SPACES Nepal MAY 2018

Vol 14 No. 10 MAY 2018

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ART ARCHITECTURE INTERIOR

Jan Vermeer

A DAY WITH THE GREAT MASTER

LUMBINI

Vajrayana Mahabihar BEHIND THE SCENES

MADHYAPUR THIMI TRADITIONAL TOWNS AND A MODERN APPROACH TO URBAN AGRICULTURE

CONVERSION OF

TRADITIONAL HOUSE INTO NRS. 100/-

TOURIST ACCOMMODATIONS

IN PATAN CITY

WOVEN HOUSE RECONSTRUCTION AFTER 2015

GORKHA EARTHQUAKE

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Contents Volume 14 NO. 10 | MAY

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24 CONSERVATION

42 ARCHITECTURE

32 ARCHITECTURE

Madhyapur Thimi: Traditional towns and a modern approach to Urban Agriculture

WOVEN HOUSE

Conversion of Traditional House into Tourist Accommodations in Patan City

38 RECONSTRUCTION UPDATE

50 ARCHITECTURE

64 ART

Reconstruction after 2015: Gorkha Earthquake

Lumbini: Vajrayana Mahabihar Behind the Scenes

Jan Vermeer: A Day with the Great Master

54 INTERIOR

68 FROM THE SHELF

70 ARTSPACE

Looking at Architectural detail

Bajra Nirtya

Color in branding

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Contributors

Volume 14 N 10 | MAY O.

CEO

Ashesh Rajbansh Editor-in-Chief

Ar. Sarosh Pradhan Director- Products and Materials

Ar. Pravita Shrestha

Madan Chitrakar

Tapendra B. Khadka

Kai Weise

Asha Dangol

Samir Dahal

Contributing Art Editor

Madan Chitrakar Kasthamandap Art Studio Contributing Editor

Ar. Brinda Shrestha Junior Editor

Shreya Amatya Sristi Pradhan Pratap Jung Khadka Advisor

Ar. Pawan Kumar Shrestha Supporter

Society of Nepalese Architects Photographers

Pradip Ratna Tuladhar Intl. Correspondent

Bansri Pandey

Director- Operation & Public Relation

Anu Rajbansh

SR. Business Development Officer

Debbie Rana Dangol

Bansri Pandey

Chhavi Vashist

Brinda Shrestha

Rajina Shrestha

Madan Chitrakar is a senior artist and an art- writer based in Kathmandu. As a leading art writer of the country, on many occasions he has taken Nepali Art beyond the borders - through his writings in many prestigious publications abroad notably in Japan, India and Bangladesh. Two well acclaimed books Tej Bahadur Chitrakar - Icon of a Transition’ 2004 and ‘Nepali Art: Issues Miscellany’ - 2012 remain to his credit, in addition to the numerous writings on Art and Culture in English and Nepali. Presently, he is associated with Tribhuvan University, Central Department of Fine Arts and Kathmandu University, Center for Art and Design as a member of the respective Subject Committee.

Kai Weise is a Nepali national of Swiss origin who has been working as a planner and architect in the Himalayan Region.

Kai Weise has been facilitating the establishment of management systems for World Heritage properties and was involved in earthquake response and rehabilitation for the culture sector in Nepal and Myanmar. He is president of ICOMOS Nepal and fellow of the Institute of Advanced Studies, Durham University.

Tapendra B Khadka is the Project Director of National Reconstruction Authority, Central Level Project Implementation Unit (Building), Kathmandu, Nepal. B.E. in Civil Engineering and Masters in Urban Planning, he has more than 27 years of professional experience in the fields of planning, designing, construction management, procurement management, procurement administration of government projects as well as donor funded such as World Bank, Asian Development Bank, JICA and other organizations in a capacity of engineer, division chief (mid carrier Manager) and Project Director.

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

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Samir Dahal is an architect whose interest lies in almost all things that distracts from the mundane life. He loves computers, reading and the internet: just another guy who spends too much time online. A clueless,self-proclaimed architect jughead; will this architecturalsociety still accept him?

Bansri Pandey is an architect from India who is in love with stories. She has been writing about several issues on architecture since 2007. She came to Nepal in 2010. At the time, she established a training centre for teaching new technologies in the field of architecture/engineering in Nepal. After completing her masters in International Project Management from Germany in 2013, she worked in the field of construction technologies in Germany and in Qatar. After coming back to Nepal, her love for storytelling got her to write and perform a play in Nepali at a theatre in Kathmandu.

Currently, she continues to write about architecture as well as work in the field of construction technologies in Nepal.

Chhavi Vashist is a Delhi-based, graduate in Bachelors of Architecture and Post Graduate of Landscape Architecture. She is experienced in content writing as an Interior Designer. She is a blogger, and working as a faculty of Interior Designing.

She is practicing as an architect and her firm undertake projects of varied complexity in terms of Architectural Design and Execution, ranging from Concept making, Space planning, Detailed designing, Interior Designing, Fresh construction, Addition and Alterations in existing buildings, and Renovation work for every type of Residential, Commercial, Retail projects.

Brinda Shrestha is an architect/ urban planner who have worked as a former assistant professor in Nepal Engineering College. She has been working in the field of architecture and planning under different private consultancies, research and educational institutions in Nepal. Her major passion is exploring cities and its architecture through travelling and writing articles on architectural and urban issues.

Rajina Shrestha is currently working full time for Marketing and Operations at Threadpaints Store, a moderated online selling platform. She is a also co-founder at Women Leaders in Technology (WLiT) and Vice-President at Women LEAD. She is a freelance writer and asks too many questions.

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.

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MAY 2018 SPACES / 7

Editorial “For myself I am an optimist – it does not seem to be much use to be anything else.”– Winston Churchill Optimism defined on Cambridge dictionary ‘the quality of being full of hope and emphasizing the good parts of a situation, or a belief that something good will happen:’ – and the statements are very true. A country so laid back that all citizens believe something good will happen, but there’s no answer about where and when. After the mega earthquake of 2015, even the historical monuments are so optimistic that they are simply waiting, believing someone will come but unware many parts are already amputated just for waiting too long. Despite the related experts from world over pointing the 2015 earthquakes were an important warning to better prepared for the really big one, days and unbelievably calm in 2018. Ordinary people got that busy seeing logos of big national and international organizations, they fail to identify them now.

Traditional towns and settlements in many parts in Nepal had sustained many generations with unique amalgamation of agricultural activities. Is it really necessary not to consider or completely forget them in desperation of creating sustainability in 21st century? Or did we forget that the beauty and functionality of those earlier settlements, especially in and around Kathmandu valley, are esteemed so much in present world. Indeed, there are few good moves from some of the visionaries preventing the heritage from vanishing into thin air by revising them to provide a soulful experience to visitors.

Let’s combine optimism with vision - so that the basic infrastructures come alive on time, so that present generation believes before they become soulful. Nevertheless, couldn’t agree more with 14th Dalai Lama telling us “Choose to be optimistic, it feels better.”

Enjoy!

Ashesh Rajbansh / CEO

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MAY 2018 SPACES / 9

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NEWS

AIR QUALITY WHERE YOU ARE: THE PARADOX OF A LIVABLE CITY Yes, Nepal has once again topped the list!

According to researcher Dr. Anobha Gurung of ICIMOD, “Out of 30 cities in the world with the poorest air quality, 17 are in South Asia. And Nepal’s air quality has been reported worse than Pakistan, China, India and Bangladesh.”

Marking the ‘Air Quality Awareness Week (April 30 to May 4)’, Fulbright Alumni Association Nepal (FAAN) organized a panel discussion on May 3, 2018 about ‘Air Quality Where You Are: The paradox of a livable city’ focusing on the causes of air pollution in Nepal and the severity of its health impact. The panelists included Prof.

Dr. Bhagawan Koirala, Chief Cardiac Surgeon,Manmohan Cardiothoracic Vascular and Transplant Center, TU Teaching Hospital; Dr. Anobha Gurung, Postdoctoral Fellow, Air Pollution and Health, ICIMOD; Govinda Prasad Lamichhane, Environment Inspector, Department of Environment; and Ms. Nishma Adhikari, Creative Director, Bidhee Pvt. Ltd. Nepal’s constitution provides every citizen the rights to live in a clean and healthy environment. But over the last few years, we have experienced unbearable amount of air pollution in Kathmandu. Questions have been asked. Protests have been organized.

Hospitals are seeing sharp increase in heart and respiratory diseases and yet 12 / SPACES MAY 2018

the air pollution in Kathmandu remains 3 to 5 times higher than the national standard.

“Policies such as the National pollution control strategy and action plan, the Air pollution management action plan for Kathmandu valley and other standards are being discussed but are not yet approved.” according to Govinda Prasad Lamichhane, the Environment Inspector, Department of Environment. He described difficulty in the implementation of existing policies,“green sticker system has been introduced since November for controlling vehicle emissions. We have inspected 970 vehicles, out of which only 54% have passed. And even out of the vehicles with green stickers, 41% do not comply with the standard.”

According to the 2016 Global Burden of Disease study, about 6.9 million deaths are caused by indoor and outdoor air pollution around the world.

“Out of all heart related diseases, almost 20% are caused by air pollution. Out of every 1 lakh people, 216 people die in Nepal due to air pollution.” – explained Dr. Bhagawan Koirala. He also highlighted that while scientific evidence is critical for policy formulation, public pressure is equally important for the implementation of policies. Professionals must engage with politicians to formulate policies

and media should actively participate in raising public awareness.

Ms. Nishma Adhikari of Bidhee Pvt. Ltd., highlighted her efforts to bring public awareness about air pollution by developing a mobile app ‘Safa Hawa’ that gives realtime information about the quality of air from monitoring stations installed in Kathmandu.

The app shows area wise Air Quality Index (AQI) as well as gives notifications, alerts and health tips.

Air pollution, apart from being the single largest environmental health risk in the world, is also a burden on economic productivity due to disease related disability and premature deaths caused by air pollution. We have also seen the decrease in tourism industry of Kathmandu due to discomfort and risk caused by air pollution.

Thanks to the Fulbright Lecture Series, organized by FAAN, that professionals and citizens were brought together on one platform to discuss the issues related to air pollution and its impact on our life. This is a step towards the right direction and we hope that these voices are being heard by the concerned policy makers. Efforts to bring the clean air back in the valley, will have to be made not only by government bodies but also individually by every citizen.

The panel discussion was moderated by Prerana Marasini, Executive Member of FAAN. n

NEWS

MAY 2018 SPACES / 13

KVPT Education and Outreach: LET’S DISCOVER PATAN Patan Durbar Interactive Map and Tour for School Children

T

he Kathmandu Valley Preservation Trust (KVPT) believes that informing the community about cultural heritage, historic preservation, and seismic safety is fundamental to the longterm understanding and protection of that heritage. With these priorities in mind, KVPT is delighted to announce our Education and Outreach Programme: free school tours of Patan Darbar Square to students from both private and public schools every week, using our wonderful interactive maps (available in both Nepali and English languages).

This educational outreach programme is run as a collaborative effort between the Patan Museum and the KVPT, with financial support from The New Zealand High Commission, Delhi.

With guidance from Srijanalaya’s talented education and arts specialist Sharareh Bajracharya the beautiful illustrations are by the artist Suman Maharjan and scripted by the detail oriented and precise Rishi Amatya.

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This is the first interactive cultural map of Patan Durbar Square made specifically for children and young adults (fifth grade and up) focusing on sites within the Square, two courtyards (Mul Chowk and Sundari Chowk), the Bhandarkhal Garden and the new Architecture Gallery restored and curated by KVPT. The map is designed in a folded A4 size that opens out into four times its size enabling each inner page dedicated

to one of the main spaces. The script focuses on historical context and engagement through observation to realize an immersive experience. Other activities included in the map are an Artifact Treasure Hunt, a Sensorial Feedback activity, a Reflection Section, Calligraphy (by Ranjana Lipi), Connect the Dots, etc. The map also focuses attention on the ongoing renovation efforts in postearthquake Patan.

The tours are provided for students from public and private schools in grades five to nine on Mondays and Thursdays.

