SPACES Nepal JULY 2018 by SPACES Nepal

Vol 15 No. 2 JULY 2018

ART ARCHITECTURE INTERIOR

MADAN PURASKAR

Pustakalaya ART FOR THERAPY REVISITING THE WALLS OF A HOSPITAL

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Contents Volume 15 NO. 2 | JULY

22 CONSERVATION

Durbar High School

46 INTERIOR Thamel Villa Heritage Hotel

34 ARCHITECTURE

Madan Puraskar Pustakalaya

54 ART

Art for Therapy Revisiting the Walls of a Hospital

40 ARCHITECTURE Hybrid Landscapes of Nepalâ&#x20AC;&#x2122;s Himalayan Frontier

58 ART

Marvels from the selftaught and the groomed

64 INTERIOR

70 FROM THE SHELF

69 ARTSPACE

Timeless RED

H A Oldfield on 19th Century Nepal

Cheeva

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Contributors

Volume 15 N 2 | JULY O.

CEO

Ashesh Rajbansh Editor-in-Chief

Ar. Sarosh Pradhan Contributing Art Editor

Madan Chitrakar Kasthamandap Art Studio

Madan Chitrakar

Kai Weise

Badan Lal Nyachhyon

Asha Dangol

Bansri Pandey

Pranathi

Junior Editor

Shreya Amatya Sristi Pradhan Pratap Jung Khadka

Samir Dahal

Shweta Shakya

Suprasanna Aryal

Rajina Shrestha

Urusha Karmacharya

Anie Joshi

Pranathi

Contributing Editor

President of Society Of Nepalese Architects (SONA) Ar. Brinda Shrestha Advisor

Ar. Pawan Kumar Shrestha Ar. Pravita Shrestha Kirti Kusum Joshi Photographers

Pradip Ratna Tuladhar Director- Operation & Public Relation

Anu Rajbansh

SR. Business Development Officer

Debbie Rana Dangol

Business Development Officer

Siddhartha Jung Khadka Legal Advisor

Yogendra Bhattarai Financial Advisor

Kiran Rajbhandary Accountant

Pratima Sherpa Subscription and Distribution Officer

Rohit Khadgi Intern

Sudikshya Dongol Ikchha Pokharel Prithvi Jung Khadka

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Madan Chitrakar is a senior artist and an art- writer based in Kathmandu. As a leading art writer of the country, on many occasions he has taken Nepali Art beyond the borders - through his writings in many prestigious publications abroad - notably in Japan, India and Bangladesh. Two well acclaimed books Tej Bahadur Chitrakar - Icon of a Transition’ 2004 and ‘Nepali Art: Issues Miscellany’ - 2012 remain to his credit, in addition to the numerous writings on Art and Culture in English and Nepali. Presently, he is associated with Tribhuvan University, Central Department of Fine Arts and Kathmandu University, Center for Art and Design as a member of the respective Subject Committee. 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. Badan Lal Nyachhyon is chairman of Earthquake Safety Initiatives, a company focused capacity-building for coping with Nepal’s earthquake hazard. The senior civil engineer is also managing director of Multi Consult (P) Ltd. Nyachhyon’s expertise include project management, contract management, civil engineering, research, construction management and community development, among others. He holds a Master’s in Architecture degree from the Kiev Civil Engineering Institute. 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. Bansri 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. Dane Carlson is a landscape designer based both in the United States and Nepal. His design and research practice- REALMS, operates in landscapes throughout the hinterlands of Nepal. It investigates and acts at points of emerging change in landscapes made increasingly vulnerable by dramatic shifts. Samir Dahal is an architect whose interest lies in almost all things that distracts from the mundane life. He loves computers, reading and the internet: just another guy who spends too much time online. A clueless,selfproclaimed architect jughead; will this architecturalsociety still accept him? Shweta Shakya is an aspiring architect with a passion for exploring traditions and cultures. Being a heritage enthusiast, she has been involved in projects concerning understanding and preservation of traditional architectural constructs within Kathmandu Valley. During her spare time, she pursues writing as a hobby.

Suprasanna Aryal did her bachelor’s in development finance from K.U. Starting her professional life in 2012 as a feature writer, she has written articles for Nepali magazines and newspapers on diverse issues, includes art, culture, music, literature, theater, food, travel, environment, careers and education. She is currently involved as a freelance writer for various publication houses in Nepal. 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. Urusha Karmacharya is an architect from Institute of Engineering, Pulchowk Campus. Once a part of Tribhuvan International Airport’s new terminal building team, she currently does freelance work in interior design, building design, planning, and construction. She also teaches Diploma level students of Architecture and Hotel Engineering to students of Bachelors of Hotel Management. Anie Joshi is a practicing architect with a Post-master degree DSA “Architecture et Patrimoine”, a specialization degree in Heritage and Conservation from ENSAParis Belleville. She has been working since 2015 in various post-earthquake cultural heritage rehabilitation project including research, documentation and restoration of the monuments and sites within Kathmandu Valley with various national and international organizations. Pranathi, architect, designer and aspiring writer, has been working in the field of material buildings with Abari for years. She has a keen interest in the art of natural living, which goes beyond her specialization in natural building. She brings a holistic approach to Abari’s projects and also posts regularly on their social media handle.

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

JULY 2018 SPACES / 7

Editorial Nepal remains one of the leading countries having outstanding universal value illustrated by religious monuments and buildings displaying the full range of historic and artistic achievements, so becoming one of the major sources of income from visitors from all walks of life throughout the world. A cubic construction with a golden spire on top of two storied copper roofs covered with gold with all four doors covered with silver sheets, the main temple of Pashupatinath glimmers the richness of culture and technology the country used to have not so long ago. Though the master plan was expired almost a decade ago, the area underwent through many changes towards positive, a thoughtfully revised new masterplan could maintain its legacy of being the most iconic focal point not only for Hindu believers but appealing to any and all sect adoring the preservation and maintaining the much-applauded wonder piece of Nepal. The newer generation of optimists never takes anything for granted that something innovative cannot happen in Nepal, refashion of peace is bound to circle again. â&#x20AC;&#x2DC;There was never a night or a problem that could defeat sunrise or hope.â&#x20AC;&#x2122; - Bernard Williams

Enjoy!

Ashesh Rajbansh / CEO

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NEWS

RISK2RESILIENCE INTERNATIONAL WOMEN IN ENGINEERING DAY (INWED) 2018 CELEBRATIONS

23rd June 2018, 2nd International Women in Engineering Day was celebrated at Nepal Engineersâ&#x20AC;&#x2122; Associationâ&#x20AC;&#x2122;s building at Pulchwok, Lalitpur. The 23rd of June was declared Women in Engineering day in 2014 to commemorate the 95th year of the formation of the women in engineering committee in the UK.The event was jointly organized by NEA and UNESCO with an objective of bringing together women engineers of Nepal on one platform so that they could interact, inspire and work with each other. The chief guests of the program were: Her Excellency Ms. Mashfee Binte Shams, the ambassador of Bangladesh to Nepal and an architect; and Ms. Shanti Malla, the first woman engineer of Nepal. Ms. Shanti Malla discussed the challenges she faced as a woman from her decision to study engineering and facing the committee for scholarship to study in India. The hardships had continued after returning back after graduating as a civil engineer in 1966. Similarly, Her Excellency Ms. Mashfee Binte Shams recalled her experience as the only woman in her class of over 100 students in 1982. She also emphasized on how they were 12 / SPACES JULY 2018

engineers and women, but not women engineers. Similarly, NEA president Er. Hareram Shrestha and Er. Rekha Shrestha, chair of women in engineering division of NEA, delivered speeches on statistics of women engineers in the world and in Nepal. After the inaugural session, Shanti Malla observed a photo story of several architects and engineers. A panel discussion with a few prominent women engineers was held after the photo stories. