the heart of Kathmandu, a city bursting with modern excitement and age old art and architecture that sobers the heart with awe and respect for the artists and visionaries of the years gone by. Labim Mall, the first of its kind in the valley, is becoming the hub for all the increasing fans of mall culture who want to see more and want to be seen even more. The feature on this mall gives an insight to its skillful planning, design and execution that has resulted in this attractive entertainment avenue. The greenery, handicap services, exits, parking, speak volumes about the attention to important details that go into creating any good work of architecture. This article is a must read for all who wonder what goes into creating that wow factor in any building. The second article features the exhibition titled feelings and connection by artist Kiran Manandhar and his son. The powerful depiction of the deity Bhairav commands the centerstage of the display of the duo’s emotions expressed through brushstrokes. This is followed by a highly informative and important piece on colors and its relationship with children. Infants as young as 6 weeks start recognising colours and different colours have different impacts on their psyche and emotions. As they grow older, their colour preference keep changing. This article is a must read for all parents, wanna be parents, nurseries and schools. Going back to our speciality, we feature traditional architecture in Hotel Heranya where the old and new meet joyfully; and Tolan in Newari architecture. The history and various types of Tolan, the intricately carved piece above the entrance to temples is explained and depicted in this interesting article. After reading this piece, I began to see more in any temples I visit now and have begun to appreciate the richness of the art and the meaning behind it, displayed on wood and metals. If I were a teacher, I would definitely read this out to my students and take them for a field trip to the temples and educate them on one of the prime samples of our heritage. Another significant article that really excited me is the one that has researched waste management well and declares confidently that there is no waste in nature. How true! Waste management has long been neglected especially in this valley where it is needed the most. To avoid turning this beautiful place into a garbage bin, we need to educate ourselves soon and start working together on working with nature and not against it. Again, another important lesson to be shared with the young generation and the wise generation and the wiser ones who make the decisions. Enjoy.
Ashesh Rajbansh / CEO
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Review
Fourth Furnex Expo 2016: A Review Furnex Expo 2016 was organized by Nepal Furniture and Furnishing Association (NFFA) from December 2 to 6 at Bhrikutimandap exhibition hall, in Kathmandu. Over 67 stalls showcased their latest furniture, home furnishings, appliances, wood works, floorings, carpets, and other designs to the eager customers. Inaugurating the event, chief guest and chairperson of Federation of Nepalese Chambers of Commerce and Industry (FNCCI) Mr. Pashupati Murarka praised the exhibitors for their unhampered spirits despite the challenges from political instability, lack of laborers and heavy load shedding.Dr. Rajesh Kazi Shrestha, special guest and president of Nepal Chamber of Commerce (NCC), said that such exhibitions are a great place to showcase the latest products in the market,it’s also possible to see how the equipments are affixed and maintained besides the variety”. The opening ceremony also witnessed the launch of Souvenir, official magazine of NFFA and a publication of SPACES magazine that celebrates the hard work of the concerned people and their effort. It is yet another attempt by NFFA to keep the furniture and furnishing trade in touch with each other and stay updated on the news and happenings.
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The five days event was filled with fanfare as eager customers from all walks of life came to absorb themselves in the newest materials while also getting a rare opportunity of mingling with the various exhibitors, all at the same venue. The exhibition was indeed a hot pot for the dealers to out-do each other and woo the customers as much as they could. The expected visitors this year was 100,000. Though the number of visitor didn’t meet the estimated figure, vicepresident of NFFA and coordinator of the event Mr. Suzil Shrestha says that it is not a bad thing. “The exhibitors
did express their concern over the fact that there weren’t enough visitors to keep the stalls crowded. But if there had been so many visitors, then the exhibitors wouldn’t have been able to handle and justice them all” he said. He further added that since this expo is an opportunity for the visitors and exhibitors to talk in a personal level about the products, less number proved it easy to deal with all of their concerns. “Unlike the last time, when a lot of visitors overwhelmed the exhibitors, this time they went home happy and informed about the goods,” he said.
Review He also commented that the investors here are more interested in the outcomes than anything else. “For a long-term solution of the development of this sector, we need to be more patient and give more power to each and every worker so that they are encouraged to continue their good deed in the country,” he said. He further added that the government is more than ready to discuss with the concerned party for the much-needed development of this industry and sharing his thoughts on the importance of events like Furnex Expo and related programs to bridge the distance between politicians, lawmakers, industrialists and other professionals to recognize each others’ roles for a collective development. The participating exhibitors were also presented with Appreciation and Participation certificate.
One of the main reasons for the less number of visitors this year, according to Shrestha, is the timing. “We used to conduct the expo during Dashain time when customers are open to purchasing, but we had to organize it in December due to unavailibity of expo space” he expressed. The issue has been noted for next renderings. He further added that the organizing team and exhibitors are quite happy with the turnover and consider it as a success. In a special ceremony conducted on December 16th in Hotel Yak and Yeti at Durbarmarg, NFFA awarded five participating exhibitors based on top three stalls along with the titles ‘Best Innovative’ and ‘Most Crowded’. Classic Industries Pvt. Ltd. bagged the accolade for the best stall while the title for the second and third best stall went to Techno Trade Pvt Ltd and Nilee International Pvt. Ltd. respectively. CNC Craft took home the prize for ‘Best Innovative Nepali Product’ while Best Interior popularity during the exhibition was acknowledged when it was awarded the title for ‘Most Crowded Stall.’ Minister for Industry Mr. Nabindra Raj Joshi was the main guest of honor of the event. He awarded the winners along with president of NFFA Mr. Kavindra Joshi and president of
FENEFFEA Mr. Surendra Kumar Sarda. Minister Joshi expressed his happiness at the opportunity to acknowledge the industrialists as a representative of the government and shared his dream of creating a friendly work environment. “We have to change the thoughts of the society so that we can make it comfortable for everyone to work towards progress. We have to change the terminologies from ‘owner’ and ‘laborer’ to ‘employer’ and ‘investor’ to make the profession respectable,” he expressed.
NFFA is an umbrella organization of furniture and furnishing manufacturers, importers, dealers, etc. This is the fourth edition of Furnex Expo. The first exhibition of its kind took place in 2012. Furnex Expo 2016 was organized after a gap of two years as the earthquake in April and unofficial blockade in the southern border disabled suitable conditions in 2015. Shaan Furniture Udhyog was the title sponsor of this distinct event while Yeti Flooring and Gem Flooring were the main sponsors. SPACES is the official magazine partner of this event. Similarly, Premier Insurance Co. (Nepal) Ltd. is the official insurance, Hamro Bazar is the online partner and Full Circle is the official Ad Agency. This event was managed by Dr. CS Events Pvt. Ltd. This event was endorsed by Federation of Nepalese Chambers of Commerce and Industry (FNCCI), Nepal Chamber of Commerce (NCC) and Federation of Nepal Furniture and Furnishing Entrepreneur Association (FENEFFEA). n
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Kupondole, Lalitpur 9801038389
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News
Kathmandu Triennale 2017
2ND AGM of Federation of Nepal Furniture and Furnishing Entrepreneurs Association Kathmandu Triennale 2017 (KT 2017) presents contemporary (and traditional) art by Nepali and International artists on particular edition themes. It develops programming as well as outreach activities to explore the pedagogical potential of the arts. KT 2017, the inaugural edition, will be curated by Philippe Van Cauteren (Belgium) on the theme of The City in association with museum Stedelijk Museum Voor Actuele Kunst of Gent, Belgium.
Federation of Nepal Furniture and Furnishing Entrepreneurs Association (FENEFFEA) held its 2nd annual general meeting in the meeting hall of Celebrations Banquet, Naxal on 2nd Poush, 2073 on chairmanship of FENEFFEA Mr. Surendra Kumar Sarda and in presence of Ms. Subarna Jwarchan,State Minister of Commerce as chief guest for this event. Vice President of Nepal Chamber of Commerce, Mr. Rajendra Malla and working committee member of FNCCI, Mr. Anil Kedia, graced this event with their presence as special guests. This meeting was also attended by supervisors and representatives of various districts of FENEFFEA.