Available on contact with KVPT office a week in advance to book, the guided tour is about meeting wonderful team comprising conservation architect and engineer, Sirish Bhatt and Pooja Amatya and brilliant staff from the Patan Museum.

Hanuman Dhoka Museum Renovation

O

n 25th April 2018, the Hanuman Dhoka Museum Committee, Tourism, and Citizen Committee organized "Bhagnabhashesh Bata Punaruthan" (Restoration from Rubble) and the reestablishment of the statue of Late King Pratap Malla which was destroyed during the earthquake of 1934 AD and 2015 AD. Minister of Culture, Tourism and Civil Aviation of Nepal Mr. Rabindra Adhikari was present in the event, as the chief guest accompanied by Mr. Bhesh Narayan Dahal-Director General of Department of Archeology, Mr. Satya Mohan Joshi-Senior Nepali historian, writer, and scholar, Dr. Christopher Davis-Research Associate in the Department of Archaeology of Durham University, Mr. Bidhya Sundar Shakya-current Mayor of Kathmandu, Mrs. Aruna Nakarmi-Executive Director of Hanuman Dhoka Museum and other distinguished guests.

temporary part of Hanuman Dhoka Museum and the past earthquake that had hit Nepal especially the Gorkha Earthquake of 2015. There were pictures of the renovation processes and programs which was held after the Gorkha Earthquake in Kathmandu Valley. The museum displayed the valuable things that were explored from the Kasthamandap and the artworks from the Hanuman Durbar

Square which included the arts and the gifts received over the time by the late kings (Tribhuvan Bir Bikram Shah, Mahendra Bir Bikram Shah, and Birendra Bir Bikram Shah) with other antique pieces. This exhibition hoped that the people would be aware of the compassion and the importance of the heritage.

The program was held by Hanuman Dhoka Museum Renovation Committee on the occasion of 9th anniversary of Hanuman Dhoka Durbar Museum. The exhibition showcased Dhukuti’s introduction as

MAY 2018 SPACES / 15

NEWS

BETWEEN THE TWO POINTS A NEW EXPERIENCE IN ART Between the Two Points is an Art Show - a different kind of art event – hosted recently by Mcube Gallery, Patan. The event is showcasing the works of two artists – Michael Gordon and Yajyu Manandhar - coming from two different socio-artistic back grounds. And the show is the endresult of a collaborative project of the participating artists.

Michael Gordon is a well known artist from US - born and raised in Denver, Colorado. He received his BA Degree from Dartmouth College and did his MFA from California college of Arts.

He is currently in Nepal as a Fulbright student researcher examining the socio-economic, cultural and artistic landscapes of contemporary Buddhist art. He has also been teaching and creating works in KU centre of Arts and design as an Artist in Residence.

The other artist -Yajyu Manandhar is

from Nepal. He, as he likes to describe himself, grew up moving from city to city and did his graduation from Kathmandu University centre of Arts and design; and is also an artist in Residence. While moving from city to city, he has had experience to work with various groups from marginalized society.

Thus the two artists – each hailing from two different places and with different language and background happened to meet at the ‘artists in Residence’, KU. This meeting created a strong bond between them and their concept made a strong connection.

At a first glance while visiting the show, it looked rather bizarre and apparently, carried a simple mission and definition.

This is before meeting the artists. But after meeting the artists, obviously, the exhibits revealed deeper meanings.

As the artists explained their works, each and every word they spoke in their explanations had deep meaning.

First and foremost, they aimed to convey a broader message the impermanence and abstraction in our every step of life. As the conversation went on Michael has a belief ‘the role of craft is a mere process to achieve internal reflection.’ And Yajyu has a belief that art embodies all – time, objects and the events.

During a conversation, Michael Gordon sought to explain and make others understand the meaning of Art. As the exhibits, he displayed a pile of

16 / SPACES MAY 2018

old, worn shoes collected during one month – roaming around the city. To Michael, it represented a revelation of impermanence. He explained shoes come in a pair and it makes us think about the people who wore it.

Talking about another work - titled ‘Momentary Window,’ he explained it as yet another instance of impermanence. This exhibit also he found it during a walk around the city.

He happened to find a frame of an old sofa - thrown out. Like the shoes, the frame also narrated its past moments.

His entire process focused on the reality of impermanence.

Yajyu, the other artist, also worked in collaboration with Michael while they were in KU art studio. His concept of work revolved around all the momentary action and time based works. He sought to make useful instrument with the junk metals - found thrown in the streets. It inspired many locals when Yajyu moved around the city with the self made instruments.

But the purpose behind the work was not to create permanent works of art.

He merely sought to create it as a work of art – like one wheel and two screws.

In short, the artists sought to explain that ‘Between the Two Points’ as an example to demonstrate “Art not only means the stroke of brushes in a fine piece of canvas, but also is the rough and dirty objects found. The exhibition continued through 3rd May, 2018 at Mcube Gallery. n

NEWS

SYNTHESIS ART REDEFINED Synthesis is a recent Art Exhibition held at Siddharth Art Gallery: seeking to redefine Art differently from what we perceive normally. The show was organized by Tilichokala, an organization- built up with a long experience gained since three generations.

Similarly, two or three dimensional Art, is represented in three genres of Sculptures. There are works by Punya R. Bajracharya, Pratham R. Bajracharya and Sapta R. Bajracharya.

Pradip Shakya as a sculptor is wellknown for his ability to make the stones sing and dance.

As the term Synthesis means ‘a combination of various components or elements to form a new composite one, Tilichokala, the organizer, through this show has sought to showcase diverse art forms like Paubha, contemporary art, photographs and sculptures in a common space.

At the same time, there are also the works of Contemporary expressions – here as a means of human dialogue.

In this category, Erina Tamrakar has expressed the complex journey of women through her paintings. Rasana Bajracharya used her canvas and the brushes to work on the burning social issues.

Paubha art - the traditional Newar style religious painting is represented by Lok Chitrakar, one of the well known artists of Paubha Arts. Also, there are works by Prem Man Chitrakar who has paved the way for the next generation to express Paubha art in modern ways.

At the same time, there are works by Samudra Man Shrestha who’s been continually pushing the boundaries of Paubha Arts to new limits.

The art of Photography is also included here. It is here to narrate that creating images is not only limited to the artist.

Photographers are also the creative artists. Here the photographers have sought to express it through what they click. Photographers Kichha M. Chitrakar, Yanik Shrestha, Samir Maharjan, Aakash Pradhan, and Michelle have worked to create and

express art by means of Photography.

As the entire show is presented with unique thought and style, many visitors are seen visiting to view the artworks. Many young children from schools were seen seeking to know more about Nepali arts and preparing reports. The exhibits like paintings and sculptures were of different sizes big and small. But every work had their individual explanations to make. To make the Show lively, there was also ‘The night Music Band’ performed live music in the last day of the event.

In short, ‘The synthesis’- the exhibition has successfully presented the journey of Art from past to the present: and it offered a glimpse into future also. And conclusively, The Synthesis defines that art is not only the fixed works in canvas but also can be made in any other media. But also, live art such as music can and will engage an audience. The exhibition continued through 5th May in the Siddhartha Art Gallery. n

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REVIEW

DISASTER RISK REDUCTION AND RESILIENCE: HOW FAR HAVE WE COME? Nepal is one of the world’s most vulnerable countries to both earthquakes and climatic hazards.

Despite our efforts in disaster reduction and management, we continue to witness loss of human lives, livelihoods, and properties due to floods and landslides every year throughout the country. Earthquakes occur less frequently but can cause massive damage as occurred in the Gorkha Earthquake (April-May 2015).

Experience is a great teacher but only if we learn our lessons well.

In the April edition of Lecture Series 2018, Fulbright Alumni Association Nepal (FAAN) organized a panel discussion on disaster risk reduction and resilience (DRR) in Nepal, focusing on the lessons learned and lessons yet to be learned. Panelists included Tapendra Bahadur Khadka, Project Director, CLPIU (Building), National Reconstruction Authority; Ajay Chandra Lal, Assistant Professor, Institute of Engineering, Department of Architecture and DRRM expert at Center for Disaster Studies; and Anil Pokhrel, Senior Risk and Adaptation Specialist, Plan8. The panel discussion was moderated by Dr. Kirti K. Joshi, Assistant Professor, Institute of Engineering, Department of Architecture, and an Urban Resilience expert.

The aftermath of the Nepal Earthquake 2015 is still fresh among all of the citizens of Nepal; the event which has led to the rescue, relief, rehabilitation and reconstruction

18 / SPACES MAY 2018

initiated by the national government, NGO and INGOs, local body and representation and hands-on support from the locals. A quick glance at all works commemorated to respect to the natural disaster shows the resilience reconciliating to bring the lives to normalcy. Although the rehabilitation and reconstruction has moved steadily, the unhurried pace seems to have unheard for the quick plight caused from the earthquake; which raises the dire need of an equal importance to build a safe and a resilient community.

Tapendra B. Khadka provided insight about the ongoing works by the national reconstruction authority (NRA). The NRA formed by the Government of Nepal, implements earthquake reconstruction and recovery program on the principle

of Build Back Better (BBB). The NRA has deployed engineers and technicians in the 31 affected districts. The work progress of private housing reconstruction is updated online by the NRA Engineers.

Moreover, a mobile app has also been prepared for the same purpose for the public building construction.

Khadka adds, “The major challenge is to complete the housing reconstruction within the stipulated time period of five years. Likewise, effective supervision and monitoring of donor funded works is also a challenge to the effective evaluation of work completed under DRR.” Ajay ChandraLal talked about the Disaster Risk Reduction and Management (DRRM) Education in Nepal. He presented two schools of thoughts on the perception of DRR

REVIEW in academic curriculum, namely ‘disaster as technical problem’ and ‘disaster as managerial problem’.

There has been a paradigm shift - a change from a piece-meal approach to a more comprehensive approach.

In fact, the perception of DRR has led to multidisciplinary actions including the rescue, relief, reconstruction and rehabilitation to academic integration to cope with the natural disaster risk reduction and resilience.

There has been emergence of new institutional strategy to incorporate: national strategy for DRRM, new Act for DRRM, new institutions at central and local level to deal with Comprehensive DRRM, National DRRM Platform and Portals and draft of National DRRM Policy.

The specific response from academia for DRRM includes 1. Dedicated module in a program • Water Induced Disasters in Water Resource Management (1996) • Soil Conservation in WRM, Geotech and Environment engg • Bio engineering in WRM, Geotech and Environment engg • Earthquake Engineering in Structural engg(1996) • Disaster Risk Management in M. Sc. Environmental Science (2010) 2. Dedicated program for specific disaster a. Masters in Earthquake Engineering: Khowpa Engineering and Thapathali Engineering College 3. Multidisciplinary Comprehensive Course • Masters in Disaster Risk Management 2010, IOE • Masters in Disaster Risk Engineering and Management: Lumbini Buddhist University • PhD in Disaster Risk Management: IOE • Dedicated Research Center: Center for disaster studies in IOE Anil Pokhrel, focused on the need “safe building” that is aware of and addresses the resource inequalities and other social impediments that block progress on code compliance.

He showed examples of lack of

proper monitoring and guidance in many areas that need DRRM. Disaster Risk Reduction and Management Act (DRRM Act) 2017broadens the scope of disaster management with greater focus on disaster risk reduction and preparedness. It further mandates for a separate Disaster Risk Reduction and Management Authority. The Act (which was originally drafted before the constitutional ‘unbundling’) contains some provisions that seem at odds with the constitution, such as disaster management committees at provincial and local level that are accountable upwards, as well as a continuing role for districts.

The interaction lecture shared a deep concern on the effectiveness of the reconstruction. Although the works have been commendable and have helped build back better but the need for proper monitoring and guidance is widespread throughout the areas affected by the Earthquake.

Progress has been painfully slow for families who have now spent two winters without proper shelter.

Many live in makeshift huts and bamboo tents. Further, problems on the ground have been ignored.

Shortages of water and other raw materials mean that even families that receive payouts are unable to begin building. Some families have had to travel for several days to reach local government offices to sign up for the compensation they have been promised. Others struggle to find materials and skilled workers to build walls. Still others have waited months for inspectors to check the foundation work so that the next tranche of funding can be released.

