SPACES Nepal DEC 2016

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Vol 12 No. 07 December 2016

A R T

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

Pikha Lakhu Hotel by the Water Falls Role of Modern Earthquake Engineering Approach

Babar Mahal

Vila

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I N T E R I O R

Home Furnishers

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Technical Associates new advt

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Contents Volume 12 NO. 07 | December

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32 Architecture Pikha Lakhu

16 Architecture

34 Interior

44 Architecture

Babar Mahal Vila

Color Therapy

Hotel by the Water Falls

54 Architecture

62 From the Shelf

65 Artscape

Role of Modern Earthquake Engineering Approach

Michelangelo Architect

Bagmati Past and Present

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Volume 12 NO. 07 | December

Contributors CEO

Ashesh Rajbansh Editor-in-Chief

Ar. Sarosh Pradhan Director- Products and Materials

Ar. Pravita Shrestha Creative Manager

Deependra Bajracharya

Mr. Bhagwan Ratna Tuladhar

Ananta R. Baidya

Contributing Art Editor

Madan Chitrakar Kasthamandap Art Studio Junior Editor

Shreya Amatya Sristi Pradhan Advisor

Ar. Pawan Kumar Shrestha Intern

Usha Sharma

Kritika Rana

Asha Dangol

Riki Shrestha Contributing Editor

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

Pradip Ratna Tuladhar Intl. Correspondent

Mr. Bhagawan Ratna Tuladhar is an Associate Professor of Political Science (Emeritus) with over 30 years of teaching experience on subjects like comparative government, constitutionalism and Nepal studies. He completed his Bachelors in Law (B.L) in 1969, and finished Masters in Political Science from Tribhuwan University in 1970. At present he is the Chairperson of National Society of Community Learning Centers (CLCs) in Nepal and the Chairperson of Nepal-Russia Friendship & Cultural Association. He is the author behind several books like Nepal Parichaya, Reflections on Nepal-Russia Relations and Nyata Parichaya. He has also written articles for many newspapers and journals.

Bansri Panday Director- Operation & Public Relation

Anu Rajbansh

Ananta R. Baidya, PE is a licensed California professional engineer currently practising in San Diego. He has taught ‘Engieering Codes’ at the Kathmandu University as part of its visiting faculty.

SR. Business Development Officer

Debbie Rana Dangol Business Development Officer

Priti Pradhan

Usha Sharma completed her Diploma in Interior Design from IEC, School of Art and Fashion in 2007.

Since then, she has designed a number of showrooms, offices, residential spaces and other related structures. Her other areas of interests include fine arts and photography.

Legal Advisor

Yogendra Bhattarai

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

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

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Editorial Nepal is well known for it’s cultural and natural richness, and the tourism market has been a growing market that demands investment and upgradation on the services and design sensibilities. It is observed that despite the setback with the 2015 earthquake and aftershocks, many new Hotels are currently being built around the Country. The new Sheraton and Marriot are slowly taking roots in Kathmandu. Some of these hotels fit into tight localities and change the urban structure of their neighborhoods.

We cannot emphasis more - the importance and need of basic services such as roads, water, electricity that these huge projects demand, which seem to move slowly in it’s own pace, if not tackled by the developer himself. Yet we see stark contrasts within some of the otherwise dense environment, with little jewels of sensitive architecture and design standing out to awe us all and make us think.

In this issue we highlight the new addition to the Babar Mahal Vila Revisited designed by Architect Varun Rana. The thirteenroomed heritage boutique hotel is an architectural play with inspirations from the Lo Manthang (upper Mustang), Rana heritage and the Newari culture. It has to be noted that the initial project of Babar Mahal Revisited had raised the bar of adaptation and reuse of the Colonial Rana Palace space in the valley to a more public space of art galleries, cafés and shops merging into a more human scale of experince. The new wing does bring in color and new vigor to a wider range of inspirations from the Newari and Mustang tunes – and shows that small can be beautiful too. In contrast, we also feature the Hotel by the Waterfall in Ramboda, Sri Lanka which takes its design interpretation from a more modernistic cubic viewpoint of cantilevered spaces with a generous use of glass for the warmth and light. These two projects are very different in their approach, yet both seek a certain harmony and belonging to their environment carving out a balance of their own.

In another feature Ananta Baidya explores the Role of Modern Earthquake Engineering approaches emphasizing that design professionals in the architectural and engineering fields have a civic responsibility to ensure public safety for all. In Nepal, though we witness a wide range of solutions dictated by the economic scale and demand of the project – it has to be pointed out that the basic parameters of safety and quality control need not be comprised, especially after the lessons from the recent earthquake.

These realities can only be addressed through a major change in attitude.

With time, we see certain predominant basic heritage elements of our local Nepali Architecture vanishing. Bhagwan Tuldadhar explores the significance of the Pikha, which is the stone plate, square or round in front of the main entrance of traditional houses.

Legend has it that Pikha Lakhu is the symbolic icon of a powerful deity known as Kumara - son of Lord Shiva Parvati who was invested with the power of protecting the persons and their property. He is also bestowed with the power of awarding blessings to his devotees for the successful accomplishment any desired works. These were the reasons why the people install the stone plate in front of their main entrance to their homes.

Art, Architecture and design as we learn from our experiences here in Nepal, which is culturally very rich - is not merely about what we see, but perhaps inspired by the beliefs in the existence of supernatural forces that bring both good and evil consequences to human life and activities. There maybe mythological stories passed from generations, but what constantly amazes is the belief structure still existing in this kingdom of festivals, astonishing landscapes and beautiful people.

Namaste!

Sarosh Pradhan / Editor in Chief

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news

Contemporary Nepali Basketry

Nepal has always been well known for its beautiful natural resources.

In order to preserve the cultural values and the resources, the Natural Resource Development Center and Nepal Knotcraft Center Pvt . Ltd. have been researching woven natural and indigenous items since 1990.

They have been doing so to develop marketable products suitable for the modern lifestyle. An exhibition of Contemporary Nepali Basketry by Shyam Badan Shrestha, Chairperson, Nepal Knotcraft Centre Pvt. Ltd. was held at Siddhartha Art Gallery, Baber Mahal Revisited from 21st - 28th October 2016.

Contemporary Nepali Basketry has grown to be a popular product among the Nepalese and foreigners as well. The baskets are amazingly beautiful and are woven by the skillful woman from rural parts of Nepal like Dhankuta, Dang, Banke, Sindhuli, Bardia, Kanchanpur, Kapilbastu districts and Kathmandu valley as well. All of the baskets are made from natural and local raw materials such as bamboo, pine needles, Moonj, Khar and water hyacinth. The productions of these products have

contributed immensely in preserving our cultural heritages of our communities which was on the verge of disappearance.

These beautiful baskets have been made with a lot of hard work, talent, innovation, respect and love of the women of rural areas of Nepal.

These baskets are made for religious and cultural occasions, to be used in home, and also for gifts. These types of production should be highly encouraged to preserve our local and natural resources. n

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news

Representing Nepal in HABITAT III, Quito, Ecuador Habitat III is the United Nations Conference on Housing and Sustainable Urban Development to take place in Quito, Ecuador, from 17 – 20 October 2016 which is held once in every 20 Years.

