SPACES Nepal APR 2018 by SPACES Nepal

Vol 14 No. 11 APRIL 2018

ART ARCHITECTURE INTERIOR

REMAINING TASK

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DEALING WITH THE TEMPORARY STRUCTURES BUILT AFTER THE 1934 EARTHQUAKE

Gorkha Durbar

A FORGOTTEN MASTERPIECE

Living big in small homes

TRADITIONAL PONDS THE WATER URBANISM OF NEWAR CIVILIZATION

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Contents Volume 14 NO. 11 | APRIL

22 CONSERVATION

50 ARCHITECTURE

38 ARCHITECTURE

Remaining Task

Suzlon One Earth Global Corporate Headquarters

Khalanga, Mallarani-Gaunpalika, Pyuthan

32 ARCHITECTURE

46 ARCHITECTURE

29 INTERIOR

Traditional Ponds: The Water Urbanism of Newar Civilization

The Winner-Building

Living Big in Small Homes

58 INTERIOR

70 ART

78 ARTSPACE

Color in context

Gorkha Durbar

Nature

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Volume 14 N 11 | APRIL O.

Contributors

CEO

Ashesh Rajbansh Editor-in-Chief

Ar. Sarosh Pradhan Director- Products and Materials

Ar. Pravita Shrestha

Madan Chitrakar

Kai Weise

Padma Sunder Joshi

Asha Dangol

Rajina Shrestha

Chhavi Vashist

Contributing Art Editor

Madan Chitrakar Kasthamandap Art Studio Junior Editor

Shreya Amatya Sristi Pradhan Pratap Jung Khadka Advisor

Ar. Pawan Kumar Shrestha Subscription and Administrative Officer

Riki Shrestha

Contributing Editor

President - Society of Nepalese Architects Ar. Brinda Shrestha Photographers

Pradip Ratna Tuladhar

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.

Intl. Correspondent

Bansri Pandey

Director- Operation & Public Relation

Anu Rajbansh

SR. Business Development Officer

Padma Sunder Joshi leads the UN-Habitat Nepal Office since 2010 A.D. He was associated with Institute of Engineering (IOE), Tribhuvan University as an Associate Professor. He also served the Mayor of Kathmandu (1997-2002) as an advisor and was leading some of the important initiatives. Mr. Joshi holds Bachelor’s degree from Tribhuvan University in two faculties - Commerce and Engineering, Post Graduate Diploma in Hydraulic Engineering (Land and Water Development) from International Institute for Infrastructural Hydraulics and Environmental Engineering (IHE), Delft, The Netherlands and M.Sc. in Resources Engineering from University of Karlsruhe, Germany. His areas of expertise are Urban Planning and Environment.

Debbie Rana Dangol Marketing Officer

Ruby Shrestha Legal Advisor

Yogendra Bhattarai Financial Advisor

Kiran Rajbhandary

Published by

IMPRESSIONS Publishing Pvt.Ltd. Kopundole, Lalitpur, GPO Box No. 7048, Kathmandu, Nepal. Phone: 5181125, 5180132 info@spacesnepal.com

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.

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.

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.

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SPACES is published twelve times a year at the address above. All rights are reserved in respect of articles, illustrations, photographs, etc. published in SPACES. The contents of this publication may not be reproduced in whole or in part in any form without the written consent of the publisher. The opinions expressed by contributors are not necessarily those of the publisher and the publisher cannot accept responsiblility for any errors or omissions. Those submitting manuscripts, photographs, artwork or other materials to SPACES for consideration should not send originals unless specifically requested to do so by SPACES in writing. Unsolicited manuscripts, photographs and other submitted material must be accompanied by a self addressed return envelope, postage prepaid. However, SPACES is not responsible for unsolicited submissions. All editorial inquiries and submissions to SPACES must be addressed to editor@spacesnepal.com or sent to the address mentioned above.

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APRIL 2018 SPACES / 7

Editorial We habitually take enormous pride on the abundance that nature bestowed on us. Generations were fed and many were conferred with distinguished medals and honors for having touched, reached or done things at or for places. And we get truly excited when talking about our ‘possessions’. Yet one other chapter of our pride are the art and architectural heritage that we love to take our friends from other parts of the world. Great iconic buildings and structural designs supporting the vibrant cultural inheritance is indeed seen suffering – a lot in present days especially after the 2015 earthquake when many hundreds of monuments suffered severely damage. It’s another dimension that the generosity from around the world is being ever more prevalent, what better could be for us to get involved to reconstruct, preserve and protect them to maintain the magnificence of Nepal. Commitments made to charge the actions can be combined with many new technologies already there to strengthen the historic structures. A fine example of agreeing to disagree all disagreements, Circuit House in Pune, India emerged from a guest house to act as a node to carry out various official government authorities’ discussions and conferences. Emerging from very basic considerations like light and air, facilitated for ordained requirements it now even has its own helipad. All conceived, designed and completed in eco-friendly manner using only pertinent materials taking very minimalistic approach. Speaking about minimalism, a small quote from the author would be of plenteous meaning ‘Now an art can go beyond being descriptive. As a result of such a vague thinking, multiple ideas and styles emerged – including now famous, the process of abstraction from Nature.’- Minimalism:

Enjoy!

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NEWS

15TH NATIONAL CONVENTION OF ENGINEERS 15th National Convention of Engineers was conducted on the theme “Engineering for Prosperous Federal Nepal” by Nepal Engineers’ Association (NEA) from 21st - 23rd March, 2018 in Kathmandu with presentation of 45 papers, 4 plenary lectures, panel discussion and participation of more than 850 peoples. National and International guests presented during the 3 days event. On the first day, Dr. Jagadish Chandra Pokharel talked on ‘Policies, Plans and Implementation for Prosper Nepal’, Dr. Subin Pinkayan - Chairman, Board of Trustees, Asian Institute of Technology (Thailand) described about his experiences as an engineer, Sishir Kumar Banarjee - President, Institution of Engineers (India) presented country paper, Jayavilal Meegoda - President, Federation of Engineering Institutions of South and Central Asia (FEISCA), Deputy General Manager, Ceylon Electricity Board (CEB) and Immediate Past President, The Institution of Engineers (Sri Lanka) presented on

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‘Engineering for Prosperous Sri Lank’, Creative Group from Lahore conferred on Advanced Metering Infrastructure (AMI/ AMR). On the second day of the event, Arbind Kr. Mishra spoke on ‘Energy and Water Resource Global Trend & Way Ahead’, Ram Manohar ShresthaEmeritus Professor (AIT, Thailand) on ‘Climate Change Mitigation and Adaption: Implication for Hydropower Development in Nepal’ and Chakravarti Kanth – Project Director, STIUEIR, IUDP and RUDP on Urban Context in Nepal. Many topics were floated and discussed on the final day, that included Using Analytical Hierarchy Process in ARCGIS to Predict Landslide Hazard in Thumba Basin, Taplejung, Development of Rainfall Threshold model for Landslides : a case study of Phewa Watershed in Panchase region, CentralWestern Hills, Nepal, Failure Study of Reinforced Conctrete Buildings of Kathmandu Valley in Gorkha

Earthquake in 2015, A Risk Modeller Perspective on Nepal’s Seismic Hazard, Stress - Strain Properties of Interlocking Compressed Earth Blocks, Risk Assessment of Unreinforced Brick Masonry Building under Shoring at Bhaktapur, Nepal, Reform of Engineering Education for achieving Centre of Excellence: Lessons from Institute of Engineering (IOE), Opportunities for creation of Resilient Nepal, Retrofitting in Rural Nepal: The Type Design Approach, Application of Graph Theory for Assessing Robustness of High Voltage Transmission Line and Strategic Road Network in and so on. Some of the renowned attendees were Rajesh Thapa - President of Society of Consulting Architectural and Engineering Firms, Dr. Baburam Bhattarai - Former Prime Minister and many other distinguished guests from the related fields. Honorable Minister, Raghubir Mahaseth - Ministry of Physical Infrastructure and Transport was the Chief Guest for the closing ceremony of the event. n

NEWS

THE LINE THAT BINDS ALSO CUTS AT LASANAA “The Line That Binds Also Cuts”, organized at NexUs Culture Nepal have emerged from discovering and learning about kites as a point of entry. If people felt disappointed upon first viewing this exhibition, it signals a good thing happening. They are paying attention to what they are looking at. Each object or image on view is incomplete in isolation but possesses potential in a variety of different ways. Haroldo de Campo’s theorization of translation through cannibalization was productive to the artists with the implications of making use of the combative Nepalese fighter kites. The

production of the population of kites and their planned obsolescence in the streets became a representative action that shows instead of telling. Kites hung in the streets with their strings run down the roads leading back to the exhibition was an open form of invitation to all. This exhibition was a construction of conditions and a weaving together of knots. It is a grouping of artworks within an artwork that presents the art of others. It is also inseparable from the audience that comes and the people at LASANAA that make it and sustain it. n

BERGER KO ATM On the occasion of New Year 2075, Berger Paints Nepal announced its new offer ‘Berger Ko ATM’ with cash rewards. Actor Bipin Karki and Barsha Raut are the campaign ambassadors. This offer starts from 2nd Baishakh 2075 and is valid till 32nd Asadh 2075 for registration. In this offer, house owners may win Rs. 30 lakhs. On purchase of Berger Silk Range, Weathercoat All Guard or Weathercoat Anti Dust Emulsions, house owners shall get 100 sq. ft. Silk Illusion Design for free. Three best commercial buildings will get Rs. 50,000 each and the most liked house on its facebook page will win Rs. 25,000. n More information on this promo is available at the company’s official webpage: www.atm.bergernepal.com or www.facebook.com/bergerpaintsnepal APRIL 2018 SPACES / 13

REVIEW

4TH INTERNATIONAL BUILDING SPECIFIERS CONFERENCE 2018 The seats were packed, the stage was set and architects and engineers of two nations lit the lamp together. 13th March 2018 brought architects, engineers and other construction professionals together in Hotel Yak and Yeti for Nepal’s largest conference on building construction, sustainable architecture and urban design. Organized by Media Space Solutions Pvt. Ltd. and Futurex along with Spaces magazine as an associate partner, the event ‘4th International Building Specifiers Conference 2018’ provided a platform to connect professionals in the construction industry of India and Nepal. The speakers at the conference presented different aspects of their work with a hope to raise a discussion about sustainable architecture practices and issues of urban design. The keynote speaker, the American-Indian architect Prof. Christopher Charles Benninger, chairman and principal architect of CCBA Designs, presented on the theme of ‘Architect in the city’. Taking inspiration from the traditional local architecture of the place, Benninger showed examples through his works about how cultural elements in

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traditional architecture can beautifully be translated into modern designs. “A large portal of a traditional home, says something to you when you enter through it. It says change your mood, change your attitude while you enter this sacred space….While I was designing the India House, I designed a promenade with an idea to separate people from the road, to calm down their nerves, change their mood. We used art installations to change the experience and allow people to change their attitude while they enter into the main courtyard.” Prof. Christopher Charles Benninger. Architect Sarosh Pradhan, principal architect of Sarosh Pradhan & Associates in Nepal, presented his perceptions about ‘Sustainable design and value of open spaces’. Interestingly, he also discussed his experiences of practicing Yoga and finding the connection with the nature to design architectural spaces more closely with the environment. “When disasters happen, we see the work of architects overlapping with all other professionals and citizens of the country…. I feel that the question about sustainability is really about our

environment and our identity. Do we look at it as a burden or a precious inheritance? Do we look at it as a gift or a trusted responsibility?”- Ar. Sarosh Pradhan.

