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ART
32 AGE-OLD AMBIENCE FOR THE AGED It can be said to be a paradise of sorts for the old and the aged. Located among verdant surroundings, this home for the elderly has incorporated many thoughtful details to make sure that the aged residents have a home they can call their own.
56 COMFY COTTAGE The environment begs for more respect, however, one can expect such things to become better with time. This house is an example of how even middle class limitations are not a hurdle for a fine standard of living - all it needs is a sense of purposeful intent.
60 WISE WORDS & WORLDLY WOES He is one of the most respected professionals in the country and, as an academician, his words carry a lot of weight. He is also a writer with some exemplary books to his credit. His ‘Bricks and the Bull’ has been specially acclaimed as an important documentation of archaeologiical history. He also has some unique opinions.
42 SOUTHERN HEIGHTS A few kilometres from Satdobato, on Harisiddhi Heights, stands a housing colony that has pioneered the making of ‘Ready To Move-in Homes’. Forty-one lovely houses are up and ready for lucky owners to move in. And lucky will be the ones to own such fine homes - homes that promise refined living.
66 CONSERVATION & KATHMANDU There are very few examples in the world to compare with the high density of monument zones within such a limited space as in the Kathmandu Valley. Any country would be honoured to have even one monument zone featured as a UNESCO Heritage Site. Kathmandu Valley has seven.
24 MASTERFUL STROKES His canvases are easily distinguishable the distinction primarily due to the broad strokes that are masterfully executed. And a master is what he is - yet, unlike in the case of quite a few masters, his paintings have a universal appeal.
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Endangered Culture - Pg. 66
CRAFT
REPORT
ARCHITECTURE
PROFILE
INTERIOR
ARCHITECTURE
MAR-APR 2006 VOLUME 2 ISSUE 3
48 TRAILBLAZER This organization is one of the most successful social development entrepreneurships in the country and its success has spawned many other similar ventures. Much of the credit goes to the honest diligence of a lady who knows how to motivate others.
77 ON THE ANVIL From this issue we feature on-going projects by different firms in the country with a view to making ‘Spaces’ more informative. This section should also lay to rest fears that nothing good is happening in these troubled times.
74 TRANSITIONAL HICCUPS Tansen, Palpa, has suffered a loss of great magnitude recently. The burning down of a site of much historical importance may not have been as high a loss as the tragic death of many lives but, surely, residents will mourn deeply the destruction of one of Palpa’s precious heritage sites.
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EDITORIAL
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“In recent times, the Nepalese architectural movement - if you would like to call it that - has seen a revival of neo-classical styles …… which shows just how bankrupt we have become! Architects are culture-building professionals and are socially responsible. And some time in the future, people will say that in the 20th. century, the Nepalese were so fond of this neo-classical architecture. This is not our cultural statement! This is not our economic statement! This is not saying something of insight!” – Professor Sudarshan Raj Tiwari
This issue focuses primarily on our cultural heritage. The need to preserve something identified globally as of outstanding universal value is no doubt important and should be given prime priority. Most of us take things for granted, not realizing its worth, until you lose it or else someone drills it into your head or makes you aware of its uniqueness, beauty and value. One must consider himself fortunate if the realization comes in time and it is given due attention.
Words of Wisdom See page 42
The identification by the World Heritage Convention to inscribe the seven monument ensembles of the Kathmandu Valley as a World Heritage Site in 1979 and again to put them in the endangered list in 2003 has done just that - globally. They must be given due credit, whatever the mistakes made by whichever party during its restoration and preservation, since making mistakes is a process of learning and realization. Although some may still argue on the issue of who should be given authority to make that mistake, or what should be the process, this again is debatable and priorities as well as authority may overrule normal common sense. Take for example the historical buildings destroyed recently in Palpa. They may not be heritage, but they were certainly historical and people of Palpa identified themselves with it. However, everything is not lost. Realization will come sooner or later. People are more aware of this reality than they were before, added to the fact that architects and engineers are being produced here in Nepal who are taught to appreciate our cultural background. And there are people already campaigning for this universal cause who must be encouraged howsoever we can. At the same time, it would seem to be a vital need of the times for students of architecture and engineering to be exposed to much more regarding the importance of preservation. The concerned centres of learning will need to improve their curriculum and teaching methods substantially so that the concerned professionals of tomorrow become leaders in the constant battle to save heritage. Although the sun will still rise from the east and we will continue to worship it since our culture is our characteristic and uniqueness, hopefully the coming generation will learn from the mistakes we all have made and we shall remain as we were – a rich and distinct culture.
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Endangered Heritage See page 66
Masterful Strokes See page 24
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CONTRIBU UTORS
MANAGING EDITOR
Uday Sunder Shrestha, B.E PUBLIC RELATIONS
MELISSA JENKINS
studied Art and Architectural History in Scotland and previously worked for Sotheby’s Auction House in London and the World Monument’s Fund in Cambodia. At present, Melissa works in the Culture Unit of the UNESCO Office in Kathmandu and feels strongly about the need to conserve the stunning architectural heritage of the Kathmandu Valley.
ELKE SELTER
is a Belgian graduate of Art History and Architectural Conservation. She came to Nepal from the UNESCO World Heritage Centre in Paris and currently works in the Culture Unit in the UNESCO Office in Kathmandu. Elke has a deep affinity towards the priceless architectural heritage of the Kathmandu Valley and feels an urgent need to increase awareness about conservation.
SAAKAR SHRESTHA
M. Arch, established Reverie Designs in 2002 which has completed 40+ projects including Master Designs of College of Journalism and Mass Communications in Kapone and Hyonjan Electricals, BID for SASCON Pvt. Ltd as well as the Interior Design of Air Hostess Training Institute in Baneswor. He is a Member of Nepal Engineering Council and the Nepal Engineering Association.
Prakash Bahadur Amatya ASSOCIATE EDITOR / MARKETING MANAGER Amar B. Shrestha PHOTOGRAPHY / PRODUCTION CONTROL Ashesh Rajbansh LAYOUT DESIGN
Pavitra D. Tuladhar ADMINISTRATION / ACCOUNTS Sanjay Shrestha PUBLISHED BY
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SPACES - guide to good living is published six times a year at the address above. All rights are reserved in respect of articles, illustrations, photographs, etc. published in S PA C E S . 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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Southern Heights could well have started a new trend of offering ‘Ready To Move-In Homes’. It is a blessing for prospective owners who will be actually able to see and feel their future abodes before deciding to buy. Designed by Design Cell, the houses are worth a second look. Photographs Ashesh Rajbansh Canon EOS 10D SLR 16 - 35 mm/f2.8 L USM lens 1/1600 @ f6.3
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Kathmandu: IMPRESSIONS Publishing Pvt.Ltd., Ph: 5544606, 5526040. email: market@spacesnepal.com Pokhara okhara: Sachin Udas, Maadhyam, New Road. Ph: 521851. email: maadhyam@vnet.net.np Chitwan: Rajendra Kumar Shrestha, Saraswoti Book Store, Balkumari Kanya Chowk, Narayanghat Ph: 526031 Birgunj: Kishore Shrestha, Hotel Kailash, Adarsha Nagar. Ph: 522384, 529984. email: hotelkailash@wlink.com.np India: Deepak Sunder Shrestha, Nepal Curio House, 16 Nehru Road, Darjeeling-WB . Ph:54973 United Kingdom Kingdom: Rajiv Pradhan,South Harrow, Middlesex Haz 8HA, London. Ph: 85373674. email: rajivpradhan@hotmail.com Australia Australia: Leela Krishna Manandhar, Kogarah, Sydney, NSW. Ph: 422811704 email: nimadidi@hotmail.com USA USA: Subarna Joshi, West Palm Beach, Florida Ph: 3836207, Email: subarnaj@aol.com
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LETTERS PRE-EMINENT PUBLICATION CONCERNING ARCHITECTURE AND CULTURE IN NEPAL I understand that you have been informed of a new initiative being launched by the UNESCO office in Kathmandu to raise awareness of the cultural heritage in the Valley. The project will run until July this year, when we will be publishing a series of heritage booklets (one for each of the seven World Heritage Monument Zones) with information on the historical and cultural significance of the main monuments, and the more esoteric sites in each area.
A variety of articles in international and national press, television and radio presentations and events over the next seven months will boost the understanding of the rich heritage of the Kathmandu Valley. As the pre-eminent publication concerning architecture and culture in Nepal we very much hope to collaborate with you during this time. Melissa Jenkins Culture Unit UNESCO Kathmandu
SUBSCRIPTION ENQUIRY Mr. Om Prakash Sikaria, Secretary General, has advised me to subscribe to SPACES-6 issues for RS. 500. Please inform me as how we can send the subscription charges. We would feel comfort if you please tell us the person or agent in Birgunj for the payment of regular subscription charges.
Chissuapani Timilsina Birta, Birganj-4, Nepal.
TIME-ARCHITECTURE I had recently visited India upon the invitation of Indian Institute of Architects, to attend a conference titled Place -TimeArchitecture, and I would like to contribute an article on the subject to ‘SPACES’. Can you please let me know when you will be closing for your upcoming issue?
Susan Vaidya Association of KEC Architecture, (AKAR) FIRST PROFESSIONALLY QUALIFIED NEPALI ARCHITECT - MR. GANAGDHAR BHATTA It was really sad and a pity to learn about the demise of Mr. Ganagdhar Bhatta, along with the very poor turnout at his funeral. I wish someone had informed me...(anyway next time if there is something that is relevant regarding our profession - please do call or email me, and you can bank on my support).
I did read the article in the July issue of SPACES on him once again this morning...and I must say we owe a lot of respect to him for all his work besides also being the first professionally qualified architect of the country. But as is true for all pioneers in any creative pursuit - we find their true worth only when their chapter of life closes.
PROFESSIONALLY VERY ENLIGHTENING BUT WHY HAS SPACES SLIMMED DOWN?? I am an avid reader of SPACES magazine and your cache of informative and diverse article is truly impressive. It is truly one of a kind magazine for homemakers, artists, designers and architects like me.
The Jan-Feb 2006 issue was interesting and I enjoyed reading all the articles especially the article on Ar. Bhibhutiman Singh’s abode by Niranjan Lal Shrestha, and Ar. Sarosh Pradhan’s walk down memory lane of his school. In future I look forward to seeing more work of young and upcoming Architects and Interior Designers.
Going through his body of work, I think he led a wholesome professional life; but then as in most cases of creative people living at the edge,....they also somehow lead difficult personal lives and forget to balance it...or is it destiny...sometimes a price we all pay in our own way, when we strike real creativity. Van Gogh would have agreed with me !!
And last but not the least ..... why has “SPACES” slimmed down? (Joined the GYM??)—I noticed 76 pages in this issue as compared to the 104 pages in the first issue.
