SPACES Nepal Mar-Apr 2005 by SPACES Nepal

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Civil homes

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MAR-APR 2005 VOLUME 1 ISSUE 3

FEATURES

ARCHITECTURE

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BABER MAHAL 22 REVISITED-REVISITED Dilapidated stables and guard quarters were all that were left to the once proud owners of the sprawling Baber Mahal. A sixth generation heir decided to restore some of the lost glory, and along with two gifted architects, performed a miracle.

54 INNER CITY ENERGY ‘‘An oasis in the midst of the hustle and bstle of a metropolitan city’- this is one of the ways to describe it. What’s more, this Café is also replete with architectural innovations that impart a different kind of energy.

PROFILE

28 LABOUR OF LOVE

Gautam SJB Rana, scion to a proud Rana family, says it’s hard to be humble when one is a Rana. Don’t go by what he says however, it is only an example of his sense of humor. He is downright humble about his labour of love- Baber Mahal Revisited.

Bibhuti Man Singh is one of the best known names in the field of architecture. At present, however, he is more concerned with the imminent occurence of a major earthquake in Nepal and is active in creating awareness about disaster management.

THE FOUNTAINHEAD

EDITORIAL

‘Architecture is about life itself’ – Bibhuti Man Singh. Aptly said. Architecture does affect life in all its varied aspects. Well-designed structures where beauty, convenience and comfort are the foremost aspects, reflects the vision of the promoter / owner, keeping in mind the end user. The architect’s skill lies in the translation of this vision into practicality, with the end result influencing individual lifestyles and changing whole streetscapes. This issue features two such visions, transformed profitably into reality – ‘The Baber Mahal Revisited’ and ‘The Bakery Café, Sundhara’, both in Kathmandu.

Bibhuti Man Singh- prepared for every eventuality. See page 66

However, although good living begins with architecture, this alone is not enough. As the saying goes, ‘Great ideas need wings – as well as landing gear’, the importance of structural engineering in buildings cannot be bypassed. More so, if you are living in a country like Nepal, which has ninety-two fault lines capable of producing catastrophic earthquakes. And five of these faults lie within the Kathmandu Valley. These are cold hard facts. If experts are to be quoted, ‘The next big one is imminent’ and with the present trend of rapid urbanisation of the Valley, the extent of the catastrophe will be unimaginable. In this issue, concerned people like architect Bibhuti Man Singh and earthquake engineer Jitendra Bothara inform about the gravity of the situation, which must be taken seriously by all, especially architects, engineers and responsible people in authority.

Baber Mahal Revisited- courtyards within courtyards. See page 22

Wonder if the school my daughter studies in is safe? SPACES hopes that this third issue is as informative and enjoyable as the previous ones.

Gautam Ratna Tuladhar- a multitalented artist. See page 16 SPACES MAR-APR 2005 5

MAR-APR 2005 VOLUME 1 ISSUE 3

GOOD LIVING

An office as chic as the man himself. See page 28

ART

CRAFT

HERITAGE

16 ABHINAYA RATNA

36 CARVING OUT A SOLID LIFE

At Gautam’s Art Gallery in Baber Mahal Revisited one will see buxom women in different moods and dancers whirling away to glory-an absolute riot of colors on canvas. One will also meet a gifted artist, an accomplished actor and a divine dancer.

He is one of the doyens of a craft Nepal is renowned for-woodcarving. It has been the result of honed skills combined with hard work that has enabled Moti Lal Shilpakar to carve out a solid life.

Anil Chitrakar writes about waterspouts and water spaces that have historically been of great importance to people of the Valley and still are.

INTERIOR

46 FLAUNTING SPACES The newest addition to the Nanglo Bakery chain is the one in Sundhara, and perhaps, it is the best one yet if not the most expansive. The Café abounds in spaces and flaunts the same most refreshingly.

RS INTERIORS

RS Interiors is one of the leading furniture makers in the country and has been consistent in maintaining and improving upon its quality and workmanship over the years.

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WATER SPACES

NEW DESIGNER

WOODCRAFT

STEELY DETERMINATION

The history of woodcarving in the country and the people involved , is a fascinating one. This traditional skill is something we all need to preserve and promote.

Krishna Maharjan of Kathmandu Engineering College won first prize for a thesis “Ethnic Village Resort” which is well under way now as a live project in Dhulikhel.

REPORT

PRODUCTS

EARTHQUAKE RISKS

86 PURE Water Purifying System A new

Experts in the field of earthquakes speak about earthquake risks facing the country and provide sound advice on ways of facing such a catastrophe if one were to strike in the future.

water purifying system has hit the market and it promises a more pure way to purify water. Gas Geysers Even with the erratic gas supply, gas geysers are still a boon because of its economy and efficiency.

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CONTRIBUTORS SAROSH PRADHAN is the architect who has been making news in recent times for outstanding work in the field. His latest achievement has been to win the South Asian Architect of the Year award for designing the TEWA complex. Another of his works, that of the Bakery Café, Sundhara, is no less outstanding.

SIDDARTH LAMA is a freelance writer who has written on a variety of subjects in different magazines. He likes to go trekking whenever he has free time. No doubt he believes in eating right and therefore it is only natural that he should be enthusiastic about one of the new premier eating establishments in town, about which he writes in this issue.

MANAGING EDITOR

Uday Sunder Shrestha, B.E PUBLIC RELATIONS

Prakash Bahadur Amatya ASSOCIATE EDITOR / MARKETING MANAGER Amar B. Shrestha PHOTOGRAPHY / PRODUCTION CONTROL Ashesh Rajbansh LAYOUT DESIGN

Pavitra D. Tuladhar MARKETING EXECUTIVE

Wimmy Kaur ADMINISTRATION / ACCOUNTS

Sanjay Shrestha PUBLISHED BY

is an expert working to revitalize interest in historical sites, culture and tradition. He likes to work with young minds as well as master craftsmen to further his efforts towards the creation of more awareness and social interaction in this important sector.

ANJANA SHILPAKAR manages one of the p i o n e e r i n g woodcarving establishments in the country. She has done her Masters in Business Studies and is presently doing her Ph.D in Art and Culture. Her subject for specialization is, naturally, woodcarving, and she will be the first person to do so in Nepal.

JITENDRA K. BOTHARA is a Senior Earthquake Engineer with the National Society for Earthquake Technolo g y (NSET) Nepal.

RAMESH GURAGAIN is a Structural Engineer at the National Society for Earthquake Technology-Nepal and is presently a Post Graduate Student in Tokyo University, Japan

ANIL CHITRAKAR

IMPRESSIONS Publishing Pvt.Ltd., Kupondole, Lalitpur, P.B. 227, DPO Lalitpur Ph: 5544606. 5526040 (Regd. No 30657/061-62) COLOR SEPARATION

Scan Pro, Pulchowk, Lalitpur PRINTED AT

Variety Press, Kuleswor, Kathmandu DISTRIBUTED BY

bitarak.com Ph: 5529726 / 5522472 email: info@bitarak.com 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.

ADVERTISING & SUBSCRIPTIONS

COVER Dramatic wish-bone like steel structures support and add visual delight to the sheltered area leading to the garden of the new and stylishly designed Nanglo Bakery Café at Sundhara. A wonderful addition to a historic site. Photograph by Ashesh Rajbansh Canon EOS 10D DSLR 16-35 mm f/2.8 L USM lens 1/60sec@f9

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Kathmandu: IMPRESSIONS Publishing Pvt.Ltd., Ph: 5544606, 5526040. email: market@spacesnepal.com Pokhara: 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: Rajiv Pradhan,South Harrow, Middlesex Haz 8HA, London. Ph: 85373674. email: rajivpradhan@hotmail.com Australia: Leela Krishna Manandhar, Kogarah, Sydney, NSW. Ph: 422811704 email: nimadidi@hotmail.com USA: Subarna Joshi, West Palm Beach, Florida Ph: 3836207, Email: subarnaj@aol.com

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NEWS & HAPPENINGS

NAFA awards The 35 th National Art and Craft Exhibition 2061 B.S. was held at the Nepal Association of Fine Arts in Sita Bhawan, Naxal, on the occasion of the 60th birth anniversary of the late King Birendra. 361 artists participated in the prestigious competition out of which 330 were selected. Out of the total 614 art works sent in, 463 were chosen for the competition. In addition, 32 artists exhibited 50 of their works in the noncompeting section. In the Contemporary Painting section, Bhairaj Maharjan was awarded the first prize for his painting titled, ‘Lonely’ (medium: acrylic, size: 65x157cm). The second prize went to Manish Lal Shrestha for his ‘Sound of Nostalgia’ (medium: acrylic, size: 92x153cm). The third prize was awarded to D. Ram Palpali for his ‘The Street’, a watercolour painting. Special prizes went to Sarita Dongol for her ‘Nature’ and Pramila Bajracharya for her ‘Landscape Composition’. In Contemporary Sculpture, the first prize was awarded to Om Khatri of Baglung for ‘Blue Drop’ (medium: mixed, size: variable). Laya Mainali of

‘Lonely’

Kathmandu received the second prize for ‘Power of Shiva’ (medium: bronze, size: 30x32x50cm). Narendra Pd. Bhandari of Gulmi bagged the third prize for ‘Composition’ (medium: brass, size: 26x24x50cm). Special prizes went to Gopal Kalapremi for his ‘Kumudini’ and to Pancharatna Dangol for ‘Dhime Music Band’. In the Traditional Section, Ratna Gopal Sinkhwal of Bhaktapur received the first prize for his 100x120cm ‘Mandala’, while Laxman Maharjan of Lalitpur won the second prize for his ‘Saptalochan 21 Tara’, a 40x20x65 cm wood carving. Third prize went to Ramprakash Shrestha for ‘Devi Matrika’ and special prizes went to

Ashok Lama for ‘Chengresi’ and to Saila Lama for his ‘Kal Chakra’. In the Craft Section, Harisharan Shrestha’s ‘Market’ (medium: waste silk thread) received the first prize whereas Ramita Suwal won the second prize for her ‘World Peace’ (medium: wheat stalks). Similarly, third prize went to Shridevi Prajapati for her ‘Lion’ and special prizes were awarded to Sudha Rajopadhyaya for ‘Kumudini’ and to S.C.Suman for his ‘Radha Krishna’. Regional prizes were awarded to Kabita Lamsal of Sunsari, Kalananda Satyam of Kathmandu, Padam Ghale of Pokhara, Pushpa Thapa of Pyuthan and Puran Khadka of Achham. S

REHEARSAL AND FAREWELL PROGRAM- EXPO 2005 AICHI JAPAN On 25th February 2005, The Organizing Group of Himalayas and Parmita Handloom Industries, organizers of the Nepal Pavilion at Expo 2005 Aichi, Nagoya, Japan, arranged a rehearsal and farewell program at Ashoka Hall in Patan. The dance troupe, part of a thirty strong contingent that left for Japan on 28th February, rendered a dress rehearsal performance in front of the chief guest, His Excellency the Ambassador of Japan, and a select gathering of invitees. At the function, a slide show was also displayed, highlighting the different stages of work towards the completion of the Nepal Pavilion that has now been completed. Prakash Bahadur Amatya of Spatial Design Company, Kupondole, is the chief architect of the prestigious project. According to the organizers, the Exposition would be inaugurated on March 25th and carry on till September 25th, 2005. To celebrate the 59th auspicious 10 MAR-APR 2005 SPACES

birthday of His Majesty King Gyanendra Bir Bikram Shah Dev, Nepal National Day will be held at the Exposition on July 7th 2005. S

JAM-ARC 2005 The 2nd National Architectural Students Jamboree The Second National Architectural Students Jamboree was held in Kathmandu Engineering College, (KEC), from January 19th to January 22nd, 2005. The jamboree, which is held once every four years, was this year organized by Association of KEC Architecture, KEC (AKAR). Other associations and coorganizers of the jamboree were: Society of Nepalese Architects, (SONA), Khwopa Architectural Students’ Association ( KhEC ), Association of Students of Architecture (ASA-IOE), and Academic Council of Architecture Students (NEC). The jamboree that was held for four days at KEC was an optional type participation program for the architectural and engineering college students. During the jamboree, the 225 students

had to stay over-night at the premises of the college where they were further randomly divided into four houses: Red, Green, Yellow, and Violet. There was also a Blue house, which was termed as the official house, whose members were the judges of different events. The opening ceremony on the first day of the jamboree began at 3.00 pm in which the organizing committee welcomed the students informally. Cultural programs, fashion shows, and a dance party provided a venue for the participants to mingle and interact with each other. Jam-Arc’s second day started with a lot of anticipation. Architects Sarosh Pradhan and Sanjay Upreti, focusing on some of their professional works, held a workshop and seminar. The students were also taken on a field trip to three sites to broaden their vision and work

Reported by:Tanvi Shrestha & Pallavi Baisyat

in a team. Various games helped the students to work unitedly with other members besides providing an opportunity to display their talents. The third day had a tight schedule with seminars being conducted by architects Sudarshan Raj Tiwari (55 Windows), Gaurav KC (Trip to Ger many) and Jib Raj Pokhrel(Disaster Management), as well as interactive games for the participating students. The final day was an all-day affair open to the general public, parents of the students’ involved and related professionals. The day was colourful with stalls showcasing building construction materials, housing and refreshments. ‘Spaces’ was also present, updating people through its magazine on art, architecture and design. The president of SONA, architect Binod Neupane, in the presence of the general secretary of SONA and previous general secretaries, presided over the Left: Susan Vaidya & Rabita Rajkarnikar on the far left.

formal closing ceremony. The organising committee, AKAR, presented the beneficial aspects, results and conclusions of the jamboree to the associated members. Aarti, a 2nd year student of KEC, was of the opinion that such events helped them to work as a team besides gaining knowledge through seminars and workshops. According to the Vice President of AKAR, Susan Vaidya, this Jamboree focused mainly towards bringing students of different colleges together. President of AKAR, Rabita Rajkarnikar, reinforced the fact that the 2nd National Architectural Students’ Jamboree was meant to benefit students studying architecture and related topics, through discussion of problems in the architectural field and finding out ways to deal with the same. ‘Spaces-guide to good living’ compliments Rabita and her hardworking team for their excellence in the management of a difficult event that will surely hold pleasant memories for all those involved. S SPACES MAR-APR 2005 11

LETTERS

GREETINGS FROM THE BOSS! We would like to congratulate you on an excellent issue of ‘Spaces’. It is indeed a commendable job. All the best for your future issues too! Shalini Wadhwa CEO / Managing Editor Speciality Media Pvt. Ltd. It is indeed heartening to receive compliments from the boss. Thank you very much.

MORE SPACES We acknowledge the receipt of your second issue of “SPACESGUIDE TO GOOD LIVING”. I like the magazine and its contents and the high-class printing. Would you please send this magazine on a regular basis.

KUDOS TO ‘SPACES’ I am immensely pleased to receive the 2nd issue of Spaces Magazine. Please accept my heartiest congratulations for bringing out a top quality magazine. While the production quality is outstanding, the articles and contributions are very interesting and spanning across a cross section of fields. The profile of Ms. Sarita Shreshta is interesting and you could have done well by incorporating some of her project photographs in her profile though the other article on the office of Voith Group titled “ The Lion’s Den” did the honours for Ms Sarita. The profile of Mr Narendra Pradhan is as interesting and colourful as his many beautiful monasteries. Please convey my congratulations to the very energetic Ar. Sarosh Pradhan and his team for winning the “ Young Architect’s Award for 2004" instituted by JK Cement. Again, the award-winning project ‘Tewa’ should have been featured for readers’ benefit. With best regards,

Thanking you, J. L. Khanna Managing Director Yeti Travels, Durbar Marg. Thank you very much for your compliment. We are pleased to have our efforts being appreciated by discerning people like you.

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Jayanthi S Ramlal General Manager Sales, South Asia Bisazza India Pvt. Ltd. We thank you for commending ‘SPACES-GUIDE TO GOOD LIVING’ as a ‘top class’ magazine. We will definitely be featuring the awardwinning ‘TEWA’ project in one of our future issues.