REVIEW

while green has its value, let that not overtake the conversation and the thought process that we employ to achieve our goals in architecture.” Ar. Arun Dev Pant, director of Design Cell Pvt. Ltd. in Nepal, shared his thoughts on ‘Building durability – lessons from our past cultural heritages for the future’. Ar. Kishor Thapa, chairman of SAARC association of architects, presented about ‘Protecting culture and architecture in post-earthquake reconstruction in Nepal’. “It is a tragedy that people think their older homes were built with unsafe methods and RCC frame structure is safer… If we fail in protecting the age-old culture and architecture, we will be remembered as a destructive generation, who deprived the rights of future generations to learn and enjoy the culture, indigenous knowledge and skills.” - Ar. Kishor Thapa.

“We have to start asking the question, whether due to the pressure of building more, are we taking shortcuts?... The concept of building durability deals with its ability to withstand the use and wear through time. Just because financial systems are driving the selection of materials in a certain direction, that does not mean that we follow it blindly.” - Ar. Arun Dev Pant.

Ar. Prabal Thapa, principal architect of Prabal Thapa architects in Nepal, presented his projects that give examples of ‘Design specific to terrain and climate’. “Adaptation to the terrain, in my opinion, is a crucial strategy to reduce the embodied energy and the operational energy of the building. We collectively need to realize that saving energy leads to economic benefits, both in the short and the long term. Only ecologically sound environment can be the solution to strong and healthy society.” Ar. Swapnil Sawant, principal architect of the Worksphere Architects in India, presented about ‘Design for millennials’.

Ar. Kalhan Mattoo, principal architect of Planet 3 Studios Architecture Pvt. Ltd. in India, presented by raising a question ‘Is Green the new Red?’. “An architectural project is like solving a multivariable equation. Building Green, is just one of those variables. There are many ways architects create value in the project. Building green and being sustainable is one of them. But it is not the only variable… I think

APRIL 2018 SPACES / 15

REVIEW

“Millennials are demanding a lot of agility in spaces. Hierarchy is reduced in work culture. They believe in collaborations and thus have less demand for private spaces. Millennials are going to be 50% of the population by 2020. And the trick lies in empathy and responding to change.” Er. Jagdiswar Man Shreshta, quality control engineer at Geodata-SIDeF, BBDMP from Nepal, presented about ‘Quality of design & reinforced concrete for sustainable infrastructure’. “When a building collapses, the first question people ask is about who the designer is. But quality of the structure is usually the main cause. Insufficient

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quality control in construction, insufficient detailing in drawings and inadequate structural design are three main causes of poor quality of the buildings.” All the presentations tried to raise some of the key issues about sustainably building our built environment. The presenters shared their perceptions about possible ways to resolve some of the challenges through the examples of their work. Although, the panel discussions after the presentations managed to engage the audience in conversations with the speakers, it did lack the focus on the sustainable architecture and urban design theme of the conference.

Thanks to Asian paints, Alumex, Gyproc, Halfen moment, Zamil steel and Meroghar, that this event was made possible. We hope that in future, more such platforms are created where architects, engineers and all construction professionals can come together and develop a culture of using active discussions as a means to find solutions. n

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NEWS

GUEST ARCHITECTS AT PATAN SPACES Magazine in association with Kathmandu Valley Preservation Trust (KVPT) initiated Patan visit for the guest architects Ar. Christopher Charles Benninger, Ar. Ramprasad Akkisetti, Ar. Kalhan Mattoo and Ar. Swapnil Sawant from India who came to take part in the 4th International Building Specifiers Conference 2018 on 13th March, 2018. During the visit, Dr. Rohit Ranjitkar, Nepal Program Director of the Kathmandu Valley Preservation Trust

(KVPT) guided all the guests around Patan Durbar Square, Architectural Gallery, Patan Museum and the KVPT. The guest architects showed their keen interest in the reconstruction work around the Patan Durbar Square which were damaged during the massive Gorkha Earthquake of 25th April, 2015 and collected lot of information as Dr. Ranjitkar explained in details. The guests were astonished to see the beautiful heritage and its architecture throughout the visit. n

SYMPHONIC EXISTENCE SYMPHONIC EXISTENCE is a group art exhibition which was organized by Pagoda Group at Nepal Art Council, Babarmahal from 30th March, 2018 to 5th April, 2018. The exhibition was a great success as many people attended the exhibition and loved all the displayed exhibits. Paintings covering various topics, from the temple sculpture to the art of Gods and Goddesses which was created by some of the great artists such as Roshan Pradhan, Pradhumna Shrestha, Pasang, Mala Shrestha, Lisha Gaihre, Rudra Bdr. Pun and Kishor Joyti set the stage on fire. Artist Roshan Pradhan, Director of Pagoda Group and the coordinator of the exhibition said, “We aim at giving a

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powerful outcome in the form of visual arts which can address the present situation of the world in relation with the artist’s mind,” With three solo shows to his credit and several group exhibitions, artist Roshan Pradhan had two notable pieces on display, Unconquerable Soul (oil on canvas) and Alchemy of Life (acrylic on canvas). The main theme of this exhibition was to enlighten the message across the nation of preserving the cultural sites as well as the cultural things.

The slogan itself of this exhibition was, “A Panorama of Beliefs & Emotion” which was clearly visualized by the paintings hung over the walls. While going through the entire series, it presented an interesting array of visuals with myriad shape of human form in diverse attire, poses, settings and was supported by varied choice of decorative colors and decorations. The visuals are there as a pictorial revelation or the visible narratives of each individuals mind- a panorama of visual mindscapes. n

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REVIEW

TRADITION, AN ESSENCE IN MODERNITY The city of Kathmandu witnessed the legendary Architect Raj Rewal speak at the 33rd edi�on of Design Perspec�ve, an architecture and interior design conference conducted by Fes�val of Architecture and Interior Designing Hotel Yak and Yeti on the 5th April, 2018. (FOAID) at Yak and Ye� Hotel

that the building looks good and is func�onal, is where our success lies.” said panelist Chandra Lekha Kayastha. Adding to her point, Panelist Umesh Dhimal explained that before designing a building, we need to see the roots and culture of the society for the structure to be the best.

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Ar. Raj Rewal @ Design Perspective

“My inspira�on for modern architecture is really from the past. When we are following modernity, aspect of tradi�on has to be the essence that is not lost.” said Ar. Raj Rewal. He began his presenta�on with the pictures of ancient architectural marvels like the Jantar Mantar in Delhi, India, reminding the audience to protect and design according to our heritage and culture. A documentary ﬁlmed by his son, Mr. Manu Rewal was also showcased at the event which depicted the early projects of the Ar. Raj Rewal. Ar. Raj Rewal. In the later evening, eminent architects from Nepal discussed on the topic “Contempla�ng the Modern in Architecture today” as a part of the panel discussion. “How we combine the modern and tradi�onal architecture to ensure

Architects visiting the product display

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w w w. d e s i g n p e r s p e c t i v e . i n Architects visiting the product display

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REVIEW

While poin�ng out the challenges, Mr. Sudarshan Raj Tiwari, a senior member of the fraternity said, “The tradi�onal Nepalese architecture excels in miniature elements. On the other hand, the modern architecture is a lot about larger elements. This is the major problem faced by architects who are trying to combine the modern and tradi�onal in Nepal.” Ar. Raj Rewal along with the panel members inspired the gathering of delegates who were overwhelmed by the presence of such eminent dignitaries under one roof. Design Perspec�ve Nepal edi�on was supported by Society of Nepalese Architects (SONA). The evening was a perfect convergence of the rich experience of a legend in the ﬁeld of architecture and the innova�ve ideas of modernity of various crea�ve minds present at the event.

Architects visiting the product display

(L-R) Chandra Lekha Kayastha, Prof. Mohan Moorti Pant, Prof. Bharat Sharma Shankar Nath Rimal, Prof. Sudarshan Raj Tiwari, Umesh Dhimal

Architects visiting the product display

APRIL 2018 SPACES / 21

CONSERVATION

REMAINING TASK DEALING WITH THE TEMPORARY STRUCTURES BUILT AFTER THE 1934 EARTHQUAKE TEXT & photo : Kai Weise

OVER THE CENTURIES, THE KATHMANDU VALLEY HAS EXPERIENCED MANY EARTHQUAKES AND WILL FURTHER DO SO IN THE FUTURE. DUE TO ITS GEOPHYSICAL CHARACTER, THE VALLEY IS PRONE TO DISASTER, AND EARTHQUAKES HAVE HAD A TREMENDOUS EFFECT EVEN WHEN THE EPICENTER OF THE EARTHQUAKE MIGHT HAVE BEEN MANY HUNDREDS OF KILOMETERS AWAY. IN SPITE OF THIS IMPEDIMENT THE VALLEY HAS FLOURISHED. THERE IS MUCH TO LEARN FROM THE EXPERIENCES GATHERED BY THE INHABITANTS OF THE VALLEY OVER THE CENTURIES TO UNDERSTAND HOW THEY COPED WITH AND RESPONDED TO THE HAZARD. WE ALSO KNOW FROM THE EARTHQUAKES RECORDED OVER THE PAST EIGHT CENTURIES THAT AN EARTHQUAKE WITH MAGNITUDE OF MORE THAN 8 OCCURS ON AVERAGE OF EVERY 80 YEARS. 22 / SPACES APRIL 2018

CONSERVATION

case of an earthquake, the soil conditions in the valley magnify the intensity and due to liquefaction major damage to structures can be anticipated. The Biharâ&#x20AC;&#x201C;Nepal Earthquake of 1934 of magnitude 8.4 had a disastrous impact on the Kathmandu Valley. Though the epicenter was some 200 km to the south-east, intensities of up to X were recorded in the valley (Richter, 1956). Various studies show that a major earthquake similar to the one in 1934 would destroy between 60 and 70% of all buildings and infrastructure within the valley, leading to tens of thousands of fatalities and hundreds of thousands of injured. Assessing the efforts undertaken after the 1934 earthquake gives an

idea of the scale of the destruction and the need for resources and preparedness to carry out restoration works. The humungous task of reconstruction stretched the resources of the Rana Government. They had to prioritize. During the implementation of restoration works after a major earthquake, there was a lack of resources and materials. Closer observation shows that very often restoration of less important monuments and residential buildings were carried out with inferior quality materials. Wooden elements were often salvaged from the rubble and reused even when they were not necessarily placed in the correct position. The bricks used in reconstruction were often not burnt properly and of substandard quality.

