SPACES Nepal JAN 2018

Vol 14 No. 08 January 2018

ART ARCHITECTURE INTERIOR

Recording what remains at

Dhulikhel

NRs. 100/-

facebook.com/spacesnepal

twitter.com/spacesnepal

current mood Recapturing the 60’s trend

NEPALI PAINTING THROUGH THE AGES

CRITICAL REGIONALISM IN

RELIGIOUS ARCHITECTURE OF FAR-WESTERN NEPAL

PERSISTENT TO

PRESERVE

Experiential Dimension of Architecture:

Ancient Egypt And Great Pyramids Biratnagar Jute Mills

Office Furniture Office Furniture NEPAL’S NEPAL’S

MOSTMOST

PREFFERED PREFFERED

BRAND BRAND

W NOW N

NE ONLINE ON

SHOP SHOP NOW NO @

@

www.featherlitenepal.org/shop www.featherlitenepal.org

DESIGN MANUFACTURE | INSTALLATION N S TA L L AT| I ON DE SIGN

t. Ltd.

Parth International Pvt. Ltd.

|

MAN

Parth

Corporate Office: Ward No. 11, Central Business Park, 4thWard Floor, Thapathali, s Park, 4th Corporate Floor , Thapathali, Office: No. 11 Kathmandu, Nepal. Contact: 977 1424 5342 | 977 1 410 1504 5342 | 977 1 410 Kathmandu, 1504 Nepal. C

Kamaladi Complex, Kamaladi, Kathmandu, Nepal. Complex, Contact: 9771600209 ndu,Showroom: Showroom: Nepal.

Contact: Kamaladi 9771600209 K E-mail: nikunj@parthinternational.org tional.org E-mail: nik 2 / SPACES January 2018

January 2018 SPACES / 3

4 / SPACES January 2018

January 2018 SPACES / 5

BuilDcon

Contents Volume 14 NO. 08 | January

S

P

A

C

E

S

N

E

P

A

L

.

C

O

M

22 Conservation

30 Architecture

40 Interior

Biratnagar Jute Mills

Persistent to Preserve

Current Mood: Recapturing the 60’s Trend

44 Architecture

50 Architecture

56 Architecture

Recording what remains at Dhulikhel

Experiential Dimension of Architecture: Ancient Egypt And Great Pyramids

Critical Regionalism In Religious Architecture of Far-Western Nepal

62 Art

72 Interior

80 Artspace

Nepali Painting Through the Ages

How color impacts our Emotions?

Dunugha Ya Swapu

8 / SPACES January 2018

Volume 14 N 08 | January O.

Contributors

CEO

Ashesh Rajbansh Editor-in-Chief

Ar. Sarosh Pradhan Director- Products and Materials

Ar. Pravita Shrestha

Kai Weise

Asha Dangol

Tejash Man Shakya

Brinda Shrestha

Bansri Pandey

Chhavi Vashist

Bhupendra Jung Kesari Chand

Contributing Art Editor

Madan Chitrakar Kasthamandap Art Studio Junior Editor

Shreya Amatya Sristi Pradhan Pratap Jung Khadka

Rajina Shrestha

Advisor

Ar. Pawan Kumar Shrestha Subscription and Administrative Officer

Riki Shrestha

Contributing Editor

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

Kai Weise is a Nepali national of Swiss origin who has been working as a planner and architect in the Himalayan Region.

Kai Weise has been facilitating the establishment of management systems for World Heritage properties and was involved in earthquake response and rehabilitation for the culture sector in Nepal and Myanmar. He is president of ICOMOS Nepal and fellow of the Institute of Advanced Studies, Durham University.

Asha Dangol is a contemporary Nepali visual artist. He is co-founder of the Kasthamandap Art Studio and E-Arts Nepal. He holds Master’s Degree in Fine Arts from Tribhuvan University, and has been creating and exhibiting his art since 1992. He has 10 solo art exhibitions to his credit. Dangol has participated in numerous group shows in Nepal and his work has been exhibited in different countries outside Nepal. The artist experiments with painting, mixed media, ceramics, installation, performance and video.

Photographers

Pradip Ratna Tuladhar Intl. Correspondent

Bansri Panday

Tejash Man Shakya completed his master degree in Nepal history, culture and archaeology from Tribhuvan University, 2011 A.D. He has a double bachelor degree in business studies and fine art as well. He is a master sculptor, renovation and art coordinator for Nepal. He also works as a resource person for metal casting workshop and training. Mr. Tejesh Man Shakya has also won many honors and awards for the projects he was involved in. As a lover of art, he has been collecting different art collections from France, South Korea, Netherland as well as Nepal

Intern

Soyana Nyachhyon Director- Operation & Public Relation

Bhupendra Jung Keshari Chand an architect by profession has been working for the development of urban development and building construction division office, Doti, Rajpur, Dipayal. He completed his bachelor’s degree in Development of Architecture, Pulchowk Engineering Campus.

Anu Rajbansh

SR. Business Development Officer

Debbie Rana Dangol Marketing Officer

Ruby Shrestha Legal Advisor

Yogendra Bhattarai Financial Advisor

Kiran Rajbhandary

Published by

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

Phone: 5181125, 5180132 info@spacesnepal.com

Brinda Shrestha is an architect/ urban planner who have worked as a former assistant professor in Nepal Engineering College. She has been working in the field of architecture and planning under different private consultancies, research and educational institutions in Nepal. Her major passion is exploring cities and its architecture through travelling and writing articles on architectural and urban issues.

Bansri Pandey Pandey is an architect from India who is in love with stories. She has been writing about several issues on architecture since 2007. She came to Nepal in 2010. At the time, she established a training centre for teaching new technologies in the field of architecture/engineering in Nepal. After completing her masters in International Project Management from Germany in 2013, she worked in the field of construction technologies in Germany and in Qatar. After coming back to Nepal, her love for storytelling got her to write and perform a play in Nepali at a theatre in Kathmandu. Currently, she continues to write about architecture as well as work in the field of construction technologies in Nepal.

Chhavi Vashist is a Delhi-based, graduate in Bachelors of Architecture and Post Graduate of Landscape Architecture.

She is experienced in content writing as an Interior Designer. She is a blogger, and working as a faculty of Interior Designing. She is practicing as an architect and her firm undertake projects of varied complexity in terms of Architectural Design and Execution, ranging from Concept making, Space planning, Detailed designing, Interior Designing, Fresh construction, Addition and Alterations in existing buildings, and Renovation work for every type of Residential, Commercial, Retail projects.

Rajina Shrestha is currently working full time for Marketing and Operations at Threadpaints Store, a moderated online selling platform. She is a also co-founder at Women Leaders in Technology (WLiT) and Vice-President at Women LEAD. She is a freelance writer and asks too many questions.

Design/Layout & Processed at DigiScan Pre-press

Printed at Wordscape The Printer, 9851037750

Regd. No 30657/061-62 CDO No. 41

Distribution

SPACES is published twelve times a year at the address above. All rights are reserved in respect of articles, illustrations, photographs, etc. published in SPACES. The contents of this publication may not be reproduced in whole or in part in any form without the written consent of the publisher. The opinions expressed by contributors are not necessarily those of the publisher and the publisher cannot accept responsiblility for any errors or omissions.

Advertising and Subscriptions

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.

Kasthamandap Distributors, Ph: 4247241

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

10 / SPACES January 2018

Available in: 1, 3, 6, 10, 15, 25, 35, 50 Ltrs.

Sole Distributor of Crompton Appliances for Nepal

Third Floor China Town Shopping Center Sundhara, Kathmandu January 2018 9801315461 SPACES / 11 Tel.: 977-1-4249440 | M: 9801315458,

Editorial ‘It has been said that, at its best, preservation engages the past in a conversation with the present over a mutual concern for the future.’

-William Murtagh, first keeper of the National Register of Historic Places

When it happens that our built history connects us in tangible ways with our past and provides context for the places we occupy and the world we live in, it does much more than preserving bricks and mortar only. Observation and gathering data from old traditional villages and sticking to the general principle of restoration to use the same kind of material and technique as found in the original construction led to what we now know as ‘Hotel Kaze Darbar’, originally the building was built around 1994-95 B.S. It fuses art with craftsmanship, capacity for modern utility with embodied energy, and progressive ideas for economic revitalization with traditional authenticity.

Life is what happens to us while we are making other plans, and fate is not always the same for all. The first industrial complex built in the country, in 1936 ‘Modern Nepal’ was born with the advent of the first registered industry in the country, the revolution of ‘Naya Nepal’ through political intervention and labor problems changed its fate completely.

Once sustaining 2000 employees, The Biratnagar Jute Mills is now a site for abstract photographers. One might still see the diesel power house with the two huge ship engines and the turbine power house, an impressive example even by today’s standards.

The grand structures of the great pyramids of Giza, How they were built has been a source of debate. Historians agree there was an immense amount of labor involved; technical ingenuity and skill that went into the pyramids helped the structures remain standing today. It remains one of the seven ancient wonders of the world.

Areas for deeper research, many spaces of Nepal are still unspoken and unheard of. The history and feats of Khasa Malla Kingdom in Nepal is less talked and the art and architecture of far-Western Nepal remains in dark unless the history of AjayaMeru Kot palace is unfolded. However, the distinct architecture of palace can be referenced as the point of departure in establishing regional architecture of far-Western Nepal. The ruined palace now has the remains of around ten different rooms. The question has always been what to do in the aftermath.

With the advent of social media, it has never been easier to follow the latest interior trends. But which trends from the past have stood the test of time and are seeing a re-emergence? Modern retro styles of the 60s bring unique interior design ideas and create distinct rooms. Adding a nostalgic feel home interior, retro furniture, decor accessories revive the old styles giving unique character to decorating. Fashion fades, but style remains same.

The book NEPALI PAINTING THROUGH THE AGES, by Madan Chitrakar ‘…reveals the historic contribution of Chitrakars to the tradition of painting in Nepal that focuses on the historicity of the art, the artist and the tradition as attempt to establish and celebrate the historicity of the Chitrakars as traditional painters…’ as stated by the publisher, and remains the most comprehensive collection of its genre. Requests are aplenty already for other visibility, wishing abundant happiness to see new arrival.

Enjoy!

Ashesh Rajbansh / CEO

12 / SPACES January 2018

January 2018 SPACES / 13

hxf“ gful/s Toxf“ gful/s

nagariknews.com 14 / SPACES January 2018

myrepublica.com

News

Marvelous Nite Marvel Technoplast Pvt. Ltd. organized “Marvel Nite” on 21st December, 2017 at Hyatt Regency, Bouddha to brief about their products under the brand name ‘Marvel’ to the distributors, dealers and media. The company obtained license from The Lubrizol Corporation (USA), a Berkshire Hathaway Company, is a market-driven global company to produce pipes and fittings which are internationally recognized. The company combines complex specialty chemicals to optimize the quality, performance and value of customers’ products while reducing their environmental impact. It has tied up with more than 130 countries to mark their presence in the market.

construction sector of Nepal stronger.” Mr. Sancheti also disclosed that after customers recognized the international quality pipes being manufactured in Nepal itself and provided by Marvel Technoplast, imports from India has decreased.

During the event, the Vice President of Marvel Technoplast Pvt. Ltd., Mr. Pawan Kumar Sancheti mentioned that “The environment for construction development is taking its phase along with economic development. Since there is a sound market for construction material, the company aims to move forward with a campaign in a planned way with the opinion and suggestions from its dealers and distributors to provide its customers with quality pipes and fittings.” He also said, “Our NSF certified and lead free products will not only contribute to make Nepal safer and healthier but will also contribute to make the

Currently, Marvel Technoplast Pvt. Ltd. have total of 7 eco-green and lead free products in the market. It is also the first company in Nepal to produce and distribute lead free CPVC pipe which has given a big relief to its customers. Lead, a mixture of glass which is poisonous to human health. According to law as well, pipes with lead should not be used. Products of Marvel Technoplast are under WHO standard, which doesn’t use any harmful substances that affects the health. More than 500 distributors and dealers from all over Nepal participated in this event. n

16 / SPACES January 2018

Fragrance of life II As an artist Namrata Singh’s first solo exhibition exhibited an extension of optimism and positivity, her second solo painting exhibition “Fragrance of Life II� was nothing less.

The exhibition kick started from 16th December, 2017 at Newa Chen Art gallery in Patan, Lalitpur.

The painting reflected undying human desires and wishes painted through her experience like happiness, sadness and love. The viewers could find the influence from Mithila Chitrakala in her paintings as she used the figures and shapes of man, woman, swan and lotus among others. The use of soothing tones of blue, green, red and pink was what made the paintings look vibrant.

Human development in the field of science and technology have forgotten about the true nature of being human or

being alive. Instead of enjoying moments we are trapping ourselves with visual illusions and technologies. Her paintings remind us of the aroma of simple moments of being with our family, getting lost in nature, feeling divine and lost to find our true selves. The exhibition will remain open until 31st January, 2018.