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LETTERS STUDENT’S CRITICISM I, a student of architecture would like to congratulate you all for Spaces Magazine’s succeeding issues’ new approach in journalism (architectural journalism). But I would like to criticize the approach. The name of the magazine, “Spaces”, signifies that it is related to architecture, and all architecture depends on sketches and drawing. Most architects respect work rather than persona so work of senior architects should be illustrated with sketches, drawings etc and writing should be focused on his design concept. Hence the articles concerning architecture should be graphically as well as architecturally explained. Another thing, the sections for each issue like art, environment, architecture and news should be defined. Lastly, the writer of the articles should be mentioned so that we can directly communicate about the issues and may explore new things too. Surya Mohan Adhikari Student, Institute of Engineering We must emphasize that ‘SPACES-GUIDE TO GOOD LIVING’ has the objective of reaching a wider reader group. ‘Spaces’ aims to provide a platform for achievements in art, architecture and design that will be noted and appreciated by all sections of society. Therefore, to cater to a wider readership, ‘Spaces’ has tried to make the magazine livelier by including a wide variety of subjects. While we shall endeavor to provide more sketches and drawings, we will also continue to profile the lives of noteworthy artists, craftsmen, architects, engineers and interior designers because we are convinced that such people’s lives are interesting and worthy of being featured besides of course, making them familiar to all.

STUDENTS’ SEGMENT Congratulations on your second issue of “SPACES”. It was quite impressive. I am sure that this publication will gain more success in the future. I am currently a fourth year student of architecture at Khwopa Engineering College, Bhaktapur and in the last issue one of my teachers Miss Pooja Shrestha was featured. I recently was a winner of the top-ten college women competition that was organized by a women’s magazine. I am also active in various activities and am doing quite well academically. Do you happen to have any student feature segment where perhaps some of my works could be highlighted? This sort of segment could not only highlight students and provide them much needed exposure in this highly competitive market but could also prove to be a favorite amongst concerned students and would enable further outreach of your magazine. Neelam Pradhananga Khwopa Engineering College Thank you for taking such a deep interest in ‘SPACES’. As you know, we have a segment for new designers and we will surely feature outstanding achievements by students of the concerned subjects in our future issues.

NEED OF THE TIMES It was with great pleasure that I went through (thoroughly) your second publication of SPACES. I am a private restorer of Baber Mahal Revisited & Director for Development of Kathmandu Valley Preser vation Trust, the restored office of which you covered in your first issue. It gives me great satisfaction to know that a magazine of your caliber is covering not only the art world but also private, public & government restoration projects & homes. It was much over due that a magazine of your caliber was published in Nepal when the Valley is being totally defaced by monstrous cement structures which neither compliment or beautifies the valley nor our culture nor our aesthetic style of past building. We all need to make a difference by retaining our monuments & our aesthetic sense of architecture which has been our pride & one of the major pulls for tourism. There are always many hiccups for a new endeavor-it too will pass. Keep up your brilliant work. SPACES is a magazine we eagerly look forward to. Best wishes. Gautam SJB Rana Baber Mahal Revisited/ Kathmandu Valley Preservation Trust We are indeed pleased to know that you find ‘SPACES’ to be a need of the times. We too appreciate your magnificient work in restoring Baber Mahal Revisited.

> > Thank you dear Readers for your response. We look forward to receiving more opinions and suggestions in the coming issues.

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DESIGNING LUXURY Fu r n i t u re

Flooring

Ac c e s s o r i e s

bloom

furniture boutique In collabration with RS Interiors (P) Ltd Show room location: Basundhara opp. to Jialing Bike showroom. For Further information contact:4356913, 9851021346 Interior design by: Suban Rajbhandari SPACES MAR-APR 2005 15

A rRt

BHINAY

a na

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“a canvas is after all but a dance of colours”

-Bal Krishna Sama

“GIRLS USED TO AVOID ME AND TRY TO HIDE FROM ME,” THE DAPPER CLEAN-SHAVEN MAN REVEALS CANDIDLY. EVEN IF SO, HE ADDS, “THOSE DAYS WERE MINE.” There’s no doubting his words. ‘Abhinay Ratna’, Gautam Ratna Bajracharya ‘Tuladhar’, in the middle 1970’s, was one of the best-known faces in Nepali cinema. He started his acting career as a villain in ‘Kumari’ and went on to do more villainous roles in fifteen other films, of which about five films are yet to be released. The most recent film he has been signed on for is a Newari movie, ‘Bala Maiju’ that is to be screened shortly. In spite of his screen persona in negative roles, one can of course see that he is a gentleman in real life. One would also think that the above would be enough to satisfy the creative urges of any man. But no, his visiting card today describes him as a ‘Senior Cine Actor / Fine Artist / Painter’ and the address below that is ‘Gautam’s Art Gallery, Baber Mahal Revisited’. The actor is an artist too, and his canvases speak volumes about the man’s immense talent in fine arts.

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ART D ANCE OF C OLOURS On 16th October 2001, the actor / artist had a solo exhibition at the Nepal Art Council Gallery titled, ‘Significant Dances of Nepal’ and on 30th December 2003, another at the same venue titled, ‘ Waves of Nature’. About the first, he writes in the accompanying brochure, ‘Dance is a form of cultural ornament of any country…’ and goes on to describe various forms of Nepalese dance forms. He ends with ‘…so it is right time to think seriously for its preservation… I am going to exhibit 46 acrylic paintings representing different dances from Nepal.’ About the second, this is what the eminent artist / litterateur Bal Krishna Sama said, ‘Gautam Ratna Tuladhar is the foremost among our folk dancers. I wish him all the best and hope he will be as successful in the field of painting. This is highly possible because a canvas is after all but a dance of colours.’

Rightly said too because Gautam started to dance when he was just 16 years old. He went on to be the ‘Shiva’ every dance lover identified with in his famous ‘Bhairav Kali Dance’, which has been performed numerous times and in numerous places. “Bimala (Shrestha) Chettri and myself were the creators of this dance which is enacted so often nowadays by so many other dancers.” Gautam also informs, “Ram Bharat Milap was another of my opera type dances that was a great hit. It ran for almost five months at the Naachghar and people used to queue up from the early hours to get a ticket.” Other super hit opera / dances in which he was the main dancer were ‘Satyanag’ and ‘Muna Madan’. Gautam Ratna Tuladhar, cine artist /

Above & Below:Two examples of Gautam’s surrealist paintings. Women feature prominently in all his works and they are depicted as entities with definitive characteristics. Through such works the artist has tried to link the vagaries of existence with the transcendence of nature Facing page top : This lovely painting shows off the artist’s capability to conjure up sensual images of the woman form without vulgarism that could easily overshadow the art. Facing page bottom: A figurative work depicting two musicians with traditional musical instruments.

artist / dancer, has performed as a dancer all over the country as well as in many countries around the globe. Dancing seems to be in his blood. “Although I am now 55 years old, I believe I can still give a good rendition of any traditional dance form,” he says. Looking at his trim and well-maintained figure, one cannot doubt his words. In fact, in the near future he might well give a performance in Baber Mahal Revisited itself. Surely this is 18 MAR-APR 2005 SPACES

something every dance lover will be looking forward to eagerly. Gautam is an expert on traditional dance forms and studied the art at Sangeet Mahavidalaya, which is affiliated to Allahabad University. “I did my junior graduation and specialized in the acting aspects of dance as well.” He is also a diploma holder of fine arts from Lalitpur Kala Academy. S ETTLING D OWN Gautam was born on 2nd March 1949 in Harshabahal, Nhyakuntala in Ason, Kathmandu. His present address is Budhanagar, Baneswar where he lives with his wife Geeta, an 18 year old daughter, Krija, and a son, 16 year old Gaurav, “who is

excellent in sketching and is artistically inclined”. Krija, on the other hand, has deep interest in dance. “I married at the relatively late age of around 37 years,” says Gautam. An educated guess would probably reveal that the villain in the limelight must have been too caught up in a world of glamour and beautiful people to have had time to give much thought to something as mundane as marriage. “Well, I was quite busy those days with acting, dancing and painting,” he agrees. “But after a time, I began to be apprehensive that it was getting to be a little too late to settle down to a stable life.” Still, when he talks about the good old days, his eyes do get a dreamy look. As far as his acting career is concerned, he has one regret however, “I wish I could have done

a hero’s role.” Asked to comment a little on his glamorous life during his acting heydays, he declines to reveal much except, “You see, that was my time. Need I say more?”

Gautam’s father, Ratna ‘Gurju’ Bajracharya was well known as the ‘Kancha Gurju’ who, besides performing his duties as a ‘Gurju’ (priest), was also a businessman who plied the Lhasa / Kathmandu trade

route. As a matter of fact, Gautam’s father conducted his business from Lhasa itself where he resided for well over 22 years. The artist’s mother, Chandra Prava Bajracharya, unfortunately passed away when Gautam was only 6 or 7 years old. The actor has three stepbrothers, Rajesh, Rajendra and Sajendra, “who are all ‘Gurjus’”, and two stepsisters, Shobha and Shobna. F AME AND F ORTUNE As an artist, Gautam is in his element putting on canvas colourful renderings of figurative and semiabstract work. Many of his paintings have generously endowed women that even at first glance evoke a sense of rhythm and graceful movements. There are other works that are abstract in nature and depict beautiful landscapes. It is SPACES MAR-APR 2005 19

ART Nepal Kalakar Sangh. In the same year, he was also awarded with the title of ‘Abhinya Ratna’ by the same organization. The actor values these awards and especially more so that of ‘Abhinya Ratna’, which he proudly displays on his visiting cards. As an artist he has won the 1st, 2nd and 3rd prizes for his landscapes at Park Gallery at different times between the years 1972 to 1985. In the same period he also won the 1st prize for landscape painting from Swayambhu Bikash Mandal as well as in the PurbaPaschim Rajmarg painting competition. In 1989 Gautam won the Nepal Siksha Puraskar. D ANCING D AYS The talented artiste is founder executive member of Young Artists’ Group, Kathmandu, a member of Artists’ Society of Nepal and Srijana Contemporary Art Gallery as well as a number of other associations related Above: Gautam also likes to paint figures of Lord Ganesh in his to art and cinema. “In the different manifestations early days, I was member of ‘Mayalu Pariwar’, a dance society. It had as members, evident that the artist has an collection of my work.” people like Basant Shrestha exceptional talent in the use However, he says frankly, “In and Radheshyam Pradhan, of colour that is at once Nepal, friends buy my besides other well known He adds, soothing and vibrant, which paintings and Nepalese staying dancers.” of course is not an easy thing abroad also are my customers. “Musicians in the ‘Pariwar’ to do. Gautam’s paintings also In fact, just recently a Nepalese included Hutraj and Ganesh contain an inherent sense of residing in Australia visited my Shrestha.” Gautam has fond motion that makes each of gallery and when I said that the memories of his dancing days his works come alive with price of one of my paintings and says, “During the late freshness and vigour. His was $150, he seemed King Birendra’s coronation, canvases cost between Rs. astonished and exclaimed, ‘But we perfor med the ‘Subha 7,000.00 to Rs. 80,000.00, that’s cheap. I pay that much Bibha’, a ‘Shiv-Parbati’ ballet, depending upon size. He for one night’s stay at the at the Royal Academy. The reveals, “Tom Crees, the hotel!’” Well, this perhaps audience consisted of VVIPs renowned architect, bought six reveals much about the value from all over the world. The late King Mahendra and the of my paintings for the of art in Nepal. late King Birendra were at the Riverside Springs Resort in Kurintar, for which I received As an actor, Gautam received gate personally to receive the Rupees Four Lakhs.” He the Lifetime Achievement guests. You can imagine how adds, “Park Village in Award in 2004, in the honoured I was to get the Budanilkantha also has a ‘Character Role’ category from opportunity to perform in 20 MAR-APR 2005 SPACES

such a setting and for such a distinguished audience!” Gautam was about 17 years then. He also remembers going to Dhaka for a performance during the 1st SAARC Summit. “King Birendra who attended the meet, knew each of us by name and chatted with us as almost equals. He was a great man.” Gautam also recollects performing many times inside the Royal Palace as well as in various camps all over the country during Royal tours. SO M UCH Y ET N OT ENOUGH As he reminisces on his exciting past, Gautam’s eyes get a faraway look and it is with an effort that he comes back to the present. But again, this is but for a short while, as he once again delves into the golden years, “I missed a chance to be a real super star, you know,” he discloses. “I had played a double role in a Pakistani film that had a multistar cast and included stars like Shiva Shrestha, Puran Joshi, Arjun Shahi, Sunil Thapa and Karishma Manandhar. Sadly, the film couldn’t be shown here due to litigation among the financiers and even in Pakistan it had to be recalled after only four days of exhibition.” Well, while sympathizing with the dancer / actor / artist one can only say, ‘Come on Mr. Gautam, you have been blessed with much more than is usually given to man. And as it is, your days of glory hardly seem to be over. Your art lives. The artist in you is in full bloom. Carry on with your characteristic vigour and rest assured, you will reach as fulfilling a milestone as you have achieved as a dancer and an actor.’ S

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The main entrance leading to Baber Mahal Revisited. This corner marked the original tree lined entry to the Baber Mahal grounds in the old days. Left: The main entrance before renovation.

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Baber Mahal R E V I S I T E D

Text: Kathmandu Valley Preservation Trust CLIENT’S BRIEF

Gautam S.J.B. Rana, great-great grandson of Nepal’s greatest builder-Maharaja Chandra Shumsher (r. 1901-1929), grew up with a passionate attachment to the hybrid culture his ancestors had forged from imported architectural ideas and luxuries and Nepalese artisanry and etiquette. As a young child, he and his family were forced to leave their palace, Baber Mahal, and take up residence in the adjacent stables and guard quarters. The palace, a three hundred room neoclassical structure constructed in 1919, has since been used for government offices and fallen into disrepair due to negligence.

ix courtyards of Kathmandu’s best eateries and shops in an historic palace setting, a landmark in historic preservation and adaptive reuse design in Nepal

A friendship with American architect and preservationist Erich Theophile catalysed a scheme to resurrect the utilitarian, but elegant historical structures his family inherited into an ambitious adaptive reuse scheme. This scheme would not only provide a haven and an upscale commercial centre for bustling Kathmandu, but also, as per the expressed wishes of the Client, serve as a living museum of his ancestor’s cultural contributions. Theophile was at that time researching the evolution of European and Mughal styles on Nepalese soil for a Phd. dissertation. The match was so lucky, it seemed fated. Based on a series of study trips to comparable European and Asian locations, the program was developed to include a wide range of high quality Nepalese-made goods and a mix of cafes and restaurants, both local and international. All the historical SPACES MAR-APR 2005 23

ARCHITECTURE

buildings were retained and carefully restored in order to achieve the ambitious use and pedagogical programme. A number of new structures were conceived both as insertions and extensions to the historical complex.

PROGRAMME AND TIME FRAME FOR COMPLETION

The project consists of 29,000 sq. ft. of restaurants, shops, and services with 10,000 sq.ft. of courtyard spaces, designed as settings for social, charitable, and perfor mance events. It was

Above: The corridor (‘galli’) with shops on both sides. This is a charming lane with small retail shops around it dealing in specialized goods like wrought iron, paper craft, books and so on. Inset: The ‘galli’ during renovation.

conceived, designed, and built from April, 1995 to October, 1997 and was inaugurated by Her Highness Rani Keshar Shumsher Rana as the first and only private contribution to Visit Nepal Year 1998. 24 MAR-APR 2005 SPACES

HISTORICAL BACKGROUND

This complex of service, garden and guard structures, together with the adjacent neoclassical palace, were designed and built by Architect Kishwor Narsingh in 1917. It was commissioned by Maharaja Chandra Shumsher as a residence for his son Lord Baber Shumsher. The family of Baber Shumsher were resident here until 1968

when the Government of Nepal nationalized a number of palaces for use by the government. Baber Mahal, the original palace, is one of some forty neoclassical palace structures which were built by the Rana Maharajas who ruled Nepal from 1846-1951. It was originally connected to Chandra Shumsher’s Singha Darbar (Lion Palace), a 1000 room palace now used as the centre of national government.