The government instituted a reconstruction program in October 2015 that identifies beneficiaries and entitles them to three instalments of compensation. The government housing grant is available in three instalments on the basis of progress; Rs50,000 upon signing an agreement - Rs150,000 after completion up to plinth level; and Rs100,000 upon completion of the structure.More than 400,000 households entered into an agreement, but so far only 12% have completed the program.The NRA undertook a lengthy consultation MAY 2018 SPACES / 19

REVIEW period in the name of building back better. Development of a building code compliance process and a catalogue on rural housing took 18 months to produce and disseminate.

By the time guidance was finally available, many beneficiaries had spent the first instalment on other priorities, many of that affected struggle to provide for the basic needs of their families.Due to the remoteness of many reconstruction properties in the mountainous terrain, checking for compliance is a major challenge. The potential for change will be wasted if we fail to understand and address the chronic vulnerability of people recovering from this disaster. Not everyone has the same access to opportunities and resources.

Despite Nepal’s recent political and economic challenges, including an economic blockade and four changes in government, reconstruction is not far behind schedule. And with the close collaboration between two

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programs, the Earthquake Housing Reconstruction Project and the Poverty Alleviation Fund Project, the effectiveness and impact of the reconstruction effort is hopeful to maximize the help to the affected communities to rebuild their houses, diversify their livelihoods, and build more resilient communities.

Despite many challenges and issues, NRA and many other agencies involved directly or indirectly has been confident to cater to the existing needs of the reconstruction and rehabilitation within the next fiscal year; tailor to necessitates the prerequisites of victims and survivors alike.

NEWS

NLHDA Property Expo 2018 The Nepal Land and Housing Developers’ Association (NLHDA) Property Expo 2018 is going to be held on 15th to 19th June 2018 at Bhrikuti Mandap exhibition ground.

The main objective of this event is to create a common platform for housing companies, real estate dealers, land developers and other related businesses. The 7th edition of the expo invites national as well as international presenters who shall display their services and products. The expo will

accommodate the newest earthquake resistant technology in housing and will include architecture/engineering firms, banks and cooperatives. There will be around 150 stalls and more than 100,000 people are expected to visit the expo. Symposiums and conferences will be organized to discuss and address contemporary issues.

With the grand success of last years’ Housing Summit and the active participation of concerned individuals,

NLHDA with joint collaboration with Department of Urban Development & Building Construction (DUDBC) and Kathmandu Valley Development Authority (KVDA), is going to organize the Housing Summit 2018 in association with NEA, FNCCI, SCAEF, UNHABITAT, RUPSON and SONA along with the academic institution “ Institute of Engineering,” for two days on 18th and 19th June, 2018 with the theme of “The New Urban Agenda In Housing” at Hotel Yak & Yeti, Kathmandu, Nepal.

The second edition of Housing Summit will be a part of the NLHDA Property Expo 2018 which is expected to input new energy and enthusiasm to the development of housing and real estate.

Land and housing events held in the past years have turned out to be very fruitful with overwhelming participation of exhibitors and visitors. Moreover, on the spot transaction of housing units and residential plots was also very encouraging. The current trend of this business in the country is a clear indication that the Property Expo 2018, Nepal will achieve tremendous success.

MAY 2018 SPACES / 21

Celebration of Womanhood ‘Celebration of Womanhood’- is the 17th Solo exhibition of Artist Erina Tamrakar. The present Show is presented by GG Machhan. Erina is a young visual artist with Master’s degree in Fine Arts from Tribhuwan University, Nepal. She has been working as an artist since 1989.

She also, remains the cofounder of Kasthamandap Art studio and E-Arts Nepal.

Aptly titled “Celebration of Womanhood,” the Show vividly reflects the state of Womanhood in all her paintings. Every art work in the gallery expresses the Celebration and joy of being women. Without using a single word, the paintings visually explain the entire message she

desired to convey. She has used the bold brush strokes dipped in acrylic colors in her different sizes of canvas.

It is found that most of her paintings have either red or blue tone. On her choice of colors the artist opined that she uses all the different colors but she has strong liking for Red. To her, Red is the strongest color: and she adds red has a super power- it is also the color of blood. She adds Red is the most used color in Nepali culture.

About blue color, she says, she often uses it as mono color work so as to make her paintings brighter.

At the same time, it appears she also has a strong liking for gold color as the final touch in her paintings. On

this Erina explains that to an artist a touch of gold would add as the symbol of purity. In her paintings, many women forms are found – seeking to represent the diverse feelings of thousands of women.

To another query of recurring imageries of women, she adds “After working 30 years in the same subject, the variation of women and their feelings are born naturally.”

Many of her works in this exhibition are titled ‘Third Eye’. She says third eye symbolizes an extra power and women have to face and endure a lot of difficulties in their life; and thus the third eye is a compulsion for them. Erina’s last words during the conversation has it that ‘Every woman should have a right to enjoy her life as the way she wishes to.’

Erina remains one of the well known artists today. She has had exhibited her works in different national and international galleries.

During her exhibitions of works in different places and meetings, she has had met many visitors.

She realized that there are no differences here and abroad because the artists’ feelings and concept remain the same everywhere.

Conclusively speaking, in the present Show Erina as an artist, has well remained successful in expressing the journey of women and the feelings of women in the canvas.

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8th National Fine Art Exhibition

T

he 8th National Fine Arts Exhibition 2018 was organized

by Nepal Academy of Fine Arts (NAFA) which is the umbrella organization of Nepali artists, art researchers and art critics that facilitates for creation and exhibition of artworks, study and research of various genres of arts.It was held from 18th - 30th April 2018 at Nepal Art Council, Babarmahal spanning

three floors of the venue including paintings, sculptures and mixed media works by numerous Nepali artists. Two Veteran artists Bijaya Thapa and Kalu Kumal were awarded with the ‘Araniko Rastriya Samman’ with cash prize of one lakh each.

Sangi Shrestha, Ritesh Shahi, Laya Mainali and Mahesh Shakya were accorded the ‘Rastriya Lalit Kala Puraskar’ with cash prize.

The organization distributed prizes to 31 artistic members of 7 art categories among which 7 artists from each categories were rewarded with NRs. 60,000 cash, NRs. 25,000 cash to other 24 artist with a Tamrapatra to each.

The exhibition presented 436 artworks of 401 artists which included artwork from modern and traditional paintings, sculptures, handicrafts and other creative artworks. The artists from all the seven states of Nepal took part in this exhibition.

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CONSERVATION

MADHYAPUR THIMI TRADITIONAL TOWNS AND A MODERN APPROACH TO URBAN AGRICULTURE

Text & Photo: Kai Weise

TRADITIONAL NEWARI TOWNS HAVE A UNIQUE BLEND OF URBAN FABRIC WITH AN OVERLAY OF RURAL AGRICULTURAL ACTIVITIES. RURAL LANDSCAPES ARE MAINTAINED BY CREATING COMPACT URBAN TOWNS WHILE EXCESSIVE WASTE OF URBAN LIFE IS ABSORBED BY RURAL ACTIVITY. AS WE DESPERATELY TRY TO REINVENT SUSTAINABILITY, WE MUST REALIZE THAT IT HAS ALWAYS EXISTED WITHIN THE MEANS OF PAST GENERATIONS. THIS HAS HOWEVER CREATED A DILEMMA FOR PLANNERS WHO HAVE BEEN TAUGHT THE GREAT DIVIDE BETWEEN URBAN AND RURAL. THIS ARTICLE PRESENTS AN OVERVIEW OF THE PLANNING DONE AT MADHYAPUR THIMI BETWEEN 1998 AND 2004 WHICH WORKED TOWARDS INTERPRETING THE TRADITIONAL LANDSCAPE TO DEVELOP MEANS FOR CONTEMPORARY PLANNING.

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CONSERVATION

THE NEED FOR MUNICIPAL PLANNING Madhyapur Thimi Municipality is located in the centre of the Kathmandu Valley. The municipality with an area of 11.47 sq. km. was established in 1997 in consolidating five existing VDCs (Village Development Committees).

The municipality’s population had increased steadily with the adjoining larger municipalities of Kathmandu, Lalitpur and Bhaktapur exerting mounting pressure as they grew at

tremendous rates. As a result, much new construction in Madhyapur Thimi had taken place in a manner inconsistent with traditional settlement structure, and urban sprawl had encroached upon what is still primarily agricultural land.

The newly established municipality needed a vision and a plan to deal with uncontrolled development.

During my first meeting with Madan Krishna Shrestha, then Mayor of Madhyapur Thimi, we quickly agreed that planning would be required. The

standard understanding that a newly established municipality needs a Ring Road, a waste dumping site and a new municipal building was not going to suffice. Having never planned a municipality, I got the support of my former professor Alexander Henz from the Federal Institute of Technology in Zurich. A workshop was organized on 4 to 5 June 1999 where the seeds were sown for a most interesting experiment in planning.

MAY 2018 SPACES / 25

CONSERVATION

ANALYSIS OF THE MUNICIPAL AREA The analysis of Madhyapur Thimi began with some very basic questions. What is the present situation? What are the needs? How and where can they be fulfilled?

Different locations within the municipal area were considered suitable for different functions and this would be considered the basis for physical planning. The characteristics of the topography at Madhyapur Thimi, as throughout much of the Kathmandu Valley is the

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division of higher ground on plateaus (tar) and the lower areas eroded away by the natural drainage (dol).

The lower areas are often flood plains which is the best land for agricultural use.

This knowledge was used by the traditional communities who built their settlements on the higher tar areas keeping the dol areas for agriculture. This was continued up to the time when the planning was being done in the late 1990s. Building in the lowlands could only be found along the roads, particularly along

the old Bhaktapur Road and the Arniko Highway. This understanding would be the basis for the continued physical planning of the city.

CONSERVATION

APPROPRIATE USE OF LAND The question that then arises was what the use or requirements would be for the built-up areas. Firstly the functions of the existing built up areas needed to be assessed, whether they were appropriate, acceptable or whether they would need to be moved or even removed. The brick factories and other polluting industries needed to be moved out while the institutional area in Sano Thimi was considered an important part of the municipality.

The second consideration was new requirements such as possibly a new city centre where a market and the municipal building would be located.

This would have to be at a focal point, central and with good access.

The planned city centre at Bahakha Bazaar between Chapacho and Nagadesh never got implemented.

The third consideration was the creation of development areas. This would need to be linked to a larger vision considering the potentials of the centrally located municipality.

At the time the considerations were towards commerce, quality housing and institutions. The development areas that have in the meantime been planned such as in Kamerotar don’t

have any vision and are based on the standard format of land-pooling.

This plotting cannot really be called planning considering that they had the sewage flowing directly into the Hanumanti River.

Accessibility and connectivity was considered an important part in the development not only of Madhyapur Thimi but of the entire Kathmandu Valley. The thoroughfare through the valley clearly runs along the Arniko Highway which is both problematic but also an opportunity.

A railroad system was proposed.

In the meantime the section of highway through Madhyapur Thimi was widened into six lanes with Japanese support, but sadly without considering the need to connect the two sides that have been segregated.

The highway should have been raised in critical locations to allow connectivity under the highway. The later addition of over-bridges has hardly helped.

MAY 2018 SPACES / 27

CONSERVATION

PLANNING THE MUNICIPALITY On the basis of the analysis several future city developments were considered possible. Taking into account its location the growth was surely going to be rapid.

The municipality had a chance to influence development with consistent planning. The question was what quality of development would take place and whether some of the characteristics of the area would be retained, such as the agricultural fields and the local crafts.

Through discussions with numerous stakeholder groups a vision was formulated for the new municipality which was summarized under five themes. (1) The first point was the conservation of heritage and retaining the identity of the traditional settlements. (2) The promotion of traditional, local and modern cottage industries. (3) The development of small industries which would be in a designated industrial zone with respective provisions to minimize impact on the environment. (4) The continued provisions for educational institutions within the designated area in Sano Thimi but also linking this to improved and safe schools. (5) The promotion of organic farming in the low lying flood plains which are areas not considered appropriate for construction. These vision points guided the planning of Madhyapur Thimi Municipality.