APRIL 2018 SPACES / 23

CONSERVATION

KATHMANDU Large parts of medieval Kathmandu were destroyed by the 1934 earthquake. There is some documentation and photographs of the impact of the earthquake on the main monuments but rather little on the overall urban fabric of the city. The government under the Rana regime had a keen interest in the reconstruction of the Hanuman Durbar Square which was still the seat of ceremonial power of the state. The opportunity was taken to clear a wide road linking the palace with the parade ground at Tundikhel. Juddha Saddak, which is today called New Road, was lined with three storey whitewashed buildings reflecting the strict adherence to the preferred European style then considered modern. Further urban inserts were made. The Bhugol Park was cleared for an earthquake memorial. The Sabha Griha or Assembly Hall was constructed where Bishal Bazar is now located. From here a further road was laid out towards Indra Chowk;

Sukhra Path which still retains much of the original facades. The inserted whitewashed structures clearly stood out from the earthen hues of the medieval town. Following the post-earthquake reconstruction, Juddha Shumsher carried out a construction spree that went on for eight years. He built over a dozen palaces for his sons including a few for their mothers. However within the city area there were numerous temples that were never

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rebuilt properly. An example of such a response is the Mahadev temple on the northern edge of Indra Chowk. The present structure is one of the standard white cubicals that was built by the Rana government with a dome reminding of Islamic architecture. Just down the street further north at the crossing in Bhedasingh we come across a similar intervention on the Naudega temple. Such interventions were done to provide minimum security to the main statue or sanctum without spending too many resources.

CONSERVATION

BHAKTAPUR Clearly priority was given to the reconstruction of Kathmandu. The situation in Bhaktapur was quite different. We can take four examples of monuments that were destroyed to varying degrees during the 1934 earthquake: the 55-Window Palace, the Fasi Dega Temple, the Hari Shankar Temple and Chyasilin Mandap. Each example gives a different picture to the state of restoration and reconstruction after the earthquake. The â&#x20AC;&#x153;55-Window Palaceâ&#x20AC;?, which was an extension to the already existing palace complex, was constructed by Bhupatindra Malla around 1697 AD. The top floor of the 55-Window Palace was totally destroyed in 1934. The palace was reconstructed soon afterwards with various modifications. The windows were replaced with less projection. During the recent restoration of the palace it was found that the previous restoration had been

done in great haste. The original wood elements were reused, however often in the wrong manner or position. The Fasu Dega temple, located to the east of the palace was completely destroyed by the earthquake in 1934. Only the massive five stepped plinth remained. Due to the religious significance of the monument, a simple structure was built on the plinth to protect the deity. The structure however does not follow traditional Newari form of architecture and the motifs and decorative plasterworks are derivatives of neo-classical themes. The roof of the temple is a dome or cupola with floral motifs. The temple was therefore rebuilt to satisfy the immediate need of protecting the deity and followed a simplified style in vogue to the Rana period. The Hari Shankar temple which was situated just south of the Fasu Dega was completed destroyed and only

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CONSERVATION

the entrance lions remain. Though there was photographic evidence of the temple, this structure was never reconstructed, probably due to the fact that the statue of the main deity was also lost. The municipality has considered the total reconstruction of the Hari Shankar temple based on photographic evidence, even though there is insufficient detailed documentation to carry out a proper reconstruction. On the other hand, the octagonal Chyasilin Mandap was reconstructed some half century after its destruction. Funded by the German government, the mandap does not try to disguise its identity of being a wholly new structure â&#x20AC;&#x201C; it is built with generous use of reinforced cement concrete and steel sections - however enhances the character of the Bhaktapur Durbar Square and the character of the square is regained to some degree.

PATAN The focus on Patan only came very much later, particularly in the 1990s with the construction of Patan Museum and the restorations carried out by Kathmandu Valley Preservation Trust (KVPT). An interesting discussion was held before the more recent earthquake on the need to reconstruct Bhaidegah temple on Patan Durbar Square to its form previous to the 1934 earthquake. The temple was built by the Ranas with their standard white

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cubical design. There was however some information on the original three-tiered structure along with a few original timber elements. The discussion of rebuilding a structure after eight decades keeps arising. The reconstruction of the Bhaidegah temple in Patan will of course enhance the character of the historic context. In the reconstruction spree following the 2015 earthquake this monument is also being reconstructed to its pre1934 form.

CONSERVATION

LESSONS As our understanding of monuments change from being exclusive masterpieces of high culture to components of a broader and more inclusive setting, the intangible or human dimension has to be given importance. This means that the value of a monument or historical structure also lies with the community or stakeholders. In the case of the earthquake,

the vulnerability of the physical structures such as monuments was possibly due to lack of maintenance. The rehabilitation and reconstruction of the monuments will only be possible if we have knowledgeable and skilled artisans. The reconstruction after the 1934 earthquake clearly showed that Kathmandu Durbar Square was prioritized for development and

intrusive changes were made. Many monuments were never restored and where found necessary white domed cubicles were constructed in a very much alien design. Even after over eight decades there are efforts to fix that which was lost in the previous earthquake. This whole discussion might need to be brought into perspective by trying to grasp the concept of cultural continuity. What should change over time? n

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Living big in small homes Text: Soyana Nyachhyon

HALF OF THE POPULATION LIVES IN THE CITY; THIS IS WHERE DREAMS AND GOALS ARE SAID TO BE ACHIEVED. WITH INCREASING NUMBER OF POPULATION, THE PROCESS OF FABRICATING THE CITY WITH CONCRETE IS STILL GROWING ON RAPIDLY WHICH MOSTLY RESULTS IN SMALL HOUSES. LIVING IN A SMALL SPACE DOESN’T MEAN THAT YOU NEED TO COMPROMISE YOUR LIVING STANDARDS. DESIGNING, OWNING OR MANAGING A COMMON-USE FACILITIES – ESPECIALLY CONSIDERING THE ECONOMY AND AN EVER-GROWING CONCERN ABOUT THE ENVIRONMENT – MEANS THERE’S AN OPPORTUNITY FOR MULTIPLE CHALLENGES, BUT ALSO OPENS THE DOOR TO MULTIPLE OPPORTUNITIES.

oreover, when space in the house is limited it should be utilized more effectively. Living in a small house can have its challenges but can also be a cozy space for you to decorate and call it a home. The ability to make a space multifunctional, comfortable and visually appealing is the top challenges for every small houseowners. Organizing is the key to effective space management at your home. If the space where you’re supposed to unwind in after a long day is confined and cluttered,it will be difficult to find peace. Organizing things is not only about putting them in the right place and keeping them in order but also selecting, sorting and removal are a part of the organization process. That is unless you trick your eye into thinking

your room works bigger than it appears. So many of us make a big error in trying to fit too much into close quarters, thinking that having all the comforts of larger digs will give the illusion of a grander living arrangement. Traditionally, our grandparents and parents used up all the space available to store resources and materials for further use. They believed investing now is better for the future. But with the changing times, traditional ideas might not be the best solution for a small space, which means we can always try new interesting ideas. It is possible, and with some simple tips to turn your small houses into a welcoming place that you love to call a home! APRIL 2018 SPACES / 29

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UTILIZE ALL THE AVAILABLE SPACES It’s not that small houses lack space to store items; it’s that the space that is available isn’t always utilized to its full potential. Walls and ceiling space are valuable resources that tiny home owners may fail to utilize to their full potential. Additional storage areas or shelves can be built near the ceiling to create additional storage areas in spacious rooms. Purchasing shoe shelves that can be attached to the doors of your bedroom will allow you to store shoes behind doors which would otherwise be unusable. Floor to

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ceiling shelves will allow homeowners to utilize all of the space available in the room. Doing this with all the walls may be too much but utilizing this method on some of the walls will provide tiny homeowners with a lot of vital space.

BRING IN EYE CATCHING FURNISHINGS Even though the space is small doesn’t mean you can’t maximize on style! The great thing about having a small house is it will be relatively easy to manage. A beautiful headboard in your bedroom, or even an entertainment center that

commands attention from all your guests can make your house interiors fun and enjoyable to be in. Artwork, murals, and wall decals can make your walls come alive with color and life without much work. The more visually appealing your decor and furnishings, the easier it will be to remember how larger your space actually is.

CONSIDER SMALLER APPLIANCES Why does everything have to be so big? The mainstream American refrigerators, dishwashers, washers and dryers, which we use in our

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homes are all massive items that tiny home owners may not be able to fit in. Use optimal sized appliances for the kitchen area. This type of small appliance can be set on top of your countertop and makes it more accessible for you to work.

USE LIGHT AND COLOR FOR YOUR ADVANTAGE To make your tiny space look larger, let ample light into your home as much as possible. Also use light colors, neutrals, and muted tones to maximize visual space. When your home looks larger, you will feel better and more at home in your small space. Try to avoid categorizing your rooms with color. Use a unifying color throughout your home, like a neutral and define spaces with accent walls or with varying hues of the same color. This will make your house visually read as one large space.

REMOVE LARGE ENTERTAINMENT SPACE If you have your television, music, gaming system, etc. taking up valuable real estate in your bedroom, consider moving it to another room such as the family or living room. If you canâ&#x20AC;&#x2122;t live without your television, a flat screen mounted on the wall will instantly add space to your bedroom.

USE OTHER ROOMS IN YOUR HOME Have a hall closet that only stores winter coats? Take seasonal clothing

and seldom worn formal wear and put in a hall closet. Hall closets are a great option because they are rarely used and opened on a regular basis. A small house can be looked at with possibilities and creativity when you know how to use them. Decide what your storage dilemmas are and then choose where you want to maximize your storage and how to make it look bigger. Eliminate as many items that you donâ&#x20AC;&#x2122;t need and use on a regular basis and then begin to maximize your home!

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TRADITIONAL PONDS THE WATER URBANISM OF NEWAR CIVILIZATION Text and Images: Padma Sunder Joshi

oday â&#x20AC;&#x2DC;Water Urbanismâ&#x20AC;&#x2122; is increasingly being discussed among the policy makers and urban planners in most of the growing economies. We are living in a time when the water demand is increasing, resources are scarce, pollution and effects of climate change has escalated the challenges of water management. It is no longer limited to hardcore engineering solutions. Experts from around the world are exploring traditional practices to find sustainable solutions and to adapt them in the present context. But unfortunately, we have seen that in Nepal, the traditional systems are being slashed, smashed and destroyed with the direct and indirect involvement of the government.The heinous attempt to destroy Rani Pokhari,

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the most spectacular water heritage of Kathmandu is one of the most recent examples. We cannot reverse these damages unless we understand more about our traditional water management practices, particularly the Pokhari systems. It is important to comprehend the settlement planning principles adopted by our ancestors to understand the traditional water urbanism of Kathmandu Valley. Perhaps without a single exception, all Newar settlements are located on the tar land where three of its sides are sloping down to the flood plains of a river. Tar lands have the primary source of water as rain, which explains the limitation of water

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availability in these areas. These settlements in the water-scarce area were made possible mainly because of their Hiti system in which the ponds were the vital component. Stone spouts in the depressions (called Hiti) and the dug wells are the primary sources of water in Newar settlements. These are served by shallow aquifers formed due to the particular hydrogeological conditions. To allow continuous flow of water through these conduits, ponds are dug up for collecting storm water. They are further charged by Rajkulos that bring water from upstream rivers irrigating its command area. Furthermore, the concentrated monsoon downpour is buffered in these ponds so that they do not flood the downstream settlements nor demand larger water works to drain them out. Obviously, the available water and the pond space not only provides water bodies to cool the surroundings and balance the ecosystem, but it also provides auxiliary functions like washing, cleaning and duck farming.

