SPACES Nepal FEB 2017

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Vol 12 No. 09 February 2017

A R T

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

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I N T E R I O R

Nepa Beanz: Creating possitive ambience Children’s Ziggurat: Lali Gurans Orphanage and Library Mana Hotels: Ranakpur, Rajasthan, India

Tarhibabu A Lucky Artist in Metalcraft

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Contents Volume 12 NO. 08 | February

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38 Architecture Children’s Ziggurat: Lali Gurans Orphanage and Library

32 Interior

50 Architecture

60 Architecture

Nepa Beanz: Creating possitive ambience

Mana Hotels: Ranakpur, Rajasthan, India

Tarhibabu: A Lucky Artist in Metalcraft

66 Interior

74 From the Shelf

77 Artscape

Colors in an Educational Environment for the Learning Mind

Treasures of Nepal

Animals Incarnation

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Volume 12 NO. 08 | February

Contributors

CEO

Ashesh Rajbansh Editor-in-Chief

Ar. Sarosh Pradhan

Sukrasagar

Director- Products and Materials

Kritika Rana

Ar. Pravita Shrestha Contributing Art Editor

Madan Chitrakar Kasthamandap Art Studio Junior Editor

Shreya Amatya Sristi Pradhan Advisor

Ar. Pawan Kumar Shrestha

Samir Dahal

Shweta Shakya

Asha Dangol

Intern

Riki Shrestha Contributing Editor

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

Sukrasagar, is an archaeologist and a specialist in Nepali culture and history.

He, co-authored Street Shrines of Kirtipur: As long as the Sun and Moon Endure (2014), with Mehrdad Shokoohy and Natalie H Shokoohy. The book focuses on the shrines’ chronology from the earliest specimens to the end of the twentieth century, the reasons for their erection, their typology and their iconography with the aim of providing a broad understanding of such features in a wider perspective for all Newar settlements. He is also the co-author of Jarunhiti (2013).

Pradip Ratna Tuladhar Intl. Correspondent

Bansri Panday Director- Operation & Public Relation

Anu Rajbansh SR. Business Development Officer

Debbie Rana Dangol Legal Advisor

Yogendra Bhattarai

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

Samir Dahal Awards Ambassador (AA) in Nepal for the LafargeHolcim Foundation, has been actively creating awareness about the 5th International LafargeHolcim Awards among students, academic fraternity and practicing professionals in the field relating to construction. As the AA, he has been helping to widen the reach of the Awards promotion; targeting high quality projects from the field of sustainable construction to be entered in the 5thInternational LafargeHolcim Awards competition.

Published by

IMPRESSIONS Publishing Pvt.Ltd. Kopundole, Lalitpur, GPO Box No. 7048, Kathmandu, Nepal.

Phone: 5181125, 5180132, info@spacesnepal.com Design/Layout & Processed at DigiScan Pre-press

Printed at Wordscape The Printer, 9851037750

Shweta Shakya is 4th year Architecture student in Khwopa Engineering College.

Travels, takes photographs and writes to keep her sanity.

Asha Dangol is a contemporary Nepali visual artist. He is co-founder of the Kasthamandap Art Studio and E-Arts Nepal. He holds Master’s Degree in Fine Arts from Tribhuvan University, and has been creating and exhibiting his art since 1992.

He has 10 solo art exhibitions to his credit. Dangol has participated in numerous group shows in Nepal and his work has been exhibited in different countries outside Nepal. The artist experiments with painting, mixed media, ceramics, installation, performance and video.

Distribution

Kasthamandap Distributors, Ph: 4247241 Regd. No 30657/061-62 CDO No. 41 Advertising and Subscriptions

IMPRESSIONS Publishing Pvt.Ltd. Ph: 5181125, 5180132, market@spacesnepal.com

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 This issue kickstarts with caffeine boost at NepaBeanz, a coffee shop that was inspired by the feel good ambiance of Starbucks. The trendy minimalist setting combined with the fresh aroma is designed to refresh the body and hopefully inspire peaceful revolutions in minds; as its believed most revolutions were created in tea and coffee places. Do they serve home grown good teas as well? I intend to go check out the place soon and calm down with a good cuppa.

The taste bud appeasement is followed by a heartfelt contribution to our society. The creative and well intentioned minds succeeded in establishing Lali Gurans orphanage and library situated at Gagalphedi that lies 10 km away from the outskirts of Kathmandu valley. This article talks about diverse ways and means of tapping into and using local resources and working with nature. Water recycling, water harvesting, solar energy, local food production and earthquake resistant features are integrated seamlessly with online learning to educate the children who live with nature and learn from it consistently on a daily basis. The young ones are inspired to return to their communities and share their knowledge and skills. This Ziggurat project won the LafargeHolcim Awards Silver 2014 for its contribution to local sustainability, creativity and service to the people. An award truly deserved and hopefully, they will get help from other philanthropists too as they they still need funds to complete the project.

The interview with Edward Schwarz, head of LafargeHolcim Foundation for Sustainable Construction in Zurich, provides us with much needed education. He talks about the importance of contribution of construction industry to local and global sustainability and long term impacts of commercial centric construction on ecology, environment and social fabric. This awareness is lacking sorely our country. Its not too late to learn and change our ways surely.

We conclude with the unique presentation of Mana Hotels in Ranakpur, Rajasthan, India. Moving away from traditional ornate filigree decoration prevalent in the traditional buildings in the area, this hotel is a reflection of time today. Standing securely on local materials and workmanship, it combines modern technology that makes it possible to lie on a comfortable bed in a cool environment and gaze at the sky and stars above and the river below. Truly, as the writer states that architectural experience is all about creating memories.

Udaipur beckons to create my own!

Enjoy.

Ashesh Rajbansh / CEO

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Event

Nepal Buildcon International Expo 2017 and Nepal Wood International Expo 2017

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edia Space Solutions Pvt. Ltd. in association with Futurex Trade Fair and Events from India, is organizing the 3rd Nepal Buildcon and 3rd Nepal Wood International Expo 2017 from 10th – 12th Feb. 2017.

The exhibition is supported by Society of Consulting Architectural & Engineering Firm(SCAEF), Nepal, Society Of Nepalese Architects (SONA), Nepal Engineering Association (NEA), Furniture and Furnishing Association of Nepal (FURNEX) and Plywood

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Manufacturers Association of Nepal.

Also, the expo is supported by PHD Chamber of Commerce, India.

The organizers of this exhibition are coming up with the third edition with the focused vision of contributing towards the infrastructure development of Nepal. This exhibition promises to set the standards in the Nepal industry for both exhibitors and visitors serving the architecture industry, building material sector, latest construction techniques and engineering services in all respect.

The exhibitor profile comprises of Local and International players in Machinery Sector - Construction Heavy Equipment, Concrete Block , Crushers, Batching Plant, Doors & Windows, Wood & Wood Working, Tyres and in Finished Products – Cement, Prefab, Bathroom Fittings, Roofing, Wires & Cables, Paints, Switches, Air Condition, Italian Tiles & Sanitary ware, Plywood, Laminates, Designer Veneers, Wood Polymer Composite, UPVC Profile, Architectural Hardware, Sinks, Kitchen Fittings, Aluminium Windows,

Event

UPVC Windows and Doors, Pipes and Fittings, Coatings, Adhesives, Sealants, Tapes, Interior Products, Solar products & many more.

North East India

More than 200 Companies from more than 10 countries are participating in the expo which includes Nepal, India, Bangladesh, UAE, Taiwan, China, Turkey, Vietnam, Italy & Austria. Special attraction of the show is Heavy Equipment Pavilion, Prefab Pavilion, Live demonstration of Woodworking Machinery, latest and innovative technologies from across the globe. It’s an opportunity to meet stalwarts of the Industry at one platform.

Mosaic of Art & Cultures

The attendees profile will constitute of the Industry connoisseur, Contractors, Architects, Chief Engineers, Consultants and Fabricators, Certification bodies, Developers, Manufacturers, Furniture Companies, Importers, Dealers & Distributors and end users from across Nepal. The members of the eminent associations and organizations from Nepal related to Construction, Architecture, Hotelier, Engineering, Plywood, and Furniture are also invited to visit the exhibition.

The visitors can witness the innovative product launch, educating them about the latest technology available globally to meet the standards. Nepal being the lucrative market for the investors is attracting the market experts who will show their presence with live demos and designer stalls. n

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he Indian Cultural Centre, Embassy of India in association with Siddhartha Art Gallery held “North East India: Mosaic of Art & Cultures” Art exhibition by Riti Academy of Visual Arts from North East India from 14th to 18th January 2017 at Siddhartha Art Gallery, Baber Mahal Revisited.