January 2018 SPACES / 17

News

INDIA ART FAIR 2018 India Art Fair, the leading platform to discover modern and contemporary art from South Asia, announced the tenth edition to be held from 9th - 12th February, 2018 at the NSIC grounds, Okhla Industrial Area, New Delhi, India. In this edition of the event SPACES Magazine has collaborated with India Art Fair as a media partner. Under the leadership of Fair Director, Jagdip Jagpal, the 2018 edition will feature refreshed and expanded programming across each of the fair’s sections and a testing out of new ideas. This Art Fair will trial a professional learning program, offering an in-depth view of topics related to the arts industry. It is also committed to supporting opportunities for young people and will partner with Penguin Random House India for the first time to present a creative zone for children.

Some of the participating national and international galleries are Chatterjee & Lal, Jhaveri Contemporary, The Guild (all Mumbai), Kalakriti Art Gallery (Hyderabad), Dhoomimal Gallery (New Delhi), TARQ (Mumbai), Samara

18 / SPACES January 2018

Art Gallery, ZOCA (both Ahmedabad), Pichvai Tradition & Beyond (New Delhi), Britto Art Trust (Dhaka), Nepal Arts Council (Kathmandu), Swaraj Art Archive (Noida), Blueprint 12 (New Delhi), David Zwirner (London/New York/ Hong Kong), Karla Osorio Gallery (Brasilia), Mo J Gallery (Busan) and Richard Koh Fine Art (Singapore/Kuala Lumpur). n

De’ Arch - Interio Schema VII “Architecture is an expression of value”, keeping this in mind, IEC has passed down the sequel to the annual interior design exhibition which has been running since the year 2011. “DE’-ARCH, Interio Schema -VII was organized by the final year students as their thesis project. The exhibition was held at Hotel Radisson from 29th to 30th December, 2017.

To make it bigger, better and more beneficial to everyone, the show raised awareness among people about interior designing and its potential to change daily life. Through this exhibition, the final year students develop their concept to a physical, three-dimensional structure. They have used different techniques to develop their concept or experiences to enable their audiences to access the messages, and stories. Their aim is to communicate a message through engaging their audiences in meaningful and compelling interactions. The exhibition also promoted local interior designers among the big corporate society so as to help build their carrier and in return improve the scene of interior design in context of Nepal. The Title Sponsor of the event was Asian Paints Nepal, whereas SPACES magazine was the Magazine Partner. Many other companies related to the field also supported the event.

The Exhibition showcased the model works of around 26 upcoming Interior Designers from IEC College of Art and Fashion. The projects and the theme that the students got involved in were related to various topics, nature, shapes, Newa architecture curves, and many more. Famous personality like the present director of NEA, Mr. Kul Man Ghising and Social Entrepreneur, social activist and Miss Nepal 2002, Malvika Subba and actress Shweta Khadka came to support the students at the exhibition. The program was concluded by certification ceremony and token of love to the participations and the supporters. n

January 2018 SPACES / 19

News Wood Working, Tyres, and in Finished Products – Cement, Prefab, Bathroom Fittings, Roofing, Wires & Cables, flooring, Paints, Switches, Air Condition, Italian Tiles & Sanitary Ware, Plywood, Laminates, Designer Veneers, Wood Polymer Composite, UPVC Profile, Architectural Hardware, Sinks, Kitchen Fittings, Aluminum Windows, UPVC Windows and Doors, Pipes and Fittings, Coatings, Adhesives , Sealants, Tapes, Interior Products, Solar products & many more.

Nepal Buildcon International 2018 Fourth Nepal Buildcon International 2018, an architecture, wood and construction focused exhibition, is set to be held at Exhibition Hall, Bhrikuti Mandap in Kathmandu, from 9th to 11th February, 2018. Fourth Nepal Wood International Expo 2018 is also to take place concurrently. The concept for the exhibition has been designed and initiated by Futurex Group (India) and Media Space Solutions (Nepal) with the aim of exploring the demanding market of Nepal.The growing economy is attracting investors eager to step in and try their luck in this promising market of convincing opportunities.

And the government has extended its hand to investors to take the next step toward industrial and infrastructure development is an encouraging sign as well.

The exhibition is supported by Nepal Engineer’s Association (NEA), Society of Consulting Architectural and Engineering Firms (SCAEF), Society of Nepalese Architects (SONA), Federation of Contractors Association of Nepal (FCAN), Federation of Furniture and Furnishing Entrepreneurs Association (FFFEA), Nepal Land and Housing Developers’ Association (NLHDA), Regional and Urban Planners’ Society of Nepal (RUPSON), Nepal Ply Manufacturers Association (NPMA), Federation of Heavy Equipment Entrepreneurs Association (FHEAN) and the Confederation of Indian Industries (CII). Mahindra and Nippon Paints are the co-Sponsor of the event with their

20 / SPACES January 2018

range of construction equipment’s and range of paint solutions respectively.

More than 150 Companies from 10 different countries are participating in the expo which includes Nepal, India, Bangladesh, UAE, Taiwan, China, Turkey, Vietnam, Italy & Austria. The show will be open for visitor from 10 am to 6 pm every day and the entry is free for all.

The exhibitor profile comprise of local and international players in Machinery Sector - Construction Heavy Equipment, Concrete Block, AAC Blocks, Crushers, Batching Plant, Doors & Windows, Wood &

Special attraction of the show is heavy equipment Pavilion, pre fab pavilion, live demonstration of woodworking machinery and latest and innovative technologies from across the globe. It’s an opportunity to meet stalwarts of the industry at one platform. The visitors can witness the innovative product launch, educating them about the latest technology available globally to meet the standards.

This expo is a platform for improving the nepali construction market as the change is constant. SPACES has been operating as a magazine partner for the expo since the very beginning. n

S

4 th INTERNATIONAL

BUILDING SPECIFIERS CONFERENCE 2018

SUSTAINABLE ARCHITECTURE & URBAN DESIG The Construction industry is one of the important

Buildcon and Nepal Wood International Expo, the

pillars ofOF the economy and a significant contributor to HOME-BUILDING Building Specifiers Conference is being developed THE FUTURE CONSTRUCTION, & RENOVATION the GDP and employment rate of the country. It plays as bi-annual event. an important role in the development of infrastructure that is essential for the growth of the nation. Like other industries, construction is continuously changing; the traditional view of construction has been a part of our development. But introducing the new process, technologies and new ways of working is turning the industry on its head.

The Building Specifiers conference is a series of conferences which highlights the role and importance of building specifications and all subjects related to standards in building construction, building materials and its application. The outstanding successful conference has been taking place in Sri Lanka for past seven years. The first edition of Building Specifiers Conference received an overwhelming response which enlightened the audience on the importance of building standards. The second edition deliberated discussions on building specifications with reference to high rise buildings and focusing on aluminum, glass, facades and coatings. The third edition was held in November 2017 which focused on Interior and exteriors and also covered a wide spectrum of subjects.

Jointly organized by Media Space Solutions (Nepal) and Futurex Group (India), the organizers of Nepal

th

The exhibition is supported by Nepal Engineer’s Association (NEA), Society of Consulting Architectural and Engineering Firms (SCAEF), Society of Nepalese Architects (SONA), Federation of Contractors Association of Nepal (FCAN), Federation of Furniture and Furnishing Entrepreneurs Association (FFFEA), Nepal Land and Housing Developers’ Association (NLHDA), Regional and Urban Planners’ Society of Nepal (RUPSON), Nepal Ply Manufacturers Association (NPMA) and the Federation of Heavy Equipment Entrepreneurs Association (FHEAN).

The upcoming conference to be held on 13th of March, 2018 at Hotel Yak & Yeti will provide an open discussion platform to the architects, engineers, academicians, researchers and industrial players from various fields to discuss the recent advances and results in the field of sustainable architecture, planning and urban designing. The conference is an invitation to architects, interior designers, engineers, policy makers and social partners to share knowledge from their respective fields of expertise.

SPACES has been working as an official associate partner for the event.

January 2018 SPACES / 21

Conservation

Biratnagar Nepal’s Industrial Heritage TEXT & photo : Kai Weise

The Biratnagar Jute Mills was where “Modern Nepal” was born. This was the first industrial complex built in the country. It was also where labour unrest allowed political parties to gain a foothold and overthrow the Rana oligarchy. The Biratnagar Jute Mills was established under Prime Minister Juddha Shamsher in 1936. This was the first registered industry in the country and is an impressive example of an industrial complex, even by today’s standards.

There has however been little interest to safeguard this superb example of early industrial heritage. Vested interests, commercial profitability along with political interventions have wreaked havoc on the complex.

T

he area in the eastern Terai was good for growing jute and local merchants sold the jute across the border to Indian jute mills. Realizing the potential of having their own mill in Nepal they brought this idea to the attention of Prime Minister Juddha Shumsher.

The Prime Minister would have been visiting the earthquake affected sites after the 8.4 magnitude Great Nepal Bihar earthquake of 1934 which had the epicentre less than a hundred kilometres away.

In the beginning Biratnagar Jute Mills

22 / SPACES January 2018

was established with 75% funding by an Indian businessman from Katihar, while the remaining 25% shares remained local of which only 8% was government. The industries also required financial transactions to be facilitated through established institutions. This paved the way for further industrial development of the country. There were however no labour laws and conditions at the work site and housing were abominable.

Nepali politicians were largely in exile in India and with independence in

India there was a fresh momentum to launch protests against the Rana regime in Nepal. Like in so many countries around the world, it was the discontented industrial labourers who supported such political opinions.

The first labour strike, the Biratnagar Hartal, was launched on 4th March, 1947 instigated by Girija Prasad Koirala who was working there. This allowed the eminent exiled politicians such as Bishweshwar Prasad Koirala and Manmohan Adhikari to enter the fray. The labour unrest quickly changed into a freedom movement and spread to Kathmandu.

conservation

Jute Mills

January 2018 SPACES / 23

Conservation

Troops were sent in and the politicians and those involved in instigating the unrest were imprisoned. Even though all the demands of the labourers were granted the strike continued under Matrika Prasad Koirala. Further unrest followed leading to many labourers being injured and there were casualties. On 16th May, 1947, Prime Minster Padma Shamsher Rana gave a historic speech agreeing to allow “commoners” into the government. It however took another few months and a request by Mahatma Gandhi to get the remaining politicians involved in the Biratnagar Hartal to be released from prison.

Commercial competition with the Indian side was however difficult and without

24 / SPACES January 2018

subsidies for the jute industry the mills began to deteriorate. This was of course in addition to the political interference and corruption that hardly allowed for the industry to revive. In the 1980s the mills went through several CEOs with varying success in resuscitating the industry. The political turmoil following the 1990 Jana-andolan led to further deterioration. It was only after the 1993 elections with the UML government that new efforts were made to revive the industry with a government funding of Rs 80 million by first buying out the shares owned by Indian nationals.

This increased the government’s holdings from 12 per cent to 46 per cent. The government was the largest shareholder and was responsible for managing the company.

However in 1998 with change of government, it was decided to give up the company on a management contract. Initially it was run at a profit sharing ration of 80:20 between government and private party that didn’t last long. Even at 60:40 it was not profitable. This was then followed by leasing the company initially to a private competitor Arihant Multi-fibre, a subsidiary of Golchha Organisation in 2002. This again failed due to political intervention and labour problems.

The government again shut down the factory after spending NRs 550 million to pay off two thousand employees.

The Jute Mills was then leased by an Indian company Winsome International which ran between 2013 and 2015. Just recently the Biratnagar

conservation

January 2018 SPACES / 25

Conservation

26 / SPACES January 2018

conservation

January 2018 SPACES / 27

Conservation

Jute Mills was again in the news with involved government officials personally buying government shares supposedly to revive the company.

Sensing that this was the beginning of a process to sell off the company, the local community has launched a campaign to save the mills.

I was part of a team that was set-up in 1994 to renovate and reorganize the Biratnagar Jute Mills under the initiation of the UML led government.

Documentation of the wonderful facilities was undertaken. There were two parallel mill buildings which were over 210 meters long, with an overall width of about 75 meters. These were beautiful metal structures with jackarch roofs. Probably the most striking buildings would have been the diesel power house with the two huge ship engines and the turbine power house.

These could be considered the only industrial heritage buildings in Nepal.

There were three systems that were analyzed: Land Development System, Mills System and Housing System. At the time Biratnagar Jute Mills owned 7 plots of land totalling 68.5 bighas (115 acres). The main compound with the mills and some staff quarters covered an area of about 57 bighas (95 acres) of the total. The other plots were either for quarters such as South Colony, Hartali Hat and Hari Nagar Bhatta.

There were two plots of agricultural land in Bakri and Jatwa and a plot in Damak used for procurement. There were of course various land disputes going on at the time including ownership, right of use and right of way. It would however be interesting to study how much of this land still remains with the company.

28 / SPACES January 2018

The labour colonies were however rather abysmal. The south colony, which boarders directly onto India, was where earth was excavated for the construction of the mill buildings and the godowns. The depression was filled by waste from the Jute Mill and from the nearby Sugar Mills. Across the border, gates were constructed to control the waste and when shut, this area was inundated. A further colony was Hari Nagar Bhatta, where the brick kilns were originally set up for the Jute Mill and later the area was filled up and provided to the labourers to build their huts.

