SPACES Nepal FEB 2016 by SPACES Nepal

Vol 12 No. 01 February 2016

A R T

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

I N T E R I O R

YANTRA 4.0:

LOOKING FORWARD

REMEMBERING AR.CHARLES CORREA

Paltan Ghar

House of Warrior

UNESCO’s fight against

illicit trafficking

Art in times of

Price: NRs.100/- IRs.100/- USD 5.95 EURO 5.95 GBP 4.95

chaos

www.spacesnepal.com

a fresh perspective from

Tilaurakot

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Contents Volume 12 NO. 01 | FEBRUARY

UNESCO'S fight illicit trafficking

Christian Manhart explains the efforts of UNESCO for illicit trafficking of cultural REPORT property, like the 1970 convention and the UNIDROIT convention, and the challenges that were faced by religious monuments, archaeological sites, cultural institutions, private/public collections worldwide.

The role of colors in setting the emotional tone and wellbeing of human beings

The multitudes of color in architecture and interiors are not limited to the emotional tone of a space, but also respond to the wellbeing of the respective inhabitants and in setting the emotional tone and wellbeing of human beings. INTERIOR

Tilaurakot

The second phase of Tilaurakot excavation has begun with an international team of ARCHITECTURE experts. With a more comprehensive mapping of Tilaurakot -station survey in combination with photogrammetry through airborne drone mapping and a detailed measurement of the topography of the site and its hinterland have been conducted, and more on team of experts, Tilaurakot's Urban Plan and their future perspectives.

Art in times of chaos

Think Beyond: Should the arts of the ancient be kept as they are or should they be transformed ART with time? Should it be evolved for the newer generation? What is that mechanism then which will interpret it through modern understanding giving newer possibilities for its survival and existence?

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Earthquake Commentary

As a response to the devastating earthquake on 25th April 2015, a VIEWS panel of professionals expressed their opinions to one of the most fundamental questions that have been constantly discussed. The main objective was to acquire a depth of the issues that were contracted during as well as in the aftermath of the earthquake.

76 FROM THE SHELF: Man and His House in the Himalayas 79 ARTSCAPE: Mekh Limbu 80 SPACES PHOTO CONTEST 82 OPEN SPACES

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Volume 12 NO. 01 | February CEO Ashesh Rajbansh Editor-in-Chief Sarosh Pradhan Director- products and Materials Ar. Pravita Shrestha Creative Manager Deependra Bajracharya Contributing Art Editor Madan Chitrakar

Kasthamandap Art Studio Junior Editors Shreya Amatya

Sristi Pradhan Correspondent Avantika Gurung Advisor Ar. Pawan Kumar Shrestha Contributing Editor President - Society of Nepalese Architects

Ar. Jinisha Jain (Delhi) Ar. Chetan Raj Shrestha (Sikkim) Barun Roy (Darjeeling Hills) Photographer Pradip Ratna Tuladhar Interns Ar. Kritika Rana Anisha Shrestha Amod Amatya Intl. Correspondent Ar. Bansri Panday Director- Operation & Public Relation Anu Rajbansh Business Development Officer Debbie Rana Dangol subs/admin officer Pramila Shrestha Accounts Sunil Man Baniya Legal Advisor Ad. Yogendra Bhattarai

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Regd. No 30657/061-62 CDO No. 41 SPACES is published twelve times a year at the address above. All rights are reserved in respect of articles, illustrations, photographs, etc. published in SPACES. The contents of this publication may not be reproduced in whole or in part in any form without the written consent of the publisher. The opinions expressed by contributors are not necessarily those of the publisher and the publisher cannot accept responsiblility for any errors or omissions. Those submitting manuscripts, photographs, artwork or other materials to SPACES for consideration should not send originals unless specifically requested to do so by SPACES in writing. Unsolicited manuscripts, photographs and other submitted material must be accompanied by a self addressed return envelope, postage prepaid. However, SPACES is not responsible for unsolicited submissions. All editorial inquiries and submissions to SPACES must be addressed to editor@spacesnepal.com or sent to the address mentioned above.

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editorial

As winter gives way and the temperature rises, SPACES picks up steam on the current issues with interesting features in this issue. We feature viewpoints and pointers from a panel of professionals after the devastating earthquake of 25th.April 2015, working in different sectors in order to develop better understanding of the issues that have surfaced post-earthquake. One apparent observation is the skeptical outlook towards construction quality and high-rise buildings, which has sparked a debate. It must be pointed out that very few-designed apartment building were critically damaged. Most damage was done to old structures that had passed their life span or ill designed structures hurriedly built having poor construction material and technology. Maximum devastation appears to have been caused by low-rise stone and brick masonry structures in villages, which were built with very basic considerations. It is a soul-searching period for the general public as well as the Architects, Engineers and designers to setup a standard and help generate awareness of earthquake resilient structures. Design or material strength is not the only consideration, but also the context of the land conditions such as soil, adjacent erosion, instabilities and the vulnerable environment are important focus areas to be considered besides construction. We highlight the findings in Tilaurakot where the current archaeological investigations sponsored by the Government of Nepal and UNESCO is an important focus for ancient Kapilavastu - the childhood home of Buddha, unearthing exciting new discoveries that are re-writing the history of this important ancient site. Under the co-direction of Professor Robin Coningham of Durham University and Kosh Prasad Acharya of Pashupati Area Development Trust, the multidisciplinary teams of Nepalese and international archaeological experts have been applying a variety of traditional and cutting-edge archaeological techniques to explore the ancient city. The feature on Art in the time of Chaos explores a creative as well as abstract journey seeking the chaos as a means to reflect our place in time. Walking to Basantapur is never the same without Kasthamandap or the missing temples on top of the pyramidal plateau of steps. Artists see and question the unfamiliarity of chaos as a means to understand the familiarity of the missing past. When anything is destroyed – it is also a time for the creative vision to take seed. Some of the interesting events that have happened and featured in this issue are the Photo Kathmandu, Nepal’s first international photo-festival, which was a real treat for the general public as well as the professional photographers within the inner city of Patan; Siddhartha Arts Foundation’s Education Initiative (SAFEI) workshop on Curating Public Spaces - at Yalamaya Kendra and the Yantra 4.0 which successfully sparked the creative eye and participant. We also remember and bid farewell to well-known Architect Charles Correa who fortunately we were able to see and interact during the Arc-Asia Conference gathering here in Kathmandu a year back. I remember him then as the keynote speaker where besides his voluminous writings and works also had a presence of mind to say - when suddenly the audio and visuals blanked out for a while... – ‘This is what I like of mysterious Nepal!’ He further went on to share “We need to look at the place where we build a building. The climate and the soil where the building is to be built must be respected”, as he truly believed that architecture for every place is unique according to its people and culture.

Namaste!

Sarosh Pradhan / Editor in Chief

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Contributors Christian Manhart With degrees in art history and archaeology, Christian Manhart’s journey in conservation started when he joined UNESCO’s Cultural section in 1987. He is currently the head of UNESCO office in Nepal, and also the UNESCO’s representative to Nepal. His advocacy for conservation and illicit trafficking of cultural property are published online in various platforms.

Nischal Oli Nischal Oli is an art producer based in Kathmandu. He is the Project Coordinator of the Siddhartha Arts Foundation's Education Initiative, which builds capacity in the management, curating and criticism of the arts. As a manager, curator and writer Oli has worked with several organizations, artists, platforms and collectives.

Saroj Bajracharya Saroj Bajracharya is an artist and an art critic. He has been actively involved in many facets of art such as painting, writing, teaching, curating, organizing solo/group exhibitions and related events for more than two decades. Mr. Bajracharya has authored a book titled ‘A Concise Introduction to Nepali Modern Sculpture’.

Amit Kumar Shrestha Graduate in Risk control and management technology, Mr. Amit Kumar Shrestha has been actively involved with National Society for Earthquake Technology (NSET) as Public Private Partnership specialist. His other experiences include environment and occupational safety, enterprises resource planning and business continuity planning.

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Bijaya Laxmi Rai Bijaya Laxmi Rai is an engineer by profession. She is an assistant designer and planner (on behalf of the contractor) at the Sanjen (Upper) hydroelectric project. Rai is interested in technical writing (Sustainability; Green Technology; Disaster Risk Management; Women, Children and Societies, among other topics). She is also an amateur researcher (Seismic Vulnerability).

Drishti Manandhar Drishti Manandhar is an architect, graduate from the Pulchowk Institute of Engineering, currently working at S G Designs. Fascinated by Space - she loves to eat, read, sketch, talk (in radndom order) and write about the acquaintances in her environemnt. An art enthusiast by nature she is fascinated by the ability of words and its power in expression.

Shreesha Nankhwa Ms. Shreesha Nankhwa is an aspiring environmentalist with a penchant for writing. She is interested in sustainable living, alternative energy and creating a better future for the planet. Her works have been published in a number of magazines and publications in Nepal. She currently writes and edits blogs for IT companies while dreaming of trekking across the Himalayas.

Jebin Gautam Jebin Gautam is a freelance writer and researcher. He is a liberal arts graduate from Wabash College, USA. He is currently interested in issues of arts, culture and social sciences.

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REMEMBERING AR.CHARLES CORREA

ndia’s greatest architect and the RIBA gold medalist Charles Correa, who had passed away on June 16 at the age of 84, was a visionary architect, an urban planner an activist and a theoretician. Considered as the pioneer of contemporary architecture in post independent India he was not only accredited for his high-end modern designs but also his sensitivity towards the urban poor and his brilliant use of traditional materials and technology. Charles Correa was born in Hyderabad in 1930. He studied architecture at the University of Michigan and at the Massachusetts Institute of Technology (MIT), before returning to India in 1958. He has nearly completed about 100 projects in India and many more abroad from luxury condos to low cost housing, cultural Centre’s to educational institutions and master planning of a satellite town of Mumbai. Some of his notable works include Champalimaud Centre (Lisbon, Portugal), Belapur low-income housing project (Navi Mumbai, India), Kanchanjunga Apartments (Mumbai, India) and Gandhi SamarakSanghralaya (Ahemdabad, India). Charles Correa attended the ARCASIA event held at Kathmandu on the 4th and 5th of October 2014. He was one of the keynote speakers for the event. “We need to look at the place where we build a building. The climate and the soil where the building is to be built must be respected”, he said, as he truly believed that architecture for every place is unique according to its people and culture.

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I had an amazing opportunity to interact with him during our short visitto Bhaktapur from Kathmandu. I still remember his concerns regarding the haphazard urbanization and the lack of structures that reflected the essence of this place.He said spaces have the capability of transforming themselves according to needs and the major issues today are we lack spaces.However, the city of Bhaktapur, the traditional Nepalese Architecture and its amazing detailing’s fascinated him. I still remember him saying that the patis alongside the roads was one of the most humble gestures of architecture he has seen. He has always been resentful regarding the usage of glass in buildings in India. He believed glass buildings were not meant countries where temperatures are extreme during summer. He retorted the idea of living in glass boxes and then having air conditioners installed to cool them off. And according to him this was very much applicable in the case of Nepal as well. With so much tangible and intangible heritages interconnected with architecture here, it is even more essential for us to respond prudently to our growing demands. “Nepal is full of aspiration and rich in natural beauty, the central question should be what the nation’s people want to become? “ he said addressing to a number of international and national personalities during the ARCASIA event.

Correa has worked in areas solving practical problems of mass housing and transportation and his works have always been an amalgamation of culture, people and climate.His structures are not overly concerned with elaborate forms but they grow organically from their site, blending with the natural environment. His works have been hugely dominated by courtyard and open to sky elements creating subtle and comfortable spaces. For his great contributions in the field of architecture he has been awarded the Royal Gold Medal for Architecture from the Royal Institute of British Architects; the Premium Imperial prize for architecture (1994), awarded by the Japan Art Association; and the Aga Khan Award for Architecture (1998). “Certainly architecture is concerned with much more than just its physical attributes. It is a many-layered thing. Beneath and beyond the strata of function and structure, materials and texture, lie the deepest and most compulsive layers of all.” –Charles Correa. Although Charles Correa has left us, his works and his virtues will continue to inspire us and many more generations to come.

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NEGOTIATING THE TIMELINE OF PHOTOGRAPHY IN NEPAL: TEXT: Jebin Gautam Photos: photocircle

he beauty of Patan is reflected in its intricate art, its elaborate architecture and its close-knit community. The city is an open gallery that encompasses some of most well-preserved heritage sites in Kathmandu valley. During numerous festivals and jatras, its alleyways become alive with devotees and visitors actively interacting with the temples, palaces and other votive structures. Photo Kathmandu, Nepal’s first international photo-festival, which took place from Nov 3rd to Nov 9th 2015, situated itself amid this very vigor and liveliness,recreating a sense of community, camaraderie and inclusion of age-old traditions and contemporary practices.

introduced its audience tothis diptychconcept of the compactness and vagueness of the photographic medium. The 18 exhibitions of the festival were clearly separated into different epochs of the old and the new and classical and abstractthus recounting a thorough history of Nepal and the evolution of the

photographic medium within its boundaries. Representing the tangible past the rich archival material from Nepal Picture Library (NPL) introduced the viewers to the work of early court photographers,early urban technology adapters, the pre and post-democratic sociopolitical movements

and stories of female empowerment and urban progress. These archival materials made the viewer aware of the effects of democratization of technologyon the community and the creation of the protomiddle class.Contemporary works by photographers like Kevin Bubriski and Kishor Sharma approached

The Nepalese casual audience rarely considersphotographs as something more than an evidential document. In general, people do not realize thatphotographs often defy the basiciconic index, and aims to record much more – feelings, emotions and intangibilities. They do not have to deal with the exotic, historic or important and the special as most of us might presume. The first edition of Photo Kathmandu

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their subjects through an ethnographic lens echoing the sentiments of these archives. Kevin Bubriski’s classically composed photographs took us to a Nepal still sheltered from modernity. All of his photographs were beautiful and the softness of their composition lent them a romantic tone. The ethnographic posturing signified that these photographs could be admired not only for the skillfulness of the photographer but also for the superior annexation of the culture and tradition reflected in the composition.

have remained the same since the nineties as photojournalist Bikas Rauniar captured the moments. In a subtle way they looked very much like the group of elated and astounded locals welcoming the hot-air balloon in one of Rauniar’s photographs. His exhibition recounted a contemporary history of Nepal, the one of struggles, revolutions and the elusive development andintroducing the viewers to another important epoch in Nepali history, the one marked byideological progress, modernity and infrastructural changes.

In East Dhaugal wall men, women and youths reflected on things that have changed and

Moving from from these linear narrations Frederic Lecloux’s work in South Dhaugal wall

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A sampling of photographs from around the world introduced the viewers to the multitudes of possibilities that a camera can do proclaiming that it is merely a pixilated canvasopento any kind of interpretation.

introduced the viewers to the intangibilities of life. Hinging on the power of emotions and human expression, he showed the versatility of a photographer as a recorder of feelings. This technique is further built by Prasiit Sthapit whose exhibition maps a geo-political course with the expressive power of lives lived in the Sustaregion of Nepal. Whereas Tuomo Manninen’s group portraits of Nepali professionals from the 90s, partially staged and partially real, shows the alternative of photography, as a medium to recreate and stage as opposed to record and document. To complement the exhibitions’ each night aslideshow presentation of photographs was also held in the courtyards and water facets of Patan. A sampling of photographs from around the world introduced the viewers to the multitudes of possibilities that a camera can

do proclaiming that it is merely a pixilated canvasopento any kind of interpretation. Besides the usual photographic programming, the festival also raised USD 14,000 for the rebuilding of patis through the print sale.

them, ‘The picture should have been bigger pointed another. These conservations and others like them completed the purpose of these photographs

givingthem a diverse audience and creating a much-needed dialogue around them.