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President of FENEFFEA, Mr. Surendra Kumar Sarda, informed that till date nine districts have been affiliated with FENEFFEA, five districts associations have been registered and 6 districts have formed adhoc committees. In the meeting, progress report of 2072/2073 presented by general secretary and financial report of 2072/2073presented by treasurer were approved by majority of members. Various problems faced in furniture and furnishing industry such as insufficient technologies, legal obstacles, availability of raw materials, insufficient manpower was bought insight in this meeting by all the attendees to the federation. n
There are 2 main components of KT 2017: Exhibitions and Encounters. Exhibitions include all visual content specifically created for the event and Encounter encapsulate the educational outreach built on the production and presentation of the exhibit. KT 2017 will use multiple venues across the cities of Kathmandu and Patan where it will also host outreach event in public spaces. Collateral Events created by partners will also be incorporated into the overall program. For his exceptional work in cities across the world, eminent artist Francis Alys has been chosen as the Artist Patron of KT 2017. Exhibition will be held between 24th March and 9th April, 2017. Over 50 artists will be exhibiting at major venues like Taragaon Museum, Patan Museum Complex, Nepal Art Council, Shiddhartha Art Gallery, Alliance Francais and Nepal Tourism Board. n
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News
POP-UP
Nepal Architecture Archive (NAA) On the 22nd of November, on the occasion of Nepal -Britain bicentenary relation the Saraf Foundation for Himalayan Tradition & culture, Madan Pustakalaya and The Taragaon Museum collaborated an exhibition of Raj Man Singh Chitrakar, who is probably the first Nepali Landscape sketch artist of Nepal. On the same programme Mr. Arun Saraf, the chairman of Saraf Foundation for Himalayan Tradition & culture also announced the Nepal Architecture Archive (NAA). NAA will be documenting the works of artists, architects, anthropologists and photographers from abroad, who have worked and contributed in the last 65 years researching, identifying, highlighting and preserving cultural heritage of Nepal. Before 1950, there was no documentation on the Kathmandu Valley and its heritage, which was (at that time) the largest and oldest surviving Hindu kingdom in the world. The focus of NAA is to preserve their work, that would otherwise be lost. NAA will collect their contributions,
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which have never before been collected or recognized. Here are some of the documents NAA archives from the following scholars, artist and architects. - Mr. Jørgen Rahbek Thomsen and Mr. Jens Wærum – they donated all their works which they did in Bungamati on 1968. It included, photos, drawings, manuscripts and on written documentations. - Mr. Wolfgang Korn – architectural drawings of Kastamandap & Pujarimath along with photographs, negatives and books - Dr. Raimund Becker-Ritterspach – several drawings from Bhaktapur Development projects, books and manuscripts - Professor Niels Gutschow – Large architectural drawings, books, photographs, manuscripts and other materials - Professor Klaus R Kunzmann – Sketches and Books Other many are safely archived at the NAA. The centre will be made accessible in the future. Any relevant documents and archive material can still be requested for research purposes through the Taragaon Museum. n
In April 2015, Nepal was ravaged by earthquake and summer 2016 has brought devastating monsoon floods. These are but two events in a neverending series of geological and climatic situations faced by children and youth. This caused post-traumatic stress for many young people, especially those already born to be mobility challenged. Discovering ways to architecturally advantage oneself of Mother Nature’s unhelpful doings can build selfconfidence. During a 5-day studio commencing on Friday, December 30, nine girls aged 12-18, 3 of whom are wheelchair mobile, will scavenge for discarded natural and man made materials to experiment with emergency shelters. In doing so they will learn to appreciate the goodness of, and creatively imagine contributions to, the Valley’s urban restoration effort. Tuesday, January 3, 2017 is Exhibition Day. Educators, media, children and youth are invited to meet the girls to view the shelters and to share ideas. Pop-up” Schools of Architecture #1 -”Discovery by Experimentation” is a pilot project initiative that aims to help prepare young citizens to be influential advocates for environmentally sensitive and culturally respectful designs in the built environment, in Nepal and, with time, elsewhere. The organizing partners for this event are Canadian Architects’ Legacy Fund, Green Tree Developers, ASF Nepal. The participating partner is SOS Children’s Villages Nepal Vajra Academy LRI HSS Kalanki. The contributing partner is RCK Sunrise Official Group. And the media partner is Spaces Magazine. n
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News
BUDDHA Shades of Enlightenment The messages of Buddha binds the entire south east Asia into a single thread, particularly India and Nepal. He is the biggest messenger of peace our civilization has ever seen. Buddhism unifies and connects different cultures, countries and geographies. In this exhibition, the artist Dhyan Passika will try to bring different teachings and shades of enlightenment of Buddha on canvas. This is his effort to underline the relevance of Buddha’s messages for the geopolitical stability of the region we are in. This event will be a visual treat for anyone who is interested in experiencing contemporary and experimental art too. You can see his all paintings, works and exhibition details at www. dhyanpassika.com
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Dhyan Passika was born 1981 Bangalore, Karnataka and lives in Dharmshala, Himachal Pradesh, India. He belongs to the generation of contemporary that emerged in the wake of the influence of senior & contemporary artistes of the yesteryears. He has done exhibitions of his painting all over the India and abroad.
This event was held from 9-15 December 2016 at Nepal Art Council Gallery in Kathmandu. This exhibition was inauguration by Mr. Jeevan Bahadur Sahi, Tourism and Cultural Minister of Nepal on 9th December 2016 at 5:30 PM. His Excellency Mr. Ranjit Ray- The Ambassador, Embassy of India in Nepal was the guest of honor. n
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Interior
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Interior
Hotel Heranya a blend of traditions and modernity TEXT: Usha Sharma Photo: Pradip Ratna Tuladhar
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Interior
W
hile most of the ancient buildings have either been damaged or converted into debris by the recent catashthropic earthquake, the iconic building of Hotel Heranya also hit hard as well but managed to remain unaltered. The eighty year old three storied neo classical building is a part of the palace that was built during Rana regime which starts from the premises of the Shankar Hotel. The wing of the palace became a Shakya family property during 1966. Residences as it used to be earlier, the building has seen itself occupied as WHO office, Water Commission office, American Mission Corps office, a Canadian Based NGO office and so on.
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Mahendra Shakya, the owner of the ancient building, mentioned the idea of converting the building into a hotel started during the coronations of King Birerendra in 1972. But the family dream was realized only in 2014. The name is derived from Heranya Bahal built in thirteenth century which is located at Patan. “People often visit new places for exploring local experiences, so the name of the hotel itself was chosen carefully so that it can relate to local traditions and architecture� says Mahendra Shakya. The lush little garden in the front courtyard leads the visitors to the warm and cozy reception area at the
ground floor. The interior is tasteful blend of traditions and modernity. The ambience reflects an unique juxtaposition of deeply rooted culture and trends of modernity. The materials and colour combination makes the place calm, homey and inviting. The wooden flooring and the antique accessories used gives a classic feel. Earthen colors have been chosen to keep the feel of the traditional Newari style of architecture. The reception table is a mix of contemporary style of furnishing while the lofted design at the corners of the table again showcase the traditional wooden windows that can
Interior
be seen in most of the Newari Style of architecture (ankhi jhyal). Contradictory to the background wall, the reception table has been painted with contrasting colour so that the interior displays classic look but not outdated. Upholstery of the sofa blends well with the soft ambience. Wooden pillar cladding, a clock from 1920s and paintings that depict the local culture add up to the elegant quality of traditional styling and takes the visitors to the aura of the old world. The stone slated flooring laid at passage lead the visitors to the wooden staircase of the first floor.
For the convenience of the visitors the main staircase was later shifted inside as previously it was located outside the main building. The first floor has eight deluxe rooms which include single and twin suits with attached bathrooms. Though the bathrooms have modern designs, color were selected so that they don’t vary from the traditional look of the interior of the space. Some impressions of Newar Vajrayana Buddhist architecture can be seen on these rooms with a hint of modern touch. The color combination of each room is subtle with earthen tone color scheme. The wooden flooring, rugs and texture of furniture all have been chosen to bring a
traditional feel. The wall textures and the fabric of furniture bring a feel of 70s and 80s. The light cream color walls, white bed sheets with a little bit of red all create a harmonious environment. Stone slated floors of passage that separate facades of the building bring natural feel to the interior. The top floor is converted into five studio apartments with attached bath room and kitchen. Each studio room has a small kitchen attached to them so that the visitors can enjoy light cooking. Windows were added to studio one and five so that these rooms have ample supply of natural light.
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Interior
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Interior
The design process was initiated keeping architecture of the building in mind as it was impossible to avoid the traditional theme, modern concept was also added to give it a fusion look.