Above: The ‘mulchowk’, the courtyard that is the most spacious amongst the six courtyards within the complex. Around this can be seen new architecture that incorporates classical details borrowed from the original Baber Mahal façade.

ISSUES OF CONSERVATION /RESTORATION CONSIDERED AND JUSTIFICATIONS

An overriding preservation goal to create awareness of the artistic value and adaptability of these hybrid NepaleseEuropean structures, which were until recently unrecognized and often dismantled, generated a framework for decision-making where cost effectiveness, historical accuracy, and urban sensitivity were the key factors. In the design of new and additional structures, building material, salvaged from other buildings of similar age were incorporated and stylistic motifs from the original structures were followed. In several cases, new structures were designed as homage to lost historical structures to create a compressed history of Rana architecture.

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USE OF APPROPRIATE BUILDING AND ARTISAN TECHNIQUES

Baber Mahal Revisited is the first major building scheme in Nepal to make use of the traditional formula of building materials: mud mortar masonry and lime plaster finish. The extensive plaster work was executed and partially designed by the greatest living mason, Tusi Gurju (Bajracharya), descendant of the family of plasterers who executed palaces at the turn of the century for Mr. Rana’s greatgreat grandfather. The roofing system employs the same cut metalwork decoration as used in 1919 - the first time it has been reproduced. THE PROJECT’S CONTRIBUTION TO ITS CONTEXT AND

townscapes of world importance. The courtyards of the complex have become a popular venue for cultural and charitable functions. The success of the project has created new awareness of the richness and adaptability of the hybrid Rana architecture, previously condemned for its colonial character. The Keshar Mahal Garden of the Six Seasons, a unique monument contemporary with Baber Mahal, has recently received a combination of local and international funds for restoration. This first-ever involvement of the international preservation community in a Rana site was justified on the basis of the Baber Mahal Revisited success story.

COMMUNITY, ITS RELEVANCE AND SIGNIFICANCE

The complex of inwardly turned courtyards is a unique addition to the cultural and commercial life of modern Kathmandu, whose chaotic building activity threatens to destroy its historical 26 MAR-APR 2005 SPACES

RELATIONSHIP OF OLD TO NEW

The new structures were consciously designed to extend and amplify the historical styles and motifs. The complex looks as if it has always been there. Only

Above: The second courtyard, the ‘Hanuman Chowk’ that has a statue of the ‘monkey god’ to whom a shrine was dedicated during construction.

on closer inspection, and with the help of a series of educational placards, are the different layers of new and old buildings discernable. A number of individual restaurants and shops add contemporary interior and graphic design layers to the complex. DISCOVERIES

Despite the number of special amenities and art works commissioned for the complex, such as bronze statues, marble plaques and plaster friezes, the building proved more economical than the typical modern reinforced concrete frame construction of Kathmandu. THE BUILDING’S PRESENT CONDITION AND STATE OF USE

Restored, extended and functioning. S

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LABOUR O L VE 28 MAR-APR 2005 SPACES

As dusk falls, the lights come up within the complex, casting an enchanting glow to the beautiful surroundings.

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ARCHITECTURE

AN ILLUSTRIOUS LINEAGE

During the period 1901 to 1929, Chandra S.J.B. Rana built nine neoclassical palaces in the valley including the 1000 room Singha Durbar. For his five sons, he built Keshar Mahal, Shital Niwas, Singha Mahal, Laxmi Niwas, and Baber Mahal. Gautam S.J.B. Rana is his descendant (five times removed) and in the period 1995 to 1997, Gautam restored the cowsheds and guard quarters of Baber Mahal, naming it Baber Mahal Revisted. Not much of a comparison one could say, but then one must remember that Chandra S.J.B. Rana, 30 MAR-APR 2005 SPACES

Maharaja of Kaski and Lamjung, was the longest reigning Prime Minister and Commander-in-Chief in Nepal’s history. Gautam, on the other hand, came into the picture much after King Mahendra had already nationalized the 250 roomed Baber Mahal in 1966 whereby a paltry sum of Rs.11 lakhs, over a period of twelve years was given to the family as compensation. Also as compensation, Major General Aditya S.J.B. Rana, Gautam’s father and Aide-de-Camp to the Late King Birendra, was permitted to buy back the cowsheds

and guard quarters that today is world famous as Baber Mahal Revisited. CREATING HIS OWN HISTORY

Baber Mahal was the palace of Chandra S.J.B. Rana’s second son, General Sir Baber S.J.B. Rana, Legion of Merit, G.C.V.O, G.B.E., R.C.S.I, K.C.S.E., who incidentally was the first Rana to be knighted by the Emperor King George V of England. One can see that a lot of illustrious blood flows through Gautam’s veins and no doubt, Gautam himself has made history as well. His creation, Baber Mahal Revisited, has been featured in

Labour of Love

HE IDEA OF A COMPLEX THAT Jung Bahadur

WOULD BE AESTHETICALLY neo-classical

BEAUTIFUL

architecture

WELL

sleepless nights

ECONOMICALLY Asia Pacific Heritage

VIABLE, 19th Century

GERMINATED AFTER HIS VISITS TO second phase

THE QUINCY MARKET IN BOSTON opportunities

AND

THE

An exact replica

FAMOUS

COVENT

creating

GARDENS IN LONDON.

most national magazines as well as in many international ones. Gautam’s ‘Labour of Love’, as he likes to call it, was 31st in the ‘100 most great trips for the 21st century’ listed by ‘Travel and Leisure’ in the year 2000. ‘Times’ featured him and his ‘architectural museum’ in their September 2002 issue. Baber Mahal Revisited had also been nominated for the UNESCO Asia Pacific Heritage Award in the year 2000. Talking about his achievements, the youthful and selfeffacing man says, “Maybe it’s in the genes.”

THE ROYAL ENTREPRENEUR

While his elder brother, Gaurav S.J.B. Rana, is a Brigadier General in the ar my, Gautam himself has always been of an entrepreneurial bent. Thus, after finishing his studies in Business Management from Germany, Gautam started a business in making bronze statues using the lost wax method. He named it Bhavna Arts and Crafts after his wife, who herself is a Princess of the erstwhile royal family of Orcha in Madhya Pradesh, India. The company still makes statues, but only on exclusive orders.

“Bhavna’s great-great grandmother built the Ram Mandir in Janakpur,” Gautam reveals. “An exact replica was also built in Orcha.” The royal entrepreneur and his wife have two sons, Virat, who is working in finance, and Varun. “He’s studying architecture in Washington State University,” informs Gautam proudly. “After he finishes his studies in a year or so, I am looking forward to working with him on the second phase of my plans.” The ‘second phase’ happens to be sixteen luxury apartments to be built on approximately one thousand square metres of land adjoining the Baber Mahal SPACES MAR-APR 2005 31

ARCHITECTURE

Revisited complex. “The architecture will be based both on the European style introduced during Jung Bahadur’s era as well as the Malla period architecture,” explains Gautam. Gautam also once ran one of the first gar ment factories in the country, Varun Apparels. It was closed down four years ago but during the initial years, “did booming business.” “Actually, these businesses gave me plenty of opportunities to travel the globe,” says Gautam Rana. “And I gathered a lot of ideas while abroad.” According to him, the idea of a complex that would be aesthetically beautiful as well as economically viable, germinated after his visits to the Quincy Market in Boston and the famous Covent Gardens in London.

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Above: The first courtyard around which are examples of the first imported architectural designs-that of the plastered Mughal style of Lucknow. Below: One of the many interesting plaques embedded on the floors of Baber Mahal Revisited.

KVPT AND BABER MAHAL REVISITED

In 1993, Gautam came into contact with Kathmandu Valley Preservation Trust (KVPT), and was highly impressed with their works on preservation of ancient monuments. In fact, so impressed was Gautam that he organized a fundraiser at the Soaltee Hotel, titled, ’19th Century Nepal’. It raised half a million rupees which he donated to KVPT. Soon enough, he was invited to be a board member of the prestigious body. “Since the last two years I am the Program Director for Nepal,” he informs. “Actually all the members are philanthropists and nobody gets paid.” In 1995, after discussions with architects Eric Theophile and Dr. Rohit Ranjitkar of KVPT, work started on the restoration and conversion of the stables,

cowsheds and out-buildings of the palace, Baber Mahal. It represented the first large scale undertaking in cultural heritage preservation in the private sector. With a dedicated team and expert supervision, the project was completed in 18 months, i.e. in 1997. “There were no scaled nor elevation drawings,” recalls Gautam. “We started the project anyway and improvised as we went along. In fact, the drawings followed as we started building.”

seventy percent of the work had been finished, Gautam ran out of money. He approached many banks, but most of them, used to calculating commercial returns by rent per square feet, were not enthusiastic. After many sleepless nights, Gautam finally managed to get some financial backing from the Himalayan Bank. “That too with many conditions,” he remembers. COURTYARDS AND MORE

The project was not without hassles either. As Gautam says, “There were no proper government by laws for restoration work and we had a difficult time convincing the authorities to get permission to build on the site. You see, it was not a hotel nor a supermarket but at the same time we needed proper infrastructure like septic tanks, toilets, telephones, etc… just like for those establishments.” Besides, since it was (in the humble Rana’s words) ‘a labor of love’, everything had to be perfect. So it was not surprising that when about

Gautam has coined his own term for his creation. “An architectural museum, that’s what it is,” he affirms. According to the book he has written about the complex, ‘ …the neo-classical architecture of the Ranas, that rich mix of Nepalese, European and Indian influences, is revived as a monument worthy of study in a fitting tribute to the Rana legacy of excellence, grandeur and opulence.’ The design revolves around six courtyards that flow into one another and house twenty-two shops and four

Above: The outside of the restaurant run by Gautam’s wife, the erstwhile Princess of Orcha, (Madhya Pradesh), Bhavna. Below: The sumptuous setting inside the Baithak restaurant. Designed along the lines of a durbar banquet hall, the impressive portraits of various members of royalty past and present, hung all along the walls, lend an air of history and makes dining here an experience to savor.

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restaurants in between. The corner that marks the original tree lined entry into the palace grounds leads to the first courtyard, around which one can see the first ‘imported’ architectural designs - that of the plastered Mughal style of Lucknow - as used by Jung Bahadur in his garden palace at Thapathali.

from the original Baber Mahal façade.’ The fifth courtyard, in which, ‘cows once munched’ in their cowsheds, has today an Al Fresco restaurant that has been termed by guests to be ‘one of the most relaxing spots in Kathmandu’.

The second courtyard, known as Hanuman Chowk, has an idol of the monkey God, Hanuman, to whom a shrine was dedicated during construction. The third courtyard has what is described as a ‘Newar Hybrid’ architecture that includes typical shop fronts and windows found in Patan whose ‘classical columns, louvered grills and diminutive size are a blend of European and Asian sensibilities’. Following a ‘galli’ or lane, lined on both sides by shops, one comes across the fourth courtyard, the Mulchowk.

HARD EARNED PRIDE

Around this can be seen ‘new architecture incorporating classical details borrowed 34 MAR-APR 2005 SPACES

Gautam can justifiably be proud of what he has achieved. Baber Mahal Revisited not only went on to become an economically sound proposition, but has also become one of the more beautiful spots in the Capital. “You know, at first, even after completion, there were many who were of the opinion that it would be a financial failure,” Gautam recalls. “But I must tell you, there were two big hotels under construction at the same time Baber Mahal Revisited was being built. While I could pay back all the loans

Above: Before and after pictures of the main entrance that leads into an oasis of serenity and elegance called Baber Mahal Revisited. The dilapitated condition of the original makes one appreciate the restoration all the more.

in two years time, I don’t think they have been able to as yet!” He hastily adds, “Touch wood,” and then, with a satisfied smile, “Small is beautiful.” Although born a Taurean, Gautam is not as sturdily built as it’s sign, the bull. Nevertheless, one can infer that his humility as well as great sense of selfdeprecating humour must have something to do with his ever-lasting youth. And his great sense of humour is aptly symbolized by a cushion in his office that has embroidered on it - ‘It’s hard to be humble when you are a Rana’. S

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CRAFT

ARVING UT A SOLID LIFE

THOSE GOOD OLD DAYS

In Patan, some time in 1956 (2013 BS), excited murmurings were heard that the woodcarver of Jombahal, Moti Lal Shilpakar, had brought with him from Kathmandu, sacks bulging with money. Envious neighbours talked among themselves, “Now Moti Lal has started to use a car to transport money from Kathmandu.” No matter how astounding the story sounds, it was true. The, then, 22 years old woodcarver had been given a cheque in payment for some government work and had gone to cash it at the royal treasury located in Hanuman Dhoka. Once there, he was informed by an official, “You see those people counting and putting money in those sacks? Well those are yours.” So saying, the official had pointed out several sacks with his stick and asked him to carry them away. “I must tell you, I was in a deep predicament then,” chuckles Moti Lal, the 70 year old founder chairman of Wood Carving Industries in Patan Industrial Area of Lalitpur. “There were no bank notes then. I was paid in ‘doublees’ (silver coins), and since the payment was for thousands of rupees, I found myself with many sacks full of money!’ Fortunately a friend who had a car offered transportation to Moti Lal and his sacks.

Moti Lal Shilpakar has other interesting stories to tell. “Around 1971, I was invited to Holland to participate in their ‘Wood Fair’,” he recalls. “Once there I saw a list stating the kinds of wood 36 MAR-APR 2005 SPACES

Imagine, a country so well versed in woodcarving, and our name wasn’t there even among 140 countries!

available in 140 countries around the globe. I scoured the list two-three times but couldn’t find Nepal’s name. Imagine, a country so well versed in woodcar ving, and our name wasn’t there even among 140 countries!” So the first thing Shilpakar did after returning to Kathmandu was to send samples of 15-20 types of wood found in his own country. However, he does not know if they have been listed or not as he has not had the opportunity again

to participate in the fair that is held at regular intervals. “The Nepal Tourism Board was formed soon after and it started handling all such things. I suspect the officials there grab the free tickets and other facilities for themselves. What do they know about wood carving?” GOLDEN YEARS

It would not be an understatement to say that the master craftsman was totally disillusioned with things in the country after 1979 (2036 BS). As he ruminates wistfully, “ Before 1979, there was a vibrancy in the country as far as Nepali style of construction was concerned. People like us were in great demand during the late King Mahendra’s time when a lot of government structures were built and in which the traditional Nepali style was mandatory.” He also recalls, “At the end of the fiscal year, the concerned departments used to call me to collect payments even for work that was ongoing. They didn’t want the accounts to be kept pending into the next year.” Obviously, those were the golden years for craftsmen like Moti Lal. In addition, he remembers, “Ours was the only wood carving industry in the industrial estate for quite some time, so the government did away with tenders and gave us direct orders.” The Patan Industrial Estate was established in 1961 and the Wood Carving Industries soon after in around 1964. However today, he laments, “Things have been so bad in recent times that sometimes I have even thought of closing down my industry.”