Walking around the exhibition art-enthusiasts, shoppers, students, amblers, rovers and non-gallery crowd – actively engaged with each workadmiring them and critiquing them and questioning them. In Nagbahal old men sat under a tree in the courtyard like they usually do but this time they were accompanied by sets of archival photographs hanging from the branches. They searched for families, relatives and friends and pointed to the houses of the people they spot. In the process they also provided curatorial advice, ‘The frames have to be at eye level but these are hanging too low’ said one of

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LOOKING FORWARD Yantra 4.0 was different than its predeceasing edition for many reasons. Most of these undertakings were motivated by a wish to grow and to become more substantive. With the concluded Yantra 4.0, the platform has set a new direction for the future editions and for the union of art, technology and science. TEXT: Nischal Oli Photos: Suresh Lama Yonjan

irst, the disclaimer: As the curator and organizer of Yantra 4.0, I am simply recounting the take-away lessons from each aspect of this year’s efforts. My attempt to stay unbiased and objective should be taken as such. Readers should seek out individual perspectives from participating artists, engineers, partners, supporters and of course co-organizers for a more encompassing review of Yantra 4.0. Established in 2012, Yantra was created for young engineers to put knowledge into practice through hardware programming. For the first two years this became the primary focus of Yantra’s programming achieved through the annual event: the National Robotics Competition (NRC) and regional Mini Yantras. By the end of the second edition, co-organizer Karkhana and founders Robotics Association of Nepal (RAN)sought to incorporate an art component to the platform in the hopes of opening newer

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avenues of creative thinking. The Siddhartha Arts Foundation’s Education Initiative (SAFEI) was thus invited to join the organizing committee to realize this new vision. Yantra 3.0, a dedicated showcase of interactive art, helped create new linkages between the creative and scientific fields, it instigated a dialogue. While extending the definition of the arts and sciences to be more accommodating and accessible. In early 2015, the team of organizers began on the journey again. We versed our vision for 2015, put it into an application and applied for an external grant. The earthquakes happened in between, but some good news greeted us in August when we received funding from the Arts Collaboratory. Between August and December we built a team and organized several events under the banner of Yantra 4.0.

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The biggest change has been simple – from ‘exhibition’ to ‘annual showcase.’ This might not seem as major alteration, but the designation does have a lot to do with how we perceived our work as organizers. By orienting the culminating event as a showcase of efforts carried out year-around, Yantra was able to include more content without infringing on its theme. It could downscale the interactive art section towards more immersive content while still displaying a substantial exhibition. Yantra 4.0’s Annual Showcase included, besides interactive art, happenings from the National Robotics Competition, new curated sections and programming from each of the organizers. Basically, an amalgamation of efforts by individual organizers and the team as a whole. Essentially, branding the event as a Showcase, we were able to reiterate Yantra’s function as a platform. For future

editions, this might mean different organizers, or like with the concluded edition it will definitely result in more programming produced in collaboration with ‘partners.’ The Yantra Research Grant was the next big thing. It was

awarded to study ‘objects of significance’ that have had measurable influence on Nepali society. For us these objects: shoes, watches and umbrellas, were embodiments of the edition’s theme, intriguing and inspirational.

[BATO KO SAATHI]

Bato Ko Saathi by Sharmila Shrestha and Binita Buddhacharya brought together shoes from different people as a site-specific installation. The artist hope to present the shoes as a marker of their owners. Through the research we were able to share stories of a different Nepal; one where footsteps measure time and citizens are fined if they fail to turn dead cattle’s hide over to shoe producers (sarkis). We were also able to showcase three participatory art installations grounded in the use of the objects of enquiry. The research is still on-going and the team is looking forward to concluding the research as an academic paper. Yantra hopes that such studies can be undertaken with more frequency through its activities and existing research can be highlighted through similar multi-disciplinary collaborations.

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[CREATIVE COMPUTING]

The Creative Computing course was held between September and October, 2015. The workshop focused on the physical computing and exposed participants to programming languages, electronics and sensors. Our approach to producing the exhibits also changed. Through a 6-week long workshop we were able to create a more educative exchange between the collaborators. Alongside the course, artists and engineers developed their ideas and exhibits for the Showcase. Here, in an effort to move away from digital displays, Yantra selected four project that were manually interactive.

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[SARANGI]

A young visitor playing the Sarangi at Yantra 4.0. 9 light-based sensors were used to emulate the actual instruments. The bow movement was integrated into the mechanics to reflect the Through the Sarangi, the ease of sensor-based interaction showed us the immense actual potential of experiential learning. Mimosa, showed us the mechanical precision of nature complex and intriguing beyond measure. The Irritating Machine, attempted to instill frustration from the presence of political figures, making everyone wonder why democracy was thus abused with so many Prime ministers in such a short time?

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[HOMEWORK THE GAME]

Visitors playing HOMEWORK: The Game. Developed by three young teenagers, the game uses actual umbrellas for joysticks. Inspired by Yantra Research, the game is played with umbrellas to block water from pouring over ones “homework,” power ups were represented by shoes (speed) and hourglass (time). HOMEWORK: The Game, also inspired by the Yantra Research, was a big hit proving that age is really just a number. Of course, there were bugs and failed troubleshooting, the Peace Pond never saw the light of day and some exhibits were fragile to the flow of excited visitors. These issues were present in Yantra 3.0 as well and clearly necessitates a revision of approach.

[MAPPED PIC]

Crowd at the MAPPED event at the Nepal Art Council. Musicians from Iran, Syria, Poland and Nepal played with visuals projected on the façade of the building. Events like MAPPED then helped bring the message of the exhibition to the public. International musicians collaborated to put on a outdoors concert. Their piece “Adapt” talked about the issues gripping the country. Giant projections of serpentine gas cylinders in queue by the road and of police brutality in the southern plains made the performance even more emphatic. It also allowed Yantra to have a taste of public happenings, which given the response will be replicated.

[YANTRA SPEAKER SERIES] speaking at the session of the Yantra Speaker Series. Altogether 6 sessions were held. Speakers were invited to present on their work and experience of working in between the creative and technological fields. Besides these outcomes, an organic development is also taking place. Yantra has slowly moved towards broader goals, where education has taken center stage. Parallel to the attempt to rejuvenating the essence of the platform, Yantra now perceives its efforts in continuum (as any education should be). If art and technology are to come together, it will undoubtedly happen under the auspices of trial and error. As such, Yantra will D need to relieve itself from the idea of creating equal collaborations and instead provide a stable and nurturing environment where a range of attempts to merge art and technology are accommodated.

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artist towards public space an n 5th of November, theimpact of art in public space 2015, Siddhartha Arts in relation to the everyday. Foundation’s Education Initiative (SAFEI) invited artists, Through his experiences art managers, curators, and in Chile, Brazil, Mexico, other professionals to join the Netherlands and Germany workshop - "Curating Public TEXT: Shweta Shakya Philippe Van Cauteren Spaces" - at Yalamaya Kendra, (currently the artistic director Patandhoka. The four-day of SMAK Gent, (Museum workshop was facilitated by for Contemporary Art) in Ghent, Belgium) conducted a 5-day renowned Belgian curator of SMAK Gent, Mr. Philippe Van Cauteren. workshop in scrutinizing public spaces and articulating questions The workshop took place between 2nd and 5th of November regarding what public spaces can mean. Focusing on important 2015 and used the ongoing Photo Kathmandu Festival as a case artistic interventions and exhibitions in public spaces, Cauteren study.Creative professionals interested in using public spaces to and participants reflected on the whole notion of art as a social showcase different art forms were encouraged to apply.Participants and participatory process in relation to public spaces and on the reflected on the whole notion of art as a social and participatory responsibility of the artist towards public spaces. process in relation to public space, and on the responsibility of the

CURATING PUBLIC SPACES

important for the exchange with people from other countries. The workshops like these are really helpful and hope these will continue. Sometimes an artist thinks of something very crazy, you need to motivate the people to do it which could be tedious.

HOW HAS BEEN YOUR EXPERIENCE DURING THE WORKSHOP? WHAT MESSAGE DO YOU HAVE FOR YOUR ARTISTS, ART MANAGERS AND THE YOUNG PEOPLE WHO ASPIRE TO BECOME ARTISTS? CURATING IS A NEW TERM FOR ARTISTS IN NEPAL ?HOW DO YOU DEFINE CURATING? The origin of the word is from the Latin word "Curarie" which means to take care for. A curator is the one who helps the artist to present the work. He can convince people to help with managing, economy so he/she can completely concentrate on creating. He mediates the work of the artist to the public. For that he need to have good communication with the artist. An artists necessarily doesn't think practically every time, but a curator can realize his imagination in a more practical way. A

real curator cares for the art and develops good communication with the artist. He has to think on the communication, artistic, practical financial level.

THIS IS THE FIRST TIME THAT SUCH WORKSHOP HAS TAKEN PLACE ABOUT CURATORSHIP. HOW CAN WE DEVELOP A TREND IN NEPAL ABOUT CURATORSHIP? Inspiration is the key. You need to make people enthusiastic. If we can convince people of the importance of art in our lives. You don't have to necessarily go to schools for curator but it can be helpful. It is really

It could have been a bit longer but my stay in Nepal is coming to end. My advice to the artist is don't make compromises, stick to your work no matter how difficult it is. Don't change the idea because its more easy. You don't need to realize it but don't make compromise because the government isn't giving you the permission or you don't have enough money, just keep it as a sketch. As an art manager try to connect people and bring them together and have respect for the artist. If you don't have respect for the artist then its better to be just a manager not an art manager. Hough it is complex and frustrating many times but the end is always rewarding.

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everyone has a opinion about it and that is important. Art cannot open locked doors but it can create a crevice through which a strip of line can pass. Art is not about convention or confirmation. Artists doesn't show the things that we know, artists will give a glimpse of the things we don't know yet. With all the things on the table right now, an artist can create an unbelievable artwork with a meaning.

HOW CAN WE RELATE ART, ARCHITECTURE AND PUBLIC SPACES AND CREATE A SOCIAL AWARENESS? Social awareness is something that takes generation. Time is the biggest notion. Architecture is long lived than the art on canvas. Here architecture is always present everywhere. Many things are happening socially around the ancient architecture. In every public spaces there is opportunity of curating. If art is the king, then the king should not be in a fortified place but the king should be part of architecture, next to the subjects just like the architecture of the Durbar Squares. One can develop practice and here and develop interaction and dialogue. There is an opportunity to communicate in a more organic and informal way.

YOU HAVE BEEN TO MANY OTHER PLACES AND CURATED THE PUBLIC SPACES. WHAT POSSIBILITIES DO YOU SEE HERE IN KATHMANDU?WHAT IS THE IMPRESSION OF NEPAL? It’s like I have been here before but not. Everyone I talked and met hascuriosity and hunger to learn and at the same time I also felt that people are very sensitive with the surrounding and context. There is a lot of encouragement despite the difficulties, people are so resilient which is very strong feeling. People think in a conceptual way. Nobody was saying " I couldn't do this because the government isn't helping", this is something very beautiful. All the potentials are there to incorporate and break the notion of curating. The knowledge of an artist is as valuable as the knowledge of the doctor or an engineer. It is the biggest chance to be free. In that sense art is a form of a religion. When I am dealing with art, I get so devoted that it starts to feel like a religion.

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HOW WOULD YOU DEFINE THE RELATIONSHIP BETWEEN A CURATOR AND AN ARTIST? ART AND ARTISTS ARE ALWAYS CONSIDERED SECONDARY OCCUPATION. HOW CAN WE CONVINCE PEOPLE THE IMPORTANCE OF ART? It is common everywhere and it is also normal. A doctor can help save lives, an engineer can build homes. But artists can do small things. Most people will think art is just a painting on the wall but it is also the small poetic gesture not everyone has to understand it and believe it, but

It is like a love affair between them. If you don't believe in the artist, you cannot do anything.Being an artist is a very lonely profession.You need to be as one to convince the artist that the world is incomplete without him. Sometimes, I don’t understand immediately what the artist wants to do and why he wants to do it. But if I feel it is important for him, then it is my sole duty help him realize and develop the idea. But there are also some artists who don't depend on curator.

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FEBRUARY 2016 SPACES / 25

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May The Best Design Win!! Asian Paints All Nepal Architecture Students Design Competition 2014-15 with SPACES as magazine partner TEXT: Shreesha Nankhwa

4thyear Architecture students of 067 batch got the opportunity of a life time last year when they were chosen to compete in the All Nepal Architecture Design Competition 2014-15, the first ever national level design competition for Architecture students in Nepal organized by Asian Paints Nepal. The competition, which officially started on the 6th of Mangshir, finally came to an end on 28th of Shrawan this year, when the winners were announced at a grand ceremony at the Hotel Yak and Yeti. The concept behind the competition started 4 years ago at the Institute of Engineering, Pulchowk, when the idea of sponsoring a student every year was floated around. However, with the intention of providing unbiased support to deserving students, a college level design competition was held instead, the winners of which would receive financial support from Asian Paints. For the past 3 years, Asian Paints has been organizing college level design competition at the Institute of Engineering, Kathmandu Engineering College and Nepal Engineering College. However, in the year 2014, more colleges were included into the fold and the competition was taken to the national level.

THE PARTICIPANTS: The national level design competition started with five participants from each of the six participating colleges – Institute of Engineering in Pulchowk, ACME Engineering College, Himalayan Engineering College, Khwopa Engineering College, Kathmandu Engineering College and Nepal Engineering College – being chosen to compete in the Design Competition. A college level design competition was held at Institute of Engineering, Kathmandu Engineering College and Nepal Engineering College, from which the top five finalists were chosen to compete in the nationals, whereas five competitors were chosen by the college itself from ACME Engineering College, Himalayan Engineering College and Khwopa Engineering College.

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THE COMPETITION

A total of thirty participants, along with a coordinator from each college (6 in total) and 2 representatives from Asian Paints,then took a field trip to officially start the competition. On 6th of Mangshir, the team of 38 traveled from Kathmandu to Kurintar, where the participants were given the chance to inspect the site, take pictures and get a good grasp of the site requirements, so that they could create a design suitable for the area. After the site visit, the team travelled to Sauraha for a 2-days-1-night camp. The camp experience provided the students with an opportunity to meet and interact with fellow competitors from different colleges, as well as rest and enjoy at the peaceful environment at Sauraha. On same day, Mangshir 6th, 2072, at Sauraha, the competition was officially launched. The participants were informed of the requirements and submission deadlines and given a month to fully prepare their designs. On next day the team went to hetauda to visit Asian Paints Factory and returned to Kathmandu on the same day.

THE JURY

After receiving the submissions from all the 30 participants, the six coordinators and two representatives from Asian Paints collectively appointed a jury of 5 senior architects: Ar. Arun Dev Panta, Ar. Swarup Gurung Koney, Ar. Bishnu Panthi, Ar. Suman Meher Shrestha, Prof. Srinivas B.S. Kansakar. The designs from the students were coded to keep the identity of the designers hidden. The jury of five then chose the Top 16 designs from the pool of 30 submissions. Top 16 students, who were chosen, were then asked to prepare a presentation in front of the jury and lay out their arguments as to why their designs should be considered. After they laid out their arguments, the jury decided on the winners and confidentially, gave their verdict to the organizers.