Neil Gutschow’s launch of two books On October 28th, 2016, Friday Hyatt Regency and the Saraf Foundation for Himalayan Traditions and culture organized a book launch for the Launch of two books by Niels Gutschow. The book launch took place at the premises of the Taragaon Museum starting at 4:00 PM.

Professor Niels Gutschow is one of the renowned German Scholars known for making immense contributions to restore Nepal’s ancient architecture. Most of the time, he is in Nepal working to restore and promote Nepal’s architecture.

He graduated in architecture and has also been involved in various restoration projects in Nepal since a very long time. He has been a great support for the preservation and restoration of Nepali ancient architecture.

Along with the book launch, there was also a presentation by Mr. Kanak Mani Dixit on Portals in Newar Architecture and in Bhaktapur, Nepal.

Urban space and ritual.

The event was participated more than 30 thousand participants including architects, planner, NGOs, INGOs and government officials from more than 200 countries.

Two Architects from Nepal Pawan Shrestha and Prabita Shrestha participate in Habitat III and presented in 3 different sessions representing Architecture Sans Frontieres Nepal. The presentations were on Affordable Social Housing at the Center of Cities and Sustainable Housing for All: Global Partners, Local Solution. One presentation was delivered as Case Study of ASF Nepal’s Project in Nepal in Recovery and Reconstruction of Nepal. n

A Taragaon lecture by Klaus Kunzmann on the memories and concerns exploring urban tradition in Kathmandu valley was also seen on Friday. n

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ArchiteCture

Babar Mahal Vila Juxtaposition of Rana, Newari and Mustang Architecture TEXT: Usha Sharma Photo: A. Rajbansh

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Architecture

The complex was erected recently, bur the architect has successfully captured the elegance and glamour of the Rana palaces.

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ArchiteCture

A

s the hospitality industry grows rapidly, boutique hotels have also emerged at similar pace.

While the rest of the world has jumped into the bandwagon of modernity and contemporization, the boutique hotel Babar Mahal Vila reconnects Rana architecture with neoclassical styles. The thirteen-roomed heritage boutique hotel is an architectural amalgamation of Lo Manthang (upper Mustang), the Rana heritage and the Newari culture. Selected materials used for building the hotel’s complex and interior decorations were all

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made in Nepal. Architect Varun SJB Rana has managed to connect the magic of the glamorous past without duplicating its grandeur. The majesty of the existing Babar Mahal Revisited complex is reinterpreted in such a way that it balances the history and adapts to the present. The construction of the boutique hotel started in July 2014 and welcomed visitors starting October 2016 The alleys in the exquisite neoclassical complex of Babar Mahal Revisited lead to this harmoniously balanced

architectural concept of the Rana heritage, Newari culture and Lo Manthang in Upper Mustang. This juxtaposition of three different styles of architecture is surrounded by a lush green courtyard with water fountains in the middle of the hotel compound.

Two and half storey structure of these three separate buildings resembles the richness of local architecture. The structures of these complexes embrace the simple luxuries of the neoclassical style. The cylindrical pillars and the curved arches have been inspired from the classic architecture, which

Architecture reflects the grandness of the Ranas.

The details on the façade of the building celebrate luxury seen in royal palaces many decades ago. From the entrance details to the balcony posts, every detailed piece reflects the classic Rana architecture. The complex was erected recently, bur the architect has successfully captured the elegance and glamour of the Rana palaces.

Though the details of embellishments display inaccuracy in some areas, the terraced swimming pool can be considered as a major highlight of the hotel. The tiles and sauna built with bamboo brought from terai shows the architect’s admiration towards local materials. “Bamboo for creating the sauna were specially brought and crafted by the locals in the terai region”, the architect explained, and shows his effort to bring authenticity to each and every detail in this boutique hotel.

The architect has taken inspirations from Mustang for one the structures.

Fascinated by the authentic architectural designs in Lo-Manthang during his trek, Rana embodies his influences on this particular structure. If the elevation of this structure is carefully observed, one can feel the magnificent resemblence which has been popularized in that region. “ The imposing yet simple structures built of stone, wood and mud mortar are almost pyramidal in nature. The tapering feature is related to the fact that the base of these structures had to be stoned in order to support the corresponding weight that would come with the increasing height of the building. The ground floor walls are 3 feet thick and taper upwards. The paint splashes on the façade without being just a surficial decoration, which also has a deep interpretation in the Hindu and Buddhist beliefs.

Each color resembles the three different protectors in their respected religions’”. He elaborates that the whole concept of incorporating his inspirations from the mountains of Mustang to the courtyard of Kathmandu valley is significant to aspiring architects and designers.

His experiments on this architectural structure has paved a way to preserve the forgotten architectural gems of Nepal.

Moving on to the mid structure of the building, the façade visibly displays the core features of the Newari architecture. With a blend of wood and bricks, this structure undoubtedly pays homage to the ancient and long cherished indigenous Newari architecture. The bricks engraved in Maharaja Chandra Shumsher’s name, which was made in 1909 is still visible throughout the brick fronts

of the building. The addition of these monumental bricks reveal the tribute to the history of the Rana regime .”The Newari aspect can be seen reflected through the detailed woodworks, brass detailing and exposed brickworks, which is strongly prominent in the newari architecture. The detailing in the entry gate is made of Dachiapa brick particularly specific to the newari heritage. There is a spectacular

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ArchiteCture

Front Elevation

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Architecture

Section A-A

Section B-B

reproduction of the Mujur Jhyal in our exit courtyard which reflects to the epitome of Newari craftsmanship�, explains architect Rana.

The indigenous style of architecture has once again proven its significance in Nepali architectural field.

The thematic interior designing of each structure justifies its exterior structure.

Each room in every complex is well planned to suit the requirements of travelers and visitors. The interior is a blend of local traditions, comfort and gracious history. All rooms are well equipped with support to the concept of combining three different themes.

The experimental designing concept makes vivacious impressions. Though the colors chosen lose their thematic balance by being overshadowed by the grand interior styles.

Section D-D

The Lo Manthang themed building displays its impact through striking colors on the walls, which can be noted to have been derived from the landscapes of the upper Mustang.

In some parts of the complex, the designer has tried to exhibit its connection to upper Mustang by creating small murals which do lack full details. However, the furniture and the embellishments bring the charisma seen in the mountains of Lo Manthang.

Even the floorings bring the earthiness of the hills and the Tibetan influenced furniture adds more significance to the theme balancing the connection to LoManthang. The rustic lights and bright interiors are truly eye catching, where the patterns in the rugs harmonize the detailing of the furniture. Although the uncanny choice of wall paint and few pieces of elements in the interiors could be of minor disappointment.

Section F-F

Other than that the classic furniture dominates the interior of the neoclassical structure of the hotel.

The wooden furniture mixes dark and rusty color palette bringing back reminiscence of the golden Rana era.