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Over the period of time, many rituals and festivals were linked with these ponds. They have become an integral part of the landscape of the Newar settlements. While they beautify the neighborhood, they also provide an open space in the clustered setting. As per their location and their use, they may be categorized into ponds upstream of the settlements, ponds within the settlements and the ponds downstream of the settlements. Upstream ponds, especially those located at the higher elevation from the settlements are meant for recharging the aquifer, serving as a buffer during heavy downpour and as a reservoir for feeding irrigation canals. These ponds are relatively large in size. Lainchaur Pokhari, Rani Pokhari and Ikha Pukhu in Kathmandu; Siddhi Pukhu, Kamalbinayak Pukhu, and Nā Pukhu in Bhaktapur; and Nhu Pukhu, Paleswan Pukhu and Jyawalkhyo Pukhu in Patan are few examples of this type. Most of them were linked with deidhā (or rajkulo) and some also have artisan wells to

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feed the ponds (like in Siddhi Pukhu). These canals help to charge the aquifers through the ponds during dry season as well. These relatively larger water bodies also serves as Tirthas- many rituals are linked and festivities originate or end at these ponds. For example Paleswan Pukhu still serves sites for rituals of new born to ‘shraddha’ for the dead even after the pond is no more there. The banks of the ponds are important sites for degu puja (dewali) the celebration of ancestral deity. The ponds inside the settlements are relatively smaller in size. Washing and cleaning are the visible functions they serve. They support the settlements by providing buffer to the downpours during rainy season. More importantly, they help to recharge the ground water particularly to local aquifers. Duck farming, animal bathing, grey water treatment and fire-fighting are some of the auxiliary functions they serve to the neighborhoods. Kathmandu already lost these ponds and Nagdaha Pukhu and Tekha

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slope scouring and landslides. These ponds also receive grey water from stone spouts, surface drains and dirty water from cleaning, animal bathing, animal feeding, etc. During dry season, most of these ponds completely dry out.

Pukhu are the examples for such ponds in Bhaktapur. In Lalitpur, Pimbahal Pukhu is one of the conserved ponds at the present time. Chyasa Pukhu, Guita Pukhu and Tyagah Pukhu in Patan are some of the examples of downstream ponds. Many of these ponds have been encroached at present. These ponds help to recess the storm water during the downpour, protecting the settlements from

The construction of a pond is a skillful engineering work requiring good knowledge of local hydro-geology. Traditionally, clay liners are provided one foot or more of thick black cotton soil. As found in Rani Pokhari, walls are constructed with dry brick masonry so that the ground water flow is not completely restricted. This also releases the water pressure so that we do not need to build strong walls around the pond. These clay layers not only provide liners but also serve as a habitat for the flora and fauna that recycle the â&#x20AC;&#x2DC;nutrientsâ&#x20AC;&#x2122; of the pond, keeping it healthy. In the ponds served by artisans such as the Siddhi Pokhari or the Rani Pokhari, the water balance is maintained throughout the year even after the loss of rajkulos. In my opinion, introduction of piped water system must have been the beginning of neglect towards the traditional water systems. With rapid urban growth, the

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new developments began to start grabbing the ponds mostly due to ignorance, if not greed. Eventually, people started throwing waste and garbage in these unattended ponds. After each house began to have individual toilets, the surface drains of the pond that used to collect storm water were filled with sewage being discharged in them. After the situation began to aggravate and ponds were seen as a nuisance, the community eventually agreed to

convert these ponds into schools, municipal offices or similar use. The then governments along with the locals showed their â&#x20AC;&#x2DC;creativityâ&#x20AC;&#x2122; by encroaching the ponds for public buildings, if not private ones. For example, out of the 39 traditional ponds in Patan, 14 are completely lost to public buildings, 9 are encroached reducing their original size drastically, and 16 are relatively in good condition so far in terms of shape and size. Even the main municipal building of Lalitpur is built over Paleswan Pukhu of Patan. Among the surviving ponds, several were renovated by using concrete for the walls and the bed, because of which the water could not infiltrate in the ground nor allowed to recharge the pond naturally, which ultimately converted the pond into a dry concrete pit. Khapinchhen Pukhu, Kuti Sauga Pukhu, Prayag Pokhari, Bhailagaa and many more are the bitter examples of such ignorant interventions in Patan. In the case of Rani Pokhari, once again the issue is being raised about the revitalization of our traditional ponds. It has not only raised the issue about protecting the ponds but has also brought light towards the rebuilding methods using traditional knowledge and skills. Now, it is up to us if we are able to preserve our traditional knowledge and continue the spirit of the water urbanism of the Newar civilization or not. n

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KHALANGA

MALLARANI-GAUNPALIKA, PYUTHAN

THE PLACE MORE HEARD AND LESS EXPLORED Text and Images: Brinda Shrestha

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INTRODUCTION Location: Khalanga is one of the small settlement located in MallaRani Gaunpalika, the newly formed Gaunpalika in Pyuthan district of province number 5, in Nepal and lies south of Pyuthan municipality and bordered with Jhumruk Khola. It lies in the eastern diversion on the way to Swargadwari, the famous religious pilgrimage and scenic site in the midwestern of Nepal, which is famous for Nepalese, Indian tourists, as well as the trekkers. Khalanga, is accessed by almost 12 hours bus ride from Kathmandu valley through East west highway via Prithvi Highway, till the place name Chakchake and then one can enjoy the local bus ride to reach Khalanga in 2 hours. Pyuthan consists of Madi khola and Jhumruk khola which together meets at Rapti river. With total of 5860 populations (Source: CBS,2011) the old settlement patterns of the Khalanga center shows ribbon development along the majorroad axis towards North and South, encroached between two hilltops in East and west. Due to its geographical terrains, the new settlements are seen sparsely developing towards the south. During infamous Maoist insurgency war, Pyuthan was one of the foremost and instrumental land that suffered major historical insurgency wars and its aftermaths.

temple is situated at the top of the hills. As per the conversations, people delightedly shares their stories of finding many elements that were used while queen was residing here.

History: According to the local people the place, Mallarani Gaunpalika, got its name from referential mythical story that shares, one of the queen of Malla period got resided in the hilltop of the place for many years before she was found. Still at present days the small Shiva temple famous as Malla rani

The name of the place was itself much interesting as there are very few places that were termed in the name of the Queen, the female icon. As reference to history (Source: Wikipedia) Pyuthan was one of the 24 small kingdoms in the Chaubise Rajya confederation before Prithvi Narayan Shah unified

Nepal. Bahun, Chhetri, Newars and Magars are the major ethnic residents of this place where majority of them are Newar, migrated from Bhaktapur. Conferring to the chitchats with local people, they were migrated from Bhaktapur for the purpose of Ayurvedic treatment for the injured people during shah-period wars and they began to settle there and started the trade and commerce activities. Even today we found some Aayurvedic hospitals and the shops in the main centre town of the Khalanga.

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RESIDENTIAL ARCHITECTURE OF KHALANGA As discussed in the introduction, the settlements in the Khalanga are spread along the axial major roads forming ribbon patterns of development. Since the major ethnic groups here are Newars, the residential architectural style and design are influenced by Newari style with reference to shah period, i.e., it is not as like that of Malla period Newari architecture and hence has been influenced by Shah period style more. The typical old residential house form is 3-4storeys with open dalan on the raised plinth in the ground floor, for commercial activities and residential spaces in the above floors. Unlike,

typical Malla house forms, these houses have open balcony-windows and accessible balcony overhangs with sloped roof at the top. Brick, stones and woods are the major building materials. Since Newars are the major traders, the open ground floor is mostly used for commercial activities and social activities. The major shops of daily necessity are found in these shops, while the shops as per their skill of work, such as damai, saarki are also found in these shops. The famous Ganesh chowk forms the major node of the ribbon settlement and heading north of the Ganesh Mandir, lies all the major administrative and commercial centers with mixed use patterns.

RELIGIOUS STRUCTURES AND HISTORICAL BUILDINGS OF KHALANGA: Ganesh temple, Bhimshen temple and Rameshwori Mahadev Mandir are three major religious structures in Khalanga which are stretched very few meters walking distance from each other. The fact that Newars are strong worshippers of lord Bhimshen, they have constructed the Bhimshen temple on the major road axis of at the town center during their inhabitants in this area. And since then Bhimshen puja is observed annually here. The Ganesh Mandir forms the major node

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in the central Khalanga bazaar making entry pint to the old bazaar, and apart from that the temple is worshipped in most of the auspicious ceremony in the life of Newar people residing there. Conferring to the local people, the idol of Ganesh was discovered during excavating works for pond construction and because of it, the idol is at lower level than the major street levels. Rameshwari temple is located at the southern edge of Khalanga settlement and at higher altitude than the settlements. According to legends, the temple is the reincarnation of lord Shiva, after one of the body parts of Satidevi was decomposed here (as referenced to Hindu holy book, Swasthani story). Mallarani temple is located at the hill top of Malla rani danda and it has historically linked with the myths and stories shared by local people, as one of the Malla rani escaped and got settled here for many years, before she was found. It is one storey small temple structure. While myths have it that, many elements used by estranged Malla queen has been found here. The temple is accessed either by newly constructed gravel roads or by refreshing trek for hours. Among many other annual festivals, the Ganesh chariot festival, Bhimshen puja, Krishnastami chariot festival and Gai Jatra are some of the cultural celebrations that are observed on the major streets and nodes of Khalanga. These festivals have been continued by the respective Guthi in the village. The historical residential buildings of the then Shah kinship is one of the significant residential forms of the place. As per the care taker of the house, the house is personally owned by one of the Shah family and was gifted to them by then Rana regime. One of the part of

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residential building has been rubbled down left with its reminiscence, while remaining is still used for residential purpose. Because of its scale and design forms, the building is locally famous as historical “Durbar”.