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Interior
The attic at the top floor is converted into a waiting lobby with low seating. Windows were added into the walls of attic space for natural light. “The design process was initiated keeping architecture of the building in mind as it was impossible to avoid the traditional theme, modern concept was also added to give it a fusion look.” Sabin Shakya interior architect of the hotel explains. The design concept follows the dictum of 3R’s.The elements of interior design for this space are made eco friendly. Most of the materials are reused and recycled. The wooden flooring of the reception area is a reused agrath wooden panel from the windows of the old building. The wooden flooring at the first floor is reused from the owners another residence. Similarly, the stone slate and terracotta tile flooring of the passages were redesigned using the exiting materials within the building. Most of the seating furniture, sofa, chairs are old furniture converted into new with the change of padding and fabric. The use of recycled materials significant reduced consumption of recourses. Installation of solar power, inverter managed AC, use of LED lighting and rain water harvesting system shows the effort towards making the hotel environmental friendly. The eighty year old building went through a lot of renovations before it converted into an elegant space. Hospitality business requires a lot of maintenance which must be at top level, while designing this hotel the materials were selected such that the wear and tear is minimized and cleanliness doesn’t become a tedious job. The combination of old and new design concept of mixing materials, fabric, fixtures, furniture and finishes have created a transition. The space seems perfectly inviting for the travelling guests. n
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Interior
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ArchiteCture
J ohn Caulfield (Senior Editor, Building + design) rightly said, “Use of design to engrain the wow factor and use of common spaces to more points of convergence and grandeur are key ingredients for a successful mall design.�
L
abim Mall in Pulchowk, Lalitpur, has been reconstructed for the third time. The earlier mall reconstructions resulted in failure. Among the primary reasons for these failures were improper design and planning. Mall design must, by definition, cater to prescribed needs; it must be custom made, primarily, to suit retailer requirements.
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Why is the mall design a success now? The new mall architecture has successfully incorporated and applied fundamental ingredients of successful design. Ar. Rajesh Verma has mixed and melded these ingredients and, thus, created a winning form that everyone appreciates and enjoys.
Architecture
Walk the Street
Labim Mall in Pulchowk
TEXT: Ar. Shraddha Ghimire Photo: A. Rajbansh
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ArchiteCture
Concept It is crucial, in architectural terms and for good mall design, to stencil the right concept and to implement this concept right down to the last detail. The main retail concept for Labim Mall is “walk the street” - the mall itself is an experience in Street Retail. The architect has created a beautiful ambiance which takes the mall goer out of the box and into an experience of strolling on a street. The choice of materials, such as tiles, railings and textures, was based on a street design ethos. The façade of the mall, with a mix of traditional and modern elements, portrays the essential ‘randomness’ of the street and, through it, Ar. Verma has encapsulated the feel of a street in an open mall concept.
Layout When designing a mall, a very common mistake made is that considerable emphasis is placed on the look and feel of the exterior finish of the mall
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design and not enough focus is laid on basic circulation planning, zoning and other site and project requirements. Labim Mall is now spread over approximately 1,50,000 square feet. The retailing sections are laid out principally on the first three floors. Open circulation design in Labim offers shoppers an opportunity to absorb and experience the entire mall in less than ten minutes. The atrium functions as a central or focal point and evokes a sense of space and light. The advantage of this layout is that shoppers do not get tired and, at the same time, enjoy the mall experience. The shops, restaurants and food stalls as well as services are strategically lain out so that, at any given point, everything is easily accessible. Both indoor and outdoor spaces connect effortlessly; the outdoor space flows inwards and blends with the interiors.
Architecture
Wow Factor! For mall owners, it is crucial to create a mall property as an essential destination point. Shopping alone does not cut it anymore, in today’s world, as a destination concept. Many ‘wow factors’ now make Labim Mall not just any shopping center but a place which integrates and emulates a lifestyle. Atrium Roof On the design front, retailers often require a ‘wow! factor’ that calls attention to their retail space. The atrium roof has generated this exact spatial feeling in the mall. The large steel structure which sits at the top protects the center point of the mall and this stylistic element has afforded a much-needed design ‘wow’ factor not only to the entire mall but as a landmark in the Patan area. Glass was carefully chosen, as a material, because of Kathmandu’s love of sun, openness and bright space. QFX Cinemas The mall is fast becoming a destination cinema hall for many in Kathmandu Valley. The QFX in the mall fits perfectly into the entertainment paradigm, particularly for Patan residents who earlier crossed the ‘infamous jammed bridge’ simply to watch a movie. The mall has also made possible a leisurely walk or drive to catch a favorite movie and on time! The cinema hall was also designed by Ar. Rajesh Verma a sense of continuity, thus, pervades throughout the building which now represents a boost for new design styles, absolute comfort and advanced technological applications.
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ArchiteCture
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Architecture
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ArchiteCture
The Owner / Developer Any developer must possess and translate a clear thought process and vision for his/ her design creation. The resulting project becomes successful only if it is driven by a balanced team of developers. Team Quest Key questions for the mall design and architectural team were: i) who changed the cinema experience in Nepal and ii) who sought to change the essential shopping experience by adding the critical mix of ambiance, food, and entertainment? From project design to execution, there was a predominant and guiding thought process. Significant to note is that the developer did not hesitate to seek professional help in this context. From architect and project executor to communication designer and graffiti designer to local artist, experts were consulted at every stage of the creative process and each expert was given the freedom to explore and experiment. Bonus Points: Emphasis has been given to the following elements. Greenery- One can feel the building breathing with plenty of plants around the atrium in every floor. Handicap Services– The building is well equipped for the handicapped. Exits– Mall exits are well-planned, including for emergencies, with exits located strategically. Parking- The basement has been designed such that the mall experience does not end at the ground floor and
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Architecture
continues into the parking area. Lighting and visual communication elements have been given due consideration. The new Labim Mall is an exemplar in well-planned, soundly-designed architectural expression. With no ambiguity or absence of clarity in either the mind of the developer or the architect, we can safely call it a successful mall design as well as a complete lifestyle experience to be enjoyed by people of every age and every walk of life. n
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Architecture
Tolan in Newar Architecture TEXT & Photo: Sukrasagar
Golden portal of Changunarayan
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Architecture
“…the Torana reached its zenith of artistic brilliance and innovation, an evidence of which abounds in…. wood carvings of the Kathmandu valley…” —Robert Beer.
the sprouting vessel to all schools of Tibetan art.
Wooden Torana after chemical conservation
T
he most prominent decorative piece of Newar Architecture is tolan. Tolan means torana in Nepali, tora-ana in Sanskrit. In English it is called tympanum derived from the Greek word tympana. The Sanskrit word Torana means an entrance or even a gateway that are found in caves and stupas more than two thousand years ago in India. A Torana with mythological animals had already been achieved a precise definition in Ajanta and Ellaura caves. In Kathmandu, a tympanum is first appeared in sixth century Buddhist stupas in miniature size. They are arc shaped and supported by a pair of pilasters which frames the niche that was filled with an icon of Buddha or Bodhisattwas. Though a tolan looks like semicircular in shape but never are they truly in that shape. The height is little more than its width from the center. The top is always capped with a small three to five tiered pinnacle.
Its function is purely to decorate for the purpose of enhancing the beauty of the windows, doors, gates or a niche of a divine being like a cap decorates a man. Another function is to inform the visitors just looking at the entrance which divine being is enshrined in the main sanctum of the temple. So to say it is the mirror copy of the main icon of the temple inside. During Pala and Sena rules in Bengal area the torana already assumed prominence of an artistic motif. With the demise of Pala art under the iconoclastic hammer of Islam around 9/10th century, the Pala and Sena genius of creation was shifted to Kathmandu that was carried by the pundits and students while fled their home land. The people of Kathmandu -the Newars gave them shelter and kept them nurturing their skill. The form of Indian torana was remodeled to the Nepalese taste by the Kathmandu people. The ultimate result, Kathmandu became
As Robert Beer’s comment about the toranas in Kathmandu -the position, varieties, mediums and subject on creation is in enormous scale. They are placed above the main entrance, gates, doors, windows and also in the bays. In fact, so to say, the Kathmandu people have placed torana everywhere whenever there is a space available to them but always in a proper place in proper way. To cite some example torana on the gate of Patan dhwaakhaa, the toranas above the entrances of all the doors in the palace squares and temples, toranas above the windows in Kumarichhen in Kantipur and Bhaktapur Durbar then above three bay dalans of Sundarichowk and five bay portals of Harishankar temple in Patan Durbar Square are some to be mentioned. Usually the toranas in Sivalaya temples and bay structures are not adorned with the central figures. They are simply carved with a main face of a Kirtimukha at the center top who is shown either swallowing or devouring serpents hold by his two hands. He is followed by two makara figures in two sides below the tail of which is extended to meet the Kirtimukha in vegetal pattern. The vegetal form is actually a representation of monsoon cloud. Usually the central portion of a tolan is occupied by a replica figure surrounded by other acolytes related to the main deity in the temple. Further beyond this nearing the edges, corners and tops of the tympanum is filled in with the makaras, stylized lion
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Peroy Brown’s best pieceof metal art in the world-Golden Gate of Bhaktapur
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An unusual elephantine makara figure in a Chibhaa
Golden Torana in vajrajogini
TC. Tolan of Mahaboudha
face called kirtimukha swallowing or vomiting serpents then the flames and vegetal patterns related to fire, rain and water. The complete space is filled in this way. Maximum number of toranas is found carved on wood followed by metal then the stones. Except in Sivalayas the stone toranas are not found in abundance. The writer has come across with only one torana made of stone that is above the western gate of Talezu temple complex in Hanumandhoka. This does not mean there none other. Categorically, the wooden toranas are enormous in number. The most elaborative examples could be cited from Itumbahal and Chhusya bahal.