Sarosh Pradhan Architect
Arpana Shrestha Architect
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OBITUARY Nepal’ way Nepal’ss First Architect Passes A Away
Ar. Gangadhar Bhatta Halbe Architect Gangadhar Bhat t a Halbe passed away on 27th Poush 2062.(January 11th 2006) at the age of 72 years. He was Nepal’s first architect and received his B.Arch degre e from Calcut t a University in 1961. During his nine and a half year tenure at the Bhavan Bibhag, Halbe initiated the idea of open design competitions for government buildings, and fittingly, in 1968, won one himself for the Rastriya Panchayat Bhavan. Halbe was also responsible for the master plan of Dashrath Ranga Shala and the designs of the Royal Palace Secretariat, the City Hall, the Police Club, Hotel Soaltee and the glasshouses in Godavari Gardens. Gangadhar Bhatt Halbe was proficient in interiors as well and did the interiors of City Hall, Casino Nepal and Jivan Kunj. His advice to engineers was, “First see the structure in its totality and then only start estimating the parts.” In the earlier years, Halbe’s firm was known as Himalayan Architects and Engineers which was responsible for designing many residential buildings in Kathmandu. The creative architect liked to call himself ‘modern’ and used to remark, “The day I stop being modern, I will have stopped being an architect”. Halbe is survived by his wife, Shailaja, sons Udaya, Vijaya and Vinaya and their wives, as well as four grand-daughters.
“The day I stop being modern, I will have stopped being an architect”.
The Society of Nepalese Architects (SONA) organized a condolence meeting on 27th January 2006 to mourn the untimely demise of Nepal’s first professionally qualified architect, Gangadhar Bhatta Halbe, who passed away on 11th January 2006 at the age of 72 years.
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NEWS & HAPPENINGS
RAINWATER HARVESTING PROMOTION PROGRAM The NGO Forum for Urban Water and Sanitation (NGOFUWS), supported by UN HABITAT, held a two day National Workshop on ‘Rainwater Friendly Cities: Capacity Building on Rainwater Harvesting in Nepal, Preparatory Phase’, on 16th and 17th January 2006. The workshop was inaugurated by Dr. Rajendra Suwal, Member of National Planning Commission and the launch of Call to Action was delivered by Lajana Manandhar, President, NGOFUWS. The occasion was well attended and the inaugural session was addressed by, among others, Guest of Honour Janak Raj Joshi, Secretary, MPPW, Lava K. Thapa, GM, NWSC, Hari Ram Koirala, Director General, DWSS, as well as by Kulwant Singh, CTA, WAC, UNHABITAT , Han Heijnen, Regional Advisor, WHO and Sanjaya Adhikary, Country Representative, WAN. The keynote address was delivered by Margerita Pacheco, IHRA while Bidur Mainali, General Secretary, MuAN provided the vote of thanks and Chairperson Purna Kadariya, Director General, DUDBC, closed the session. S CAPACITY BUILDING & ENTREPRENEURSHIP •Tailormade RWH training programmes for disfferent target groups: practising architects & engineers, civil society & house/structure owners architect & engineering students & skill training for plumbers. •Counseling prospective clients and help to generate employment opportunities.
DEMONSTRATION SITES:
• Installation of rainwater harvesting components at popular historical/public structures to serve as demonstration sites.
PRIVATE SECTOR ENGAGEMENT: •Promotion of the private sector for easy accessibility of RWH components & materials at competitive price.
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NEWS & HAPPENINGS
COMBINATION 3 BY PETALS more earthly in hue and spirit, and many of them had an easy resemblance to worldly human shapes.
From January 12 to January 18, 2006, the Nepal Art Council played host to the 3rd exhibition of paintings and sculpture by four young girls who call themselves the ‘Petals’. Chandani Bajracharya’s sculptures were small in stature but creative in content. Although all of her works were done with terracotta, most of them, to a viewer, resembled works of marble. As is true for most works said to be ‘contemporary’, her dancing figurines too were of unusual and intriguing contours. Menuka Shrestha too is a sculptor, and her works, again using terracotta, were rather
Painters Renuka Maharjan and Arya Rajbhandari exhibited their series of works based on vastly different themes. Renuka’s waterfall compositions were refreshingly executed. Still, considering her subject - invigorating waterfalls, where invigoration is directly proportion to size - perhaps larger canvases would have had greater impact. Arya’s theme was of a religious nature and on exhibit were a score and more skillfully portrayed depictions of various gods, the stone images of which were the artist’s source of inspiration. It was nice to observe that the artists seemed to be specially delighted by the purchase of some of their works by well-known Architects Rajesh Shrestha and Sailesh Gorkhali of Vastukala Paramharsh. Art is, after all, the foundation of Architecture! S
METAMORPHOSIS-Perceptive variation Friday the 13 is a day to be wary according to the wisdom of the ages, but this did not deter Siddhartha Art Gallery from inaugurating an exhibition called ‘Metamorphosis’ on the dreaded day. Held from the 13th to 31st January 2006, the collection included nine sculptures by Gopal Kalapremi, ten canvases by Saroj Bajracharya and eleven by Sunil Sigdel. th
Kalapremi’s sculptures included the ‘Untitled’ series, of which ‘Untitled I’ was interesting, and a collection of masks called ‘Today’s Nepali Faces’. Although any of his works would make for an appealing centerpiece, one comes away with the feeling that Kalapremi’s best works are yet to come.
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Bajracharya’s canvases had the touch of one looking to establish his own identity and create something meaningful. ‘Hide and Seek’ and ‘Here and Gone’ were noteworthy and could show the way in the future to immediately recognizing his particular style and thus succeeding in reaching self made goals. Sigdel’s ‘Metamorphosis’, a large sized rendering of the artist’s conception of the title is stark in its statement but thoughtfully eye catching all the same. His ‘Conversation Through Silence’ series also made for intriguing exhibits. However, ‘Time Hole’, a clever art work on half of an old door, was one of his more alluring works on display. S
TIBETAN CONTEMPORARY PAINTING From 5th to 11th January, Siddhartha Art Gallery was the venue for ‘Contemporary Paintings from Tibet’. On display were handiworks of Awang Zaba, Bama Haxi, Lup Lun Zhang, Han Shuli, Dezheng and Gade. On entering the gallery doors, visitors were aptly treated to a 90 x 135 cm canvas of ‘Zhou En Lai and Nepali Dancer’ by Awang Zaba. The ground floor of the gallery had exhibits of mostly sedately coloured canvases while the first floor had on display more vibrantly conceived paintings. Nevertheless, the almost pastel hued 91.5 x 64 cm canvas titled, ‘Himalayas’, by Han Shuli, was the centre of attraction for many of the almost hundred strong throng that had come to attend the inauguration. The nicely curved peaks flowing onto one another made one wonder, ‘perhaps the Himalayas are meant to impart a loving message of harmony instead of being a prize to be won.’ Also on the ground floor, a 94.5 x 69.5cm canvas, ‘Blank Door’, was just what it claimed to be-a blank rectangular opening surrounded by the faintest of motifs. Many of the paintings had religious themes and perhaps it is true that even simply titled ones, including those on the first floor, like, ‘Rooster at Dawn’ , ‘Bull King’, ‘Love Song’, ‘Shepherd’ and ‘Bird Festival’ could have some underlying mysticisms. A vivid series, variously titled, ‘Tibetan Customs’, ‘Young Shepherd’, ‘Girl from Linzhi’, ‘Mother and Child’, ‘Girl’, and ‘Family’ displayed a profusion of startling red pigmentation while the ones featuring women proudly highlighted amply endowed assets of the female form. Prices of the paintings varied from US$ 650 to US$ 5480. S
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NEWS & HAPPENINGS
36TH NATIONAL ART & CRAFT EXHIBITION 2062 The 36 th National Arts and Craft Exhibition organized by the Nepal Association of Fine Arts (NAFA) was participated in by 161 artists in Contemporary Painting, 23 sculptors in Contemporary Sculpture, 48 artists in Traditional Arts and 44 craftsmen and women in Craft division. Besides this, works of 43 artists were exhibited in the Non-Competing department.
And while Kirti’s work is to be appreciated for clean paraphrasing of complex forms, Jasmin’s work displays a definite maturity and style. Gautam R Tuladhar’s ‘Everyday Prayer’ and Roshan Pradhan’s ‘Feelings of 2005
second, to Sundar Sinkhwal’s ’21 Tara’, and third to Devendra Sinkhwal’s ‘Bajra Jogini’. Special prizes went to Bijaya S Jyapoo’s ‘Buddha’ and Kunchhang Lama’s ‘Buddha Jivani’.
Hanger’ were recipients of special prizes. In Contemporary Sculpture, Sudarshan B Rana’s ‘Paribesh’, a two piece mixed medium exhibit connected by space and expression, won the first prize, while Bhuwan Thapa’s woodcraft, ‘Current Situation’, was placed second and Bijaya Maharjan’s Opexci medium ‘Desire’ received the third prize. Special prizes went to Narendra P Bhandari’s ‘Passing’ and Roshan Marjan’s ‘Family’. In the Traditional department, first prize went to Ram P Shrestha’s ‘Ghammapal Mahankal’,
Bibhusan N Tamrakar’s ‘Mahisashur Mardini’, Binod Shakya’s ‘Mahankal’ and Shyam KC’S ‘Hanuman Dhoka’ won first, second and third prizes respectively in the Craft division while Shyam S Yadav’s ‘Ram Mala’ and Thirtha M Sthapit’s ‘Swaymbhunath’ received special prizes. Regional award winners were Chhetra L Kayastha (West Region), Uttam Shakya (Middle Region) and Tirtha Niraula (East Region) for ‘Dui Thopa Aansu’, ‘Akshobhya Mandal’ and ‘Ganesh’ respectively. S
In Contemporary Painting, Asha Dangol’s ‘Tantrik Prem’ won first prize with
Kriti Chand’s ‘Rachana’ and Jasmin Bhandari’s ‘The Street’, coming in second and third respectively. In keeping with the profound nature of his prize winning work, Asha has added a tense grip to the subject by using very few basic colours.
FRAGMENTS OF A JOURNEY
CULTURAL STUDIES GROUP OF NEPAL
Aditi Sadhu Chakraborty’s 2 nd solo exhibition titled ‘Fragments of a Journey’ was held at the Park Gallery from 18th to 31st January 2006. The artist has described her works as responses to her experiences in her life’s journey. Intelligent colour schemes are a particularly attractive element of her paintings and enliven the various different fragments in her canvases. Although Aditi claims to have responded spontaneously while bestowing the fragments with form and colour, the neat symmetry in all her canvases forces one to think that perhaps the artist could not have escaped a very conscious move towards creating a basic harmony.
The Cultural Studies Group of Nepal (CSGN) was set up in 2000 to learn more about the arts and cultures of Nepal in a setting where Nepalis and expatriates could share their common interests in such matters. To achieve this aim, CSGN organizes a monthly lecture series on the last Friday of every month at 9:30 AM at the Shanker Hotel. CSGN also has a schedule of mid-monthly studio visits to learn about historic and religious sites, local arts, crafts and antiques.