The mills system was the most fascinating, which included the production as well as the necessary backup sub-systems. The production system was the core of the industry.

All other systems were supporting systems that enable the production to function efficiently. The coordination and timing of the supporting systems to the production system was essential. The production system was directly involved in the processing of raw jute. The process began with the selection of jute for the correct blend.

The various grades of Dossa and Sada jute were mixed according to the requirement of the end product.

The jute was either processed in the sacking system of the old mill or the Hessian system of the new mill. The first part (spinning mill) consisted of bathing, preparing, spinning and winding. The second part (weaving mill) consisted of beaming, loom and finishing. The support systems included supply of jute, gunny marketing, labour, maintenance and storage, technical systems, security, management and marketing.

The most fascinating place was however Hartali Hat. This was where B.P. Koirala, Man Mohan Adhikari and the organizers of the first labour movement in Nepal had stood on a platform under a tree and presented their speeches on 4th March, 1947. The Rana regime snuffed out the agitation, but the movement had struck root and within a few years it led to democracy.

I could however not keep out my mind what we had found on the south eastern corner of the same labour settlement. There was a depression where all the sewage from the nearby latrines collected and a child had drowned there.

I was told that this has been cleaned up. However the government is not taking steps to safeguard the overall historic industrial complex. Instead of proclaiming this industrial complex a national heritage where modern industry began and democracy germinated, the government seems to be selling it off bit by bit with no concern for its future. n

January 2018 SPACES / 29

Architecture

PERSISTENT TO

PRESERVE Text: Bansri Pandey  Photo: A. Rajbansh

30 / SPACES January 2018

Architecture

I

gnoring the busy street around the Kamalpokhari, wrapped in red, a 80 year old building smiles with pleasure while you walk through its gates to find a peaceful open courtyard. This is where guests from around the world sip tea from Nepal’s organic gardens. One would not imagine that only about four years ago, this historic building was crumbling under the weight of its own age and the neglect of its users.

Brought back to life with its formal glory, the building which is now known as the Hotel Kaze Darbar, was originally built as a private residence influenced by the architecture of Rana palaces.

January 2018 SPACES / 31

Architecture

Much of the history of the building is not known. Some inscription in the bricks such as, ‘Shree 3 Juddha 1994” and “Shree 3 Juddha 1995” suggests that the building was built during 1994-95 B.S. (1939-40 A.D.) around the time when Juddha Shumsher Jang Bahadur Rana was the Prime Minister of Nepal. Interestingly, some bricks were also found to have inscription “Shree 3 Bir” suggesting the year 1941-1957 B.S. (1885-1901 A.D.) when Bir Shumsher Jung Bahadur Rana was the Prime Minister of Nepal. Due to these discoveries, it is assumed that using the old as well as newly produced bricks, the building was constructed between 1939-40 A.D., a few years after the Nepal-Bihar earthquake of 1934 A.D.

32 / SPACES January 2018

Architecture

The buildings that carry the pages of history in their bricks, are also a witness to the changing demands of time. Last 40 years, the building was rented by several institutions including government offices and a school. Change in the users meant that each time, alterations were made in the original design to suit the new purpose. Considering the condition in which the building was found before the restoration began, it seems that these modifications were done with financial and technical limitations. Negligence in maintenance, weathering, infiltration of water, and passage of time had degraded the structure further.

“When we first came in, the structure was very vulnerable.

We weren’t sure of the quality of bricks, plaster, wood, and other materials that had been used. One of the main challenges in the building was to deal with the infiltration of water. Even when externally we could not see it, we found moisture from unexpected places while working.” - Sudish Lal Maskey, Team Leader of the restoration work at the Hotel Kaze Darbar.

Restoring such a structure and adapting it to yet another use meant that the restorers of the Hotel Kaze Darbar, had to cautiously reconstruct using new elements that are in harmony with what remains of the original. The problem in achieving such a goal is that the new parts usually do

not merge altogether because the new parts after a certain period are subject to their own ageing process which react differently than the original parts [1]. As time goes on, even when accurately matched at the beginning, the new parts gradually detach from the original. To minimise this issue in the case of Kaze Darbar, the restorers tried to curate the materials from the old traditional habitats around the Kathmandu Valley.

“I explored so many old traditional villages such as Bhaktapur, Panchkhal, Tokha, Sundarijal and others in order to find the materials, especially floor and roof tiles, that would come close to the type and age of the original materials. It has been really difficult to acquire such materials but we were determined not to compromise.” - Khadga K. Rajbhandari, Manager at the Hotel Kaze Darbar.

The general principle of restoration is to use the same kind of material and technique as found in the original construction. But applying this principle for wooden construction is quite challenging mainly because the wood has become a scarce resource in today’s time. The quality of the wood that was available a century ago is not easily available today without heavily burdening the project financially. Being a biological material, wood is also highly susceptible to infestation, climate change, weathering,

January 2018 SPACES / 33

Architecture

and moisture. Most of the wooden beams in the building which were found to be in good condition during the initial assessment failed during construction mainly because of the decay caused by moisture or insects.

Unavailability of the required material often forces the restorers to impose modern methods of construction in their work, without which the structure would loose its integrity.

Such steps require a thorough technical understanding of how it will affect the original elements. As timber beams of long span were difficult to find, few secondary beams at first

34 / SPACES January 2018

Architecture

floor, were replaced by glue laminated timber beams also known as glulam. Glulam is a solid structural wood timber constructed from two or more layers of dimensional lumber bonded together with a moisture-resistant structural adhesive [2]. To ensure that this modern methodology is safe for the building and reacts well with the original construction, structural behaviour of the replaced beam was monitored on site for about one year before approving it for use in other parts of the building.

Going back into the history of restoration works, we see that in every branch of the arts, restorers often try to enhance what they are restoring to compensate for the deterioration of time. Such improvements are only justified if the restorers make attempt to understand the personality, the form, and the spirit of the original. Before the restoration works began, the open courtyard as it is today, was actually a flat ground. Restorers decided to split it into two levels, central area deeper than the surrounding.

It was reconstructed using Newari style of architecture in order to enhance the experience of the traditional culture of the country. Surprisingly though, during construction an old flooring was discovered at the deeper level indicating that the original design of the residence may also have had the courtyard in two levels. And over the years, it must have been flattened to meet the needs of other users. This proved that the reconstruction concept was in sync with the original design.

The historic buildings apart from having aesthetic and heritage value, also need to fulfill functioning needs. To meet the requirements of the Hotel, a new wing consisting of a restaurant and a bar was added onto the existing building at its East side. The new structure was carefully designed to blend with the architectural and construction techniques of the old one. Ironically, we restore our heritage buildings to match with their original aesthetic values but at the same time we want them to function with modern day utilities. We do not go into a Hotel and expect sanitary facilities that are a century old. As the buildings are not originally designed to incorporate such modern utilities, unfortunately these alterations leave some scars on their historic blueprint. Even in the case of Kaze Darbar, significant alterations had to be made to incorporate the concealed electric wiring, hot and cold water system with the use of boilers, a diesel generator for backup power, and extensive renovation of the sanitary systems.

January 2018 SPACES / 35

Architecture

Sudish Lal Maskey explains, “We brainstormed alot to find a suitable location for the overhead water tank. We did not want to burden the main building with its load and also keep it away from the line of sight of the guests. So, we chose to build a separate steel structure supported by a few existing walls that are away from the main building. Laying out the services in the building was a very sensitive issue and had to be dealt very carefully.”

From a pure conservation point of view, such interventions in a historic structure may be condemned. But they arise out of practical necessities and are often a condition of the building’s survival. Without them, the building may become a ruin that has some cultural value but does not serve any practical purpose. And eventually, with rising real estate prices and rapid urban growth, such structures may be

36 / SPACES January 2018

Architecture

January 2018 SPACES / 37

Architecture

sacrificed because of the magnitude of the work required or the budget needed to preserve them.

Understanding these challenges support in evaluating whether in the given circumstances, the building was given maximum respect while restoring to fulfil its original function or to fit it for a new purpose. Thanks to the efforts of Mr. Prithbi Shrestha, the managing director of the Hotel Kaze Darbar, and his team who relentlessly worked to bring an old dilapidating heritage building back to its formal glory.

The building has been operational for about three years now and have already served many guests around the world. While the post-earthquake Nepal discusses how to restore our heritage, the Hotel Kaze Darbar shows us that desire and determination are equally important as the means and methods for a successful restoration work. n

References: [1] UNESCO, 1972, Preserving and restoring monuments and historic buildings, Paris, United Nations Educational, Scientific and Cultural Organisation [2] Header, G., U.S. Patent US 9,441,373 B1, 2016

38 / SPACES January 2018

Architecture

January 2018 SPACES / 39

Interior

current mood Recapturing the 60’s trend Text: SOYANA NYACHHYON

40 / SPACES January 2018

Interior

I

n the past, interiors were put together instinctively as a part of the process of building. The pursuit of effective use of space, under well being and functional design has contributed to the development of the contemporary design pattern. In ancient Egypt,” soul houses” were placed in tombs as receptacles for food offerings. From these, it is possible to discern details about the interior design of different residences throughout different Egyptian Dynasties.

Retro is a much less specific term.

It strictly refers to something that is culturally outdated or aged in style that has since become functionally or superficially the norm once again. The term retro has been in use since the 1960s to describe on the one hand new artifacts that self-consciously refer to particular modes, motifs, techniques, and materials of the past.

But on the other hand, many people use the term to categories styles that have been created in the past.

Unlike the historicism of the Romantic generations, it is mostly the recent past that retro seeks to recapitulate, focusing on the products, fashions and artistic styles produced since the Industrial Revolution, the successive styles of modernity.

Better known as the swinging sixties, this era was a time of experimentation all around. The color schemes were very much inspired by nature; greens, oranges and golds were plastered on everything from sofas to clothes.

The psychedelic style was to set wacky colors against each other, for example, a deep pink sofa covered in bright orange cushions.

We follow what we see, whether its fashion, music, food or decor. As this era is immensely influenced by the social media, we have been seeing a lot of changes throughout the history. From Bohemian Chic to Nautical, people have loved to play with textures and colors that describe themselves precisely.

Nowadays, the idea of 60’s interior design has somewhat changed and also the interior designers are decorating and developing progressive and creative decorations through bar chairs, marbles, sofa cum mattress, wooden furniture and even more. Therefore the concept of interior planning that is finest has turned into a never ending method and there’s something fresh you’ll be able to study or apply in your adobe to boost it in a better approach.

Look in practically any room today, and you’ll find some element that has its design origin ties to that high era of style, and culture. Sure TV’s “Mad Men” has certainly had its impact on the recent style resurgence in today’s interiors, but folks were going mad for 1960s style even before Don Draper started sipping whiskey at 10am in the morning. We delve into this decade to give you some of the reasons it became so popular, some of its

characteristics and why we as society still love the look, over 50 years later.

It also looks very different from a contemporary one. That said, you can bring back styles of the 1960s. Here’s a look at some of the dominant styles of the decade if you’re looking for a blast from a way cool past.

AMAZING FABRIC PATTERNS Sofas, chairs and other furniture covered with fabric truly portrayed the 1960s revolution in the air. While in the 1950s fabric was a quiet backdrop or a tasteful English-influenced floral print, in the 1960s fabric was wild and wonderful, influenced by the hippie movement and psychedelia. Paisley became hugely popular for sofas and chairs. Op art patterns, whose black and white designs fool the eye, became a popular print and a popular fabric for walls. So did Indian prints and patterns derived from Moroccan bazaars. Patterns and colors swirled and swam.

January 2018 SPACES / 41

Interior

42 / SPACES January 2018

Interior

BEAN BAG AND POD CHAIRS The space age and rebellion in general both influenced 1960s home décor.

Space age designs often focused on the unusual shapes caused by orbits and lack of gravity. Rebellion focused on molding institutions to fit people, rather than the other way around. Both are reflected in the popularity of bean bag and pod chairs. Both designs cast off conventional wood structure for a softer, looser chair that molded to the person, and would take the shape of the sitter. They also, unconventionally, put the sitter closer to the floor.

anybody who might be prone to slip on hardwood floors — older people or toddlers find them hard to navigate — shag rugs are a safer option.

BRIGHT COLORS The ‘60s started out with the colors of nature. Avocado and yellow were popular colors for appliances, which broke with the conventional white that had been widespread in the ‘50s. As the decade went on, colors spread and got wilder. Toward the end, bright neon colors were in bloom, in keeping with free expression and unconventional thinking. Mix and match — of bright tangerine, say, and even brighter red with aqua accents — is the signature statement of ‘60s décor.

POP ART Started in the 1950s and 1960s primarily in America and Britain, the Pop Art movement was a response to the cerebral and abstract movements that had come before it, like abstract expressionism. Pop Art interiors are usually bold, brightly-colored and even aggressive to the eye. Use of new manufacturing techniques and materials like plastic and acrylic, images from popular culture and advertising (lots of products and labels) or a strong, graphic emphasis — inspiration from graphic novels s

SHAG RUGS Almost every 1960s living room and bedroom had a solid color shag rug.