A zoning plan and related bylaws were prepared and adopted by the Municipality in 2001. The plan consisted of conservation areas

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encompassing the traditional settlements and important natural features such as forests, rivers and streams. The existing land categorization used in the cadastre plans as per agricultural output was the basis to separate out the development land from the agricultural reserve zone. The reserve zone encompassed the fertile and irrigated Awal and Doyam land while the Sim and Char land which is for dry crops and uncultivable land

was put into development zones.

The flood plains were all place in a Reserve Zone where no permanent structures were allowed to be built.

The municipality however had the right to convert specific parts of the Reserve Zone into planning areas with justification and proper planning.

A conflict arose when the cadastre plan showed the river in a very different alignment than its present location. This was particularly the

CONSERVATION

case with the Manohara which flows along a wide flood plain. This was however not a critical issue since even today much of the flood plains remain fields and only partially have planning projects destroyed the landscape. Sadly on the opposite bank of the Manohara in Kathmandu, the flood plains are already totally covered with random urban sprawl.

URBAN AGRICULTURE A principal tenant of the Madhyapur Thimi Municipality’s “Development Guidelines & Building Regulations 2001” was the creation of an agricultural Reserve Zone. The intent behind the zoning was to support

continued farming practices for both environmental considerations but also for food security and supplementary nutrition while curbing the loss of prime farmland to unplanned urban sprawl. It was also possible to create municipal level composting plants reducing waste by more than fifty percent.

The preservation of agricultural land is vital for the sustainability of urban development in the Kathmandu Valley. The Madhyapur Thimi master plan has served as a positive example of how urban agriculture can be integrated into the development scheme of a municipality. The reservation of open spaces within

MAY 2018 SPACES / 29

CONSERVATION

urban development areas, combined with the active promotion of agriculture as an economically viable source of income for the farming community and the urban population as a whole, can assist in controlling urban growth. Such a policy will result in higher land values and assure well-rounded family nutrition.

Ultimately, the long-term prosperity and livability of the Thimi-Madhyapur Municipality will be ensured for many generations to come.

HERITAGE CONSERVATION The new building regulation for the traditional settlement areas was prepared to set up a legal framework for conservation work.

The Municipality intended to develop the main street through the core areas of Balkumari and Chapacho as a pedestrian “Craft Street”. The traditional crafts such as pottery and mask-making were to be supported and tourism developed. The building regulations were not sufficient to control inappropriate building. It was essential that the inhabitants of the traditional settlements participated in the decision-making process and benefited from the conservation of this area.

The elevations of all buildings around the Balkumari Square were measure-drawn to see whether they are appropriately built to retain the original character of the square. All the buildings that were built using concrete (all of them being inappropriate in height, materials, design and detailing) were being studied to prepare a

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realistic proposal for refurbishing with detailed cost estimates. All the traditional buildings were being analysed to see what needed to be preserved and should any renovation or reconstruction be necessary, how best this would be carried out with minimum cost.

Carpenters were trained for restoration of traditional wooden structures and carved elements of buildings. The municipality intended on setting up its own workshop with the carpenters; to support the craftsmanship, to have a workforce for restoration works as well as to have a source of income from sale of wooden handicrafts.

SETTING AN EXAMPLE Twenty years ago, as the basis for future development planning of Madhyapur Thimi Municipality, the concept of sustainability was proposed. In 1987 the “World Commission on Environment and Development”, the so called Brundtland Commission defined the

term “sustainable” as “development that meets the needs of the present without compromising the ability of future generations to meet their own needs”. In the meantime this has become standard jargon particularly with the Sustainable Development Goals. The understanding of sustainability was defined and principles established.

The planning of Madhyapur Thimi was undertaken when a functioning local government was in place and the Local Self-Governance Act had just been promulgated. These conditions however quickly changed with loss of local governance and related mismanagement. With the newly elected local representatives, it might be again possible to carry out sustainable planning in the municipalities. It would surely be time to review these and renew the vows of following the principles of sustainability. This would also be valid and essential for the development of the many municipalities that have been established throughout the country. Madyapur Thimi could lead the way. n

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CONVERSION OF

TRADITIONAL HOUSE INTO TOURIST ACCOMMODATIONS

IN PATAN CITY An Approach of Contemporary City Transformations.

Text: Brinda Shrestha

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Š Rohit Ranjitkar

The contemporary urban built form is continuously challenged and contested by complex societal needs within which it is shaped. As a result, the city continuously struggles to provide the spaces for varied functional needs and activities, based on the demands and needs. With advancement of technology, time has transformed towards network based society, with free-flow of people and their knowledges, connecting people around the world, and this has asserting the feeling of cosmopolitanisms. In this context, as any other cities around the world, Patan city in Kathmandu valley, is also challenged with the modern affects and demands and having said that, the historic buildings are also continuously challenged with the nexus between modern needs and their significance of historic values or ethos. With time, the core of Patan is undergoing transformations from its homogeneous social organizations to more diverse and heterogeneous social belief and interactions. Thus, the city, itself is undergoing

different alterations , echoing changes in society, economy and politics. Among many contemporary transformations, the article is mainly aimed to discuss the aspects of the transformations of family heritage buildings to the tourist accommodations as part of contemporary changes in the core city and to reflect on pros and cons of the process and further tries to shed light on the necessity of government and concerned institutions to integrate this process in holistic approach of heritage management. Backed on the basis of interviews and discussions with some of the key informants along with site visit and site observations. Sincere gratitude goes to Ms. Chandra Shova Shakya, Senior Architect, Heritage and conservation unit, Lalitpur Municipality; Dr. Rohit K. Ranjitkar, Programme Director, Kathmandu Valley Preservation Trust; and Mr. Jiten Shrestha, Cofounder, Designer, Cosy Nepal; for sharing their knowledges, experiences and views.

MAY 2018 SPACES / 33

Commonly known as Patan, the core town of Lalitpur, is one of the historic and traditional city in Kathmandu Valley. Located south from the core of Kathmandu Valley, Patan city echoes as the open museum displaying its rich artistic and architectural bequests from generations to generations.

It is the city famously known for its finest traditional arts and crafts. At the core of Patan city, the famous Patan durbar square which is one of the finest UNESCO word heritage site in Nepal and surrounding this heritage site there are many compact traditional residential settlements connected with networked of narrow lanes and bahas.

These traditional houses in the core of Patan durbar square embodies the original spirit of cities that echoes the century old traditions, cultures and social coherence.

© Randal Bellons III

INTRODUCTION

The historic urban cores in Patan city contribute in delivering unique city’s ethos that contribute in resonating particular city’s emblem, different from the other.

Today, while in many modern cities we find the feeling of cosmopolitanism or globalization, whereas, in other aspects we sense the feeling of competition to stand out through their sense of uniqueness, that is deep rooted within the city and its ethos, that they take pride on, which are delivered through their history, culture, and the lifestyle. However, these family heritage buildings are influenced with changing urban needs, lifestyle and the external influences driven by modern networked society. At each generation, these houses mourned its division silently, triggered through property division among its heirs

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© Rohit Ranjitkar

CONTEMPORARY SOCIAL IMPLICATIONS ON HERITAGE BUILDINGS

© Rohit Ranjitkar

© Rohit Ranjitkar

and are left with smaller physical entity than the original scale. Hence Physical division of Heritage home among its heirs, sometimes may result in small inhabitable isolated spaces which are then left vacant as mere share of property with economical values. Due to the newer generation’s profound preference to move out of the core in lure of modern facility and desire for materialistic worth of urbanization, and to live abroad, the heritage buildings got more and more vacant and hence deteriorated.

Dr. Rohit K. Ranjitkar, shares that majority of houses within the core in Kwalkhu area, alone left vacant due to various social reasons. While the continuous process of division of heritage home among its heirs not only had physical implications on the house but also influenced social transformations of family structure from one big joint family to smaller nuclear family structure. Originally these traditional houses are built to occupy bigger joint family structures.Thus, Mr. Jiten Shrestha, co-founder of Cosy Nepal advocates on incorporating contemporary lifestyle changes among residents within the functional transformation of the building.

ATTEMPTS OF TRANSFORMATIONS The Institutional bodies like Patan Tourism Development Organizations (PTDO) and UNESCO have seem to be initiating the innovative act of conversions of traditional

family house to modern touristic accommodations. The conversion of family house, like Shrestha house (Newa Chhen) and Rajbhandari house (YALA) to touristic accommodation and boutique showroom is one of the finest and innovative example of how individual’s will coupled with responsible national and international bodies and the organizations that includes UNESCO, PTDO and technical support by KVPT could positively help retain the original identity and integrity of heritage home while meeting the modern demands of time. The restoration was completed in 2006 after many years of hard work,dedication and willpower.

Similarly on private initiatives, Mr. Jiten Shrestha initiated the visionary concept of converting the old family home into tourist accommodations delivering quality, hospitable service to the guests through homestay concept. Till the date, his team have transformed around fifteen homes to tourist accommodations. Some of them can be enlisted as family house of Rajbhandari’s, named as Balcony house in Kwalkhu,Yatachhen house andDhakwa house to name the few.These converted built forms are serving the tourists and the guests by providing intrinsic linkage between history, traditions and modern amenities and seemed to be driven by the principle of adaptive re-use and the common mottos of “contemporizing traditions”.

MAY 2018 SPACES / 35

© Nico Maria

© Nico Maria

While in other scenarios there are also trend of developing the touristic accommodations in ad-hoc basis with owner’s own initiatives and interests. There are converted hotels and lodges that have been built by completely replacing old built structures to new RCC structures, without respecting the historic urban fabric. In either case, these initiatives have been triggered by the gist of economic gains through tourism.

PROS CONS AND CHALLENGES The major concern for our traditional family-houses in the core city is suffering due to increasing haphazard urbanization process in the name of development, mostly based on economic activities cumulated with inefficient management plan and approaches from the government sector. However, the initiatives of these process of conversions of these family houses in the modern touristic accommodations, apart from its economic gains, could be discoursed in various aspects based on its pros, cons and challenges, it further inhibits.

Preserving contextual and historic values in reference to changing sociocultural, economic and political scenario of the place could be the major positive aspects of these transformations. Similarly, the adaptive reuse of these house in original form prevents our century old residences from being degenerated or replaced by

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ad-hoc constructions, hence avoiding our heritage buildings from being futile with time.Also, these initiatives could prevent our family heritage homes from being vertically divided among heirs, in most of the case forming unlivable small space.

While in other aspects, as Dr. Ranjitkar shares, most of the cases could be the outcome of owners being displaced or migrated,leaving the intangible heritage of cultures, costumes and regulations at higher risk.

Unlike other developed cities, the major heart and soul of core Patan lies on its various forms of community oriented cultural and ritual practices that completes the meaning of the city. While some of these conversions of adaptive re-use could be taken positively, but in some cases there are examples of growing trend of RCC structures that completely neglect and disregard the basic safety and security necessity of the hotels and lodges.

Furthermore, challenges lie in continuing with demand of time dimensions and yet not compromising with original city’s ethos in-terms of integrating intangible heritage of the place and to control the flow of unwanted tourist and regulate the impact of negative tourism that would affect the traditional and historic ethos of the heritage area. Similarly, integrating and managing the modern safety and security measures such as utility services, emergency evacuations etc. in the

Department of Archaeology, Local Municipality and Ministry of Urban Development, Nepal Tourism Board, are some of the responsible national institutional bodies that have the role and responsibilities to control and regulate these conversions, in terms of holistic development of the city that reflects and integrate the visions and objective of the government with the ground realities.

With the conversions of heritage homes into tourist accommodations, the concern for safety, service and security of the public, becomes much sensitive and of the concern, in defining guidelines from the policy level.

REFLECTIONS Changes are inevitable and changing needs of people are also changing. However certain principle should not affect with time that drives the identity of the city. While in some aspects the conversions of heritage home to touristic accommodations, through adaptive reuse or restorations process, have helped in offering a fresh respite offering an opulence of charismatic history of arts, crafts and traditional ethos otherwise chaotic concrete jungle of Kathmandu valley. They helped in retaining the nexus between contemporary needs and historical legacies. As part of major contributions to tourism sectors, the conversions have contributed in integrating tourism industry with local aspects of development, delivering unique architectural vocabulary and urban fabric of the local place.