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THE VERDICT

On 28thof Shrawan this year, a grand ceremony was held at the Hotel Yak and Yeti to announce the winners and present them with their winnings. The event was originally scheduled for Baisakh, but was postponed due to the earthquake of Baisakh 12th. The ceremony was presided over by the Chief Guest, Honorable Minister of Education Chitra Lekha Yadav. Other honored guests included Ar. Kishor Thapa, President of Society of Nepalese Architects (SONA), the official partner for the competition, Ar. Hare Ram Shrestha President of SCAEF(Society of Consulting Architectural and Engineering Firms), Er. Dhurba Thapa,President of NEA (Nepal Engineering Association) as well as the honored jury members. The Winner of the Competition was Mr. Niran Maharjan from the Institute of Engineering. Mr Maharjan won a cash prize of Rs. 70,000. Ms. Palistha Bajracharya from the Institute of Engineering was announced as the 1st runner up and won a cash prize of Rs. 50,000.The 3rd position was won by Mr. Prajen Shrestha from the Institute of Engineering and was awarded a cash prize of Rs. 30,000including. Mr Danking Bdr. Bhujel from Kathmandu Engineering College and Mr. Ashesh Sapkota from Nepal Engineering College won the consolation prize of Rs. 10,000 each. All the winners were awarded with trophies and certificates along with their cash prizes. The taxes for the cash prize were borne by Asian Paints. Although this is the first national level design competition by Asian Paints, it won’t be the last. When asked if they intend to continue the competition again this year, Asian Paintsteam replied with an easy “Of Course!” The company will be continuing with a second edition of the competition in 2015, the preparations for which are already in progress. And this time, the competition will be bigger as more colleges join the fold.

NIRAN MAHARJAN WINNER Tell us about your design I was very much influenced by the idea that a good design must always complement the site. So, I made sure that I inspected the site closely and my design was created accordingly. I took into account the landscape of the site as well as the surrounding environment, hills and road access. The simplicity and the clarity of my design as well as my siteconsciousness might be the reason why I won. Do you think this competition has helped you as a future architect? The competition influences everyone in different way. For me, the cash prize and the ensuing recognition within the college, department, as well as the architect community motivated me a lot. Any plans for your future? Thanks to the competition, I was offered the opportunity to work with Ar. Saroj Pradhan. I will be working with Saroj sir for a few years. Eventually, I intend to open my own architecture firm. PALISTHA BAJRACHARYA 1ST RUNNER UP Tell us about your design We were given a few criteria that our design had to fulfill. Staying within these criteria, I made sure that my design was not only structurally sound but also aesthetically pleasing. I mainly focused on creating a resting area/park where weary travelers could take a break from their travels. Do you think this competition has helped you as a future architect? I think this competition has provided us with a chance to explore the practical side of architecture that isn’t covered in our courses. Since it’s a national level competition I was really motivated to put in more effort and produce I higher output than usual.

PRAJEN SHRESTHA, 2ND RUNNER UP Tell us about your design While creating the design, I first created a plane composition before working on a conceptual 3D model. My concept revolved around an easy transition from road into the building and I focused on creating a more horizontal and less vertical building. Do you think this competition has helped you as a future architect? I think this competition was crucial for the exposure it provided us. We learnt a lot about what the architecture filed would be life after we graduate and I also think it provided us with an opportunity to get our name out there. Any plans for your future? I, like everyone else, want to be successful. But what my career path would be life depends on the experience I gain once I start working as a professional architect. I intend to adapt according to the circumstances. DANKING BDR. BHUJEL CONSOLATION PRIZE WINNER Tell us about your design I live in Pokhara and have to travel frequently between Pokhara and Kathmandu. So, my design concept was heavily colored by my experience and what I felt was needed at the rest stops during my travel. I used a natural open space as a central focal point and build the petrol pumps and other amenities around the open space, which serves as a resting place for passengers that is buffered from the road.

Do you think this competition has helped you as a future architect? Yes! The competition motivated me to work as hard as I could since I was competing with best students from different colleges. It also gave me an idea about where I stand and what I need to do to improve myself as an architect. Any plans for your future? After I graduate I intend to join an architecture firm and gain some experience before deciding how to further pursue my career. ASHESH SAPKOTA CONSOLATION PRIZE WINNER Tell us about your design My design was created to compensate for the hot climatic condition of the area. I created a courtyard design that would allow cool breeze into the central courtyard where travelers could rest. The surrounding building had an open twist design so that passengers could easily access the interior as well as the exterior environment. Do you think this competition has helped you as a future architect? I’ve previously participated n several smaller competitions, but when you are competing on the national level, it motivates you to put in more effort. You also get to interact with students from different colleges and get a better idea about what level you stand on in real life. Any plans for your future? Right now, I just intend to join my Masters as soon as I graduate. But, eventually, I would luke to do something for Nepal.

Any plans for your future? I don’t have anything planned right now. I am mostly focused on the present and will take this one day at a time.

FEBRUARY 2016 SPACES / 27

n e w s

14TH SAARCH Assembly and Council Meeting 2016

RESILIENT ARCHITECTURE RESPONDING TO DISASTERS THROUGH THE COURSE OF TIME

AARC Association of Architects(SAARCH) was formally established in 1991AD by member Institutes of Architects of the SAARC Nations (except Afghanistan) with the objective of the development of coordinated architectural profession in the SAARC region by exchange of ideas, developing and assisting national architectural bodies, by working towards international recognition of qualifications, and by evolving professional

ethical and educational guidelines. The member institute ofSAARCH are Institute of Architects of Bangladesh (IAB), Bhutan Institute of Architects (BIA), Indian Institute of Architects (IIA), Architects Association Maldives (AAM), Society of Nepalese Architects (SONA), Institute of Architects, Pakistan (IAP) and Sri Lanka institute of Architects (SLIA). The SAARCH Assembly

SPACES Newsletter:

meets by rotation in the country where the last SAARC Summit was held. On the similar context, SONA is organizing the 14th SAARCH Assembly and Council Meeting on the 5th and 6th of Feb, 2016 at Hotel Yak and Yeti, Durbar Marg, Kathmandu, Nepal. There will also be a conference with the theme ‘Resilient Architecture: Responding to Disasters through the Course of Time’, which will discuss on the possible adaptation of ‘Resilient

A great way to stay in touch with the scenario of rebuilding, and revisiting our historic culture, is subscribing to SPACES Newsletter! This biweekly newsletter covers current events and whereabouts of art, architecture and interiors of Nepal. SPACES newsletter also features local companies, manufacturers and products. You can subscribe to our Newsletter by visiting our recently launched blog spacesnepalblog. wordpress.com.

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Architecture’ practice and building technology to endure the natural and man- made disasters in the region. SONA had previously hosted the SAARCHAssembly and Conference in 2002 A.D which was a great success. This time toowe are anticipating on making this event even better with expected participation of more than 400 architects and architecture students from within the member nations.

SPACES Blog:

The recently launched blog offers diverse range of topics that are categorized for our enthusiastic users- including special book reviews, discussions commentaries from our local experts, international architectural articles, all in one blog! You can also have a sneak peek of an extract from an ongoing research project on temple architecture, register for our biweekly newsletter and stay tuned for more!

FEBRUARY 2016 SPACES / 29

construction

Common Misperceptions and Malpractices in

Building Construction TEXT: bijaya laxmi Rai

It is needless to say that food; clothing and shelter are the three basic needs of every human being. A building provides shelter, safety and security. Its basic functions aside, building design took numerous attempts to become stronger, more aesthetic, comfortable and durable. Building owners aspire for their building to be outstanding in terms of the aforementioned qualities. Similar to the human body, the different components of a building need to be in good condition for the overall structure to function well. The Architect plans all the basic workings of a building, managing

People assume that RCC buildings would be robust, durable and able to withstand any extreme loading, forgetting the fact that masonry building older than 200 years are still standing strong.

People usually start to fantasize immediately after looking at plans, elevations and 3D drawings of building without knowing the intricacy of building design. Often people think consultation charge is higher, however we can see that this is untrue if we look at the following:

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Everybody has deep-seated desire to own a building, a home, within his or her lifespan. In order to accomplish this, one accumulates money earned throughout the span of their career, whether, it is a steady monthly salary, or money paid through piece rate and earned by working difficult, manual jobs such as farming and mining. We want a strong, durable and aesthetic building, however it is not such an easy task to construct one, as there are many misconceptions and misconducts present in a lot of construction projects. Some of them that are present in Nepal are as follows:

ILLUSTRATION: To construct two and half storey normal building Let, floor area = 1,000 sq. ft. Current Market value of normal building (say) = Rs 2,500 per sq. ft. Total value = 2.5*1000*2500 = NRs 6,250,000 % reqd. for architectural portion = 40% of total cost = 25 lakhs % reqd. for structural portion = 40% of total cost = 25 lakhs Cost of rebar = half of structural cost = 0.5* 25 lakhs = 12.5 lakhs n

space as per the requirements of the client. This, if done well creates a strong structure providing comfort and functioning well, just like the human body. Similar to the circulatory and urinary system in the human body, the water supply and sanitation needs to be settled by the sanitation engineer. And, finally, structural engineer provides the skeletal framework (beam- column- slab) to building. If one of these systems fails to perform, the body, which in this case is the building, will not function effectively. The overall objective of the building design is fulfilled if all of the components of building function in harmony just like a healthy human body.

Usually, without structural design, people spend between 10 to 12.5 lakhs on rebar alone. It is because more rods and slab is put in rather than more beams and pillars believing that the structure will not stand if sufficient rebar is not provided. In many cases, nonprofessionals and semi-skill overseers draft building

drawings by taking reference from older drawings. However, they usually lack indepth knowledge of building design, which is why many newly registered buildings are found not complying with National Building Codes. The problem is worsened by bribery and corruption, which is very recurrent in the construction as well as many other industries in Nepal.

There are numerous opportunities to work in site as construction activities take longer than design. Most of the civil engineers are hired for site job. Only about 20-25% of civil engineers usually work in design and planning. Thus there is huge rift between design and actual construction practice due to lack of knowledge in design principle. In a four year BE course, all over the Nepal, the option for building projects is only available in the final year. Many people blindly go to any civil engineer, regardless of whether they

have the right qualifications and the engineers themselves do not turn down the proposal as it is considered as degradation to their pride. People believe that a smaller, 2-3 story building does not need structural analysis and design. But, here, let’s see what will happen, if we do so: Here is a floor plan of a square building. F1, F2, F3 refers to footing and A1, A2, A3 refers floor area under the influence of footing as shown in figure below. Nonengineered building has uniform footing, so here we assume following data: n

Footing

Required Size

Non- engineered Size

(say)

(Uniform)

3’X3’

4’6”X4’6”

6’X6’

4’6”X4’6”

Nobody wants to talk about defects due to non-engineered practice. Talking about such defect echoes loss of pride among their relatives and community. Also, they feel that building still exists and believe that it will survive earthquake too.

Knowing about these malpractices and not taking the step to correct them means as practitioners in this field, we are not making any improvement but only staying where we or worse, moving backwards. It is the obligation of the state to formulate stringent rules and regulations and local government like VDC should be there to enforce them. Additionally, the media should spread information and raise awareness regarding the seriousness of the issue. Overall, the designer should play a vital role, in not only designing he overall structure, but making sure the health and safety guidelines and proper building practices are followed.

Above figure indicates engineering design of footing. According to footing design principle, footing area is based on loading pattern and it will settle equally by 1”. As per above tabulated data, F2 will settle by 1”. But F1 of non- engineered building will settle by 1”x

3' x 3' =0.44" 4'6" x 4'6"

Similarly, F3 of non- engineered building will settle by 1”x

6' x 6' =1.78" 4'6" x 4'6"

Thus the differential settlement will occur in non-engineered building which ranges from 0.44” to 1.78”. And, more importantly it should be noted that force generated by such differential settlement is much more dangerous than earthquake threat.

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Impact

Go-Bag & DCH

ENOUGH SAID, LET’S MAKE IT RIGHT!

TEXT: Mr. Amit K. Shrestha

Background In the recorded history of Nepal, the Gorkha Earthquake was one of the devastating quakes hitting the country. Nearly 82 years after the mega earthquake of 1934 CE, Nepal was heavily shaken by the recent M 7.6 earthquake on Saturday, 25th April, 2015 at 11:56 NST and a major aftershock of M 6.8 on Tuesday, 12th May, 2015 at 12:50 NST. With the epicenters located in Gorkha and Dolakha districts respectively, the massive tremors were significantly felt as far as in China, India and Bangladesh. The catastrophic earthquake and the following major aftershocks left around 9,000 dead, 23,000 injured and thousands homeless all over the country. The earthquakes affected almost one-third of the nation’s population in over 31 districts, out of which 14 were officially identified as the hardest hit.

Go-Bag As people were traumatized and completely shaken by the first impact of the destructive earthquake on Saturday, 25th April, they were even more scared of the continuous tremors of aftershocks. Frightened to enter their own houses, a huge number of people absorbed in fear were scattered out in the open. In the event of such chaos or probably even worse in the future, you may not have time to search for the critical supplies or go looking for them in shops. Amidst complete destruction, since the rescue or relief workers may not be on the scene for some time and it could be hours before you get help from outside your community, the need for an emergency kit arises. The kit basically is a collection of essential items you or your household may need to cope after a disaster of such magnitude. Make it simpler and call it a ‘Go Bag’ if you like.

Recalling the immediate moments after the major shaking of 25th April, Ms. Sita Shrestha a resident of Thankot, Chandragiri Municipality said “As soon as the shaking stopped, I took my son and daughter out of the house along with our Go-Bag”. She knew that Go-Bag was important but had never imagined that it could be so much useful under those chaotic circumstances. She further added “At the time, many items out of the Go-Bag were very useful such as radio, tarpaulin, blanket, soap, Dettol, medications, torchlight, tooth pastes and even playing cards”. She was happy that playing cards kept the young boys awake in the nights which was good for the safety of the area. “This single Go Bag, I had stored, had been so useful to many of us. I thought what if everyone had their own Go Bag?” asked Sita rhetorically. (Source: NSET)

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More simplistically put, let’s recall the moments after the first tremor on 25th April 2015; what could be the critical items that we would need to spend a few nights out in the open? Although basic supplies required might be similar for all, there could be many different preferences or needs depending on the individual or the family. If you really think, you will realize that the ‘Go Bag’ is the most customizable emergency kit that we could build on our own. Ultimately, it is not about the shape, size or color of the bag but the contents, we think are critical and must be stored inside it. Go-Bag: Points to ponder First of all, maintaining a ‘Go Bag’ is not a rule rather a moral responsibility towards one’s own safety. Secondly, a disaster such as an earthquake can strike any time. Thirdly, this is about exercising one of the best known practices in the world to get prepared for a disaster that can create havoc in no time. People may argue that the concept is purely western and the luxury of a ‘Go Bag’ does not gel with our culture. You may ask “What good a ‘Go Bag’ alone could bring when my house just turned into rubble?” Of course you cannot save the world with a ‘Go Bag’ but it certainly can keep you safe and thus help save your family or neighbors in those critical hours of extreme need. We need to understand the fact that ‘lifeor-death’ situation is same everywhere irrespective of one’s culture or social background. In the event of turmoil, three seconds without hope, three minutes without air, three hours in extreme temperature, three days without water and three weeks without food are the acute conditions which can threaten anyone’s life no matter which corner of the world one belongs to. Therefore, in the event of a massive disaster such as the recent Gorkha earthquake, ‘Go Bag’ can really be a life-saver and thus tagging ‘Go Bag’ a mere luxury might just be a reflection of our own ignorance towards inevitable disasters that sometimes can kill us.