The exhibition will then travel to various other cities of Nepal such as Bhaktapur, Patan, Dharan, Biratnagar, Sindupalchowk, Dolakha and Birgunj.

This event was inauguration on Saturday,14th January 2017. This exhibition is the 1st phase of North-east Cultural Festival: Namaste Nepal. The 2nd phase includes cultural performance by 4 troupes from North-Eastern states of India.

The exhibition showcases a diversity of paintings ranging from portraits, wildlife, nature, human life, impact of industrialization and modernization on the world. n

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Visit Stall

No. W38

3rd nepal buildcon & nepal wood Int'l expo 2017Â

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News

Taranga

Simpolo Showroom Launched

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impolo Ceramics announced the launch of its first showroom in Nepal at an event on January 6 at Yak and Yeti hotel in Kathmandu.

Considered to be the pioneer in the field of ceramic industry in India, they’ve approached the Nepali market in association with J.J. Marble House, one of the popular and biggest stone and ceramic supplier and retailer in the country.

Simpolo Ceramics and J.J. Marble House officially launched the showroom situated at Tokha Road in Samakhusi in Kathmandu on January 7. Spreading over 2000 sqft., the showroom offers exciting goods and services for any builder and architect featuring state-of-the-art mockup displays in an impressive ambience. It also features some of Simpolo’s popular ranges like 16mm ROCKDECK series for outdoor applications, DOUBLE CHARGE and GLAZED VITRIFIED tiles, wall tiles and sanitaryware products like water closets, basins and pedestals, handcrafted wash basins etc.

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The vice president of Simpolo Ceramics Mr. Shekhar Sati expressed his delight in finally making the first step to please the Nepali customers.

He ensured that the customers would find top quality products and customized services at the doors of their new showroom. Anil K. Beejawat, CEO of Simpolo Ceramics, mentioned that Simpolo has products that will challenge the market usually dominated by Italian, Spanish and even Chinese brands.

The event claimed the presence of top architects of Nepal, also serving as a casual architects’ meet. Mr. Beejawat said that it was a good opportunity for the architects to see the products Simpolo had to offer.

Ar. Suman N. Vaidya, president of Society of Nepalese Architects, Er. Hare Ram Shrestha, president of Nepal’s Engineer’s Association, and Mr. Rajesh Thapa, president of Society of Consulting Architecture and Engineering Firms were the chief guests of honor of the event.

Kanhaiya Mittal, director of J.J. Marble House, said he is optimistic that this alliance will be beneficial to both parties and is determined that Simpolo will spread to various parts of Nepal. The team is confident that the visitors will enjoy the shopping experience a class apart from the congested environment, and will be cost effective at the same time.

The team also launched their website, ensuring the customers an easy and quick service. n

“TARANGA” is the group art exhibition by Krishna Gopal Shrestha, Sandhya Silwal, Sanjeet Maharjan, Sarita Dongol and Satya Shila Kashajoo.

This event was inaugurated by Mr. Saurabh Joshi, Director of Joshi Group on Wednesday, 28th December. This exhibition remained till 10th January 2017 at Newa Chen art gallery.

Sandhya Silwal have shown the inter-relationship between life and universe and that they go hand in hand. Sarita Dongol have used non-living object as her topic for paintings. Whereas Krishna Gopal Shrestha’s painting shows his feeling and thinking about the 2072 earthquake and how it destroyed the historical areas. Sanjeet Maharjan not only focused on one particular topic but has taken various topics for his paintings. Satya Shila Kashajoo has focused on changes according to time in her paintings. n

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News

POP-UP

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op-up” is a retail sales and community activities phenomena that is currently popular in North America and Europe: “open today and gone tomorrow” shops, markets, restaurants, art galleries, play spaces and parks. Generally small in scale, “pop-ups” are a means of quickly and inexpensively creating market interest in a product, be it commercial, cultural or, as with short duration schools of architecture, educational.

“Pop-up schools of architecture” takes its inspiration from three sources. First: Finland’s innovative Arkki School of Architecture for Children and Youth – a hands-on learning organization. Second: the ‘pop-up’ phenomena currently popular in North American and European retail sales. Third: the scavenger architecture-as-art of Kathmandu International Art Festival 2012 artists Janice Rahn and Michael Campbell from the University of Lethbridge, Canada.

The pedagogy of the first “Pop-up School of Architecture” is “discovery by experimentation”: scavenging for discarded natural and manmade materials to create architecture.

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Nine cognitively creative girls aged 12-18, three of whom are mobility challenged, will participate in the 5-day studio. Participants, individually and as teams, learn to appreciate the inherent goodness of, and to creatively imagine ways to improve, their built environments. This event was held on January 3, 2017.

Background In April 2015, Nepal was ravaged by earthquake and summer 2016 has brought devastating monsoon floods. These are but two events in a never-ending series of geological and climatic situations faced by children and youth. Particularly affected are those born to be mobility and cognitively challenged. Challenged or not, post-trauma stress inhibits the development of young minds.

Consoling friendships, meaningful diversions and learning about ways to advantage oneself of Mother Nature’s unhelpful doings can bring comfort.

Experiencing the architecture of urban/ rural planning, landscapes, buildings and interiors can be a foil. n

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Interior

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he number of specialty coffee shops has increased greatly over the years in Nepal.

It is hard to walk down a street in Kathmandu without coming across a coffee shop and if you happen to stroll around Kupondole, you will stumble upon this small coffee shop that will give you a cue that you must enter it. NepaBeanz had launched last November with great vigor and it keeps to maintain that same energy.

Coffee culture has become a popular part of people’s daily lives among most Nepalese people. But what Nepabeanz has to offer is more than just a coffee. This cozy coffee shop was founded by an electric engineer Mahesh Mahato and he has his tale to tell about Nepabeanz’ germination.

The story had begun when Er. Mahato was in the United States. He often used to visit Star Bucks, grab some coffee and relax after the day’s toil.

Whenever, he used to visit the place, he felt mellowed out, for the time being, he felt good. It was this “feel good” memory that he had brought back to Nepal which instigated his dream to open a coffee shop in Nepal.

The cozy ambiance and the meticulous details are what keeps the spirit of “feel good” in this coffee shop. The tagline of the company “Creating a positive ambiance” is what it has lived up to. The ground floor has an intimate space with minimalist furniture and hosts 5 tables. The theme of brown and orange colors plays the role in making the space cozy. The glass façade and the building’s north-east orientation alleviates the maximum use of the natural light. The white tiles have aided to make the place look

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Nepa Beanz Creating positive ambience TEXT: Shweta Shakya Photo: A. Rajbansh

Interior

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Interior

more spacious than it actually is. These Korean tiles were molded on the site itself opposing to the conventional flooring tiles.It is a lovely place to sit and have a coffee and chat with friends or typing away on a laptop.

There are also some outdoor seating where one can watch the world pass by.

The upper floor is capacious with lounges and five tables for two. This is the place where most discussions and meetings takes place specially amongst the youth. They say that every revolution start in a coffee shop, you can witness one here starting to spark. A cubicle for smokers is also allocated here so that others are not bothered by it.

Here, also the simple geometric forms squares and rectangles dominate the false ceiling. It creates avenues as the person enters. Er. Mahato, being an electrical engineer himself had emphasized tremendously on the lighting. The warm accent lighting has helped to create a warm ambiance while the white focus lights are used to focus the saleable artifacts displayed on the shelves. Even these artifacts have motivational quotes inscribed on it so that subconsciously we absorb it.

NepaBeanz has adopted the technological advancementin the ordering and billing system with the use of Wifi connected tablet that places orders in the counter instantaneously. Also, the bills are made faster. According to Er.Mahato, this has helped increase the efficiency and also it is easier for him to monitor the transactions.

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Interior

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Interior

Whether be its minimalist furniture, the choice of warm and accenting colors, the geometry on the ceiling, the use of lightings, it’s the subtle details that create thepositive ambiance. Coupled with a good cup of coffee and it’s hard to think of a more perfect urban oasis. A visit to NepaBeaz is much more than buying a cup of coffee. A step inside is bound to delight your senses and refresh your mood. n

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Interior

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Architecture

Children’s Ziggurat

Lali Gurans Orphanage and Library TEXT & Photo: Samir Dahal, Awards Ambassador (AA) in Nepal for the LafargeHolcim Foundation

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Architecture

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ocated within an area without fundamental infrastructure (both socio-political infrastructure and basic public utilities), the Lali Gurans Orphanage & Library utilizes low-tech renewable energy sources to sustain itself. The orphanage and library, supporting Nepal’s underserved population of women and children, structural concrete employs the ubiquitous vernacular frame system, though without the typical brick infill. The framework is intensified and reconfigured to create a seismically stable shape that opens the building both visually and functionally. It provides an armature for vertical permaculture, food production, and solar shading, while also creating a lush outdoor environment connected to a series of social spaces for women and children.