KHALANGA AS TOURISTIC CENTER: Due to strategic location in relation to Swargadawari, the religious pilgrimage site in western Nepal, Khalanga has the prospects of developing as touristic site that attracts the tourist visiting Swargadawari.Also, due to its geographical location and breathtaking views of mountain ranges, natural hilly terrains, flora and faunas, the

famous hill tops like Malla rani danda could be part of touristic destination for the trekkers and nature lovers. Hence integrating these potential aspects of Khalanga with its historical, social and cultural aspects, could be major strategic tools for developing Khalanga as touristic destinations. The famous “Baghmukhe chulsi” is the unique artifacts of Khalanga, but as there is only one person mastered in making it, the intangible legacy suffers from being completely endangered. Similarly, the traditional aayurvedic practice could be integral part of modern medicinal practices. So, these types of skills have to be taught and well spread among newer generations to continue its intangible identity legacy.

THREATS TO VERNACULAR ARCHITECTURE OF KHALANGA As observed during the visit, like many other rural places in the country, the vernacular architecture of the Khalanga is also in danger of encroachment by so called modern aspect of development. It is well sensed that people are significantly attracted towards RCC frame structure. Hence the uniform row residential house forms are threatened by these newly built RCC structure and as a consequence, the vernacular architectures are being endangered of their originality and identity. Not only the individual houses, even the institutional and government owned buildings seem to prefer the lure for

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RCC structure, disrespecting the local identity and local context. Though, there has been an attempt through the local efforts to conserve the important religious structures, but in absence of proper architectural knowledge and workmanships, the attempts to preserve these structures have given different meaning to the original forms and identity of these structures. As a consequence of which, these structures suffer from lack of harmony, compositions and hence gives indifferent visual communications with less meanings. Although, there has already been the infiltrations of the lure of RCC structures, itâ&#x20AC;&#x2122;s high time that the government and the concerned local authority take action to conserve and preserve the local vernacular architectural identity of the place, or else there will be no doubt that, like many other places, the

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vernacular identity of the Khalanga will also be lost in the menace of ad-hoc means of development. The unique place-ethos of Khalanga has to be preserved, before they get thrashed and completely wiped out by external â&#x20AC;&#x153;copy pasteâ&#x20AC;? solutions.

REFLECTIONS The core town settlements of Khalanga have to be preserved and conserved retaining their originality while identifying potential areas for new developments. For this government should come up with new guiding documents and implementable laws. As observed and interacted with local people, they seem to have preference to copy elements from other places and simply get attracted for the superficial beautification. People need

to be made aware for the importance of their originality as part of their major identity, and that copy paste solution of development is the wrong concept to develop their place. Since Khalanga has high prospects for developing as touristic center, the new development policy should integrate with holistic and comprehensive development strategy that integrates tourism as part of development policy along with conservation of vernacular architecture. The modern aspect of touristic need should be integral with local identification of the Khalanga in terms of its historical, political, social and cultural aspects. n

Note: The source of information in the article is based on site visit, general interactions with the local people and the internet source www.wikipedia.org

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THE WINNER-

Building of Himalayan General Insurance Company

THE THREE YOUNG ARCHITECTS WHO HAVE A DREAM OF MAKING A DIFFERENCE IN THE FIELD OF ARCHITECTURE ESTABLISHED LINE WORK ARCHITECTS IN THE YEAR 2014 AFTER GAINING FEW YEARS EXPERIENCES FROM DIFFERENT ARCHITECTURAL FIRMS. THEY HAVE BEEN PRACTICING FOR THE LAST 4 YEARS WITH PROJECTS RANGING FROM RESIDENTIAL, COMMERCIAL AND OTHERS. HAVING PARTICIPATING IN VARIOUS NATIONAL AND INTERNATIONAL ARCHITECTURE COMPETITIONS, THEY COMPETED IN DESIGN COMPETITION HELD BY SOCIETY OF NEPALESE ARCHITECTS (SONA) AND HIMALAYAN GENERAL INSURANCE PUBLIC LTD. FOR HIMALAYAN GENERAL INSURANCE COMPANY BUILDING. THE PROJECT STARTED WITH A BLOCK MODEL, WHICH GAVE THEM A PRETTY GOOD IDEA OF THE SCALE, IMMEDIATE SURROUNDING AND ORIENTATION OF THE SITE THAT HAD TO WORK WITH.

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VAASTU was the basic requirement for the judging criteria as well. This gave them an opportunity to delve into the fundamentals of it and how relevant it would be in present days for this type of project. It had to comply with the lifestyle of this time, and the purpose of the structure, physical, psychological and spiritual aspects of a space that comes into being after the presence of a built structure in use that has to be in-sync with the energies of the beings inhabiting it and complying for the purpose it was built for. Sunlight and airflow plays a vital role in determining the overall presence of a structure in architecture. These two natural forces, combined with vegetation, create a space filled with natural energies which reflects in the day-to-day activities of the residents as well. As seen in the illustration, instead of enveloping the lives in a single box, the building is divided into 2 different wings interconnected with bridges. This created an opportunity for an indoor green vertical space, which creates a visual stimulation and a mental rejuvenation for the people living in this building. The stepped design on the southern side lets the sun energies into the building through openings. The solar screens on the western and southern faces of the building will block harsh summer sun but let in the precious winter sun into the interior. This will help in reducing the overall energy consumption through different mechanical

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SLOPE 1:12

LVL 0mm

LVL -1050mm DN TO BASEMENT

ENTRANCE

LVL -1850mm

RECEPTION 44 sq.m. LVL ±0mm

LVL -150mm

GENTS' TOILET 8 sq.m.

LIFT

DN TO BASEMENT

LOBBY AND WAITING 47 sq.m.

SUPPORT ROOM/ CHANGING 5 sq.m.

LVL 0mm

UNDERWRITING

LADIES' TOILET 8 sq.m. W/C FOR DIFFERENTLY ABLED 4 sq.m.

UNDERWRITING

ACCOUNTS

PREP

SINK

KITCHEN 15 sq.m. STORE 1.8 sq.m.

DISH WASHING PANTRY

LVL -150mm

SITE PLAN PLAN SITE AREA 1116.8 SQ.M. AREA 1116.8 SQ.M. PLINTH AREA 550 SQ.M. PLINTH AREA 550 SQ.M.

heating and cooling methods. “The existing trees on site have not been touched, including the trees at the on the front face allowing designers with an opportunity to approach this project differently regarding the building faces. The building face is semi hidden with a veil of tree branches and leaves. It doesn’t demand attention like any other corporate building would. But, its beauty lies within itself, a space which breathes, comes alive and rejoices with the natural energies from the sky and earth.” says Line Work Architects.

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After wining the competition, they realized that it is only half of the struggle won; architecture is incomplete unless it is not implemented on site the way it was conceptualized. They are very optimistic that the design they put forward shall be realized and would like to encourage students, young architects and architectural firm alike to participate in similar kinds of competitions. Changing the face of contemporary architecture and wide spectrum of expressions can be achieved on collective effort from all sides. n

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SUZLON

ONE EARTH GLOBAL CORPORATE HEADQUARTERS Text and Images: CCBA Pvt. Ltd.

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SUZLON ENERGY LIMITED IS A LEADING WIND ENERGY COMPANY BASED IN PUNE, INDIA. WITH SUSTAINABILITY AS THEIR PRODUCT THEY PLEDGED TO CREATE THE GREENEST OFFICE CAMPUS IN INDIA. LIVING THE MOTTO OF THE COMPANY, ‘POWERING A GREENER TOMORROW,’ THE DESIGN EXCLUSIVELY EMPLOYED NON-TOXIC AND RECYCLED MATERIALS. WATER, ENERGY, AIR, SEWERAGE AND TRASH ARE ALL SUSTAINABLY MANAGED ON SITE. NO SEWERAGE, WASTEWATER OR TRASH IS REMOVED FROM THE SITE AND ALL ARE RECYCLED WITHIN IT.

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Covering about one hundred thousand square meters of builtup area on ground plus two levels, on a 10.4 acres urban site, the project achieved international LEED Platinum and Indian TERI GRIHA top certifications, with 8% of its annual energy generated on-site through photovoltaic panels and windmills, at an incremental cost of about eleven percent. At the time of completion there were no other campuses in India with this level of certification, on-site renewable energy, at this level of cost efficiency. With an off-site wind energy farm supplying ninety-two percent of the potential four megawatt energy consumption, the campus is a net zero energy project! The only instructions to the architect were to create a high technology, global campus, in which the visitor would feel they were in India. The strategy derives its inspiration from historical campuses like Fatehpur Sikri and the Meenakshi Temple complex in Madurai. The concept took the shape of a land scraper, opposing the idea of a skyscraper! It is a counter blast to â&#x20AC;&#x153;the glass box.â&#x20AC;? A series spaces

of served and server were conceptualized,

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allowing adaptability, suitable to the transformational nature of evolving business patterns. The served spaces cover a major share of the campus, where people work accommodating flexible modular walls and furniture systems. These are served by more static cores housing wet areas, vertical utility ducts, fire stairs, elevators, entry and reception areas that will not change over time. â&#x20AC;&#x153;Modulesâ&#x20AC;? were employed, like the silo fire stairs; the benchmark glass cylinder ventilation chimneys, and the 8.4 by 8.4 meter structural modules that could be used like a Lego set, and moved about in oneâ&#x20AC;&#x2122;s mind to create internal and external spaces. Aluminum louvers act as a protective skin allowing daylight and cross ventilation. A generic strategy was to provide seventyfive percent of the workstations with daylight and external views making the inhabitants sensitive to seasons, weather conditions and the time of day. All work areas have operable fenestration allowing cross ventilation when desired. Photovoltaic panels form the ceiling of the learning center atrium, sheltering a traditional reflective pool, tempering the microenvironment of the center in addition to soothing aesthetic sensibilities. Throughout the landscape, traditional channels carry water to the Crescent Reflecting Pool, resting at the lower basement level, around which the curved dining area opens visually onto the cascade of water falls feeding the pool. A traditional stepped wall gives rhythm to the water movement. This large water body in the central court gifts evaporative cooling to this central lower court. All the external landscaped

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areas are visually integrated into the indoor spaces along the perimeter of the building bringing fresh air, greenery and natural light into the work areas. The design process started with a premise of creating a central gathering space, or Brahmasthan, with the sky as its ceiling, offering visual access to extensive gardens from everywhere. The fabric of the green spaces and water elements is interwoven into the built fabric so oneâ&#x20AC;&#x2122;s sight lines continually meet the out of doors. The anchoring visual element is the stone Deepstambh, a traditional Indian pillar of oil lamps, set in the center of the Crescent Reflecting Pool. Sight lines from all directions converge at the Deepstambh, making it the focal

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element of this organic composition. The central garden plaza, on a podium over parking and utilities, encourages interaction and discussion amongst the 2,300 colleagues, providing an iconic memory point for all who visit the campus. The building employs a complex building management system that monitors energy, lighting, temperatures, and occupancies of various areas and the efficient running of systems. The project strategy included a mandate for standard sizing to reduce construction wastes, achieving a ceiling of three percent wastage. Incorporating green principles in the planning and design stage of the campus, strategic investments in hightech energy efficient technologies, and overall optimization of materials and resources has confirmed that it is possible create green buildings in a cost effective manner without compromising on features, finishes, or utility.

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ARCHITECTURE

CCBA Design’s Private Limited (CCBA Pvt. Ltd.) is an Incorporated Company registered in 1999 under the Companies act 1956. The company founded by Prof. Christopher Benninger along with Founder Director Ramprasad Akkisetti is supported by two working Directors, Ar. Daraius Choksi and Rahul Sathe, and two senior associate Architects Ar. Shivaji Karekar and Deepak Kaw along with three senior architects, who all have been associated with the firm for a period of 10 years and above. CCBA is mentored by Harvard and MIT educated Prof.Christopher Benninger, a ‘Great Master Architect’ award recipient, founder of the School of Planning at Ahmedabad (CEPT University) and the Center for Development Studies and Activities (CDSA) at Pune. He has worked on Urban plans, rural and regional plans

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along with low cost mass housing projects in India, Indonesia, Malaysia, Bhutan, Sri Lanka, Nepal and America. He adviced as a consultant on Urbanism to the UNO, World Bank and ADB. As principal of the firm Christopher Charles Benninger has been a registered architect with the Council of Architecture since 1976; a Fellow of the Indian Institute of Architects a Fellow of the Institute of Town Planners, a Member of the American Institute of Architects, a Member of the American Planning Association. All architects working with the firm are also registered with the Council of Architecture. A strong team of young architects and support staff of over 30 members over the past two decades has won nearly 50 prestigious national and international awards and nominations. The designs of the studio have been published about 300 times

in most of the national and international magazines and architectural journals, such as Ekistics (Greece), Spazio-e-Societe (Italy), AIArchitect (USA), Cities (UK), Architectural Record (USA), ZOO (UK), Business Week (USA), Architects’ Newspaper (USA), Arquitectura Viva (Spain), World Architecture (UK), MIMAR (UK), Habitat International (UK), Architecture+Design, Indian Architect and Builder, Inside-Outside (India) and many others. Mainstream magazine Business Week (USA) named the Mahindra United World College of India as among the ten “Super Structures of the World” in the year 2000. Construction World Magazine has confered ‘TOP 10 Architects of India’ award several times. Operating from the founding directors owned premises, ‘India House’ , this abode of design provides an iconic office building creating a salubrious work enivironment in the western precinct of Pune city in Balewadi. Apart from housing residential accomodation for the founding directors, India House hosts about 4000 S.Ft of Studio office space and an equally large display Gallery space with a state of the art 50 seater seminar hall, a model making workshop, lobby, an entry garden courtyard. n

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INTERIOR

Color in

context TEXT : Ar. CHHAVI VASHIST

COLOR IS A DEEP SUBJECT. COLOR IS MORE SUBJECTIVE THAN YOU MIGHT EXPECT—IT’S REALLY ALL IN YOUR HEAD. TWO OR MORE COLORS, SIDE BY SIDE, INTERACT WITH ONE ANOTHER AND CHANGE OUR PERCEPTION, CREATING ILLUSIONS AND DIFFERENT DRAMATIC EFFECTS. THE RELATIONSHIP OF VALUES, SATURATIONS AND THE WARMTH OR COOLNESS OF RESPECTIVE HUES CAN CAUSE NOTICEABLE DIFFERENCES IN OUR PERCEPTION OF COLOR. THE EFFECT OF THIS INTERACTION IS CALLED SIMULTANEOUS CONTRAST OR COLOR CONTEXT.

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bserving the effects colors have on each other is the starting point for understanding the relativity of color. Color is always seen in context. Sometimes that context is proximity to another color, which alters its meaning or even the perception of the color itself. At other times, the context is the environment surrounding the color. The perception of color is always shifting, and never fixed. All Color Is Relative The constant experimentation that occurs in the design process brings to light - which colors are most pleasing to a particular viewer’s eyes. Sometimes a slight variation in tint or shade is enough to create the required emotional and aesthetic feeling.

INTERIOR

Background Colors

olive. This effect becomes stronger as one stares at the edge between the lavender and the olive. Adjacent Colors

All colors appear more brilliant when set against a black background. Conversely, they seem a bit dull on a white background. Complementary colors make each other appears brighter, yet the effect on the brain. Certain color triadic schemes seems more garish or more sophisticated, livelier, or more sedate. A single color may look very different on different backgrounds. This effect is easiest to achieve with secondary colors placed on their constituent primaries: for example, an orange will look redder on yellow, and more yellow on red. The effect can also be achieved by placing a low-saturation (grayish) color on background, which is between the color wheel. Consider this medium grey. We can change the color we perceive it to be, by varying its context or background. To illustrate let’s experiment with two other colors we wouldn’t normally think “go together” with grey, colors we’ll call “olive” and “lavender”. If we place this grey in the middle of an olive and a lavender field, it appears to be two very different colors. Because the colors are of similar saturation and value, the grey on the olive looks almost like the lavender, and the grey on the lavender looks almost like the

If we place the grey between the olive and lavender it begins to “flute”, that is, its right edge looks like the color on its left, and its left edge looks like the color on its right. The effect becomes more pronounced; the more one stares at one edge of the grey, and then shifts the stare to the other edge of the grey. Similar effects can be used to create illusions of transparency, providing more scope of being creative in aspect of art and interior designing.

tones, including violets and greens that blend together at a distance to appear quite realistic. On the other hand, this would be a poor choice for figure-ground relationships that require high definition. The other extremes are highly contrasting colors that create hard edges. But certain contrasting colors placed together will create an edge that “vibrates” optically. Adjacent colors will vibrate if they are highly saturated (vivid) and roughly the same value (brightness or intensity). The effect is most pronounced with complementary hues (colors diametrically opposed to each other in the color wheel). While this may be effectively used for applications like op art or optical art. Proximity to Other Colors

The fluting effect can be further extended if we place a darker olive on the left and brighter lavender on the right. Notice how the original olive and lavender now also flute just like the original grey. Also notice that the effect is more pronounced on the lavender end of the spectrum because those colors are brighter.

If we place these same five colors together in a narrow band they begin to look like one continuous airbrush effect. This is because the colors of each adjacent pair are very close to each other, making the edges between them very soft. This can be used to an advantage. For example, a painting may utilize all sorts of colors for skin

Optical color mixing, also referred to as partitive color or simultaneous contrast, is another important contextual phenomenon. This is the color perception that results from the combination of adjacent color areas by the eye and brain. Human perception mixes colors that are

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INTERIOR

next to each other and forms a color impression based on the entire composition. The viewer may perceive colors that are not actually present. If it is imperative that a specific color is perceived first by the viewer, be sure to keep this phenomenon in mind. This is interesting! In addition, a hueâ&#x20AC;&#x2122;s position on the color wheel can affect the perception of other hues. Hues that are next to each other have an easier relationship than those that are opposite to each other, which results in active complementary contrast. The concept of the advancing and receding nature of colors must also be considered. Warm colors always advance and seem nearer, while cool ones recede and seem more distant. Designers can achieve an optical fluttering of the edges of the colors in their layouts or designs, creating an impression of lively movement. Alternatively, they can make transitions nearly invisible and ease the flow of the eye by using more harmoniously related colors.

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Environmental Influences Change Color Perception Our sensation is the most intense where two extremes are juxtaposed. Juxtapositions of colors cause interactions, enhancing or distracting from the intended message. Proximity literally changes the character of a color. All of these context-related aspects of color can be utilized to either the advantage or the detriment of a design. Success is a matter of the intent of the piece and the skill of the designer or artist.

Simultaneous contrast applies not just to sight but also to the senses of touch and taste. The end use of the pieceâ&#x20AC;&#x201D;its particular mediumâ&#x20AC;&#x201D; must be considered as well. The applications of color context require that the design be seen, be understood, and communicate a given message. However, the color considerations may be totally different. The color helps the design stand out. Above is an example of the context influencing the concept as well as creating an idea that is context specific.

INTERIOR

Lighting Conditions

Ambient and reflected light conditions also affect color. Take a close look at the shiny surface such as that of a art piece. It may actually contain a miriad of colors in the reflections, and change radically from day to night, yet we perceive it to be the same color. This illusion is normally demonstrated using different shades of gray, to cancel the effects of hue and chroma. But the example shows that it also works for shades of blue (or any other color) that have exactly the same hue and chroma, but differ widely in luminosity. This value shift is the easiest visual illusion to elicit. The illusion is so powerful because value dominates our visual experience.

A special case of lightness contrast is the crispening effect, which increases the apparent contrast between two colors of similar lightness against a surround lightness of value between them. The Crispening effect is as an increase in the perceived color difference of the two stimuli, when their color (chromaticity or luminance) is close to the background on which the two stimuli are compared.

Certain effects that can help in achieving special op illusion are: Crispening effect

This one is pretty trippy. Dark dots rapidly appear and disappear at the intersections. However, if you stare at one intersection, the crossroad remains white. As your brain interprets these signals, the most active brain cells inhibit and reduce the activity in neighboring cells, making them less excited. This creates an unequal

black-white contrast. This is called Scintillating Grid Illusion. The Chubb illusion is an error in visual perception in which the apparent contrast of an object varies substantially to most viewers depending on its relative contrast to the field on which it is displayed. These visual illusions are of particular interest, to researchers because they may provide valuable insights in regards to the workings of human visual systems. The Chubb illusion is similar to another visual illusion, the contrast effect. The contrast effect is an illusion in which the perceived brightness or luminance of an identical central visual target form on a larger uniform background varies to the test subject depending on the ratio of the central formâ&#x20AC;&#x2122;s luminance to that of its background. Similarly, there are lot many other types of illusions like the cornsweet illusion, the bezold effect, the checkerboard illusion etc.

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In this image same red strips are there with different background color that is white and black. Although the red color appear more vibrant with black color background.

Itâ&#x20AC;&#x2122;s that the two squares are actually the same color; itâ&#x20AC;&#x2122;s just the edges that are different. In fact, many people will not believe that the two central squares are really the same lightness. The middle area, where these edges meet, causes the illusion. When covered up the joint (by finger) you can see the right and left sections are the same color. This illusion effect is called cornsweet illusion. When attempting to determine the color of a surface, our brains know that shadows are misleading and make surfaces look

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darker than they normally are. We compensate by interpreting shadowy surfaces as being lighter than they appear to the eye. So, we interpret square B, a light checkerboard tile that is cast in shadow, as being lighter than square A, a dark checkerboard tile. In reality, the shadow has rendered B just as dark as A. This is known as checkerboard shadow illusion. Besides, physical methods to modify the limits of interior space, there are design decisions and tricks that can change the perception of a visual space. A room can be visually enlarged, deepened, broadened, heightened, narrowed, or lowered. Things

like color, lighting, interior elements placement, integrated - horizontal or vertical - lines, shapes, mirrors and even style of interior equipment and finishing materials can correct the interior space because they can have a significant impact on the size, proportion and mood of a space. To understand your space proportions first you can try on small scale by getting illusion art cushions, rugs, bed sheets, curtains, upholstery, paintings 3D wallpapers etc. later you can set this art on your space floor, roof or on interior or exterior walls. These colors in context are popular concept for highlighting interior space and creating three dimensional effects. This type of creative art gives a wide scope of experimenting in making a space impressive and remarkable. n

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SMART CHOICE

REMEMBER YOUR PRIORITY: HUMANS The simplest and the most important thing to remember is that youâ&#x20AC;&#x2122;re investing in your human resource who will ultimately be responsible for the success of your organization. Along with great projects, a nice boss, environment to professionally flourish, your employees also need lumbar support, motility, and adjustability - not just for productive work, but also for health reasons. THINGS TO LOOK FOR Material Along with cushion seating comfortability, look for the material your chair is made of. Tensile strength will determine how long your chair will last. Rising up from foam cushion seats, branded companies are coming up with green material products that are free of formaldehyde. Meshes in chairs are both comfortable in support and also give you air circulation. This is a greater comfort especially for offices that do not have ACs. Meshes also do not lose their durability with the time.