Ganesh shrine torana of saugal patan
There is an adequate number of metal torana often made of bronze gilded with gold. Few are made on silver also. Usually the metal toranas adorned the royal shrines of three Malla kings of Kathmandu valley and the Buddhist shrines of the Shakya donors often above the main shrine of the rich monastic complexes of Kwaabaha, Ukubaha, of Patan and Janabaha and Thambaha of Kantipur. The western gate Torana of Pasupati Temple complex, Changunarayan and Vajrajogini temple in Sankhu have gilt metal toranas with lavish gold expenditure. However the golden gate torana of Bhaktapur Durbar could be cited as a master piece in terms
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Golden Torana in Pashupati
Windows torana in Bhaktapur
Masterpiece wooden torana of chhusyabaha
Mulchowk wooden torana of Bhaktapur
Rows of sivalaya torana in Pashupati area
Oldest wooden torana, yetkhabaha
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…the richest piece of art works in the whole kingdom,…To adequately describe this feature, either from its artistic or religious aspects, is an impossibility, and no reproduction can give any idea of its gorgeous effect, owing to the brilliancy of the material in which it is executed…The crawling lizard of gilded bronze on the moulding palpitates like a living thing in the heat, and the many arms of the great god in the trefoil
TC tolan of Talezu Plinth Ktp
tympanum are full of a movement and action which seem real… complete volume of Hindu and Buddhist thought are embodied in its design,…The artist, whether of the east or west, who has achieved this has not lived in vain, and the artificer of this wonderful doorway has proved in this great work that h was not only a past master of his craft, but a high priest of his cult…. But this “Door of Gold”-molted, graven, hammered, and roll’d forces these into
Golden torana in mulchowk Kathmandu
comparative insignificance by its depth of meaning, richness of design, wealth of material, and the excellence of its workmanship…. A standard whereby may be measured the intellect, artistic and religious, of the old Newars. PercyBrown in P73 of Picturesque Nepal
of simplicity and beauty as described by Percy Brown more than a century and half ago. Conclusively to say a torana is purely a decorative piece of any architectural edifice having no role to play in supporting the structure of binding duty in any structures in Nepal. Though it has only symbolic meaning, it still catches the first sight of an onlooker or a pilgrim. There are varieties of tolanas conceived in Nepalese society. A square piece of a colorful cloth hung above the shrine
and a rope with different sacred leaves tied around a house while consecrating the new home are also called tolan or torana in Newar society. We can categorically name some of the tolans in following order. Kaapah tolan(hung above the shrine), Khipah tolan (a rope attached with the sacred leaves of ficus, mango and other plants that tides a home while consecration. Dyo tolan, Jhyaa tolan, Lukha tolan, Dalaan tolan Terracota toranas are noticed from 16/17 century onwards. They may be found in the entrance gates at the plinths of Talezu temple of Kantipur (p…) and Mahaboudha temple in Patan. From seventeenth century a new format in tolan design came up with totally different design. Only two makaras are retained from older specimen and rest of the pattern is totally changed. Instead of central figure of main deity five bells are hung on a string and are placed at the center. Five bells are encased further by inverted semicircles in pyramid structure in an angular design. This is especially conspicuous from the toranas embellished in the famous temple of Mahaboudha in Patan. n
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Art
“Feelings & Connection” and “Bhairav”, paintings in two different themes of father and son duo showcased during the recent exhibition held in Kathmandu received much appreciation from the art lovers. The two man show of eminent artist Kiran Manandhar and his son, celebrated artist Sagar Manandhar was a portrayal of unique and individual styles of the artists of two generations under the same platform.
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orks of artist Kiran was entitled “Dunuga ya swapu” in Nepal Bhasa – Feelings and connection that are inspired by diverse feelings and emotions of the artist. His colorful paintings were used as a medium to expressively portray his intuitive feelings and his experiences on different occasions which tell the story of his life. They were used as a platform to pour his feelings and were a visual treat to the art lovers. The large canvases were filled in with bold strokes of his brushes reflecting his emotions evoked during different situations. Art has no language. The only way it gets connected with the viewers is through a feeling. That’s why artist Kiran paints for his art lovers to make them feel something through his art. Artist says that his art doesn’t limit his audience within a boundary and that the viewers are free to perceive what they imagine. They have freedom to explore and narrate their own feelings. In the exhibition “Feelings and connection”, the artist portrayed the ongoing journey of communication and connection between the artist, his creations and his art lovers through strong and vivid colors, lines and strokes. Artist Sagar, the young man was seen showcasing his paintings remaining under the theme “Bhairav”. Sagar tried to portray the bold character and impression of deity “Bhairav” wherein colored impasto and lyrical
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Art
Father-son
duo featuring their unique styles under the same platform TEXT & Photo: Karuna Manandhar
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linear forms were established with different creative vibes. The attributes and iconic images of “Bhairav” gave him strong imagery to work on the particular theme. The energy and emotions released in the form of vibrant colors and dynamic strokes gave justice to the theme The image of deity “Kaal Bhairav” at Hanuman Dhoka and its expression impressed him to create those paintings as the bold figurine, its expressive character and the strong body posture covered his canvases. Brush strokes formed on mixed media and the bond between the tonal values with free minute lines created the ambience and bright colors with their own expressive languages that are being observed in the icon of “Bhairav” gave a feel of perfection and strength in each of his creation. His works depicted a search for power and strength through the symbolic gesture of Bhairav.
During the exhibition, there was also an installation created by artist Sagar using rato mato (red mud), coal, incense and red vermilion powder which was an abstract representation of power and strength of Bhairav. Artist Kiran Manandhar, a pioneer in the Nepalese contemporary art scenario has already done more than 150 solo exhibition of paintings and his son, a promising celebrated artist Sagar Manandhar who is also the lecturer in Kathmandu University, School of Arts, Center for Art and Design has 11 solo exhibition of paintings in his name and still more to go. The second two man show of father and son was inaugurated by H.E. Mr. Matthias Meyer, Ambassador of the Federal Republic of Germany which remained open from 24th November till 7th December 2016. n
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A Colorful World for
growing Children TEXT & Photo : Ar. Kritika Rana
T
he most surprising fact about colors is that babies start to recognize and distinguish colors before any other feature. As a matter of fact, younger children are more attracted to colors than shapes. The sense of color is believed to develop in a child around the age of six weeks to two months. Research suggests that our eyes were evolved in such a way that we see red more prominently. Red, the first color we perceive as soon as we wake up, is also the first color a baby recognizes. In the days to come, infants begin to perceive and get naturally attracted to bright colors such as blue and yellow. This ability to differentiate colors develops around 18 months of age as the child also begins to figure out the variation in shapes, size and textures.
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COLOR PREFERENCE WITH AGE: Children begin to spell out the names of colors between the ages of two to five, where girls are believed to surpass the boys. This indicates the establishment of a cognitive link between the visual clues and words in children. Long before they can name colors, children are able to identify diverse colors and show a liking towards some. According to studies, most infants are likely to prefer the bright red and blue hues. Younger children also show positive emotional reactions to bright shades; and negative responses to dark hues such as brown and black. As per the development of children with age, there is a major shift in their preference for colors. Girls are likely to accept the bright hues and reject the dark hues while it is the reverse for the boys. Most children from age four to nine choose red the color of fire and yellow the color of sun as their favorite while most nine and ten year olds shift towards green and blue. Most children irrespective of gender from age seven to fifteen show an inclination towards green, red, turquoise, yellow, white and black. Academic researches support the theory that as we grow up our predilections for colors fade away and we switch to neutrals such as black and white. Children are more appreciative of our breathtaking world painted in a vibrant medley of colors than us adults. The inquisitive mind of children is similar to a blank canvas capable of grasping the freshness of stimulating hues. As the nerve cells of children evolve and replenish in a much faster rate than adults, colors have a greater impact on their mood as well. However, with maturity, various stimuli fill up the memory of the cranial nerves slightly decreasing our sensation of colors.