THE PRESENT

But as they say, when the going gets tough, the tough get going. In October 2005, Disney World in Florida, USA, are planning to set up an ‘Everest Ride’, in which Wood Carving Industries have been commissioned substantial work. The industry is also responsible for making the massive wooden pillars that are the centre of attraction at the Nepal Pavilion at Disney World. “We are also starting to get work from Russia,” says Anjana, the eldest daughter of Moti Lal. She looks after the business now and is herself doing her Ph.D in Art and

Culture from Tribhuvan University with wood carving as her specialized subject. She will be the first Nepali to do so. The youngest daughter, Rojina, is doing her MBBS from Bangladesh while the middle one, Shrijana, is an interior designer. A son, Srijesh, is studying in the eleventh standard in Bangalore. “I think he is interested in wood carving and I hope he continues the tradition,” Moti Lal says optimistically. His own father, Mohan Lal Shilpakar, was a renowned wood carver in his days. Moti Lal remembers going with him,

Above: The wooden dais made by Moti Lal Shilpakar for His Majesty the late King Birendra’s coronation now is on display at Godavari Botanical Gardens.

when he was just seven years old, to Singha Durbar, where a lot of wood carving work had to be done and in which the Shilpakar family was deeply involved. “I was paid 12 paisa per day as wages,” he remembers. The well known ‘Annapurna Sthambha’ in Mangal Bazar, Patan, was made by Mohan Lal in 19491950 (2006-2007 BS). Those days they lived in Jombahal near the Vishwakarma Vihar in Patan. Today the Shilpakar SPACES MAR-APR 2005 37

family, including Moti Lal’s wife, Krishna Laxmi, live in Lokeswor Tole in Jawalakhel. BUSINESSMAN AND PHILANTHROPIST

Moti Lal is now busy for at least half of each day, presiding over and participating in dozens of organizations that include two financial companies, a wood seasoning business, the Lalitpur Chamber of Commerce, the Rotary Club, Nepal Handicrafts Association, the Children’s Organization, International Buddhist Meditation Centre, Nepal Cancer Relief Society, Heart Disease Foundation, a couple of schools, Nepal Heritage Association as well as numerous other social and community welfare bodies and Buddhist organizations. He is especially proud to be the chief guru of Lalitpur’s famous ‘Nyuku Jatra’ cultural society. He himself plays all sixteen musical instruments that comprise the ‘Nau Baja’ which are an integral part of such age old festivities. In fact Moti Lal has written a book in Newari titled, ‘Neku Jatra Chale Yayegu Niti- Dha Baja, Nau Baja Wo May Yagu Shabda Wo Bol’, that was 38 MAR-APR 2005 SPACES

published in 2002 and contains descriptions about traditional musical instruments as well as various lyrics of customary Newari songs. “The American Library asked me for some copies to be kept in a library in Washington,” he informs with pride. Moti Lal has no doubt been blessed in this life with name and fame following his footsteps at every turn. But at the same time he says, “I have donated quite a bit to so many welfare and religious societies that I am planning to bring out a book that will describe my philanthropic activities.” One can guess that his list of donations must be quite large, considering that a book is needed to describe it. IMPRESSIVE PORTFOLIO

Moti Lal has an impressive portfolio of his works in Nepal and abroad. “A lot of work was done in the royal palace during 1953-1954,” he remembers. That was the time when he carved and installed the huge front doors of Narayanhiti Durbar. Moti Lal also did all the works involving

Above: An assortment of intricately carved wooden furniture and decoratives lie around the showroom of Wood Carving Industries in Patan Industrial District. The variety on display is incredible.

woodcarving and installation in the Mahendra Museum at Chauni as well as the coronation pavilion during the coronation of the late king Birendra. The pavilion is now on display in the Godavari gardens. Such was the pressure of work in those good old days that Moti Lal had to go to places like Bungamati to find more carvers. “I could only find a few old carvers and so decided that I would have to take in apprentices and train them myself,” he recalls. According to him, he has trained hundreds of wood carvers and was probably the first master to train women as well. “Those days there used to be hundreds of carvers in my factory,” he says. “Now there are hardly forty and even those are difficult to retain.” Moti Lal and his carvers have done a significant amount of work in the

Gautami Vihar in Lumbini, the Bhivah Mandap in Janakpur, the Manakmana Mandir, Bindabasini Temple near Birganj, the now defunct Birganj Cigarette Factory; Dattetreya Square in Bhaktapur, Bhaktapur Durbar Square, as well as in Patan Durbar Square and Hanuman Dhoka. In Geneva, Moti Lal made the 11 feet by 28 feet carved wooden gates for the International Labour Organization headquarters. He has also worked in Japan, Berlin, Dhaka and Pakistan besides other countries. INITIATING SOCIETAL CHANGES

Undoubtedly, Moti Lal Shilpakar is one of the foremost master woodcarvers in the country with vast experience and knowledge. However, as he says, “Shilpakars have been involved in wood carving since ages, but actually in the beginning we were stone car vers.” Below: It is not only furniture that the company specializes in. Various wooden statues, idols and masks are also available as are traditionally crafted wooden chests.

According to him, Shilpakars were then called ‘Lhno Kurmis’ who, nevertheless, deviated towards wood carving due to the comparative ease of work as compared to working with stone. “Besides, the market demand was greater for wood carving.” He believes that Nepali wood carving is excellent as far as designs and patterns are concerned, but, “the finishing is better in other countries like for example, Indonesia and the Philippines.” In addition, the master carver feels that, if Nepal is to maintain its competitiveness in the international market, the government must help in procurement of high quality wood as well as more facilities for seasoning of the same. Moti Lal Shilpakar is a man who has lived his dreams, earned wealth through his talents, and travelled the globe many times. He is today living the life of a generous philanthropist who commands much respect in society. He is, in addition, a man who continues to live

the life of his own choosing and symbolic of this is the fact that he has built a personal Vihar in the Gautami Vihar in Lumbini. “At first I made a residential quarter for myself ,” he says. “Later, I made a temple above that and it is the only temple in the Lumbini Gardens.” He goes there several times a year to meditate and revive his spirituality. Today, Moti Lal Shilpakar is a trend setter in his society and his words carry weight. Thus, as the Chairman of the Shilpakar Samaj, he has been instrumental in initiating new rules and a code of conduct that does away with rituals and customs which have lost their relevance and are instead self defeating in nature. His benevolence and magnanimity can also be deciphered from the fact that his chief designer and super visor, Lal Shrestha, (whom Moti Lal trained himself since a child), has been working for him since the last twenty five years, as are many others in Wood Carving Industries, Patan. S

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40 MAR-APR 2005 SPACES

CRAFT

OODCRAFT IN

NEPALESE ARCHITECTURE Text: Anjana Shilpakar

Deft fingers at work, carving out intricate patterns on wood that will go on to become part of some exotic home. INTRODUCTION

The art of woodcarving has been the pride of Nepal for many centuries, having graced temples, monasteries, palaces and even residential homes since its existence. Although the earliest surviving example, dating back to 1396, is the Indresvara Mahadeva temple in Panauti, woodwork has always been part of the traditional architecture of Nepal. Besides the use of wood in forming various sculptures, woodwork is mainly taken in Nepal as an integral element of architecture. Lavishly carved wooden doors and windows are major beauties of ancient architecture. However, woodwork has been not confined within this boundary alone and wood

carvers have stepped forward, showing their skill in carving decorated cornices, brackets, lintels, struts, pillars, capitals and every possible part of construction. A living example, showing extensive use of woodwork, is the Kasthamandap at Basantapur, Kathmandu, which was built during the reign of Raja Lakshmi Narsimha Malla in 1596. As the legend goes, the entire structure was constructed using wood from a single tree. No other example of wooden temples such as this exists. â&#x20AC;&#x2DC;Kathmanduâ&#x20AC;&#x2122; was named after this masterpiece, depicting the outstanding woodwork in the art, architecture and civilization of Nepal. SPACES MAR-APR 2005 41

CRAFT

An experienced craftsman using well-proven skills along with established tools of the trade to produce beautifully decorated structures.

OUR GENERATIONS THAT FOLLOW SHOULD HAVE THE PLEASURE OF LIVING IN THE ART OF THEIR ANCESTORS AS WE ARE TODAY LIVING THE ART THAT WAS CREATED AGES AGO. The wood that was used in the old temples and palaces was locally called ‘dhumsi’ or ‘chasi’ which means ‘as strong as a tiger’. This particular timber has a legendary reputation, claiming that it has a life of 3000 years - 1000 years as standing tree, 1000 years as timber and 1000 years in water. The contemporary wood workers mainly use Sal/Agrath (Shorea Robusta), Champ (Michelia Champaca), Sisau (Dalbergia Sissoo) and Haldu (Adina Cordifolia) as per their availability and nature of work. Nepal was rich in excellent timber. Five hundred miles of Nepal’s terai and two thirds of the mountain areas were covered with different varieties of trees till the middle of the twentieth century. At present there are over

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150 varieties of trees available in Nepal. Amongst them, 97 are considered suitable as timber and are used widely in different parts and gradients of Nepal, depending on local availability and usage. THE SHILPAKARS AND THE ART FORM

Woodcarving in Nepal is purely a Newari art and is the traditional occupation of a Newari community called Shilpakars - dwellers of the historic city Patan. ‘Shilpa’, in Newari, means art and ‘Shilpakar’ means artists, the people or community who have skill. As history reveals, Shilpakars were onto stone carvings in the earlier days, but the waves

things are very clear from the analysis of available details that still stand within and outside the Valley. Elaborately carved wooden doors, windows and other elements that support as well as decorate construction characterize traditional architecture of Nepal seen today. Unlike other forms of art in Nepal, woodcarving is not confined within the boundaries of religious iconographic injunction. The art in wood often depicts the scenes taken from daily lives, flora and fauna, or at times, even from the artist’s imagination. Many struts are even decorated with frank erotic scenes, although these are usually found on tantric Shiva temples. HISTORY

of time banked them into wooden art. The skill was passed on from generation to generation and the vocabulary of the Newari language was enriched with woodcarving terms for every part, design, pattern, joint and technical details of the craft, as well as for the wide variety of tools used.

In Nepal, woodcraft flourished during the Malla period (14821768). Although there is no solid evidence, analytical thoughts force one to admit that woodcraft was developed way before the thirteenth century. Even a time span of a century falls short of the expertise and workmanship of the temple Indresvara

Like the craftsmen of stone and metal, wood craftsmen basically had their working place on the ground floor of their houses so that the following generations grew up within an environment of workmanship and skill. Thus other craftsmen were born. However, today, woodcarving has developed as an industry and plays an important part in the total exports of Nepal. Nevertheless, no systematic attempts seem to have been made to study the art of the woodcarver so as to enable defining the forms and phases of the art. But certain Above, Right & Below: Three examples of the celebrated traditional windows that have made Newari craftsmen famous all over the world as masters in woodcarving - the renowned ‘Ankhe Jhyals’ and the much admired ‘Peacock window’ popular with tourists as prized souvenirs .

Mahadeva (1396). Moreover, the famous Chinese pilgrim, Hsuan Tsang had mentioned in his memoirs (643 AD) of Nepalese woodcraft, “The people of Nepal, among other things, are skilled in arts. Their houses are made of wood, and carved.” The history of Nepal also tells stories of King Anshuverma (593-621 AD), who had entered into a matrimonial alliance with Tibet by giving the hand of his daughter, Bhrikuti, to the king of Tibet. Legend has it that the princess had carried as a wedding gift, an image of Lord Buddha made of sandalwood. However, woodcraft did see major developments during the Malla period. This is when many constructions fulsome of art in wood, stone and metal materialized. The three palace squares, temples, monasteries and maths of Kathmandu, Patan and Bhaktapur are the major developments of this period. During this period, the kings of all three major cities were into unofficial competition

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CRAFT The irony lies in the fact that the increase in local demand has led to deterioration in the quality of workmanship. Left: Each hammer stroke is controlled and precise to ensure perfect symmetry in design. Below: The finishing includes extensive sand papering with emery paper so that the product is smooth and well proportioned all over. Bottom: After the time consuming process of carving is over, the ornately decorated windows lie about the workshop, waiting to have the finishing done.

to decorate their respective cities, then, countries. This did boost the art and many artists and artistic monuments were born. The craftsmanship developed during the Malla period flourished under the patronage of the Shah kings in the Valley. In fact, the majority of woodwork in Nepal dates back to the period of the Shah kings who took over control of the Valley in 1769. Unfortunately during the period of the Rana Administration (1846-1951), this wooden artistic tradition was greatly discouraged. The Ranas were more attracted towards the colonial or neo-classical architecture inspired by the British culture. Thus the new palaces and buildings made by the Ranas were more inclined towards European designs and elements rather than Nepalese architecture. The art then almost perished. The artists were diverted towards other occupations and the traditional art and techniques were just simply forgotten. After the fall of the Rana regime in 1951, restrictions were lifted and Nepal was opened to tourists. The rich architecture and beautiful artwork was now appreciated all over the globe. Tourists were lured to take back pieces of Nepali art as souvenirs. This revived the artists and redeveloped the art buried within. Replicas and miniatures of windows, doors and statues were made and the art of Nepal started to spread all over the world. THE PRESENT

Today woodcarving has become a big industry where many people are employed and families are supported, directly or indirectly. In the fiscal year 2061/61 BS, 2.7% of the total handicraft exports was that of woodcraft. Besides exporting, woodcraft is equally in demand in the local markets. With the need of time, woodcarvers are bringing out new products, blending a traditional touch to modern civilization requirements. This is probably why they 44 MAR-APR 2005 SPACES

still have good grip in the local market. The recent ‘back to history’ trend in the architectural design of houses and buildings in the traditional ‘Nepali style’ has boosted the woodcarving industry as well. Traditional woodcarvings are being incorporated in modern interiors of contemporary Nepali homes. The occupation now has gone beyond the monopoly of the ‘Newars’, with many young men and women of different caste and culture embracing the wood art as their occupation. The ancient village of Bungamati at Patan has become a traditional woodcarving village with almost all the people being involved in woodcarving. This goes to show how commercial woodcarving has developed at present. However, the irony lies in the fact that the increase in local demand has led to deterioration in the quality of workmanship, the price being the basic factor, demanding even art that had been preserved since ages, for a cheaper price. Nevertheless it should not be forgotten that we are creating history today. The art created today is the treasure of tomorrow. Our generations that follow should have the pleasure of living in the art of their ancestors as we are today living the art that was created ages ago.

The craftsman first selects the right timber for his work, with regard to the strength, colour and smoothness required, out of those available. For structural purposes, furniture and other items that require strength, normally Sal/Agrath or Sisau wood is generally used. These are the strongest wood available and are brownish in colour. For replicas, miniatures and statues, Haldu wood is normally used owing to its light weight and colour, which allows the craftsman to finish up the item in any desired colour. However, in spite of its heavier weight, Sissau is also at times used for replicas and statues for its beautiful natural texture. Another important factor craftsmen need to consider is the alignment of the grains of the wood, otherwise it will be like swimming in a river against the current. Since the grains are naturally formed, the craftsman has to work on the wood according to its grains. Once the right type of wood is selected, the craftsman normally draws on it the desired image to be carved and then gradually starts working on it. Using different sizes and shapes of tools, the craftsman chisels away the pieces of wood to get the desired shape of the statue in the raw wood. The craftsman’s imagination plays a vital role here.

THE PROCESS

The various traditional art forms of Nepal have their own significance in the culture of Nepal. As their diverse character, each have different traditional methods and techniques and like other arts of Nepal, there are no written methods and ways of creating wooden crafts. The techniques are all handed down from generation to generation through practice. To produce a fine work of art, it is necessary that the artist live through his work. If the artist doesn’t love his creation then the art fails to appear. Unlike in metalwork, no moulds are made here in woodcrafts. The craftsman directly starts working on the raw wood piece, pouring all his skill to bring life out of it, similar to that in stone carving.

The craftsman should be very familiar with the body structure and its language and should know the curves and lines of the figure he’s working on. Once the raw wooden form is obtained, the craftsman uses finer, smaller and sharper tools to refine the image and adds all the details like eyes, lips, clothes, jewels, bodylines etc. This is the time when the skill of the craftsman is really put into question. An expert craftsman can depict emotions and expression and endow life into the statue, or else it becomes just another handicraft item. This is followed by the finishing process whereby the desired colour is given to the statue. The wooden carved statue or any image is now ready for worship, decoration or export. S

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launting SPACES

REFRESHINGLY

Text: Siddarth Lama

THE NEED TO SHED THE OLD COLOUR WAS, TO GIVE A REFRESHING AND EXPERIMENTAL APPROACH TO THE NEW DESIGN. SPACES MAR-APR 2005 47

F RECENT ADDITIONS TO THE NANGLO CHAIN OF RESTAURANTS IN KATHMANDU PRECEDING THIS LATEST ONE HAVE BEEN AN INDICATOR, THEN IT IS NO SURPRISE TO FIND THAT THE BAKERY CAFÃ&#x2030; AT SUNDHARA, LOCATED BEHIND THE NOW REFURBISHED AND TOWERING MAJESTY OF THE DHARAHARA MONUMENT, IS NO LONGER GREEN!