Shag rugs — warm, high pile rugs — were a defining décor in the decade.

Everybody’s hair was long, so why not the rugs? While the popularity of shag rugs was superseded by the current trend for hardwood floors, shag rugs are still much warmer to the feet of those living in a cold climate.

Plus, if your household contains

LAMPS Lava lamps were another defining look of the 1960s. The color seems to melt and sway, reflecting both space age dynamics and the influence of hippies and psychedelics. Paper lampshades also become very popular, including lampshades that deviated from 1950s pastel. Darker colors, which cast a subdued glow, were in.

Best of the old, best of the new as cool as ‘60s style is, remember that 1960s houses were not nearly as energyefficient as today’s homes. In your quest for 1960s flair inside your home, don’t forget that modern technology and comfort is much better than it was 50 years ago! Love your home the right way by combining state-of-the-art insulation with your paisley and bright tangerine. n

January 2018 SPACES / 43

Architecture

Recording what remains at

Dhulikhel

“Lack of awareness, resources and regulations, are the main causes why Dhulikhel is gradually loosing its heritage value.� - says Buddha Shrestha, an architect and a planner who is documenting and researching on post-earthquake situation of Dhulikhel heritage buildings.

Text: Bansri Pandey

D

hulikhel, like many traditional towns of Nepal, has been severely affected by the AprilMay 2015 earthquake. Additionally, the rapid urbanisation of the town has also taken its toll on its physical and cultural heritage. Concerned with the safety of their home after earthquake, many local residents have started to dismantle their heritage homes and reconstruct those using modern R.C.C. construction methods. Unlike the temples, local dwelling do not fall under the existing government legislation on preservation of monuments. Thus, no attempts have been made by the government to preserve these heritage homes.

Destruction of such structures due to lack of awareness is going to cause irreversible loss on our cultural heritage and with no documentation done to prove their historic presence, they will soon be forgotten. Buddha Shrestha and his team are trying to address this problem by documenting art and architecture of these traditional residential buildings of Dhulikhel

44 / SPACES January 2018

in an attempt to spread awareness about their value and their need for restoration.

Dhulikhel is assumed to have been established around 5th century at the time of the Licchavi King Mandeva (442-483 AD). Some believe that the organised settlement in the region is credited to Anand Dev, the Malla king who clustered together far-spread patchy habitations to make Saat Gaun (seven valleys). The town is mainly a home to ethnic Newars and is currently the administrative centre of Kavrepalanchowk district. The main occupation of the residents in earlier times, is believed to have been agriculture. But as the population grew, the agriculture produce became insufficient for its people which led many to travel in search for business opportunities. Gradually, most of the working age men in Dhulikhel began to migrate to other cities in search of work that left elderly, women, and the children behind. The architecture of the town has been the witness

Architecture

January 2018 SPACES / 45

Architecture

House No. 1

46 / SPACES January 2018

House No. 2

House No. 3

Architecture

House No. 4

House No. 5

House No. 6

to these social changes over the course of the history. Most business minded families who are settled in other cities, often only visit the town during festivals such as Dashain and Tihar. Local residents have observed that the number of returning families has been reducing over the years.

The impact of this is seen in many old homes which are facing the neglect in their maintenance as they are left uninhabited. The change in social structures of the family has also been consistently reflected in how the buildings have adapted to them.

Families prefer to live separately these

January 2018 SPACES / 47

Architecture

days unlike large joint families that used to live together. As the family members do not want to part with their ancestral property, the building is then functionally divided vertically, requiring these heritage buildings to go through disfiguring alterations. Conducting restoration efforts in such scenario is not only a technical and a financial challenge but also a social challenge.

In September 2016, Shrestha and his team took up the challenge of researching and documenting the core city area of Dhulikhel. When they began their task, many old

48 / SPACES January 2018

buildings were demolished after the earthquake and many were under process. So, it had become even more urgent for them to accurately map the buildings that remained.

The information about the buildings’ history was collected by interviewing with the local residents and researching through available literature. As most of the houses are rented out and owners do not live there, it was very difficult to get the proper and upto date information. After going through many challenges, a heritage map of the core area of the town that categorised the buildings in five types was produced by the team. The map includes following categories: • Monuments • Buildings with high heritage value • Buildings above 50 years old • Buildings under 50 years old • Demolished old building • RCC /New building To continue their efforts, they further selected six residential buildings based on their heritage value and location in order to produce their architectural documentation. As many of these buildings were locked and some were heavily damaged after earthquake, measurements

Architecture

“Spreading awareness among local residents as well as among the government, the donors and other stakeholders is the first step in preserving our heritage in Dhulikhel. We are showing by our efforts that how these old structures can be reconstructed or restored. It has already made many residents curious and interested. As more and more people will see our documentation, we hope that more support will come forward from all sections of our society.”

- says Buddha Shrestha

were taken at maximum possible reachable areas. After measuring these buildings and studying their heritage history, Shrestha and his team produced drawings, sketches and photographs. These drawings are compatible with the requirements of Dhulikhel municipality for building permit. The entire documentation shows the existing condition along with a projection of these buildings in their original design, which would support in any future restorations. On 20th October 2017, the project was exhibited in front of the local residents, in collaboration with Samrakchyan Nepal. This exhibition also brought together the government officials, academicians and NGOs who stressed upon the need for reconstruction of Dhulikhel’s heritage structures.

We are living in a time when our newspapers are reporting everyday a story about how a heritage reconstruction has been mishandled by the responsible parties. Recent public outrage towards Rani Pokhari reconstruction shows that pubic

awareness can go a long way in saving our heritage structures.

The unregulated destruction of Dhulikhel’s heritage is one such vulnerable issue that requires public awareness without which soon we may loose and forget a very beautiful part of our history. In the midst of many difficulties, the efforts made

by Buddha Shrestha and his team indeed proves commendable. We not only thank them for their efforts to document the story of Dhulikhel’s heritage, but also hope that more and more people from all walks of life would come forward and contribute in restoring the heritage structures at Dhulikhel. n

Acknowledgement: Mr.Buddha Shrestha (Architect), Ms. Kriti Rajkarnikar (Architect), Mr. Sachin Yogal Shrestha (Photographer), Ms. Katrine Stoa (Intern from Norway)

January 2018 SPACES / 49

Architecture

Experiential Dimension of Architecture:

Ancient Egypt And Great Pyramids Text & Photo: Brinda Shrestha

Life of Ancient Egyptian people was all revolved around the eschatological references of systems, beliefs and values that shaped their daily life. Ancient Egypt was all about kings, queens, Gods, animals and their interrelations and their strong belief in life after death.

50 / SPACES January 2018

Architecture

M

ore of the ancient Egyptian arts and architecture were strongly tied with the mythology or religions and Gods.

Maintaining universal order, continuous association of common people with Gods through continuous offerings, worships and vows were part of ancient Egypt, which are what represented in ancient Egyptian art and architecture.

Pyramids are the outcome of integration of social, ritual belief and the architectural accomplishment.

Pyramids are not an isolated structure; they are an integral part of funery monuments. From the early dynasty period (3000 BC), ancient Egyptian kings built tombs in the form of pyramids. Numbers of these pyramids could be observed in different places

in Egypt even today, but they are basically two types: Earliest Stepped and the true pyramids. Although pyramids differ in their sizes, form and the interior layouts and details, the primary purpose for all remains the same; it was an attempt to represent true belief of the society through mere abstractions of memory and social belief.

January 2018 SPACES / 51

Architecture

Experiential Architecture Of Great Pyramids: Experiential dimensions of architecture suggests, architectural interrelationships with people and how they built structures affect people’s perceptions and senses. It is more about intangible aspects of architecture that communicates with inner spirit of people. Visiting Egypt and witnessing the great pyramids personally, has always been my hidden dream, and I was privileged to visit the historic city Cairo and enhance my theoretical knowledge of knowing Egyptian architecture by personally being there, and experiencing it through my bodily presence.

In simple observations from outside, pyramids can be viewed as a structure coming out of the earth and gradually takings its shape to meet at certain point in the height of infinity.

The symmetrical square larger base of the pyramids seems to represent balance of the structure while gradual tapering of the structure in the height defined by its grandeurness in scale, seems to resonate the infinite point of meeting between body in the earth

52 / SPACES January 2018

to the spiritual God which ancient Egyptian believed. The tapering end point of pyramid triangle suggests the central focal point of the structure as if its directing heaven as place to go. The polished limestone of exterior surface generates reflections of life and evocations of the spiritual being of the king, shading its light of protection towards its civilians.

The monumentalize of the pyramids stabilizes the human to one focal point thereby stabilizing the image he creates in his own mind. Monumental, centered, stable, clear directions, marks definite spot and gives us the focus, communicating us where to go.

Walking inside the pyramids, it guides us through the temporal magnitudes of architecture evocating the “experiential dimensions� of architecture, that could only be sensed when we attempt to make our bodily presence. The moment one enters the pyramids, the transition becomes experiential and the outside world is completely shut out, keeping you completely away from the any external earthy object. It leaves you with the sense of solace with yourself, completely isolated with the material world. Inner articulation of passage leads you to the complete enclosure of you being there, completely cutting

Architecture

off from the outside earthy object. The long narrow passage that first impose you to bend body in almost half and make you walk along the direction of long narrow path of almost 3’ wide for nearly more than 30 m length. You then have a space to rest in withstanding position, and then again you begin climbing up the long narrow passage which will finally end in an enclosure room, which believed to be the house of the mummified body of the king.

With a complete feeling of enclosure, you are directed to experience the moment you are there and to focus on the walls, crunch of stones and ultimately, the inner space becomes the testified image of the present. The darkness of the ascending passage of more than 50 m long finally ends in the rectangular burial chamber of 5 m X10 m floor size, (approximately), where you experience a ray of airshaft.

3. Pyramids As Symbolic Abstraction: George Wilhelm Friedrich Hegel (17701831), through his philosophy on Phenomenology of the Spirit (1807), classifies the early development in architecture as spiritual architecture, where priorities are given to house the spirits and to worship spirits of life, developing association of life with heaven or God. Temple architecture in the ancient city planning conceptualized as eternal elements of symbolic representation of the cosmic world conceptualizing the real city world the people. The pyramids constructed are categorized as part of spiritual architecture, considering the possibility of life after death.

Pyramids do not mimic any real objects but it represents the abstract form of

January 2018 SPACES / 53

Architecture

Spiritual concept of the ancient Egypt.

The pyramid for Hegel is architecture representing the Spirit trying to free itself from nature. There are many theories for the reasons of imagination of pyramid shape. One of them is the concept of creations, Egyptologists, believe that the annual inundations of Nile river between June to October, left the valley with fertile silts as deposits of earthy mound, which made the life possible. Hence Pyramids are believed to be have the imaginative associate to the mound of earth evolving from the water, as similar to the natural hills

54 / SPACES January 2018

Architecture

terrains of the valley from which sun rises and sets. The great pyramids are simply the work of humans only which was only possible through continuous dedicated strong organized community.

4. Concluding Reflections: Great Pyramids at Giza, stands as the emblem of the social and cultural belief of an unseen, intangible divine world ruled by world of positive and negative spirits, where constant worship and offering form part of religious rituals for generating direct contact with Gods which are believed to protect the life in the earth, while in the other hand the negative deeds are foreseen as the invocator of evil spirits that are considered in various natural form. For the ancient Egyptians the world they live in was partw of larger divine world where Tomb represented the initial passage to reach that world. Pyramids resonates the divine connections to be set within the king and the god. It echoes one of many aspects of spiritual dimensions of the cosmology, which ancient Egyptians believe in. (H.Fayaz.) It stands as metaphoric representation of Egyptian imagination to the other world which was more divine and regulated through positive and negative deeds in this world. n

References: 1 B. John & M. Jaromirk,(2005). Atlas of Ancient Egypt, American University in Cairo Press.

2 Hays, K. Michael. “Architecture’s Appearance and the Practices of Imagination.” Log, vol. 37, 2016, 205-213. https://www.anycorp.com/ store?category=Log 3 H.Fayaz.,EchoesfromAncientEgypt, https://www.academia.edu.

4 N. Pierre.(1989)Between Memory and History,Spring 1989,The Regents of `University of California.

5 O. Ian., (2016), Mystery of the Pyramids,Ian Ovale 6 R. Andrey ,(2001)., Cairo City of History, ,American University in Cairo Press.