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“Anyone who has ever felt blue, seen red, blacked out, or turned green knows we’re prone to make emotional associations with different shades” - Winifred Gallagher
Color Mood Chart for children to express themselves
COLOR USAGE FOR CHILDREN Naturally, colors help children to express themselves and their emotions more effectively. In a child learning environment, there is a coherent approach of connection of colors with the general human feelings. The association of red with angry, blue with sad, yellow with happy and green with illness is the theory behind the ‘Color Mood Chart’. These charts are commonly used to comprehend the ineffable emotions of children in preschools and children’s hospitals. When naming colors comes naturally to a child, it can assist in further learning of various factors such as safety regulations. The association of colors with danger such as the red hue and the combination of black with yellow automatically sends a negative signal to the brain. Marking the restricted spaces and perilous items such as the cellar and tool kit with these caution hues is an example of child-proofing the house. Children can also expand their vocabulary by emphasizing the visual attributes of objects with the use of color. By recalling the color of fruits such as red apple and purple grapes, a child can name various fruits with ease.
COLORS IN A LEARNING ENVIRONMENT: In a learning environment, the impact of color on the behavior and learning abilities of a child is often overlooked. With the help of colors we can instill the joy of learning in children decreasing absenteeism. Studies indicate a direct link between color and positive or negative emotions which in turn affects the learning. Color psychologists also claim that color increases brain development and boosts communication and productivity. Physical Reaction of Color in Children: As per the temperature attribute of colors, warm colors such as red, yellow and orange stimulate and excite children; while cool colors such as blue, violet and green calm and relax them. However, the exact stimulus a color has on a child depends largely on its shade. A warmer shade of blue violet portrays a spiritual outlook, whereas the darker shades can induce a gloomy response of fatigue.
Blue: The calming hue is known to enhance creativity in children and is best used as an accent color to design a serene atmosphere. Red: An intense hue, red instantly provides a boost of emotions which may come handy to help children actively participate in detail oriented or tiresome tasks at hand. When used in a combination of complementing hues, red can act as focal point for important information. Yellow: Known universally as the joy of sunshine, yellow is indeed the hue for children. It is also believed to stimulate intelligence in children; hence an ideal color choice in diverse learning environments from study rooms to play areas. Green: The most abundant color in the natural environment, green is also the most restful color to the eye. It is believed to stimulate memory, concentration and focus in children as well as aid to a better health. Orange: The color of ambition, orange is widely used in an educational milieu as it is believed to enhance the critical thinking and memory and ultimately the child’s performance.
Rather than providing bright colorful learning environments through paint availability and decoration, it is important to understand the impact of each color on learning and memory in children.
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Colors for Children with Learning Problems: There is no denying the fact that child learning patterns can be positively influenced with the use of colors. Research also suggests that colors have shown to increase the attention span of children with a problem focusing. Attention Deficit Hyperactivity Disorder (ADHD) in children is marked by difficulty in paying attention, excessive activity and aggressive behavior which lead to a poor school performance. As per a research conducted in the University of Alberta, the aggressive behavior of behaviorally challenged children can be reduced with the use of a calming range of colors. The classroom with white fluorescent light, orange carpets and yellow, orange and white shelves was transformed to a full spectrum fluorescent lighting and brown and blue walls and shelves. The creation of a calming environment showed a notable drop in the blood pressure as well as aggression. When the classroom was again changed to the former, the blood pressure and aggression escalated to the initial levels. Usage of Color in PreSchools: According to Frank H. Mahnke’s book “Color, Environment and Human Response�, warm and bright color schemes are ideal for pre-school and elementary school classrooms as they complement the extroverted nature of children. While, a wide range of colors can be used in hallways to impart distinctive personalities of children. Generally, the knowledge of color develops simultaneously with the development of children in their preschool years. Moreover, children are more susceptible to the environment
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A pre-school classroom with plain floor and ceiling and minimalistic furniture can come alive with the walls adorned with underwater themed creative paintings.
stimulus which habitually explains the significance of colors in preschools. This is also the first step of children outside the comfort of their homes. The challenge is to create the same sense of security in their educational environment to facilitate the process of development. In academic environments, colors can serve countless purposes counter restlessness, nurture sensitivity and embolden the children. Colors can prove to be strong emotional stimulus with the ability to excite, soothe, inspire or even agitate. More so, children are more sensitive to the impact of colors which points out the importance of choosing colors that ultimately affects their feelings and behavior. Choice of Hues: The infinite spectrum of colors offers infinite possibilities of color schemes for pre-schools. Younger children are believed to flourish in a bright colored environment as they have a natural preference for luminous colors such as red, orange, yellow and pink. Studies suggest that black and white color scheme may lower their IQ making them dull. Even a lifeless classroom painted in white can be transformed into a vibrant and exhilarating space through colorful furniture and adornments. However, an excess of upbeat hues can over stimulate a child through sensory overload
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resulting in a hyperactive behavior. Soothing hues can then come to the rescue by maintaining a balanced space. • Stimulating Hues: The bright hues on the warm side of the color scale red, yellow and orange result in a stimulating response. These welcoming colors can make a pre-school seem less formal and helps a child feel the warm comfort of home. These energetic hues stimulate activity and may not work for spaces aimed for a quiet study. • Soothing Hues: The calm hues on the cool side of the color scale- blue, violet and green generate a soothing sensation. Blue, the color of the sky and sea symbolizes peace and is in fact the favorite color of most children. On the other hand, the color of calm, green can be used to connect the children to the nature. Colors for Various Spaces: Colors can make a classroom come alive generating an environment conducive to active learning. Red and orange are attention grabbing hues in the presence of which it is easier to draw the attention of children to specific points of knowledge or fresh information. These hues are believed to give cues to the brain about the location of an object or information in a classroom. The crisp bright colors also surge excitement in children thereby increasing their brain activity. These hues also maximize information retention that helps a child to understand a new concept with ease. However, these warm hues should be used as an accent or in furniture with a combination of cool colors to create a sense of balance.
Contrasting Color Scheme integrating the positives of both the stimulating and soothing hues
Multiple hued flooring to complement the primary red color for attentive children balanced out by beige tones on the walls.
With the use of appropriate hues, the purpose of the different spaces within an educational facility quiet study space and collaborative play areas can be defined more evidently. For example, a blue table and chairs can signify a reading or relaxation area; whereas a red table may indicate a free play zone. Setting out a definite
purpose with hues will in turn develop the desired mood in the space and an anticipated impact on the children. • Reading Area: In the reading areas, a shade of blue on the walls and furniture is ideal as it limits distraction and inspires the children to focus on the book in their hands.
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Creative Areas: Creative spaces such as writing areas or art rooms require a splash of tranquil green to further enhance the creative thinking in children. Along with creating a brilliant backdrop for artwork and posters, deep royal blue also develops creativity in children making it ideal for art areas. Play Areas: Warm colors are often used to depict an informal space within a pre-school. As they stimulate participation for an engaging group activity in children, play areas can be marked with warm accent colors. Different colored tables across the space can be used to clearly define the functions in these areas- reading, creative or play.
Contrasting patterns on the floor aimed at directing children towards a series of play items rang-ing from toy trains to playhouses.
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CENTRAL BAL SANSAR, CIVIL MALL: Located at Sundhara, in the heart of Kathmandu, Civil Mall is undoubtedly the pioneer of developing a concept of allocating a play zone within a commercial hub for children. Spreading over the fifth floor, Central Bal Sansar functions as a play center for the learning and entertainment of children from the age of three to fifteen.
Portrayal of the nature wherever applicable with colorful pictures in the walls and ceiling along with multihued play items to stimulate the kids.
A luminous rainbow of hues mostly red, yellow, blue and green tie the space together imparting a safe haven for children.