Which is not a bad thing really, since the results have turned out to be very pleasing to the eye as well as to the senses. .The discerning viewer will surely appreciate the artist’s originality even if shades of cubism do seem to have a role to play in defining her style. S 20 MAR-APR 2006 SPACES
Some lectures held in 2005 were on ‘Nepali Resilience’ by Kunda Dixit, ‘Life Behind the Camera’ by Dianne Summers, ‘The Plight of Widows in Nepal’ by Lily Thapa and ‘Lain Singh BangdelWriter, Painter and Art Historian of Nepal’ by Don Messerschmidt. On Friday, 27th January 2006, ‘The New Realities of Nepalese Art’ was presented by Art Curator Sangeeta Thapa. Her 40 minutes audio-visual presentation included a brief history of Nepalese art as well as the effects of conflict and contemporary concerns on the same. S
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NEWS & HAPPENINGS
REFLECTIONS OF REALITY Jasutara Art Foundation, a social service organization under the auspices of VOITH Group, organized an exhibition of paintings by the talented seven artists of Kasthamandap Art Studio in New Delhi from December 10-14, 2005. Held at the India Habitat Center, the show was sponsored by APCA Group and inaugurated by H.H Maharani Yasho Raje Laxmi of Jammu and Kashmir. On display were Asha Dangol’s bold but meditative works inspired from folk art, Erina Tamrakar’s hauntingly beautiful depictions of feminine expressions, Pradip Bajracharya’s rich canvases based on traditional sources, Bhairaj Maharjan’s warmly portrayed paintings focusing on the hidden mystique of womanhood, Binod Pradhan’s intriguing works conveying an intense search for spirituality, and Pramila Bajracharya’s lovingly rendered landscapes brought to life by the subtle play of colour and light. An exhibition such as this is a fine medium to showcase Nepal’s rich culture of art and crafts and the organizers need to be complimented. S
VAASTU INSIGHT Department of Architecture of Kathmandu Engineering College and Association of KEC Architecture (AKAR) organized a two day workshop on ‘Vaastu’, an ancient science of architecture, on 2nd and 3rd January 2006. The workshop was conducted by Prof. Bharat Bhushan Puri, a Vaastu scholar of more then 35 years who has published several books and has delivered lectures on the subject all over the world. To a question regarding elevation development through Vaastupurusha Mandala, Prof. Puri informed that the Vaastu applied in Nepalese Malla architecture is more precise and advanced than that practiced in India. In Malla architecture, elevation is developed with respect to the plan based on Vaastupurusha Mandal, while there is very little discussion on this subject in Vaastu practiced in India. He added that despite Vaastu Shastra having originated in India, its practise could not continue during the Muslim era and this gap of hundreds of years hindered the progress of Vaastushastra, while in the case of Nepal, such was not the case. Prof. Puri emphasized that Vaastu is a complete science - one that deals with terrestrial and bio magnetology, climatology and stability of forms. He pointed out similarities of Vaastu
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with modern building technology as, for example, both of these sciences recommend square plans. Inaugurated by chairman of Kathmandu Engineering College, Prof. Hirendra Man Pradhan, the workshop was attended by 132 participants, among whom, 27 were practicing architects and engineers, while the rest were students of architecture and interior design from different universities. S
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‘ONCE A POWERFUL AND SUCCESSFUL WATER COLOUR ARTIST…HE EXHIBITED HIS WATER COLOURS WITH A MASTERY OF FLOW, STROKES, TECHNIQUE AND CHARM’
MASTERFUL STROKES
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“SHADES OF CUBISM – YES - THAT IS WHAT SOME PEOPLE HAVE OBSERVED IN MY WORKS,” admits the self effacing artist, Shyam Lal Shrestha. It is obvious that Shrestha’s canvases canvases with pleasingly modulated brush strokes - contain an unambiguous geometry. His works are easily distinguishable; the distinction due primarily to the endowment of concise broad strokes throughout his paintings. But this major distinctive factor could be short lived, for, as the artist says with a smile, “I have noticed that nowadays some young painters have started to imitate my style.” Well, this can only be regarded as one more indicator to emphasize his stature, for imitation is said to be the best form of flattery. Now, at the beginning of the sixth decade in his life’s journey, Shyam Lal has become a contemplative man, or rather, more contemplative than in his younger years. One can discern a definite air of far reaching wisdom in his silences. He does not speak much it seems, perhaps it is the artist in him that makes him so miserly in personal expression, for it could be that as an artist of long standing, he would prefer his standing among the human race to be defined by his many creative works. And rightly so, we must agree, because Shyam Lal Shrestha’s artistic talent is something that deser ves bountiful accolades. It is not only his talent that has to be appreciated, his dedicated pursuit in the honing of the same has to be also recognized.
Above: A work such as this confirms the artist’s mastery over his medium. Rich hues of yellow on Lokta paper canvas brings to light a beautiful texture. Left: Simple in concept, but imaginative in execution- that is what Shyam Lal’s paintings are all about.
Shyam Lal still has a head full of flourishing hair and as well, a home full of happy family members. Two sons, Uttam and Rustom, a wife, and a mother live with him in his large modern mansion in a corner of the Baber Mahal area. His gallery, ‘Image Art Gallery’ is on the ground floor and has been designed internally in a neo classical hue. Hung on the walls are some of the SPACES MAR-APR 2006 25
art
artist’s paintings, some in his newer mode, and some remnants of his older avatar. Looking at one such of the latter style - a large rectangular painting depicting Buddha surrounded by tempestuous women, in which the artist displays an inborn talent doubtless, but in which there seems to be no particularly individual approach whereby one can identify it as a ‘Shyam Lal’, and then comparing it with a new canvas on the easel, in which the now familiar strokes and more sophisticated colours are evident, one can derive that Shyam Lal has gone through a long journey in search of artistic originality. Top: Note the interesting texture which complements perfectly with the sombre expressions and the dark tint. Above: Predominance of green and yellow impart a rustic flavour. Right: Warm hues and robust forms give this work a maternal glow.
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Unfortunately, while the travails have happily resulted in a style that captivates, the journey seems to have been arduous as well; for Shyam Lal does not sound too captivated by journey’s end for the Nepalese artist. And seemingly, many artists are finding greener pastures in foreign
lands. Thus, he, along with Gautam Ratna Tuladhar, Hari Bahadur Khadka and Shanker Nath Rimal, have had a joint exhibition recently this year in Dhaka,
Bangladesh, where, in addition to the exhibition becoming a success, one of Shyam Lal’s canvases fetched a sum of Rs.45000.00. “The art scene in Bangladesh is remarkably well organized,” he says. “Here, even if there has been an upsurge, we still have to go a long way.” He adds, “And although there are many art galleries, very few really are able and have similar capacity. In fact Siddhartha Art Gallery, I would say, is one of the few that is well managed. Park Gallery is another.”
Above: The geometrical proportions in this painting is a sight for sore eyes. Right: The closeness of a mother and her child is emphasized by the sheltered repose beneath the falling rain.
Born in 1946 in Bhotahity, Kathmandu, Shyam Lal received his Diploma in Fine Arts in 1969 from Lalit Kala Campus and went on to have a string of successful (solo and group) exhibitions from 1965 onwards. Besides Nepal, his works have been displayed in many foreign shores including India, Bangladesh, USA, Italy, Japan, Russia and Turkey. The artist takes pride in the fact that he has had the opportunity to learn under the late Lain Singh Bangdel and is specially fond of
recollecting what the former Chancellor of the Royal Nepal Academy had to say about one exhibition, ‘Expression’, in 2000, ‘…Once a powerful and successful water colour artist…he exhibited his water colours with a mastery of flow, strokes,
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art technique and charm…he has changed his style since and has now developed more on his semi abstract figurative works.’ The late Lain Singh Bangdel had also commented, ‘He (Shyam Lal) also projects his own vision as a versatile artist and creates a very familiar world which he finds around him… Thus Shyam Lal has so much changed his style since I saw him painting a flower as my young art student many years ago…’. Shyam Lal first won a competition in the Landscape Painting Competition during the Youth Festival in 1974, then won Gold Medals in Poster Competitions in 1982 and 1983 organized by the World Hindu Organization. In 1984, he won first prizes in Zone of Peace and Paintings of Lord Buddha competitions in Kathmandu. The artist was recipient of runnerup prizes in a contest for Children’s Picture Book Illustration (ACCU), Japan, and the 3rd Seoul International Illustration Contest in Korea. In 1997, Shyam Lal won the First Prize for contemporary painting during the National Art Exhibition in Kathmandu, a prestigious competition in which the artist had won a third prize in 1971.
Top: Shyam Lal’s portraiture of street children - the muted colours are indicative of their plight. Above: Buddha and the Apsaras. Right: A white bearded sage comes to life with swift strokes of the brush - perhaps the heavenly colours reflect a high awareness.
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art
Above: Women and Expressions - lovingly portrayed females are regular features of the artist’s works. Left: Lord Ganesha - a favourite subject with artists - here with a Shyam Lal twist.
Shyam Lal Shrestha is now a name regarded with high respect in the art fraternity of Nepal. He has waded deep into the depths of artistic waters, and has swum with and against his own artistic capabilities as well as limitations. Initially a watercolourist, he has experimented, or rather, explored, more creative possibilities, with a certain amount of wise discretion, and come out the better for it. Better in the sense that his works are now quite easily identifiable as his own, and in doing so, he has achieved a feat that most artists strive for. His canvases, though oriented towards the abstract, are still to a layman, comparatively easy to fathom, and so, appreciate although he does admit, “I have still some way to travel before I can claim to be proficient in abstract art”. This, perhaps, is a knowledgeable artist’s refrain against painters jumping towards the abstract and claiming to be adept in the same before even the having enough knowledge about the basics. Yet, it is true that Shyam Lal, even though so greatly talented and so highly experienced, believes himself not yet ready to delve into this final aspect of a well traveled artistic soul. This gives conviction to the belief that art lovers can look forward to the day this artist reaches his creative life’s journey’s end and presents to the world, abstract canvases that are truly so and not mere fragments of hurried hands and more so, hasty ambitions as are evident in many artists’ works today. S
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ARCHITECTURE
IN LINE WITH BHAKTAPUR’S RENOWNED
TRADITIONAL
ARCHITECTURE, THE ARCHITECT, WHILE
DESIGNING
THE
BRIDYASHRAM, HAS TRIED TO COMPOSE A TRADITIONAL LOOK REFLECTING THE CITY’S NATURAL ENVIRONMENT.
AGE-OLD Text: Sakar Shrestha, Architect
A M B I E N C E FOR THE AGED SIDDHI SHALIGRAM BRIDYASHRAM, a senior citizen home, is located on the peaceful banks of Hanumante River, away from Bhaktapur, in a quiet and pollution free area of Bhimsensthan. A community development welfare work funded by German citizen Karl Reblee, chairman of Nepal Hilfe Organization, it is also a dream-come-true effort for the founder of Siddhi Memorial Foundation, Shyam Sundar Dhaubadel. In line with Bhaktapur’s renowned traditional architecture, the architect, while designing the Bridyashram, has tried to compose a traditional look reflecting the city’s natural environment. He has accomplished the 32 MAR-APR 2006 SPACES
design according to the nor ms and standards of Bhaktapur Municipality regulations such as odd numbers of window panels and the use of traditional materials in the building façade. To meet senior citizens’ needs, the building has been planned for multipurpose activities. The total built up area of the building is 21,774 sq ft. The ground floor occupies approximately 8,130 sq ft, while the first floor and the cellar occupy 6,822 sq ft of the built up area. The planning and designing shows a great approach based on good teamwork between client and architect. The architect has tried to
fulfill all the needed conditions and tried to understand the theme of the project given by the client. The architect and the client went through as many ideas and options as possible before reaching an agreement. Thought has also been given to the making of a paying ward section which would help raise money to develop the foundation fund for further requirements but this idea, although in the drawing plan, has not been implemented for the time being. Entrances and exits on all four sides of the building ensure good circulation and this is all the more to be appreciated
keeping in view the large area of the building. An outstanding aspect is the use of traditional carved wood work for pillars, purlins, beams, handrails, doors and windows (tiki jhyals) and jhingate tiles used for the slopes. The main entrance at the front is designed with carved wooden columns, beams, traditional floor tiles, carved railings and jhingate tiles on slope porch roof giving a magnificent look to the faรงade. The workmanship of Ratna Shilpakar, a resident of Bhaktapur, is certainly of high quality. The traditional tiles were bought locally, and the tiles, which could be seventy to hundred years old, were washed and cleaned before compiling and putting to construction. The entrance leads to the reception area with a waiting lounge Top: An exterior view of the Siddhi Shaligram Bridyashram with its expansive green front. Above: The neatly lined beds in the dormitories ensure a comfortable ambience.
connecting the central courtyard, rooms and other premises. Rooms, of various sizes with attached toilets, accommodate altogether 30 beds. The courtyard in the centre of the building is open - designed for the purpose of allowing natural light and so as to follow traditional architecture. The open courtyard in the drawing was planned with a purpose, consisting of a quiet resting area
with flower beds and a fountain to provide a peaceful and natural environment in tune with the project theme. Presently, the courtyard is used as a multifunctional area for sitting and gathering as well as for cultural functions. Recognizing an important human need, a library cum newspaper room has been built next to the courtyard to keep Bridhyashram residents informed and up-to-date with current news and happenings. Bhajan Mandal, a
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ARCHITECTURE
hall of 36’9” X 20’4”, with a capacity for eighty persons, has entrances from both the front porch area as well as the courtyard, thus giving easy access for both the Bridyashram residents and visitors wanting to join in the various religious activities. The hall has an elevated stage in Top: The hall is where, besides other things, the boarders can sit down for hours listening to religious sermons. Above: The dining hall is at all times squeaky clean- after all good hygiene is everything.