7 S.,John, (1994)., From Tower to Cathedral,Stone,Indiana University `press, pp.32-79.

8 R. Andrey ,(2001)., Cairo City of History, ,American University in Cairo Press.

January 2018 SPACES / 55

Architecture

CRITICAL REGIONALISM IN

RELIGIOUS ARCHITECTURE OF FAR-WESTERN NEPAL Text: Bhupendra Jung Keshari Chand

BACKGROUND

The history and feats of Khasa Malla Kingdom in Nepal, which rose to power during the end of 10th Century, is less illuminated in void of significant evidences and adequate research in history of Nepal.There are currently various archaeological and architectural edifices in Far-Western Nepal dating from 13 – 15th Century AD, built by Khasa Malla Kings, such as Devals(Temples), Dharamashalas(Religious Rest-houses) and Sabha Mandapas(Public Pavilions) in Shikhara Style, Naulas(Water Conduits) and Forts. Some of these important structures are in dilapidated conditions in Doti and Dadeldhura district of Far-Western Nepal.In

56 / SPACES January 2018

the context of art and architecture of Far-Western Nepal, critical regionalism in religious architecture has led to ugly imitations of architectural expressions from Kathmandu Valley. It has been suggested that study on art and architecture of Western Nepal seems to be a neglected subject. (Sharma, 2012).Various literatures study suggest that,despite the conflict in Origin of the Khasas, they were one of the powerful rulers who ruled over the wide region of Western Nepal along with the Kumaon and Garhwal Hills of India during 8th/9th Century to 15th/16th Century AD. But, since the archaeological and architectural

Architecture

studies are mainly concentrated in concentration is mainly drawn towards Kathmandu Valley, the researchers tend to arbitrarily express that there isn’t any strong evidence of art or architecture of significant value in Western Nepal.Besides the dark history of Khasa Malla’s art and architecture, the scholars on History of Western Nepal and Origin of Khasa People/culture suggest that there are explicit evidences of prevalence of significant art and architecture pertaining to the Khasa people/culture as earlier as 8th to 9th Century. The art and architecture of Khasa Malla is said to have influenced by North Indian Style (Shikhara Style) and from that of Kumaon & Garhwal Hills, but Khasa Malla architecture has its own way of design presentation. It has still remained a mystery that why couldn’t the Khasa Malla architecture flourish despite being quite elaborative during early periods of sociocultural development. Some of the scholars point out the internal conflict, clash with other powers (for example, Mughals and British), etc. to be the cause behind outshine of Khasa Malla architecture.

Over the arguments regarding socio-cultural aspects of Khasa Malla architecture, there comes forth accidental fact that the origin of Khasas is associated with both the Kaksite Empire and Kashmir Valley. As we see Tibetan and Hindu elements/components in art and architecture of Khasa Malla, it becomes evident that the Khasas haven’t solely arrived to Western Nepal from Tibet alone or Kashmir only. Rather, it can be said that a group of Khasa people migrated to Western Nepal from Tibet, and another group migrated to Far-Western Nepal from KashmirValley.

The art and architecture of various elaborate examples of Khasa Malla architecture consisting of artistic Dhunge Dhara, Naulas, Devals, Pillars, Mandapas, etc. can be symbolically manifested in construction of architectural built structures for various socio-cultural and religious activities today. But, the Khasa Malla architecture has been understudied, its glory and identity had remained in dark for a long time. Hence, this study will try to elevate the architectural principles/philosophy of Khasa Malla architecture.

METHODOLOGY OF THE STUDY

There are few accessible literatures written specifically on the art and architecture of Far-Western Nepal.

But references are available in literature describing development of Khasa Malla Kingdom. Apart from reading of existing literature, observational and survey method of descriptive research was carried.

Chart 1. Flowchart of Methodology of the Study

Specifically, study of architectural style ofDevals, Dharamashalas and Sabha Mandapas in Doti and Dadeldhura district of Far-Western Nepal was carried out extensively. Most of the structures to be studied were the cultural heritages of Far-Western Nepal listed by the Department of Archaeology (DOA) of Nepal. Derivative historicism in art and architecture of building components/ elements for Temples, Dharamashalas and other structures were acknowledged by means of critical method.

RESEARCH DESIGN The research work was carried in following sequence: i. Literature Review ii. Data Collection iii. Observation: Socio-cultural and Religious Activities at Various Religious and Historical Areas of Far-Western Nepal iv. Interview: Rendezvous with Prof. Dr. Dilli Raj Sharma v. Photographic Survey vi. Case Study: AjayaMeru Kot Palace in Dadeldhura vii. Factual Data Presentation and Analysis viii. Synthesis January 2018 SPACES / 57

Architecture

CASE STUDY: AJAYAMERU KOT IN DADELDHURA The art and architecture of Far-Western Nepal remains in dark unless the history of AjayaMeru Kot Palace is unfolded. Regarding the antiquity of AjayaMeru Kot Palace, there is still conflict in absence of strong evidence.

But, it is believed that the Palace was built by Nirai Pal (founder of Doti Kingdom/father of Nagi Malla) during 13th Century.On the other hand, the inscriptions from the Palace surroundings suggest that Nagi Malla has major contributions in establishment of the Palace. It is believed that the AjayaMeru Kot Palace was destroyed by the Mughals, compelling to shifting of Capital of Doti to Dipayal. However, the distinct Khasa Malla architecture of AjayaMeru Kot Palace can be referenced as the point of departure in establishing regional architecture of FarWestern Nepal.In an attempt to discover the medieval art and architecture of AjayaMeru Kot Palace and its surrounding site, a primary case study was carried out during April 2016.

The detailed case study and findings are presented here: AjayaMeru Kot (Palace) AjayaMeru Kot Palace, situated in Haatgaun, AjayaMeru VDC - 7 of Dadeldhura, lies around 10 Km West of Dadeldhura district headquarters. The very naming of the Palace, AjayaMeru (Sanskrit: Ajaya - unconquerable, and Meru - Mountain/Hill), justifies its position on top of a rocky hill (approx. 100 m above the riverbed with varying length: 120 - 125 m, and varying breadth: 19 - 22 m) traversed by a local stream, Haat Gad at bottom.

The ruined Palace, now has the remains of around ten different rooms. The room sizes differ from as large as 11 m X 8 m and as small as 6.5 m X 4.5 m. The thickness of the ruined wall is 750 mm. The scattered pieces of dressed stones suggest that the Palace was built in stone masonry rich in art forms. Towards the East, there stands ruins which could possibly be of Watching Tower, with an arch of size 2.4 m X 1.2 m. The size of the tower is 4 m X 2.75 m. The whole Palace structure is supported by a protection wall (a ruined portion can be seen) spreading North to South, which suggests the strong fortification of the site.

Local people still believe that the Palace ruins might have different purposes, viz. room for keeping horses, room for performing various traditional activities. The presence of geometrically carved (for example, Ghata Pallava - pot

58 / SPACES January 2018

filled with floral motifs design) stone pillars, beams, and other elements suggest the artistic and decorative design of architectural components.

Apart from the main Palace Complex, there are several Naulas (Reservoirs), Ekal Devals (Single Devals), Dui Devals (Pair of Devals), Mandapa (Pillared Pavilion) and VeerKhamba (Memorial Pillar) around the site and surroundings of the AjayaMeru Kot Palace. Some of the existing structures and their architectural features have been described here accordingly: Naulo (Reservoir) Moving North-East from the Palace site, there is a Naulo beside the neighborhood of local residents, which is still in use. It has rectangular plan of 4 m X 3 m. It houses an inner stepped water tank enclosed by sturdy but carved stone pieces both in walls and ceiling. The faรงade of the Naulo is divided into two separate verandahs/platforms, each measuring 1.2 m X 1.0 m, raised 0.9 m from the ground. The carved stone pillars bear the load of roof structure, which is in slate. The capital of pillar is carved in radiating projections in four sides. The entablature of the pillar bears the Ghata Pallava design. While the carvings

Architecture

in the body of the pillar are not recognizable, the base of the pillar is broad with carved design of Lozenges in the square niches. The ceiling of the inner stepped water tank is decorated with central rosette design. The inner front wall is embroidered with the figure of Lord Ganesha, carved in a square niche.

Dui Deval (Pair of Devals) Pair of Devals (Dui Deval) with a common Mandapa between the temples facing each other are one of the unique in architecture and construction of Devals found in the Far-Western region. In the farmland of Gangu Nath, two Dui Devals were found. Both the Pairs were seemingly assembled by an expert team from Department of Archaeology some decades ago, as it was clear from the alphanumeric assemblage of different stone pieces in the Devals.

The Dui Deval standing south from the house of Gangu Nath has a square Mandapa measuring 2.1 m, supported by four stone carved pillars providing a height of 1.9 m. The height of the Devals is 6 m., here the form and design of Shikhara is unique, whereby it is based on

triratha plan. The finial of Shikhara is embellished with amalaka placed on griva. Lower portion of the decorated Shikhara is adorned with kirtimukha (face of glory/famous iconography in Hindu religious architecture) design on triple sides.Here also, the opening door of the Devals has the miniature figure of Lord Ganesha on the niche of upper jamb. The Lord Ganesha is depicted having four arms holding a pasa (knot) and parashu (axe) in the two right arms, and holding a radish and sweet bowl in the two left arms.

The pair of Devals are facing each other with extended walls in front of the door providing enclosed space for antarala. There is an inscription on the antarala of eastern Deval, in which the name of King Nagi Malla is seen clearly stated. The date in the inscription has but faded away, remaining Sha KeSambat 13 only. According to Adhikary (2003), the date in the inscription is Sha KeSambat 1315 (1392) indicating the pious works of King Nagi Malla. It is but unpleasant that the iron rods have been used at various stone joineries in order to retain the Deval structure, which has resulted major cracks in the stone carved elements of the Deval.

January 2018 SPACES / 59

Architecture

Mandapa Among the social architecture of Far-Western Nepal, Mandapa is one of the elegant architectural edifice. Again, this Mandapa is also situated beside the house of Gangu Nath. The Mandapa has a square plan of 4.75 m supported by 12 pillars heavily decorated in intricate architectural motifs. The Mandapa has amalaka disc as finial and has stone slates sloping in triangular form towards four sides making the roof structure. The stone pillars are again decorated with Ghata Pallava design and geometrical design.

Most attracting and peculiar art and architecture of Mandapa is seen in the two sturdy pillars in front elevation.

Different from other pillars, these stone columns stand upon the 0.35 m high raised platform/wall. These pillars are more attractive and astonishing just because of combination of intricate images and illustrious design patterns in the base of the pillar. The basement part of the pillars is slightly curved outward from the gap between the two pillars. They are carved in the design of upturned flappers, heavily decorated with vertical lines of beaded mala (garland) centering the images of female adorned in heavy ornaments. The part of the base of those pillars has been worn out. From artistic expression, this type of architecture is rare, not only in Far-Western Nepal, but in Kathmandu Valley as well.

The ceiling of Mandapa is heavily ornamented with the design of rosette constituting a bud pendant at the center.

Also, the horizontally placed supporting stone beams/ angular stones are decorated in petal shaped patterns, diamond shapes, chakra (half-circle) symbols, dove motifs and foliage design, in the ceiling of the elaborate pavilion.

The slanting eaves in the roof of the pavilion are arranged with artistic approach, serving the purpose of climatic element as well. Sharma (2012) suggests that the pillared pavilion has preserved the typical architectural character that prevailed around 12th to 13th Century AD in the region.

Summary of Research Findings

Art and architecture/culture of a region is representative of its socio-cultural and religious beliefs. In today’s ever changing society it is of utmost importance that we assimilate ourselves within our own socio-cultural and

60 / SPACES January 2018

religious beliefs so as to sustain our civilization. In this context, Far-Western Nepal is also looking for its regional identity. And it can be well established via implementation of derivative historicism and proper critical regionalism in religious architecture of Far-Western Nepal. From the study, we have learnt that the Khasa Malla art and architecture, developed during 13th to 15th Century AD, has significantly contributed towards the development of socio-cultural and religious art and architecture of Far-Western Nepal. n

REFERENCES 1.

Adhikary, S., 2003. BaisiRajyaKoItihas. Kathmandu: BhundipuranPrakashan.

2. Adhikary, S., 1988. The Khasa Kingdom: A trans-Himalayan Empire of the Middle Age. New Delhi: Nirala Publications.

3. Atkinson, E. T., 1974. Kumaon Hills. Delhi: Cosmo Publications.

4. Chand, B. J. K., (in press) Archaeotectural Morphology of Khujakot, a 13th Century Khasa Kingdom: The Legend of Nagi Malla. An Annual Journal of ASA - VAASTU 13. (Accepted for publication August 2016).

5. Department of Archaeology, 2009.

MahakaliAnchalKaBargikritSanskritikSampadaHaruKoBibaran.

Kathmandu: Department of Archaeology.

6. Department of Archaeology, 2009.

SetiAnchalKaBargikritSanskritikSampadaHaruKoBibaran. Kathmandu: Department of Archaeology.

7. Fisher, S., 2015. Philosophy of Architecture. [online] Stanford Encyclopedia of Philosophy. Available at: <http://plato.stanford.edu/ entries/architecture/> [Accessed 24 July 2015].

8. Hassan Pour, F., Lewis, M. &Guo, Q, 2013. The theoretical inapplicability of regionalism to analyzing architectural aspects of Islamic shrines in Iran in the last two centuries. In: International Congress of Imam’s Descendants (Imamzadegan), International Conferenceon Imam’s Descendants. Esfahan, Iran, 2013. Esfahan, Iran: The Charity Organization.