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Orange and Red Color Scheme incorporating the advantages of both neutralized by the recurring white hue
COLOR SELECTION FOR CHILDREN’S ROOM: Color is an inseparable part of our everyday life, always affecting our mood, behavior and even sleep. Especially in a child’s room, we can derive advantage from colors to stimulate the brain and body to ensure good health of the child. Choosing an appropriate hue other than the archetypal pink motif for girls and blue for boys can be challenging. Exposing a child to specific colors can work miracles from increasing memory thus enhancing their academic performance to im-proving sleeping habits. Thus, color choice for a child’s room can be guided by the psychological attributes of hues that favor the growing minds and bodies in the long run. Warm Colors: Generally, bold shades of warm hues such as red, orange and yellow stimulate the mind and energize the body which is vital for growth and development of children. These hues also create an illusion of a warm cozy space eliciting joy and comfort. However, warm hues should be used in moderation, especially in the room of an energetic kid with a difficulty falling asleep. Cool Colors: The cool colors of the nature such as blue and green have a tranquil effect on the body and create an illusion of a spacious and relaxing space. However, cool hues when used in excess have a number of disadvantages. Dark
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shades of cool hues evoke feelings of melancholy, while the soothing light shades may come across as uninviting leaving children feeling cold and reserved. In such circumstances, pairing the warm hues with the cool ones will soften the impact and counterbalance the negatives of both. A sense of balance can be achieved with a complementary color scheme using the cool shades as the key while tying the space together with recurring warm shades in the accent wall and furniture. • Red: The most energizing hue on the color chart, red can be used to stir up excitement in a quiet introvert child. Especially for an athletic child, red is believed to generate a physical stimulus igniting the athletic ability. As red is a highly emotive hue, it should always be used as an accent paired with other softer tones to avoid aggression and agitation in children. It is best to avoid exposing a restless toddler to red, as it may over stimulate the child causing a decline in the academic performance as a result of the inability to focus.
Varying shades of blue with a splash of greens and violets ties the soothing space together.
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Yellow in furniture and Green across the walls to improve the child’s academic performance.
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Orange: Orange is often referred to as a ‘social’ hue because of its warm, welcoming and comforting nature. Orange can work wonders for an introvert child, encouraging confidence, communication and cooperation in the family. Blue: Exactly opposite to red on
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the color wheel, the psychological effect of blue is exactly reverse as well. Blue is the most sought after color for children prone to tantrums or other behavioral issues as it is thought to significantly reduce the feelings of anxiety or aggression. Also for children with trouble sleeping, painting their room in softer blues can calm the body and mind whereby they can indulge in a deeper sleep. Yellow: Often associated with cheerfulness and motivation, the bright hue- yellow can be the right choice for a child. Subtle or bold, yellow can work either ways resulting in active and ambitious children. The softer shades of yellow are believed to promote concentration while vibrant shades stimulate the memory and increase the metabolism of children at the same time. Like any other hue, over use may be over stimulating causing angry and fussy babies. Green: Although green is not much popular in a children’s room, one can reap multiple benefits from the color of nature. The
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Combination of Pink and Purple counterbalances each other generating a warm creative space.
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serene environment generated by this hue also soothes the body and mind of children beneficial for their overall health and well being. Moreover, the anxiety reduction feature of green is known to promote concentration in kids that drastically advance their reading ability and academic performance. Scientists have also stated that exposing a child to green has considerably improved a child’s reading speed and comprehension skills. Violet: Violet is a versatile hue, the energy of red can be derived from the warmer shades and the stability of blue from the cooler shades. This eye-catching hue is ideal for kids as it sparks creativity, wisdom and even ambition. Violet is also a highly emotive color, which can be used to inspire compassion and sensitivity in a child.
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Pink: Although known as the universal color of little girls, the soothing impression of pink can be trans-lated to every child irrespective of gender. The tranquility of this hue generates a surge of emo-tions of sensitivity and empathy in a child. Derived from red, pink has an initial calming effect, nonetheless in due course of time it begins to display an irritating characteristic leading to anxiety and agitation. The most effective way of using pink to avoid its negatives and extract the comforting effect is to pair it with neutrals such as white and beige. n
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Architecture
In natures dictionary the word ‘waste’ doesn’t exist TEXT & Photo: Ar. Dibash Adhikari
Introduction: Industrialization and urbanization has led to numerous problems from over exploitation of natural resources to increment in the amount of waste production. The increase in the population and the change in the lifestyle of the people have led to high daily consumption pattern leading to even higher production of solid waste. Industrialization and urbanization has led to numerous problems, from over exploitation of natural resources to increment in the amount of waste production. In accordance with the enactment of local self-governance act (1999), municipalities are the responsible authorities for the management of solid wastes. Since then, they are taking care of the wastes generated by the respective municipalities with the available resources. Although, small urban centres have been declared municipalities, they have been constantly suffering from the lack of infrastructural, financial and technical resources for the management of wastes. Solid wastes that include household garbage, rubbish, construction & packaging materials, trade refuges etc. are municipal solid waste. Solid waste management (SWM) is one
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programs to raise awareness on composting. KMC has been trying to establish a central composting facility with a capacity of 300 tons per day. But so far it has not been successful in doing so because of the lack of suitable land. It invited proposals from the private sector in 1998/99 but although it selected a company and signed a memorandum of understanding with the company, it was unable to provide 5 to 10 ha of land required by the company. In order to promote recycling KMC has established several Community Recycling Centres. The municipality is also working with scrap dealers to increase recycling in the city. It is estimated that about 70 scrap dealers are involved in dealing with scrap materials within the municipality.
Scenario of solid waste in Kathmandu valley: of the major environmental issues in cities of many developing countries, including Nepal. Unmanaged disposal of medical wastes from hospitals and clinics also contribute to pollution and public health hazards in the localities. Therefore, SWM has become a major concern for the municipalities of Nepal. A number of processes are involved in effectively managing waste for a municipality. These include monitoring, collection, transport, processing, recycling and disposal. KMC is actively promoting composting and recycling. The municipality has a Community Mobilization Unit (CMU) as a part of the Environment Department and one of the main functions of this unit is to promote composting and recycling. The CMU also has regular
The amount of waste we are creating is increasing and the nature of waste itself is changing, partly due to the dramatic rise in the use of hi-tech products. This means waste now contains an increasingly complex mix of materials, including plastics, precious metals and hazardous materials that are difficult to deal with safely. Solid waste management has posed a new challenge in Nepal. The increase in the volume in rapid ways can be attributed to the increase in the population of the valley. In contrast, the management of solid waste can be viewed as disappointing. The maximum waste generated in Nepal is in the capital city itself. Kathmandu municipality generates about 337 tons of waste each day which turns out to be 0.4 kg/person/day. The waste collection ratio (Total Waste collection / Total Waste Generation) of Kathmandu
Architecture
is over 90%. Also 64.24% of total waste is organic, 15.96% is plastic, 8.66% is paper product, 3.75% is glass and 1.72% of metal and so on. Kathmandu municipality spent 443.1 million rupees per year. In urban area, problems and issues of municipal solid waste management (MSWM) are of immediate importance. Systems for transfer, recycling and disposal of solid waste are almost always unsatisfactory from the environmental, economic and financial points of view. Unfortunately, this situation leads to heavy consequences for public health and well-being, and for the quality and sustainability of the urban environment. Kathmandu city is running efficiently and orderly every day. One sign of our success has been shown in how our waste management system handles the waste generated by everyday living and economic activities. This is fundamental to the maintenance of public health and a quality environment. But looking ahead, the sustainability of the way we manage our waste is under threat. To reduce that threat proper waste management actions have to be done. Considering various factors, the most economical techniques of solid waste management for Kathmandu valley is listed below with advantage and disadvantage.
Universally applied options on dealing with waste There are three global options for dealing with waste. 1. The first option is to collect and transport the waste to a legal and well protected dumpsite, where it can be disposed of. In this case waste remains as waste. 2. The second option is to re-use waste, or recycle it. This includes composting of the waste. In this option waste becomes something useful again.
3. The third option is the treatment of waste. This includes controlled burning and controlled burying. In these case, waste can become a source of energy.
Hierarchy of solid waste management system 1.1. Source Reduction and Reuse Source reduction, also known as waste prevention. It can take many different forms, including reusing or donating items, buying in bulk, reducing packaging, redesigning products, and reducing toxicity. Light weighting of packaging, reuse, and remanufacturing are all becoming more popular business trends. Purchasing products that incorporate these features supports source reduction. Source reduction can: • Save natural resources; • Conserve energy; • Reduce pollution; • Reduce the toxicity of our waste; and • Save money for consumers and businesses alike.