Mr. Hariman Singh Dangol, who lives nearby the renowned Nuwakot Palace in Nuwakot District, is an elderly local priest at the Bhairavi Temple close to the palace. Recalling the learnings from his old folks, Mr. Dangol actively demonstrated his earthquake-safe behavior that he applied inside the temple when the ground started shaking on that fateful day of the Gorkha Earthquake. (Source: NSET)

DCH By now, it is a well-known fact that the shaking of earthquake itself does not injure rather the objects that the earthquake puts into motion are scary and harmful. Anything that can fall, move or break can be an earthquake hazard. If inside a building, upstairs and away from the exit door, “Drop, Cover and Hold On” (DCH). If outside or close to an exit door, find an open space outside and stay away from large falling objects. Imported from the west, although the DCH recipe may not exactly rhyme with our socio-cultural backdrop, the concept clearly holds its ground worldwide with scientifically researched facts. Looking back into the past, we find that our forefathers responded to earthquakes by immediately dropping down and maintaining the duck-posture by pressing the ground with both hands. As big earthquakes strike after long intervals, the knowledge went into oblivion and was not appreciated enough by its own people. Not very long ago in the US, the space under the doorway was considered safer during an earthquake as adobe buildings would crumble, leaving only the doorways standing. Later, as the living standard of the people and the structural safety of the buildings progressed, the level of risk tolerance diminished greatly. Nowadays, when the building structures are built stronger, people are advised to stay away from the doorways to avoid the risk of jamming their fingers. Here, it is important to note that over a long period of time, as technology evolves, the risk and the safety behavior also changes or improves

along with it. Looking forward in Nepalese context, as pursued by many earthquake prone countries around the globe, we could either use light materials to build our houses or make earthquake resistant structures to withstand earthquake shakings. Both are major preconditions which can set ground for successful DCH practice. DCH: Points to ponder In the aftermath of the Gorkha Earthquake and the controversy around DCH practice, it is quite relevant to mention two critically salient factors that influence people to do what they do during an earthquake as far as DCH is concerned. Firstly, the process of knowledge dissemination and secondly, the human psychology while implementing the acquired knowledge. While some were able to save their lives, It is unfortunate that many school children, had to lose their lives to one of the world’s best known practices during an earthquake i.e. DCH. People might be clear in their head about the literal meaning of DCH but do they really know why, where, when or under what other circumstances they should or should not perform it? In another words have people been taught DCH effectively? The action of DCH takes several factors into consideration such as the strength of building, infrastructures & non-structural items, the number of people inside the building or room, number of floors in the building, proximity of exit doors, etc. Spreading DCH information may be one part of the story while grasping or internalizing the same by the listeners or learners may be completely different story, as far as an effective teaching methodology is discussed. Somewhere it seems, the

Surana Enterprises, located at Gokarneshwor Nagarpalika, Jorpati has been dealing with construction material for more than 10 years. “In these years, there has been a promising demand of Jagadamba cement'', recalls Mr. Rajan Shrestha, Proprietor of Surana Enterprises. Further he adds, in terms of quality too Jagadamba cement is reliable. Surana Enterprises, Gokarneshwor Nagarpalika, Jorpati Tel: 01-4912808

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Mr. Manoj Tamang, a local resident of Laharepauwa VDC in Rasuwa District, mentioned that his younger brother was studying in the ground floor of a two-story house on the day of the Gorkha Earthquake. “He could run and go out but he chose to go under the bed during the earthquake; he learned this at his school” said Manoj painfully. On that day, Manoj lost his brother to the quake as the house collapsed and crushed the bed. (Source: NSET)

a task adequately, the DCH teaching methodology for this age group might be different than that for adults. Again, as discussed earlier, effective teaching would often include all three components; informing, learning as well as evaluating or verifying.

From Bidur Municipality-3 in Nuwakot District, Ms. Samita Dangol, a local shopkeeper, revealed her brave story and how she was able to rescue her two younger sisters even after the two-story house collapsed miserably. “The two school girls saved their lives taking shelter under the bed on the 2nd floor. This wouldn’t be possible if the bed was fragile or box-type” said Samita convincingly. (Source: NSET)

teachers are missing the opportunity to verify or evaluate the actual learning or understanding of people who are loaded with DCH information. It is quite possible that the spreading of instructions might got limited to mere informing rather than teaching in real sense. Our state of psyche greatly influences our immediate actions when something happens to us all of a sudden. During a surprise event our subconscious mind is more reactive than our conscious mind such as jamming the car brakes when someone suddenly appears in front of our vehicle. In this regard, earthquake is no exception and can occur when we least expect it. This is the reason behind encouraging and conducting frequent earthquake drills in offices, organizations, factories and schools. After repeated practice drills, it is expected that earthquake safe behavior gets implanted into people’s subconscious so they would know exactly what to do when the ground really starts shaking next time. Here, we should keep in mind that child psychology is different from that of adults. Children often think straight forward and take directions literally. Since young children need clear instructions to perform

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Final thoughts Even if we have the right knowledge, we might need customization time-totime to suit our existing socio-economic environment. Although DCH methodology has numerous scientific theories and data to back it up internationally, in the coming days, we could sincerely direct our research to investigate the feasibility of DCH or such in our own soil. The outcome would then demonstrate the validity by developing suitable methodology to address the issues pertaining to our knowledge dissemination process, psychology of learning as well as infrastructures that surround us. In future, we would need to devise better and more improved techniques of disaster preparedness to suit our social, cultural and economic conditionings we inherit. As we evolve in this direction, we might be able to think beyond ‘Go Bag’ or ‘DCH’, inventing more socially inclusive disaster preparedness model which would be able to address the needs of our elderly, children, differently abled and the community as a whole. However, in the meantime, we cannot afford to just sit there and disregard some good ideas just because it originated somewhere in the west and not in the east.

The author serves as a PPP-Specialist for promoting Public Private Partnership for Earthquake Risk Management (3PERM) program at National Society for Earthquake Technology-Nepal (NSET). This article does not reflect the views of the organization.

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Architecture

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Paltan Ghar

House of Warrior PALTANGHAR, THAT ONCE STOOD IN ITS ENTIRE SPLENDOR NOW LOOKS LIKE ANY OLD STRUCTURE; THE ONLY PEOPLE WHO NOTICE THE 72 ENGRAVED TROOPS ARE EITHER TOURISTS WITH ANINTENSE CURIOSITY OR ANYONE WHO IS ALREADY FAMILIAR WITH IT. TEXT: Swati & Mohein photos: mohein ranjitkar

midst the systematic chaos of Ason, a door camouflaged by the busy shops goes unnoticed by many passersby. PaltanGhar, that once stood in its entire splendor now looks like any old structure; the only people who notice the 72 engraved troops are either tourists with anintense curiosity or anyone who is already familiar with it. After you know such a structure exists, it is impossible to walk through the streets of Keltol without taking a glance at it. After two decades of battle, Prithivi Narayan Shah captured Kathmandu, and moved into to the capital along with his subordinates where he resided at the Hanuman Dhoka Palace. After the last of his conquest on the west,Abhiman SinghBasnyat was promoted to Kazi and returned to the capital to build Man Mandir,whish also known as TilangaBhawan. Abhiman Singh was given the land as a gift for conquering Kathmandu. PaltanGhar was built in circa 1833 BS. Abhiman Singh Basnyat supposedly conquered Kathmandu with 72 soldiers hence you can see the engraving of these soldiers marching forward as a tribute to those brave 72, who led him towards victory. Abhiman Singh Basnyatresided one of the inner

FEBRUARY 2016 SPACES / 37

PaltanGhar was the first private building, after the Hanuman Dhoka Palace itself,that was allowed to use glass windows.

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chowks while the anterior building, (the actual PaltanGhar) was used for the accommodation of soldiers for his protection;whichis how PaltanGhar got its name. PaltanGharis the perfect combination of Mughal and Newari architecture.The exteriors of PaltanGhar is influenced by Mughal architecture with its large, arched windows with tinted glass, while the interiors of the house and chowks are influenced by Newari architecture with Newariaakijhyaals – the difference in the architectural style simply cannot go unnoticed. The main entrance to the structure is known as the KhishiDhokha.

KhishiDhokhaliterally translates to ‘a door through which an elephant can enter’. Whether it be an old or new structure, no two buildings look similar, and different chowks have a different ambience to them. While there are only 3 chowks accessible today- Narayan Chowk, Ganesh Chowk and the KumariChowk- allegedly 7 chowks connected the whole structure. Pathways to the other chowks have been blocked off and eventually added to a different set. The 7 chowksof PaltanGharwere integral parts of the structure. Not only did they connect the structure, but also were used as platforms for ‘Kushti’ or wrestling matches.

Low height partitions host horizontal elements that harmonise with the building. The use of elements, colours and materials has been closely monitored to create this atmosphere, promoting openness and encouraging interaction among all.

PaltanGhar was the first private building, after the Hanuman Dhoka Palace itself,that was allowed to use glass windows. The arched Mughol style windows are placed on the first floor of PaltanChhe, decorated with the 72 soldiers each marching with muskets. According to some, the paltans are engraved holding different objects to portray individuality of each troop. In the row of soldiers, you can also find that one of them is on a horse, it is assumed that this is the engraving is of KaziAbhiman Singh Basnyat himself, leading his troops. The Baithak or the living room was the most spectacular room of the PaltanGhar where official meetings with the kings and international delegates were supposedlyheld. The prizedpossession of the baithak was a three-piece crystal chandelier brought in from Britain. However, the

FEBRUARY 2016 SPACES / 39

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The inner chowks are degraded with the filth of the current shop tenants. The previously jhingati placed roof is now replaced with CGI sheets. The walls and windows of the inner chowks are degrading, with bricks falling off and graffiti on the walls.

The design of the building permits maximum intake of natural light and breeze, thus cutting down on artificial lighting and cooling requirements.

current whereabouts of the spectacular chandelier is unknown. Most say that it was sold back to the British.DibyaUpadesh, written by Prithivi Narayan Shah, was found in the Baithak of PaltanGhar and was presented to King Mahendra by the Basnyat Family.

The PaltanGhar, which once stood in all its glory, doesnâ&#x20AC;&#x2122;t look as spectacular as it did before and is now a wreck. Parts of the engraving of the 72 paltans,which was one of the most important parts of the house, have now beendestroyed. The Mughal styled stained glass windows are broken and lay in ruin.The inner chowks are degraded with the filth of the current shop tenants. The previously jhingati placed roof is now replaced with CGI sheets. The walls and windows of the inner chowks are degrading, with bricks falling off and graffiti on the walls. The previously extravagant baithakis now a storeroom for the shops inhabiting the house and is divided intosections. Looking at its current state, it is hard to imagine that kings and international delegates used to reside there.

There is no one really to blame for the horrible state that the once spectacular structure is now in. The government has done little to nothing to preserve the building by declaring that no one is allowed to modify or sell the house. It is difficult to do anything to preserve the building because of multiple owners. Such a historical site should be preserved and given the attention that it deserves; it is one of the buildings thattie back to the unification of our country, which is a very important event in the history of Nepal. One of the possible solutions could be to turn PaltanGhar into a museum. The Basnyats are an important family in historic Nepal and this house can play the role of a Basnyat Family Museum, helping conserve both the family name and historical value of the structure.

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views

Earthquake

in nepal

VIEWS FROM DIFFERENT PEOPLE TEXT: Dristi Manandhar

IN AN ATTEMPT TO RESPOND TO THE DEVASTATING EARTHQUAKE THAT STUCK NEPAL ON THE 25TH APRIL 2015, WE TALKED TO A PANEL OF PROFESSIONALS FROM DIFFERENT SECTORS IN ORDER DEVELOP A BETTER UNDERSTANDING ON THE ISSUES THAT HAVE SURFACED AFTER THE RECENT DESTRUCTION. THE PANEL OF PROFESSIONALS CONSTITUTED OF THE FOLLOWING INDIVIDUALS:

Mr. Badan Lal Nyachhon (Multidisciplinary Pvt. Ltd.)

Mr. Jagdish Man Shrestha (Department of Irrigation)

Dr. Jagdish Chandra Pokhrel ( Former Vice Chairperson National Planning Commission)

Mr. Kishore Thapa (President - SONA)

Mr. Sanjay Lal Shrestha Dr. Rohit Ranjit (Outer Design) (Kathmandu Valley Preservation Trust)

Mr. Rajendra Prasad Kayastha (Akara Materials Testing Laboratory Pvt. Ltd.)

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Mr. Pawan Kumar Shrestha (Green Tree Developers Pvt. Ltd.)

1 Many houses in Gangabu bus park, Sitapaila, Swayambhu areas have collapsed. But, those from highly vulnerable such as Asan, Indrachowk and many other densely populated areas remain unaffected. What could be the reason for this? Could it have been bad engineering, lack of skilled manpower or possibly the oil condition?

“It’s not just a single aspect but a combination of the above mentioned factors. The quality of the building material and the designated use of the building after its construction also play a pivotal role. For example, a building designed as a residential building would not be structurally safe to be used as a commercial building etc.” Mr. Badan Lal Nyachhon

“The damages to structures during the recent earthquake are due to multiple reasons such as, design deficiency, poor construction practices, lack of proper soil investigation etc. There is definitely a lack of professional and qualified engineers and supervisors with the experience of having worked as a contractor. Private builders of residential buildings rarely employ competent engineers or contractors for construction.

If you look at the trend of the damaged structures during this earthquake, there are three things we must understand. Firstly, this earthquake was of a lesser magnitude than that of the 1990’s. Secondly, it is either due to the soil conditions or the structures’ deficiency that have caused the buildings to collapse. Thirdly, it is also due to the type and intensity of the EQ waves that have hit these different places that have caused such varying results. Mr. Jagadish Man Shrestha

In Gongabu, Swayambu area where many building have collapsed, one of the main reasons appears to be the bad soil condition. These places are highly susceptible to “liquefaction” during sudden shocks or vibration because of the loose alluvial deposit from the Bishnumati River. In areas like Asan, the buildings, as old as they may be, are clustered together and act as a single unit, having a very large combined base in relation to their height. This adds to their stability and hence little or no damage occurs. Mr. Rajendra Prasad Kayastha

The damage caused during this earthquake is mainly due to the fact that people do not take proper care of their buildings. People here do not consider for the soil test before construction, selection of qualitative material during the construction phase and proper restoration of the structures post construction. It is essential for people to understand that after a certain period of time our buildings start ageing too. Their strength slowly starts to disintegrate and it was these types of buildings that were very vulnerable to damamge during this EQ. Mr. KishoreThapa

The factors that mostly lead to these discrepancies are: 1. Soil Condition 2. Building condition- Generally structures constructed in a row or constructed during the same timeline have lesser tendency to succumb during EQ since they act as a single entity 3. The way the structure has been constructed- this includes the building materials used, building codes followed, design conditions and basic engineering Dr. Jagdish Chandra Pokhrel

The fact that Sitapaila and Gongabu are located in an uphill area where the soil conditions are not suitable for construction makes the building here weaker and more susceptible to damage during earthquakes. In contrast as the soil conditions at Ason and Indrachowk are more habitable, the buildings have also been built in clusters making them comparatively less vulnerable to the shakes. Mr. Pawan Kumar Shrestha

We have heard that the soil in areas around Gongabu, Sitapaila and Kalimati are not suitable for building construction. This land was previously used for farming. In some cases the engineering of the structure also plays a key role but as far the above area is considered, it is the soil conditions that led to such hazardous results. Dr. Rohit Ranjit

The soil condition is one of the main reasons. Even though the houses along the ring road area are recently built, there are lot changes of ownership of these properties. As the demand for rentals increased the new owners kept adding more floors without considering the original structural design considerations, which lead the buildings to be more vulnerable to the earthquake. The lack of quality works, curing and quality material are also reasons for the collapse of a lot of the houses.

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2 Most of the apartments were affected. There are has been whole lot of negative impact on general public regarding these structures. Does that imply our soil is too weak to hold high-rise buildings? Or, are we lacking in engineering knowledge?