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Left: The corridors are lined with brick exposed walls and wide windows facilitating good circulation and plenty of light.
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ARCHITECTURE
THE ARCHITEACT HAS TRIED TO PROVIDE A PEACEFUL AND NATURAL ENVIRONMENT IN TUNE WITH THE PROJECT THEME. kitchenette gives easy and quick service to the rooms away from the main kitchen. Two separate staircases, located on the east and west sides, lead to the first floor for short and easy movement. The west staircase conveniently connects the other blocks including the administration block of Siddhi Memorial Foundation. Both these staircases lands on to an open corridor with a view of the courtyard below, leading to rooms and other premises. the front of the room where the lead person and the Guru are seated during religious functions. Common toilets are provided both inside and outside the building. A kitchen, with a dining hall providing full time service, has one additional access on the east side of the building. This access serves to transfer garbage without disrupting the clean environment and activities of other areas as well as to move foods and beverages, etc. Similarly, for exit to the back lawns, one access has been provided for near a separate kitchenette planned on the northern part of the building. This Above: This entrance provides a convenient means of passage for ambulatory residents. Top: An ankhe jhyal provides a homely touch. Right: A wide portico in front provides a relaxing sun-drenched sit out.
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The first floor consists of a Medical Hall, a Meditation Hall, and toilets for both men and women, (a children’s day care centre is planned in the future).The other facilities on the
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ARCHITECTURE
first floor are a Seminar Hall with a capacity for more than 150 people, a stage, and an access to the terrace on the front of the building overlooking the garden. The garden created by Ram Govinda Shrestha incorporating the script SSB designed from plants on the slope of the garden, and the statue of Late Siddhi Sundar Dhaubadel facing the Bridyashram building, are examples of good workmanship which has to be appreciated. The carved windows of the front façade gives a traditional look to this hall’s interior. Considering the size of the hall, the architect has thoughtfully given two separate entrances, one accessing to the front of the hall and one to the back. The same staircases Above: A large inner courtyard ensures a spacious environment conducive to healthy living. Left: A Site Plan of the Siddhi Shaligram Bridyashram.
continuing from the ground floor to the first floor goes to the cellar which will be used mainly for storage. The roof was originally designed to be covered with traditional tiles but for some reason the client later settled for C.G.I sheet. The truss design and the fabrication work were done by Balaju Yantra Shala. Transparent corrugated fibre glass sheets have been used on the cellar roof so as to absorb natural light. All exterior walls are constructed of machine made bricks, a very smooth and sharp edged brick used on more elaborate buildings, and interior walls are of plastered local brickwork. Due consideration has been given to the seismic factor while constructing. The structure design was accomplished by a team of experienced engineers with a big helping hand from renowned structural engineer N.N. Maharjan. The building consists of three structure blocks with construction joints and the design has incorporated different combinations of footings such as matt, raft and isolated footings. Stone boulders have been also been used, considering the land condition. According to project supervisor Jaya Gopal Lakol, there were no obstacles during the construction period and the only minor difficulty they faced was in pumping out three to four hundred litres of 38 MAR-APR 2006 SPACES
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ARCHITECTURE
Above: A place to keep mental faculties in tune with changing times - the library. Left: Weekly visits by a doctor is surely a boon for the elderly residents.
ground water every day during the foundation works. Overseer Lakol has done a great job in supervising the construction work and giving a good finishing touch. Overall, the completion of the building was achieved with good results. The traditional look design has made the building a one-of-its-kind. However, it
40 MAR-APR 2006 SPACES
would have been better if the roof was covered with traditional jhingate tiles. And although it is hard to follow the rules of traditional architecture, the contractor, Tyata Nirman Sewa, must be commended for doing a splendid construction artwork. Started in 2003, the completion year was targeted as end of 2005 but steady work is still going on. Till now, the cost has reach approximately NRs 1 crore 15 lakhs.
Adapting traditional designs definitely help in preserving heritage and also facilitates the showcasing of Nepali architecture globally. There is an important lesson to be learnt from this project. Due acknowledgement goes to Karl Reblee and Shyam Sundar Dhaubadel, founder of Siddhi Memorial Foundation, for making a fine example for others to emulate and follow. S
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ARCHITECTURE
SOUTHERN
A
HEIGHTS
CCORDING TO PROJECT ARCHITECT, ARUN DEV PANT, OF DESIGN CELL, “THIS HOUSING COLONY IS THE RESULT OF LESSONS LEARNT FROM PAST EXPERIENCES. INSTEAD OF EMPHASIZING ON UNDUE FRILLS THAT WILL ONLY INCREASE COST TO THE CUSTOMER, WE HAVE MADE EXTRA EFFORTS TO MAKE SURE THAT THE ACTUAL LIVING SPACE WITHIN EACH UNIT IS MORE THAN ENOUGH TO SATISFY EVERY HOME-OWNER.”
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There is no reason to doubt his words as will be evident from a visit to Southern Heights, a recently developed housing colony located at Harisiddhi Heights, which is but a few kilometres from Satdobato in Lalitpur. The most conspicuous part of this project is that all the 41 houses have already been built. In fact according to Suhrid Ghimire, President/CEO of Continental Trading Enterprises - the firm behind the venture - it is probably the first project offering
‘Ready to Move-In Homes’. However, this is not the only attraction of Southern Heights. The houses themselves are very appealingly designed – which is as expected of an architect like Arun– whose calibre can be judged from the many new and upcoming buildings in the Capital that bear his signature. The location is of course another plus point and the designer has made full use of this fact to the full benefit of the home owner. Not only is the all around view nice
Above: Different views of one of the bedrooms (with its personal veranda) on the first floor . Note the beautiful use of subtle and sophisticated colour schemes used for the room and furnishings. Right: The comfortable lounge on the first floor landing. A wide balcony adjoins it. SPACES MAR-APR 2006 43
because of the height, but equally agreeable is the fact that all the houses seem to be guaranteed fresh air and plenty of sunlight at all times. No wonder the architect has included quite a few balconies, and a good amount of space for terraces on each house. One really enchanting aspect is that many of the bedrooms have their own private balconies. The small gardens at the front along with the roomy porches, ensure a green ambience as well as adequate parking space. All the houses have welcoming looks from the outside - this probably due to the 44 MAR-APR 2006 SPACES
ARCHITECTURE
aforementioned gardens, roomy porches, as well as the use of sophisticated colours that are at once soothing and pleasant. Once inside one of the houses, one will Above: Who wouldn’t fall in love with such well designed and well executed homes? Above right: A view of the master bedroom. The bathroom and the inbuilt cabinets are next to each other. Left: The kitchen is designed for efficiency. Right: The first floor has two more bedrooms besides the master bedroom. A lounge connects the three rooms. SPACES MAR-APR 2006 45
notice immediately that the designer has tried to provide for a continuation of the welcoming look and one must admit, succeeded admirably in doing so. The living and dining rooms are on split levels, the former on the lower level while the latter is right next to the well planned kitchen. On the opposite side is a guest room with inbuilt wall cabinets. Here it must be mentioned that all the bedrooms have inbuilt cabinets, which some would say is quite the norm nowadays. But hold on, in the case of Southern Height homes, thought has been given to make them reassuringly capacious. Consideration has also been given to making them into special features of the rooms, this being assured
by use of refined materials. When talking about refinement (and in fact one word to describe these houses could well be - ‘refined’) the architect has given much attention to
the use of elegant but sturdy fittings throughout. For instance, the doors are something that are to be admired, made as they are of polished timber; the windows have been made all the more graceful due to use of glossy aluminium fittings. The windows are also provided with mesh shutters thus ensuring anti-fly screen provision. The main gate is of metal and 10 feet wide while the boundary wall is a combination of masonry wall and decorative plaster and metallic fence. As far as flooring is concerned, the living and dining rooms have wooden parquet floors while the bedrooms have IPS flooring (with the option of extra flooring left to the owner’s choice). It should be noted that the model home interiors have been done 46 MAR-APR 2006 SPACES
Facing page top and bottom: Two different views of Southern Heights. Facing page middle: An expanse of wide open spaces greets one on entering the doors. Above: The living and dining areas are on split levels and open.
by Designer Siddharth Gopalan who has used ‘Berry Floor’ laminated flooring in the master bed room. The veranda floors are done with marble and ceramic while the staircase and lobby have marble floors. Naturally, the toilets are ceramic tiled, as are the kitchens, and while the kitchens are efficiently conceived and have doors opening out into the rear alley, the toilets have top quality ‘American Standard’ fittings. Undoubtedly, living in a housing
colony comes with its intrinsic benefits. Benefits such as its own transformer, good street lighting, sufficient water supply provisions, a water treatment plant, 5.5 metre wide paved roads in addition to the health facilities and convenience store planned for. These are of course besides the usual accessories of regular houses, such as independent septic tank and soak pits, storm water drains, a 2000 litre capacity RCC underground tank as well as voluminous overhead tanks. All in all, Southern Heights has homes that seem to be worth every paisa of the Rs. 45 to Rs 70 lakhs that they are priced at, according to size and design. For the prospective homeowner’s information, sizes vary from 5 anna to 8 anna plots and
four different designs are available, none less than the other. It is to the credit of the developers who have staked a fortune in the making of such ‘Ready to move-in Homes’ thus making it really convenient for buyers to actually see the house they will be making into a home and to feel the warmth of the home they will be spending their lives in. It is equally, if not more so, to the credit of the architects involved for designing houses based not only on fulfilling most needs of the home owner, but also towards the finer aspects of home building. Aspects that include comfort, aesthetics and convenience. In the process, promising a life of refinement within the conclaves of Southern Heights. S SPACES MAR-APR 2006 47
ACP CRAFTS
TRAILBLAZER Text: A B Shrestha
DHUKUTI
IN BETWEEN, ACP PRODUCERS ARE ACTIVE IN NEPALGANJ, BAGLUNG, PALPA, POKHARA, KATHMANDU, LALITPUR, BHAKTAPUR, SINDHULPALCHOK, BARAHBISE, JANAKPUR, TEHRATHUM AND DHANKUTA. 48 MAR-APR 2006 SPACES
CRAFT
MY AMBITION WAS TO MAKE ACP INTO A SELF SUSTAINING AND SELF DRIVEN UNIT WHICH WOULD PLAY A ROLE OF SIGNIFICANT IMPORTANCE IN PROVIDING LIVELIHOOD TO A LARGE NUMBER OF LOW INCOME (PRIMARILY FEMALE) GROUP OF PEOPLE.”
IN DECEMBER 1992 SHE WAS AWARDED THE ASHOKA FELLOWSHIP. This was a gratifying moment in the life of Meera Bhattarai, Executive Secretary, Founder Member and Executive Director of Association for Craft Producers (ACP) whose retail outlet, Dhukuti, is famous as the premier showroom for local handicrafts. “It was very satisfying to be recognized by this international organization, and gave added impetus to my drive.” Of course, Meera Bhattarai’s zeal and
determination, as well as her boundless energy, need not be credited to just this award. The dynamism of this diminutive lady had already been well proven much before then. In fact, one can credit her success to her motivation to be much more than just another NGO in the country. “My ambition was to make ACP into a self sustaining and self driven unit which would play a role of significant importance in providing livelihood to a large number of low income (primarily female) group of people.” Well, going by statistics it managed to do just that barely three years down the line since its establishment in 1984. As she says, “We broke even in 1987 and after that there has been no looking back.” ACP was registered as a private limited company in 1987, “to make it eligible for loans,” according to the powerhouse lady, and in 1990, the NGO bought a five ropani property in Rabi Bhawan, Kathmandu. “But even then, somehow we found it extremely difficult to be get bank financing,” she remembers. “Since ACP was registered as a social service organization, banks refused to consider our property for mortgage purposes.” However, the company managed to get patronage from some well wishers and continued to grow and grow. Besides
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CRAFT
private individual patronage, the company has been assisted by World Neighbours (1984-1989), ATI (1984-65), PACT (198485), Ford Foundation (1990), Asia Foundation (1992) and Bread for the World (1990, 1993). Today ACP has about 160 employees in its head office in Rabi Bhawan, of which around 60 are in management positions while 90 are producers. Including this, the company provides employment to about 1200 people nationwide and when we say nationwide we mean nationwide. The geographical distribution of ACP production areas in Nepal stretches from Kailali in the far west to Sankhuwasabha in the far east. In between, ACP producers are active in Nepalganj, Baglung, Palpa, Pokhara, Kathmandu, Lalitpur, Bhaktapur, Sindhulpalchok, Barahbise, Janakpur, Tehrathum amd Dhankuta. Meera Bhattarai sounds really proud when declaring, “We are a socially oriented, commercially viable enterprise.” She credits much of the company’s success to the establishment of an excellent
WITH SO MUCH ON ITS PLATE, AND WITH ITS EXCELLENT TECHNICAL AND MARKETING NETWORK, ACP CAN RIGHTLY CLAIM TO BE THE PREMIER CRAFT ASSOCIATION IN THE COUNTRY.
Top: Jute and clay complement each other marvellously. Above: These sturdy wooden sanduks are as useful as they are good to look at.
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organization where different departments have been endowed with a good degree of autonomy and where management is well trained and experienced. As for her own role she informs, “My role is that of a liaison between the board and the management.” One of ACP’s main goals is to develop producers’ skills so that more income is assured. Besides skill enhancement, ACP provides financial support, raw materials and of course, a worldwide market for its producers.
Today, the ACP headquarters in Rabi Bhawan is being rapidly expanded, with the addition of many more workshops and packing halls. A lot of new and still unpacked machinery can be seen lying around on its grounds, waiting to be installed. As Meera says, “You can say that ACP is still in the growing phase. In fact, the company has gone through different phases since its inception. For instance, after the turning point phase in 1987, we have passed the management and
organization augmentation as well as the infrastructure creation phases, and are now unto technical up-gradation.” She adds, “Our major objective is to achieve consistence in quality for which standardization is essential.”
ACP’s products include handloom textiles (tableware, cushion covers, clothing, bedcovers, kitchen textiles), toys, paper crafts, leather goods, jewellery, floor mats, pillows, bags, ceramics, wood items, felt items, pashmina, knitwear, copperware, baskets, and various decoratives. Quite a
Top: This kids’ chair and table set has a Mithila motif as does the baghchall board Above: Carved table, lokta lampshade and a perfectly matched painting give this corner an alluring look. Right: A plethora of copper ware certainly a wide range to choose from.
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CRAFT
range, it must be said, and to ensure regular and quality supply, the company provides producers with ser vices (financial, technical and marketing) in weaving, felting, dyeing, knitting, leather, carpentry, ceramics, sewing, painting, block and screen printing, wool spinning, paper crafts, embroidery, quilting and metalwork. With so much on its plate, and with its excellent technical and marketing network, ACP can rightly claim to be the premier craft association in the country. And, of course, the company’s well thought out
Producers’ Benefit Program assures ACP a steady supply from its large group of loyal producers. Meera explains, “Besides other benefits, we also provide three months maternity and Dashain allowance as well as education allowance for
producers’ children”. While almost eighty percent of ACP’s products come from individual or group producers the headquarter itself has the facility for raw material preparation, prototype development and finishing. Two retail
outlets, Dhukuti in Kupondole, Kathmandu, and another in Pokhara, cater to the domestic demand while the company’s other arm, Nepali Craft Trading Pvt. Ltd., looks after the import and export trading business.
Above: This is a fine example to demonstrate the beauty of handloom - can make any room look ethnically sophisticated. Above left: Copper utensils will always impart an exotic touch to decor. Right: Hey, these are really cute Nepali dolls - you will love them.
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Above: A thousand clay windbells. Right: Colourful puppets come in all shapes and sizes at the Dhukuti. Below: Tanned hides designed into great carry-alls and trendy bags.
The company has seen good growth in turnover in the last few years and Meera is happy to inform that there is a growing awareness within the country about the aesthetics of ethnic craft. A very successful company by any yardstick, ACP owes much of its rise to Meera Adhikari’s diligence and determination coupled with her experience. A graduate of psychology, Adhikari has had the experience of having worked in the Women’s Skill Department of the Nepal Women’s Organization for almost nine years although the experience was not really a happy one. “Most work done then was of a superficial nature, and you could say I learnt more of what not to do than what needed to be done,” she says. Anyway, at the present moment, Meera and ACP are basking in their success and the lady has been recognized as a women entrepreneur of substance. Evidence of this is of course the organization as it is now - busy and fruitful - and awards like the Ashoka Fellowship, Best Manager Award by Management Association of Nepal (2000), the Schwab Foundation of Switzerland Award in 2004, Gorkha
Dakshin Bahu in 1998 and the Japan based Asian Productive Organization National Level Award for efficiency in production further emphasize the fact. As for deciding for oneself about how far it is true that ACP’s products are of top quality, innovative designs and exquisite SPACES MAR-APR 2006 53
CRAFT
ACP’S PRODUCTS ARE OF TOP QUALITY, INNOVATIVE DESIGNS AND EXQUISITE WORKMANSHIP, ONE NEEDS ONLY TO VISIT DHUKUTI TO REALIZE THAT INDEED
workmanship, one needs only to visit Dhukuti to realize that indeed, ACP is a name to reckon with in the world of crafts. Dhukuti has four treasure filled floors in Kupondole. The top floor has mostly children items including bed covers, blankets, pillow covers, kids’ chairs and recliners, puppets, dolls, masks, schoolbags, and so on, while the next floor down has an array of wonderful items consisting of a collection of copperware from Palpa, a wide range of handloom textiles among which, the beautiful bed sheets are really something else, bamboo objects as well as various Maithili handicrafts. The second floor houses woolens, ceramics, felt and leather goods, batiks, handlooms and candles. Almost all items in Dhukuti are outstanding in
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Above: Buddha heads and other statuettes of black clay could be delightful centrepieces. Right: These long sticks hold naughty finger puppets- a joy for young and old. Below: Papercraft is also an integral part of traditional craft. Facing page above: The dinner mat is as ethnic as are the vessels.
EARTHQU AKE KIT EARTHQUAKE Crowbar, Shovel, Nylon Rope ½ inch (15meter), Nylon Rope ¼ inch (15meter), Plastic Sheet, Plastic Bags, Basin, Rubber Gloves (2 pairs), Axe, Dish Soap, Dustpan and Broom, Plastic Glasses, Flash Light (torch), Batteries (4), Candles and Matches, Notebook and Pens, Water (12 Bottles), Medical Kit: Bandages, Antiseptic, Lugol’s, Iodine, Ibuprofen, Paracetamol, Isopgol (for diarrhoea and constipation). (To this has to be added: food and cooking gear, clothing, personal hygiene supply and so on).
concept, design and workmanship. Examples are the wonderful clay bird houses (Rs.295 each), stylish copper cabinets (Rs.2649), polished copper tables (Rs.4061-7861), intricate copper kettles (Rs.1215-1400), warm woolen pullovers (around Rs.2000 each), innovatively
patterned bed sheets (about Rs.1200 each), the really local look dolls (Rs.154 for the smaller ones and Rs.397 for those bigger), felt shoes (large size: Rs.641, small size: Rs.378), felt hats (Rs.351-448), as well as the beautiful cushion covers (Rs.168-218).
And, oh yes, while the ground floor contains a collection of all items, there is one particular item that is prominently displayed next to the entrance: an aluminium trunk containing a paraphernalia of objects that together make up an ‘Earthquake Kit’ (Rs.4100 per set). S
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INTERIOR
COMFY COTTAGE Text: Amar B Shrestha
F
rom here, the view is at most times, quite splendid. However, the most spectacular view nowadays, in fact on most days, is that of long queues of stalled vehicles on their way towards Kalanki. That aside, Kiran Singh Adhikari is satisfied with his home, the home that he built on Tyanglaphat above Khasi Bazar, some four years ago. “Really, I am very happy living here,” he says. “ This house is exactly as I wished it to be. Don’t you think it is different from others around here?” he asks. Well yes, it is obvious that Adhikari’s house, built on
LOCATED ON A HILLSIDE, THE HOUSE HAS BEEN PLANNED TO INCORPORATE INNOVATIVELY, THE STEEP ANGLE THAT MEASURES TWENTYONE FEET FROM TOP TO BOTTOM.
Top: The kitchen has been designed for efficiency and function. Above: The dining room and kitchen have a partition to ensure privacy while dining. Right: The partition serves its purpose without disturbing flow.
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2500 sq ft of land, is one that probably needed some conviction on his as well as the designer’s part, before it could be built. Located on a hillside, the house has been planned to incorporate innovatively, the steep angle that measures twentyone feet from top to bottom. The entrance, with a car porch, is at the highest point. From here, a flight of stone steps goes down to a portico made more welcoming by rows of clay pots holding all manner of flowers. A carved wooden door leads into the sitting room, which is connected to the open dining and kitchen areas by a large sliding latticed door (ankhi jhyal pattern)
“I WAS VERY DEFINITE IN MY VISION OF WHAT I WANTED MY HOUSE TO LOOK LIKE.” to allow for light even when closed. A short flight of stairs goes down to the basement with a small guest room on the right side. Actually this cannot really be said to be the basement as another flight of stairs leads down to the servant’s room. This is the lowest point of the house and a backdoor
is situated here leading conveniently to an alleyway that is often used when walking down to the main road. The floor above the living room has another smallish room on the right side which is cozy enough for Kiran’s mother who lives here. The master bedroom is reached by one more short flight of stairs and here one finds an attached bathroom as well as a verandah. Another room on this floor serves as Kiran’s daughter’s room. The top floor has the Puja room as well as the terrace. Short flight of stairs, smallish rooms, and small landings are the hallmarks of this house. Another hallmark is utilization of much used furniture collected over the years which have been used to furnish the
Top: The living room is furnished with home-worn familiar furniture. Above: Exterior view from front. Left: A typical teenager’s room - full of comforting objects.
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INTERIOR
rooms. Perhaps these are the reasons for reinforcing the at-home feeling that seems to make Kiran and his wife, Sarita, as well as the other members of the family, so satisfied with their house.
Above left: Stairs play their part in making the house interesting. Above: The first floor landing - also used as a a cozy lounge. Left: The master bedroom.
Of course, the designing of this particular house entailed no small efforts on the part of the consultants, Designer Prakash B Amatya and Engineer Uday S Shrestha of
Below: This room has bright colours and colourful decor.
Spatial Design Company. But the client’s clarity of vision helped. According to Kiran, “I was very definite in my vision of what I wanted my house to look like.” This, more than anything else, was of paramount importance to the consultants and although, conceptualizing and building such a house did come with its inbuilt limitations and difficulties, the client brief, translated clearly, helped to a great degree towards the success of the project. “Our major focus was on aligning the house with the hill slopes because we wanted the house to merge with the landscape,” informs Shrestha. Obviously, this was a challenging task since such a design would mean utilization of
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available land to a lesser degree, and naturally, the room sizes would have to be compromised as well. Designer Amatya agrees, “Some thought had to be applied to make the concept design agreeable to the special structural requirements inherent in this house’s construction. And yes, this is why more use of space for making rooms could not be utilized.” The plinth built up area of Kiran’s home is 848 ft. Still, in spite of the difficulties, Uday and Prakash are happy to be have acquired a satisfied client. After all this is what Sarita and Kiran have to say, “We wouldn’t like to live anywhere else.” And, in parting, raise a query, “We haven’t named our home as yet. Do you have any suggestions?” “Comfy Cottage” perhaps? S
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PROFILE
§
“When God was creating the universe (everything)- there were some left-overs. Architects can only use such left-overs to create newer things.”
WISE WORDS
s
WORLDLY WOES
o says Professor Sudarshan Raj Tiwari, quoting from the Vaastu Shastras and, “To perform some function, a man needs a certain physical environment. The making of this physical environment is architecture.” This, of course, is his own opinion. Additionally, the professor has much to say about many things, and in all this, his views are quite original and revealing. And often, quite thought provoking. For instance, about the ancient science of Vaastu Shastra, this is what he says, “In
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Text: Amar B Shrestha
addition to the usual physical dimensions of spatial environment, there are some who also take into consideration the psychic environment as an added element. Perhaps the ancient sciences do just that.” THE ACADEMIC In Professor Tiwari’s opinion, different societies have differing cultural ideas and so while creating a physical environment, it would not be a bad idea to also take into consideration the comfort aspect visà-vis the psychic factor as an additional part of designing. At the same time he
warns, “But it would be foolish to follow such dictums without more exploration, because when such Shastras were being written, the body of interpretive basics (people had limited sources of knowledge) were sourced differently and we have to keep this in mind. For example, it is not necessary that directions as prescribed in the Shastras are universally true for all parts of the world.” Explaining further, he adds, “And many of the references to direction have a religious aspect - for instance, the north-east presumably
PROFILE§
“ONE REASON COULD BE THAT WE HAVE TRIED TO INCLUDE TOO WIDE AN AREA WHEN ZONING HERITAGE SITES. LONG TIME RESIDENTS LIVING WITHIN THE ZONES CANNOT BE EXPECTED TO ADHERE TO STANDARDS WHICH WILL KEEP THEM APACE FROM MODERN DEVELOPMENT.”
pointing towards the region where God Shiva resides, at least as seen from the place where the Shastra was written, and pertaining to abundant flow of water. This direction of course cannot be said to be commonly true for other parts of the world. Or that it is in line with other societies’ beliefs.” As an academic who also teaches in affiliate colleges besides the Institute of Engineering in Pulchowk, the professor admits that when such topics come up, he has a difficult time clarifying matters. “Well, you see, the main point is that one cannot explain much when things are not all that clearly stated. And more so, when the interpretations marketed by the priesthood tends to make one confused.” No doubt the professor is right in saying so because the Shastras are after all quite mystifying and full of obscure philosophy. Nevertheless, Professor Tiwari is quite unambiguous on most other matters.
About the reason for the IOE being ranked by AIT (Bangkok) as one of the top three engineering colleges in South Asia, the professor credits it to the fact that IOE has a long history, and its faculty have been well trained abroad. Besides this, and because of its reputation, IOE has always attracted the brightest in the country. “You must remember that in the 70’s and the 80’s engineering was considered to be a prime vocation and so IOE received many bright minds. Our admission ratio was, and still is, one out of ten applicants, so you can imagine that the college had some of the best students in the country. In addition, many of them went on to do their masters abroad and when they came back, taught here, bringing with them new ideas and novel thoughts. This is one of the main reasons for IOE’s success. And since success breeds success, IOE gained such a reputation that the brightest continue to flock here.”
WRITER, PRESERVER, & HISTORIAN It is obvious that the professor must be an exceptionally erudite teacher. It is also true that he is an extremely knowledgeable one. Some idea of this can be discerned from the fact that he has written three books titled respectively, ‘Tiered Temples of Nepal’, ‘Ancient Settlements of Kathmandu Valley’ and the famous ‘The Brick and the Bull’. “I wish the publishing houses would have given more importance to marketing my books,” laments the writer. “I would be happy if at least my books had been made available in major libraries worldwide.” Right now he is in the final stages of completing a 300-page tome to be called, ‘Temples of Nepal’. “Most experts think that Nepalese culture originated with the Licchavi period,” he says. “This book tries to tell you that there is something before the Licchavi period because there are such characters in Nepalese architecture which is not there in Licchavi vocabulary. The Licchavi was not the beginning but mixed with something so strong that even the Indo– Gangetic culture could not supercede it.” It is apparent that the professor must be really adept on information regarding traditional architecture, history and heritage. “Well, you could say that,” he concedes modestly. “As a Consultant for the Department of Archaeology I have been part of the Maya Devi Temple and 55 Window Palace Conservation Teams in Lumbini and Kathmandu respectively.” But again, like in many other things, the professor has his own unique views on the subject of conservation as well.
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PROFILE§ PROFESSOR SUDARSHAN RAJ TIWARI was born on Asar 18, 2007 (2nd July 1951) to Late Tej Raj and Premi Devi Tiwari. His wife, Sunita, is a Lecturer at Padmakanya Campus and their daughter, 22 year old Subhikshya, a third year medical student in Manipal Campus, Pokhara. Professor Tiwari received his Doctorate of Philosophy (Nepali Culture) from Tribhuvan University in 1995. He was recipient of the Best Student Medal and Citation from the School of Planning and Architecture, Delhi, from where he did his B. Arch in 1973. In 1977, he received his Masters in Architecture from East West Centre (University of Hawaii). He was awarded the Prince Dipendra Award for Science and Technology (1989) and the Mahendra Vidya Bhusan Medal and Citation, 1st Class, in 1995. His working experience has included tenures as Lecturer (1974-1985), Associate Professor (1985-1993) and Professor of Architecture (1993 to date) at the Institute of Engineering (IOE), Department of Architecture, Kathmandu. From 1988 to 1992, Professor Tiwari was Dean of the IOE. In 2002, he was Opponent / Ph D Examiner at the Norwegian Institute of Technology, and Member, Expert Committee of Council of Architecture for review of B Arch course at IIT, Kharagpur, India. From 2004 onwards he has been a Visiting Professor at the Tibet University in Lhasa. From 1988 to 1992, as the Director, he managed the successful implementation of two large internationally funded projects, the Engineering Education Project and the Second Engineering Project. From 1977 to 1985, he was the Architect for the Institute of Engineering Development Project. He has been a Member of Development Projects Review Commission (1992), Regional
Consultant Architect of Education Quality Improvement Program, Afghanistan (2004) and Procurement Consultant for Nepal Health Sector Program (2005). In 2000–2001, Professor Tiwari was appointed Heritage Specialist Consultant for the Kathmandu City Development Strategy Preparation Team. He has been the National Consultant Architect for Basic and Primary Education Project (19941999), Earthquake Emergency Schools Rehabilitation Project (1994-1997), Population and Family Health Project (19952000), Basic and Primary Education Project II (1997-2004), and the Education for All Program (2004). As a Consultant for UNDP Nepal, he has been the Environment Improvement Advisor for Quality Partnerships in Quality Tourism Projects (Nov 94-Feb 98), and National Team Leader for Urban Environment Management Program Preparation (1994). He has been also been Advisor for Preparation of Conservation Plan and Implementation of 55 Window Palace (2003-2005) and in 1999-2000 was Team Leader for preparing a policy document on ‘Strategic Plan for Institute of Engineering-2000-2020 AD’. He has prepared study reports on various subjects for different agencies including Academy for Educational Development, AED, (Washington DC), UNESCO and UDLE/GTZ. In 1985 and 1988, he was Expert Committee Member and Architect of National Fairs Committee for Expo ’85 and Expo ’88 respectively and was involved in design conceptualization and detailing of the National Pavilions in Tsukuba, Japan, and Brisbane, Australia. Professor Tiwari has presented many papers at numerous seminars worldwide. Many of his articles have been published in national and international journals. He has written three books, ‘The Brick and the Bull’, ‘The Settlements of Ancient Nepal’, ‘Tiered Temples of Nepal’ and a booklet, ‘A Monograph on Marfa’. His next book, ‘Temples of Nepal’ is in the final stages of completion.
“IS IT THAT THE BY LAWS ARE NOT BEING FOLLOWED? OR IS IT THAT THE BY LAWS ARE IMPRACTICAL? IS IT THAT THE LAWS ARE GOOD FROM A WESTERN POINT OF VIEW BUT NOT SO FROM THE RESIDENTS’ PERSPECTIVE?” Professor Tiwari confesses that he has always been advising organizations like UNESCO to use a different approach towards preservation activities in Nepal. “For instance, here many of the traditional heritage sites are ’seasonrelated’. Most of them are focal points during festivals which are almost all seasonal in occurrence. So it would not be a good idea to approach restoration and other activities from a purely ‘historical-year’ angle.”