The site, located in a rural area outside the city of Kathmandu, was selected for its access to clean air and water, safety in seclusion, and economical land value. The building vastly improves facilities while cutting operating costs in half, allowing the organization to maximize its social impact within the community. The building invests in local workmanship by using vernacular building techniques and employing simple, sturdy, locally available materials that minimize embodied energy and maximize lifespan. Its concrete, which is made with fly ash from coal power plants, reduces waste, conserves virgin materials, and reduces processing energy. Window frames, built-in furniture, and freestanding elements are made from durable, locally-sourced hardwoods by local carpenters.

In 2013 the National Geophysical Research Institute of India and Stanford University had predicted a major earthquake would strike Kathmandu this century, causing catastrophic building collapses, landslides, and floods.

GeoHazards International, an organization that works to improve the seismic safety of Nepal, had urged the development of earthquake

resistant buildings to prevent large-scale damage. The orphanage addressed these seismic issues through its design. Its raft foundation and doubled frame of 300mm reinforced concrete post and beams have been engineered to withstand a significant event and operate as an area of refuge for the surrounding community.

The building’s thermal mass mediates Kathmandu’s hot days and cold nights, absorbing radiation at day and releasing it at night. During winter, the low Sun penetrates deep into the building to provide warmth.

Operable windows will allow users to control temperature and airflow. Larger spaces have cross- ventilation, and the main stairwell at the center of the building provides stack ventilation. Although the orphanage is wellshaded from direct sunlight by its exoskeleton and planting, its glazing allows for plentiful indirect light.

Fifteen 175W solar panels would be mounted on the roof to provide for the building’s entire electricity usage. 5m and 6m diameter soliddome anaerobic digesters provide gas for heating, cooking and lighting. Made from poured concrete, the digesters are common to the area, are safe and simple to construct, and operate on kitchen and agricultural waste.

Drinking water collected both from the ground and sky, will be passed through a UV filtration system, and stored in large tanks found throughout the building.

Food shall be produced throughout the building on two rooftop gardens, 80 fixed-drip irrigation planters, and more than 300 vertical hanging planters within the facade of the building—all of which are fed with bio-slurry and greywater.

Fruit trees in the courtyard garden are to complement vegetables and herbs grown in planters lining the exoskeleton. The building is designed to provide enough food to fulfill the children’s needs.

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Architecture

Location Travel Times Between Lali Gurans and Kathmandu Driving via F082 and Ring Road 22min 12.1 km/ 7.5 Miles Walking via F082 and Pashupati Road 2h 17min/ 7 Miles 11.3 km Libraries + Schools Nearby Libraries The orphanage will include a library. Presently there are seven libraries in Nepal, none of which are near to the orphanage.

Nepal National Library American Library Kathmandu Valley Public Library British Council Library Central Library Kaiser Library Nepal Bharat Library Schools The following is a list of schools that are within a twenty minute walking distance from the orphanage. It is expected that the children in the orphanage will attend these schools and make a co-dependency.

Community Schools located in proximity: Sangla Balkumari, Higher Secondary School Kunchipwakal, Lower Secondary School Kalikakatheri, Primary School Nateshwari, Primary School Saraswati Higher Secondary School Baudeshwer Higher Secondary School Jhormahakal Secondary School Chandeshwari Lower Secondary School Jalupa Secondary School Government or privately owned schools in proximity: Gyanbhumi, Secondary School Jyoti Shiksha Sadan Aawashya, Secondary Mahalaxmi English Secondary School, Secondary School Padhyachakra School, Secondary Vindhyawasini English School, Secondary Ganesh English Secondary School, Secondary Laxmipur English Secondary School, Secondary School Tridevi Sadan English Secondary School, Secondary School Amar English Secondary School, Secondary School Niten Memorial School, Secondary School Api School, Primary School) Osis Public Academy, Secondary

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Architecture

Floor Plans First Floor: 00 Gatehouse 01 Anaerobic Digester / Biogas Generator 02 Aggregate Filter 03 Well 04 Play Pump 05 Covered Slurry Pit 06 Testing / Overflow Tank 07 Vermicompost 08 Hen House 09 Fruit Trees / Edible Planting

10 Main Entrance 11 Library / Classroom 12 Office 13 Laundry / Mechanical 14 Multipurpose / Classroom 15 Restrooms P Vertical Permaculture S Stair / Stack Ventilation Second Floor: 10 Main Entrance 20 Dining / Meeting Hall 21 Solarium / Classroom

22 Staff Room 23 Kitchen 24 Pantry 25 Restrooms P Vertical Permaculture S Stair / Stack Ventilation Third Floor: 30 Staff Room 31 Restroom 32 Dormitory 33 Restrooms / Showers 34 Reading Area 35 Study Area

P Vertical Permaculture S Stair / Stack Ventilation Fourth Floor: 40 Art / Music Room 41 Classroom 42 Mechanical 43 Roof Garden P Vertical Permaculture S Stair / Stack Ventilation

Axonometric 01 The entrance gate and wall around the perimeter of the site provide the children a welcoming and secure environment with an internal, 24 hour security presence.

02 In addition to its structural performance, the concrete frame provides an armature for the lush vertical permaculture that shades the building.

03 Vegetable gardens function as living classrooms and provide fresh vegetables and herbs for the children.

04 A papaya trees provides residents with fresh fruit. Once the Orphanage is complete, it shall be able to produce its own food, and collect and filter its own water.

05 A lychee tree that was planted by residents.

06 Main entrance to the orphanage. The concrete exoskeleton accommodates the main circulation space and produces a semi-covered space for social interaction.

07 Library entrance. The publicly accessible library shall provide the under-served rural community

of women and children with access to numerous books and programs, including education on sustainability and women’s health.

08 The orphanage will create a socially-viable environment in which essentially every space can function as a classroom or place to interact and learn. Here, two friends sit in the grass and discuss cloud formations.

09 Two locals visit the library.

Free access and a noninstitutional atmosphere creates a welcoming environment that encourages the library’s use by both the orphanage and local community.

10 The concrete structure uses vernacular building techniques and standardized formwork to create a seismically safe building. Whereas 76% of all buildings in Nepal are projected to be destroyed in case of an earthquake, the orphanage has been created with seismically resistant design to ensure the safety of its residents, employees, and visitors.

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Architecture

to ensure that the best possible health treatment is available for the children.

Energy

Health

Heating + Cooling The building is designed ecologically using systems of energy and waste recycling that are proven and already in use locally—such as an anaerobic digestion system, which uses waste to produce biogas, and a rainwater collection system. The building also maximizes its own heat and power.

Leading through example and social mandate, it will develop institutional programs of self-sustaining energy, food, and funding for the orphanage, which provides knowledge and experience and, in turn, will influence the entire region’s development.

Water + Waste The mission is to support Nepal’s underserved populations of women and children, and to provide access to proper healthcare and nutrition.

The orphanage shall be designed to be secure, and offer children a safe and welcoming place to call home.

The staff aims to include health care providers, who are to coordinate with outside care providers and instructors

Rainwater is collected on the roof and can be distilled and stored for use within the building. The water is to be gathered in cisterns distributed throughout the building to serve the specific needs of users and programmed spaces.

The system functions primarily with gravity and only utilizes a small pump when required. The orphanage is to produce its own fuel by using a sanitary toilet water filtration system that yields methane as a byproduct. After the methane has been harvested, the waste will be filtered through a bed of reeds, then used as either an organic fertilizer for food production or as filtered water that can be used safely on the land.

Lali Gurans seeks in this next phase to further develop programs and learning by working with public health experts, public health physicians, who focus on areas of improving health of children and women, and promoting physical activity and healthy diets.

Living Food

+

Learning

from

The orphanage is to serve as a self-supporting place for food production. While it is a place that acts as a farm, it is also a classroom. The children who live in the orphanage will learn about the life cycle of food and crops by actively participating in its cultivation. They will also be a part of the food’s preparation and

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Architecture

learn about proper nutrition in the kitchen. Classrooms here are not thought of as confined to specific places, rather the whole building, including the gardens at both the ground and roof level, are spaces to learn and interact. The library is one of these learning spaces, providing free access to its books and offering online programs, such as one that can identify what plants might be in season. A medicinal garden will also be included as part of the planned crops.