However, the complexity of transformations has

Š Rohit Ranjitkar

existing old built structures should be major concern and the government and responsible institutions should intervene to regulate the safety and security measures of these new social and economic domains. Conversions of heritage homes into hotels and cafes have opened up another domain of socialization among youths and the guests, changes are echoed in all urban user groups especially the youth who uses the space on daily basis.

further challenged, with the on-growing complexity of multidimensional functional needs and management from concerned institutions. In the lack of proper management, guidance and policy documents, from the concerned government and institutions, trend of ad-hoc constructions of hotels and lodges which disregard safety harmony and original city are seen sporadically.

REFERENCES: 1. A.B, Daniel & D.S, Avner. (2011). The Spirit of Cities: Why identity of city matters in a Global age.

Princeton University Press.

2. Cosy Nepal , accessed through: https://cosynepal. com/accommodations 3. Newa Chhen, accessed through: http://www. newachen.com 4. Lalitpur Municipality office, accessed through:http:// lalitpurmun.gov.np/en

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RECONSTRUCTION UPDATE

RECONSTRUCTION AFTER 2015

GORKHA EARTHQUAKE Text: Tapendra B. Khadka

BACKGROUND

On 25th April 2015, 7.8 magnitude earthquake struck Gorkha, with epicenter in Barpak Village, approximately 76 km northwest from Kathmandu, at a depth of approximately 8.2 km. The Gorkha earthquake followed by subsequent aftershocks, including a powerful one on 12th May, 2015 led to loss of life of about 8,790 people. The earthquake flattened the villages and significantly affected the livelihood of households.

Out of 31 directly affected districts, 14 districts are categorized as mostaffected districts.

The assessments showed that about 498,852 private houses and 2,656 government buildings were completely collapsed. Approximately 256,697 residential buildings and 3,622 government buildings were

partially damaged. Further, 133 historical and archaeologically invaluable sites were completely destroyed, 95 partially collapsed and 515 were partly damaged.

In the Donor Conference conducted by the Government of Nepal on 25th June, 2015, the International Development Partners pledged USD 3.43 billion, comprising of USD 1.29 billion as grant and USD 2.14 billion as loan. However, only USD 2.63 billion has been disbursed with USD 0.89 billion grant and a loan of USD 1.89 billion. A separate entity, the National Reconstruction Authority (NRA) was set up by the Government of Nepal on 25th December, 2015 to implement earthquake reconstruction and recovery program based on the principle of Build Back Better (BBB).

Final Inspection • After completion of all works (final finishing)

Second Inspection • After completion of Roof Band • Recommend for Final Installment (Rs 100,000)

First Inspection • After Completion of DPC • Recommend for Second Installment (Rs 150,000) Technical Inspection and recommendation for Grant

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To expedite the reconstruction works, four different Central Level Project Implementation Units(CLPIUs) have been established to provide technical support for individual houses, reconstruction of government office buildings and also for resettlement planning of vulnerable settlements. Likewise, CLPIU for education is actively involved in rebuilding schools damaged due to the earthquake.

HOUSING RECONSTRUCTION

An owner driven approach has been adopted in the housing reconstruction, where the NRA will provide financial as well as technical assistance to support household to build houses in accordance with minimum earthquake resistance standards. An estimated 767,705 and 24,991 private houses are to be rebuilt and retrofitted respectively in 31 affected districts. However, the number may increase due to ongoing process of verification of grievances.

TECHNICAL INSPECTION AND GRANT DISTRIBUTION

In order to ensure that the earthquake survivors rebuild earthquake resistant houses in compliance with the seismic standards, the grant is distributed in three installments. The first installment of NRs. 50,000 is provided after the completion of the participation agreement with the house owner. More than 716,408 earthquake affected households have signed the Grant Participation Agreement. Likewise, the first inspection is carried out after the completion of Plinth Level and then the house is recommended for second tranche of NRs. 150,000. After the completion of roof band, second inspection is carried out by the technicians and will be recommended for third tranche of NRs. 100,000. Finally, the last inspection is done after the completion of construction of earthquake resistant house. A total of 705,269 families have received the first installment of aid while 368,645 and 115,611 households have received second and third tranche of reconstruction grant respectively. In addition, 205,584 grievances have also been redressed.

The NRA has deployed engineering technicians in the 31 affected districts with the aim to disseminate information about

RECONSTRUCTION UPDATE

Types of Buildings

Completely Collapsed

Partially Damaged

Residential Buildings

498,852

256,697

Government Buildings

2,656

3,622

Historical and Archaeological Sites/ Monuments

133

95 partially collapsed, 515 partly damaged

Started Reconstruction Applied for 2nd Tranche Approved for 2nd Tranche Applied for 3rd Tranche Approved for 3rd Tranche

earthquake resistant technology and building materials. Moreover, training program for about 2570 technicians on Earthquake Resistant Technology, Inspection Manual, and Correction & Exceptional Manual etc. has also been conducted through IDA fund.

Likewise, mason training has also been provided to about 50,000 masons in all earthquake affected districts with the financial support of IDA, JICA and other I/NGOs. Furthermore, the Government is also planning to provide mason training to other 50,000 masons.

Public Building Reconstruction

Besides private houses, the NRA is also involved in the reconstruction and retrofitting of the earthquake damaged government buildings. The buildings are designed earthquake resilient, spacious, well equipped and also differently able friendly. Moreover, neo classical faรงade of the earthquake damaged Rana palaces such as Keshar Mahal, Bal Mandir have been preserved during the retrofit design.

Relocation and Integrated Development of Settlements

The geo-hazard assessment undertaken in the earthquake affected districts has identified 3,246 households of 112 settlements that need to be relocated to safer locations. In this regard, every household beneficiary from vulnerable settlements will receive a separate grant of NRs 200,000 to purchase the lands if they agree to voluntarily shift in a safer location. Many other integrated settlements are in the design phase in different earthquake affected districts.

Progress of Housing Reconstruction Table: Public Buildings damaged in Gorkha earthquake Public Buildings

New Construction

Repair/ Retrofitting

Total

Completion of construction

6

214

220

Under construction

120

27

147

Under design phase

41

12

53

Total Nos. of Public Building to be constructed

167

253

420

Major Challenges and Issues

Reconstruction of earthquake resilient houses with BBB concept across a wide geographical area requires a massive recovery effort. The key challenge is to complete the housing reconstruction within the stipulated time period of 5 years with at least minimum standard.

The rural areas mostly have vernacular architecture with extensive use of local materials. In order to receive the relief grant, NRA has made it mandatory for all private houses to be built following the building codes. However, many houses are not in compliance with the standard guidelines. In this sense, the deployed engineers are reluctant to approve for the reconstruction grant. The major issue in relocation is that some communities are resisting

relocation due to social, cultural and economic ties to specific areas.

Conclusion

Although, the key priority of the Government is to provide adequate shelter for quake survivors, it is equally important to build a safe and resilient community.

The reconstruction process needs to be taken as an opportunity to build integrated settlement by focusing not only on the physical infrastructures but also on social and livelihood needs. In order to prevent future earthquake from turning into a huge catastrophe, we need to put in place a set of standard guidelines and opt for strict implementation of National Building Codes. For the reconstruction to deem as a success and as an example for years to come, each of us should voluntarily involve to resolve the crisis.

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3. WHO ALL ARE THE PARTICIPANTS? ANY INTERNATIONAL PARTICIPANTS WE CAN EXPECT FOR THIS SUMMIT?

SANGEETA SINGH COORDINATOR, WORKING COMMITTEE HOUSING SUMMIT 2018-NEPAL

AFTER THE OVERWHELMING RESPONSE FOR HOUSING SUMMIT 2017 - NEPAL LAND AND HOUSING DEVELOPER’S ASSOCIATION (NLHDA) IN JOINT COLLABORATION WITH THE DEPARTMENT OF URBAN DEVELOPMENT AND BUILDING CONSTRUCTION (DUDBC) AND KATHMANDU VALLEY DEVELOPMENT AUTHORITY (KVDA) IS ORGANIZING SECOND HOUSING SUMMIT UNDER THE THEME “THE NEW URBAN AGENDA IN HOUSING”. THE SUMMIT WILL BE HELD ON 18TH AND

In the context of state restructuring this Summit is expected to raise some meaningful discussion through its plenary sessions consisting of keynote presentations and panel discussions with experts in the field. The participants from the local government bodies can benefit a lot from the discussions. All the stakeholders related to settlement planning and housing including the public and private sector as well as the academic institutions are the targeted audience for the Summit. We expect to have some significant contributions in the form of keynote addresses, panel discussions and presentations from the national as well as the internationally renowned experts.

19TH JUNE, 2018 AT HOTEL YAK & YETI, DURBAR MARG, KATHMANDU. THE COORDINATOR, WORKING COMMITTEE FOR HOUSING SUMMIT 2018 – NEPAL, ENGINEER/PLANNER SANGEETA SINGH BRIEFLY GIVES US AN INSIGHT ABOUT THE SUMMIT.

1. KINDLY BRIEF US ON LAST YEAR’S HOUSING SUMMIT. WHAT WAS THE BEST PART OF IT AS A COORDINATOR?

The trend of organizing the Housing summit each year has been set from last year in April when the first Summit was organized by NLHDA jointly with the DUDBC and KVDA, and with the support of other stakeholders. As there has been an overwhelming response from the various stakeholders from the government and private sectors, a steering committee has been formed this year consisting of the key stakeholders in housing development which definitely ensures ownership and wider participation from the national and international organizations. The best part of coordinating the Summit last year is having the satisfaction of starting the trend of the Housing summit which enables dialogue and discussion on various pertinent issues in housing.

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2. WHAT ARE THE HIGHLIGHTS OF THIS YEAR’S SUMMIT?

The Summit will emphasize its discussion on housing in the context of the “new urban agenda” and the targets for housing in the sustainable development goals as well as ways and means of achieving the sustainable development goal targets. In the context of Nepal, a special theme of “Housing in the federal context of Nepal” has been added so as to create a forum for discussion and for advising policy makers and housing providers about necessary local changes and promoting opportunities for specific action in the federal context. The Sub themes for this summit are, paper presentations shall be focusing on topics like sustainable Housing, safe affordable and inclusive housing, urban and rural reconstruction and housing in the federal context of Nepal.

4. WHAT DO YOU EXPECT FROM THIS YEAR’S SUMMIT?

The constitution of Nepal 2015, guarantees the establishment of the right to education, health, housing, employment and food security to all citizens. The Government of Nepal has also endorsed, ratified and adopted numerous international declarations and covenants, the sustainable Development Goals (2015), Sendai Framework for disaster risk reduction (2015-2030), the Habitat III (2016-2036). The SDG 11 have set targets for housing in the context of Nepal which includes: access for all to adequate, safe and affordable housing and basic services, and upgrade slums, among others. With state restructuring with limited resources, the country faces a lot of challenges which calls for a concerted effort in providing an enabling environment for cooperation between the public and private sector, civil society and to create the planning, regulatory, financial and delivery models required to achieve sustainable urban development.

This year the summit intends tocreate a common platform for all the concerned stakeholders to come together to discuss these key issues. This will be an annual event and each year some pertinent issues will be taken up.

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ARCHITECTURE

WOVEN HOUSE Text & Photo: Sunil Patil and Associates

The project is located in Ichalkaranji, small town in Maharashtra. Ichalkaranji is famous for textile - known as Manchester of India.

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ARCHITECTURE

TAKING INSPIRATION OF CITY’S FAMOUS TEXTILE WEAVING, THE HOUSE IS DESIGNED WITH PATTERNS ON WALLS , FURNITURE AND ART. IN THE FREE FLOWING SPACES, THE INTERIOR DECOR CREATES DEFINED SPACES & GIVES WARMTH THROUGH ITS PATTERNS AND TEXTURES. WHITE WALLS AND GLASS ALSO FORM A PATTERN COMPLETING THE FEEL OF WOVEN HOUSE.

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ARCHITECTURE

PROJECT NAME: CLIENT:

Woven House

Mr. Abhijit & Shailendra Satpute

LOCATION:

Ichalkaranji

ARCHITECT: Ar.

Sunil Patil, Sunil Patil & Associates

INTERIOR DESIGNER: Ar.