9. Sharma, D. R., 2012. Heritage of Western Nepal: Art and Architecture.

Kathmandu: Centre for Nepal and Asian Studies.

10. Sharma, D. R., 2002. A Note on Some Typical Architectural Designs of Western Nepal. Contribution to Nepalese Studies, 27 (2), pp. 201 -217.

11. Sharma, D. R., 1998. NepalKoKillaVaastukala. Kathmandu: Nepal Ra AsiayaliAnusandhan Kendra.

12. Vardia, S., 2008. Building Science of Indian Temple Architecture. M. Sc. Braga, Portugal: Universidade do Minho.

D3 110.40 General woodworking Adhesive Laminate / Wood to wood joint Finger Joint (Food Grade Certified)

D4 (PUR) 687.40 Outdoor Furniture 100% Water Proof Adhesive Gurantee

Hot Melt 282.30 / 280.50 For Panel Processing Manual Machine Thru Feed Machine

(PUD) 152.25

Membrane Door Adhesive Membrane Kitchen Shutter Adhesive (Complete Water Based Adhesive)

Sole Distributor for Nepal

Bridge Tech International P. Ltd.

Paper Packaging & Book Banding Hot Melt

Satdobato, Lalitpur, Nepal Tel: +977-1-5151171 / 5151822 Cell +977-9851213044 info@bridgetechintl.com sales@bridgetechintl.com

Spine Glue / Side Glue

January 2018 SPACES / 61

Art

NEPALI PAINTING THROUGH THE AGES Text: Tejash Man Shakya

Author: MADAN CHITRAKAR Publisher: PATAN MUSEUM Edition: 1st Pages: 289 Standard No.: ISBN 978-9937-2-8353-3 Date: 2017 Genre: ART/NEPALI PAINTING

As stated by the publisher, “…this book reveals the historic contributions of Chitrakars to the tradition of painting in Nepal from the early eleventh century to recent times that focuses on the historicity of the art, the artists and the tradition within which the art flourished as well as attempt to establish and celebrate the historicity of the Chitrakars as traditional painters...”

T

he “Book” under our present review is authored

by Madan Chitrakar. As the above quote suggests, the book is generally focused on the historicity of Nepali painting and the traditional painters of Kathmandu Valley. And they remain a part of the caste system of the Valley and known as the caste ‘Chitrakars’ or ‘Pu’ in the local dialect. Therefore the book is found more on the historicity rather than the history of Nepali painting and the painters.

62 / SPACES January 2018

The author has structured the book into two main sections: The Text essay and The Plates - a Visual Journey.

In the First part, there is an elaborate narrative that includes the tradition of painting along with its unique features.

To prove the historicity of the art and the historical role of the artists – that is the caste ‘Chitrakars’, the book has brought forward many arguments and the related evidences to support the argument. In the process, there are descriptions on their long social functions or the obligations through the

ages. It argues there exists enduring legacy of the Chitrakars from the past to the present. And in the second part, the author has painstakingly compiled a unique collection of some three hundred historic paintings as pictorial references. The compiled paintings easily narrates a primary history of Nepali Painting in visuals – revealing the gradual evolution and the shifting changes found in Nepali painting - in terms of contents and style. The time span is from the early 11th century to the current times. The narrative covers the period describing the works on both counts - sacred and secular subjects made by the known or anonymous artists from the caste ‘Chitrakars’.

While going in the little details, the author has described the Art first - on the motives and manifestations of the Art. Here the essay is filled with the descriptions on various shapes and forms of painting including famed ‘Paubhas’, narrative scroll paintings, mural on the walls, masks used during various festivals and the other ritual art – including painted on earthen pots. The author narrates that these ritual art described here, is used in different religious activities and the rituals. The essay goes on to add further that it has remained essential part of the Newar society as according to the earlier religious and ritualistic beliefs. These artworks are generally used events like during the celebration of births, weddings, health issues and even death.

The works of paintings executed

by Chitrakars from past to the present, the author has categorized the motives in four main parts.

Art

(1) ‘Paubha’, generally depicting a main deity along with other details is essentially painted as an artistic instrument of worship or meditation in both Hindu and Buddhist beliefs.

(2) Murals or Wall Paintings – essentially the visual narratives from the religious tales or the related epics are the reminder of a related faith. As the prominent evidence, there are the works found inside the historic medieval Malla Palaces in Kathmandu and Bhaktapur (3) Bilampu and other Paintings as tools entertainment: Here are the works of religious forms used in medieval times as entertainment tools specially a set of round playing cards known as ‘Ganjifa’. It is thought to be widely popular indoor game during those days. Also in this category of entertainment, is the description of famous ‘Bilam-Pau’, horizontal hanging narrative scroll paintings painted on cloth: and it is used as a backdrop for storytelling and public dramas.

Also in the same category are the descriptions of painted masks – used for performing mythological dances on the public spaces like a raised platform known as Dabalīs. The author has narrated that the practice began since the 13th century AD and is obliged to be prepared by the caste Chitrakar families. The author has included the facts about the respective Guthis from Bhimsensthan of Kathmandu, Haugal of Lalitpur and a small number of families from Bhaktapur. Moreover, the Chitrakars, as according to earlier tradition, are always asked by the concerned state agencies to repaint before the celebrations like Indrajātrā.

(4) Ritual Art – As said in the earlier lines, religious art forms painted on earthenware and paper are painted essentially to make an art economically reachable and cheap to the public.

It usually depicts sacred figures and symbols. Popular examples like SalāPā, Laksmī, Karkat Nāga etc. are included in the book.

In the next chapter, there is reasonably a lengthy narrative on the traditional painters from the community of

Chitrakar. The author asserts that that the art of Painting has had remained essentially hereditary. Grown-up males of the community are expected to learn the art of drawing and painting – so that they are capable to perform as the social obligations demand.

To prove the point, the author has cited the historic diktats made during the rule of King Jaysthiti Malla’s social reforms. As according to the state diktats, the caste Chitrakars were ordained to perform all tasks related to the art. The author has described it as the earliest foundation for specialization of the Art. He described it ensured the continuity of the art of painting in Nepal. To prove this historic continuity the author has laid several evidences like historic ‘Paubhā’ Paintings with the name of the artists and the dates. Examples include the Paubhā of Mañjuvajra and Vajradhātiśvarī painted by Caitraka-ra Kesa Raja (identified by historian Hugo E. Krieger) as an earliest dated painting from 1409 A.D. Other examples included are Jayteja Pun, Indraraja and Jogideva Chitrakar from 1420 A.D. Adyaraja Puna and Udayrama Puna from 1470 A.D. (identified by scholar Gautam V.

January 2018 SPACES / 63

Art

Vajracharya), is also included as the painters of a famed work ‘Gagansim and his Two Wives’; The author has also proffered evidences of folded sketch books ‘Thyā - Safūs’ as irrefutable evidences of historicity of Chitrakars as the historic artists. He also has added relics from the past to prove the point. At the same time the author has also talked about the earlier social practice to consider art of “Lowly Profession”. The author is of the view that it systematically discouraged others following this profession – leaving the entire genre of Nepali Painting tradition to the exclusive domain of caste Chitrakars for centuries until the recent times.

Next, the author has covered the enduring legacy of the Chitrakars and their representative arts from the 11th to 20th centuries that narrated shifting priorities and the changing styles in the traditional painting. It virtually surveyed an entire scope of legacy of Chitrakars – spanning from palm leaf Buddhist manuscripts from 11th century Paubhas with Pala influences to the changing influence from Rajsthani, Basholi and Tibetan schools to later Mogul and Rajasthani traits. And it was later to emerge as an amalgamation of Tibetan philosophy of the north to the rich colors from the south – resulting in an evolution of amazing originality of Newar painters during the Malla period.

The author is of the opinion that a new beginning was made at the state level after the rise of the Shah Dynasty. Premodern paintings on paper appeared dating the early Shah rulers of Nepal.

Collections included in the book vividly documents evidences to drive the point.

64 / SPACES January 2018

In this regard, the author also compiled a significant number of Pre-modern paintings from National Art Museum, Bhaktapur and National Museum, Chhauni. This is in addition to the rare images from the private collections.

Important paintings reflecting early signs of social restlessness are also included. Notably worthy of mention are made on the works of Krishna Man Chitrakar. The recent works include works by contemporary Paubha painters like Prem Man Chitrakar and Lok Chitrakar – followed by young artist Sichu Chitrakar. By including the recent works the author has sought to provide examples of continuity of their ancestral tradition.

The last section of the Book is the Plates. It has an impressive collection of over three hundred images. As suggested it remains an impressive visual journey. The journey allows the readers to visit the history and comprehend the various forms, styles and subjects of the Nepali painting developed in various phases of the history.

The cover page is made impressive by an illustration in the bottom panel from the details of a historic Paubha Usnaavijayā Vajradhātu Chaitya. – dating 17th AD. In the main plates, there are images of Daśa Avatāra (Ten Incarnations of Lord Visnu) from the

Art

11th century, the image Nrityeśvara (Dancing Śiva with his consort) from 1659 A.D. Similarly, in the plates section there are images in great details – the mural fresco painting of Viśvarupa from 1832 A.D. There are also images of murals from Silkhana - the earlier residence of Prime Minister and General Bhimsen Thapa.

Unfortunately, it’s totally destroyed during the devastating earthquake of 2015 A.D. In this book, there are also images of erotic Paintings based on Kāmasūtra dating 17th century from the collection of National Art Museum.

The plates also contain the images of Krisna Lilā from between late 19th to early 20th centuries. Plenty of Portrait paintings of Malla and Shah Rulers along with the Portraits of the Generals from Shah Period are also included – revealing strong Mughal influence found in the later time of the history.

The series is mostly from the collection of National Museum, Chhauni. Also included are the Realistic Portrait Paintings of important rulers during Rana Period and late Shah Period with the influence of Western Style of 19th century. Portrait of Prime Minister Jung Bahadur Rana by the artist Dirgha Man Chitrakar from 1936 A.D. painted in oil medium; Portrait of King Tribhuwan, also painted by in oil medium on a B/W photograph (gelatin silver print) by eminent artist Tej Bahadur Chitrakar is also included. Also, the collection is made colorful and meaningful by the presence of works of the pioneer artist Rajman Singh Chitrakar. By every account, the book therefore, remains an important Art book – as a great repository of historically important paintings.

Critical Review Critically speaking, the author has put a meticulous effort to put together the Nepali painting as a whole and has well narrated the role of caste Chitrakars as the exclusive painters of the country from early 11th to early 21st centuries – narrating a comprehensive story of an evolution - with Sacred to Secular subjects: and from traditional style to realistic forms.

Obviously, the author has greatly emphasized on the caste Chitrakars while narrating the historicity. It may raise some debate to the lay observers. And it also may create certain controversy. But the fact and evidences speak louder than the words: and one should be ready to accept the reality. In view with the evidences offered therefore, it is hard to deny the argument and the historic roles of the caste community can.

The dignity of the historicity must be respected. It is impossible to contradict otherwise the dignity of the Chitrakar as the artists and their remarkable contributions to the enduring tradition of painting in Nepal - since the earlier times to the present.

Of all the descriptions, the revelations of ‘Ganjifa’, has proven to be remarkable.

Although it was borrowed from the Persian tradition, it had had made a strange presence in medieval Newar society. Today, the playing cards game ‘Ganjifa’ is almost forgotten by the local people but the author has made an interesting tale of it. Probably, this is the first time there is an account about ‘Ganjifa’ - presented by a Nepali Scholar in the history of Nepali art.

Madan Chitrakar – the author, is one of the celebrated art writers, artists, designers as well as art educators of Nepal. He remains a versatile personality coming from a prestigious Chitrakar family. He is the son of a historical icon and doyen of modern Nepali art - Tej Bahadur Chitrakar.

The author is also best known as academically sound with his Master’s Degree in Ancient History and Culture from Kathmandu along with Bachelor’s Degree in Applied Art (Graphic Design) from Bombay. He is a veteran art writer – full of enthusiasm in research and writing on the art of Nepal.

This book certainly remains an outstanding example of his dedication to make research on the Nepali painting. His earlier books “Tej Bahadur Chitrakar – Icon of a Transition” and “Nepali Art – Issues Miscellany” have remained widely hailed and well admired. This book should certainly establish him as an exceptional art scholar in the world of Nepali art. For sure, hardly any Nepali scholars except the overseas scholars, has had attempted to write a book the on a specific area of historicity of Nepali art. And for sure, this book remains his landmark contribution to the Nepali Art. n

January 2018 SPACES / 65

Panchakanya

66 / SPACES January 2018

January 2018 SPACES / 67

smart choice

How it works The Solar Water Heater Consists mainly of • a thermal panel (solar collector) installed on the roof; • a tank to store hot water; • Accessories such as pipes and controllers.

The Panel/Collector is placed on the top of your roof and converts the sunlight into heat energy.