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ArchiteCture

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Architecture

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ArchiteCture

The flooring and the antique accessories bring an ethnic mood to your atmosphere. The earthy colors has precisely kept the feeling of traditional architecture alive. The setting of the library gives off a warm and snug feeling to its visitors. The chandelier and well-crafted centre tables showcase luxury seen in palaces in the past. Paintings by eminent artists like Amar Chitrakar and DB Chitrakar hang beautifully grabbing the attention of any passer-by.

Brightly colored walls surely bring vibrancy to the hotel but better shades could have made it better and more ambient. The elegant glass etchings, brass decors, artifacts and door handles show direct derivation from the local and cultural traditions. The striking bathroom mirrors and decoration compliments the hotel’s focus on luxury. Marble patterns in the lobby and passageways also reflect the classical designing concept.

The array of craftsmanship in the Newari block is no less. Alluring wood carvings and extensive use of brickworks are some of the main features of the Newari architecture which dominates the interior of this space. The telia tile flooring covers the room in a warm color with well furnished wooden ceiling, upholstery rugs, glimmering lights and paintings that create a sense of balance that other structures lack. The stylistically unique patterns are well presented with glass etchings in most spaces representing cultural symbols of the Newa art. Both the interior and exterior of this structure acknowledges manifestations of Newari architecture and culture which can be dated back to the Lichchavi period.

There is a total of almost thirteen rooms in this boutique hotel. Each room is characterized by their unique name viz. Chandra Suite,

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Architecture

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Babar Suite, Singha Suite, Mujur Kotha, Kausee Kotha and so on. Distinctive attributes created at nooks and corners of the hotel bring mischief to the ambience and adds meaning to the three complexes. Some historic documents that were given to Maharaja Chandra Shumshere by Oxford University and the Legion De Honore by the French Republic in 1909 is hung on the wall reminding visitors of the historical past of the Ranas.

The interiors of the Babar Mahal Vila reflect the building’s architecture and glamour without losing its individuality.

From the beautifully painted doors, intimate rooms to sleek passage ways, the entire spaces creates classic atmosphere. The hotel creates a perfect setting for travelers who prefer enveloped environments. The architect has built an independent attitude meeting the objective of creating this space. The boutique hotel merges history with architecture while still accommodating to the relaxation and luxury that all travellers seek. Architect Rana challenges the trend of exercising modern construction while still preserving the local architecture. The choice of combining three significant styles of architecture can be considered a unique innovation, proving for a worthwhile stay in the city. The boutique hotel complex of Babar Mahal Vila is an experience where mastery of Nepali culture, art and architecture collide.  n

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Architecture

Pikha Lakhu A Forgotten Newar Heritage

TEXT & Photo: Bhagawan Ratna Tuladhar Mr. Tuladher is Associate Professor of Political Sc. (emeritus), Tri-Bhuvan University.

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T

raditional Asian societies were deeply influenced by the conviction that supernatural forces do exist and they could bring both good and evil consequences to human life and activities. So, supernatural forces were worshiped by the people by various names given to them according to the religious culture and believe systems of the concerned society. One such believe common to most of the Asian societies is the existence of a supernatural powers beneath the earth we live in and they can bring good luck if pleased and disastrous effects to the person or family should they be displeased. It was a strong believe inherent in the indigenous people that an unseen world of gods, demons and ancestral spirits etc. reside beneath the earth we live and walk and where we construct houses/ structures etc.

So, for the protection from any harmful and unfriendly supernatural forces indigenous people have considered of installing and worshipping images powerful and supportive gods in front of their home and adjoining localities as well. Such believe is very strongly inherent among the Newars – both Buddhists and Hindus of Kathmandu Valley and outside. They, therefore, usually install one stone plate, no matter whether square or round, carved or plain just in front of their main entrance as divine patron in disguise known as pikha lakhu in Newar vernacular.

Legend has it that pikha lakhu is the symbolic icon of a powerful deity known as Kumara, one of the sons of Lord Shiva Parvati, blessed with the privilege of being worshipped even before the other son Ganesh. Kumara was invested the power of protecting

Architecture the persons and their property. He is also bestowed with the power of awarding blessings to his devotees for the successful accomplishment any desired works. These were the reasons why the people install the stone plate in front of their main entrance and worship it first. Be it a blessed symbol of Kumara or not but Newar culture and tradition of worshipping pikha lakhu. Whereas Hindu Newars consider it Kumara, the Buddhists worship the same icon as Chhatrapala. Irrespective of their belonging to any faith both of them equally follow the tradition of worshipping the pikha lakhu. It is part of traditional Newar culture influenced by tantric believes handed down from generation to generation.

Pikha lakhu occupy important place in Newar society. The daily social life begins with the worshipping of pikha lakhu. According to Newar traditional practice one of the lady members of the family, mostly daughter-in-law, worships the stone plate- pikha lakhu early in the morning after cleaning it with pure / fresh water brought recently from a nearby well or stone sprout and then worship it offering rice, flower and vermillion etc. It is the first duty before commencement of other daily routine works. All the family members salute it while going out or entering the house. It was the tradition of the past. Presently, such social practice has been eluded from daily social life and it could hardly be seen in Kathmandu. Young generation of Newar is, I guess, scarcely aware of the traditional culture.

However, the tradition has not been totally vanished from Newar social culture. It occupies very important places even in modern Newar society.

This stone plate pikha lakhu is worshipped in certain occasions if not daily. It is worshipped during festivals like Mohani (Dasain), Swonti ( Tihar) etc. and also during family feasts such as guthi, pooja etc.

One of the most important ritual functions commence on pikha lakhu during the wedding ceremony.

According to traditional Newar culture a newly married bride comes to her

bridegroom’s home with procession and stands on the pikha lakhu to be welcomed by her mother-in-law.

Certain ritual performances take place there after which the bride will be escort by the mother-in-law to the home. It is a kind of formal recognition of the newly married bride. A similar formality takes place while the bridegroom enters his spouse’s home for the first time. Moreover, Pikha lakhu occupy an indispensable and indelible role in Newar social and religious cultural. There are certain binding rituals to be performed at pikha lakhu at the time of birth and death of the family members.

There is a special occasion known as sithi nakha also called kumara shasthi which commence annually on the

sixth day of the bright half of the month Jestha according to lunar calendar. On that day Newar households will smear the pikha lakhu with gobar (cow-dung mixed with brown soil) and draw a hexagon figure on it with white powder and worship it with vermilion, rice and flower etc. The day is considered as the birth day of the divine patron Kumara. According to Newar tradition sithi nakha is festival celebrated with grand feast inviting all the married daughters. Kumara is highly regarded in Newar culture.

Traditionally, there are two separate pikha lakhus, one private one belonging to the house owner alone and another one belonging to a particular community as a whole.

Whereas the private pikha lakhu

will be in front of the main entrance and worshipped by the house owner’s family alone, the community pikha lakhu belong to a group of households living in that locality. This community pikha lakhu depicts the features of Newar traditional way of life, community culture and tradition of living together in a nucleus society.