Sunil Patil, Sunil Patil & Associates

LANDSCAPE DESIGNERS: Ar. STRUCTURAL CONSULTANTS: HVAC:

Sunil Patil, Sunil Patil & Associates S.S. Patne & Associates

Shree Samarth Refrigeration and Air-conditioning

PLUMBING CONTRACTOR:

R. K. Dhavale (R. K. Dhavale Plumbing

and Consulting) CIVIL CONTRACTORS:

Patil Engineer & Contractors.

PHOTO CREDITS: Sanjay COMMENCEMENT DATE:

Feb 2007

COMPLETION DATE: Sept SITE AREA: 17,550

2014

sq.ft

BUILT UP AREA: 8986 PROJECT TEAM: Ar.

Chougule

sq.ft

Sunil Patil ,Ar. Anuja Pandit, Er. Sanajy Patil

PROJECT BRIEF

The project brief was to design a bungalow with large living areas with kitchen and dining. Family spaces with three master bedrooms, two children’s bedrooms and a guest bedroom. The house also needed home theatre, gym, library and a hobby room.

CONTEXT AND CLIMATE

Ichalkaranji falls in hot and dry climate zone with warm and humid monsoon. The design is based on climate responsive architecture with courtyard planning and high thermal mass walls. Open planning allowing natural ventilation through large openings covered by large overhangs - allowing diffused light and ventilation and blocking high solar radiation.

DESIGN PHILOSOPHY

While designing a house, it is impossible to separate architecture, interiors and landscape design as they have to compliment and not dominate each other.

Interior designing is not an afterthought, in fact the basic parameter for designing any space is interior layout. Hence the design of any space starts with the interior designing itself.

The architectural form and the fenestrations in the building envelope are governed by interior layout.

The interior decoration gives character to the space, hence, appropriate use of materials, colours and textures is of paramount importance. This project was a complete assignment of architecture, interiors and landscape designing. Hence, it was a need to design architecture, interior and landscape in harmony with each other.

CONCEPT

The architectural style of the bungalow is inspired by the city and its textile. The stone walls are designed as fabric pattern and it continues in interiors on wood and furniture. White walls and glass also form a pattern completing the feel of Woven house.

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PLANNING

Spread on the large plot, this house has a simple plan which is derived out of functionality of spaces, catering to clients needs. The public and private spaces are segregated within the house.

Original idea was to create boundary-less spaces which flows into each other and then in the landscape. Interior decor complements the idea yet creates defined spaces keeping the flow of the spaces intact.

tandoor stone to achieve high thermal mass in hot- dry climate of the city. Pattern of tandoor stone cladding is inspired from textile. The strip pattern enhances free standing walls and continues from exterior to interior forming elements of interiors.

•

Fenestrations: The windows are made of teak wood in order to match the rustic appeal of the house and seems as the continuity of the tandoor cladding.

Public areas like living, dining and family are designed around the courtyard. All the spaces in the house flow in the landscape creating harmony with the nature.

Along with architecture and interior even the artwork has been designed by us in same ethos adhering to the theme of woven house.

Double heighted living and courtyard allow visual connection between the spaces at upper level. Glass railings help in enhancing this effect.

•

Mural: Double heighted mural in the courtyard is another artwork inspired by the pattern. The wooden piece of art continues from ground floor to first floor.

Wooden strips have been used forming patterns from nature in subtle way.

DESIGN FEATURES

The palette for this project is grey stone and ceramic flooring, white painted walls enhanced with wood, which brings warmth in the decor.

The materials are used with surface variations creating subtle patterns, as per the theme of the house.

• Stone Cladding: The walls have been cladded with

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The mural is inspired by the five elements of nature:o Ether-(Akash) denoted as a globe. o Earth- (Bhumi) associated as a plant o Air-(Vayu)interpreted as bird in flight o Water- (Jal) 70% of the earth’s surface is covered with water, hence depicted as Mother Earth o Fire-(Agni) construed as a burning flame.

ARCHITECTURE

The mural and the courtyard compliment each other depicting the five elements in their own term. The space blends at the same time is enhanced by various architectural elements.

Even the furniture has been designed with detailing, creating unique style and decor. The pattern has been the soul of the woven house.

The self pattern through placement of material on different levels has created beautiful and subtle texture throughout the house.

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•

Customized Sofa: Grey checkered pattern was an inspiration for sofa design. The square module is used creating seating at different levels. Grey floor, wooden carpet & grey shades of fabric sofa create an interesting element in the formal living area.

•

Bedroom1: Master bed has siporex art mural as the background wall. The organic form is generated as if the fabric is hanging on the wall. The curves and unevenness of the fabric is superiorly depicted through siporex mural.

•

Bedroom 2: Master bed with texture back panels and indirect lighting.

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•

Home Theater: The Elongated Home Theater with grey walls and alternate glow lights enriches the beauty. The big brown sofa implies a real “Cinema Experience” at home.

•

Stair Case: The sleek wooden Staircase is embedded with “SS” pipes as railing, highlighting the design concept “The Woven”.

WOVEN HOUSE- PRODUCT LIST

Dinning: The stylish Lamps from the wooden ceiling in the dining room are enough to compliment.

PAINT- Asian Royal

Pool: Gazebos provides a fantastic shady spot to relax and enjoy the Pool side

FURNISHING- Mahajan Furnishing

•

•

GREEN FEATURES

• Climate responsive architecture • Ample daylight and ventilation - Common areas naturally ventilated • Courtyard planning & Landscape as micro-climatic modifier • Large overhangs to protect from solar radiation • Thermal mass through stone masonry

GLASS- Saint Gobin FURNITURE- Fusion Furniture FLOORING- Grafitti, Harmony, Kajariya , Somani, Shera Gray Granite, Black Lapat Granite, Ego Engineered Wooden Flooring CP FITTINGS / SANITARY WARE- Grohe, Kohler AIR CONDITIONING- Daikin LIGHTS- Philips

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ARCHITECTURE

LUMBINI

Vajrayana Mahabihar BEHIND THE SCENES

Text: Shreesha nankhwa   Photo: SanuRaja Bajracharya

WHENEVER WE LOOK AT A MONUMENT, WE OFTEN APPRECIATE THE ART AND ARCHITECTURE OF THE BUILDING. HOWEVER, WE RARELY THINK ABOUT ALL THE WORK THAT WENT INTO ERECTING THE MONUMENT. SO TODAY, WE HAVE DECIDED TO GIVE YOU A PEEK BEHIND THE SCENES TO UNDERSTAND HOW THE VAJRAYANA MAHABIHAR IN LUMBINI, IS BEING CONSTRUCTED AND WHAT KIND OF WORK WENT INTO BUILDING THE MAHABIHAR.

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W

e talked to ten craftsmen who were involved in building the Mahabihar. Each contributed their own specific skills and knowledge and crafted important elements of the Mahabihar under the supervision of Rev Prof. Naresh Man Bajracharya, the president of the Lumbini Vajrayana Mahavihar construction committee.

The artists themselves are veterans with several decades of experience in their craft. Many of them come from a long line of craftsmen and have followed their fathers and grandfathers into the family occupation. Some of the older craftsmen like Bekha Ratna Shakya, Prem Ratna Shakya and Shanta Kumar Shakya have been perfecting their craft for 4-5 decades while even the relatively newer artists

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have been in this trade for more than twenty years.

The ten artists each worked on specific elements of the Vajrayana Mahabihar.

Each of these elements has its own religious and cultural significance.

For instance, Bekha Ratna Shakya who crafted the Shari-putra and Mahamaugalyayan explains that Shari-putra and Mahamaugalyayan are two highly regarded monks who often stand first in line when it comes to Budhha’s disciples. Their statues are usually placed besides the Muldhoka (Main gate) of the Mahabihar.

Muldhokas also have a lot of cultural and religious significance in Newari architecture. Uttam Shakya, who designed and carved the Muldhoka for the Mahabihar followed Buddhist traditions while crafting the Muldhoka.

He created the Muldhoka based on traditional Muldhokas of bihars that already exist in Kathmandu. Similarly, Amir Raj Shakya, who did a lot of the wood work for the Mahabihar also followed the guidance and instruction based on the knowledge handed over by his ancestors.

Padma Shakya, with the help of his neighbors, facilitated the creation of five gajurs (pinnacles of the roof) and established the chaityas located in the roof. Gajurs are essentials parts of religious monument in Newari architecture. A building is considered incomplete until the gajurs are completed and put in place. Raj Kumar Shakya designed the elements of the roof and created the roof, jhallars, gajurs, patar, chaturmaharajas etc from copper, which will be coated with gold. According to him, “When it comes to creating elements for a

for Basundhara, she is an important deity for worldly life because she is regarded as the goddess of wealth.

“Even this Mahabihar could not be built or maintained without wealth.

So it is believed that worshipping Basundhara brings wealth.” He explains.

temple or a Bihar, you need to learn how to do it properly to understand the arts and designs. Then only you can create these designs accurately.”

“While making these deigns and patterns, the technique used is called “thojya” where you take a sheet of metal and hammer it out to create required designs.”, he adds.

Shanta Kumar Shakya who created the Shaharsabhuj Lokeshwor explains the religious relevance of his creation saying, “It is believed that Lokeshwor helps to save the world.”

Prem Shakya, who did the copper work depicting Basundhara and Arya Tara, explains that in Vajrayana. It is believed that if Tara is worshipped, obstacles will be removed from your path. As

Siddhi Ratna Shakya created the Bajrasatwa for the Mahabihar and he explains that Bajrasatwa is a guru for Vajrayana Buddhists who is very important during worship ceremonies. According to Shakya, a statue of Bajrasatwa is a must in every Buddhist Bihar since he is an important guru for Buddhists.

“While creating a statue, you must be satisfied with your own work.”

He adds that unless you like your own work you will not be able to satisfy others with your craft. Prem Ratna Shakya who created a statue of Buddha, a chaitya and a mandal for the Mahabihar, believes that while creating a statue, one must keep the deity in ones heart and carefully craft the stone.

Chandra Shyam Dangol, who created two pairs of stone lions and the “Lukha-Khalu” for the Mahabihar states that “The lions represent security. In the olden days, it was believed to prevent bad entities from entering the bihar. As for the LukhaKhalu, it is placed right below the

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ARCHITECTURE

main door and its purpose is mostly aesthetic.”

the Mahabihar says that the main challenge is finding the right stone.

“You can’t use just any stone to create these carvings. So if you are creating bigger pieces, such as the lions I created, such large stones are harder to access. There are government regulations that are making it difficult for us to access these stones which are the problem that really needs to be addressed.” He calls for better regulations which will allow access to required raw materials for artists to work with.

Traditional Newar craftwork is not easy and the artists definitely faced unique challenges while building the Mahabihar. Shanta Kumar Shakya, says, “Shaharsabhuj Lokeshwor is a statue with 11 heads and 1000 hands and 1000 eyes. It is difficult to create this statue alone as it would take too long for one person to do it. So, many people are involved in creating just this one statue.” But on the positive side he adds that it also provides employment to many people.

Uttam Shakya, who carved the Muldhoka, says that his work was challenging as one must first plan the design and then follow it carefully to ensure you get the carvings just right.

For Amir Raj Shakya working in the heat of Lumbini was not easy and frequent travel to the Mahabihar site presented another challenge for him. Raj Kumar Shakya, who created the roof elements and chaitya also mentioned “Going to

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Some of the artists had a different perspective though. Bekha Ratna Shakya admits that the work he does is challenging. “But what work isn’t challenging?” he says, displaying a positive attitude towards challenges.

Lumbini and fitting it there was slightly challenging due to the changing technology of the buildings.”

Chadra Shyam Dangol, who carved two pairs of stone lions for

All the artists felt fortunate to have been a part of the Vajrayana Mahabihar.

Amir Raj Shakya mentioned feeling honored to have been a part of the building team for the Vajrayana Mahabihar despite several challenges

ARCHITECTURE

faced. Bekha Ratna Shakya mentions that, “it is an honor to be able to place your own work in Buddha’s birthplace.”

Prem Ratna Shakya who poured his heart into creating a statue of Budhha says, “I thought of the Bihar as my own while creating the statue.”