Planting + Vegetation Type 1 Fruits and vegetables that require a lot of sun, and soil between 12-24” deep (tomatoes, kale, cabbage, radishes, potatoes, cucumbers, carrots, cauliflower, onions, garlic). As an extension of the Music Room / Library, the garden also functions as a teaching garden for the children. In addition, having crops on the roof will help protect them from wild animals.

Food Production Food is to be grown on-site in environmentally friendly ways. “We hope to not only teach the children how to farm successfully, but to protect the environment while better serving the community. While the food production is designed to be self- sustainable, surrounding local farms have agreed to provide food for the orphanage should such an occasion arise.”

Type 2 Aromatic vines, flowering plants (honeysuckle, jasmine).

Type 3 Herbs and spices (turmeric, cumin, mustard, parsley, basil, chili peppers).

Education In addition to providing children a safe, nurturing place to call home, the orphanage also offers them a well-rounded education. It will host live online teaching, and develop curriculum around training and workshops about health, multiculturalism, and urban farms.

Pre-lesson surveys are to be taken to measure the growth of student learning. This shall be crossreferenced with customized lesson plans and individual progress reports to monitor each student’s progress and ensure that no child is left behind.

Type 4 Colorful plants, flowering plants, and aromatics.

Additionally, the orphanage exposes the rural community to a wide range of books, as well as lectures, meetings and events. The program hopes to inspire people to return to their communities and teach their neighbors and peers through the lens of their own success and experiences.

Type 5 Primarily used at the ground level, this planting is used for screening the building and for maximizing plant height. Tall trees (walnut trees) planted directly in the soil.

Large planters for small fruit trees (guava, banana, mandarin orange, lemon, and lime trees), bamboo, soybeans, lentils, wheat, tall grasses.

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Architecture

Section P Vertical Permaculture S Stair / Stack Ventilation 08 Hen House 09 Fruit Trees / Edible Plants 11 Library 12 Office 14 Multipurpose Room 20 Dining / Meeting Hall 23 Kitchen 25 Restrooms 30 Staff Room 31 Rest Room 32 Dormitory 33 Restrooms / Showers 34 Mechanical / Storage 40 Art / Music Room 41 Classroom 43 Roof Garden 44 Rainwater Collection

Progress Since August 2014 Since we submitted for the first round, we have continued to develop the interiors further through work on the dormitories, the library, material finishes, and furnishings. For instance, we are developing the weathering steel guardrails, planter boxes, ceramic work, and dormitory furniture, including storage, a desk and chair, and bunk beds for each unit. We hope to begin work with a women’s collaborative in Kathmandu to produce textiles, rugs, beddings, linens, and possibly school uniforms. We have also been working with educators and health experts in New York City to develop a system of education directives, from virtual education to locally-lead workshops.

The client has developed a website (www.lali-gurans.org) that presently serves to announce the project, but in the future is to be a place for exchange of information and education. It is our hope that the building, while defined programmatically as an orphanage and library, is really used and understood as a complete, healthy learning environment.

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Building Materials Only local materials, laborers, and engineers have been utilized in the creation of Lali Gurans. In doing so, a local economic and constructionknowledge boost is given to those in need of revenue, jobs, and additional skills. Concrete is used extensively in the building. In order to minimize the high energy cost of producing Portland cement, up to 40% of the limestone typically used has been replaced with fly ash.

Hardwoods that are durable, locally-available and plentiful in the Kathmandu Valley, such as Sal, Agrath or Chapa, shall be used to create window frames and built-in furniture.

Locally-adapted orphanage and library

Christopher Gish, Director of Seeds for Change in Colorado is looking after the construction of the project in Nepal.

vertical gardens for insulation and food, significantly reducing operating costs.

Winner of the LafargeHolcim Awards Silver 2014, “Children’s Ziggurat: Locally-adapted orphanage and library, Kathmandu, Nepal” is designed by Hilary Sample and Michael Meredith of MOS architects, New York and the project client,

The Lali Gurans Orphanage and Library addresses the needs of an under-served rural population. In a context lacking basic infrastructure, the new 21 m high facility utilizes lowtech renewable energy and material resources, local craftsmanship, and

The project also addresses the needs of the nearby communities by offering a library accessible to the public and a seismically stable refuge area during the devastating earthquakes and post tremors. n

Children’s Ziggurat

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Interview

Interview with

Edward Schwarz Head of LafargeHolcim Foundation for Sustainable Construction, Zurich

Tell us about your Foundation.

The LafargeHolcim Foundation for Sustainable Construction based in Zurich promotes and illustrates the strength of diverse approaches to sustainable construction through global Awards competitions and international symposiums in cycles of three years. It is the mission of the Foundation to select and support initiatives that combine sustainable construction solutions with architectural excellence and enhanced quality of life beyond technical solutions – helping the world to build better. Through the non-commercial promotion and development of sustainable construction at national, regional, and global levels, the LafargeHolcim Foundation encourages sustainable responses to the technological, environmental, socioeconomic, and cultural issues affecting building and construction.

The Foundation is supported by LafargeHolcim, the world leader in the building materials industry, but remains independent of commercial interests. The Foundation has a wellbalanced presence in 90 countries.

Why is sustainable construction important?

Sustainability requires that the present generation meets its needs without limiting the opportunities of future generations. For an approach

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to enable long-term viability, it must integrate economic, environmental and social impacts – the three elements of the triple bottom line.

The construction industry can contribute greatly to global sustainability because everything that is built shapes the way people live today and in the future. The OECD, for instance, estimates that buildings in developed countries account for more than forty percent of energy consumption over their lifetime (incorporating raw material production, construction, operation, maintenance and decommissioning).

Sustainably handling building design and management, material selection, as well as energy and resource consumption would be a significant step toward ecologically, economically and socially responsible development.

Tell us about LafargeHolcim Awards.

What makes it different

from other architecture competitions?

The LafargeHolcim Awards is the most significant global competition in sustainable design. Organized by the LafargeHolcim Foundation for Sustainable Construction, the competition identifies the ideas with the highest potential to tackle today’s challenges to increasing urbanization and to improve quality of life. It carries total prize money of USD 2 million.

The competition is open for projects in architecture, building and civil engineering, landscape and urban design, materials, products and construction technologies that contribute to the five “target issues” for sustainable construction. The competition has two categories with different requirements: •

LafargeHolcim Awards (the first category): This is for projects that have reached an advanced stage

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•

of design with high probability of execution. Authors must be over 18 years of age. Execution of the project may not have started before July 4, 2016 which is the opening date the competition.

Next Generation (the second category for young professionals and students category): In this category we invite visionary projects and bold ideas from authors between 18 and 30 years of age. Here again execution of the project (if applicable) may not have started before July 4, 2016.

The competition is open for registration until March 21, 2017 at 14:00hrs (UTC). Entering the Award is very simple; it is a fully online process with very user-friendly guidelines at www. lafargeholcim-awards.org

How do you evaluate Sustainable Construction?

We use a simple framework that makes it easy. The LafargeHolcim Foundation is committed to the underlying principles of sustainability, which assert that long-term development of the built environment requires a balanced interplay of responsible economic, ecological, and social agendas. To achieve this objective, the Foundation and its partner universities have identified five “target issues” that aim to clarify principles for sustaining the human habitat for future generations and quantify the degree to which buildings contribute to sustainable development: • Innovation and transferability – Progress • Ethical standards and social inclusion – People • Resource and environmental performance – Planet • Economic viability and compatibility – Prosperity • Contextual and aesthetic impact – Place These “target issues” serve as criteria for projects submitted for the

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LafargeHolcim Awards and as a road map for other related activities of the Foundation.

Who evaluates entries in the LafargeHolcim Awards?

We have juries in five geographical regions of the world that consist of independent, renowned representatives from science, business and society.

They evaluate entries from the respective region against the “target issues” for sustainable construction.

What is your interest in Nepal? What has been the response to LafargeHolcim Awards from Nepal in previous years?

The Foundation is committed to pursue non-commercial promotion and development of sustainable construction at national, regional, and global levels. We are supported by companies of the worldwide LafargeHolcim group. We do not have operations in Nepal but are represented in neighbouring India by ACC Limited and Ambuja Cements Limited. We are keen on reaching out to audiences in Nepal through your magazine.

We have had participation in the previous cycle from both professionals and students in Nepal.

You will be interested to know that the LafargeHolcim Silver Award for the region of Asia Pacific was conferred on the project in a Nepalese village in the last competition.

Please share details of this winning entry.