RIGHT MOVES SMART CHOICE FOR

Office Chair

On a weekday, an average office worker spends 7 hours a day behind their desk. Work style increasingly keeps becoming internet (read: desk) dependent and that has called in for offices considering aesthetically pleasing and practical workspaces their employees can function the best at. Chairs are an obvious part of this process with increasing acceptance of a need for at best ergonomic and at least comfortable chairs. At Right Moves Smart Choice, we do the mumble jumble for you to make the smartest buying choices.

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Mechanism and adjustability Most modern office chairs have the basic seat, back, armrest, nylon base, PU casters, and run on mechanism of hydraulics. Depending upon the number of hours spent by your employee inside the chair, look for better quality, appearance, and adjustments. While the most basic arms come fixed, there are arms that come in one or two way adjustment. Adjusting height and pivot of chair arm in two way adjustment gives the user a more free seating experience. Your seatâ&#x20AC;&#x2122;s tilt also gets progressively better with improvement. Premium chairs will tilt in a natural position with the seats. The variations also come in single and multi lock mechanism. The single lock system has a stable position the chair comes back to after tilting. Multilock lets you lock your chair into a tilted position too. Even higher

SMART CHOICE

ranges, will have your back support movable in both directions according to your height and required support of the day. In short, as you look for more premium chairs, they give you a dynamic sitting which doesn’t let your body sit in a stiff position for very long. Two sides of the desk While it’s recommended to buy ultra comfortable chairs with wheels for easy mobility for the inside of the desk, chairs for your visitors do not have to be the same. In an average office, the visitor spends minimal time in your office and you might want to keep it that way. Level of comfort of your chair should vary with the purpose of seating. If it’s a cafeteria, you might want to have chairs people will use to eat and then leave- making space and time for more people to have the space. If it’s a waiting, reception space you might want to use sofas instead to comfortably welcome the guests. If it’s an entertainment corner or break out rooms, using couches or bean bags for after office get together might work the best. In meeting halls, some offices prefer not-so-comfortable chairs to signify deprioratizing meetings while some who host important clients and guests, place their best seats in meeting rooms for the sake of impression. Brands You’ll get numerous choices in the country infused with cheap and reliable Chinese, Indian, Malaysian, Taiwanese products. However, if you want to go long term, there are brands that are over 50 years old offering

their service. The advantage with these brands is, no matter when your chair gets defected you can repair it. Boiling down to screws and the right mesh, branded chairs will offer you a consistency.

2. Improved productivity When employees do not feel the need to stay stretched, caffeinated for work, they become more productive and tends to take fewer breaks.

The brands that you can find in Nepalese market are Featherlite, Geeken, Tulip, Interi, MSDA and many more with the price ranging from five thousand rupees to over lakhs keeping in consideration the requirements of the user. The elements that can be looked into in a chair with the price range are design and materials used. The comfortable design holds the back with the constant contact support to chairs, adding extra feature like headrests and some have an adjustable neck/head pressure and come with adjustable lumbar support. Chairs with high end ranges have original leather cover, aluminum base and a sliding seat on top of other features. The expensive chairs are also medically certified by Doctors.

3. Decor Great chairs make officer look sleek. They also sometimes denote positions and importance of the work. Along with corner office, a headrest chairs are an aspiration too!

In terms of customers, it ranges from both big companies that can afford comfortable mid range chairs for all its employees to surprisingly startups and small enterprises that invest on higher range of chairs for its small number of employees. Although in retrospect, since startups demand longer office hours, it makes sense for them to invest on better chairs. ADVANTAGES OF ERGONOMIC CHAIRS 1. Reduced Absenteeism Employees who do not feel fatigued during work due to comfortable seating and right posture tend to take less unplanned leave, decreasing the rate of absenteeism at workplaces.

4. Reduction of potential workplace injury Other than health reason and support, since modern office chairs are also flame resistance and do not amplify cigarette burns, you avoid potentially harmful workplace injury. 5. Increased morale When employees go through the day without muscle tension, back pain, and/ or fatigue, they experience greater job satisfaction. Communicating that you care for your employees should go further than a team picnic, or a motivational speech. INVESTMENT Apart from an investment in productivity and aesthetics, ergonomic branded chairs are a great investment. Most store chairs get replaced within a year or two while these last for 5-7 years and you can keep replacing parts after. If you own a company, it might be time to start thinking about giving your employees comfortable workspaces and bring newer productivity on desk. If you’re an employee sick of mediocre chairs, it might be time to drop in a suggestion letter to the HR! n

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ART

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ART

Gorkha Durbar A FORGOTTEN MASTERPIECE Text: Madan Chitrakar

A STRANGE LOOKING PAUBHA-STYLE PAINTING HAS BEEN HANGING FOR LONG, ON ONE OF THE CROWDED WALLS OF THE NATIONAL GALLERY OF ART, BHAKTAPUR. AND UNLIKE A PAUBHA, THIS ONE IS GLASS FRAMED. THE LABEL-TAG ACCOMPANYING IT, DESCRIBES IT AS ‘GORKHA DURBAR’- DATED EARLY 19TH CENTURY. SINCE THE DAY WHEN IT WAS HUNG FIRST AND TO THIS MOMENT, MULTITUDES OF EYES MUST’VE HAD PASSED THROUGH THE PAINTING, YET APPARENTLY, NO ONE HAVE HAD FOUND IT UNIQUE AND ANYTHING SPECIAL – DESERVING IT A SECOND LOOK OR A NEED FOR FURTHER EXPLORATIONS.

his is in spite of the fact that it has an unusually a large physical size (122 x 82 cm) and contains many unusual features – different from a normal Paubha. Honestly speaking, ignored and un-noticed it is still waiting for more scrupulous viewing - and to be told of its mystic contents. No exaggerations, for sure a mystic allure of the painting is so powerful and captivating that the painting could narrate a plethora of interesting tales – all happening all at a time- told visually - all over in a single canvas. Seen in today’s context however, the reasons for this apathy are not far to seek: and is understandable. First is the general habit of Nepali intelligentsia to perceive and treat differently - any art associated with the recent past - the Ranas and the Shah rules, in particular. This is regardless of its inherent importance in broader cultural narratives of Nepali Art. No wonder, for the same reasons ‘Gorkha Durbar’ also may’ve been overlooked or dismissed, in purpose. Secondly, there’s also a known habit of scholars here, to confine within the works of Art

found abroad - in the museums or in the prints: than to self-explore on locally found works. Instances of this kind are found galore. And no less important is the issue of the local art-intelligentsia whose ability to read, discern and analyze works of Art critically; which for sure, has had always remained in question.

GORKHA DURBAR Now back to ‘Gorkha Durbar,’ let’s describe it as a ‘Paubhastyle’ painting but not a Paubha. Like a Paubha – a vertically hung scroll and an epitome of Newar Painting tradition, this painting is also hung vertically and is painted on cloth – bordered red band in all the four sides. The similarities end here. Unlike a traditional Paubha however, as said earlier the subject matter is entirely different. It’s absolutely secular in character and is an idealistic presentation of an earthly scenario. And by no means is created for any religious purposes.

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ART

Instead, it’s a highly skilled artistic representation of a grandiose imagination - an allegoric vision – a depiction of a day from the life of a Shah King of Gorkha – all set in his palatial compound, his physical domain and far beyond – as if to reflect the entire topography. Therefore, here it is no surprise that there is a conspicuous absence of any religious contents – no anthropomorphic forms of divine beings - except few architectural contents to suit and needed to add in the general landscape, as for examples like pagoda style temples and a Buddhist stupa. Moreover, structurally too, unlike a traditional Paubha where a main element always remains in the centre, dominant and given a routine symmetric composition; in ‘Gorkha Durbar’ each of the important elements or events are placed in each designated registers; and are spread practically with equal importance all over the huge canvas. Apparently, the whole picture is imagined and composed – of a large

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geographic area – beginning the top with the horizon with scattered clouds in the clear blue sky; and ends with a river in the bottom – indicating the flow of river as border? The pictorial composition is begun with a range of huge high hills – capped by the snow-capped peaks. Beneath the vast hills, is followed by a huge expanse of open area – and location of the important monuments – representing the extent of his domain or the spread of the kingdom. Here one can imagine the private premises of the palace and then the public area – touching down the river. Within these specified registers, one would find the pockets of activities taking place – all at the same time. Obviously, the artist has sought to portray the each important event – during a normal day a king or the inhabitants have to undergo each day. So accordingly, there’s clever distribution and imagination of needed elements – rendered to suit the time and the purpose. The depiction of individual contents like the human activities start, other than the sky with clouds and the birds,

with a cluster of vermillion dwellings – Newar style Pagoda temples and one or two houses – meaning by it as a sacred temple complex also with provisions for priests to reside. Unmistakably, it’s a depiction of the famous Kali Mandir – located atop the high hills. It reveals the continual high respects the Gorkha kings had been paying to the deity, as the devout followers of Mother Kali. But what also astounds a viewer is an inclusion of a Buddhist Stupa atop the high hill far behind the temple complex. It’s hard to say whether it’s there as per the wish of the patron – a King or the painter wished to sneak the Stupa – form as an expression of his individual faith. And the temple is bordered down within a wall – complete with a gate. Several human forms – ostensibly family members of the royalty or the security personnel, are seen in the pathway, moving towards the temple complex. In the middle section of the composition, there is the main Palace Complex – a vermillion colored Newar style 4 storied structure – surrounded by a number of similar but smaller buildings. But the main building remains the focal point – apparently as the resident cum administrative center of the ruling monarch. The impressive central building suggests it has an aura of power and opulence: for it is well replete with rich wood-carved five faced windows, ornate struts to support roof eaves. It all symbolizes a symbol of affluence in then social life of Nepal. Magnificence of the environment is added by other subsidiary elements found – like the palatial compound walls – separating different designated areas like a fruit garden or a stone –paved front courtyard.