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Left: The dashing owner of the popular Nanglo chain of restaurantsShyam Sunderlal Kakshapati - entrepreneur extraordinaire. Below:The island bar with its curved steel girders and translucent roof is an oasis within an oasis, no doubt about that!

The signature colour of these outlets have become a thing of the past, and this new location bears very little vestiges of the old colour theme which many Nanglo customers have become accustomed to over the years. The need to shed the old colour was, according to Sarosh Pradhan, its architect and designer, “… to give a refreshing and experimental approach to the new design of this outlet”. This approach reflects the words of the client Shyam Sunderlal Kakshapati, owner of the Nanglo chain, who wanted a “modern trendy design - a new look which could cater to a wide range of customer needs and also be able to utilize the space available effectively”. And space there was in plenty. Spread over approximately three ropanis of land (1500 sq.m), the site is located a little off the dense crossroads of Sundhara and Ganabahal. The existing four-storied building formerly housed the Goethe Institute and two of these floors are now part of the renovated Bakery Café complex. Existing structures needed to be modified and new additions made, in order to create the current facilities. A large piece of unused land adjoining the existing building has also been incorporated into the bakery café complex, which now forms the outdoor service and recreational area. SPACES MAR-APR 2005 49

INTERIOR HEART OF THE PROJECT

The first impression one gets on entering the café is the sense of space. This is in part a result of walking out from what is essentially a crowded and cluttered surrounding into the relative order of a wellproportioned area. An open kitchen lies directly opposite the entrance and the wide rectangular opening that forms one side of the open arrangement provides a direct view into the stainless-steeland-steam environment of the kitchen. This is a design feature with a purpose. “We wanted to create a more inclusive environment, where there is visible activity, and which precludes the norm of merely sitting and waiting for the food to arrive. Here the customer gets to interact visually with the kitchen and the cooking process,” says Sarosh. He describes the kitchen as the ‘heart of the project’ and showcasing its cleanliness and the cooking process is an asset, because it involves the customer with the Café’s hospitable environment. Perhaps the most noticeable feature on entering the Bakery Café, aside from the spaciousness and the view of the kitchen, is the orange hand painted plaster of paris wall on the left, defining the length of the fast food seating area.

It is a colour scheme replicated in the lounge area on the first floor and, according to the designer, meant to soothe the nerves of rushed customers popping in for a quick bite. This ‘fastfood’ area by the entrance has a ringside seating arrangement, in that all seating is arranged along its perimeter, making traffic flow and service easy. It is an area not particularly striking for its furnishing or decorative elements, but manages to be modern and functional as intended. THE SUNDHARA GARDENS

Turning right past the open kitchen and all its stainless steel splendour, one emerges into what the first time visitor

will find to be a rather unexpectedly large outdoor area, known as the Sundhara Gardens. The name ‘Sundhara Gardens’ comes from the landscaped shape of the first level of this outdoor space, which replicates the shape of the historic Sundhara bathing pool. Three small stone spouts on the far wall echo the theme further as the second level of the seating space sinks into a lawn area defined by the first level and the boundary wall. This is perhaps the most interesting part of the Café and also the largest open area on the premises. It features an island bar and service center, a pre-function area and a children’s playarea and two levels of seating space. The pre-function area, sheltered by a striking wishbone roofing structure, showcases the designer’s use of steel structural elements in a manner that is both functional and decorative. Similar uses of steel and translucent roofing are seen in the bar and the staircase leading to the first floor service area. Their use Above: The Taxar Baithak, a spacious lounge on the first floor that has very comfortable seating arrangements. This hall has a particularly sophisticated ambience. Left: A view of the expansive garden area with three stone spouts in front that reminds one of the historic Sundhara bathing pool.

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Above: Another view of the Taxar Baithak with its low-slung chairs and striking orange décor.

seems to reflect on the designers experience with these elements on earlier projects, in this case, the former Club Platinum, which was designed by Sarosh. The Bar meanwhile has a slightly tropical feel. Perhaps because of it’s outdoors setting and the bright tiling patterns on the sides of the bar - but more likely because of the background of three palm trees locked in the mosaic concrete platform forming the children’s play area – which also provides a platform for outdoor performances when required. The bar too uses shaped steel girders and translucent roofing and forms an appropriately airy garden service center. Another notable feature here is that the garden area has been designed with ramps making it handicapped and elderly friendly. The garden area also has a restroom facility designed to accommodate the physically challenged. This is a rare feature in restaurants and buildings in the city, and a welcome design trend - should it become one.

EYE - IN - THE - SKY

The remaining space on the ground floor comprises of the Bhimsenstambha Auditorium, which is located on the building’s ground floor. This entire area, according to the architect, has been recreated, and floor space added to turn it into a multi purpose hall, from what was originally a smaller hall with lesser facilities. It now boasts a modest stage and screening wall at one end, and a raised area at the other which houses an audiovisual control center enclosed in glass with a few seating areas along the remaining breadth of the platform. The floor space of the hall is occupied by tables and chairs and is meant to function as a service area when not in use as a hall. Although the hall itself would function well to host functions like film screenings, performances and plays – it is not as appealing in its role as a place to sit and dine. Partly because of its dim cavernous feel during the day, poor individual table lighting by night, and partly because of its size and empty feel, accentuated by the blank presence of the stage and walls, a pregnant emptiness seems to be highlighted. Warmth however is provided by the structural masking and Before

acoustic-enhancing eye-in-the-sky design on the ceiling. This hall would function very well as an activity and trafficgenerating feature of the complex, but in its current form, it needs to be more convincing as a dining space. A SPACE FOR REUNIONS

Upstairs is a lounge that again boasts plenty of space. Furnished with low chairs spread generously, the walls here also carry the signature orange of the fast food dining area of the ground floor. Named the Taxar Baithak, this spacious lounge along with a bar was developed to provide ‘a space necessary for largescale dinners and reunions with a certain degree of privacy’. What was once a hall made of corrugated roofing and metal struts, clever paneling and décor, from the inverted fluted champagne glass lighting at the bar to the patterns punched into the paneling on the roof, has effectively transformed it into a much more sophisticated look. CATERING TO ALL

The location of this new Bakery complex it must be said is rather bold, given that it does not lie in an area that guarantees SPACES MAR-APR 2005 51

INTERIOR

traffic for the restaurant. Though just a short walk off New Road, the city’s main commercial area, it is still a bit out of the way. However, what it lacks in terms of ideal location, it has tried to make up for in décor, functionality and spaciousness. An unexpected bonus for the site has been the renovation and the

opening up to the public of the Dharahara tower and the vibrancy is injected into the locality.

Above: Lots of steel structures, artistically conceived, add a unique aspect to this vista of the sheltered area next to the garden with the bar in front.

Kakshapati had set out to create a dining ambience that could cater to all forms of customers and their needs – ranging from informal business meetings to

Below: The outside bar acts as the centerpiece around which the restaurant complex seems to revolve.

family outings with children. One of the areas seen as necessary for development was an outdoor dining area that would impart a ‘picnic’ feeling for families and weekend traffic. Given the cluttered feel of the surrounding areas, it involved “the creation of an oasis” – as Kakshapati put it. The architect’s response has been to create an environment that has the potential to do this because all in all, the Bakery Café at Sundhara has a bright, curvy and fairly modern look, and spaces to please most people. In fact, there is almost an excess of space here, but then they say - if you have it, flaunt it, and the Bakery Café at Sundhara does this rather well – and manages to be the oasis it set out to be. S 52 MAR-APR 2005 SPACES

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INNER CITY ENERGY THE BAKERY CAFÃ&#x2030; - SUNDHARA

Text: Sarosh Pradhan

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Intelligent lighting arrangement transforms the cafe into a still more alluring place in the evenings with the Dharahara acting as a magnificent backdrop. SPACES MAR-APR 2005 55

THE DESIGN PROCESS IS A FRICTION BETWEEN THE REALISTIC POSSIBILITIES AND ONE’S VISION. THE BAKERY CAFÉ, SUNDHARA, HAS BEEN AN INTERESTING PROJECT WHERE ONE HAS HAD TO CONSIDER THE BRAND AND ITS PREVIOUS IMAGE – UNDERSTAND ITS CORE BUSINESS AND THEN STATE A COMPLETELY NOVEL CONCEPT. THE ADDITION OF AN AUDITORIUM ALONG WITH A SPACIOUS GARDEN FOR ‘NANGLO’S’ WAS EXPLORED AND INCORPORATED IN THE DESIGN TO ADDRESS CHANGING TIMES AND GIVE ITS CUSTOMERS ADDED FACILITIES ALONG WITH AN EXPERIMENTAL QUALITY OF SPACE.

A few words that describe the project best are perhaps- an effort to be kinetic in nature, sculptural in form and poetic in treatment of spaces, materials and details.

other Bakery Cafés. In brief, it meant that this particular café was not on the main road like other Bakery Cafés – it was in the inner city. Yet it had valuable open space, which needed to be highlighted and mixed with the other activities SITE The site is located at the dense of the café. crossroads of Sundhara and Ganabahal in the heart of Kathmandu – perhaps lost in Above: Opposite the main the chaos of the city. entrance is an open kitchen Considering the underused with its stainless-steel andsteam environment that is garden space and an visible to all guests entering auditorium, the site incited an through the main doors. approach that needed to be tackled differently from all Right: A site plan of the café. 56 MAR-APR 2005 SPACES

SPACES

As one enters the café from the chaotic adjacent road, the feeling of contrasting openness with a variety of different spaces perhaps resounds more as you enter deeper into the premises. As you enter, an open kitchen with the activities generated within endows a forced visual delight and focus, bringing to the eye the cleanliness and heart of the project. Adjacent to the road, a quickserve seating area gives the customer who wants to have a bite and get back to work a seating choice immediately in the frontal space. The orange hand painted plaster of paris wall highlighted with images of the history and milestones of the café is scattered on vantage points around this introductory space, which subtly opens up to the larger spaces – the Sundhara Garden and the Ahimsenstambha Auditorium. The Sundhara Garden seating space further opens up into a variety of spaces in the

garden. Stone spouts on one wall echoes the historical Sundhara in the neighbourhood along with outdoor seating, which are profiled in design as an outline of the shape of the original stepped Sundhara bathing pool. The Bar was visualized as a graceful metallic structure tying up the web of different spaces of the garden. Strategically located, it stands

out as an experimental sculpture where the eye flutters a little longer to understand and appreciate maybe structural poetry. CHILDREN’S PLAY AREA

Located in one corner of the premises, the wall spaces are developed into panels where a workshop of children’s painting is planned to be held every fortnight eventually giving rise to an original

Above: The far end of the garden has a built up podium where, besides functioning as a children’s play area, outdoor musical events can be held. The walls behind have panels where children’s art murals are displayed. Below: The quick serve eating area adjacent to the road outside, and with sitting arrangements designed to ensure smooth traffic.

children’s’ wall mural. This space also doubles up as an outdoor performance stage where musicians or actors can perfor m with the garden becoming the seating area. AHIMSENSTAMBHA AUDITORIUM

It is designed keeping in mind multi purpose activities that can be generated from this space. The space could be used for screening films, perfor mances and plays, meetings and banquets. The walls and lighting have been detailed out for a gallery space. The adjacent prefunction space conceptualised from the notion of ‘chicken wish-bone’ has been an effort SPACES MAR-APR 2005 57

to create a sculptural response to the standard column and roof. TAXAR BAITHAK

In the first floor is a spacious lounge developed along with another bar, comfortable seating and television screens. It gives the quality of space necessary as well as a certain degree of privacy for largescale dinners, reunions, and private discussions. OTHER FACILITIES

An interesting Cyber café and clean and well designed toilets with walls showcasing recycled beer bottles windows brings an interesting touch to these mundane functional spaces. DETAILS

The project has been an experimental one in addressing open public spaces and usage of materials in a sculptural and novel form. The details embedded in the project are derived through the understanding of a realistic choice of materials available in the local market and fabrication techniques

developed specifically for the project. The usage of metallic structure to car ve out a sculptural bar and prefunction area is an eyepiece right at the centre of the design. An aesthetic Nepali brick wall lit with traditional diyas in the evening hides the toilets effectively. Ramps connected at different levels on the ground floor along with a handicap toilet ensures convenience for the aged parent or the handicapped friend one may like to bring to the premises. In the Ahimsenstambha Auditorium, elliptical trusses shaped as ‘eyes-in-the-sky’ are covered with red fabric, successfully hiding the existing concrete beams, which further acts as acoustic panels with hidden light diffusers. The previous conventional factory truss on the first floor, hidden with playful motifs carved out in the gypsum orange covering, breathes new life to the lounge space. The overall lighting has been given special attention to match the

ambience of the place. In the daytime, sunlight casts interesting shadow patterns that appear kinetic in nature and moves around the site. Circular windows at one edge above the truss cast elliptical shadows on the yellow stone pre-function area further enhancing the effect. The truss work brings its strength out to rise above the functionality and says something more in terms of design. Appropriate lighting on these trusses highlight the skeleton of these structures – yet gives it a feeling of transparency and openness. Indirect lighting at appropriate places brings out the mood of the place. The bar lighting is special to hide the abstract mural of mosaic inlay tiles that wave around the central bar. The place comes alive in the evening as the first diya is lit and slowly changes colour. The trees that exist on the site have been accentuated with focus lightings that have been placed strategically. The Sundhara stone spouts have a different hue of colours. The niches placed strategically on the northern walls are like exclamation marks hiding the frugal but much needed parking space. The boundary wall along the

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Above: Recycled beer bottle windows are intriguing aspects of the well-designed toilets. Below: The Nanglo Bakery, Sundhara, as seen from the road outside.

parking has rounded pebbles as bead strings punctuated with Nepali clay lights at regular intervals. Inexpensive coloured punning, embedded with broken ceramic tiles interestingly tie up the first floor lounge and the outdoor expansive space. An ordered collage of recycled empty beer bottles above the urinals in the male toilets adds an interesting note in terms of recycling and reusing available inexpensive materials aesthetically. SOLUTION

In concise terms, the design could be reflected as a process to revitalize the feel of the branded Bakery Cafes’ – thus the need to shed the colour green with a refreshing and experimental approach in its design was felt. It can also be stated as a project experimenting with chaos and renewal of the inner city energy that exists. The project has created a positive ripple effect in its neighbourhood. S

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Manufacturer, Exporter, Wholeseller & Retailer of Tibetan & Newari Art

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TRENDS

“Business is not only about delivering on your promises with top quality workmanship”

INTERIORS S AN OUTSTANDING ENTREPRENEURSHIP

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TRENDS

he view is scenic from Suban’s office. Situated at quite a height on Satdobato, on the way to Harisiddhi, the office overlooks bustling workshops below, where many skilled workers are busy manufacturing the exquisite pieces of furniture that have made RS Interiors a leading name in the interior designing business. “We have four associates who do the designing,” informs the 25-year old

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director, Suban Rajbhandari. “I am the fifth,” he adds. He is himself an interior designer who graduated in Arts and Design from Bellerby’s, London. Although RS Interiors was established only in 1996, his father and Managing Director, 47 year-old Ruban Rajbhandari, has been in the business for almost twenty years now. Previously, they had their establishment in Dhobighat and recently, Suban has taken the initiative of opening a furniture boutique called Bloom in Basundhara. His father has had

varied working experiences in his life, having worked as the Building Maintenance Inspector in USAID for twelve years. “It is actually a question of interest,” says the managing director when asked as to how he got into the furniture business. And what does RS stand for? “Rupees,” jokes Ruban Rajbhandari. “After all business is about rupees, isn’t it?” Whatever the truth, it is now a wellknown fact that RS Interiors has made a

Right: A simple occasional table with a matching set of solid wooden chairs could provide a relaxed setting in a garden. Below Right : An ornate decorative table, carefully carved and gilted, imparts an air of historical grace to a corner and is sure to draw admiration. Below: An imposing dining table with matching set of straight backed chairs that have comfortable brocaded paddings.