From the above description one can understand the Newar cultural and the values of the worshipping of the piece of stone placed in front of their main entrance. This traditional culture has been one of the subject matter of mockery of the Newar society in the eyes of the outsiders. Most of the outsiders usually humiliate the Newars as a community worshipping any stone lying elsewhere in the street. It was nothing other than sheer ignorance of the outsiders or the hateful mentality of disrespecting to other’s culture. All of us must understand that Nepal is a country of diversity having different culture and religion. And, one should respect the diversity as a reality of the country for living harmoniously.

It is a fact that not only the pikha lakhu but also the related culture are vanishing from the Newar community of Kathmandu along with the advent of modern civilization, more or less, influenced by foreign civilizations. In the process of modernization the traditional community settlement pattern has been gradually disappeared. Community life style is being replaced by individualism.

Newly built high rise buildings and wide roads do not allow a place for pikha lakhu in front of the main entrance.

Moreover, there are certain reasons why the pikha lakhu worshipping culture is vanishing from Kathmandu.

The influx of non-Newar population in Kathmandu, the growing number of vehicle movement, the huge number of commuters as a consequence of swelling population, and displacement of Newar population are some of the reasons for the disregard of pikha lakhu culture. In order to preserve the heritage the community leaders must seriously consider the way out for its preservation.

Better to consider the saying of wise people that disappearance of one’s culture is tantamount to disappearance of that community itself. n December 2016 SPACES / 33

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Interior “Research reveals people make a subconscious judgment about a

Color Therapy

Healing with Hues TEXT & Photo : Ar. Kritika Rana

Colors from Light: When a beam of sunlight passes through a raindrop in a certain angle, it breaks down into the colors of the rainbow. Although invisible to us, a white light is an amalgamation of wavelengths of light, where each wavelength is a certain color. The colors that we see around us are basically the wavelengths that get reflected back to our eyes. For example, a leaf appears green because when light falls on it, the green wavelength is reflected while all the other wavelengths are absorbed. Therefore, color originates in light, which gives color to our otherwise colorless surrounding.

Color Therapy: Color therapy or Chromo therapy is a form of holistic healing based on the principle that colors are infused with healing powers. The colors that we perceive through our eyes can aid in the production of hormones that control our body’s biochemical system. Each color releases a particular vibration imparting energy which our body absorbs. This energy maintains the vibrations of our body to the frequency which connotes a healthy body, mind

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person, environment, or product within 90 seconds of initial viewing and that between 62% and 90% of that assessment is based on color alone.”

– CCICOLOR: Institute for Color Research

“The truth is, that color affects us physiologically as well as emotionally”- Angela Wright, British color psychologist.

and soul.The seven colors of the rainbow each possessing a unique attributerelate to different parts of our body which can be used toreinforce our energy centers.

Color Therapy is based on the belief that when a diseased body is exposed to the right color, it speeds up the healing process. This therapeutic healing process involves application of colored rays to the body either physically- by exposure to light rays or mentally- through techniques of suggestion, visualization, or meditation.

Color therapy is still in practice today with an anticipation to positively influence our mood, emotions and our overall wellbeing. There are countless ways to improve our life with color therapy, but it is important to understand that, unlike conventional medicine that heals, it is an alternative medical practice that enables our body to heal itself.

Interior

History of Color Therapy:

Ayurvedic Color Therapy:

Many color therapists believe that the first type of therapy known to man must have been the natural method of healing through color. As early men had the wisdom to live by nature’s laws, they depended on the nature to keep every life form in balance and rhythm.

Color also holds a sacred value in Ayurveda, the traditional Hindu system of medicine originated in the Indian subcontinent even before the Indus Valley Civilization. In Ayurveda, the seven colors of the visible light spectrum are believed to possess an inherent energy which can be used to stimulate healing in the chakras or energy centers of the body. Each chakra is linked with a specific color used to recuperate the associated function.

The history of healing by color traces back to the ancient civilizations. For the treatment of several diseases, the rooms of ancient Egypt and Greece were painted in diverse colors.

Moreover, the Egyptians designed exemplary healing sanctuaries featuring therapy rooms bathed in light where the rays of the sun was captured and split into its constituent colors which was then used by the physicians for healing.The significance of color to restore the balance in our body has also been emphasized in the Ancient Chinese texts.

Violet is associated with the top half of the head relating to the mind.

A peaceful environment can be designed with violet which also relieves migraines. Violet is also believed to suppress the appetite.

Indigo, the dark blue shade is linked with the bottom half of the head and relieves ailments of the face, eye, ear and nose. Astonishingly, indigo speeds up the healing of pneumonia, bronchitis and asthma.

Blue is indicated at the neck and the shoulders and provides relief to ulcers, inflammatory disorders and back aches. Varying shades of blue is believed to heal several complaints such as itches, laryngitis, sore throat, typhoid, jaundice, insomnia and low blood pressure.

Green is related to the lungs and the heart which can ease headaches, flu, blood pressure and heart problems. A tranquil and soothing color, green also helps relieve depression and anxiety.

Yellow is associated with the stomach area which can be used to stimulate appetite and alleviate muscle cramps, digestive disorders, constipation and gallstones. Along with improvement of the memory, this enthusiastic hue has been shown to relieve stress and depression.

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Orange is linked with the lower part of the torso and stimulates the appetite as well as the nervous system. It is also believed to ease several ailments such as allergies, chronic asthma, phlegmatic fevers, epilepsy, cholera and inflammation of kidneys.

Red is related to legs and is used to relieve cold, anemia, weakness, bladder infections, skin problems and circulatory deficiencies.

Red is also believed to stimulate the brain wave and increase our blood pressure, respiration and heart rate. This color of fire is also said to assist in burning fat thus reducing our weight.

Pink, a lighter hue of red, suppresses the appetite, relaxes the muscles and relieves tension.

Color Therapy in Architecture: From ancient times to today, the evident use of color in architecture can be seen in the designs of architects all around the world.

Especially in healthcare facilities, colors are believed to speed up the healing process.

Because of our natural affinity with nature, it is believed that patients in a natural environment heal more rapidly. According to the biophilia hypothesis, there is an instinctive bond between human beings and other living systems. Associating the patients with nature generates a peaceful environment relieving stress and anxiety.

This can be applied in architecture by introducing nature indoors through light, colors and the design of space. Color therapy in architecture involves the color choice for the walls, ceiling, windows, floors and furnishings for the overall wellbeing of its inhabitants.

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Paimio Sanatorium- Alvar Aalto: The Paimio Sanatorium by Finnish modernist architect Alvar Aalto is probably the first example of color application in architecture with an attempt to heal. The Tuberculosis Sanatorium was constructed in 1932 in the woods of Finland to ease the suffering of tuberculosis. A part of a general hospital today, the sanatorium was nominated to become a World Heritage Site. Aalto wanted to design a ‘medical instrument’ by making the building itself a contributor to the healing process.

An ingenious color palette was applied to various architectural conditions throughout the building. The ceiling of the patient rooms were painted in green rather than the lighter shadewhite to reduce the glare from outside.