Some examples of source reduction 1.1.1. Pay as you throw Variable-rate or unit-based pricing programs — commonly referred to as “pay-as-you-throw” (PAYT) — have been successful in thousands of communities to reduce MSW and increase diversion strategies such as recycling and composting. Customers are charged for waste disposal based on the amount (by weight or unit) generated rather than a flat-fee. An incentive is therefore created for customers to reduce waste at the source and reuse or recycle items. In response to the need for fair and consistent accountability in payments, a number of rate structures have been developed. In an effort to reduce operating costs, the City of Malden, Mass., instituted a commercial PAYT system in 2000 using start-up funds from the state Department of Environmental Protection. Following the success of the program, the city council approved an ordinance in 2008 to extend PAYT to all residential solid waste. The rate structure
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requires all trash to be placed in cityapproved bags ($1/15-gal; $2/33gal) available for purchase at area retailers and select city departments. In the first year since implementing residential PAYT the recycling rate increased 74 % while solid waste tonnage decreased 49 %. The savings in disposal costs, together with revenue from the sale of PAYT bags, has totalled almost $2.5 million. 1.1.2. “Grass - Cut it and leave it� programs The objective of these educational programs is to get residents to leave grass clippings on the lawn when they mow as grass clippings provide a natural and healthy fertilizer for a growing lawn.
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1.1.3. Materials Exchange/Reuse Information programs A materials exchange is a way by which a municipality can bring together residents who would like to discard any unnecessary or unwanted items with residents who are looking for used items in good condition. Materials exchanges are valuable to residents, as well as to the environment. A materials exchange can be set up at an established location, or can be an online resource. Some European country like Germany have fixed day in year to exchange unused product. 1.2. Recycling Recycling is a series of activities that includes the collection of used, reused, or unused items that would otherwise be considered waste; sorting and
processing the recyclable products into raw materials; and remanufacturing the recycled raw materials into new products. Consumers provide the last link in recycling by purchasing products made from recycled content. Recycling also can include composting of food scraps, yard trimmings, and other organic materials. Recycling prevents the emission of many greenhouse gases and water pollutants, saves energy, supplies valuable raw materials to industry, creates jobs, stimulates the development of greener technologies, conserves resources for our children's future, and reduces the need for new landfills and combustors.
Why recycle? Recycling an aluminium can saves 95% of the energy required to make
Architecture
the same amount of aluminium from virgin materials.
way is to burn it for energy at the paper mill.
Producing glass from virgin materials requires 30% more energy than producing it from crushed, used glass.
2. Plastic recycling: There are three major forms of plastic that contribute to plastic pollution: micro plastics, mega- and macroplastics. Plastic debris is categorized as either primary or secondary. Primary plastics are in their original form when collected. Examples of these would be bottle caps, cigarette butts, and micro beads. Secondary plastics, on the other hand, account for smaller plastics that have resulted from the degradation of primary plastics.
Producing recycled paper requires about 60% of the energy used to make paper from virgin wood pulp. One ton of uncoated virgin (nonrecycled) printing and office paper uses 24 trees. Producing recycled paper causes 74 percent less air pollution and 35 percent less water pollution than producing virgin paper. One ton of paper made from recycled scrap paper saves 7,000 gallons of water. Some example of recycling process: 1. Paper recycling: a) Pulping. In order to pulp the paper, paper is chopped and water is added. b) Screening that rejects unwanted materials. c) Cleaning, it involves centrifugal force to separate the more solid fibres from the rest. d) Flotation or de-inking paper pulp, which involves the pulp slurry being mixed with a surfactant to collect and discard ink particles from the materials. e) Washing further cleans the pulp by passing water through it. Sometimes the pulp is bleached, but only if a white color is desired in the end product. f) Create a “new” paper product using the refined pulp. This process is often called “up cycling.” The term applies to other materials as well, not just paper products. g) Dissolved air flotation, is a process that cleans the water used for processing so it can be used again. h) The by-products of paper recycling can be used for several things. One
Before recycling, most plastics are sorted according to their resin type. Some plastic products are also separated by colour before they are recycled. The plastic recyclables are then shredded. These shredded fragments then undergo processes to eliminate impurities like paper labels. This material is melted and often extruded into the form of pellets which are then used to manufacture other products.
Advantage and disadvantage of recycling over kathmandu valley: Advantage: • Recycling saves energy, kathmandu have energy crises • Reduces landfills. • Helps to reduce our climate problems. • Helps to boost economy. • Judicious and Sustainable use of Resources • Create Green Jobs • Conserves Natural Resources Disadvantage: • Recycling requires skilled manpower and well facilitate building • Difficulty in making hygienic recycling site for worker • It might not always be cost effectice • Large initial cost 1.3. Composting “Composting is the biological decomposition of biodegradable solid waste under controlled predominantly aerobic conditions to a state that is sufficiently stable for nuisance-
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Architecture
free storage and handling and is satisfactorily matured for safe use in agriculture”. Composting is the option that, with few exceptions, best fits within the limited resources available in developing countries. The compost option affords the many advantages of biological systems: lower equipment and operating costs; in harmony with the environment; and results in a useful product. Composting is useful because Suppress plant diseases and pests. Reduces the need for chemical fertilizers. Promote higher yields of agricultural crops. Finished compost can be applied to lawns and gardens to help condition the soil and replenish nutrients. Compost should not be used as potting soil for houseplants because of the presence of weed and grass seeds. Vermicomposting Vermicompsting is essentially the consumption of organic material by earthworms. This speeds up the process of decomposition and provides a nutrient-rich end product, called vermicompost. In ideal conditions worms may consume their own weight of organic matter each day. One tone of worms may therefore process one tone of organic waste per day. Once vermicomposted, the volume of material will be much reduced, possibly down to 10% of its original volume 1.4.Incineration Incineration is the most common thermal treatment process. This is the combustion of waste in the presence of oxygen. After incineration, the wastes are converted to carbon dioxide, water vapour and ash. This method may be used as a means of recovering energy to be used in heating or the supply of electricity. In addition to supplying energy incineration technologies have the advantage of reducing the volume of the waste, rendering it harmless,
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reducing transportation costs and reducing the production of the greenhouse gas methane. Advantage of incineration: • Minimum land is needed for operation compared to other disposal methods. • Waste need not to be shorted out for this process • The weight of the waste is reduced to 25% and 80-85% of volume reduced of the initial value. • Fast process of waste management.
• No risk of polluting local streams and ground waters as in landfills. • Gases are used to generate power.
Disadvantage of incineration: • It create landfill in the sky • Expensive to construct and operation. • Required skilled labour. • The chemicals that would be released into the air could be strong pollutants and may destroy ozone layer (major disadvantage). • High energy requirement. • The invisible gas produced called dioxin is major cause of different dieses like cancer. • Kathmandu’s waste with more than 70% organic have heating value for 1 pound mass is 3600 B.T.U. (British Thermal Unit). Whereas to produce energy effectively waste should have heating value of 5400-
Architecture
5600 b.t.u. So additional energy should be provided for burning of waste. This is not possible.
1.5. Biogas (fermentation) Biogas is produced by processing residual waste from livestock, food production and effluents from industrial as well as municipal wastewater treatment plants. By constructing biogas power plants, agriculture assumes an important contribution to supplying energy from renewable resources as well as to the disposal of organic wastes. Manure is produced as a by-product of biogas manufacturing. Interest in biogas technology is increasing due to the requirements for renewable energy production, reuse of materials and reduction of harmful emissions. It produces methane-rich biogas which can be utilized as renewable energy in various ways. The residual material, digestive, contains all the nutrients of the original raw materials and offers a way to recycle. Along the process steps, also emissions directly from the raw materials or from the replaced products can be reduced. Biogas technology is currently the most sustainable way to utilize the energy content of manure. Biogas is a way to solve environmental problems: • Greenhouse effect • Destruction of the ozone layer • Phasing out of nuclear energy • Limited duration of use of traditional fossil fuels Biogas is produced by the anaerobic digestion of organic materials in a sealed fermenter. This fermenter transforms organic materials into biogas by using methane-producing bacteria through a biologically complex process at approximately 38 - 55 degrees Celsius. More than half of the resulting gas is methane (CH4); the rest is carbon dioxide (CO2). A
combined heat and power plant (CHP) with a generator transforms the methane gas into power and heat. Biogas is completely environmental friendly and CO2-neutral. The production process only generates as much CO2 as previously has been absorbed by the plants during the photosynthesis. The ecological cycle is complete. Process of bio gasification: Slurry tank: The slurry tank serves as interim storage and a
collecting container for liquid fertilizer. The size of the slurry tank must be sufficient for 2-3 days of manure and substrate accumulation. In the slurry tank, rough amounts of solids such as stones, which may not enter into the fermenter, can settle. The merging of small amounts of solids and the feeding of the fermenter are carried out with a robust pump. Generally, an addition al mixer is available in the slurry tank to mix and to avoid floating layers.
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Architecture
Acceptance dispenser / Bio feeder: The acceptance dispenser consists of an open container with an integrated scraper floor and milling drums. From the acceptance dispenser, the material passes through milling rollers and conveyors to enter the BIO accelerators. In the BIO accelerator the material passes from the bio feeder through a screw system. The bio feeder also consists of an open container and transports the material using a so-called "Walking Floor". From the bio feeder, the material passes through milling drums to reach the BIO accelerator. Fermenter: The fermenter is the heart of the plant. This is where the actual conversion of biomass to biogas (fermentation) takes place. Using different microorganisms, the organic substrate is decomposed and transformed into methane-rich biogas. This is the established single-
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stage fermentation process in the mesophilic range. This means that the entire conversion process takes place in a single container at a temperature between 35 – 45°C. This heater consists of heating pipes, which are attached to the inner wall of the fermenter in ring shapes. Here, some of the waste heat from the CHP acts as a heat source. Gas preparation / Gas storage: Biogas contains sulphur components which attack and destroy non-ferrous metals in the storage area of the combined heating and power plants. Therefore, the biogas must be desulfurized in the fermenter through 1. oxidation using iron 2. Air entry of 2 - 3 Vol % via small compressors or aquarium pumps. The latter solution has proven itself to be the most functional and economical. The pipelines for conducting g as to the
CHP are large enough to dimension (approx. 100 - 150 mm, depending on distance). PVC or PE pipes are used in the ground and stainless steel pipes are used in open installation areas. Gas storage occurs in PVC or PE foil containers welded on-site according to the low-pressure principle, which are welded on-site. The storage volumes should be designed for 6 - 12 hours. This allows to store gas overnight and to cover higher power needs during the day. Uses of bio gas: • Motor fuel • Substitute of natural gas (upgrade biogas to methane) • Generate light • Heating • Cooking • Mechanical power generation • Electrical power • Gas turbines
Advantage and dis-advantage of bio-gas in Kathmandu valley: Advantage: • More than 70% of organic waste into gas and manure. • More helpful in energy crises. As alternative source. • Major problem of waste will solve. • Bio gas is Pollution free reaction and doesn’t use oxygen • Reduces Landfills and decrease in water and soil pollution
• Dangerous gases are given off from landfill sites that cause local air pollution and contribute to global warming. • Local streams could become polluted with toxins seeping through the ground from the landfill site. • Once the site has been filled it might not be able to be used for redevelopment as it might be too polluted.
Disadvantage: • Little Technology Advancements • Contain Impurities can corrode metal parts of engine • Methane is unstable in environment, as it contact with oxygen it is highly flammable.
Recently one of the researcher found that Kathmandu valley is the most polluted city in the Asia and third in the whole world. According to researcher the cause for pollution is due to air pollution and lack of solid waste management. And most of the cities are becoming cleaner from worst condition. Most important thing we learn from all these cases is, solid waste management is not an impossible issue. What makes it impossible issues in Kathmandu valley is image behind of solid waste management in our mind. Neither we reduce solid waste in the source, neither have we separated solid waste in source and neither have we dispose it in efficient manner. Then problem of solid waste management is not surprising. Hence first step to control and manage solid waste in any city, any climate and for any volume is separate waste in the source.
1.6. Sanitary landfilling Sanitary landfill is the most costeffective system of solid waste disposal for most urban areas in developing countries. Composting of solid waste costs 2-3 times more than sanitary landfill, and incineration costs 5-10 times more. Designing a landfill involves calculating the amount of waste to be disposed of, determining the type of landfill, selecting a site, selecting a method of landfilling, calculating the required area of the landfill, and determining personnel and equipment required for operation. Advantage of sanitary landfill • It is the most traditional method of waste disposal. • Wastes are directly dumped into disused quarries, mining or borrow pits. • Disposed waste is compacted and covered with soil. • Gases generated by the decomposing waste materials are often burnt to generate power. • It is generally used for domestic waste. • Landfill site is a cheap waste disposal option for the local council. Disadvantage of sanitary landfill • The site will look ugly while it is being used for landfill.
2. Conclusion
Another technique applied in all public contexts is, changing the behaviour on solid waste and waste picker. Only separating and disposing in proper place can reduce solid waste management problem. But that’s not all for proper solid waste management. Collected waste has to be treated properly. As in Kathmandu valley degradable waste in summer season has to be collected within 24 hour and in winter season waste has to be collected within 72 hour of disposal time. Another concern is waste should be collected separately so that different types of waste will not be mixed with each other. For
that in Kathmandu valley small tractor can be circulate daily in 6 am to 7:30 am with a drum for degradable and non-degradable waste can be put in another container. Above we have seen many options for good practice in solid waste management. Now we will look at realistic options under the given circumstances. What is desired in Community Based Solid Waste Management is summarized in the Chart depicting a well-developed solid waste management system in Again by relating the above, based on what we want and how we want solid waste management can be done. Again with all above research and all article about solid waste management bio gasification and 3R process is best for Kathmandu valley. We have more than half of waste is degradable waste and main problem arises is from the same. So bio gas production is best for Kathmandu valley. Bio gas also helps to reduce in use of liquid petroleum gas. Government is also planning to construct a plant called “WASTE TO ENERGY” to manage degradable waste. But incinerator is not good for our city. Firings of degradable waste don’t produce more energy and we do not have sufficient plastic for running the economical plant. Also it is costlier than 3R. Landfilling is another option for Kathmandu city which we are using but it is not a permanent solution. It doesn’t translate unused produced into usable one. Although landfilling is chipper but as seeing in long run recycling system will becomes cheaper. Also composition of waste is also changing day to day. In the future, all waste will be managed by recycling. This is inevitable. We all will separate waste and reduce at source. Soon, we will have no choice. n
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From the shelf
Educational Environment Do you know where Mercedes-Benz M-Class SUVs are made? Alabama. And Apple i-Pods? China. You’re confused? Blame it on globalization. Most of us are only vaguely aware of who produces our goods and services. Do motivated students just need good educational opportunities to succeed, with little concern for the spaces where they study? In fact, it could be argued that the school’s faith in design explains why it stands in rankings for associate degrees conferred. Consider its new, two-floor, 60,000-square foot building, designed by Booth Hansen, which comprises 32
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classrooms, seminar rooms, faculty offices, bookstore/cyber cafe and administrative offices. Constructed with long-span structural trusses to minimize the columns and foundations in an unstable soil environment, the building is configured to create an effective learning atmosphere that promotes a feeling of community among 46,000 students representing widely ranging ages and lifestyles. How so? The scheme wraps the two levels of freestanding classrooms and offices around the two-story book- store/ cyber cafe, treats the major corridor as an easily navigable indoor “street,” and fills interiors with daylight and views of the campus and surrounding prairie. It’s as complex—and simple— as that.
From the shelf
Judging from the Program for International Student Assessment, an international survey conducted by the Organization for Economic Cooperation and Development (OECD) that measure 15-year-olds’ capabilities in reading literacy, mathematics literacy and science literacy every three years, American students have room for improvement. The U.S. average score in reading literacy was not measurably different from the OECD average. Worse, U.S. scores in mathematics and science literacy were significantly lower than OECD averages. But progress is being made. Public and private schools are separating K-12 grades into lower and upper forms to create more supportive learning environments for multiple learning styles. Public schools are learning to share facilities with communities. Thus, this is no time to ease up the pursuit of excellence. 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
Resurrection Inspired by mythical story “blind men and an elephant”, blue human figure is symbolized as an elephant, and a group of blind men touch an it to know how it is like. Each one feels as a different part and meaning thus their disagreement among them describes the same thing in radically different ways. The artist wants to compare with God and different religions where God is only one, equally respectful for all. Asha Dangol
Sunil Sigdel: Born in Pokhara, Sunil did his B.F.A. in painting from Lalit Kala Campus, Kathmandu. He has six solo exhibitions to his credit and his selected workshops and residencies are in ROSL Visual Arts Scholarship, London & Hospital-field Art Center, Scotland (ROSL) 2011, International artist workshop, Sri Lanka org. by Theertha 2010, India-Nepal collaborative Residency org. by Khoj India 2010, International Human rights workshop, Taiwan 2007, South Asian Art Residency org. by VASL, Pakistan 2005. His selected group exhibitions are Cross the Border Constellation, Sri Lanka 2012, ROSL Annual Scholars Exhibition, Gallery @oxo, UK 2012, Focus on Asia “Brondsalen”, Denmark 2010, Free State Museum, Denmark 2008, Focus on South Asia, Denmark. He was awarded from ROSL Annual Scholarship Award, UK 2011, Creative Young Artist Award Pokhara 2007.
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