ART

While important dignitaries are seen in their desired positions – some are still waiting outside the royal premises. The monarch with beard is seen near the steps in front courtyard, as if going to his flower garden or is about to making an exit - through the steps below. Additionally, there’s an amazing depiction of the royal private life. One could see female members of the royalty are seen in different locations of the main Palace. An important lady – possibly the queen is near the main gate, there are other females are also in the windows and in the rooms next to the walls of ramparts – feeding the pigeons. Next pocket of activity is just down below; and is the most interesting segment of the entire composition. Herein, just outside the Palace complex – in a parade ground the King is shown just about to attend his royal functions. One storied thatched roofed sheds can be found just behind - with many people inside – waiting for the king to arrive. Outside, while an army platoon is seen ready to offer royal salute, the King is seen in horseback and has just arrived to attend his royal duties – meet important state dignitaries, courtiers or to listen public hearings. And the last bottom register is a meandering flow of fresh-water or a river – replete with abundant supply of fresh fishes. Number of fishermen can be seen trying to fish in the river. Also, can be seen are women fetching water with jars. And in between all these pockets of royal events, the composition is cleverly well supported by additional but interesting elements like the security guards on watch of

trespassers, and also is the liberal presence birds and animals like tigers, bulls – some of them in combat mood.

IMPORTANCE OF THIS PAINTING As the label tag suggests ‘Gorkha Durbar’ is executed during early 19th century. And while giving a thought on the style of execution found in this work, the given date is very close to the period. With bold outlines and essentially in flat colors, the work bears all the hall marks of late 18th or early 19th century. But when we see it in the historical context, this period is also marked by a number of disturbing events. Therefore a general prevalent notion has it that the Art of Nepal greatly deteriorated after the fall of Malla dynasty in the Valley. But as we find quite a number of works dating this period, it has often confounded and amazed many observers. This is one reason this Painting has carried a special interest here. Like the famous ‘Bilampus’- of Newar Painting tradition, this painting is presented as a narrative scroll. At this time of history, commissioning

of such a scroll and in this format is unusual. The patron – most likely king Ranbahadur a wild guess, may had taken a great fascination to imitate an earlier famous painting ‘Tuladan’ –dating 17th century, possibly in the possession of the Palace then. But for sure, this work is meant to extol or glorify the virtues of Gorkha Kings and to show the prosperity achieved. Impression of agricultural efforts can be found given in many smaller areas. Interestingly, the patron also may had had given special instructions to the artist to include best possible number of wild animals in the painting. The presence of great varieties of animals like bulls and tigers in the painting, explains so. And indirectly, it leads us closer to the known unpredictable temperament of the then king Ranbahadur Shah and his fond for wild adventures. Irrespective of all these speculations however, a fact remains that this painting stands as a brilliant testimony that the art of painting in Nepal continued to move on then – regardless of the on -going political turmoil and the adverse environment for Art. n

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PERSONALITY

Balkrishna Vithaldas Doshi

alkrishna Vithaldas Doshi, born on 26th August 1927 in Pune is an Indian Architect who has completed his studies from J. J. School of Architecture, Mumbai. He travelled to Paris in 1951 to work for Le Corbusier despite having no knowledge of French language. His noteworthy designs include the Indian Institute of Management, Bangalore and the Aranya Low Cost Housing Development, Indore which was awarded the Aga Khan Award for Architecture. Doshi is a fellow of the Royal Institute of British Architects and also served on the Pritzker jury from 2005 to 2009. He has also been honored with Padma Shri award from the Government of India in 1976, Honorary Doctorate from the University of Pennsylvania and Officer of the

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Order of Arts and Letters’ from France in 2011 which is considered as France’s highest honor for arts. In 2018, he became the first Indian architect to receive the Pritzker Architecture Prize, awarded each year to a living architect/s for significant achievement and was established by the Pritzker family of Chicago through their Hyatt Foundation in 1979. referred to as “Nobel Prize of Architecture” and “the profession’s highest honor”, the honor is awarded irrespective of nationality, race, creed, or ideology. The Pritzker jury praised his work as embodying “a deep sense of responsibility and a desire to contribute to his country and its people through high-quality, authentic architecture”. n

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FROM THE SHELF

ELEMENTS OF SPACEMAKING

he notions of space are made physically manifest in architecture through the different elements that constitute the basic identifiable parts of the man made built environment. These elements are broadly classifiable as roof, walls, doors, windows, column, stairs and floors. Each of these elements possess attributes inherent to their morphological construct which endow them with particular spatial properties, providing potential for their use and design in architectural compositions. They thus influence space and its experience, thereby orchestrating the perception of the built environment. For this, the elements rely almost entirely on their basic inherent spatial properties to which the additional overlays of stylization, construction, rendering and treatment only add value. Good architecture is a balanced composition of these elements and results from premeditated decisions in a synthesis of these parts to make a harmonized whole. Understanding the fundamental spatial and perceptual attributes of the elements in the ‘space making kit’ and their potentials for articulation and expression is critical to effective designing of space. Details like style, material, technique and construction become ancillary to the primary understanding of spatial attributes which remain universal and anthropocentric- relying solely on human perception and devoid of any contextual, cultural or regional conditioning. This book examines the inherent qualities of these basic ‘space-making’ elements and analyses their characteristics to highlight their implicit influences in the design of space. This is a fundamental understanding of spatial elements and their nature- the primary attributes of the elements of space-making. It presents their basic anatomy for an understanding of the critical components of each element and associated terminology. n 76 / SPACES APRIL 2018

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

NATURE Sunita Rana’s painting denotes the hidden reality of the women. Her figures are always in spontaneous rhythm of the dark. The group of silhouetted female figures represent for the freedom in life. And the feelings of the woman’s character seem more curiosity and anxiety, as she traveled into the nature. n

ASHA DANGOL

SUNITA RANA Sunita Rana (b.1971), President of Women Artists’ Group (WAGON), did her BFA from Lalit Kala Campus and MFA from Central Dept. of Fine Arts, T.U. She has five solo shows to her credit and has participated in numerous group shows in Nepal and abroad. Her selected awards includes: First Prize-Annual Inter Campus Painting Competition, Lalit Kala Campus in 1995, Second Prize-National Art Competition, Nepal Association of Fine Arts in 2001, Araniko Youth Award in 2006. She is the Co-Founder of The Art Club and coordinator of Art for Nature.

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Connects 63 Asian Paints Nepal Balkumari, Lalitpur Ph: 977-1-5203045 E-mail: ccm@asianpaints.com.np Website: www.asianpaintsnepal.com.np

83 Marvel Technoplast Pvt. Ltd. Heritage Plaza-II, Kamladi, Kathmandu Ph: 977-1-4169122/123 E-mail: info@marvel.com.np Website: www.marvel.com.np

49 Agni Enterprises Kupondole, Lalitpur Ph: 977-1-5529526, 5547629, 5526634 E-mail: adhikari.agni@gmail.com info@agnienterprises@gmail.com

10 Nagarik - Nepal Republic Media Pvt. Ltd. JDA Complex, Bagh Durbar Ph: 977-1-4265100, 4261808 E-mail: circulation@nagariknews.com

17/37 ATC Pvt. Ltd. 336/21, Ganesh Man Singh Path-2, Teku Road Ph: 977-1-4262220 E-mail: info@atc.com.np 17 Bella Casa International Buddhanagar, Near UN Park Bridge Ph: 977-1-4784963, 9851120515 E-mail: info@bellakasa.com vivabellacasa@gmail.com Website: www.bellakasa.com 84 Berger Jenson & Nicholson (Nepal) Pvt. Ltd. Berger House - 492, Tinkune, Kathmandu Ph: 977-1-4466038 E-mail: info@bergernepal.com 13 Bridge Tech International Pvt. Ltd. Tutepani, Satobato, Chapaganu Road Ph: 977-1-5151171, 5151822 E-mail: info@bridgetechintl.com sales@bridgetechintl.com 16 Communication Corner Pvt. Ltd. (Ujyaalo 90 Network) Ujyaaloghar(Behind Central Zoo) Jawlakhel, Lalitpur Ph: 977-1-5000171 07/65 Furnitouch Pvt. Ltd. Thapathali Ph: 977- 1- 4212638 E-mail: info@furnitouch.com.np 79 Foto Hollywood Civil Bank Building, Kamaladi Ph: 977-1-4169060 Website: www.fotohollywood.com.np 05 Furniture Land Store Pvt. Ltd. Blue Star Complex, Tripureshwor Ph: 977-1-4224797 82 Graffiti Ph: 977- 9801179313 69 HITECH Furniture Maitidevi Ph: 977- 1- 4441923, 4439001 03 Home Saaz Maitidevi, Ratopool, Kathmandu Ph: 977-01-4420661/ 4420647 E-mail: homesaaznepal@gmail.com 75 International Electronics Concern (P.) Ltd. Harati Bhawan, Putalisadak, Kathmandu Ph: 977-1-4421991, 4422107 E-mail: market@iec.com.np enquiry@iec.com.np Website: www.iec.com.np 68 Jaya Furnishers Dillibazar Ph: 911- 1- 4413169, 4430523 E-mail: pradhan@hons.com.np

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81 Nepa Top Organization Samakushi, Kathmandu Ph: 977-1-4354117, 4363548, 4387901 E-mail: info@nepa.com Website: www.nepatop.com.np 68 Olive Enterprises Dillibazar Ph: 977- 1- 4419823 02 Panchakanya Steel Panchakanya Plast Pvt. Ltd. Panchakanya Bhawan, Krishan Galli Ph: 977-1- 5526551 E-mail: info@panchakanya.com 09/19 Parth International Pvt. Ltd. Ward No 11, Babbarmahal Ph: 977-1- 4245342 E-mail: info@parthinternational.org Website: http://www.parthinternational.org 80 Pest Control Nepal 7th Floor, Shree Krishna Sadan, New Baneshwor Ph: 977-1- 4786329/ 4492285/ 4784674 E-mail: sks3p@wlink.com.np Website: www.pestcontrolnepal.com 64 R. I. P. L. International Pvt. Ltd. Teku Road Ph: 977-1-4270730 80 Shree Marble Traders Gwarko Kharibot, Balkumari Ph: 977-1-5550007, 5550077 Fax: 977-1-5550077 E-mail: shreemarble@hotmail.com replymani92516@gmail.com 45 Shree Shyam Hardware Pvt. Ltd. Kathmandu Ph: 977- 1- 4275835, 4282337 Website: www.royalcrownlaminates.com 11 Sigma Technologies Pvt. Ltd. Prashuti Griha Mar, Thapathali Ph: 977-1-4262184 E-mail: info@3mwaternepal.com Website: www.3mwaternepal.com 37 Skylight Pvt. Ltd. Naxal (Opp to Police HQ), Kathmandu Ph: 977-1-4423851 E-mail: info@skylight.com.np Website: www.skylight.com.np 57 The Carpenter Hardware Center Pashupati Sadak, Gyaneshwor Ph: 977-1-4420202, 4417684, 4420234 77 Worldlink Communication Pvt. Ltd. Jawalakhel, Lalitpur Ph: 977-1-5523050 E-mail: enterprise.support@worldlink.com.np Website: www.worldlink.com.np

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