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Well, this should give an indication as to the workings of the professor’s mind. Tangential, no doubt. And maybe, this is as it should be, considering that he is after all, before all else, an architect. And as everybody knows, architects have to have equal measures of the philosophic and the practical in their systems in order to answer to the call of high creativity that this noble profession requires. To a question as to how monument zones here have managed to get themselves into
the ‘Endangered List’, this is what he thinks, “One reason could be that we have tried to include too wide an area when zoning heritage sites. Long time residents living within the zones cannot be expected to adhere to standards which will keep them apace from modern development.” But then again, the professor does concede, “However, since the surrounding environment is vital when talking heritage sites, perhaps it is also right that a wider area has been considered. Still, if so, we have to explore the causes of failure. Is it
that the by laws are not being followed? Or is it that the by laws are impractical? Is it that the laws are good from a western point of view but not so from the residents’ perspective?” DEFENDING TRADITION Oh yes, Professor Sudarshan Tiwari is just the sort of authority who can start the ball rolling as far as important debates are concerned. It is also a fact that some of his opinions appear to be rather simplistic at first sight. For instance, he says, “I don‘t agree that we have to take into consideration the idea of ‘permanence’ when doing restoration works.” Elaborating further, he explains, “I mean our traditional architecture has been leveled before in times of great calamities, but the same has managed to be rebuilt in surprisingly short times. So even if a big earthquake were to bring
everything down, so what? Vernacular architecture has been proven to be highly resilient and possible to be rebuilt again
valuable experience.” This will be in striking contrast to the time when foreign consultants, even those with no experience
“A TIME COULD COME WHEN CONSERVATION ACTIVITIES IN SOUTH ASIA WILL BE HANDLED BY NEPALESE ARCHITECTS. WE HAVE GARNERED SO MUCH VALUABLE EXPERIENCE.” soon. Therefore, spending too much time and resources on such things are not that important. And you can imagine, after a disaster, just the question of clearing up a steel and concrete mess would be impossible, leave alone the question of rebuilding.” The professor has an optimistic prophesy as well, “A time could come when conservation activities in South Asia will be handled by Nepalese architects. We have garnered so much
whatsoever, were appointed for restoration projects in the country. “For the Hanumandhoka Conservation Project, John Sanday had been appointed by UNESCO to oversee the work. You can imagine, this was the first such work for Sanday. He had no experience at all then!” he exclaims. The Patan Museum Project is another sore point with the professor. In his view,
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PROFILE§ Architecture is culture forming and architects have no choice on cultured behavior.”
“What the architect did cannot be said to be restoration. Conservation sites are supposed to be conserved by restoring authentically. What he has done is that he has laid most of the emphasis on designing rather than on restoring.” He asserts, “As far as the designing of a museum is concerned, no doubt it has been done well but from a conservation point of view, the Patan Museum is a disaster. It is specially tragic because such a grievous mistake has been done in one of the most important heritage sites in the country –the one and only royal palace of Lalitpur.”
PROVOKING THOUGHTS Professor Sudarshan Tiwari can go on and on when talking about a subject that interests him, but surprisingly, and perhaps because of the sparks of wisdom that seem to accompany his words, most listeners come away with the feeling of having spent the time well. And of having learnt much in the way of history, culture, preservation, and of course, architecture.
Professor Tiwari is also quite distressed at the so-called post modern architecture being practiced today, and mourns, “This
Consider this, “Our traditional architecture was all inclusive. For example, even if roofing tiles could have been made
“HAVE YOU EVER SEEN YOUR OWN FACE? IT IS ONLY BECAUSE OF THE MIRROR THAT YOU THINK YOU HAVE. YOU WILL NEVER REALLY BE ABLE TO SEE YOUR OWN FACE. ALL YOU WILL EVER SEE IS A REFLECTION. BUT WHAT IF THE MIRROR IS MISCHIEVOUS? IN THE REALM OF KNOWLEDGE, THE KNOWER HAS NO SPACE FOR DOUBT TOO.” only shows how culturally deranged we are.” He is also not too enthusiastic about the Rana palaces in the Valley, “Yes, they may be opulent, but they are certainly not great. There are much more important sites that deserve to be conserved. And anyway, we mustn’t give undue weightage to size. Good architecture includes so many other things besides size. Nepali traditional architecture is something that is as great as it is humble.” About the recently observed neo-classical revival in the city, Professor Tiwari declares contemptuously, “This illustrates architectural bankruptcy.” He adds, “At least in the 70’s and 80’s when brick exposed buildings were being built, one could relate them to our traditional style.” Much of the blame for architectural derangement he lays on the shoulders of architects and states emphatically, “It is the architects’ responsibility to give a conscious choice to their clients. And one must always remember that ‘modern’ does not necessarily have to mean ‘western’.
impervious, we let them be because we wished the rains to soak into our roofs and let nature prevail. We built systems, such as a layer of mud over the timbers, to prevent seeping water from rotting the wood. Modern architecture is totally water exclusive and we are now making environments that are desert-like.” Consider also this, “We all know that stone is harder and better for flooring than are bricks. But we built brick courtyards because we wanted to ensure that water was retained in our soil and so that our underground reservoirs were replenished continuously.” The listener also comes out a lot wiser on the philosophical aspects of much that concerns our everyday lives. Consider this for instance, “Have you ever seen your own face? It is only because of the mirror that you think you have. You will never really be able to see your own face. All you will ever see is a reflection. But what if the mirror is mischievous? In the realm of knowledge, the knower has no space for doubt too.” S SPACES MAR-APR 2006 65
REPORT
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Text: Melissa Jenkins and Elke Selter
CONSERV ATION AND KA THMANDU CONSERVA KATHMANDU
CONSERV ATION is often considered a CONSERVA ‘Western’ concept. Since the 19th century Europeans have been working towards the preservation of cultural heritage inherited from past generations. In 1931 a group of experts met in Athens to prepare the first International Charter for the Restoration of Historic Monuments (Athens Charter) and in 1964 a second major document was prepared: The Venice Charter for the Conser vation and Restoration of
Monuments and Sites. Both were prepared by Western experts, clearly displaying a western bias, and have been treated as seminal texts for conservation since their publication. Non-Western societies, however, have always had their own method to care for heritage, a phenomenon that has long been overlooked by western conservation specialists. In many cultures, conservation has traditionally been dealt with at a community level. In the Kathmandu Valley the ‘guthis’, socio-religious groups that advise on religious and development oriented social issues, assumed the responsibility for the maintenance of religious monuments.
This community-based system organised community participation and has enabled generation after generation to enjoy the Newar architecture and cultural traditons. The guthi have their own concepts of conservation, linked to local ideas, geographical and technical constraints and this system is still in use today. Additionally, because of earthquakes in the region, people from the Kathmandu Valley have long been forced to renew their heritage. After the 1934 earthquake, New Road was fully rebuilt in Rana style, the most fashionable at the time, whilst the original buildings had been Malla style. These traditional systems have gradually been challenged by international concepts of conservation, which are reflected in the national policy (Ancient Monuments Preservation Act of Nepal- 1956). On an international level, ideas have progressed and are more open towards multicultural systems. The Nara Document on Authenticity builds on the precepts of the Venice Charter, but essentially recognizes SPACES MAR-APR 2006 67
REPORT
the importance of heritage diversity.
preser ving cultural and
The initial focus of the international preservation movement concentrated on major monuments and emerged after World War I. A key event in the development of this concept was the 1959 campaign to save the Abu Simbel temples in Egypt, located in a valley that would be flooded once the Aswan Dam was constructed. There was worldwide concern for the preservation of these monuments, which were considered universally important. The campaign led to their successful relocation and to UNESCO establishing the World Heritage Convention (concerning the Protection of the World Cultural and Natural Heritage- 1972). Internationally the attention of conservators moved from major monuments to urban sites and vernacular architecture, on the basis that monuments derive a large part of their value from the context in which they are situated. In this way the traditional fabric of the Newar towns and private houses became incorporated into heritage preser vation programmes for the Kathmandu Valley. The idea behind the World Heritage Convention is the protection of cultural and natural properties worldwide. The World Heritage List is only a small part of the convention, but has become the most widely recognised 68 MAR-APR 2006 SPACES
component. Together the Convention and the List form an effective tool for the identification, protection, conservation, presentation and transmission to future generations of the cultural and natural hertiage of outstanding universal value. The annually updated World Heritage List was first compiled in 1978 and now features 812 sites. In 1979, only seven years after the establishment of the World Heritage Convention, and during the second year of listing, the seven monument ensembles of the Kathmandu Valley were inscribed as a single site. Naturally the host country (called the State Party by UNESCO) is the fundamental component in this collaboration. A site
Image: UNESCO
THE TREND FOR OUT-OF-PROPORTION, INDECOROUS REINFORCED CONCRETE STRUCTURES CLAD WITH DACHIAPA PREVAILS IN THE MONUMENT ZONES, RANGING FROM PATAN TO SWYAMBHUNATH. parties to work together towards the common goal of conservation. However, these bodies receive assistance from UNESCO, and the two ‘advisory bodies’, ICOMOS and ICCROM. The International Council on Monuments and Sites (ICOMOS) is an international, non-
governmental organization founded in 1965, with an international secretariat in Paris. ICOMOS provides the World Heritage Committee with evaluations of proposed new nominations and of the state of conservation of the inscribed cultural and mixed properties. ICOMOS
needs to be inscribed by the State Party and they remain fully responsible for its conservation. When Nepal ratified the World Heritage Convention the State party pledged to protect the World Heritage values of the properties inscribed and was asked to report periodically on their condition. The only way to fulfill these aims is for the many different concerned Facing page above: Bhaktapur Durbar Square on a misty morning. Facing page below: The famous Nyatapole Temple in Bhaktapur.
Above: An elaborate gilded door of the Patan Museum. Right: The sun shines bright on Patan Durbar Square.
Image: UNESCO
Top: Patan Durbar Square - athrong with people as usual.
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sites on the list. Its very composition, as a site with seven different monument zones, distinguishes it from most others. Not only does it include the historic centers of Nepal’s three largest cities, it is also a multifaith amalgamation of living Hindu and Buddhist monuments: Hanuman Dhoka Durbar Square, Bhaktapur Durbar Square, Patan Durbar Square, Swayambhu, Bauddhanath, Changu Narayan, Pashupati.
works in tandem with the International Centre for the Study of the Preservation and Restoration of Cultural Property (ICCROM), an intergovernmental body which was set up in 1956 and is based in Rome. They provide expert advice on how to conserve listed properties, as well as training in restoration and conservation. The Kathmandu Valley World Heritage site is considered one of the most complex 70 MAR-APR 2006 SPACES
The World Heritage Committee added the Kathmandu Valley property to the World Heritage in Danger List (WHDL) in 2003 due to the rapid and often uncontrolled urban development in and immediately around the World Heritage Site. The WHDL currently features 34 sites and aims to emphasise the difficulties of preserving the site and to help the State Party in its search for international assistance. If a
site loses the characteristics described in its inscription on the World Heritage List, the Committee may decide to delete the property from both the List of World Heritage in Danger and the World Heritage List. However, this provision has never yet been applied. Indeed, the mere prospect of inscribing a site on this WHDL often proves to be effective, and can incite rapid conservation action. In an ideal world, serious threats to the universal values of a site would be kept in check before reaching a critical level. Nepal’s own Royal Chitwan National Park was at risk from a large scale river diversion programme in the early 1990’s. The World Heritage Committee was able to intervene after the threat to the bio-diversity of this World Heritage Site was proved, resulting in the abandonment of the project. Even when a site reaches the WHDL, and there are serious obstacles to its conservation, it is possible to successfully return to World Heritage Status. Angkor archaeological park in Cambodia is home to the remains of the magnificent Khmer capital cities dating from the 9th to the 15th century. It is considered one of the most important sites in South East Asia and was placed directly on the WHDL after years of looting
PERHAPS THE HARDEST PEOPLE TO CONVINCE ABOUT THE NEED FOR A RESPONSIBLE ATTITUDE TO CULTURAL/ ARCHITECTURAL HERITAGE ARE THOSE PROFESSIONALS WITHIN THE BUILDING AND RECONSTRUCTION FIELD. and neglect. The listing provoked an overwhelming response from native conservators and international donors who offered assistance to the Cambodian government. A thorough review of the development plans and proposals to safeguard Angkor was coordinated by UNESCO and as a result the Angkor park achieved full World Heritage Status in 2004.