It is the most interesting and socially relevant project. It is the design of an orphanage and library submitted

by Hilary Sample of MOS Architects New York. It is promoted by a young American, Christopher Gish, who set up Seeds of Change Foundation (SOCF).

Designed as a “Ziggurat”, the Lali Gurans Orphanage and Library is located in the village of Gagalphedi, around 10 kilometers in the outskirts of Kathmandu. The project for a locallyadapted earthquake resistant structure addresses the needs of an underserved rural population with a facility that uses low-technology, renewable energy and material resources, local craftsmanship, and vertical gardens for insulation and food, thus significantly reducing operating costs. The project also addresses the needs of the nearby communities by offering a library accessible to the public and a seismically stable refuge area during earthquakes.

The Lali Gurans Orphanage building was still only partially-completed when the massive 7.8-magnitude earthquake struck Kathmandu in April 2015 causing enormous suffering and devastation.

The orphanage’s raft foundation and its double exoskeleton frame of 300mm reinforced concrete were designed to be resilient to powerful earthquakes.

The structure was able to provide a seismically-stable location with toilets, water and living area for many local people who were displaced from their homes. The orphanage is in need of funds in the last stage of finishing and needs financial help to complete it.

What, according to you, is the significance of sustainable construction in a country like Nepal?

I think the significance is immense particularly as yours is a country in a seismically sensitive region. I know you are blessed with natural resources like water but the benefits of promoting sustainability in construction in a developing economy like yours are substantial. Again, contributing to the built environment means respecting a balance between social, environmental and economic issues. Sustainable construction is not a rocket science; it is an expression of common sense to improve the lives of people! n

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Architecture

Mana Hotels Ranakpur, Rajasthan, India TEXT & Photo: J.K. India

T

raditional Indian architecture is typically associated with ornamental detailing, and more specifically in Rajasthan, the architecture connotes the forts and palaces through techniques that are resonant of the wealth and culture of the region. Typically, people engage with tradition in a superficial manner in ways that are ordered, orthogonal and more often than not, a contemporary take on Indo-Sarcenic architecture. Architectural experience is about creating memories, and often, in an attempt to insinuate traditional architecture in order to create a lasting image while adopting a universal aesthetic, intervention ends up being kitschy and pastiche. Techniques, Technology and methods of construction that draw from the region and are ‘of the earth’ get lost in the midst of mainstream processes. Within this context, the design of Mana Ranakpur attempts to demonstrate the studio’s agenda of regional expression within a global context while being environmentally conscious, without adopting a kitschy intervention and predictable construction techniques. The local and regional forms of expression are explored as vital resources to create an architecture that engages with the future and is of a progressive disposition.

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CONTEXT Sited in the vivid, enchanted Udaipur valley in the Ranakpur province, the hotel as a public space with a serviceintensive program is conceived to celebrate order and dissonance, continuity, stability, the experience of slow-moving time and the vernacular as an imbibed ethos. These values are celebrated through an architectonic intervention, form and material play in a region with a stark change of seasons and landscape, where the forest changes from Lush Green to bare and arid and the hills turn red during spring as the Tesu trees come to full bloom.

Amidst the hills, with a clean, shallow river in the front, a km away from the famed Jain temple and adjoining a reconstructed old haveli, the client brief called for a boutique hotel that offers a unique, iconic experience for travelers in all seasons. Through this apparent harshness, extreme weather and striking landscape, the vernacular acts as a bare canvas and forms a stoic backdrop for this dramatic change

of seasons. Amidst the vernacular milieu, the site was extremely challenging as a reclaimed river bed with the water table at 600mm. While local sites represent solid stone in an intense and intricate manner in

the form of Paleolitic monuments or pathological homes or as boundary walls that segregate the farmlands, the hotel is evocatively fabricated in the frugal stone masonry which is locally available as an expression of

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timelessness, space and contrast, old vs new, and the light vs heavy expressing the changing landscape throughout the year.

INTRODUCTION TO THE DESIGN Introducing the design intent to the visitor by creating a reading of the building as it is unraveled, allows for moments and spatial intervention. Layering is adopted to restore the notion of the collective memory, and repetition is used as a technique to establish the contrast and difference. The site is planned in a manner that upturns the land, as it opens up to the river on one side, while establishing contrast with the old haveli and the temple. The plan is derived from the time-honored 9x9 grid and the site was dotted with points that would then go on to become trees. Normalcy is achieved through the grid, and deviations are used to break the order. Aligning the

grid with the north-south axis through the linearity of the site, a 1.8 m wide sliver is fashioned for pedestrian movement that reinforces the linear planning on the site and brings in a strong order. Settlements happen

along these linear walls, crafting straight views to the outside, helping the visitors orient themselves within the site. Superimposition of these various layers establish a dynamic between architecture (constant) and

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the landscape (in motion through change) and leads to chance encounters and moments of rest. A huge, existing Budh tree on the site with its unique characteristic of a large spread of about 25-30 m dia, is identified as a focal point for the alignment of linear vistas. Views and movement are orientated towards this tree, which is a remnant of the customary tree-chaupal that would provide shade under a large tree to a communal space. Unlike mainstream hotels, some rooms also look out into this public space using a modern, glassy interpretation of the traditional jharokha (overhanging enclosed balcony), while other room ceilings look up to the underside of the tree.

MOVEMENT In order to endow a visual clarity to the movement path and to create vistas anti open up views as one walks through the site, Buttressed random rubble walls that are symbolic of tradition lend scale to the movement passage by naturally tapering away

from the visitor and structural tactics are employed to make the columns disappear. The narrow, linear sliver of space is exaggerated through height while creating a dialogue with time, always allowing the visitor to walk along a masonry wall, hence facilitating orientation. A Linear

staircase is wrapped and brought out on the facade to encourage the visitor to walk through, further enhancing the vista. Water bodies are interspersed through this loop that create the water loop from the building to the ground and temper the climatic controls whilst creating points of interchange.

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LANDSCAPE Engaging with the sky, the seasons and materials of the earth, landscape is brought as an infill into the built volume.

The sloping roof brings in the sky, and expresses three-dimensional direct views whilst the wall remains timeless, as other edifices take support in the wall through temporary interventions that enable an architectural dialogue between form and technique.

ENVIRONMENT MATERIAL In order to be environmentally conscious by reducing transportation, local material and manpower dictated the architectural intervention; only what was not available was prefabricated and brought from the outside. Apprising the visitor of local ethnicity, an archetypal regional material palette of Stone Masonry and Sandstone floors has been adopted. For most part, the local Rajasthani craftsmen and construction workers were employed to build in a manner rooted in the region and its landscape. Structural steel has been

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used as it is a long life span material, reducing dead load & thereby overall material consumption. The concrete consumption is insignificant for a building of this type and size. The spanning system is made with locally available kashia stone- a sandstone that can span up to 3 meters and trusses are used to support it. Being in seismic zone 2, a lean, vernacular method of creating structural stability is adopted that allows for the creation of large spans that are well-optimised by the nature of the space. The steel joists that hold up the Kashia slabs are visible within the guest rooms.

The main load bearing wall of the hotel cuts through the corridor one side, in contrast with the fabric panels on the other side. An acoustic ceiling also reminisces the perforations while cutting doing ambient sound.

Rainwater is harvested and Grey water from the sewage treatment plant is used to irrigate the hardy, local trees that are a part of the landscape.

During construction, tree-cutting was avoided and the external hardscape is constructed and recycled from the waste materials that was accumulated during the digging process of the

Architecture

foundation. An exclusive HVAC system is developed as a significant element; a system that uses Earth cooling, Thermal Storage and Displacement ventilation to reduce energy consumption. While conventional airconditioning systems consume 40% of the energy used in a building, apart from lower energy consumption, this system also ensures better indoor air quality and avoid recycling. Both water and air circulate in distinct open loops and air is exhausted from in- between the dry, sandwiched roof. Towers that emerge from the ground help to transfer air to the interiors, and work as a means of architectural expression that is evocative of the traditional forts of Rajasthan. Multiple layers of glass are used to generate draughts of air and to filter sunlight. The minimal heat transmitted through the glass is used to induce the displacement ventilation system. Jaalis that are evocative of traditional Rasjasthani stone Jaalis with filigree are recreated in vinyl as a notional device to filter light and air for comfort.

NATURAL LIGHT Daylight ingress into the building is ensured in a manner that eliminates the use of artificial light during the day. Night lighting resonates that of an art gallery; all lighting is from the top with a hint of the sky, the jaali or the clear glass. The landscape lighting is de-cluttered, and is lit with borrowed light from the cottages and the hotel buildings. The overhang roof is used to bounce life from under the cottage and the overall intent is to efficiently orchestrate lighting in line with the running cables with no sharp rendering. Light from the west that is a dramatic, warm yellow, crafts an array of experiences in the different rooms, while bright southern light is used to bring in luminosity into interior spaces.

TACTILE EXPERIENCE A minimal palette of stone, glass, steel and vinyl that is not distracted by too many surfaces is adopted to craft an architecture that is intense and bareboned all at the same time. Concrete

is used to a minimum, hard edges are contrasted with timber warmth, and the structural system/ construction techniques are expressed clearly with as little cladding as possible. As a hat tip to the 70’s India modern, the solid, minimal furniture in rubberwood and rosewood inlay as inserts is designed to reflect the environmental concerns of the hotel. The contrasting circular pattern in the perforations also mimics and expresses itself as an intention in the upholstery, linen and furniture. As an attempt to blend in the local craft and culture, the furniture is sourced from local artisans and craftsmen.

Like a glasshouse in a jungle, Mana Ranakpur attempts to recreate the site as it was discovered, by unearthing the various layers that have been embedded in time. Rooted in regionality and collective memory, through its architecture, it creates interfaces that are expressed not as mere filigree or ornate decoration, but as a reflection of time. n

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Tarhibabu

A Lucky Artist in Metalcraft

TEXT & Photo: Sukrasagar

He hails from Patan but now lives out of the city at the left bank of Nakhu River in a place called Fulbari. Born in1976, initially he started working as an apprentice, but his skilled work demonstrated as gifted by the god. Very few people can develop in such a level just learning from someone and few are lucky enough to recognize one’s own skill. Tarihbabu is the one who could arrest luck on his skill. He is officially known as Babu Ratna Maharjan.

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arihbabu, a young metallurgic worker born under a lucky star is to be considered an artist, not just craftsman in the metal craft of 21st century that led him by his instinct.

He loves not only daan (money and happiness) but also naan (name and fame) that led him to be enlisted in the history for future. Anybody having skill on this profession can earn good money but will not remain in the list of future account. We have so many nice pieces of art but not names of their authors. Who were the artists of Golden Gate of Bhaktapur Durbar, who carved the torana of Chhusyabaha and who did the work of Ukubaha and Bhelaachhen struts are all unknown. Very few Nepalese artists from the history are known today. First of all Araniko enlisted in China, then Tejram in Mustang who did metal book cover in Mustang, Rupatej of manuscript painting of Lhasa and stone carver of Taras from Chilancho chaitya of Kirtipur. Very few get the chance to be enlisted like that in the history. But fame does not bring good money. Sacrificing the opportunity of being rich Taribahu stepped in to this field of less lucrative side of the profession, but I am sure, he will have his name cherished in long future.

Though Patan city has produced many skilled metallurgist, Tarihbabu could be counted in the finger. His specialty can be seen in both the art of lost wax process (cire-perdu) and hammer beaten method (repousse). On top of that he has the sharp eye in ratio and proportions in his art creation. He has produced charm and beauty that very few artists can offer.

Beginning at early adulthood he has done few works in other temples

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and shrines that has not recorded properly. His first remarkable work is the gilt icon of a Durga on tip of the metal banner (pataah) hanging down from the pinnacle of the Kumari chhen at Kathmandu Durbar Square. His work on silver is in Muktinath temple in Mustang. After that he was busy making statues for sale to the tourist for some years. From 2012 he got assignments to work for Kathmandu Valley Preservation Trust in rebuilding the metal icons that either were stolen or lost in course of time.

Tarhibabu’s product of denting and paintings of Ganga and Jamuna

Kathmandu Valley Preservation Trust (KVPT) is probably the only organization in Nepal who understands the value of such icons and could manage to work in terms of the artists’ skill demanded.

Tarihbabu worked last years for KVPT in denting the nicest icons of Ganga and Yamuna from Mulchowk followed by the small shrine of Yentaamaaju standing at the center of the courtyard.

All the work of denting the images and gilding gold on them were done by him except main tympanum of the Talezu shrine. On top of that he did skillfully carve the new piece and refitted with the old one, the quality of which is almost undetectable except the factors of worn out condition of the old piece due to the time factor.

At present he is busy working with the same organization in mending all broken pinnacles, icons and images devastated by the great earthquake of 25 April 2015 in and around Patan Durbar Square area. The finished works are already refitted in Talezu and Aganchhen temples that are in the shape of miniature architecture.

He is now busy in bringing the life of

In-situ work in main gate of Mulchowk Shrine.

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Before earthquake

After earthquake

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Victimized king

Victimized queen

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Tarhibabu’s work at Mulchowk

Yoganarendra Malla and his wives who were buried in the debris of the great earth quake of 2015 and victimized.

Great works of an able men should be perpetuated. If that is beautiful, the art will survive for long. The work of Tarihbabu has the quality of art with excellent ratio and proportion. The charm of his beautiful works of art will remain acclaimed long in the history.

The written records will also help perpetuate the name of the creator like Tarihbabu somewhere in some books.

This work will fill that gap.

His work of art, if could be collected will fetch high price in the future because it is qualitative handmade, way above the craft only and is a real art. As Germans saying ‘Einzehl Produkte’ only single product, it is the work of Tarihbabu. n

Final touch being given to the statue before gold gilding.

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myrepublica.com

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Colors in an

Educational Environment for the

Learning Mind TEXT : Ar. Kritika Rana

Children paint the world with beautiful colors each day

Children are naturally attracted to color and show a higher response to its effect than the adult themselves. It is believed that as they mature, people tend to become oblivious to color and its impact on shaping the individuals that we are today. However, creative people will remain color dominant all their life. This pattern can also be seen in the educational environment where the usage of color in classrooms seem to decline as we proceed to the higher classes.

Color has the ability to impact the emotions, attention, behavior and ultimately the achievement of the students. It is important to avoid both under stimulation and over stimulation through colors.

Achieving a balance of hues is ideal to craft a positive ambience for the students to grow in. Frank H. Mahnke, the President of the International Association of Color Consultants/Designers has emphasized that simply designing a ‘colorful’ space is not a constructive solution as the colors of the school will influence thousands of children throughout the years.

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COLOR TREND IN A SCHOOL LEARNING ENVIRONMENT The importance of color in the center for learning that consequently shape the future of children is often overlooked. Neutral colors generally adorn the walls with an occasional use of the school’s theme colors at several focal points. Color usage is limited to functionality explained by dark shades adopted in furniture to minimize the frequent cleaning and maintenance requirements.

In an educational environment, although function undermines aesthetics, color choice can be guided by the science of color psychology. Some colors are believed to possess the attribute to enhance the absorption of information while some facilitate the thinking process in students. Keeping in mind the purpose of the learning space, an effective color scheme can be derived to facilitate learning in a school. Not just limited to walls of the room, the color palette can be used efficiently on furniture, ceiling and even floor depending on the intended effect.

Contrasting blue hue to achieve a balance in a yellow themed preschool classroom

Models of transforming a classroom space through colors

AGE CONSIDERATION FOR COLOR SELECTION Children grow up in no time. This rapid growth makes it difficult to generalize the use of colors around children.

Consideration of the definite age group of students in the selection of the color palette for their surroundings is vital.

To make this process easier, Frank H. Mahnke, the author of ‘Color, Environment and Human Response’

has listed down the guidelines to follow while coloring an educational environment as per the age group.

Pre- school students from the age of two to four and elementary school from five to ten prefer warm and bright hues. Red, orange and yellow that occupy the warmer region of the color chart seamlessly complement the extroverted nature of the little ones.

Bright warm colors- red and yellow engulf the elementary school classroom with neutral hues on the floor and ceiling to minimize the effect

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Light tones of blue and green as accents in a middle school classroom balanced with neutrals

On the other hand, middle school students from the age of eleven to thirteen and high school from fourteen to eighteen are inclined towards light and calm tones. Blue, green and violet comprise the cooler section of the color chart with the ability to relax and promote concentration during the transitional stage of children from childhood to adulthood.

COLOR EFFECT ON STUDENTS According to a study by Kaya and Epps in 2004 titled “Relationship between color and emotion”, the emotional associations of different set of colors on students have been explained.

• The warm hue yellow is lively and energetic eliciting positive emotions associated with sunshine and summertime.

• Green, a cool color is associated with relaxation and calmness and is then followed by comfort, peace, hope, happiness and excitement.

• The neutral gray is associated mostly with negative emotions of sadness, loneliness, depression, confusion, boredom, tiredness, anger and fear.

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Pastel tones incorporated in educational illustrations throughout the high school classroom

Research suggest that colors can have a therapeutic effect on people with physical and mental disabilities. Placing a colored transparent sheet over black and white page has been helping dyslexic children to read better.

Experiments in color effects were conducted by testing the IQ of the same people in different colored rooms where the results were astonishing. People received higher results in yellow, yellow-green, orange or light valued blue room and lower results in white, brown or black rooms. This proves that stimulating hues play a major role in enhancing our performance.

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To understand the effect of colors on students, a research was conducted between 2007 and 2008 by the University of British Columbia. The performance of 600 participants on six cognitive tasks that either required detail-orientation or creativity were analyzed thoroughly. The tasks involved spelling, punctuation and word recall when words or images were displayed against different colored backgrounds.

Red for Accuracy The research indicates that red increased the accuracy of students on detail- oriented tasks such as memory retrieval and proofreading by 31 percent as compared to blue.

This also generated a theory that red is associated with danger that may have pushed the students to pay more attention to detail. However, when students were exposed to red before an IQ test, they scored significantly lower than students who were exposed to green. This can be traced back to the fear of red markings that bring out the feelings of caution and anxiety. Students showed caution while answering the test by choosing the easier questions to answer.

Blue for Creativity Blue boosted the performance of students on creative tasks where toys had to be created from shapes and new uses of the displayed items were to be invented. Similarly, for other creative tasks such as a brainstorming session, a blue environment encouraged the students to produce twice as many creative outputs as in a red setting.

CHOOSING THE RIGHT HUES: It is always difficult to pick one hue over the other for the collection of the most appropriate hue for various spaces within an institution. The emotional attribute of each hue can

A selection of suitable tones of green, orange/ peach, yellow and blue for educational environments by Sylvia O’ Brien, an architectural color specialist working in Toronto.

then be taken into consideration to make sure that chosen color aligns with the purpose of the space.

Blue: Often associated with the quality of stimulating the mind, blue is the most preferred hue for science and math based classrooms. The calming trait of blue is believed to enhance concentration in students by lowering their heart rate.

Green: The nature’s color of balance, green also balances the serenity of blue and the creativity of yellow to generate an arena for multi-tasking.

The versatility of green can be proven by its effectiveness from classrooms centered on history and social studies to social spaces such as counselling rooms and libraries.

Yellow: The lively yellow tones that derive the energy from the sun are believed to be in touch with our creative side. Gentle yellows spark the creativity of students in language classrooms and other areas of artistic pursuits such as culinary, fine art and dance.

Orange: Associated with movement, orange can be used to connote energy in activity spaces such as athletic

facilities, drama and media centers.

Moreover, soft orange and peach tones resonate comfort and generate a social and loquacious atmosphere appropriate for a school cafeteria.

To fabricate the desired learning atmosphere in an educational environment, a meaningful color palette can be executed. A functional color scheme is developed through the balance of hues handpicked from both sides of the color wheel.

Choosing a variety of hues is often beneficial over a single hue. Research suggest that assortment of hues in a learning space reduce eyestrain and visual fatigue and advance the learning process as well. The amount of variety is also an important factor as an excess may overstimulate and strain the mind; while moderation may result in bored and introvert students.

It is also important to keep in check the amount of bright and muted colors to create a sense of balance.

If the walls are painted in bright hues, neutral tones of furniture is preferred to minimize the effect. Conversely, if the walls are in neutral and muted tones, bursts of lively hues on the furniture can make the space feel alive.

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yellow allows a student to be more attentive and grasp new information with ease. On the other hand, soft cool tones result in relaxed students who can focus on the tasks at hand.

CLASSROOM As colors affect our everyday lives, its importance cannot be disregarded in the space designed exclusively for learning. The atmosphere of a classroom should benefit both the students and the teachers. Pale and soothing tones of green and blue on both sides of the room will allow the students to sporadically rest their eyes and mitigate the strain from looking at high-contrast of text through the day.

Moreover, placing the teaching board in a yellow background on the front wall of the classroom will provide a point of focus and further assists the students to absorb and retain the information.

For a successful classroom setting, the effect of colors on the teacher is as crucial as the student themselves.

Surrounding the teacher with soothing hues such as green and blue for the teacher’s desk and shelves goes a long way in keeping them inspired and motivated through the day. Moreover, as the teachers frequently face the back wall of the classroom, it can be painted in bright creative hues such as violet to establish a sturdy bond with the students to aptly communicate information and occasionally lift their spirits as well.

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Generally the choice of colors on the wall and floors of a classroom is made by the school long before a teacher enters it. However, teachers can play a major role in the introduction of colors to the classroom through furniture and wall decorations. Selection of the most appropriate family of colors for desks, chairs and bookcases through the classroom can be guided by the characteristics of these hues. Bright warm tones such as orange and

The use of colors in the class decorations and mostly the bulletin boards is also a vital element to consider. Rather than choosing monochrome tones for the information board, complementary colors spark interest and facilitate the learning process. However, in the process of designing a colorful classroom, it is essential to understand that an overuse of colors may overstimulate the students causing them to overlook the information entirely.

TRAINING AND LECTURE ROOMS Turquoise, the greenish blue hue is believed to assist in the development of organizational and management skills. Also recognized as the color of creativity, the hue inspires selfexpression and good communication skills which is crucial during a lecture.

Interior

The most restful color to the eye, green promptly improves efficiency by stimulating mental focus thereby increasing alertness. The hue also boosts our mental performance and improves our memory that allows us to learn new information swiftly and retain it over time.

Turquoise aids in calming the nerves of public speakers thus building confidence. Moreover, teaching in a room with turquoise walls gives a clarity of thought and a control over our talk. A splash of yellow on a wall of the lecture room preferably in close proximity to the teaching material helps the students retain the knowledge for a long time.

LIBRARY AND STUDY AREAS A library in a school is an extended form of a learning environment that functions as a multipurpose space.

Different areas within a library are allocated for different activities such as reading and lounge areas. Colors can be used to clearly define the purpose of these spaces and align the emotions and behaviors in the same direction as well. Calming hues such as green and blue in the reading area generates a serene and tranquil atmosphere for the learners to reflect. Conversely, vibrant hues such as red, orange and yellow on the lounge areas spawn excitement for a productive tête-à-tête, also a part of the learning process. However, a

wide array of bright hues may come across as garish in a library. To minimize the effect, neutral pastel wall colors can be accompanied by vibrant accents on the lounging chairs, tables and shelves.

As green is believed to be the most favorable color for learning, it has frequently been used in institutions, libraries and research rooms to maintain the overall scholastic setting.

Especially in libraries, pale and light green calms the mind, enhances quietness and helps a student study.

COMMON AREAS Colors reinvigorate the mind of students in the common areas that act as the transitional spaces between various areas of learning. The purpose of various communal spaces within a school can be defined evidently with suitable hues. The front entry hall reflects the overall atmosphere of the school, where the theme colors of the school can be showcased naturally.

Besides, warm and comfort hues such as soft orange and peach tones in the waiting area can make the students, staff and even parents feel welcome.

Soft tones of vibrant hues such as red, yellow and orange in the hallways may uplift the spirit of the students as they move from one class to another.

Similarly, bold and energetic colors work best in informal gathering spaces such as cafeterias and seating areas.

These set of hues are welcoming and induce enthusiasm for the students to gather and have meaningful conversations in their free time. n

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From the shelf

Treasures of Nepal – Gary Wornell

G

ary Wornell has spent an important part of his life giving meaning to the clays of England. In return, he learned to find ideas in things around him. He learned to respect various raw materials brimming with spirit. He realized that a skilled craftsperson understands their language like their own mother tongue and that takes their time reach its full potential.

His curiosity-fueled love for craft brought him to Kathmandu one day in 2012. The more time he spent here, the more he absorbed himself in the crafts found everywhere – statues, jewelry, thangkas, etc. In 2013, when he travelled in the wider east and west of Nepal, art and craft still presented itself in all forms.

Especially, he noted, in common local materials.

Wornell found inspiration for ‘Treasures of Nepal’ when he was in Kathmandu in 2014. Initially, he wanted to photograph craftsmen devoted to their craft. But once he knew what he wanted to do, he went around various workshops in Kathmandu with his two Nepali friends and got down to work.

Though halted by April 2015 earthquake, it gathered speed later that year.

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From the shelf

The work in this book reflects his observation of Nepali culture, diversity, and skill – in short Nepali life. He notes how the legacy of the traditional craftsmen is caught in a fix. The allure of technology and a glamorous life in a foreign land might attract the children of these craftsmen away.

Someday, their hands might be too frail to hold the tools that shape Gods and Goddesses.