Additionally, as the patients spend most of their time staring at the ceiling, the soothing green relieves eyestrain. The public spaces within the building- floors and staircases were painted in bright yellow to uplift the spirit. Therefore, the modification of the interior environment with color was proven to speed up the healing process.

Interior

Healing with Hues: Despite numerous controversies, it has been widely accepted that color can be used as a powerful tool to generate positive emotional responses that aid in a speedy recovery. Colors are known to have mood- altering effects that provokes an emotional reaction as it connects with us on a sensory level. This provides options to diverse stimulating hues that have proven to be more beneficial as compared to the neutral colors of the past.

Bright and vivid warm colors such as red, orange and yellow are believed to activate our sympathetic nervous system thereby increasing the temperature, blood pressure and heart rate.This produces an outward response by directing attention outward. Conversely, light and soft cool colors such as blue and green activate our parasympathetic nervous system resulting in opposite effects; hence creating an inward response of tranquility and repose. The choice of color can thus depend on whether the residents require a soothing or energizing atmosphere.

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The Colors of Healing:

Red is known to release adrenaline which raises the blood pressure, heart and respiration rate. This stimulates circulation in the body which can be used to help the people with anemia and fatigue.

Each hue with its unique energy and characteristics influences our body, emotions and behavior differently. It is also believed that we are drawn to the colors that we need to create a balance in our lives which ultimately is the goal of healing. The choice of hues should be aimed at restoring health and maintaining the essential balance between our body, emotions and mind.

Violet is associated with the cerebral activity which helps to develop our insight and perception. It is also known to enhance our communication skills by calming down the nervous system.

Indigo, the color between blue and violet, is connected to the third eye at the center of our forehead. It has a calming effect on our mind and enables us to trust our intuition and instincts.

Indigo correlates with our eyes, ears and nose that stimulates the senses of seeing, hearing and smelling.

On the contrary, pink has a calming effect as it drains our energy and can be used in prison cells to reduce erratic behavior. our body as a whole. According to studies, painting the children’s room yellow can help those with asthma and breathing problems.

Orange radiates the warmth of the sun which gives vitality to our body. Some studies show that orange increases the oxygen supply to the brain; while some claim it has a tonic effect as that of Vitamin C. Both yellow and orange are vibrant hues that induces optimism hence relieving anxiety and depression as well.

Color Application for Health: The colors of positivity and healingpastel blue and muted green walls have been used in health facilities from time immemorial. The color of the sky and ocean, blue has a soothing effect on the patients. On the other hand, green, the color of nature lowers stress levels making them feel more secure and centered. The association of these natural hues with tranquility may be linked with the calming waves of the sea and the liveliness of the lush green forests.

Blue is the color of peace as it is known to alleviate stress, tension and issues with the immune system. It does so by lowering the blood pressure and heartbeat, allowing us to breathe deep hence relaxing muscles and our mind.

Green is the color of health and healing as it restores the balance and harmony within our body. In our body, green is thought to influence the human cell structure and corresponds to the heart and the circulatory system.

Moreover, blue and green are both soothing hues that relieve stress as well as irritation and relieve insomnia by helping people to fall asleep faster.

Yellow corresponds to our chest, heart and lungs and is believed to have antibacterial properties that cleanses

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Colors play a vital role in the design of a holistic therapeutic environment within a healthcare facility. Architects believe that the selection of color should also depend on the duration of stay of its occupants.

A neutral or pastel color scheme may be suitable for hospital rooms which is likely to be occupied by patients for a few days. On the other hand, in long- term care facilities and nursing rooms,patients occupy the rooms for a long time. A balanced color scheme with contrasting tones can enliven such space and characterize comfort and functionality.

In a healthcare facility, colorful walls and ample of natural light can be used to stimulate the occupants. Rather than applying the same color in all the rooms, the color choice can be determined by the location of the windows and the amount of natural light in the room. In the rooms facing north, cool colors such as blue and green can make the room appear brighter.

Whereas, in the rooms facing south, warm colors such as red and orange can balance the intensity of the room.

White hue is believed to cause sensory deprivation and is associated with sterility.

Therefore, it should be completely avoided in hospitals, especially in the ceilings.

Considerations and Color Choice: The consideration of color while designing new facilities or during renovation of an older one plays a major role in the creation of a healthier environment. The color choice then depends on the type of the clinical setting and the people inhibiting the space. For example, in specialized facilities for patients of Alzheimer’s disease, assorted color pallete and patterns should be avoided as they create confusion.

In critical care units, calming cool colors that are believed to possess healing powers are always preferred over warm

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colors. Light shades of cool colors such as blue, green and violet are appropriate to instill the peace of mind in such facilities. Warm colors such as red, orange and yellow should be completely avoided as they induce excitement by increasing the blood pressure that further results in fatigue.

For examination rooms, reassuring colors such as green, blue and violet with a hint of pink for compassion work best. The combination of soothing and pleasant hues promote a positive mood relieving fear and anxiety of the procedure.

For children, the overwhelming hospital environment can be transformed into a warm, secure and safe haven with the use of a stimulatingcolor pallete. A combination of soothing colors- blue or green and vibrant hues- orange or yellow in a pediatric roomact as stress relievers brightening the space.  n

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Architecture

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Architecture

Hotel

by the Water Falls

Ramboda, Sri Lanka

TEXT & Photo: J.K. India

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The attempt was to minimize environmental impact and ensure that hotel blends into and is a part of landscape.

Description of Project Located in a small hill town of Ramboda in central Sri Lanka, between Kandy (historic city) and Nuwereliya (tourist hill station), in a unique ecological zone (of tropical montane forests and grasslands) this 27 room, 6 storey hotel building is completely integrated into the terrain of the land. The design had to address environmental regulations that stipulated a 2 storey building to the road and to avoid blocking views of the scenery to the locals and passing tourists.

The design adopts these challenges and presents a visitor friendly 2 storey facade to the road permeable to the dramatic views of Ramboda falls.

Visitors and guests enter the hotel at 4thfloor level which is also the road

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level. The parking, lobby as well as the upper level is allow for views of the vast valleys, dam, waterfalls and the horizon. A 30 feet cantilevered open viewing deck, provides a 270° panoramic view of the surrounding nature- the Waterfalls, Kotmale reservoir and the verdant hills.

The site helped generate the brief, initially the client had requested building a restaurant and a few rooms however upon analyzing the terrain the possibility of additional hotel rooms was suggested. Building with the natural terrain, enabled the building of two floors below the road level nestled into the topography, which became the bedroom wings of the hotel. While 4th and 5th floor is given to public activities, lobby, gem store, fine dining,

and an observation deck, the guests descend to the lower levels, away from the road, noise and public areas to the bedroom wings. The rooms are serene allowing for picture postcard views the scenery. The luxury suite is located beneath the cantilevered deck providing guests with expansive views of the valleys and water.

An important aspect of the design was creating a public viewing platform for the passing motorists to stop and to enjoy the view. The parking area has been designed to also function as this viewing space. The material palette and construction too were based on this idea of keeping the public levels totally permeable to the valley and view, and thereby create an unhindered view to the people.