This energy passes to the water tank with pumps or pipes. The thermal controller makes sure the tank isn’t over heated. Most systems in Nepal will also give you a backup option where you can operate it with electricity in case you need more water than your tank capacity or if your city hasn’t seen sun for a few days.

BRANDS AND SUCH You’ll have options to choose from products from various countries and brands as you please.

Primarily, the market offers you three choices.

There are Nepali brands like Hot-Pot Solar Water Heater whose all components are made in Nepal. A 300 litres system will cost you anywhere from NRs. 80,000/- to NRs. 1,20,900/depending on your quality choice. Nepal started producing its own systems in the 1970s. The systems use both GI pipes and copper pipes.

With a 2 year guarantee, the lifespan of the systems can go up to 4 decades if maintenance has been regular.

There are also a lot of Chinese counterparts that are cheaper for the same range. It is imported in complete system to Nepal and costs from NRs. 60,000 to NRs. 75,000/- for a 300 litres system. They come with Chinese Quartz tube and specific brands like Eco Grill also offer a 5 year warranty. Their life span is generally around 14-15 years and come with a CE marking certification.

Also available in the market are high efficient systems imported from countries like the UK and Australia that cost you from 4.5 lakhs to 6.5 lakhs for a 300 litre system. These high efficient systems will be able to function even

68 / SPACES January 2018

Right moves smart choice for

SOLAR

POWERED WATER HEATER T

here are a very few things a warm shower cannot fixespecially during winters. Shower logistics have come a long way from a bucket bath to warm showers generated from clean energy sources and available any time you need them. This winter, if you were looking for a Solar powered water heater for your home, at Right Moves- Smart Choice, we’ll take care of all the mumble jumble research to help you make a smart choice.

smart choice

on low sunlight days and keeps the water warm for longer. A brand like that, Solahart assembles parts from Australia and pipes and frames from Nepal. In pipes, while the insides are made of copper, the outside of are local GI pipes. The lifestyle is 15-20 years along with a 5 year warranty.

CAPACITY Water Tank comes in various capacities to choose from. That’s the amount of warm water you can get out of your system in a day. In the market you’ll find tanks in capacities from 150 litres to upto thousands of litres. Your need will mostly depend on your lifestylemajorly depends on shower habits (if you use bathtubs), and laundry habits.

For a family of four, on average a 200 litre system is recommended.

GOING GREEN Manufacturing Solar Panels and equipments do require a good deal of energy and raw materials. It’s also more expensive than Gas and Electric Geysers. However, you’d be surprised how quickly it pays back in carbon footprint and gas/electric bill.

SAVINGS Solar energy is free! Using this clean energy can help you save anywhere from 10% to 30% of your electricity bill depending on your usage habit of your gas/electric heaters. Apart from that, if you use dishwashers and washing machines that heat up the water first to operate, it saves your electricity there as well. To save more, use washers that use least water. Your pockets and the earth will thank you!

More than Just Showers Apart from Kitchen and your Bathroom, you can also use the system to heat

up your entire house/room. Modern space heating systems use hot water to heat up your surrounding comfortably. These systems mostly use electricity but can be fit with Solar Water Heaters to partially or completely use Clean Solar Energy.

Radiator and Fan Coil Units, and Hydronic Floor Heating mostly can be used with a Heat Pump with the Solar Water Heaters.

AESTHETICS Solar Water Tanks aren’t exactly the prettiest things for your roofs. They also take a large surface area. Talk to your designer about space for these equipments along with how you can design your roof in a way that the system is also visually pleasing when installed. Your roof specially needs to be adjusted in a way that it can take the weight and will not leave any gaps because of the installation. Very old roofs in old houses might have this as an issue. And as it turns out, depending on how easy it is to install the system in your house, you can ask for an installation discount!

Maintenance • Every 2-3 years, check for leakage in pipes, tank, and panels. While you’re at it, also check for loose wire connections that need to be fixed.

• Keep your solar panel dust free.

• Underground water might rust your system pipes. Make sure you dry your pipes and paint then periodically depending on iron content in your water.

The Solar Water heaters are expensive, and a one time investment. And the whole point of purchasing these systems is to get a return of investment in due time while maintaining low carbon footprint.

So make sure you’re buying from a reliable brand whose product will last with you for at least 2 decades. In lack of a Nepali Standard certification, a brand trust and international certification are the only measures Nepali customers can rely on. Get professionals to install your system and thank you for taking care of the earth! n

January 2018 SPACES / 69

NEW In THE market

EPOXY FLOORING If you have ever considered an easy-to-maintain, industrial-grade flooring option, we bet there is an epoxy solution for you! Epoxy is a term that has come to represent a class of materials and the act of using those materials. Epoxy “systems” are based on a combination of resins and hardeners. When mixed together, the resin and hardener chemically react to form a rigid plastic material.

The final material is strong, durable, resistant, and bonds extremely well to most base layers. Compared to an average garage floor, epoxy floors are bright and professional. Their appearance alone makes people alluring to use. The smooth and even surface is also very easy to sweep and maintain. Since not much sticks to this type of flooring, cleaning up a mess a very easy. If you are looking for standard option for your flooring do remember Bella Casa International, Buddhanagar for further details. n

70 / SPACES January 2018

EVERCRETE “Evercrete Concrete Solutions That Stand the Test of Time”. It stands as a testament to their products, with many “Evercrete treated” structures still standing today. The Evercrete brand name is more than 70 years old and enjoys a long history with its foundation set firmly in the United States. Evercrete has been synonymous with concrete Water Proofing since 1942.Evercrete marks the barrels of the world’s leading concrete preserver that is environmentally friendly. Evercrete Water Proofing is a high quality polymer modified mortar designed for internal and external wall plastering, water proofing, durability and repair such as Evercrete Deep Penetrating Seater (DPS), Evercrete Top Seal (TS), Evercrete Top Seal Advanced (TSA), Evercrete Deep Clean (DC), Evercrete Ever Wood (EW), Evercrete Flexible Modified Cementitious (EFMC), Evercrete Polymer Modified Cementitious (EPMC) . It is applied by hand application onto concrete or block work surfaces. For the first time Champak & Chirag International, Teku has introduced the product lines which are invaluable in enhancing the quality and longevity of your concrete for years to come. n LOVE SEAT with Vegas and Cambridge You have a house party but there is no enough space in your lawn where people can enjoy the warm sun and take snacks. But no worries Supreme furniture, introduces us with a 2 seater sofa perfectly paired with Vegas Centre table and Cambridge chair.

They are available in various ranges of colors like wenge, cane, milky white and black. You can choose as your preferred taste. So if you are looking for a sofa set which is durable and comfy do contact Rohi International, Kuleshwor for further details. n

JK PrimaxX Consider the analogy of clothing and undergarments.

In addition to covering our bodies for modesty’s sake and warmth in cold weather, clothing adds beauty, style, personality and color to our persons. Paints can be like that. Primer creates a smooth and consistent layer for the paint to be spread over and to bind. Primers can correct the flawed and uneven surfaces so that the paint looks better and wears better. JK Cement LTD., a known brand all around the market has introduced their new brand JK PrimaxX which is a robust, multipurpose product is a perfect blend of adhesion, coverage, strength and durability. It is effective for hiding of Seams and Joints. It reduces the total construction time and results in big savings in the overall project cost. Due to its versatility, it is ideal for exteriors new and old cemented surfaces. It also provides an excellent base and enhances the quality and coverage of wall putty, decorative paints and other acrylic polymer based coatings. The product is eco friendly and doesn’t even affect the health of your family. For further details contact JK Cement LTD Kuleshwor Nepal. n

Rohi International

January 2018 SPACES / 71

Interior

How Color impacts our emotions?

Did you know your ambience may be influencing your emotions and state of mind? Do you ever consider that certain places especially irritate you? Or that certain places are especially relaxing and calming? Well, that means there’s a good chance that the colors in those spaces are playing a part. The psychology of color or the color theory is based on the mental and emotional effects; colors have on sighted people in all facets of life. There are some very illusory pieces to color psychology as well as some more accepted and proven fundamentals.

C

olors have psychological impact and it’s true to say that the way you furnish, decorate, and color your interiors at home is part and parcel of who you are - your personality!

Similarly, color choices made for interiors reflect organizational values and goals.

For many people, the color of the room walls doesn’t figure highly in their design choices even though it affects our mood, feelings, and thoughts on a daily basis. In step with understanding your personality,

72 / SPACES January 2018

TEXT : Ar. CHHAVI VASHIST

understanding the psychological values of different colors and your historical associations with them, and the purpose of the room, will help you understand which colors are best suited for your interiors. Color is a visual language, when painting and decorating, it’s critical to bear in mind that specific colors and their groupings drive similar reactions from most people; with variations in reaction stemming from saturation used, the particular tint or shade applied, and tone. This is why it’s so important to choose colors wisely when it comes to decorating. Here, you will find some colors and emotions related to them.

Colors act in three basic ways: active, passive and neutral. You can easily match every room’s colors to your personal desires, to your taste and to the room’s purpose. Light colors are expansive and airy, making rooms seem larger and brighter. Dark colors are sophisticated and warm; they give large rooms a more intimate appearance.

Interior

Red

Being the longest wavelength, red is a powerful color. Red is the warmest and most dynamic of the colors — it triggers opposing emotions. It is often associated with passion and love as well as anger and danger. It can increase a person’s heart rate and make them excited.

If you want to draw attention to a design element, use red. Mostly, this color is used in highlighting a wall or to give a pop out look. But, use it as an accent color in moderation as it can be overwhelming. It certainly gets your adrenaline flowing instantaneously and can easily stimulates energy levels of emotions – just be mindful of which emotions you’re stimulating relative to the purpose of the room. In the dining room or kitchen, a medium shade of red is great for the walls to excite the appetite – which is why it’s often used in restaurants.

In the living room, it can be used via wall décor or accessories to raise the energy levels of conversation which is great if you’re looking to have a lively mood when friends are over – but be careful not to overdo it; certain shades of red and crimson can also induce feelings of aggression or rage.

In the bedroom, it can be used to aid passion and romance, but it’s not a color you want to splash all over the bedroom walls as its intensity might

keep your heart rate higher than desirable for falling asleep easily.

Home theater walls are also a popular destination for this color, albeit with darker shades ranging from dark red to burgundy, due to the prestigious association with traditional live theater colors that used drapes of the same color as well as wall paint. In this environment, dark red hues channel the feeling of exclusivity, of having a private viewing balcony at a famous theater for live arts. Make sure you use flat paint to prevent unnecessary reflections.

Pink

Pink is the only tint of a primary color (red) that has its own. This tint is a color that is most often associated with feelings of romance or playfulness, and it has also been known to induce calm. Pink is a strong color choice for many women and girls, an ensuite bathroom in your daughter’s bedroom for example.

Orange

Orange enhances a feeling of vitality and happiness. Like red, it draws attention and shows movement but is not as overpowering. It is aggressive but balanced — it portrays energy yet can be inviting and friendly. Orange is great for a call to action to buy or subscribe to a product. This color also works in your home gym to provide

the motivational impetus needed to hit your workout goals. No wonder it’s used so widely in sports and athletic brands. In the right amounts, it makes you feel alert and energized.

Yellow

Yellow is perhaps the most energetic of the warm colors. It is associated with laughter, hope and sunshine. Accents of yellow help give your design energy and will make the viewer feel optimistic and cheerful. However, yellow tends to reflect more light and can irritate

January 2018 SPACES / 73

Interior

– can work its magic, primarily due to its ability to help you concentrate.

One option to consider when thinking of green for your office is to have a “living” accent wall in your office: put up a trellis that covers one section of the wall and let a climbing plant grow all over it. I would recommend this option only for offices that have decent access to fresh air and sunshine.

Blue

a person’s eyes. Too much yellow can be overwhelming and should be used sparingly. In design, it is often used to grab attention in an energetic and comforting way. Yellow certainly channels sunshine, optimism, and happiness – when used in its lighter variants. In bathrooms, use a lighter tint paired with white to create a refreshing environment; add a tint of one other color to suit (perhaps lime-green, where it is energizing and uplifting. In smaller areas, entryways, halls, etc., the lightness of yellow can visually expand the space.

Green

Green symbolizes health, new beginnings and wealth. Green is the easiest on the eyes and should be used to relax and create balance in a design.

It is a great color to use if a company wants to depict growth, security or inspire possibility. This is regarded as the most restful color for the eye due to the association with spring, nature, and vegetation.

In the bedroom, take the green closer to blue if painting your walls with it, and

74 / SPACES January 2018

creating a tint or tone by adding a bit of white or gray respectively. This helps keep the bedroom environment softer on the eyes to help you rest easier in the evening when you’re winding down, while its association with fertility only adds to its value for the bedroom.

In the bathroom, take the green towards bluer variants to give your bathroom a more relaxed, spa-like feel. You can also color the walls with green tones while adding aqua blue accessories to achieve the same relaxing effect. The only word of caution I’ll toss in here is if you know green (and its variants) don’t look good on you, then don’t use that color in the bathroom directly opposite of the mirror.

In social areas such as dining or living rooms, green helps people to relax and unwind, it alleviates depression and anxiety, but has enough warmth to promote comfort and togetherness – vital for spaces where you want humans to connect and interact.