Most of the damages to apartments are only cosmetic damages. But we cannot deny the fact that these mega structures are the best example of our engineering designs. There maybe a place to improve our technology as far as our filler walls and minor structures are concerned. We should try to create an example for the general public by demonstrating a more safe and sound engineered structure. Mr. Badan Lal Nyachhon I feel the future of high rise buildings in Kathmandu is quite challenging since the soil conditions at some places of Kathmandu is not suitable for them. We need to have a separate design standard for high-rise and low-rise structures. There is definitely a need for a new and improved high-rise technology that is both light weight and stable. Mr. Pawan Kumar Shrestha We cannot deny the fact that a great amount of engineering input is required to build structures like apartments. This is the reason why although some of the apartments in the valley have experienced aesthetic damage none of the apartments have completely toppled down. But there are still a lot of structural and design improvements to be made. Here, people have already developed a negative outlook towards these buildings and now it is the responsibility of professionals (engineers, architects, planners) to regain their confidence in these tall structures. Mr. Kishor Thapa

Buildings of any height (say 40 or 50 floors) can also be built in bad soil conditions provided the foundations are designed accordingly. Our construction industry lacks the necessary technology to go for deeper foundations and to build high-rise structures with steel. We still do not have steel-pile deep foundation system and steel sheet pilling practice for bracing deep excavations. The damages seen in brickworks are mostly due to simple reasons like laying bricks in dry state, mortar not covering the entire joints, poor quality of mortar, and not having any structural connection between the brick wall and concrete columns and beams. Such a requirement is generally ignored either due to ignorance or due to cost considerations. Load-bearing walls must have reinforcements as well, in areas like corner and wall intersections. Mr. Rajendra Prasad Kayastha We cannot say that we lack engineering knowledge; if it had been so none of the high-rise buildings would have survived the earthquake. Our technical knowledge is based on international standards and it definitely needs some minor adjustments for Nepali standards. Usually contractors are solely responsible for building these structures, and are not often supervised. The quality of materials used during its construction and its care post construction is also responsible for the overall structure. It needs timely maintenance and care to keep it structurally sound and aesthetically appealing. Dr. Rohit Ranjit

While designing apartments you need to consider the structural design, the expenses for it and most importantly its ability to withstand natural disasters. In our case most of the structural part of the existing apartments are intact, there has only been slight damages in the non-structural elements, perhaps due to the negligence of technical experts. However if certain precautions are taken, high rise buildings can work well in Kathmandu. Dr. Jagadish Chandra Pokharel 44 / SPACES FEBRUARY 2016

In most cases the structure of the apartments / high-rise buildings are pretty much intact however the infill walls have been severely damaged. We, as engineers and architects concentrate heavily on the structural design and making buildings safe during earthquakes but completely ignore the vulnerability of the infill walls like brick works in the super structure. The details between the walls and RCC frame structure are rarely addressed properly. Mr. Sanjay Lal Shrestha It is not the lack of engineering knowledge or designing techniques but more of the compromises during the construction phase that has caused significant damages this time. Out of 15-16 apartments only one or two have had structural. It is perhaps essential to focus on detailing during construction and have proper supervision by experts at the time of its construction. Mr.Jagadish Man Shrestha

3 Do you think it is high time that Nepal should focus on geotechnical and anthropological research so that we can rebuild after the earthquake? (For example- Langtang Village where an unusual collapse of an entire village was reported).

Definitely, its high time we focus on research works. The government should certainly prioritize this. We are all ready to help with our technical knowledge and experience. It is not that we lack manpower we just need to have a common goal and purpose. Mr. Badan Lal Nyachhon This type of research is very important. It will assist architects, engineers and planners to design better and understand the soil conditions of particular areas. It is extremely essential to have experienced experts who can work together and come up with improved and original plans that focus on these issues. Mr.Jagadish Man Shrestha

Research work is definitely very important. The government should set up more schools and laboratories that could be used for research purposes. We should understand that it is better to take precautions before hand to make our structures safe. And after analysis, proper building regulations can be made, which could guide our building practices. Mr. Pawan Kumar Shrestha This earthquake has definitely been an eye opener for Nepal in many different ways. Researches in the above fields have proved to be a necessity in todayâ&#x20AC;&#x2122;s time. Hopefully we can learn from our past and look forward towards a brighter future. Mr. Kishor Thapa

All the works should actually be research oriented because without proper knowledge in a particular field we cannot excel in it. Here we lack proper information in the geotechnical aspect. Initial investigation of soil and geography is essential for the preparation of building codes itself. Dr. Jagadish Chandra Pokharel Of course we need research on geotechnical and anthropological research as settlements in Nepal are developed without knowing about the geotechnical condition of the land and surroundings, which is highly risky during earthquakes. This can also make it very difficult to provide basic services such as water, transport and electricity to the people. The research will help to develop a proper land use plan for new settlements and also help provide a guideline for proper design of buildings while knowing the geotechnical condition of ground. Doing soil tests are usually very costly, which is why many people are very reluctant to so before construction. Mr. Sanjay Lal Shrestha It is only when people become conscious about the importance of geological and soil researches, that there will be positive changes towards better structural designs. But that would only be possible when soil tests and research laboratories are accessible to the general public at cheaper and feasible rates. This would also help create a general topographical map of a certain area, which will prove beneficial for a very long time. Dr. Rohit Ranjit FEBRUARY 2016 SPACES / 45

4 Do you agree that some of the damages caused during the recent earthquake are due to the lack of implementations of rules and regulations as specified by the byelaws? What could be done to ensure that this would not happen in the future?

Yes, definitely. Even when proper design has been done, the major problem here is ensuring that it is constructed as per the design. There is no provision to check for the ongoing construction and moreover no rules and regulations if anybody is found guilty of not following the plan or taking cheaper or faster routes. Mr. BadanLalNyachhon Only when the people become conscious about the importance of byelaws, can this be ensured. It is necessary for all of us to realize that the byelaws should be followed and should not be tampered with. The government authority should categorize structures according to its cost estimation and then propose specific plans accordingly. Also, strict rules regarding supervision of structures during and post construction should be made. Mr.Jagadish Man Shrestha This earthquake has definitely been an eyeopener for most of the people of Kathmandu on so many levels. They have finally understood why byelaws should be followed and safer buildings should be prioritized. Now it is the responsibility of professionals, registered contractors and masons to take liability for what they design and make sure that it is properly deliberated at site. Mr Kishor Thapa I havenâ&#x20AC;&#x2122;t yet come across a structure, neither traditional buildings nor modern structures that has considered all the byelaws. More than 90% of the structures that collapsed during this recent earthquake were ones that were either improperly built or ones that had been neglected after construction. Proper quality check of building materials and construction technology during building design must be given priority. Dr Rohit Ranjit

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The main aim is to educate the common people. To let them know the importance of building insurance and all the available building resources. It is essential for people to understand that various building materials are available, each with their own specifications and age limits. The government should also conduct researches on building responsibly and efficiently. Non-engineered buildings should not be given permission to be built. A proper archive should be made of all the buildings constructed with all the details including the drawings and information of technical advisors. But it is not just the responsibility of the government to enforce these rules; the public should also cooperate and understand how these aspects will be beneficial for them in the long run. Dr. Jagadish Chandra Pokharel Our government is already aware of our systems drawbacks and the sectors that need improvement. Now it is high time that the people become aware this. Additionally, strict legal policies regarding building construction should be made. Provisions for a third party to file a complaint should be included because it is only when complaints are filed that specific actions are taken. And this is only possible when people start being aware about these things. It is not only essential to keep your own house safe but also to make sure your neighbors structure are safe, because in the end it has a huge role to play in your safety as well. Mr. Pawan Kumar Shrestha

Implementation of rules and regulations is less important than implementation of professional supervision for quality construction. Nevertheless, rules and regulations must be strongly implemented against those who build structures deviating from the approved drawings for monetary gains, e.g. there are many cases where they show large void areas (empty spaces) inside the building just to cheat on FAR. These â&#x20AC;&#x153;Voids" later become covered areas during construction. Appropriate actions must be taken regarding such structures. Mr. Rajendra Prasad Kayastha

It is partly because of ignorance or taking the regulations lightly. People often choose to ignore the importance of structural design for an earthquake prone area like Nepal. The biggest problem here is that we do not need to obtain permit to occupy newly built buildings like we do abroad. In most cases we need to obtain permit (temporary occupation permit) from municipal before one moves into a newly built home. These permits are given based on the certification either by a registered architect or consultant on the habitability of the building. We should follow these examples. Another aspect is change in the use in building type. We do not need permission from any authority to convert a residential building into a commercial structure or a school and this is very dangerous as residential buildings are not designed to handle the load of a commercial building or the flow of people. Mr. Sanjay Lal Shrestha

5 In your view what are the lessons to be learnt from the recent earthquake?

We must first understand that the damages caused during this earthquake were due to our negligence. Traditional buildings were not renovated on time and given proper care. In the case of new constructions the use of good quality building materials and byelaws have been compromised. It is also time for us to practice various safety measures that could help us during epidemics like this. Mr. Badan Lal Nyachhon There is always something new to learn from your past experiences. We are following technology that has been internationally developed and that is best suited for them. Saying that, our local technology is suitable for Nepal and addresses the aspect of earthquakes during construction as well .Now it is time for all the architects, planners, engineers and government officials to work together to come up with better and improved ideas. Mr.Jagadish Man Shrestha

Preparation is the main key. Now we must all realize the importance of earthquake resistant homes, not just for your own safety but also ultimately for the entire neighborhood. Just making our home safe and sound would not fend us from the damages; we are only safe when the entire neighborhood is. Mr. Pawan Kumar Shrestha Nepal is an earthquake prone zone and it must be our upmost priority to build safer structures. Also open spaces must be identified for the safety of locals in all communities in case of emergencies. It is necessary to make the whole neighborhood safe. After the post disaster assessment has been done, it is necessary for us to understand that only the combined effort of NGOâ&#x20AC;&#x2122;s, INGOâ&#x20AC;&#x2122;s, government, civic society and most importantly the public, can help us get through this disaster. Mr Kishor Thapa

This earthquake has definitely made us aware of the importance of structural design and soil investigation in the building industry. We definitely need to make people aware about following the code and byelaws for building construction with the message that those are developed for them and not for the authoritative body. Similarly, Importance of Disaster management and preparation is another aspect. I think people have realized it and are slowly becoming aware of it. Mr.Sanjay Lal Shrestha

It is very important to educate the local people about the importance of correct construction practices. This earthquake has shed light on the significance of building documentation and archive. Reconstruction process should be started in a planned way targeting the focused areas and considering the overall analysis of an area. Proper awareness programs and drills should be organized within the community levels to help people tackle any problems that they might experience during an earthquake. Dr. Jagadish Chandra Pokharel There are definitely a lot of lessons to be learnt. Mainly we have got to look at things positively. This earthquake was definitely an eye opener for us, either we take this negativity and fret over what we have lost or we look at all the new opportunities this event has opened up for us. We should now look forward to building better earthquake resistant homes. Ignorance is our greatest enemy; it is necessary for every individual to know the importance of building better and taking precautions prior to the disaster. Dr. Rohit Ranjit

Even though we have not been able to find any definite answers regarding what our future has in store for us, we believe that with the combined effort of every hopeful Nepalese we shall overcome this difficult time and come out stronger. We have everything from competent professionals to native building technologies, the only thing we need right now is not to give up and keep working for the prosperity of the country and its citizens.

The following lessons if learnt will help construct buildings that can withstand large earthquakes. i) Proper soil investigation of the building site. ii) Layout and design of buildings to suit the soil conditions rather than the other way round. iv ) Standard design and building codes to be brought about v ) Encourage local construction industry to introduce new technology vi) A fresh approach to award of contracts. Present system guarantees the award to the lowest bidder even if everybody realizes that the price is impossibly low. Such projects are doomed to fail. vii ) Construction of private buildings also must come under some sort of regular checks by competent authority if there had been any deviation from design and building codes of practice. Mr. Rajendra Prasad Kayastha

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Architecture

Early Historic City Planning in South Asia

a fresh perspective from

Tilaurakot

TEXT & photos: Provided by the archaeological team of the Project Strengthening the Conservation and Management of Lumbini; the Birthplace of Lord Buddha, Phase 2: Tilaurakot-Kapilavastu

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urrent archaeological investigations sponsored by the Government of Nepal and UNESCO at Tilaurakot, the primary candidate for ancient Kapilavastu - the childhood home of the Buddha, are unearthing exciting new discoveries that are re-writing the history of this important ancient site. Under the codirection of Professor Robin Coningham of Durham University and Kosh Prasad Acharya of the Pashupati Area Development Trust,

the multidisciplinary team of Nepali and international archaeological experts have been applying a variety of traditional and cutting-edge archaeological techniques to explore the ancient city. Building on previous work at Lumbini, where we identified the earliest Buddhist shrine in Asia - constructed of timber and dating to the sixth century BCE - we are beginning to provide an enhanced understanding of the development of ancient Tilaurakot, including its sophisticated urban layout.

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Excavating the central trench

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1. Wall with in situ carved brick in the trench next to the Samai Mai Temple 2. Wall of the central pond 3. Detail of carved brick in the trench next to the Samai Mai Temple

Introduction After his birth at Lumbini, Siddhartha Gautama lived a princely life at Kapilavastu, the capital of the Shakya Kingdom. After a prophecy that Siddhartha would either become a great king or religious teacher, his father - King Suddhodana confined the young prince within the palace, surrounded by luxury. At the age of 29, Siddhartha ventured out and viewed Four Sights: an old man, a sick man, a dead man and an ascetic. Following these observations, he renounced his family and worldly life and, departing through Kapilavastuâ&#x20AC;&#x2122;s Eastern Gate, began a quest for enlightenment. At the end of his existence, the Gautama Buddha instructed his followers that pilgrimage should be undertaken to the key sites associated with his life; Lumbini, where he was born; Bodhgaya, where he achieved enlightenment; Sarnath, where he preached his first sermon; and Kusinagar, where he passed away. Although not

explicitly cited as a place of pilgrimage, monks and lay folk also began to visit and venerate Kapilavastu and it featured within the travel itineraries of the Chinese monks Faxian, Xuanzang and Yijing. However, the location of the city was lost towards the end of the first millennium CE and its monuments were reclaimed by the jungle. Using the descriptions contained within the accounts of the Chinese pilgrims, archaeological pioneers FEBRUARY 2016 SPACES / 51

Postholes at the base of the trench next top the Samai Mai Temple

began to rediscover long-lost sites in the nineteenth century, including the four major Buddhist destinations of Kushinagar, Sarnath, Bodhgaya and Lumbini. Exploring a wooded mound to the west of Lumbini in 1899, P.C. Mukherji of the Archaeological Survey of India reported the discovery of a rectangular fort. Having cleared much of the site of jungle, Mukherji began to trace and plan the remains of a major walled and moated city, measuring 518 by 396 metres, complete with a hinterland of monuments including Buddhist stupas and viharas. Comparing the monuments and their locations with the descriptions of ancient Kapilavastu by the Chinese pilgrim monks he asserted that â&#x20AC;&#x153;no other ancient site has so much claim...as being situated in the right position and fulfilling all other conditions".

Overview of rectangular structures in the central trench

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Despite being accepted by most of his contemporaries, Mukherjiâ&#x20AC;&#x2122;s identification did not lead to sustained campaigns of excavations at the site, rather three separate periods of investigation over the last 116 years, including excavations directed by Debala Mitra of the Archaeological Survey of India, Zuiryu Nakamura of Rissho University and Nepali archaeologists including B.K. Rijal and T.N. Misra in the 1960s and 1970s. These scholars prepared more detailed topographic maps of Tilaurakot as well as defining new structures to the complexes already identified. Despite the new knowledge presented by these projects, little more has been revealed about the actual town plan of the ancient city with more focus on the depth and antiquity of the site, which is under the management of the Lumbini Development Trust.