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Materials and Construction 1. RCC construction was used for the main building and entrance parking and service block underneath is structurally separated from the main building, to avoid any structurally movement from the above ground parking, hence a structural 3� gap beneath the two.

2. The extension of the cantilever has been designed and constructed with I sections to make it structurally and visually light. The topmost layer is a concrete floors and the two floors beneath are of timber to reduce self-load. The aim was to minimize the foot print of the building.

3. As Ramboda is located in the upcountry of Sri Lanka enjoys cold weather for a large part of the year. The environmental regulations also stipulated a building that does not block the view, hence glass was used. The glass allows for the interior to remain warm during the winter months and ample natural light. It allows for a variety of views.

4. Built by local contractors in the small hill town, Construction was challenging due to the steep terrain of the land.

5. The bedrooms have been kept simple with cement finishes, allowing for the verdant views of the hillsides and valleys (green, emeralds, and waterscape) to be enjoyed.

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Special Features 1. Building with the terrain enable the creation of 4 built levels, although the hotel appears scale and two storeys permeable facade to the road (allowing the passing motorists to pause and enjoy the view). The bedrooms that are nestled into the lower level, away from the noise of the road, completely serene overlooking magnificent views of the valley.

2. Building with the terrain also avoids filling and disturbing the stability of the land and ensuring that the natural water flows through the land is sustained.

3. Creation of the 30’ feet cantilevered deck that appears to float over the scenic valleys, the waters into the terrain and acts a place much visited by passing tourists. Underneath this space is a cantilevered fine dining space, with views on all three sides.

4. The floor beneath the deck has a fine dining area with views on 3 sides below this a luxury suite with dramatic views.

5. One of the prime considerations in the design was keeping with and improving the public view point, to enable all to enjoy the scenic beauty of the space. The parking area has been designed to act as this view point.

6. The plan organization and the design of the rooms ensure that all rooms enjoy equally good views of the valley.

7. The service block is separated from the rest of the hotel by a gap.

8. The natural landscape of the region take prime focus, building appears to be tucked into the forest the dining area and the lounge have been designed to have views the pine forests, the native grasses of pathana landscape have been grown up the edge of the hotel.  n

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After the 2015 Gorkha-Nepal Earthquake:

Role of Modern Earthquake Engineering Approach TEXT & Photo: Ananta R. Baidya, P.E.

L

ike the 25 April 2015 Gorkha-Nepal Earthquake, the next earthquake, in Nepal or elsewhere, will happen without any announcements. Earthquakes are uncertain, unpredictable and “earthquake-proof structures” are a myth. “Earthquake resistant” structures resist earthquake forces and “earthquake resilience” deals with society’s response to such disaster events.

Soon, as Nepal marks the 2nd. anniversary on 25 April 2017, Nepalese stakeholders need to reflect on the 10,000 lives that were lost, the suffering that still prevails, and the reconstruction and rehabilitation of both modern and traditional structures that continues chaotically. (fig 1) Numerous different and difficult issues arise when nations and societies face the devastating impact of natural disasters like earthquakes, floods, etc. This article is an attempt to present some of my observations on various issues that have risen because of this earthquake.

Figure 1

The reconstruction, restoration and retrofit of structures damaged, destroyed and endangered by any earthquake understandably takes considerable time even with pre-established reconstruction plans and programs. The worry remains that with time, wounds and concerns from earthquakes will get dampened, will become a part of daily living reality of Nepal and needed public safety precautions will either get compromised or be ignored.

The current generation has experienced the impact from one of nature’s violent earthquake disasters! Within Nepal’s context, what went right and what went wrong? How should Nepal prepare for the next earthquake events? These questions deserve serious intellectual honest, realistic and committed dialogue so that “Public Safety for All including People with Disabilities and the Elderly” is not compromised in the years to come.

The current generation has experienced the impact from one of nature’s violent earthquake disasters! Within Nepal’s context, what went right and what went wrong? How should Nepal prepare for the next earthquake events? These questions deserve serious intellectual honest, realistic and committed dialogue so that “Public Safety for All including People with Disabilities and the Elderly” is not compromised in the years to come.

Various products claiming to be “earthquake proof or resistant or resilient” have flooded the Nepal market. Their claims remain questionable, unproven and subject to investigation and recognized certification.

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Architecture Figure 2

Without malice to any one product, I want to share some observations about the model “Earthquake Proof?� light gauge metal stud building that I saw being constructed at Baluwatar.

The public, rightly or wrongly, expect and assume that these building structures have been carefully analyzed and approved by the regulatory agencies of Nepal prior to permit.

Items circled in the photo are some of the issues of concern. They relate to the earthquake resistance abilities of these structures. (fig 2,3,4) These structures will survive vertical static loading. Some of the critical safety issues arise when addressing dynamic lateral earthquake loads.

Are there verifiable engineering calculations based on acceptable code standards to justify the rivet joints to resist the earthquake forces? Are the bracing system constructed appropriate and adequate? Is the computerized analysis and modelling consistent with field fabrication? The trusses as built are eccentric at the joints. Have these field configurations at construction been considered in the earthquake analysis of this design? Have the appropriate checks and balance been done by the permitting agencies? Such highlighted issues should not arise. These design and construction of these types of structures in California and elsewhere in the United States are governed by requirements codified in building codes.

Methodologies for the improvement of the seismic resistant characteristics of village structures are inadequate.

Some of these issues have been presented through the photos. (fig 5, 6)

Figure 3

Figure 4

Bracing systems, using local materials, would help save lives during earthquakes in these indeginous village residential structures.

Other improvements can also be enforced without major financial burdens. (fig 7) A general lack of conformance to earthquake engineering principals seems to prevail. These are manifested in the form of deficient load transfer and resistant mechanisms, missing or un-engineered load paths, inadequate connections and supports.

There is a complete unwillingness to show any engineering calculations. Without this transparency, verification of the fundamental assumptions related to the basis of design for both static and dynamic earthquake cannot be conducted.

Design professionals in the architectural and engineering fields have a civic responsibility to ensure public safety for all. In Nepal, they dictate and control how structures and buildings will be designed and constructed.

Without the will to provide check and cross check of design and construction by qualified and trained personnel, the innocent consumer gets cheated and public safety gets compromised. These realities can only be addressed through a major change in attitude.

Seeing construction drawings with different sized footings on the frame lines supposedly designed to resist earthquake loads is a puzzle! Earthquakes are not unidirectional. The footings (Hatti Pailla) should have been identical or the engineer should justify the

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Figure 5

Figure 6

Figure 7

Figure 8

Figure 9

Figure 10

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size difference based on calculations that considered earthquake forces.

Is this because of a general lack of training, understanding of earthquake engineering design or shear negligence? (fig 8) The current developments, or lack thereof, in Nepal may be deeply rooted in the inability to get away from the “karmic” mindset. If people believe that all events are a result of “Karma” and remain entrenched in this belief, addressing the current prevailing environment will remain incomplete and challenging. “Public Safety for All including People with Disabilities and the Elderly” cannot be achieved without a changed attitude.