Shanta Kumar Shakya mentioned that a Vajrayana Mahabihar was missing from Lumbini’s sacred grounds and is glad that it is now being built. Chandra Shyam Dangol added that “We don’t know when another bihar like this will be created next in Nepal, so having the opportunity to showcase my work there is a big deal for me. “ Chandra Shyam Dangol also has strong feelings about the artwork created for the Mahabihar “We need to make sure that we feature only the best artwork in the Vajrayana Mahabihar. This Mahabihar is being built in Lumbini and many visitor and foreigners will come and see the monument. So, if the artwork is

less than perfect it will leave a bad impression about Nepalese art.

Good art often costs more and takes more time to create. So that must be considered when commissioning artwork for the Mahabihar” He says.

All these ten craftsmen have worked very hard for the Vajryana Mahabihar and their efforts definitely show in the work that has finished in Lumbini.

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INTERIOR

Color IN BRANDING TEXT : Ar. CHHAVI VASHIST

COLOR IS ONE OF THE MOST NOTICEABLE, TANGIBLE COMPONENTS OF A BRAND. IT PLAYS A LARGE ROLE IN HOW A BRAND IS PERCEIVED; IT HAS THE POTENTIAL TO ATTRACT THE RIGHT KIND OF CUSTOMERS, CLIENTS AND VIEWERS. A BRAND’S LOGO IS ITS MOST IMPORTANT DESIGN ELEMENT, AS IT IS THE VISUAL REPRESENTATION OF THE COMPANY AND ITS VALUES. THERE ARE MANY DECISIONS TO MAKE WHEN CREATING ONE, AND ONE OF THE BIGGEST IS TO CHOOSE AND FREEZE THE COLOR PALETTE. IT MAY SEEM TO BE A TRIVIAL ELEMENT, BUT THE MAIN COLOR OF EACH OF FEW FAMOUS LOGOS HAS A SERIOUS IMPACT ON HOW PEOPLE REGARD IT. ALL YOU NEED IS A BASIC UNDERSTANDING OF COLOR PSYCHOLOGY, AND A LITTLE CREATIVITY!

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C

olor is a powerful communication tool and is often used by designers to encourage action, influence mood, and tap into emotions. It also means that as a consumer, your decisions about where to shop and what brands to trust are heavily influenced by logos, whether you realize it or not. We associate certain fonts, colors, and designs with qualities that are entirely unrelated, like product quality and reliability.

There are natural — or universal — associations evoked by some shapes and colors that are common to all of us: For example, a horizontal line is stable and a diagonal line is dynamic.

Colors and shapes work in harmony with each other to communicate.

Therefore, an understanding of

INTERIOR

shapes is essential to understanding the power of color in branding.

Even the most basic geometrical shapes can be soft or hard, stable or threatening. The image below illustrates basic geometric shapes and contemporary symbols that evolved from basic shapes. Brands and color are inextricably linked because color offers an instantaneous method for conveying meaning and message without words. Color is the visual component people remember most about a brand followed closely by shapes/symbols then numbers and finally words. Research has reinforced that 60% of the time people will decide if they are attracted or not to a message - based on color alone!

and sea. Some common associations with blue include authority, calmness, confidence, dignity, loyalty, success, security, serenity, and trustworthiness.

It has also been proven that people are the most productive when they work in blue rooms. A blue logo shows that your brand is professional and logical, but not invasive. It can create a sense of security and trust in your company.

Green is the color of nature. It

symbolizes growth, freshness, serenity, and healing. It also has a strong emotional correspondence to safety and balance. Darker greens are closely related to money, banking, and wealth, while lighter greens have a calming effect. Some common associations with green include freshness, harmony, health, ecofriendliness, healing, inexperience, money, and nature.

Yellow is a bright go-to color for positivity, happiness, and warmth.

This color is attention-grabbing (road signs and traffic lights) and it can also represent caution. Some common associations with yellow include caution, cheerfulness, cowardice, curiosity, happiness, joy, playfulness, optimism, sunshine, and warmth.

A yellow logo shows that your company is positive and friendly. It can be used to grab the attention of window shoppers and convey a sense of happiness. Just be sure to choose a shade that doesn’t put strain on viewers’ eyes.

Blue is perceived as trustworthy, loyal, dependable, tranquility and serene. It’s a popular color with financial institutions and social media sites due to its message of stability and trust. Blue is also a popular color for promoting products related to cleanliness, air and sky, and water

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INTERIOR

Above all, a green logo conveys the message that your company is environmentally friendly. This explains why it is so popular with organic and vegetarian brands, as well as companies that strive for ethical practices. It can also be a good choice for financial companies, since it reminds consumers of money.

Purple is closely associated

with royalty, nobility, luxury, and extravagance. It’s a very rare color in nature, and many relate it to creativity and mystery. It is also said to stir up feelings of nostalgia. Some common associations with purple include fantasy, mystery, nobility, royalty, and sophistication.

A purple logo shows that your brand is luxurious and imaginative. It can

attract consumers who want to be seen as wealthy or wise, as well as ones who are inclined towards a feeling of magic or mystery.

red include action, adventure, aggression, blood, danger, drive, energy, excitement, love, passion, and vigor.

Red is the color of fire and blood, so it’s often associated with energy, war, danger, and power but also passion, desire, and love. It’s an emotionally intense color, has very high visibility, and is often used to grab viewers’ attention. The color red attracts attention and evokes strong emotions from viewers. It is universally seen as representative of romance. It also causes increased heart rate and appetite, as well as a sense of urgency. Red has also been known to raise people’s blood pressure and stimulate appetite, so it’s frequently used by food industry.

Some common associations with

A red logo shows that your brand is powerful and high-energy.

Orange is less intense than red but still packs a lot of punch; it’s energetic and warm, it activates the brain activity. Like yellow, orange is also associated with joy, sunshine, and playfulness. You often find it used in logos to stimulate emotions or even appetites. Some common associations with orange include creativity, enthusiasm, lightheartedness, affordability, and youth.

An orange logo sends the message that your company is friendly and cheerful. This makes it a good choice for brands who want to be seen as light-hearted and not too serious, but still confident.

Pink is a feminine color that conjures feelings of sweetness, fun, playfulness, and delicateness.

However, bright and vibrant shades of pink often evoke a bold and modern appeal. Overall, pink is known for its friendly and lighthearted. Common associations with pink include gratitude, romance, gentleness, innocence, softness, and appreciation.

If you have a pink logo, there’s a good chance that women are your target audience. You might embrace a “girly” image and cater to consumers

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who do, too. If you sell food products, they are likely very sweet. If you are in any other industry, you are probably trying to convey the message that your company is lively and fun.

emotions. Common associations with black include authority, class, distinction, formality, mystery, secrecy, seriousness, glamour, elegance and tradition.

elegance, and your logo is part of that desire. You don’t feel that flashy colors are necessary to send a message.

Black represents power, elegance, and authority. It’s often associated with intelligence, but it’s also associated with evil and grieving. It’s a serious color that evokes strong

If your company has a black logo, you probably aren’t using it to attract attention. Your company wants to be seen as well-established, with a strong reputation or sense of

A single image or a brand visual delivers a lot of information in a very short time because we perceive an image all at once, whereas reading or hearing often takes significantly

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longer to process the same information. Brands communicate meanings with the language of color and shape. A picture or logo is worth a thousand words. While thinking about colors for a brand, you need to:

GATHER COLOR INSPIRATION

the color wheel. They’re related - a family of colors - and they create a pleasing, relaxed palette. Analogous color palettes usually include all cool colors or all warm colors. The brand primarily uses analogous colors: orange, pink, and purple.

Once you’ve gathered inspiration, pull 6 colors for your color palette.

Complementary colors are opposite each other on the color wheel, so complementary palettes often include both warm and cool colors.

DETERMINE THE COLOR COMBINATION YOU’RE STARTING WITH

INCLUDE BOTH LIGHT AND DARK TONES

The color wheel plays a big role in how you develop a color palette for your brand. There are 3 different color combinations that can be formed by those 6 colors you’re starting with.

Monochromatic color palettes include many tints and shades of a single color. They are soft and subtle, but they can often make brands appear washed out because they lack contrast.

Analogous color palettes involve colors that sit next to each other on

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A strong palette includes a balanced mix of light, medium, and dark tones, regardless of whether it uses a monochromatic, analogous, or complementary color scheme.

CHOOSE DOMINANT AND ACCENT COLORS The dominant color is the one used in different shades for a majority of designs; it acts as the “default”.

Accents are colors that look nice with the base-color but are only

used sparingly so that it really draws attention. Using more than two accent colors might make the design lose a clear visual direction.

Color increases brand recognition by up to 80 percent. Color is an important consideration in brand identity system.

It has a significant impact on people’s emotional state. Also, colors have been shown to impact people’s ability to concentrate and learn. Color has a wide variety of specific mental associations. In fact, the effects are physiological, psychological, and sociological. Colors also have a functional impact on readability, eyestrain, ability to attract attention, ability to be seen at night, etc. Thus, it is important to choose colors for signing, website pages, prints ads, and other marketing media. Brands and color are inextricably linked as color offers an instantaneous method for conveying meaning and message without words.

Color and designs have always been around us, we need to observe and feel our environment. And, can use this color power as a positive approach to our human psychology and enjoy the benefits.

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nagariknews.com 60 / SPACES MAY 2018

myrepublica.com

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SMART CHOICE

RIGHT MOVES SMART CHOICE FOR

REFRIGERATOR REFRIGERATOR IS A BASIC KITCHEN APPLIANCE. YET IF YOU’RE LOOKING TO BUY ONE, BECAUSE THEY TAKE UP A HUGE SPACE, LOTS OF ENERGY, AND QUITE AN INVESTMENT OF MONEY, IT’S ONLY WISE TO BE CONFUSED ABOUT WHAT YOUR PERFECT CHOICE SHOULD BE. AT RIGHT CHOICE SMART BUY, WE’LL TAKE CARE OF ALL THE MUMBLE JUMBLE RESEARCH TO HELP YOU MAKE A SMART CHOICE. 62 / SPACES MAY 2018

F

or most people buying a new refrigerator, you must have owned one, or used one of your parents, at work, and at friends/ relatives. Before moving further, list out things you liked about them and ones that bothered you. Make a wish list of what’s important for you. It will be helpful to list them in order of 1. Orientation 2. Size 3. Color 4. Extra features ORIENTATION Depending on your use case, find what orientation you would suit your refrigerator habits the best. The amount of storage for each section can also heavily depend on the orientation.

1. Top Freezer Refrigerator, if you use the freezer the most with ice or pre-prepared meals. They are also the most energy efficient models and are usually more affordable.

2. Bottom Freezer Refrigerator, if most of your freezer use is vegetable, sauce, and cheese storage.

3. Side by Side, for an almost equal distribution of fridge and freezer.

SIZE Plan where you want to place your refrigerator BEFORE shopping and measure the dimensions.

Check if the dimensions you want will fit in through your door. Make sure you leave 10-15 cms between

SMART CHOICE

the refrigerator and the nearest point of contact for adequate airflow. Also check if the space you’ve chosen has enough space for your new refrigerator’s door to swing open. You don’t want to cramp your neck every time you need to use your fridge.

these refrigerators keep your food fresh for 12 hours.

7. Dual Fan Cooling: To keep your feed free from unpleasant refrigerator odor.

KATHMANDU/POKHARA VS OTHER CITIES The ideal voltage requirement for refrigerators is 220 volts. More developed cities like Kathmandu, Pokhara, Biratnagar, and others have a constant voltage supply and it seldom goes above 230 in Nepal.

In some places in the Terai however, the supply can start from 80 volts. This fluctuation can damage products. And while the new models are equipped to run between 150- 230 volts, a volt guard is necessary for places that have serious voltage fluctuations.

For small family, a single door refrigerator can work just as well. For bigger families and if you care about aesthetics, getting a double or side by side door can be ideal for you!

DOOR DIRECTION Unless your refrigerator is French door style(opening in both directions), find what direction you want your door to open and if that can be changed before delivery. Some brand will also give you large refrigerators that have a mini door for beverages and products you use often.