Wornell’s book is a visual pondering and further evidence of the craft we know. It is a documentation of the wonders created by the meticulous hands of the craftsmen who have done their time creating art, and have in return, been defined by it. n

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

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Artscape

Animals Incarnation Batsa Gopal Baidya’s painting is symbolic and spiritual. This work is influence by the four animal incarnation from the Hindu myth “Dash Avatar”- Matsya Avatar, Kashhya Avatar, Barah Avatar and Narsimha Avatar. The images of the animals in the form of Avatar in his painting are symbolic where the artist has created by using the emboss technique from the recycle papers and textures. The atmosphere of the background is spiritual by using the religious symbols, sharp and triangular mountain, river which also gives the feelings of the artist’s love for the nature.

Asha Dangol

Batsa Gopal Baidya: Born in Saugal, Lalitpur in 1946 AD, Batsa Gopal Baidya received his Govt. Diploma in Painting from Sir J. J. School of Art, Mumbai, India and also did a special course on Print Making from the same college. He is one of the Founder Member of SKIB-71. His selected honor and awards includes: 1st Prize in National Art exhibition organized by Nepal Association of Fine Arts in 1970, Gold Medal in first Biennale Exhibition in Dhaka, Bangladesh in 1981, Gorkha Dakshin Bahu 4th by HMG in 1993, Birendra Aishworya Padak in 2003 and Rashtriya Pratibha Puraskar in 2006.

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Connects 65 Aditya Hardware Enterprizes Pvt. Ltd. Tripureshwor, Blue Star Complex, Room no. 522 Ph: 9851007818 E-mail: sanjay_kyal@yahoo.com ektakyal@gmail.com 27 Agni Enterprises Kupondole, Lalitpur Ph: 977-1-5529526, 5547629, 5526634 E-mail: adhikari.agni@gmail.com info@agnienterprises@gmail.com 79 Airtech Industries Pvt.Ltd First floor, Sharda Complex, Panchayan Marg, Thapathali Ph: 977-1-4219999, 4243897, 9801022129, 9841204315 E-mail: info@airtech.com.np 21 All Tech Solutions & Engineerings Pvt. Ltd Tara Bhawan, Teku Ph: 9802015888, 977-1-4100235 E-mail: sumit@alltechse.com.np 23 Arancia Kitchen & Furniture Pvt. Ltd. Kalanki, Kathmandu Ph: 9801020326 E-mail: arancia.nepal@gmail.com 72 Asian Paints Nepal Balkumari, Lalitpur Ph: 977-1-5203045 E-mail: ccm@asianpaints.com.np Website: www.asianpaintsnepal.com.np 27/29 ATC Pvt. Ltd. 336/21, Ganesh Man Singh Path-2, Teku Road Ph: 977-1-4262220 E-mail: info@atc.com.np 31 Bath n Room Trade Concern Pvt. Ltd Tara Bhawan, Teku Ph: 9802015888, 977-1-4240610 82 Berger Jenson & Nicholson (Nepal) Pvt. Ltd. Berger House - 492, Tinkune, Kathmandu Ph: 977-1-4466038 E-mail: info@bergernepal.com 9 3rd Nepal Wood International Expo 2017 Brikuti Mandap, Kathmandu 4 3rd Nepal Buildcon International Expo 2017 Brikuti Mandap, Kathmandu 65 Champak & Chirag International Teku Road, First floor, (Opposite Laxmi Bank) Ph: 977-1-4249991,9851051881 E-mail: adbnb1@gmail.com 18 Comfort Kitchen & Interiors New Baneshwor Ph: 977-1-4107031, 4107231 E-mail: niwat@info.com.np 18 Communication Corner Pvt. Ltd. (Ujyaalo 90 Network) Ujyaaloghar(Behind Central Zoo) Jawlakhel, Lalitpur Ph: 977-1-5000171 E-mail: info@unn.com.np Website: www.unn.com.np 3 Fashion Furnishing Pvt. Ltd. Ratopool, Kathmandu Ph: 977-01-4420661/ 4420647 E-mail: fnfurnishing@gmail.com

76 Foto Hollywood Civil Bank Building, Kamaladi Ph: 977-1-4169060 Website: www.fotohollywood.com.np 11 Furniture Land Store Pvt. Ltd. Blue Star Complex Tripureshwor, Kathmandu Ph: 977-1-4224797 19 Home Furnishers Pvt. Ltd. Tripureshwor (Way to Thapathali), Kathmandu Ph: 977-1-4254601, 4262240 Email: bath@wlink.com.np 37 Insight Spaces Private Limited Tara Bhawan, Teku Ph: 9802015888, 977-1-4100235, 4100236 E-mail: spaces.insight@gmail.com 7 International Electronics Concern (P.) Ltd. Harati Bhawan, Putalisadak, Kathmandu Ph: 977-1-4421991, 4422107 E-mail: market@iec.com.np enquiry@iec.com.np Website: www.iec.com.np

Website: www.pashupatipaints.com

29 Skylight Pvt. Ltd. Naxal (Opp to Police HQ), Kathmandu Ph: 977-1-4423851 E-mail: info@skylight.com.np Website: www.skylight.com.np

73 Pidilite Industrial Limited Putalisadak, Kathmandu Ph: 9851092221 E-mail: subratabhakta@yahoo.com Website: www.pidilite.com

30 Subisu Cable net Pvt. Ltd. 148 Thirbum Sadak, Baluwatar Ph: 977-1-4235888 E-mail: info@subisu.net.np Website: www.subisu.net.np

31. R.I.P.L. International Pvt. Ltd. Teku Road, Kathmandu Ph: 977-1-4270730

13 Technical Associates Services P. Ltd. 1st Floor, Sharda Group Building, Panchayan Marg Thapathali, Kathmandu, Nepal Tel: 977-1-4219999 E-mail: sktulshyan@gmail.com

E-mail: bikashjha@pashupatipaints.com

78 Red Pepper Designers Baluwatar, Opp. Chinese Embassy, Kathmandu Ph: 977- 9843376000 / 9813900416 E-mail: idsushovit2015@gmail.com www.facebook.com/ redpaperdesigners 25 Shree Shyam Hardware Pvt. Ltd Hanagulu Chowk, Balkhu Ph: 9851013876 E-mail: pankajbirganj@yahoo.com

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

Website: www.jkcement.com 24 Karuna Interiors Pvt. Ltd. Gairidhara Ph: 977-1-4434581, 4434181 E-mail: info@karunainteriors.com Website: www.karunainteriors.com 80 Lafarge Holcim Awards Metieta Advertising Private Limited 202, Second Floor, Shivai Plaza Premises Co-op. Society Ltd., Plot No. 79/A-3 Marol, Andheri East, Mumbai 400 059 Tel.: +91-22-2264 4464, 98218 54120 E-mail: saidas@metieta.in Website: www.metieta.in 64 Nagarik - Nepal Republic Media Pvt. Ltd. JDA Complex, Bagh Durbar Ph: 977-1-4265100, 4261808 E-mail: circulation@nagariknews.com 47 Navin Distributor Pvt. Ltd. A.T. Complex, New Plaza, Putalisadak Ph: 977-1-4428196, 4430785 E-mail: ndpl@navindistributors.com Website: www.navindistributors.com 20 Nepal Construction Mart Kupondole, Lalitpu, Nepal Ph-977-01-5180320 E-mail: info@nepalconstructionmart.com

nconstructionm@gmail.com 81 Nepa Top Organization Samakushi, Kathmandu Ph: 977-1-4354117, 4363548, 4387901 E-mail: info@nepa.com Website: www.nepatop.com.np 22 Panchakanya Group Krishna Galli, Lalitpur Ph: 977-1-5526551, 5526357 E-mail: shanbhu.karna@panchakanya.com

5 Triveni Byapar Co. Pvt. Ltd. Putalisadak Ph: 977-1-4224074 E-mail: mkt@trivenitrade.com 14 Worldlink Communication Pvt. Ltd. Jawalakhel, Lalitpur Ph: 977-1-5523050 E-mail:enterprise.support@worldlink.com.np

Website: www.worldlink.com.np

15 JJ marble house Tokha House, Samakhushi Road Ph: 977-1-4353017 Email: info@jjmh.com.np Website: www.jhmh.com.np

Website: www.panchakanya.com

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49 Pashupati Paints Babarmahal Ph: 977-01-4258209, 4265405

Baluwatar, Opp. Chinese Embassy, Kathmandu Contact No. 9843 376000 / 9813 900416 e-mail: idsushovit2015@gmail.com web: www.facebook.com/redpaperdesigners

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