The resurrection of “Traditional Heritage and Historical Buildings and Structures” remains a challenge and mired in dispute. It appears to be driven by archaic concepts and methodologies that are known to be seismically non-resistant.

A prominent Nepali engineer lamented that established reconstruction authorities are emphatically using the “Fall and Rise and Fall” philosophy.

This philosophy entails rebuilding after the disaster using the old ways, waiting for the structure to be damaged or destroyed during the next disaster event and then rebuilding them again using same old ways.

Saving lives is not an issue of concern: maintaining the sanctity of old ways of prime importance. The mindset to doggedly continue to rebuild these structures using old methodologies continues to be a source of concern.

While modern Earthquake Engineering has developed over the past few decades to address the dynamic impact of earthquakes, most structures in traditional and heritage architecture were constructed using trial and error methodologies. It is not based on established and authenticated method of design and construction. These

“conventional construction” practices, developed through construction experience and not necessarily current established scientific earthquake engineering science, cannot be assured to be earthquake resistant. Research to justify the earthquake resistance characteristics of the traditional methods of construction, based on state of the science of earthquake engineering has to be the vehicle to authenticate the claims of superior seismic resistance of traditional methods of construction. Some discussions follow to show the positive impacts and advantages of modern earthquake engineering science in making traditional and heritage structures safe from the impact of seismic events and the dynamic earthquake forces caused by them.

The tragedy in this philosophical approach is that it chooses to ignore the valuable contribution that modern earthquake engineering and structural engineering can make and has made to make reconstruction safe for all while keeping the traditional and heritage external and ambiance completely intact. Making the structure seismically resistant through unexposed structural systems and connections based on design using earthquake engineering science is not an uncommon practice in other parts of the world. In Nepal, the tendency is to demonize the virtues of modern earthquake engineering science by sloganeering of such statements as “Western technology not acceptable”, “no concrete, no steel”, “Nepalese architecture cannot be hijacked by modern engineering knowledge”, etc. Such misleading practices do not serve the naive public and further endangers their safety and lives.

Accepting this modern design philosophy will require a complete change in mindset and retraining of the construction professionals such as architects, engineers, draftspersons, contractors, artisans, archeologists and many others. The prevailing theme, much of it promulgated by trained and

educated intellectuals, is that traditional construction methodologies are superb, earthquake resistant. Therefore, reconstruction using this methodology must continue for the glory of Newari architecture and heritage. Such type of mindset compromises on the safety for all the public. There is no dispute or argument against the claim that traditional and heritage structures are structurally adequate for “Static Vertical Dead and Live Loads”. Such a claim can also be proven through modern structural engineering methodologies and engineering calculations. A few simple examples based on engineered calculations will illustrate the above conclusion.

A typical traditional 6 inch x 6 inch column commonly known in local vernacular as “THA” of “Sal” wood that is 8 feet in height with “mortise and Tenon” joints at the top and bottom to connect to the 6 inch x 6 inch beam (or “NINA”) has a load vertical static load capacity of over 8000 pounds. Such a column, spaced at approximately 5 feet in a typical “PHALACHA” OR “SATTA” about 16 feet long and 8 feet, wide would be around 2000 pounds. (fig 9) Similarly, the beam with a span of 4 feet would have a capacity of 1500 pounds per linear foot. Such a span in the above “phalacha” would see a load of about 300 pounds per linear foot. Thus, for vertical static loads, there is adequate margin of safety in traditional methods of construction.

On the other hand, apply dynamic loads, such as those are generated by earthquakes, and a different set of conclusions will result. Forces and peformance dynamics resulting from a seismic event can be determined based on established code methodologies and site criteria. Performing engineering calculations using modern earthquake engineering principles will show that these structures are inadequate to resist these loads and thus can be damaged or fail or collapse causing death risks to the public.

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Figure 11

Figure 12

Figure 13

Figure 14

Figure 15

Figure 16

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Should practicing engineers and architects and academic professors complete the earthquake engineering calculations, some of the findings may be as follows: The same 6 inch column, pinned at the top and the bottom of the 8 feet length, would be subject to a horizontal force of around 2850 pounds. To transfer this load finally to the foundation, the cross sectional area of resistance that would be required becomes 17.27 square inches. The force would have to be transferred through the typical tenon of 2 1/2 inch x 2 1/2 inch in size, with a resisting area of only 6.25 square inches in a 6 inch by 6 icn column with a cross sectional area of 36 square inches. The codes allow a third increase in allowable as they recognize the temporary nature of earthquake forces. Taking advantage of this benefit, a 4inch x 4inch square column with an area of physical resisting area of 16 square inches would be a satisfactory size of tendon under this simple analysis. Consideration of the drift or movement of the beam from the column has not been addressed in this simplistic analysis. When these considerations are considered, the weak links that cause failure become obvious. (fig 10) Even this simple logic raises questions regarding the capacity of traditional wood construction. However, with modern earthquake engineering, these concerns can be resolved. Engineered systems that provide a fixed rigid support for columns of wood or other materials with proper connection that can transfer the loads to the foundation. Such detailed analysis and construction will be necessary to provide safety from the next earthquake.

Claims also prevail that “the system of “chukus” in the traditional construction are the reasons traditional and heritage buildings did not get damaged during the recent earthquake.

The system of “chukus” do function to stabilize the unreinforced brick

Here are some flavors of recent dialogues in the local media.

Regarding that the reconstruction of Kasthamandapa: “it will use traditional timber plinth and floor systems of lakshi-tham-meth-nina, sufficiently absorbent of energy released in earthquakes with chukuls and flexible joinery without steel cleats, and the central core of four timber posts of the mandapa will continue to be cushioned in gold plated foils lining the Ilohn recess”. On the Mani Mandap: “ It’s timber posts will be fixed to the base stones directly using steel the lakasi grid interface – traditionally uised to connect the pillars to such openpillared buildings—thereby demaning and killing the structural sense of the traditional construction system.

The timber joinery, developed by the Newar craftsmen with over thousands of years of experience in detailing to absorb earthquakes -- such as wedged mortise and tenon, chukuls, and dowels so excellently brought together in the construction of its lakasi-tham-meth-nina system frame – will be rendered toothless and rigidified with a set of tolted-through steel cleat plates” . On the Chyasilin Mandap: “the river-boulder-mat foundation of Chyasilin Mandap (1988) was taken out and replaced with a concrete grid mat, four of its sixteen timber pillars making the core of the sohrakhutte mandap was replaced with steel encased in concrete and lime plaster, and used steel frames and trusses to throw away our very flexible structural system and timber joinery in the floor and roofs”. On the restoration of the 55 windowed Place completed in 2008 by Nepali professions: “was professionals staying within the Newar architecture, structural and crafts is the reason that this building was not damaged by the 2015 Gorkha Earthquake - “The response of this building to the 2015 Gorkha earthquake proves beyond doubt that our ancestors were not so dumb and the conservation work is a tribute to the Newar prowess in building earthquake absorbent structures”.