ENERGY EFFICIENCY Most products you’ll find in the market come with a Star rating- 5 being the most efficient and 1 being the least. This rating found in most fridges coming in Nepal, has been certified by the Government of India’s Bureau of Energy Efficiency (BEE) Ask and research about the compressor the product uses. Rotational Compressor Refrigerators are traditional compressors that are either on or off. Inverter Compressor Refrigerators use energy as per your requirement. If you have less products in your fridge (load) it will work on less RPM thus using less energy. They’re available across most brands featured in Nepal and are your smartest option for energy.

An appliance with Dual Fan Cooling is another way to get most of your energy. Other than maintaining a steady temperature throughout your fridge, it also keeps your food fresh for longer minus the refrigerator food odor.

WISH LIST FEATURES Apart from basics, because you’ll spend over a decade with the same fridge, if you wanted to go a little extravagant, choose from a list of extra features and if they’re worth your buck! And just to note, these are still basics- you can find models with 5-6 doors, specific drawers and whatnot!

TAKING CARE 1. Cleaning: Once every few weeks, clean your refrigerator to get rid of odours and increase general efficiency of your appliance.

1. Frost Free: Many new models available in the market today are mostly frost freemeaning there’s no snowy residue sticking to sides of our freezer.

2. Convertible box: Some fridges have convertible boxes whose temperature can be adjusted such that it can use as deep freezer or vegetable storage.

3. Through the door ice and water dispenser: Without opening the door, you can get your refrigerator to dispense ice and water for you. This takes a lot of space and energy but it could be worth it if you would use an extra cold water dispenser anyway.

4. Door in Door Storage Access: Without opening the entire door, you can open a smaller door attached to a larger door for things you use more often. This is available in larger fridges.

5. Adjustable shelves: Some models also come with adjustable shelves you can use to build your own space inside and change height and other things.

6. Long Cool Keeper: In case there’s an unexpected power cut or load shedding,

2. Clean the Rat Cover under the fridge once every 6 months and check if your wires are still secure and in best condition.

If you don’t have a rat cover, do this once every 2 months.

3. Do not use your refrigerator as a tall table for heavy things RECYCLE After replacing, give your old fridge for recycling. It’s green, healthy, and reduces your carbon footprint significantly. The plastic, metals, glass, thermostat, and compressor can all be recycled. Moreover, disposing of your unused refrigerator or freezer unit improperly can have many dangerous repercussions on the environment.

ONLINE VS OFFLINE Rather than debating on offline vs online purchase, the wisest thing to do is do your online research and short list products you want to feel and check out before making your final purchase. And some of the popular brands available in Nepalese market are Samsung, LG, Himstar, Hisense, Beko, Whirlpool, Videocon, Hitachi, etc.

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ART

Jan Vermeer

A DAY WITH THE GREAT MASTER Text: Madan Chitrakar

The Writer outside the Vermeer Exhibition, Washington DC.

TO AN ARTIST OR AN ART ENTHUSIAST, THE PERIOD OF 17TH CENTURY SHOULD REMAIN OF SPECIAL INTEREST AND IMPORTANCE. FOR IT WAS DURING THIS PERIOD THAT NEPAL WITNESSED THE RISE OF SOME OF THE GREAT MONUMENTS OF KATHMANDU VALLEY AND ALSO THE ZENITH OF THE FAMED PAUBHA ART – THE EPITOME OF NEWAR CIVILIZATION.

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ART

C

oincidently also at the same time, at another part of the world, the Netherlands happened to witness the emergence of two Great Masters of Western Art – Rembrandt van Rijn (1606-1669) and Jan Vermeer (1632-1675). Their rise and contributions in the world of painting proved so powerful and phenomenal then that it would to shape the Western art to a new direction for good. Art history today, rightly describes the 17th century as the Golden Age of Dutch painting.

Historians also add the entire period of Western Art as part of the Dutch vision. If Rembrandt is best known as the greatest of Dutch painters and for the emotional depth in his portrayal, Vermeer is remembered best for the magnificent sense of naturalism.

SURREAL EXPERIENCE

This writer, as a student of Art, too has had always remained fascinated with the works of the Great Masters: and always dreamt of viewing it from close some day. Also, he longed to find out the reasons for the timeless celebrations. The great moment did come - during his short trip to Washington DC last November. And the visit to the Exhibition, for number of reasons, from the very beginning, was to prove surreal. First, it was a sense of excitement - a long dream coming true when a message informed that a special Exhibition on Vermeer was on: and the news that many of his works – being flown exclusively for the occasion from various parts of the world. It did sound so surreal to believe; and indeed an occasion not to miss.

The Girl with a Pearl Earrings – Jan Vermeer (1665c)

The second reason may be more personal. For, the one who led to the Exhibition Hall - the Gallery building, navigating the mazelike – often confusing boulevards of US capital was no other than his son. It was surreal because it never had occurred that to him always a young lad, raised in the narrow lanes of Kathmandu would one day be able to lead him in such an overwhelmingly modern big city – far from home – and so comfortably in his driving seat.

AMAZING GENRE PAINTINGS

More surprise awaited at the Exhibition Hall, for the Show also comprised of more important works than the works of Vermeer; and accordingly was entitled ‘Masters of Genre Painting’.

Although initially confounded by the term ‘Genre’, it was understood later - here it conveyed the ‘scenes from daily life’. Thus it was also learnt that the period was greatly characterized by a unique feature – then a highly popular practice amongst the painters

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ART

Woman with a Parrot – Gerriot Dou (1660-65c)

Woman Feeding a Parrot – Casper Netscher (1666c)

a better artistic value in his painting by eliminating the standing messenger – rather add more opulence in his painting – with rich ornate frame of the painting on the back ground wall and the table cloth.

Man Writing a Letter – Gabriel Metsu

- to portray common scenes from the daily life, mostly from the upper middle class. Thus many works, therefore, were found with a similar taste and subject matter. Obviously, the Show sought to reflect the entire period of Dutch painting – focused to the similar subject and style. It was thus described as Genre works.

Many of the works based on common subjects, were included in the Show.

And it clearly explained the presence of other Masters like Gabriel Metsu, Gerard ter Borch, Gerriot Dou and few others in the Show.

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It may sound strange but true that one of the most popular subjects found in the genre paintings was a scene showing ‘Letter Writing’.

Two Dutch painters of almost the same period were found creating masterpieces practically same theme and composition. Gerard ter Borch’s “Officer Writing a Letter” (1658/59) is almost identical with Gabriel Metsu’s “Man Writing a Letter” (1664/66).

Apparently, it is most likely that artist Metsu is inspired by Borch in many respects. But Metsu, as he painted later, found it ample more time to give

Yet another subject the genre painters found to have chosen is a scene depicting ‘Feeding a Parrot’. Two masterpieces were found almost similar in composition and the woman feeding a parrot. It is found that during the period a parrot was considered an expensive pet. And hence, a depiction of a pet parrot may’ve demonstrated a richer social status then in the Dutch life. Artist Gerrit Dou’s “Woman with a Parrot” (1660/1665) presents an open sense of affluence and was greatly admired when it appeared. Highly inspired, little later, Casper Netscher painted a similar painting and titled it “Woman Feeding a Parrot”. But the basic difference found between the two was the woman’s demeanor. While Dou’s figure evokes sweetness Netscher’s young woman appears more sensual.

ART

The Lacemaker – Jan Vermeer (1670-71c)

Officer Writing a Letter – Gerard ter Borch (1658-59c)

VERMEER: THE GREAT MASTER

Johannes Vermeer – popularly also known as Jan Vermeer, is the most celebrated of these painters. This is primarily because of touch of softness, beauty and tranquility in his subject matter. Like the other painters, Vermeer also shared a common subject of ‘Letter Writing’. It was learnt that Vermeer’s “Lady Writing” is strongly influenced and inspired by Ter Borch’s masterpiece – as described above. Vermeer, like Ter Borch, also sought to minimize narrative elements so as to provide more focus to the woman’s expression. Although the compositions remain similar, Vermeer brought a different artistic sensibility.

Additionally, he carefully arranged composition to instill a feeling of timelessness.

Yet another masterpiece of Vermeer is his iconic painting – titled “Woman Holding a Balance”. The woman in the composition exudes a strange and restrained quietude not found in

Woman Holding a Balance – Jan Vermeer (1664c)

the works of his contemporaries. In this painting, he well displayed his ability to infuse scenes of daily life with substantive meaning. Vermeer is best celebrated for his amazing ability to portray domestic interior scenes.

There’s a strange air of serenity and contentment in the atmosphere of his subject. He uses masterly use of silvery light and color in the objects, drapery works and furnishings. A viewer is unknowingly led a timeless world of simple, meditative calm. But the irony of Vermeer’s personal life

is that although he lived during the Golden Era of Dutch Painting, he was almost entirely overlooked. He was to be rediscovered and celebrated only very recently – during the 1860s.

Regardless of a fact that the Vermeer Show proved highly satisfying, there was the conspicuous absence some of his best known iconic works – like ‘The Girl with a Pearl Earring’. It was bit disappointing nonetheless, the Exhibition would remain a moment to cherish for a long time to come.

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FROM THE SHELF

LOOKING AT ARCHITECTURAL DETAIL “God is in the detail�. This assertion is often attributed to the German modernist architect Ludwig Mies van der Rohe. It meant that every aspect of a building is important, right down to the smallest detail. Put simply, having a grand idea is not enough: an architect has to give his or her idea form by making sure that every slab of masonry is correctly positioned, every glazing bar properly finished, every door handle exactly the right shape - and that all these details harmonize with each other and with the building of which they are a part. This idea of the building as a whole, in which every detail has to work, has always been a key part of architecture.

Looking at architecture is a personal experience, but one that is enriched by broader knowledge - the more you know about buildings, the closer you look and the more you notice and enjoy. Apart from agriculture, no human activity has changed the face of the Earth more than architecture. Buildings are among the largest structures made by human beings, and the most ubiquitous all around the world. Fascinatingly diverse, there are buildings from across the ages, some dating back thousands of years they range from simple wooden

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churches to magnificent Gothic cathedrals, and from grandiose palaces to minimalist modernist villas. The astonishing variety of buildings stems in part from the different cultural traditions that have developed around the world.

Great Buildings takes an in-depth look at some of the most distinctive buildings produced by these different traditions. It also explores innovative buildings of the 20th and 21st centuries, designed by architects who have broken with tradition and work internationally. This book is also a visual tour of 53 of the world’s great buildings, even suggests a way to look at every building. Taking it in as a whole, then looking slowly around the outside before going inside to explore the interior and take a close look at details. This approach highlights how one room leads to another in a carefully managed, almost theatrical country house, or how one space merges seamlessly into the next in the organic architecture of Frank Lloyd Wright. It helps you to understand how the spaces in a Buddhist temple embody the essence of the faith, and how contemporary architects have planned the interior of an art gallery or an office block.

By understanding the parts of buildings, you can appreciate them as a whole - their history and purpose, their use of space and form, and the fascinating details that make them unique. To do so makes you marvel at the skill of the architects, builders, and craftsmen who created these great buildings.

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

BAJRA NIRTYA Preserving an ancient practice, Lok Chitrakar creates his paintings with pigments ground from the stone and plant material. This painting is skillfully created with an ancient tradition by using the Gaajal (black powder used in eyes as cosmetic). The female aspect of divine depicts in the Nirtya Mudra which stands on the lotus is symbolized by the enlightenment and purity. Further added the details of the clouds and other small figures such as Makar and Garuda symbolized as the Toran and emphasized the beauty of the painting. n

ASHA DANGOL

LOK CHITRAKAR Born in 1961, self taught artist Lok Chitrakar is one of the few masters of traditional Paubha painting (Newar art) in Nepal.

Founder of Simrik Atelier, Lok Chitrakar has been a guest lecturer and instructor at Seian University of Arts and Design-Japan, Orivesi Institute-Finland and Elmira College-New York. He is a visiting faculty member at Kathmandu University, Center for Art and Design. His works are collected in museum and private collections throughout Asia, Europe and the United States. His selected awards and honors includes: Rastriya Pratibha Puruskar-2013 and the Patan Museum Award 2012. In 2014 he had completed the twelve year project of 108 Lokesvara series and installed in Kanzoin Mandala Museum, Tokyo, Japan.Â

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