Multi-disciplinary archaeological investigations at Lumbini and Tialurakot In 2011 an international team of experts, co-directed by Professor Robin Coningham of Durham University and Kosh Prasad Acharya of the Pashupati Area Development Trust, was invited to undertake archaeological excavations at Lumbini, the birthplace of the Buddha. In partnership with the Lumbini Development Trust and the Department of Archaeology, Government of Nepal, and sponsored by the Japanese-Funds-in-Trust through UNESCO, with additional funds from the National Geographic Society, one of the team’s most spectacular discoveries was the identification of a previously unknown sequence of early timber and brick structures within the Maya Devi Temple. The earliest of these dated to the sixth century BCE beneath the foundations of the

Emperor Asoka’s own temple. This success led to an invitation to apply a similar multi-disciplinary archaeological approach to the nearby site of Tilaurakot. Funded by the JapaneseFunds-in-Trust through UNESCO as well as the Hokke Shu, the team has begun to answer a number of research questions through a combination of archaeological excavations, and cutting edge techniques such as geoarchaeology, topographical mapping and geophysical survey. One major aim was to provide a scientifically dated sequence for Tilaurakot to understand when human settlement began and also when the site was abandoned. We excavated deep sequences near the Samai Mai Temple and across the northern rampart but are currently awaiting the results of the analyses from scientific dating samples, which are now being

processed in the laboratory. Similarly, processing of geoarchaeological samples within these sequences will soon unlock evidence from the soil about the types of activities people in the past were undertaking at various times and places across Tilaurakot. The other major aim was to understand the urban plan of ancient Tilaurakot and its immediate environs. Ancient planning treatises, such as Kautiliya’s Arthasastra, suggest that a city should be rectangular, surrounded by moats and a rampart, with gates at each cardinal direction. Internally, the city should have cardinally-orientated roads, a central palace area, with religious institution located outside the ramparts. We wanted to investigate whether such descriptions were ideals or a reality and our multi-disciplinary approach at Tilaurakot is helping us to answer this from above and below the soil.

Overview of the Wastern Gate

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Overview of the central structural complex

Tilaurakotâ&#x20AC;&#x2122;s Urban Plan During our project the team have completed the most comprehensive mapping of Tilaurakot ever conducted. This has been undertaken through total station survey in combination with photogrammetry through airborne drone mapping. This has provided detailed measurements of the topography of the site and its hinterland, which has been tied to our archaeological discoveries as well as previously exposed remains at Tilaurakot. With this detailed base-map in place we conducted geophysical survey across the entire interior of the city, as well as several locations outside the ramparts. Archaeological geophysics was first developed in the 1970s and now is 54 / SPACES FEBRUARY 2016

frequently utilised by excavations teams across Europe, the Middle East and the Americas. Particularly favoured by commercial units in the UK to evaluate the potential of subsurface archaeological remains prior to planning development, magnetometry offers a quick and relatively cheap alternative to the excavation and processing of extensive trial trenches. This technique is particularly successful as it measures the magnetic properties of the underlying soil. Material that has undergone a firing process, such as brick, usually provides a more positive magnetic signal compared to the surrounding soil so by taking readings every 50 centimetres and downloading the results onto a microprocessor, it is possible to record and present the subsurface features of an area

as large as four hectares a day if suitably cleared of vegetation. Often penetrating to a depth of one metre, alignments of walls and streets can be discerned within urban areas. Through geophysics, spectacular discoveries were made at Tilaurakot without needing to dig into the ground. Projecting the results of geophysical survey onto our detailed topographic base-map we have revealed a grid-iron city layout. A clear network of cardinally-oriented roads, lanes and buildings throughout the walled city that link-up with a number of the larger conserved monuments, such as the Eastern and Western Gateways are identifiable. The streets were not paved but appear to have been unmetalled and probably served an additional function for drainage during

The archaeological component of the project Strengthening the

Conservation and Management of Lumbini; the Birthplace of Lord Buddha, Phase 2: TilaurakotKapilavastu, comprisesexperts from the Lumbini Development Trust, Department of Archaeology (Government of Nepal), Pashupati Area Development Trust, Durham University, the University of Stirling and the University of the Highlands and Islands. The team have been working at Tilaurakot since 2012 and in addition to previous work at Lumbini are investigating other sites within the Natal landscape of the Buddha through their multi-disciplinary archaeological approach. The current project is generously sponsored by the Japanese-Funds-in-Trust through UNESCO, the Lumbini Development Trust, the Hokke Shu and Durham University and would not be possible without the support of the UNESCO Kathmandu Office, the Risshon Shanti Vihar, the staff and students of Tribhuvan University and the communities of Tilaurakot. For more information about the Project please visit: http://community.dur.ac.uk/arch. projects/lumbini/

The monastery trench with the Eastern stupa in the backgound

the monsoon. There is also an apparent variation within the breadth of streets with some, such as that running from the Eastern Gate westwards, measuring at least 10 metres wide whilst others were narrower. The street plan also appears to have included the provision of a 20 metre wide space between the fortification wall on the eastern and southern sides of the city and the buildings within. In addition, the resultant geophysics was used to target the placing of exploratory excavation trenches, including across several cardinally-orientated brick structures with internal divisions and courtyards. As many of these brick built complexes are located only 20 centimetres below the ground surface, larger portions FEBRUARY 2016 SPACES / 55

The rampart trench illustrating the early palisade, clay rampart and brick fortification

of their layouts were successfully exposed. Offering insights into their architectural construction, many of these buildings used low brick foundation walls, with slots cut into these for timber superstructures. The absence of roof tile also suggests that most of these structures were thatched. The team also successfully identified previously unknown monumental constructions, including a 30 by 30 metre quadrangular feature to the centre west of the site. Fitting into the grid-iron layout revealed by the geophysics, a portion was excavated and revealed a large brick-faced pond within the city. With 26 surviving courses of individual bricks measuring 42 cm in length, this feature is reminiscent of the central water tanks of the later medieval cities of the Kathmandu Valley, which might suggest that such features developed in the Terai as an integral part of city planning before moving up to the Valley. Most intriguingly, a large walled compound, measuring 100 by 100 metres has been identified in the centre of the site, with curved edges to its exterior walls. Representing a walled enclosure within the walled city, we suspect that it may represent a central palatial complex and we will investigate this further during our next field season in 2016 through excavation. We have also focused on the cardinallyaligned outer walls of Tilaurakot, first surveyed by P.C. Mukherji and then excavated by Debala Mitra. Famously dismissed by Mitra as being a relatively late addition to the settlement and no earlier than the third century BC, we opened a large trench across the cityâ&#x20AC;&#x2122;s northern rampart and identified four major construction phases. The earliest two were represented by timber palisade, wooden fence-lines of large timber posts on an east to west alignment, which were later replaced by a smoothed clay rampart running on the same orientation. This clay rampart was later embellished with a brick fortification, much of which has been conserved by the Lumbini Development Trust. As earlier noted by Mukherji, the monuments and structures extended far beyond these 56 / SPACES FEBRUARY 2016

ramparts and include several archaeological features, intrinsically linked to the ancient settlement. An area outside the northern rampart has been identified as a suburb and a little further to the north are the Twin brick stupas. Outside the Eastern Gate a further stupa is located and to the south of the city, beyond the rampart, is a large mound scattered with waste from iron-working. Investigations were directed to this southern mound and around the Eastern Stupa. On the southern mound, the excavations highlighted that this was a major industrial zone with almost 8 tonnes of slag from iron smelting recovered from trench measuring

4 x 3 metres, providing evidence of large scale smelting, dating to 400 BC based on radiocarbon determinations. Furthermore, between the industrial mound and the southern rampart we conducted a series of soil cores and this profile revealed a second moat running to the south of the rampart and previously identified moat. Geophysical survey around the Eastern Stupa demonstrated that this was not an isolated monument but formed one part of a vast monastic complex. Excavations conducted in 2015 evaluated the geophysical signatures and we identified monastic walls, just below the ground surface, including the edges of formalised tanks that would have

provided water for the monks that inhabited this ancient complex. Also excavated was a hoard of 497 silver punch-marked coins sealed below a pavement within the monastery, which we believe represents a foundation deposit and demonstrates the sanctity and importance of this location to the ancient communities of Tilaurakot. Future Perspectives It is immediately apparent from our new fieldwork at Tilaurakot that the city plan is remarkably similar to that recommended by texts such as the Arthasastra. On reflection, it is also extremely reminiscent of Faxian and Xaunzangâ&#x20AC;&#x2122;s descriptions of ancient Kapilavastu. Indeed, the Chinese pilgrim monks recorded a central palatial complex and a city defined by a rampart and moats, with gates at the cardinal directions. Furthermore, they noted stupas to the north of the city in addition to a stupa located adjacent to the Eastern Gate. Such features have been identified during fieldwork at Tilaurakot and further the claims of Tilaurakot as Ancient Kapilavastu but future work is still required to confirm such an assertion. This is particularly important as the brick built structures on the surface date to the later occupation of the settlement and post-date the life of the Buddha himself by many centuries. Irrespective of these debates, our research has shown that Tilaurakot exhibits a shared concept of pan-South Asian urban design with other ancient city sites, such as Mahasthangarh, Bhita and Sisupalgarh.

The Project team comprises archaeologists from the Lumbini Development Trust, Department of Archaeology (Government of Nepal), Pashupati Area Development Trust,Durham University,the University of Stirling and the University of the Highlands and Islands. The Project is generously sponsored by the JapaneseFunds-in-Trust through UNESCO, the Lumbini Development Trust, the Hokke Shu and Durham University and would not be possible without the support of the UNESCO Kathmandu Office, the Risshon Shanti Vihar, the staff and students of Tribhuvan University and the communities of Tilaurakot. For more information about the Project please visit: http://community.dur. ac.uk/arch.projects/ lumbini/

these settlements to major religious sites, including Lumbini, Kudan and Ramagrama, providing a regional view for the development of society in the Natal landscape of the Buddha. Whilst the making discoveries about the past, we are also aware of the need to protect and promote heritage for the present as well as for future generations. At Tilaurakot, archaeological remains were usually encountered only 20 cm below the soil and whilst this can be managed by the Lumbini Development Trust in governmentowned land, this is a challenge outside such jurisdictions. For instance, in the governmentmanaged land, mainly defined by the ancient ramparts of the city, enhanced management plans can be introduced, such as the new nonintrusive and reversible walkways that are being created to protect sub-surface archaeological remains, whilst also guiding visitors around the site to areas of interest. However, the majority of the monastery discovered around the Eastern Stupa is within private fields rather than under government stewardship and therefore at risk from unchecked development. Rather than blocking all development, the internationally significant heritage of Tilaurakot and the Natal landscape provide an opportunity for sustainable development as long as it is sympathetic to both the long term preservation of the heritage and the needs of local communities.

The multi-disciplinary archaeological approach has begun to successfully identify the urban layout of Tilaurakot during its final phases of occupation and we hope to expand these investigations to further sites. This includes Araurakot, a fortified settlement to the north east of Tilaurakot which has never been excavated. We hope to explore its urban plan through a similar methodology and see how this relates to Tilaurakot, textual descriptions contained in treatises such as the Arthasastra, and other ancient urban forms in South Asia. We will also seek to relate our findings from investigations of FEBRUARY 2016 SPACES / 57

Interior Design Competition

IDC 2015

â&#x20AC;&#x153;Visualizing a transitional restaurantâ&#x20AC;?

nitiated by SPACES magazine and NFFA (Nepal Furniture and Furnishing Association), the first Interior Design Competition (IDC) took place in 2014 during the exhibition on furniture and furnishing FURNEX NEPAL 2014. IDC 2015 is the second competition of its kind, helping the participants broaden their wings and raising the scope and standard of interior design in Nepal . The primary objective of Interior Design Competition is to provide an arena for students aiming to pursue a career in interior design to showcase their innovative design ideas. IDC 2015 has taken one step forward this year by incorporating students from different Architecture Colleges along with Interior Design Institutes and Colleges. IDC aims to gradually raise the standards of the interior design curriculum and prepare the students to compete on an international level. To provide a realistic scenario for the participants to work on, the project theme for IDC 2015 was transitional restaurant design with a fusion of traditional touch and modern etiquettes at the BBQ Courtyard, Jhamsikhel. By means of the Induction Programme organized at IOE, Pulchowk Campus on 2nd August 2015, interior designer Sabin Shakya, member of the Working Committee guided the sixty-seven participants from various institutes through the competition process. The participants were to submit their design concept and branding, floor plans with layout, exterior and interior

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design and furniture design and mood boards with the help of 2D drawings and 3D renders. The Advisory Committee comprised of members from diverse backgroundsAr. Salena Sangachhe from Society of Nepalese Architects (SONA), Ar. Pawan Shrestha from Green Developers Pvt. Ltd. and Mr. Ashesh Rajbansh from SPACES, Mr. Sujil Shrestha from NFFA and Mr. Troilokesh SJB Rana- product designer and wood expert. The jury panel consisted of 3 members: Ar. Sanjay Pradhan from Design Cell, Interior Designer- Sabita Sakha from

Space Design and Mr. Pravin Chitrakar from Yala-Handicraft Museum. After the careful judgment by the distinguished jurors, on 2nd September 2015, 11 participants were selected on the basis of their outstanding designs. The following day, the selected participants were given an opportunity to best elucidate their concept through presentation at Moksh Restaurant, Jhamsikhel, on the basis of which the Top 5 were selected and declared on 7th September. As the final phase of the competition was to be judged on the basis of a

Concept Board, an Induction Programme for the top 5 finalists was conducted on 5th November at Yatkha Baha.Mr. Trilokesh SJB Rana, Wood Expert at Tridevi Designs and Builders, explained how to use a concept board to visually represent an idea and further showcase their design. Each finalist came up with an exceptional concept board which was thoroughly evaluated by the panel of jury at BBQ Courtyard on 18th December. Ninety per cent of the marking is from project submission and presentation, while the remaining ten per cent from the Concept Board. The winners of the competition will be declared on the Closing and Award Ceremony of IDC 2015. The Concept Boards were planned to be showcased at the forthcoming FURNEX NEPAL exhibition at Brikutimandap, but due to the current unpredictable scenario of the country the event is postponed by NFFA till further notice.

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Art in times of

chaos

Text by: Saroj Bajracharyaâ&#x20AC;&#x192; Photos : Prithivi Shrestha

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Walking to Basantapur always brings old memories. When memories are asserted by objects or physical reality, one would feel that even though times and situations change, there is always something to look back to and confirm that whatever one had experienced, there are some testimony to it.

re 25th April 2015 was a routine, plain assertions of memories; my experiences and the experiences of all those who lived before me from time immemorial. Particularly of the place that is well known by the name of Kasthamandap or MaruSatal believed to have been built from a single tree trunk. This place used to be a precious momentary abode for many and artists were no exception. A perfect location for quick sketches of the passing pedestrians and old architects, young artists saw this place as their shelter. More than a decade ago, I also used to sit in the steps mapping the lines of movements of people passing by. Now as I roam around that place; there is no shelter built from a tree

trunk; the tree has fallen. The testimonies of memories are dust, gone. All the traditional art we have or that we are losing; what is the mechanism to keep it alive? The direct answer might be to renovate it or by preserving it. Taking care of it and handling it in such ways that increases their longevity. But even if we do all that, will these old arts transform? Should the arts of the ancient be kept as they are or should they be transformed with time? Should it be evolvedfor the newer generation? What is that mechanism then which will interpret it through modern understanding giving newer possibilities for its survival and existence? FEBRUARY 2016 SPACES / 61

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They say that history cannot be altered, but our perspective towards history sure can be expanded through which we can draw new meanings and purposes of our history so that our present could be more relevant for future. The essential way is not only to preserve or document rather transcend our traditional and historical art by interpreting them through the contemporary arts of today.

colors can be pensive that germinates concentration to our contemplation. History is a testimony that humans expressed celebration via art; however, in times of suffering too, art has been seen to become solace that actually dug deep within to confront the pain. It was not merely bandage, rather a healing process itself. In the depth of it all, this healing art was human consciousness itself.

Artof today or of any generation is quite difficult to imagine without colors; colors can be mode of celebration, but the same

In the wake of the Nepalâ&#x20AC;&#x2122;s current devastating earthquake, many Nepali artists went to the ruins of the quakes

All the traditional art we have or that we are losing; what is the mechanism to keep it alive? The direct answer might be to renovate it or by preserving it.

to build momentary shelters orconduct workshops with children or decorate temples and fallen houses; but very few searched deeper meaningsbehind these architects. The demolition in the earthquake was the affect but the cause of their creation is subtle, deep and sensitive. And art and philosophy are such interpretations of life and its diverse reflections that they can bring these diversities into singlesurface displaying its viewer its significant continuum. This surface restores calm even in storm, for instance the Kasthamandapthat persists

within is never shaken no matter how is big the earthquake. Because even though the testimony of history persists on the outwards, history actually continues within giving us our own sense of personal and collective evolution. And that is being shown to us by the light of art. Was such art thought of or came about in times of chaos in Nepal? How can art be inherited from one generation to the other? What is the art of Nepal, especially in times when the specific definition is much needed in order

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The activities artists are commencing from days of the earthquake are mostly social activities; building temporary shelters and using the skills of art trying to provide temporaryreliefs to the victims.

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to get connected to our roots in times of natural instability? Is this debate even necessary? Natural calamity is sudden that brings down old architects, so do artists need to be involved in the recovery or is it categorized to engineers and technicians only? And merely by resetting the visuals is enough or shall we understand that exists beyond our eyes? Art is the state of mind and this state of mind makes the Nepaliness alive; if so then werethe artists truly involved in the making of the architects that were devastated by the earthquake?

There were times when artists were involved in almost everything; be it establishment of religion (creating Pauwa or religious sculpture) or building of architectures (temples to houses); however in these ancient times artists were not credited. And today they are beginning to be seen as social icon yet there presence in times of necessity appears limited. There is a difference between art and social activities. The activities artists are commencing from days of the earthquake are mostly social activities; building temporary shelters and using the skills of

art trying to provide temporaryreliefs to the victims. This maybe legitimate act of kindness from artists; but what is equally or even more important is to contribute in the deeper recuperation of the fallen houses, cultures, beliefs, hopes and dreams; all are but scattered haphazard. Because art and philosophy has a power to bring the scattered into a single surface to bring forth the bigger picture and simultaneously focus on the minute details. Art has a capacity to take us beyond the known periphery of our surroundings into the realm we have seldom explored. If an artist claims that he is painting abstract merely by compiling colors and envisaging design on the canvas (abstract art will largely remain mystery to onlookers because it is the journey of an artist to his self explanatory yet collectively unexplained territory; that’s the nature of abstract art) or if one asserts that he is bringing out the serious social issues through his art and as a matter of fact he is just depicting what is in the air and not where actually that air is coming from, then what’s the point? Art is not limited to being cultural poster or social statement. There are other mediums for that.Art is more about making a personal statement; eventually, and if art lacks that then can that be termed art? It’s rather not just about appreciation and opportunities the artists are getting; it’sabout getting familiar with the known periphery in order to expand your opinion to the unknown or uncharted territory. This might just help the creative opinion of the artist to become an example making that work of art stand out in any crowd, not merely visually or emotionally but intellectually as well and artistically. Merely bringing out the affect and not journeying towards the cause only goes on to show superficiality of an artist, especially when one is dealing with serious and sensitive issues.

I believe it’s necessary to have a belief or an opinion of your own in life, and since art is a special personal moment for artists and if artists lack opinion in art, then that’s an irony and in a long run it surely will become a tragedy to that artist. And here we are talking about a country underthe nature’s wrath where artists were largely involved in helping the victims out; and indeed it was a commendable job. But to most, the art that persisted within was untouched.How can I be the extension or the preservation of my extensiveculture some of which now is lying in ruins? This question is locked deep in the unconscious that not even the reoccurringshake of the earthquake could bring out.Or maybe it is a preparation phase for some artists; maybe

the plates within are getting stable. Maybe now it is the contemporary art that will redefine and rediscover the things we think we have lost. Maybe it is all just right here. Maybe it is just the matter of seeing: by finding the art within! And whenever I walk to Basantapur, I am walking into my memory lane as well; I can still have a sense of Kasthamandap which is no longer thereyet has risen within me… some portion of me has transformed with it and I hope soon it will stand again at Maru as well as on my canvas; maybe not realistically but in its essence, because art and culture is the state of mind that in time becomes our attitude and thought process...

FEBRUARY 2016 SPACES / 65

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Interior

ooking around and imagining the world in black and white makes us thankful for the rainbow of colors that surround us. The color of the sky changes from deep blue to fiery red through the day; whereas the color of the leaves change from green to yellow depending on the time of the year. Living in a colorful world, it may surprise us that our surrounding is actually said to be colorless and it is not the eye that perceives color. Color is not associated with the physical aspect of an objects, but rather the effect of light waves bouncing off or passing through the objects. Although color originates from light, there would be no color if the light did not contain wavelengths. The impact of the wide spectrum of colors is infinite; whether it is from the natural environment or confined inside a space. Color has a manipulative role in the human perception of a space, resulting to alteration in our moods. The same space may appear to be different by the application of different colors, and the respective colors may ignite different feelings and mood.

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Application of colors in Architecture and Interiors Ceilings One of the best ways to illustrate the effects of warm, cool or neutral colors in a space are ceilings. The color of the ceiling which comprises almost onesixth of the space in a room also has a visual effect on the space. As a general rule, ceilings that are lighter than the walls feel higher, while those that are darker feel lower. For example, having a darker color on the ceiling creates an illusion of a much lower ceiling height than what it normally appears to be.

Picture 3 : The variation of color in the ceiling of the same room shows that the deep violet (warm color) walls seem higher when white ceiling is used while the tan walls seem lower when THE CLASSIFICATION OF COLORS NEUTRAL COLORS The variation To understand how colors affect our Neutral colors are sometimes known as the ceiling is colored dark violet. Photo courtesy: Benjamin Moore of color in the

mood, we have to further break it down to earth tones. These consists of brown, ceiling of the understanding the classification of colors beige, grey, black and white. The following same room and its application in architecture and pictures illustrates a spectrum of warm shows that Color and mood strategically interiors. Colors are used and cool neutral colors. These are usually the deep violet for creating levels of proximity. In associated for a calming environment. (warm color) Now that and we interiors, know how colors are responsible in creating illusions of proximity and igniting architecture colors are walls seem most simply classified as warm, cool and APPLICATION OF COLORS IN ARCHIhigher when and mood. Generally, different emotions, it will be easier to understand the relationship of color white ceiling is neutral colors. Warm colors are gravitated TECTURE AND INTERIORS perceptions of color somewhat butthe there are some colors which have a universal used while towards reds and yellow, are whereas, cool subjective, CEILINGS tan walls seem colors are gravitated towards greens effect. Warm colors (such as red, yellow, orange and combinations of all of them) One of the best ways to illustrate the represent lower when the and blues. Neutrals are grey, black and effects of warm, cool or neutral colors in aCool sunlight and heat and make us feel warm by increasing the heart rate and temperature. ceiling is colored browns. space are ceilings. The color of the ceiling dark violet. colors (such as blue, green and light purple) characterize sky and water and have reverse effects. which comprises almost one-sixth of the Photo courtesy: space in a room also has a visual effect WARM AND COOL COLORS They make us feel cool by lowering our temperature and have the ability to create tranquility. Benjamin Moore on the space. As a general rule, ceilings Warm colors appear as though they are lighter walls feel higher, come closer which is why they're often Because of the direct correlation between our emotionsthat and colors,than wethe experience different while those that are darker feel lower. used to make large rooms look cozier stimulations in different colored spaces. Learning how a color influences our emotions can help For example, having a darker color on and sophisticated, for example, applying better understand their psychological effect and use it effectively to design a space. the ceiling creates an illusion of a much a warm color like orange can make a lower ceiling height than what it normally bedroom feel more intimate. Cool colors appears to be. are light, expansive and airy and they recede or look farther away making a COLOR AND MOOD room feel larger and brighter. To visually Now that we know how colors are enlarge a confined space, adding a cool responsible in creating illusions of color such as light blue can make it look proximity and igniting different emotions, it more spacious as they reflect light.

will be easier to understand the relationship of color and mood. Generally, perceptions of color are somewhat subjective, but there are some colors which have a universal effect. Warm colors (such as red, yellow, orange and combinations of all of them) represent sunlight and heat and make us feel warm by increasing the heart rate and temperature. Cool colors (such as blue, green and light purple) characterize sky and water and have reverse effects. They make us feel cool by lowering our temperature and have the ability to create tranquility. Because of the direct correlation between our emotions and colors, we experience different stimulations in different colored spaces. Learning how a color influences our emotions can help better understand their psychological effect and use it effectively to design a space. ACTIVE, PASSIVE AND NEUTRAL COLORS On the basis of behavior, colors can be of three types: active, passive and neutral. Warm colors (pink, red, orange and yellow) are active, cool colors (green, blue and violet) are passive while black, white and brown are neutral. Active colors are vibrant, bold and instantly raise our energy level. Often associated with joy of sunshine, they evoke feelings of warmth, cheerfulness and enthusiasm. However, active colors can overstimulate emotions when used in excess triggering negative emotions such as frustration and fury. Associated with health and well-being, passive colors are soft and soothing and make us feel tranquil, serene and relaxed. These colors have the ability to increase our mental focus, relieve stress and help us relax at the same time. Neutral colors act as the area between the active and passive and are neither loud nor calm. These colors are muted and flexible and are used to create a natural comfortable atmosphere.

Picture: Color Wheel of Emotions; The above colors are supposedly associated the following moods, behavior, etc.

We have an innate reaction to color that has been influencing our mood, feelings Active, passive and neutral colors andOnthe human behavior Color can the basis of behavior, colors as can well. be of three types: active, passive and neutral. Warm colors (pink, red, orange and yellow) are or active, cool colors (green, blue and violet) are passive while alter our moodbring rage tranquil, evoke black, white and brown are neutral. emotions and stimulate our senses. It can areour vibrant, bold and instantly raise our energy level. Often associated with joy of Active colors directly affect brain’s functionalitysunshine, they evoke feelings of warmth, cheerfulness and enthusiasm. However, active colors either by increasing focus and stimulating productivity or rapidly increasing or decreasing our energy. The multiple roles of color in architecture and interiors is not limited to the emotional tone of a space, but also responds to the wellbeing of the respective inhabitants. The correlation between colors and our mood may have been an underrated subject, however, we do have the power to guide our emotions through sensitive selection and application of colors and their tones and tints.

UNESCOâ&#x20AC;&#x2122;s

fight against

illicit trafficking of cultural property and questions relating to restitution

TEXT: Christian Manhart photos: Osmund Boppearachchi

Bags with corroded silver coins from Mir Zaka

UNESCO expert (right) had the chance to examine the Mir Zaka treasure for a few hours

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ith globalization, the legal and illicit trade in cultural property has become a major, and growing, international business, affecting museums, public, private collections, religious monuments, cultural institutions and archaeological sites worldwide. Therefore, the importance of the 1970 convention on the means of prohibiting and preventing the illicit import, export and transfer of ownership of cultural property, is also growing significantly. The Convention provides its states parties with measures for preventing the import and trade of stolen artefacts, restitution provisions, inventories, export certificates, monitoring trade, the imposition of penal or administrative sanctions, training, and an international cooperation framework. To date, 128 countries have ratified the convention, and UNESCO is now glad to have on board such countries with important art markets such as the United States, Canada, the Russian Federation, Germany, France, the United Kingdom, Australia and Japan, as well as most of the countries of origin, such as Nepal. The newest state party is Luxemburg, which just ratified in February of this year. The 1970 convention is however insufficient by itself as it does not include civil law provisions and because of this, it was necessary to develop other instruments. UNESCO therefore strongly promotes the UNIDROIT convention of 1995 on stolen or illegally exported cultural objects, which considerably improves the chances of restitution and which is complementary to the 1970 convention from a private law perspective. Unlike the 1970 convention, the 1995 UNIDROIT convention focuses on a uniform treatment for the restitution of stolen or the return of illegally exported cultural objects. Claims are processed directly through states partiesâ&#x20AC;&#x2122; national courts or other competent national authorities. In case of theft, claimants may be individuals or entire states, however in the case of illicit export, claimants

are exclusively States. The UNIDROIT convention is not limited to inventoried objects as is the 1970 convention, covering instead all stolen and illicitly exported cultural objects and requiring their return. Cultural objects that have been unlawfully excavated are to be considered stolen and have to be restituted. The 1995 convention gives a right to indemnity or compensation, not to the thief or to the receiver of a stolen object, but only to a third party that acquired the object in good faith (i.e. without knowledge of its illicit provenance) and conditional compensation to due or reasonable diligence. There is some controversy surrounding the 1995 convention and strong lobbying against it, particularly in the ‘receiving’ countries. Therefore, to date, only 36 countries have ratified this Convention. UNESCO urges those countries that have not yet done so, such as Nepal, to ratify it. In many cases, bilateral negotiations for returns are successful. However, because the 1970 convention is not retroactive before ratification by the concerned states, another body had to be created in 1978 for mediation and state to state cooperation: the intergovernmental committee for promoting the return of cultural property to its countries of origin or its restitution in case of illicit appropriation. There are twenty-two members of this committee elected every second year during each UNESCO general conference. So far, the committee has not achieved many cases of restitution, however two cases have been resolved in recent years: The Makonde Mask returned from the Swiss Barbier-Muller collection to the National Museum of Tanzania, and the Bogazkoy Sphinx was returned from the Pergamon Museum in Berlin, Germany, to Turkey. Some cases have gone on for many years; the cases of the Parthenon Marbles, for example, have been presented before the Committee for three decades. Therefore, discussions are held about strategies to increase international cooperation for

The looting of Bamiyan’s mural paintings is also a cause for concern. In addition to the famous Buddhist statues blown up in March 2001 by the Taliban, Bamiyan has 700 caves carved in the rock cliffs by Buddhist monks between the second and ninth centuries AD.

Today’s looters are less glamorous than Lord Elgin. In Afghanistan, for example, many extremely poor villagers living in miserable conditions have no source of income other than to dig. To them, there is no difference between digging for antiquities and digging for potatoes in their soil. It is difficult to explain the difference to people in their situation. They are paid very little for the hard and often dangerous digging work and are mostly exploited by the warlords holding the power over the territory concerned.

the presence of an international team could bring an end to looting. This would also have provided employment to the villagers and the possibility to create awareness for the protection of the remains of their past. Unfortunately, UNESCO’s efforts were unsuccessful. An Italian team that was sent in first was threatened by the warlord and forced to end its excavations immediately. A Japanese team was sent next, extremely keen to excavate this Buddhist site. However, after three weeks, the situation proved too dangerous for them as well, and they had to return. This is very unfortunate, as this site has never been researched and no archaeologist has yet had the opportunity to see, study or document it. Now its structures are systematically being destroyed solely for the objects being removed from them. These objects lose their historical context and value. For example, artefacts from the Graeco-Buddhist culture that emerged following the third century BC can originate from what are now several countries in Central Asia: from northern Pakistan and Afghanistan, to southern Uzbekistan and Tajikistan. When items from sites such as Kharwar appear on the art market, it is almost impossible to determine their exact provenance and they become useless for historical research.

In Kharwar, formerly a large Buddhist city in Afghanistan, the Minister of Culture, Makhdoum Raheen, requested UNESCO’s assistance. He was very concerned about the ongoing looting of the site and asked UNESCO to conduct preventative excavations on the site. The hope was that

Another example of illicit excavations is the area of the Minaret of Jam, also in Afghanistan, the second tallest minaret in the world. In the eleventh and twelfth centuries, this was the site of an important Muslim city, which is not yet sufficiently researched. Dug into the slopes next to

restitution, as well as alternative solutions when pure restitution is impossible, such as long-term or permanent loans. Of course, the purpose of this intergovernmental committee is not to empty all western museums or to bring all cultural objects to their countries of origin. It is intended only for some very significant objects and for those that were stolen or illicitly exported, although the definition of illicit export is often a point of contention in itself. This can be seen in the case of the Parthenon Marbles, where there is no consensus by the two parties involved as to whether or not the marbles were illicitly exported by Lord Elgin in the nineteenth century.

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the minaret are countless holes, created by the illicit excavation of local villagers. Here, UNESCOâ&#x20AC;&#x2122;s preventative excavations employed these villagers to work alongside Italian and British archaeological teams in order to safeguard and conduct research on these structures. Another aim of this project was to create awareness among the villagers for their cultural heritage, which is their cultural identity as well. An important numismatic treasure consisting mostly of silver coins was discovered in 1947 by the French archaeological mission in Afghanistan at Mir Zakah, a small village in southern Afghanistan near the Pakistani border. Half of the coins were sent to the National Museum in Kabul while the other half came under legal contract to the MusĂŠe Guimet in Paris. While the portion that went to France still exists, most of the coins in the Kabul Museum were looted in the early 1990s.

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Villagers in the same place found a spectacular and much larger second treasure in 1992, during the roughest phase of the Mujahideen war in Afghanistan. It contained three tons of silver coins and some gold jewellery and statues, which went to several important hubs of the art market. UNESCO was first offered the treasure in 1993 through an Afghan art dealer in Peshawar (Pakistan), for the amount of US$600,000. As custodian of the 1970 Convention, UNESCO is unable to make such purchases, as they may be seen to validate looting and illicit trade. Also, it lacks the necessary funding and has neither storage nor conservation facilities to care for such items properly. So, while UNESCO was unable to purchase the collection itself, it tried to identify a museum that would be willing to take the coins and safeguard them. However, no museum approached was ready to do this, even secretly. The coins disappeared,

Gold and silver objects from the Mir Zaka treasure

re-emerging on the market several years later in Switzerland. Again they were offered to UNESCO, this time for US$1 million, and again UNESCO could not make the purchase and the silver coins disappeared. Recent reports place a large number of them still in Switzerland. A smaller percentage was sent to the United States, where several hundred kilograms were melted down in order to produce fake jewellery. Jewellery made from old silver, dating in this case from the second century BC, is desirable for forgers, as it confuses dating techniques that would normally identify pieces as fakes. This is a tremendous loss for historical knowledge

Mir Zaka originally was a well, it has been extensively excavated to become a small lake.

This is very unfortunate, as this site has never been researched and no archaeologist has yet had the opportunity to see, study or document it. of the Central Asian Region. Professor Osmund Bopearachchi, a specialist in Central Asian numismatics, teaching at the École Normale Supérieure in Paris, discovered on these coins, the heads of unknown kings from kingdoms installed in Central Asia by Alexander the Great. These coins would have enormously expanded our knowledge of the history of Central Asia and Greece. The looting of Bamiyan’s mural paintings is also a cause for concern. In addition to the famous Buddhist statues blown up in March 2001 by the Taliban, Bamiyan has 700 caves carved in the rock cliffs by Buddhist monks between the second and ninth centuries AD. Of these caves, twenty-

six still contain mural paintings. These are frequently targeted by looters whose efforts to cut them out often results in large pieces falling down or breaking into rubble. When the UNESCO team entered the caves, a layer of broken plaster with paintings often covered the ground. In the 1970s, Japanese specialists made an extensive inventory of these paintings. Disappointingly, the assessment by professors Miaji and Maeda revealed that 80 per cent of them had disappeared within the last thirty-five years, through neglect, theft, and also through deliberate destruction- first by the Russian army, then the Mujahideen and finally by the Taliban. UNESCO worked to safeguard the caves with a Japanese team, financed by the Government of Japan, in hopes to be able to one day, restore these paintings. In 2002, UNESCO took the very simple step of installing locking doors on the caves with paintings. This has proved effective and since then no thefts have taken place from the Bamiyan caves. UNESCO has also concluded contracts with several institutions to locate and safeguard looted Afghan cultural property, with the aim of returning them to their

country of origin as soon as the security situation permits. The Japanese Cultural Heritage Foundation was very efficient in finding important and particularly fine pieces, mostly stolen from the Kabul Museum. A contract has also been signed with the Bibliotheca Afghanica of Bubendorf (Switzerland), whose director, Paul Bucherer-Dietschi, in 2007 retuned all cultural objects he had found in Switzerland. However, UNESCO is currently not in favour of such returns, as the situation is deteriorating in Afghanistan, and this is not thought to be the right time for restitutions. UNESCO also works frequently with INTERPOL, New Scotland Yard and other police forces, in order to identify looted cultural objects. This is done by contributing information about stolen objects to their respective databases, provision of specialists who can identify seized objects and establishing contacts with the relevant antiquities authorities of the country of origin. Additionally, UNESCO maintains a database of national cultural heritage legislation. This resource is on the UNESCO website, accessible to everyone, and includes more than 2,000 acts or pieces of legislation from some 180 countries.

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From the Shelf

Man and His House in

the Himalayas GERARD TOFFIN MAN AND HIS HOUSE IN THE HIMALAYAS PROVIDES AN OUTLINE OF RECENT RESEARCHES IN THE FIELD OF HIMALAYAN ARCHITECTURE AND ANTHROPOLOGY. THE BOOK AIMS ALSO TO DRAW ATTENTION TO THE MOST FRAGILE, HUMBLE AND DOMESTIC ASPECTS OF THE CULTURAL HERITAGE OF THESE REMOTE REGIONS.

or around two decades, a small group of ethnologists of the Centre National de la Recherche Scientifique (France) has been working in the Himalayas. This rich collection of data has been further supplemented by a series of studies of a more specific nature devoted to the construction sphere. Undertaken within the framework of the G.R.E.C.O. Himalaya-Karakorum (C.N.R.S.) by architects and construction specialistsâ&#x20AC;&#x201D;sometimes in close collaboration with ethnologistsâ&#x20AC;&#x201D;these studies bring out other aspects, more technical, more functional perhaps, of the house, enabling a better comparison of the different types of architecture in the zone under consideration. At a time when, under the patronage of the U.N.E.S.C.O., an exhaustive inventory of the national Nepalese heritage is being drawn up, covering the most representative edifices of the Himalayan civilisations, it seemed desirable to draw attention to another kind of heritage, more modest, more familiar, more fragile: domestic habitat. This task is all the more necessary as "vernacular" forms of

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architecture are very much the order of the day. Architects and ethnologists now realise that the house is as much a part of the culture of a given population as the palace or the temple and tells us as much about the religious representations of its inhabitants as the most sacred monuments. The Himalayas are the ideal place to study such domestic architecture. Stretching

Remains (silos) of the house after a fire (Cl. M. Gaborieau)

between the high Tibetan plateau of Central Asia and the tropical plains of the Indian sub-continent, they offer an infinite variety of house types. Double sloping roofs, inclined to varying degrees, or flat roofs; roofing in thatch, tiles, roofing stone, shingle or mats; mud, brick or stone walls, simple mat or thatch screens; single level horizontal buildings or vertical buildings with two, three, four storeys, etc.: the

House elevation

differences within this single zone are immense. The transition is so rapid that although the traveller approaching Nepal from the South arrives in a hot, flat and humid region, already he is able to perceive the snow-clad Himalayan chain in the distance. Cultural reasons also contribute to

Transverse section of the house (scale 3/100)

this diversity. For these ecological zones, with such highly contrasting bio-climatic conditions of life, are inhabited by populations who differ from each oilier linguistically, culturally and physically. Between strictly ecological and cultural factors, it would appear that more often than not, it is the latter which prevail and which give to the

house its originality. Terrains displaying similar characteristics like the Terai give rise to very different house types and similar house types are built on varying terrains. Transplanted outside the Kathmandu Valley to which they originally belonged, the Ncwars reconstructed for example exactly the same house type as the one they left behind. This uniformity would become even more evident if one were to examine religious edifices: the Tibetan monasteries are built in identical fashion, be they at an altitude of 4000m or 1500m in the Kathmandu Valley, or even at sea level (Buddhist buildings of Bodh Gaya and Sarnath in India). And "Nepalese" style temples can be found both in the Kathmandu Valley, where this style originated as well as in the Nepalese hills. To come back to domestic habitat, the cultural milieu influences not only the psychological and cultural values attached to the house, but also its form and internal arrangement. Everything proceeds as if a certain "cultural model" was associated with the habitations, a model difficult to dissociate from the other socio-rcligious institutions of the considered group. Culture thus

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takes precedence and chooses its path from the range of options provided by the physical environment, altering in some cases die primary forms.

Organisation of the habitat in storeys superimposed on a steeply sloping terrace, Braga village

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This book consists of thirteen contributions written by anthropologists, architects and a member of the Guild of Carpenters dealing mainly with popular forms of architecture in the Himalayan regions, particularly in Nepal. Chapters on the house of the Tharus from Terai, Newars from the Kathmandu valley, a Tibeto-Burmese linguistic group who created a highly developed and urbanised civilisation in the Middle Ages, the Limbus, the Majhis, the Tamangs and Sherpas, transhumant cattle breeders, and the Thakalis are very informative and the last part of the book is devoted to the description of houses in ihe area inhabited by Tibetan-speaking populations at high altitudes in Nepal and in India (Ladakh).

ARTScape

Identity and Development Talking about identity and preserving traditions, Mekh Limbu tries to show the contrast disturbance of tradition and modern buildings from the Changu Narayan village. Changu Narayan temple, one of the World Heritage Site of the Kathmandu Valley is losing its traditional architectural beauty where a cluster of concrete modern houses isolated the temple as well as losing the traditional houses and question us about our own identity, existence and chronological development. ASHA DANGOL

Mekh Limbu A winner of Prashanta Scholarship Award in 2009, Mekh Limbu is the upcoming visual artist who expresses his experiences and ideas through narrative forms on contemporary socio-political issues. Masters in Fine Art from Central Department of Fine Arts, Tribhuwan University, Mekh Limbu is now lecturer at Fine Art College in Bhotahity. In 2012 he got fellowship in Artist-in-Residency at KCAC, Patan Museum and received “Sitashree Talent Award” from Pant Memorial Trust in 2007. His works have been exhibited in the show “Artists from Roof of The World, Contemporary Work from Nepal at Rosl Gallery in London and “Namaste Nepal- Contemporary Artist Voices, in Philadelphia USA. He is involved in activities of LASANAA- an alternative art space and with Artree Nepal.

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SPACES

Photo Contest

hotography is a portrayal of a vision, an imagination or simply one’s perspective in seeing the word. It has been the best way to express one’s vision & imagination with something tangible, in a way that taps into the viewers’ emotions.

SPACES Photo Contest July 2015 (Subha Gopal Naychhyon)

SPACES, a magazine that provides its readers with articles on the meaning and way of life, believes that photography has always been successful in touching the hearts & souls of any human being. Considering the importance of photography, SPACES accepted to bear the responsibility to establish a path for new and upcoming photographers through a monthly photo contest called “SPACES Photo Contest”. SPACES believe that this contest will motivate amateur photographers to work with more devotion and encourage them to develop and expand their photography skills. The competition that started in July 2015, has successfully completed two sessions and introduced two new talented faces into the world of photography.

SPACES Photo Contest August 2015 (Lajana Shrestha)

Please share your short introduction and your experience with the SPACES Photo Contest. I’m from Hetauda, Makwanpur and I work as an administrative officer in a reputed company. Photography is my passion. I knew about the SPACES photo contest via Facebook so I decided to submit my photos in and I was pleasantly surprised when I found out I had won! It really feels special to be the winner of the contest and I must say it has inspired and motivated me to continue to develop my skills in photography. I would like to thank the SPACES Magazine for this incredible opportunity. I believe that competition such as this should be held more often. 80 / SPACES FEBRUARY 2016

What factors that motivated you to pursue photography? Pictures, pictures and more pictures. I used to look at the photos from National Geographic, Photo Society, Times Magazine and wonder when I would be capable of taking photos that would be worth publishing. The thought of one day having my pictures published in the one of the aforementioned magazines is what mostly motivated me. How are you feeling being a winner of SPACES Photo Contest? One word, Awesome! A brief interview with Lajana Shrestha

connects 29 Aditya Hardware Enterprises Bluestar Complex, Room # 522, Thapathali Ph: 9851007818 sanjay_kyal@yahoo.com 25 Asian Paints Balkumari, Lalitpur ccm@asianpaints.com.np Ph: 977-1-5203045 www.asianpaintsnepal.com.np 35 Agni Enterprises Kupondole, Lalitpur Ph: 977-1-5529526 info.agnienterprises@gmail.com adhikari.agni@gmail.com www.agni.com.np 29/35 ATC Pvt. Ltd. 336/21, Ganesh Man Singh Path-2, Teku Road Ph: 977-1-4262220 info@atc.com.np 84 Berger Jenson & Nicholson (Nepal) Pvt. Ltd. Berger House - 492, Tinkune, Kathmandu Ph: 977-1-4466038 info@bergernepal.com www.bergernepal.com

2 JK White Cement 14 Kuleshwor, NayaBasti, Kathmandu Ph: 977-9851050650 prashant.chaturvedi@jkcement.com www.jkcement.com

66 Worldlink Communication Pvt. Ltd. Jawalakhel, Lalitpur Ph: 977-1-5523050 sales@wlink.com.np www.worldlink.com.np

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22 Nagrik - Nepal Republic Media Pvt. Ltd. JDA Complex, Bagh Durbar Ph: 977-1-4265100 / 4261808 circulation@nagariknews.com

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31 Skylight Pvt. Ltd. Naxal (Opp to Police HQ), Kathmandu Ph: 977-1-4423851 info@skylight.com.np www.skylight.com.np 4 SubisuCablenet Pvt. Ltd. 148 ThirbumSadak, Baluwatar Ph: 977-1-4429616 info@subisu.net.np www.subisu.net.np

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9 Home Furnishers Tripureshwor, Kathmandu Ph: 4254601 bath@wlink.com.np

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32-34 Jagdamba Cement Neupane Tower, 6th Floor Tinkune, Kathmandu Ph: 977-1-4111500 jcement@wlink.com.np

5 Evershine Marketing Nepal (P) Ltd. Kalanki, Kathmandu Contact No. 01-4037260 evershinenepal1@gmail.com www.evershineworld.com

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Open Spaces

The School of Creative Communications is a unique blend of creativity and communication. We provide a platform for those who dream of nurturing oneâ&#x20AC;&#x2122;s creativity through communication. We offer training programs on art, photography, writing and languages. We have been conducting SCC Explore Photography workshops since its establishment in 2009. We have been organizing SCC Blue Bag, a sharing program with scholar once a month. It is located at Kupondol, Lalitpur, Nepal. (Link road to Bagmati River) www.scc.org.np facebook.com/scc.kathmandu 82 / SPACES FEBRUARY 2016

The photo was taken at Swoyambhu Maha Chaitya. An eye of peace and harmony.

THE PHOTOGRAPHER Madhu Krishna Shrestha is engaged in marketing in a business organization. For him, Photography is one of the addictions which make him keep on clicking every time he is out with his camera. He is a SCC alumnus.

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