These suggestions make presumptive assertions of the superior earthquake performance of traditional Newari construction methods and claim that the traditional construction systems are flexible structural systems. The 21st. earthquake engineers would love to see scientifically justification for these types of presumptive conclusions. If

proven correct, the entire science of earthquake engineering would turn on its head and a valuable contribution would have been made to seismic engineering!

Extolling the presumptive excellence and superior earthquake resistance capabilities of traditional Newari construction without the benefit of verifiable research, verifiable internationally accepted seismic engineering principal’s set dangerous precedence. I see this in writings and discussions and on-going quarrels between the traditionalists and modern design and construction professionals.

This article has attempted to show how some simplified earthquake engineering analysis shows some of the deficiencies in the traditional construction methodologies.

When Nepal’s oppose the modern concepts of earthquake engineering that would not diminish external and internal ambiances of the glorious Newari architecture and traditional methodology, arrogance raises its ugly head and “Public Safety for All including People with Disabilities and the Elderly” gets compromised. A vital and significant issue and question remains unanswered: “Will those proponents that insist on building heritage structures in the traditional manner using traditional materials and methods of construction take the responsibility when thousands die in the next earthquake because of dogged objection to the use of modern earthquake engineering science and available superior materials and methods of construction in heritage and traditional structures?”

Insisting on these older methods of construction to resist earthquake forces without modification based on established science is “INSANITY” driven by “IGNORACE”. Corrections to all issues can be done if they are based on modern earthquake engineering science. Blaming Western science, engineering, modern technology is not the approach to resolve the pressing challenges of earthquake reconstruction of all structures: modern, heritage and traditional. This article has tried to share solutions, challenges and obstructions!

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Architecture masonry walls to some extent. Using modern earthquake engineering principals and making some simplistic assumptions, the force that tries to move an 8 feet high 24 inch wide unreinforced brick masonry wall away from the building would be 825 pounds per foot length of the wall. Assuming that the wall stays intact during an earthquake, this force will be resisted at the roof line and foundation line. The calculated force that such “chukus” will be required to resist 412.5 pounds per foot width length of wall or 1650 pounds if “chukus” are placed at 4 feet apart. The capacity of 2 typical 1 1/2 inch x 1 1/2 inch in size “chukus” would be around only 372 pounds.

This is another analysis that shows why there are issues with assuming that traditional construction is earthquake resistant. (fig 11) Applying the same principal, the current methodologies of seismic retrofit raise issues when earthquake engineering principals are used to evaluate retrofit practices.

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Another example is provided to show how modern earthquake engineering science can make traditional construction safe. By using these techniques, safety can be achieved while interior and exterior ambiances can either be maintained or recreated to original form. (fig 12) Take the “dathu angaa” of a traditional building. For discussion purposes, 50 feet by 25 feet one story with a 24 inch “dathu angaa” will be considered.

Such a building would weight about 479,750 pounds resulting in an earthquake force of 180,000 pounds.

Take away the “dathu anghaa” and replace it with an engineered support system with modern earthquake resistant system concealed from view.

The weight of the building changes to 255, 750 pounds. The earthquake force reduces to 180,000. By this simple approach, the space opens up to become a more useable 1250 square feet open space where rooms can be

reorganized to meet modern living style in safety. (fig 13, 14) The commitment to take advantage of modern earthquake engineering science for all future reconstruction is obvious. The need for establish authorities, foreign donors, regulatory agencies to accept this fact is obvious.

Concepts that Nepal’s traditional and heritage constriction methodologies are “state of the science in earthquake engineering” is misplaced, misguided, misconceived and remains scientifically unproven at this point in time. (fig 15, 16) High sounding rhetoric, confusing scientifically non-verifiable conclusions, dogged confidence in the perceived earthquake resistance of traditional methods and materials of construction, complete demonization of modern material and modern scientific earthquake engineering means and methodology does not serve to ensure public safety for all. Judicious choices will ensure safety for all. n

Wood Plank WOW Series

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From the shelf

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From the shelf

W

hen Michelangelo began his architectural career under the patronage of Pope Leo X, he was already thought of as a “god.” He had stunned the world with the Sistine Ceiling completed four years earlier, and he had even designed architecture there in the figurative sense—not as a simulation of real architecture opening up to a celestial vision but as a means of defining pictorial space and light. Then he was called on by the pope to change the architecture of his imagination into reality, although, at that moment, it was only to design a facade to house a collection of statues. Thus it can be said that he arrived at architecture through painting and sculpture, aiming for a supreme coexistence or synthesis of the three arts.

Michelangelo often said that painting and sculpture were his arts and he was not practiced in architecture. He did not say this out of modesty, a virtue which in truth he did not have, but perhaps to distance himself, intellectual aristocrat that he was, from those who were professional architects by trade— just as he said, while creating poetry, that he was not a writer. Or he may have thought that architecture ranked a bit above the other two arts because it did not involve manual labor. The architect invented, designed, directed, and controlled, but did not actually execute the work himself. Michelangelo’s own approach to architecture was in fact one of creating forms rather than of preordaining construction. A great builder he was not, and more than once he created plans without construction in mind.

For at least the first half of his long career, his stated goal was the synthesis of the arts in which the techniques specific to each were surpassed, thereby making art a liberal activity measured by the same standard as other liberal disciplines. But architecture for Michelangelo was not synthesis nor one of its various factors. It was the final step

in the process of achieving the extinction of representation and its differentiated techniques, and the result of successive renunciations which would be followed, finally, by total renunciation even of the plan. The Church of Santa Maria degli Angeli in Rome, the last architectural work, was neither a plan nor a construction but only an idea or gesture. n

This is not a Book Review; this is just an effort to conveying information to the readers on rare and valuable books on art and architecture. This column aims to give a helicopter view on such books and thus presents the excerpts and illustrations either from the preface, introduction, jacket or main contents of the book from the shelf. This book was kindly provided by Mandala Book Point, Kantipath, Kathmandu (Tel. 4227711).

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Artscape

Bagmati Past and Present Surendra Pradhan’s paintings explore the socio-cultural life of Newar community and cultures. His unique signature style explores the curves and geometric shapes of figures, landscapes and forms.

Bagmati: Past and Present is the painting of his nostalgia love for Bagmati River. The upper part of the painting showcase the river was pure and a center of spiritual and religious purposes where the lower part of the painting below the bridge showcase the unplanned urbanization, encroaching river’s land area, discarding waste water drainage and dumping waste materials directly into the river, the present Bagmati.

Surendra Pradhan Bachelor’s in Fine Art from Sir J.J. School of Art, Mumbai, India, Surendra Pradhan had twelve solo shows in Kathmandu. His selected group shows are: Maharastra State Art Exhibition, Mumbai in 1985, Jahangir Art Gallery, Mumbai in 198687, Asian Art Biennial, Dhaka, Bangladesh in 1991 and Nepalese Artists Exposition, France in 2000. He has received Highly Commended Prize from Sir J.J. Mumbai 1985, Best Art Work Award in Sri Lanka in 1990. He is the Founder Member of Nepal Water Color Society.

Bagmati is the civilization of the Kathmandu Valley, please be a friend of Bagmati.

Asha Dangol

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