Your home office is also another area where green – and associated variants

Blue evokes feelings of calmness and spirituality as well as security and trust. Seeing the color blue causes the body to create chemicals that are calming. It is no surprise that it’s the most favored of the colors. Dark blues are great for corporate designs because it helps give a professional feel, but using too much can create a cold, disengaged feeling. Light blues give a more relaxing, friendly feel.

Interior

Black

Black is all colors, totally absorbed.

The psychological implications of that are considerable. It creates protective barriers, as it absorbs all the energy coming towards you, and it enshrouds the personality. Black is essentially an absence of light, since no wavelengths are reflected and it can, therefore be menacing; many people are afraid of the dark. Positively, it communicates absolute clarity, with no fine nuances.

It communicates sophistication and uncompromising excellence and it works particularly well with white.

Black creates a perception of weight and seriousness.

Purple

Purple is often used to soothe or calm a viewer. Incorporate purple to make a design look more luxurious and wealthy or a lighter purple to show romance and mystery. The shortest wavelength is violet, often described as purple. It takes awareness to a higher level of thought, even into the realms of spiritual values. Being the last visible wavelength before the ultra-violet ray, it has associations with time and space and the cosmos.

The color of royalty, purple connotes luxury, wealth, and sophistication.

It is also feminine and romantic.

However, because it is rare in nature, purple can appear artificial. It is highly introversive and encourages deep contemplation, or meditation. Purple in its darkest values is rich, dramatic, and sophisticated. It gives a scheme depth.

these colors are great as background colors. Use black, gray and white when using brighter colors. If you are using textures, then incorporate tan and brown as your backdrop.

Brown usually consists of red and yellow, with a large percentage of black. Consequently, it has much of the same seriousness as black, but is warmer and softer. It has elements of the red and yellow properties.

Pure grey is the only color that has no direct psychological properties.

It is, however, quite suppressive. A virtual absence of color is depressing and when the world turns grey we are instinctively conditioned to draw in and prepare for hibernation. Unless the precise tone is right, grey has a dampening effect on other colors used with it. Heavy use of grey usually indicates a lack of confidence and fear of exposure.

Neutral colors include black, gray, white, tan and brown. In design,

January 2018 SPACES / 75

Interior

Just as black is total absorption, so white is total reflection. In effect, it reflects the full force of the spectrum into our eyes. Thus it also creates barriers, but differently from black, and it is often a strain to look at. It communicates, “Touch me not!”

White is purity and, like black, uncompromising; it is clean, hygienic, and sterile. The concept of sterility can also be negative. Visually, white gives a heightened perception of space.

The negative effect of white on warm colors is to make them look and feel garish.

This fresh, peaceful color is used widely in interior design theory where it can instill feelings of youthfulness, faith and innocence. White can help smaller spaces appear large. It can also make rooms look livelier, fresher and crisper.

Brown

Brown has associations with the earth and the natural world. It is a solid, reliable color and most people find it quietly supportive - more positively than the ever-popular black, which is suppressive, rather than supportive.

The color Fawn is said to bring down blood pressure and slow respiration and heart rate. That is why it is considered calming, relaxing and serene, and it is often recommended for bedrooms and bathrooms.

However, the calming effect of a Fawn room can make you feel sluggish and even depressed so it would be a good idea to combine it with a brighter color.

The color gold is the color of success, achievement and triumph. Associated with abundance and prosperity, luxury

76 / SPACES January 2018

and quality, prestige and sophistication, value and elegance, the psychology of this color implies affluence, material wealth and extravagance. Bright gold catches the eye while darker subdued shades of gold lend richness and warmth. However, being surrounded by too much gold can lead you to become egotistical, self-righteous and opportunistic in your quest for greater power and influence.

The color silver has a womanly energy; it is related to the moon and the flow of the tides - it is flowing, expressive, insightful and mysterious.

It is comforting, reassuring and purifying. From a color psychology viewpoint, it signals a time of reflection and a change of direction as it illuminates the way forward. It helps with the cleansing and releasing of mental, physical and emotional issues

and blockages as it opens new doors and lights the way to the future. In the meaning of colors, it is associated with prestige and wealth. It is seen as a glamorous, sophisticated color related to female energy, prosperity and modernity.

While choosing a color just make sure you start by picking the biggest and centrally located room and paint the boldest color first. You can also try to build your color palette with shades of same hue. It is important to note that colors can be subjective – what might make one person feel cheerful can make another person feel irritated depending on the viewers’ past experiences or cultural differences.

Color is not completely agreed on universally and can appeal differently to individual countries, culture and traditions. n

January 2018 SPACES / 77

from the shelf

bOOKS

THAT CHANGED HISTORY editions, with the orange covers that became an emblem of literacy between the two world wars, he was a pioneer in the fight to set free the liberal imagination.

T

o love a book is to get to know a friend whom you want to keep, despite everything. We all have books from childhood that fall open predictably at a favorite page, or a novel we have read so often that its spine needs running repairs.

The scenes from a story that springs forward to the eighteenth-century libraries in great houses where men of means built high shelves for their leather-bound books - the first novels in English, travelogues and beautifullyillustrated descriptions of flora and fauna, perhaps a precious copy of Robert Hookeâ&#x20AC;&#x2122;s Micrographia from the previous century, and certainly Dr Johnsonâ&#x20AC;&#x2122;s dictionary. And then, within a hundred years, books were finding their way into ordinary homes.

Science and politics, history and travel, natural exploration as well as literature would be available to everyone. When Allen Lane published his first Penguin

78 / SPACES January 2018

From Indian continent, the Mahabharata - maybe the longest epic poem of them all - and philosophy from China, learned and beautifully crafted Persian books on medicine and astronomy, and mathematics in Arabic. Everyone who responds to the beauty of the calligraphy and illustration in these early books, and the sheer confidence and energy that flows from the pages, is reminded that every book is an act of creation, whether it is a novel, a history, a scientific theory, a religious text, or a piece of polemic.

Old or new, the books selected for this volume have changed lives, and

remind us who we are. They are both mirror and lamp - reflecting us to ourselves with remorseless honesty and also shining light in dark places, the unknown, or the dangerous. We find our own fears in books, as surely as we find solace and escape. In these pages we find many of the books that have shaped our world. They are wise and revelatory, radical and even outrageous, some of them surprising in the impact they have made, and so many of them still inspiring. Some represent the best of us, and others do not, but collectively they remind us that the book is indeed the friend that will never let you go. n

January 2018 SPACES / 79

Artscape

“Dunugha Ya Swapu” Kiran’s figures are visually hide the essence of his vision however depicts the tangible lines and thick brush strokes of his essence. The female figures incorporate the daily ritual of the Newar women in Kathmandu valley.

Dress up in traditional costumes and move toward religious shrines for spiritual devotion, his composition shows the joy and celebration in the observation of the ritual. The canvas submersed with red, yellow, blue and green colors suggesting the culture of the valley. The charming movement and purity are expressively seen in the faces of the female figures.

Asha Dangol

Kiran Manandhar A Former Chancellor of Nepal Academy of Fine Arts (NAFA), Kiran Manandhar did his Master’s in Fine Art from Banaras Hindu University, India. He received Fellowship from Cite’ International des Arts, Paris, France in 1998 and is the Life member of Bombay Art Society, Mumbai, India. He received numerous awards and honors and selected are: Merit Honor in B.F.A. Banaras Hindu University, Varanasi, India-1974, Best Prize in National Art Exhibition in Nepal Association of Fine Arts (NAFA)-1983, Best Award in the Fresque Mural in Maison de la Cultural Bezier, France-1983, Honorable Mention, Asian Art Exhibition, Dhaka-1991, Rastriya Pratibha Puraskar -1996, Prabal Gorkha Dakshin Bahu-1999, Birendra Aishwarya Sewa Padak-2001.

80 / SPACES January 2018

January 2018 SPACES / 81

Connects 7 4th Nepal Wood International Expo 2018 Media Space Solutions Pvt. Ltd. 101, JDA Office Complex, Bagdurbar Sundhara, Kathmandu, Nepal Tel: +977 1 4263715, 4263795 Brikuti Mandap, Kathmandu 9 4th Nepal Buildcon International Expo 2018 Media Space Solutions Pvt. Ltd. 101, JDA Office Complex, Bagdurbar Sundhara, Kathmandu, Nepal Tel: +977 1 4263715, 4263795 Brikuti Mandap, Kathmandu 84 Artex Pvt. Ltd. Tirpureshwor (Vibor Bank road) Ph: 977-1-4218274 E-mail: artex@mail.com.np Website: www.artex.com.np 77 Asian Paints Nepal Balkumari, Lalitpur Ph: 977-1-5203045 E-mail: ccm@asianpaints.com.np Website: www.asianpaintsnepal.com.np 61 ATC Pvt. Ltd. 336/21, Ganesh Man Singh Path-2, Teku Road Ph: 977-1-4262220 E-mail: info@atc.com.np 13 Bath and Room Private Limited Tara Bhawan, Teku Ph: 977-1-4240162, 9802015888 17 Bella Casa International Buddhanagar, Near UN Park Bridge Ph: 977-1-4784963, 9851120515 E-mail: info@bellakasa.com vivabellacasa@gmail.com Website: www.bellakasa.com

82 / SPACES January 2018

86 Berger Jenson & Nicholson (Nepal) Pvt. Ltd. Berger House - 492, Tinkune, Kathmandu Ph: 977-1-4466038 E-mail: info@bergernepal.com

29 Inter-Tech Pipes & Fittings Kathmandu Ph: 977-1-4282492 E-mail: itpf@intertech.com.np Website: www.intertech.com.np

61 Bridge Tech International Pvt. Ltd. Tutepani, Satobato, Chapaganu Road Ph: 977-1-5151171, 5151822 E-mail: info@bridgetechintl.com sales@bridgetechintl.com

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

79 Champak & Chirag International Teku (Opp. Laxmi Bank), Kathmandu Ph: 977-1-4249991 E-mail: adbnb1@gmail.com Website: www.evercrete.com www.nepaladhesive.com

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

16 Communication Corner Pvt. Ltd. (Ujyaalo 90 Network) Ujyaaloghar(Behind Central Zoo) Jawlakhel, Lalitpur Ph: 977-1-5000171 4 Eco Parquet & Decorator Pvt. Ltd. Gairidhara Ph: 977-1-4445589/ 43639858 E-mail: ecoparquet73@gmail.com Website: www.ecoparquet.com.np 3 Fashion Furnishing Pvt. Ltd. Maitidevi, Ratopool, Kathmandu Ph: 977-01-4420661/ 4420647 E-mail: fnfurnishing@gmail.com 81 Foto Hollywood Civil Bank Building, Kamaladi Ph: 977-1-4169060 Website: www.fotohollywood.com.np 5 Furniture Land Store Pvt. Ltd. Blue Star Complex Tripureshwor, Kathmandu Ph: 977-1-4224797

39 Navin Distributor Pvt. Ltd. A.T. Complex, New Plaza, Putalisadak Ph: 977-1-4428196, 4430785 E-mail: ndpl@navindistributors.com Website: www.navindistributors.com 83 Nepa Top Organization Samakushi, Kathmandu Ph: 977-1-4354117, 4363548, 4387901 E-mail: info@nepa.com Website: www.nepatop.com.np 66 Panchakanya SS Pvt. Ltd. Panchakanya Bhawan, Krishan Galli Ph: 977-1- 5526551 E-mail: info@panchakanya.com Website: www.panchakanya.com 2 Parth International Pvt. Ltd. Ward No 11, Babbarmahal Ph: 977-1- 4245342 E-mail: info@parthinternational.org Website: http://www.parthinternational.org

61 Pest Control Nepal 7th Floor, Shree Krishna Sadan, New Baneshwor Ph: 977-1- 4786329/ 4492285/ 4784674 E-mail: sks3p@wlink.com.np Website: www.pestcontrolnepal.com 15 R. I. P. L. International Pvt. Ltd. Teku Road Ph: 977-1-4270730 71 Rohi International Near Ganeshsthan, Kuleshwor Ph: 977-1-4271760 11 SEV Enterprises Pvt. Ltd. 234, China Town Shopping Center, Sundhara Ph: 977-1-4249440, 9801315458 79 Skylight Pvt. Ltd. Naxal (Opp to Police HQ), Kathmandu Ph: 977-1-4423851 E-mail: info@skylight.com.np Website: www.skylight.com.np 67 Technical Associates Services P. Ltd 1st Floor, Abhiyan Building, Panchayan Marg Thapathali, Kathmandu, Nepal Tel: 977-1-4219999 E-mail: sktulshyan@gmail.com Website: www.theheatingexpert.org 6 Worldlink Communication Pvt. Ltd. Jawalakhel, Lalitpur Ph: 977-1-5523050 E-mail: enterprise.support@worldlink. com.np Website: www.worldlink.com.np

January 2018 SPACES / 83

84 / SPACES January 2018

January 2018 SPACES / 85

86 / SPACES January 2018