Facing page above: The Changu Narayan Temple. Facing page middle: An ancient stone sculpture in Changu Narayan premises. Facing page below: Elaborate gilt work attests to Changu Narayan as a important religious site. Top: Reaching to the skies - Swayambhunath Temple. Above: Prayer flags flutter in the breeze atop Boudhanath. Left: Devotees are never-ending in Swayambhunath.
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REPORT UNESCO’S WORLD HERITAGE MISSION IS TO · Encourage countries to sign the World Heritage Convention and to ensure the protection of their natural and cultural heritage; · Encourage States Parties to the Convention to nominate sites within their national territory for inclusion on the World Heritage List; · Encourage States Parties to establish management plans and set up reporting systems on the state of conservation of their World Heritage sites;
Image: UNESCO
· Help States Parties safeguard World Heritage properties by providing technical assistance and professional training; · Provide emergency assistance for World Heritage sites in immediate danger;
Image: UNESCO
prompted an energetic response from those dedicated to the preservation of the site. The Department of Archaeology is rising to the challenge of coordinating all concerned parties and is addressing the problems afflicting the zones. They are launching an initiative to synchronize the
In the context of the Kathmandu Valley a number of initiatives have already been launched to reverse the in danger listing. Naturally such a diverse site means that the number of stakeholders, government bodies, municipalities and official bodies with an important responsibility far exceeds the usual quota for a World Heritage Site. In addition the Monument Zones are not isolated archeological ensembles like the Pyramids, or the Mayan temples of Mexico. They are inextricably interwoven with the fast-developing capital city that is changing daily. This fusion of old and new is crucial to the vitality of the Monument Zones, but equally can be blamed for much of the damage caused to them. Happily the dramatic step has 72 MAR-APR 2006 SPACES
· Support States Parties’ public awareness-building activities for World Heritage conservation; · Encourage participation of the local population in the preservation of their cultural and natural heritage; · Encourage international cooperation in the conservation of our world’s cultural and natural heritage.
Above: Rear view of Pashupatinath.
Bhairav in Hanuman Dhoka Square.
Left: Entrance to Pashupatinath.
Facing page above right: Neo-classical influence is obvious in the architecture of Hanuman Dhoka Durbar.
Below: The Bagmati River flows serenly in Pashupatinath. Facing page above left: The restored Kal
Facing page below: Festivals are many and all year round in Basantpur Square.
existing legal policies and the different building codes to promote best practice conservation and safe-building techniques. Simultaneously they are working with a team of UNESCO consultants to develop an Integrated Management Plan for the whole site. This ambitious project has recently redefined the core and buffer zone boundaries of all Monument Zones, and is designing management mechanisms to adequately conserve the remaining value of the property in the long-term. However, the hard work is far from over. The next step on the agenda is a thorough overhaul of existing bylaws and the development of a clear mechanism for their enforcement. Until this time there
have been few examples of illegal constr uction being stopped, those responsible are rarely penalized and ultimately a penalty system may be required. These advances will only prolong the existence of the site’s value if
responsible attitude to cultural/ architectural heritage are those professionals within the building and reconstruction field. The trend for outof-proportion, indecorous reinforced concrete structures clad with dachi-apa
AFTER THE 1934 EARTHQUAKE, NEW ROAD WAS FULLY REBUILT IN RANA STYLE, THE MOST FASHIONABLE AT THE TIME, WHILST THE ORIGINAL BUILDINGS HAD BEEN MALLA STYLE. forces working against them re-evaluate their approach. Perhaps the hardest people to convince about the need for a
prevails in the monument zones, ranging from Patan to Swyambhunath. Instances of unsafe concrete towers dwarfing the human scale of traditional vernacular structures can be seen in every zone. Architects, and in many cases Engineers, who are responsible for such creations should think twice about what it is they are trying to practise, and the debt they owe to the original. The key to this may be introducing a more heritage aware conser vation component into the curriculum of key institutions, as has been the case at Kwopha Engineering College. This will certainly be a major undertaking, but the wheels are already turning, and the continued dedication of those involved will greatly help the cause. S The current Awareness Raising Campaign is generously sponsored by NFUAJ (National Federation of UNESCO Associations in Japan).
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TRANSITIONAL HICCUPS
A QUESTION OF
PRIORITIES
Text: Uday Sunder Shrestha. Images: Courtesy: Shyam S.L. Kakshapati
Tansen, often referred to as Palpa, is one of the few towns outside Kathmandu that bears a rich legacy of traditional art and architecture. Situated on the southern slope of a hill at an elevation of about 1350 metres, Tansen overlooks the Madi Valley and the terai, and on clear days, offers a magnificent view of the Himalayas from Dhaulagiri in the west to Gaurishankar in the northeast. Although this quiet and pollution free town is 300 kilometres west from Kathmandu, its character and architecture seem strongly influenced by Newari migrants from the Kathmandu Valley with Newari style houses, cobbled streets, Rana (neo-classical) style buildings, pagoda temples, shrines and stupas. As history has it, when Muslims invaded India during the 15th century, many kings and clans fled to the northern Himalayan region, some of whom conquered the local kings and established their own states. The former Sen Dynasty of Palpa, founded by Rudra Sen, has its roots in those days, and under the reign of his son Mukunda Sen (1518-1553), the kingdom of Palpa, with Tansen as its capital, spread as far as modern India to the south and Kathmandu to the east. Mukunda Sen even invaded Kathmandu but was unsuccessful. In the late eighteenth century, Palpa
TANSEN DURBAR Built in 1927 AD by General Pratap Shamsher J B Rana, the durbar with its neo-classical touches, was an imposing palace in the heart of the town. Once the seat of the Rana governors, the Durbar was the district secretariat of Palpa district before it was burnt down recently on January 31, 2006. It was a four-storied building with sixty-three rooms, two meeting halls and two towers at the two front corners.
SHITALPATI & THE BAGGI DHOKA The Shitalpati built by Khadga Shamsher was of octagonal shape and was a popular meeting place for the locals. Adjacent to the Shitalpati was the Baggi Dhoka, reflecting the style of the Mughals from India and was said to be the biggest gate in Nepal.
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formed an alliance with Gorkha to the east-northeast, which under Prithvi Narayan Shah, conquered most of the country and roughly established the boundaries of modern Nepal. Due to this alliance, Palpa escaped Shah rule until 1806 when it became the last region in Nepal to be annexed. Tansen today is still the capital of Palpa district, one of the 75 districts of Nepal, and retains much of its past importance in west central Nepal with a university, one of the finest hospitals in Nepal, and spectacular architecture dating back to the eighteenth century. It is indeed a great tragedy that the country, and more so, Palpa, has lost one of its most precious heritage recently. January 31, 2006 will henceforth be remembered as a black day in Palpa’s history. It is also extremely ironic that a movement of which one of the top leaders himself is an architect, should be so disregardful of the importance of preserving the country’s noble heritage. One recollects that even during the bombings of Europe during the Great Wars, commanders were mindful to make sure that precious monuments were spared the wrath of war. We hope people here will do likewise and keep the safety of such zones uppermost in their minds even while planning wars. It is also a matter of concern that many government offices are located within heritage sites in Nepal. It would be right to point out the need for governments to take into account the vital importance of ensuring their protection when doing so. It would be much better to assure the same by making proper adaptive use of such sites and refrain from turning them into targets of war. S
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Perfecting the art of printing VARIETY PRINTERS Pvt. Ltd P.O.Box. 9240, T.U. Road, Kuleshwor, Kathmandu, Nepal. Tel: 977-1-4278869, 4284265. Fax: 977-1-4278050. email: variety@wlink.com.np
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ON THE ANVIL CE CONSTRUCTIONS PVT. LTD. TRIPURESWOR, KATHMANDU PHONE: 4243120, 4252124 Name of Project : ACE Finance Company Office Nature of Project : Structural & Finishing Works Present Status: Finishing Works ongoing Estimated Date of Completio n: End of May, 2006 Special Features: Earthquake resistant structure, Basement parking. Name of Project : Water Treatment Plant for Bottler’s Nepal, Balaju Nature of Project : RCC Water Tanks Present Status: Structural Works ongoing Estimated Date of Completion: Mid April, 2006 Special Features: A Turnkey Project (RCC Water tanks - seven with 85,000 ltr and one with 350,000 ltr capacity , with special finishing of Epoxy coating for fo od grade quality and a buil in laboratory for testing)
SAROSH PRADHAN & ASSOCIATES (SPA) KRISHNA KUNJ, CHAUNI, KATHMANDU PHONE: 4270260 Interesting Tower in Nepal’s skyline : Worldlink has finalized the design for its corporate office building in Sanepa. The design integrates the company’s requirement for a unique corporate identity and explores ways of experimenting with a vocabulary for high rise buildings in Nepal. Silver Jubilee Memorial of World Hindu Federation - The ‘World Hindu Federation - Memorial Tower’ is currently under construction in Piparamath, Birgunj, to commemorate the first World Hindu Federation Conference held in Pipra 25 years ago and to mark its Silver Jubilee. The monument is scheduled to be completed and inaugurated on Ram Navami in April, 2006.
TECHNICAL INTERFACE 17/65 GA CHAKSIBARI MARG, KATHMANDU PHONE: 4222408, 4268994 Name of Project : Apartment Building, Pulchowk, Kathmandu Present Status : Under Construction Estimated Date of Completion: December 2006 Special Features: Multi use development with commercial/residential rentals, Ro of Top Health Club Name of Project : St Xavier’s Scho ol Main Building, Jawalakhel,, Kathmandu Nature of Project : New building proposed in place of old one already dismantled. Present Status : Working Drawings completed. Estimated Date of Completion: December 2007 Special Features: 18 classro oms and related facilities.
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A listing of professionals featured Sudarshan Raj TTiwari iwari Ph D Architect / Academic 588, Bishal Nagar Marg KMC (North) Kathmandu Phone: 5543079 (0) 4418692 (R) e mail : srtiwari@ioe.edu.np Shyam Lal Shrestha Artist Image Art Gallery Babarmahal Kathmandu Phone: 4227827
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Asian Paints
03
Avco
09
Balterio
Cover Fold
Bath N Room
39
Birla White
23
Bloom (RS Interiors)
31
Cotto Sanitaryware
05
Courtyard
39
Dakshin Barahi Itta Udhyog 64 Dhukuti
59
Everest Insurance
07
Exterior - Interior
15
Fishtail Residency
06
Frameworld
29
Glassic Studio
19
Hotel Shanker
21
Hotel Vishuwa
27
Kalinta
63
Kia Motors
Inside Back
Kitchen Concept
13
Koteswor Dandi Pasal
11
Moni’s Creations
35
Nepa Marble
59
Nepal Paint
37
Nep-Tel Yellow Pages
17
Panchakanya Steel
Back Cover
Pest Control
40
Saakha Steel
37
Scorpio
55
Shrestha Hardware
11
Southern Heights
Inside Cover
Stone Carving
65
Thanka House
63
United World Trade Centre 17 Variety Printing Press
76
Whirlpool
Cover Fold
AT TENTION PROPERTY OWNERS ATTENTION If you have any constructed property waiting to be disposed, we will be pleased to feature it under our ‘Prime Properties-For Sale’ section in forthcoming issues of ‘Spaces’. Contact: Marketing Department. Phone: 5544606/5526040 email at market@spacesnepal.com
78 MAR-APR 2006 SPACES
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80 MAR-APR 2006 SPACES