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name for itself as one of the premium furniture manufacturers in the Capital. To further substantiate the fact, their brochure declares that they are proud to have provided furniture for hotels such as Soaltee Crowne Plaza, Fulbari Resort, Shangrila, Manaslu and the Grand as well as banks like Development Credit Bank, Nepal Industrial and Credit, Nabil, Bank of Kathmandu and Himalayan Bank Ltd. Besides, RS Interior furniture also graces Nirmal Niwas, USAID office, many shopping arcades and restaurants, as well as residences of Thai Airways staff, UN officials, Ambassadors, diplomats and prominent citizens. The Rajbhandaris are obviously business savvy and successful as well. However, as the Managing Director says, “Business is not only about delivering on your promises with top quality workmanship, it is also about taking risks.” Evidently, RS Interiors has burnt its fingers quite severely on the Fulbari Resort and Spa project that has not quite worked out. “It looks like our losses will amount to crores,” says Ruban. “But it was such a promising venture in the beginning and we were proud to 64 MAR-APR 2005 SPACES

Above: This plush and ritzy sofa set will add glamour and give any drawing room a dignified air of refined extravagance. Right: The chic bureau table has distinctive arched legs and a smooth finish. The mirror has a delicately carved & gilted wooden frame.

have got the contract.” RS Interiors claim to be, perhaps one of the few companies in the field, having its own machines, equipment, steam seasoning plant, permanent craftsmen and a woodcar ving handicrafts studio. The company employs almost one hundred and fifty people that include carpenters, carvers, painters, polishers, designers and administrators. Suban emphasizes the importance of basic raw materials (wood), as well as adequate seasoning of the same, for the production of furniture that is everlasting and beautiful. One of RS Interiors’ prime advantage over other furniture makers is that they have their own seasoning plant and so can afford to be really careful to ensure perfect seasoning. According to Suban, “Proper seasoning guarantees almost 0% moisture in the wood and prevents warping and cracks from developing later on. Correct seasoning of wood can

take up to one month.” As far as wood is concerned, “Junglee Sisau wood is the best wood available for furniture making. This type of wood is the most expensive and comes from forests of western Nepal.” Other types used are the soft varieties like Haldu (yellow wood) and Pine besides Teak, Chaap and Sal. Business at RS interiors consists of equal amounts of readymade furniture as well as custom-made ones. As far as customized furniture is concerned, onsite visits and discussions with the clients are essential pre-requisites before proceeding further. “We usually find out the clients’ needs through personal talks and also find out about the budget envisaged by them.” Following onsite visits, when

measurements of rooms are done, the next step is to make templates (working models or prototypes) based on the designs produced by the designing team. These templates are then discussed with the carpenters to gauge their responses about the feasibility of manufacturing according to design. After ensuring that the selected wood has undergone proper seasoning, the skilled carpenters and carvers then go ahead with production. When done, equally skilled polishers and painters take over to do the all-important finishing. “This is where detailing comes in,” says Suban. “Every minute detail is checked to see that things like

Above: A low and solid burnished wooden bureau that also functions as a refined lamp stand. Left: An elaborate bronze tinted statue-its aesthetic intrinsic qualities makes it a unique decorative piece.

polishing and lacquering have been done properly.” According to the young designer, “Some orders can be delivered within a month while others might take as long as five.” With so much attention to design, production and finishing, one can assume that furniture from RS Interiors undoubtedly must be of the highest quality. RS Interiors seem to have their business on the right track taking every possible care to produce furniture that would do any homeowner proud. Of course, since they have such a good reputation with projects like hotels and restaurants, the current economic scenario must be hitting their business hard. However, Managing Director Ruban Rajbhandari is undeterred, “The situation has to get better sooner or later. Then there’s nothing to stop RS Interiors from getting a major chunk of the furniture business in Kathmandu.” Spoken like a true entrepreneur indeed! S SPACES MAR-APR 2005 65

FOUNTAINHEAD

Architecture involves and affects life itself

PROFILE

THE

66 MAR-APR 2005 SPACES

“...in the event of a major earthquake, there is little that can be done except to prepare residents beforehand so that fewer lives are lost.”

Text: Amar B Shrestha

PREPARING FOR DISASTER

On Earthquake Safety Day, 14 January 2005, Bibhuti Man Singh, Chief Architect of Technical Interface, Thamel, was awarded a certificate of appreciation signed by the Prime Minister. The certificate lauds the eminent architect’s contribution towards increasing awareness in society about disaster management in case an earthquake occurs. As the silvered haired, 54 year old architect says, “We cannot know exactly when an earthquake of immense magnitude will strike us, but it is certain that one is due soon. The law of averages point towards this fact.” As he says this, one is struck by the conviction in his manner at such a stark statement. He continues, “For the last five years I have been obsessed with the subject of disaster management. Since there is not much one can do or expect from authorities in case of a huge earthquake, it is only logical that we should try and prepare ourselves to the best of our capabilities.” He is the president of Ward Number 13 Disaster M a n a g e m e n t Committee and they conduct periodic ‘earthquake fairs’ in their locality where community members are made aware about ways and means to prevent greater loss of life in case of an earthquake.

moment, but I do pray that we have another ten years time before the next big one occurs.” He believes that if given this amount of time, disaster management programs in all wards of the Capital would be in place and most people would be able to react with greater efficiency due to the increased awareness. He adds, “It is people like us whom the community look up to, who have to be leaders on this issue.” THE MAN FROM CHAKSIBARI

Not only does his status as a leading architect make him a natural leader, but the very fact that his address says, 147/ 65 Chaksibari Marg, should further reinforce the fact. Born on 6th April 1950 to Shanker Man Singh and Narayani Devi Shrestha, Bibhuti Man is the nephew of the late Ganesh Man Singh whose son, Prakash Man,

[

B.Arch degree from West Pakistan University of Engineering and Technology. As he says, “I always liked to sketch and make models and I guess that is why I chose architecture.” In 1978, Bibhuti Man went to Japan to do a Post Graduate training through a JICA sponsored program under the auspices of the Housing Corporation of Japan. LIFE AND LOVE

Today, after more than thirty years in the profession, this is what the eminent architect has to say about his vocation, “I think architecture is the best profession in the world because it involves and affects every section of society. Architecture is life itself !” When asked to give three reasons for his belief, he says, “Firstly, architecture is one of the most creative amongst all other professions. Also, there is immense diversity and scope in this line of work. And thirdly, this is one profession that can be said to be about life itself.”

]

“Architecture is an ‘umbrella’ term and one doesn’t really need a formal qualification to be an architect.”

Among other things, ward members are told about higher safety zones in their localities where they are asked to seek safety. As the architect says, “All buildings have certain spots where the structures are relatively stronger. In case of an earthquake, people usually tend to panic and seek shelter in places like, for example, below the staircases, which in fact are quite unsafe. As an architect I consider it my duty to inform them about such things.” And when a learned man like Bibhuti Man is so worried about an earthquake of great magnitude striking the country any time soon, it is but natural that others should take serious notice. At the same time, the architect hopes, “No doubt an earthquake might strike us any

previously a Minister, is Bibhuti Man’s first cousin. He has two elder brothers, Trailokya and Mahendra, who are both into politics. Bibhuti Man has two sisters, Nirmala Malla, who is a medical doctor and Prafulla Rajbhandari, an artist. Taking into consideration the fact that the architect is so closely related to one of the leading political families in Nepal, it is surprising to know that Bibhuti Man himself is least interested in politics. In fact he seems positively disdainful towards politics and politicians in general. He reveals, “I have seen politics from close quarters and have therefore no illusions about the level of both politics and politicians.” Bibhuti Man did his SLC from JP High School in 1965 and college from Amrit Science Campus. He then won a scholarship to study architecture in Lahore and passed out in 1972 with a

A poem written by him hangs on a wall in his office in which the first stanza reads, ‘Could not find You / Looked instead / At Art and Architecture / For Eternity itself.’ Doubtless, Bibhuti Man Singh is deeply in love with his vocation. Perhaps only his love for his nine-month old grand daughter, Yeshaswi, is greater than that towards his work. “I look forward to each Saturday when my daughter, Varsha, visits me along with my grand daughter. I am sometimes amazed at how fast time passes on such Saturdays.” Bibhuti Man and his wife, Usha, also have a son, Barun, who works as an IT programmer in Singapore. Varsha has studied interior design although she has never practiced it professionally. It does seem that Bibhuti Man is a blessed man, both professionally as well as personally. Even if so, the second stanza of the aforementioned poem does say, ‘Do Not Find You / Lost instead / In Man and Community / As Eternity itself.’ Perhaps

SPACES MAR-APR 2005 67

FLOWERING AFTER FIFTY

Bibhuti Man’s professional life began in the Bhavan Bibhag where he worked for seven years and was in the Surkhet Valley Physical Planning Team under a person he really admires, Madhav Bhakta Mathema. “You can say that he had a great influence on my life and was an inspiration,” he admits. “He was one of the most dedicated men I have ever known, and was driven by the desire to excel in his work. He later settled down in Japan, maybe after seeing that here, in Nepal, his efforts were not as well recognized as they deserved to be.” The silver haired architect is of the opinion that an architect starts to flower only after he is fifty. He does have admiration for the works of Spanish architect Santiago Calatriva. “He is in his late forties and is both an architect and a structural engineer. His designs, including the main structure of the last Greek Olympic Games Venue, are indeed outstanding.” Similarly, Bibhuti Man shows great respect for Frank Lloyd Wright whose works, he says, ‘touches the heart’. He is extremely self critical of his own work and believes that “the best is yet to come.” The architect believes that the Health Ministry building in Ram Shah Path, designed by Louis Kahn, is worthy of mention specially since, “some of the architecture is both aesthetically pleasing and functionally effective.” The Lumbini Development Trust designed by Kenzo Tanga is another work that Bibhuti Man thinks is exceptional. About newer architects in Nepal, he thinks that some of them are indulging in ‘post modern excesses’ and are designing buildings with no regard to logic or rationale. Bibhuti Man himself does not consider any of his numerous works to be perfect, and referring to traditional designs associated with him, like Dwarika’s Hotel, says, “I didn’t really do anything. All I did was fit in the ancient pieces, collected 68 MAR-APR 2005 SPACES

over the years, in appropriate places, so that the hotel would have all required modern facilities, while at the same time retain traditional exteriors.” He further adds, “Working with traditional designs is a humbling experience.” He is obviously referring to the fact that in the ancient days craftsmen and builders could come up with such exquisite works even without the knowledge and technology available today. Maybe that is why Bibhuti Man Singh says, “Architecture is an ‘umbrella’ term and one doesn’t really need a formal qualification to be an architect.” THE KNOWLEDGE GATHERER

Listening to him, one gets the impression that this eminent architect is quite the learned man and when one gets to know that he is a voracious reader of speculative science fiction, philosophy and new age literature, then one will certainly not doubt it. He has been reading science fiction since he was a kid and his favourite authors include Arthur C. Clarke, Isaac Asimov, Paul Anderson, Ray Bradbury and Carl Sagan, all science fiction writers. Small wonder then, that the third stanza of his poem reads, ‘Will not find you / Drawn instead / To Science and Technology / Through Eternity itself ’. “And yes, I also love Woody Allen’s writings. They’re really funny,” he laughs. He has read ‘The Fountainhead’ by Ayn Rand, three times. “That Howard Roark, he’s something

else, right?” he exclaims. At the moment he is reading ‘Concepts of Space-Ancient and Modern’ by Kapila Vatsyayan. And it is only to be expected that the final stanza of Bibhuti Man’s poem should read thus, ‘Cannot find you / Content instead / With Knowledge and Wisdom / Of Eternity itself.’ DESIGNED TO IMPRESS

His first work as an architect was designing a campus in Surkhet. Since then, among his innumerable works are the Park Village Resort in Budanilkantha, the Club Himalayan in Nagarkot, the Himalayan Bank in Birganj and some large commercial buildings in Biratnagar. One of his more recent designs was a large residential complex in Bhainsepati. “It is ten thousand square feet, built within ten ropanies and involved extensive landscaping. It was designed and constructed in just fourteen months!” One of Bibhuti Man’s magnum opuses has been the award winning Himalayan Pavilion in Hanover during the Expo 2000. “For the five months that it was held, our pavilion was always placed among the top five every month as the ‘most favored pavilion’.” No wonder then, that the renowned architect was commemorated with a plaque from the Society of Consulting Architectural and Engineering Firms (SCAEF) on January,10, 2001 for his ‘…outstanding works in the International

Courtesy : Bibhuti Man Singh

an unfortunate emotional experience in his younger days could have made him write these words. Only he himself knows.

BACK TO BASICS - DISASTER MANAGEMENT

The architect’s obsession with disaster management has led him to play a pivotal

Drawing: Bibhuti Man Singh

and National arena for the promotion of Traditional Heritage.’ Bibhuti Man informs that among his current projects are several pavilion design proposals for exhibitions in European countries and “there are several speculative projects that I cannot mention as it is all confidential.” He does reveal that he is involved in designing affordable housing projects, the complete designs of which he plans to bring out in book form soon. He is quite enamoured with this project as he is rather critical of the housing projects at present and says, “Current designs of housing settlements are too low in density with no communal areas. Most of them have linear planning.” He blames the architects involved and thinks that it is their responsibility to keep in view overall concepts while designing such settlements. “They must realize that architecture is much more than just building houses. Architecture involves and affects life itself so a much wider conceptualisation as well as its impact on society as a whole has to be kept in mind while designing.”

Above & Below: Site plan and model of The Himalayan Pavillion at Expo 2000 Hanover that was designed by Ar. Bibhuti Man Singh and his associates.

Courtesy : Bibhuti Man Singh

role in shaping guidelines and government policies on construction in general. At community level, he has initiated design clinics in his ward, where once a week, free advice is given on ways to build or make existing houses safer. He believes that it is quite expensive to reinforce existing structures but that, “some minimal steps can be taken to retro-fit them. This will hardly cost Rs.20000 to Rs.25000 for a normal sized house - which can be done in phases costing about Rs.5000.00 at a time - but will make houses fairly safe against most earthquakes.” Of course, at the end of it all, he does admit, “There are so many old houses in the city that in the event of a major earthquake, there is little that can be done except to prepare residents beforehand so that fewer lives are lost.” S Interested people wishing to know more about Disaster Management may contact Ar. Bibhuti Man Singh, Ph:4-222408 SPACES MAR-APR 2005 69

HERITAGE

WATER S P A C E S

CITIES DIE BECAUSE THEY RUN OUT OF WATER OR THE POLLUTION LEVELS ARE SO HIGH THAT IT IS NO LONGER SUITABLE FOR HUMAN CONSUMPTION. 70 MAR-APR 2005 SPACES

he 1.5 million inhabitants, give or take a few hundred thousand, of the Kathmandu valley are estimated to require per day, about 170 million liters of fresh water. The valley is able to produce about 120 million liters in the wet season and about 80 million liters per day during the dry season. It seems we are really pushing our “limits to growth”.

Further, the water quality in the valley does not meet WHO standards. In our desperate efforts to meet our everincreasing water needs we are going deeper and deeper and extracting ground water well beyond its ability to recharge. We also need to remember that while traditional brick lined wells recharge after each monsoon, the deep tube wells that take water from below the clay layers are non-renewable.

sources/springs such as Godavari, Mata Tirtha, Tika Bhairab, Dudh Pokhari, Saraswati Kunda; as well as the sources of the small and big rivers of the valley. We cannot wait for FAO or the government of Norway to help replicate the success of the Shivapuri watershed management which they supported.

The price of water is rising all the time and has started to become a burden on household incomes for everyone. Between tankers, mineral water bottles and boiling and filtering, it is a costly affair. Add pumps, electricity bills and overhead storage tanks and water is not cheap at all. As if all this was not enough, as we construct houses and black top roads we speedily drain the valley of water as quickly as possible after each rain, not allowing any time for it to recharge the ground below!

There is talk of building an “outer “ Ring Road. The first ring road did not really help protect the canals- raj kulos that bring water into our historical cities from the springs at the base of watersheds. This time, let us make sure they are well preserved. It is our life- line!

OPPORTUNITIES

THE WELL OF GUJI BAHAL

Learning from Shivapuri, we need to immediately preserve and protect all watersheds above our major water

The community that lives at Guji Bahal in Patan does not lose sleep or worry about water like many of us who live in

other parts of the valley. They have a well maintained and constantly recharging well. It takes the center stage of the bahal and shares the space with a beautiful chaitya. The community has also taken care to test the water regularly and there is a simple system that releases the right amount of chlorine into the water to keep it bacteria free. ALKO HITI OF PATAN

As one proceeds north from the Nag Bahal area of Patan one comes across the well managed and maintained Alko Hiti. This beautifully crafted and artistically designed waterspout is not only clean but has water flowing all the time and in abundance. There are three main stone spouts and side spouts. This system of water supply in the ancient cities of Kathmandu valley is fascinating. From the watersheds around the valley, the water is collected in tanks with perennial springs. The water is then channeled long distances through rice fields to the city where it is sent underground through ceramic pipes. The water is then distributed around the city Above: The well of Guji Bahal in Patan that is always well maintained and constantly recharging. Left: Alko Hiti in Patan. Facing page left: The elegantly crafted waterspout of Alko Hiti in Patan provides adequate water all year round. SPACES MAR-APR 2005 71

HERITAGE

through a system of stone waterspouts. The water then drains into the nearby fields and then to the rivers. At night, the surplus water is stored in an overhead tank and distributed to an additional 100 households. The fixtures come out and there is no disturbance to the aesthetics of the area. PIM BAHAL POND

The Pim bahal area of Patan has a beautiful pond which is a wonderful space in the middle of the ancient city. The residents of the area may not realize it today, but they are sitting on a real gold mine. The whole area has a Buddhist monastery (Pim Bahal), the pond and numerous other temples and resting places all around it. The central attraction is the pond and the large stupa similar in style with Swayambhu. There are four smaller chaityas that surround the main one. People remember the fact that the chaitya was repaired after the Muslim invasion of the Kathmandu valley by Shamsuddin in 1349 AD. The whole space is quite beautiful and has huge 72 MAR-APR 2005 SPACES

potential as a local evening “hang out” for those who want to sit on the pond’s edge and sip coffee and talk business or fashion, the latest books or music. Ponds like the one at Pim Bahal do not just have aesthetic value but is also a reservoir to store rainwater. It is very critical if and when there are fires in the heart of the city where fire engines cannot reach. It helps keep the water level high in the nearby wells and fields. It surely helps stabilize the temperature as water heats and cools much more slowly than solid materials.

Above: In the central area of Patan is located the Pim Bahal that has a bountiful pond. It is surrounded by resting places as well as religious monuments. A stupa that is similar to Swayambhu stands on one side.

our garbage and the “free” land over which we build office space. Water prices are already very high compared to anything we are used to paying in the past. The population of the valley is growing exponentially and it is obvious at this stage that decentralization has not worked very well.

LIMITS TO GROWTH

The economic growth potential of the Kathmandu valley is going to be set by the fact that water in the valley is nonelastic. We need to make wise use of what we have. The ponds, wells and stone spouts system have served us well for at least two millenniums. Today we see the wells are deeper or covered up. We see waterspouts are down to a trickle or covered up and replaced by a road or a building, the ponds are where we throw

Just taking care of our traditional systems will not be enough. The old needs to be supplemented by new systems. We have to make every effort to keep water on the land instead of draining it as quickly as possible. While we know that water cannot be a “free good” anymore, the rate at which it is being bottled and sold is really alarming. Without doubt, we really need to have that water in the water spaces in ponds, wells and flowing freely in our stone spouts. S

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NEW DESIGNER

teely DETERMINATION

Krishna Maharjan seems to have plenty of spunk and an attitude that fairly shouts,

“I’m in the game for real!” THE LADY IS TWENTY-SEVEN years old and has already designed more than a hundred residential buildings. Very soon, another of her handiwork, the Clean and Joy Health Club at Kalanki, will be inaugurated. “Not only the building but also all the interiors including the furniture, was designed by me,” the slim lady with the startlingly direct look informs. Krishna is also busy in a project that could well be the envy of many, the Dreamland Project in Dhulikhel where she has designed the ethnic village resort in 200 ropanies of land. “The total project is on 400 ropanies,” she says. “ Half of that land will have an extensive modern amusement park while the other half will have the resort.” According to the architect, this will be a unique project, consisting of architecture relating to four distinct ethnic groups, Newar, 74 MAR-APR 2005 SPACES

Gurung, Magar, and Tamang and will have 125 rooms. “You know I am interested in studying all types of architecture. Each of the ethnic architectural style has its own distinctive reasons and logic. It is actually a fascinating subject.” FAMILY TIES

Krishna was born on 28 th February 1977 to Gopal and Asha Maharjan and has an elder brother, Rajendra, two elder sisters, Laxmi and Vishnu and a younger brother, Rabindra. According to her, her parents at first weren’t too enthusiastic about their daughter pursuing a career. But of course now things are different, “Nowadays I have quite a few clients visiting me at home and I guess my parents do feel proud that their little girl has achieved something!” Krishna also acknowledges, “I must give credit to my sister in law, Sharmila Bhauju, as well as to

Village

ETHNIC Village RESORT INTRODUCTION

Gurung Village

Magar Village

Ethnic Village Resort, the first phase of Dreamland, is a live project at Dhulikhel, Kavre district, proposed by Cage Consultancy. The name ‘Ethnic Village Resort’ has come from the site itself and provides a different taste of ethnic character in the form of Magar village, Tamang village, Gurung village and Newar village. For this project, major ethnic groups representing various regions of our country such as Gurung, Magar, Tamang and Newar have been selected. The intention of Ethnic Village Resort is to introduce, preserve and uplift the culture, tradition and architecture of these groups. It is also to promote tourism through local architecture that is directly reflected in the accommodation and other recreational facilities where people can relax and enjoy a typical village environment. Supporting recreational facilities like swimming pool, clubhouse, conference hall, restaurant units, lake, golfing range, outdoor games and services like laundry and staff quarters are also included. The Dreamland project covers an area of 400 ropani where 275 ropani is allocated for the resort. The remaining area is to be developed into an amusement park at a later stage. LOCATION

Newar Village

The proposed site, located on the Dhulikhel – Bardibas highway, is 32 kilometers from Kathmandu and has magnificent panoramic views of the Himalayan peaks stretching from the Annapurna in the west to Gauri Shanker in the east. An ideal

location for trekking, having trek routes leading to interesting places like Namobuddha and the fascinating town of Panauti, Dhulikhel also has a historical significance as it once was part of the trade route that led to Tibet. CONCEPT AND DESIGN CONSIDERATIONS

The main concept of this project is to provide an ethnic environment in a resort. In addition, the resort will serve various entertainment activities so that visitors are fully entertained and involved. The project is also visualized as a medium to make people aware of the importance of our rich culture and heritage. The key objective of the project is to create an inward looking and internal leisure environment away from the city but in close vicinity of the site. Among others, the primary design considerations taken into account are privacy and appropriate circulation between units, typical ethnic facades, traditional construction materials and methods, natural topography and natural elements. Use of traditional construction materials, incorporated with special cost effective treatments to maintain thermal insulation, is an additional benefit. Besides this, typical gateways are provided at each entry and exits points of the villages. All the villages - 4 in number and consisting of 43 cottages - are placed as per their original settlement pattern. As one walks through the village, the typical village environment of the different ethnic groups can be experienced with changes in material, culture and customs.

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NEW DESIGNER

PLAN OF NEWAR VILLAGE THE NEWAR VILLAGE

In the Newar village, a typical Newari environment is created by the architecture, customs, and different cultural activities in the premises. A typical Newari restaurant is also provided in the centre near to the entry and exit of the village. The buildings are clustered as

per their original settlement pattern and are faced towards the internal courtyard along the natural contours. The facade is brick exposed with tile roof covering. Typical Newari elements like stupa, chaitya and dabali are also strategically placed to complete the environment intended.

LONGITUDINAL ELEVATION OF NEWAR VILLAGE

76 MAR-APR 2005 SPACES

PLAN OF MAGAR VILLAGE

MAGAR VILLAGE

The Magar village is characteristic with its typical cultural activities which have been considered while planning. The Magar houses have special roof overhangs which represent their hats which

is meant to protect them from natural hazards. Planning is done in a clustered form with red plastered facades and a private front yard (pindhi) in the individual units.

VIEW THROUGH COURTYARD

LONGITUDINAL ELEVATION OF MAGAR VILLAGE

SPACES MAR-APR 2005 77

NEW DESIGNER

PLAN OF TAMANG VILLAGE TAMANG VILLAGE

Tamang homes as in their original settlement pattern, are planned in a scattered way with white mud plastered facades and a special type of grass (khar) as the roof covering. The white mud

represents peace in their culture. The entrance to the Tamang village is decorated with different colourful flags and has a chorten (a type of chaitya) which represents the start of the village.

PANAROMIC VIEW OF TAMANG VILLAGE

ELEVATION THROUGH WALKWAY

78 MAR-APR 2005 SPACES

PLAN OF GURUNG VILLAGE GURUNG VILLAGE

The Gurung village is also scattered along the contours with a welcoming gate, typical cultural elements like chorten, mane, gompa and colourful flags. It also has a Gurun g

restaurant along with a Rodhi Ghar (a place for cultural activities).The facades of the building units are exposed with stone and has a slate roof covering.

LONGITUDINAL ELEVATION THROUGH WALKWAY

VIEW THROUGH COURTYARD GURUNG VILLAGE

SPACES MAR-APR 2005 79

NEW DESIGNER

LEGENDS 1. Service Block 2. Guard House 3. Parking Area 4. Restaurant 5. Conference Hall. 6. Business Block 7. Adminstration Block. 8. Changing Block 9. Swimming Pool 10. Health Club 11. Lawn Tennis 12. Childrens Park

13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24.

Ampitheatre Birds Sanctuar Newar Village Magar Village Tamang Village Gurung Village Lake Staff Quarters Canteen with Golf office Golf Range Kitchen Garden Sports Centre

MASTER PLAN

The Master plan has the following features: Taking the village and district headquarter (Sadarmukam) to be the two basic parameters the modern facilities are placed in centrally and the guest blocks in the village areas.

guests. In addition, it segregates the guest units from the public zone and induces a town and village atmosphere.

A vehicular road runs through the entire site from the main entrance and connects all the units and the golfing range area.

developed through its experiences and the design is interpreted in the form of large open paved plazas, enclosed open spaces, large green areas, narrow curvilinear street, small internal courtyards and covered interlinking pedestrian walkways.

The Newar and Magar village are placed near to the road, the Tamang village in the middle and the Gurung village on the ridge of the site as per their original settlement patterns. Through these villages one can reach the tower. An attempt has been made to establish the administration block as the genius loci, so that new visitors can get to this block easily. The restaurant block, clubhouse, conference hall and children park are located near the entrance, since Color etched glass adds the resort also serves the non resident sofistication to the stairway.

80 MAR-APR 2005 SPACES

The service block is created near the main road and a staff quarter is placed near by the existing residential area to maintain privacy.

The whole master plan has been developed taking into account special considerations like the pedestrian circulation, formal and informal spaces and functional requirements.

CONCLUSION

The design of the â&#x20AC;&#x2DC;Ethnic Village Resortâ&#x20AC;&#x2122; is a challenge and an opportunity for the enterprising and imaginative hotel operator. As far as the design of the resort is considered, the design features a relaxed environment that is service oriented and unique. Besides this, site planning, site context, building planning, design and safety are also equally important issues. S

The main entry opens out to the existing highway on the west. Pocket parking spaces are provided near the entrance, recreational park, restaurant and the business block. The water body forms the focal point for all public and private zones. A natural lake is formed according to the site topography.

The character of the resort is

my sisters for their wholehearted support in my endeavours. They used to encourage me to pursue my studies and my career by reminding me of their own missed opportunities.” She in turn has taken on the mantle of mentor for her own sister in law, Rabindra’s wife, and has enrolled her in interior design classes. “She will be joining my firm after she finishes her course,” Krishna declares. WORKING THROUGH COLLEGE

Two months back she started her own consultancy firm, Archi Design, in Pako, New Road. She is also associated to ETC Associates as well as to Bishnu Panthi’s CAGE Consultancy under whose auspices she is working on the Dreamland Project in Dhulikhel. She did her SLC from Siddartha Banasthali in the year 1994 and joined the architectural diploma course in the Institute of Engineering in 1994. In 1997 she passed out with 77% marks. “I started to work even as I was studying,” she reveals. “In fact you can say I worked my way through college and earned enough to pay for my studies.” So it was that Krishna worked at various times for various architectural firms and also the Bhavan Bibhag. “At first I was only a draftsperson but even then I could see that my superiors could do with some improvisations in their designs,” she says. “This further reinforced my deter mination to be an architect so that I would be able to implement my own ideas.” She joined Kathmandu Engineering College in 1999 and in 2004, passed out with over 78% marks, besides of course becoming the topper in thesis presentation.

THE ART OF THESIS PRESENTATION

Krishna’s thesis was acknowledged to be the best among 60 entries from Kathmandu Engineering College. “My model was especially big and I remember it was very difficult to get through the door and into the room without damaging it.” However, they did manage to do so without breaking it apart and Krishna went on to top her batch. She recalls that the three-member jury consisted of Surya Bhakta Saangache, Padam Jeev Tuladhar and Prasim Poudyal. Krishna believes that free hand sketching is a talent that is very useful to architects and says, “I was always good in sketching and it played a major part in my doing so well in my thesis presentation.” For students working on their thesis, Krishna is of the opinion that they should first of all be convinced about what they are doing. They should have logic in their work and should be clear about what they are doing so that they can answer whatever questions they are asked within the time allotted. Besides, she advises students to pay attention to details while making models and be strong in their sketching.

versed in interior designing and likes to play with colours. Her other interests include sports, specially swimming, travelling and reading besides sketching. FUTURE PLANS

Krishna admires the architecture of Rastriya Sabha Griha, “It is noteworthy how the walls facing the main street have been made interesting by adding subtle touches.” Krishna respects those who have made the old traditional temples and houses in the valley, “These structures have solidity and most have foundations that are eight to nine feet deep.” Among contemporary architects, she likes the works of Arun Pant of Design Cell as well as those of Rajesh Shrestha of Vastukala Paramarsha. About designer/client relationships she thinks that one must be very confident in one’s own abilities

to convince the client. She also believes that there should be transparency between architect / client, particularly in financial matters. This is one lady who is professional to the core and she informs, “I personally visit the site frequently to ensure that work is being done according to the design specifications.” She has plans to do her masters in landscaping, and says, “I will have to do it from abroad as this course is presently not available in Nepal.” The young architect seems resolute to achieve her goal to become one of the leading architects in the country. With one of those direct looks and with determination writ all over her pert features, Krishna declares, “There aren’t many well known lady architects in Nepal. I aim to be one.” S

About teaching methods in colleges, the energetic architect is of the view that more emphasis should be laid on practicals; especially site visits, and that it is preferable to have teachers who have practical experience themselves. As for herself, she says that she likes to do creative work and believes, “An architect should have all round knowledge and should have a good idea about interiors since it is an integral part of designing.” She herself professes to be well SPACES MAR-APR 2005 81

F A C I N G

T H E

EARTHQUAKE risk

Text: Jitendra K Bothara, Ramesh Guragain

BACKGROUND

Recent earthquakes in Bhuj (Gujarat) and Bam (Iran) killed more that 14,000 and 26,000 people respectively. In the Bam earthquake, the core city of Bam was almost totally destroyed. Nepal too has suffered similar fates in the past because of its location in the Himalayas (Fig. 1). The Himalayan Range with the worldâ&#x20AC;&#x2122;s highest peaks is evidence of the continued tectonic activities beneath the country. The surface of the Earth is broken into large plates. The size and position of these plates change over time. The edges of these plates, where they move against each other, are sites of intense geologic activity, such as earthquakes, volcanoes, and mountain building.

Intensity scale (the effect at a site, or the extent of wave vibration at any place, is measured qualitatively by intensity and in one earthquake, different areas suffer different intensities). This earthquake killed 8,519 human beings, destroyed around 80,000 buildings and damaged

the villages. The Kathmandu Valley suffered a much higher level of damage because of its high urbanization and weak soil types on which the buildings stand. The 1934 Earthquake was not a single event. In fact, Nepal has a long history of destructive earthquakes. A recorded history starting from the year 1255AD shows that Nepal has suffered from significant earthquakes at different times (Table 1). In the last century alone, it suffered two medium level and one catastrophic earthquake. Nepal is located somewhere in mid of the 2,400 km long Himalayas - a seat for catastrophic earthquakes. From 1893 to 1950, a period of 57 years, Nepal suffered four earthquakes with a magnitude more than 8 on the Richter scale (the energy released during fault

Among the 92 faults in Nepal, 5 are located in the Kathmandu Valley capable of generating earthquakes of magnitude 8 or more on the Richter scale.

The 1934 earthquake (nabbe saal ko mahabhukampa) produced an intensity of IX-X on the Modified Mercalli

another 200,000 buildings and temples within Nepalese territory alone. In the Kathmandu Valley, 20% of the buildings were destroyed and 40% of the building stock was damaged. About 95% of the building stock also suffered in a few of

Courtesy : Jitendra Bothara

Figure 1

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rupture at source is measured by earthquake magnitude and the Richter scale is one of the scales to measure it) Figure 2 also shows location of these earthquakes, which were caused by fault ruptures (faults are narrow zones on the Earth, along which rocks have fractured and have been displaced, usually extending no more than about 10 miles deep). It also presents the areas where earthquakes are over due in between these ruptured faults areas. Two such areas that can affect Nepal are: i) area between east Nepal and west of Assam, India, and ii) area west of Kathmandu and east of Dehradun, India. In both these regions, the earthquakes are overdue and may be catastrophic. These are the identified major areas. Besides these, there are many faults, which have ruptured and are long overdue.A study done by Nepal National Building Code Development Project in 1992-1994,

Courtesy : Jitendra Bothara

REPORT

covering Nepal and an area 150 km beyond its boundary, identified 92 fault lines, among which, many are capable of producing catastrophic earthquakes. Among these 92 faults, 5 are located in the Kathmandu Valley. Many of the identified faults are capable of

Figure 2: Map showing locations of big earthquakes and Seismic Gap around the Himalayan Range (Source: National Seismological Centre, Department of Mines and Geology, Lainchour, Kathmandu).

Table 1: HISTORICAL EARTHQUAKES WHAT TO DO BEFORE AN EARTHQUAKE

Plan Ahead, Prepare a Family Emergency Plan! • Assessment of safe and unsafe places at home, office or outdoors. • Emergency communication plan. • Planning for special needs (baby, old aged, pregnant, sick). • Coordination with school plan. • Contingency planning for self sufficiency (food, water, shelter, medicine) for a minimum of three days and some cash. • Plan for best use of available resources in the neighbourhood. • Implementation of the plan by drilling. • Talk to your family: make sure each member of your family knows what to do, no matter where they are when an earthquake occurs and how to stay in contact. • Pick up two meeting places (in and out of your neighbourhood) where you can all reunite afterward. • Identify children and older persons, who may lose control during the earthquake and behave irresponsibly. • Find out about the earthquake response plan of your child’s school. • Discuss the plan in your family; remind it periodically and drill it!

YEAR

(AD)

MAGNITUDE

INTENSITY(MMI)

EFFECT

1255

1/3 of the population killed, King Abhay Malla killed, many buildings and temples collapsed.

1408

Statistics not available.

1681

Heavy loss, specific data not available, Temple of Rato Machindra Nath and many other temples collapsed.

1803

Statistics not available.

1809

VIII

Statistics not available.

1810

Many temples and buildings collapsed, many people killed in Bhaktapur.

1816

VIII

No major damage.

1833 Aug 26 7.0

120 people killed; 18,000 buildings collapsed; many temples collapsed; one of the Dharahara out of the two totally collapsed; the other one partially collapsed.

1934 Jan 15

8.3

IX-X

8,519 people killed; 80,893 buildings and temples collapsed; another 126,355 buildings and temples suffered damage in Nepalese territory alone.

1980 July 29 6.1

VIII

46 people killed; 236 injured; 12,817 buildings collapsed; 13,298 buildings damaged.

1988 Sep 20 6.4

VIII (??)

721 killed; 6,453 injured; 22328 buildings collapsed; 49,045 buildings suffered damage.

SPACES MAR-APR 2005 83

REPORT SAFE PLACES INSIDE A HOUSE

SHAT TO DO DURING AN EARTHQUAKE

• Under sturdy furniture such as an heavy desk or table, • Against an inside wall; close to door frames; angles in weight bearing walls; corridors near supporting pillars,

INDOORS

OUTDOORS

• Just move the few steps needed to reach the closest previously identified safe place of the room you are in.

• Get into nearest open space, keeping clear of buildings, high walls or dangling electric wires.

• Get your family into previously • If you are in a city, seek shelter under identified safe places inside the house. archways or doorways but do not reenter damaged buildings. • Keep clear away from windows, • Do not try to walk through narrow-streets chimneys and heavy furniture or appliances. • If you are driving on a clear roads, STOP immediately • Get out of the kitchen.

• Away from where glass could shatter around windows, mirrors, pictures or from where heavy bookcases or other heavy furniture could fall over. SAFE PLACES OUTSIDE

• Empty fields away from buildings, trees, telephone and electric lines, overpasses, balconies and plain brick walls.

• On busy roads, slow down, moving the vehicle as far out of traffic and • Do not run downstairs or rush outside buildings as possible while the building is shaking or while there is danger of falling and hurting • Do not stop on or under a bridge or under trees, light posts, power lines, yourself or being hit by falling glass or signs/bill boards, in a landslide. or debris. • DROP, COVER & HOLD.

• Staircases are usually unsafe!

• Stay inside the vehicle until the shaking stops.

• Do not jump out from windows, balconies!

• When you resume driving, watch for breaks in the pavement, fallen rocks, bumps in the road especially at bridge approaches.

Picture courtesy : Images of the century

WHAT TO DO AFTER AN EARTHQUAKE

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• Be prepared for aftershocks; don’t go inside any building (If really obliged to go inside, be extremely careful) • After collecting your circle (family, house employees, neighbours…), lead them to a previously defined safe area. • Do not use phones. The phone systems will be badly damaged, and it will be needed by the rescue operations in priority. • Put out all domestic fires and turn off heaters, electricity, gas and water at source. • Leave the house if a fire starts that cannot be put out at once. • Leave the house if a gas leak is detected after the gas is turned off. • Save water. Fill emergency containers • Fire or fire hazards: put out fires in your home or neighbourhood immediately. Call for help, but don’t wait for the fire department. • Damaged electrical wiring: shut off power at the control box • Downed or damaged utility lines: do not touch downed power lines or any objects in contact with them. • Spills: clean up any spilled medicines, drugs, or other potentially harmful materials such as bleach, dye, and gasoline or other petroleum products.

• Fallen / toppling items: Beware of items tumbling off shelves when you open the doors of closets and cupboards. • Do not walk barefoot, you might hurt yourself ! • Free pets and domestic animals (dogs, cats, cows, etc.) • Be careful of dogs or other animals after the earthquake, they are also upset and may bite. • Do not panic, or create panic! • Do not spread or subscribe to rumors! Earthquake prediction is not possible as yet. But, be cautious about possible aftershocks! IF YOU ARE TRAPPED INSIDE

• If you are trapped inside a collapsed building, you must remain quiet, breathe slowly and believe in your survival, even if you have to wait several days. (In Mexico, in 1985, survivors were recovered after 12 days) • Conversely, panicking can exhaust you very quickly (in a few hours) • Do not shout to call for rescue! • Wait for signals from outside, & only then respond (use a whistle!).

Picture courtesy : Images of the Century

generating earthquakes of magnitude 8 or more on the Richter scale. A recent global comparative study done by the Bureau of Crisis Prevention and Recovery of UNDP, ranks Nepal as 11th in the world in terms of earthquake risk, which is measured on the basis of average death per unit population. Earlier, another comparative study of 21 cities in the seismic belt identified Kathmandu as the most at-risk city in terms of casualty due to earthquakes. SOURCE OF RISK

Kathmandu is located on a time bomb. A study conducted by Nippon Koi in 2002 (JICA, 2002) shows that if the 1934 Great Nepal-Bihar earthquake were to strike today, 20,000 people in Kathmandu will be killed and another 161,000 people will be fatally injured. Out of the 256,000 buildings in the Kathmandu Valley, the earthquake will damage more than 23% of all building stock beyond repair and another 30% of all building stock will be badly damaged. Even if it is assumed that the houses are just two storeys high with 100 square meters in plan area, the debris from these collapsed buildings would be enough to construct a 7 m high, 27 km long ring road of 21 m width. To cremate 20,000 people, some 600 tons of firewood would be required. A study conducted by NSET-Nepal shows that other infrastructures too will face a similar fate if an earthquake similar to the 1934 earthquake were to strike the

Above: The earthquake of Aug 26 1833 measured 7.0 on the Richter Scale and killed 120 people. 18,000 buildings and many temples collapsed. The Dharahara was partially damaged.

Valley today. The big question is: can we mitigate this risk? The obvious answer would be “Yes”. It is popularly known that ‘earthquakes do not kill people, buildings do’. A worldwide study shows that buildings cause more than 75% of the earthquake casualty. A study conducted for Kathmandu Valley by Global Earthquake Safety Initiative shows that if an earthquake strikes in the present scenario, a large majority of the people will be killed by building collapse. This is due to the fact that a majority of buildings in Nepal, particularly in Kathmandu, are fatally weak. In addition, haphazard urbanization has further complicated the problem still further. PLANNING FOR AN EARTHQUAKE

The physical damage due to earthquakes in a house can be broadly divided into two parts: i) building damage (structural damage) and ii) content damage (nonstructural damage). Constructing an earthquake-resisting house or retrofitting existing house against earthquake can reduce building damage. Even if a house survived, non-structural damage during an earthquake can throw it out of function. Anchoring the building content to the structure can reduce the nonstructural damage. S SPACES MAR-APR 2005 85

PRODUCTS

GAS GEYSERS - HOT WATER AT YOUR FINGERTIPS Hilltake is a name that conjures up immediate images of water tanks. No doubt, the ISO-9001: 2000 Certified company is most well known for its high quality water tanks and yes, one can see the black containers on every second roof in the country. Water tanks are not all that the pioneering company is famous for. Hilltake Electrical & Refrigeration Industries (P) Ltd. is also a pioneer company in the manufacture of air conditioners, the production of which started ten years ago. Besides, Hilltake also represents some world-renowned companies like Mitsubishi Heavy Industries of Japan and ACSO-OYL Manufacturing Company Sdn. Bhd. of Malaysia. The company has also recently launched their Hilltake Home Appliances division comprising of Instant Gas Geysers, Gas Stoves and Rice Cookers. Their latest offerings are Hilltake Water Pumps. Hilltake launched their Malaysian made Gas Geyser in the beginning of 2004

that cost around Rs. 4,500 a piece. “In the beginning people had the misconception that the combination of a gas cylinder and a geyser would be dangerous,” says the general manager Amit Agrawal. “That is why, to reassure them, we installed the first geysers in our own relatives’ homes.” The company promises free installation and assures immediate hot water supply. Also, they claim that Gas Geysers assure 60% reduction in cost compared to electrical geysers. According to Amit, “Gas Geysers are much more economical as compared to solars too”. Gas Geysers also have the advantage of being easily portable and there is convenience in installation. Hilltake’s Gas Geysers come in two capacities, the smaller one has a capacity of 6 litres per minute while the larger one has 10 litres per minute. Gas Geysers are indeed a boon provided there is no shortage of gas cylinder supply

but at the same time according to Agrawal, “One cylinder normally sees through a family of five’s needs for one winter.” The Geysers are also elegant in style, easy to operate and has instant non-stop hot water. They are easy to clean and maintain and the gas source as well as water supply are adjustable. In addition, the company has a two-year warranty on their product.

PURE DRINKING WATER SYSTEM When talking health, the purity of the water we drink is probably the basic essential requirement of every man, woman and child. Most common ailments are unquestionably the result of water borne diseases. Therefore when water purifiers using the latest technology promise low cost, high quality and pure water, one should pay attention. M/s Jyotishree Enterprises of Naya Baneshwor have recently introduced a range of such water purifiers. Going by the brand name, ‘Pure’, it is said to work by reverse osmosis, which is also known as hyper filtration. 86 MAR-APR 2005 SPACES

According to Lokesh Oli, MD, osmosis is claimed to eliminate the purifier has been designed as much as 99% of impurities. in line with American According to water quality technology. This process uses a studies, reverse osmosis yielded semi-permeable membrane that water with only 003-005 ppm rejects contaminants like (parts per million of total bacteria, salts, sugar, dyes etc. dissolved solids) compared to The membrane has a size of 090-200 ppm in the case of only 0.0001 microns whereas mineral water and 080-250 ppm most viruses and bacteria are of for mountain spring water. Tap at least 0.02 microns size. Any water was found to contain ions or impurities larger than above 050 ppm. M/s Jyotishree 0.0001 microns obviously Enterprises is a firm that has cannot pass through this semi- been dealing in high quality permeable membrane. High- paints, readymade doors and pressure forces water / fluid other construction material for through the membrane in which a long time now. Lokesh attests salt ions and other contaminants that their fir m is now are trapped, permitting only the concentrating on providing door Expansive lawnsReverse imparts a to door service. passage of pure water. regal atmosphere to the hotel.

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KATHMANDU

PARTING SHOTS

CONCRETEMANDU?

The valley of Kathmandu has, at times, been referred to as a ‘Shangri-La’. This is not only because of the pristine beauty of the valley, but equally, due to the unique traditional architecture that has been used in the making of lovely homes, grand palaces and exotic abodes for the gods. Age-old Newari architecture, complemented beautifully by the high degree of proficiency in wood and metal craft, doubtless, constitute the highpoints of housing design in the valley.

buildings, palaces and temples. Some of the kings, having travelled abroad with master masons in tow, have introduced certain European styles into the country resulting in the addition of various styles to the traditional designs. Such amalgamation in styles, in due time, obviously must have affected designers within the country, which in turn, has resulted in many houses that have been built along similar lines.

Ironically, the value of this precious heritage is still not well understood by many. Else, why would house owners bring down such fascinating homes with their intricately designed fronts and exquisitely carved windows and doors to construct concrete block-like structures in their place? Equally puzzling is the question as to how concerned authorities

Picture 1 Recorded Year: 1992 Status: Residential Architectural style: A fusion of neoclassical and traditional Newari hybrid - a typical example of how imported styles have affected Newari architecture in times gone by.

Picture 2 Recorded Year: 1995 Status: Residential / Commercial The building has been vertically partitioned - a common occurrence when family property is divided. One part is demolished and reconstructed, defacing the original façade.

However, the question remains as to how long would traditional architecture in the valley remain intact. With rapid urbanization making commercial consideration a priority, many traditional houses are being brought down every day to make way for concrete monstrosities. Until and unless authorities step up efforts to preserve as well as help those doing so, it will not be surprising to see one fine day, that Kathmandu has changed its name to ‘Concretemandu’!

Picture courtesy: KVPT

For ages, expert masons and craftsmen, almost all from the Newar community, have had adequate opportunities to practice and perfect their craft. At different periods in its history, various Nepalese kings have acted as royal patrons and commissioned the construction of many attractive

can remain in theText: darkAmar about such an B. Shrestha important issue. At times there have been glimmers of hope on the horizon, such as new rules and guidelines instituted in Patan directed towards the preservation of traditional architecture. Similarly there are some organizations devoted to the same cause.

Picture 3 Recorded Year: 2005 Status: Residential / Commercial The original building no longer exists and has become part of history. There is no sign anywhere of the traditional façade or structure.

The pictures above demonstrate some causes for the gradual obliteration of traditional architecture in the valley. Perhaps if owners and engineers were to think of keeping the facades intact while rebuilding, traditional architecture could still survive for generations to come. S SPACES MAR-APR 2005 89

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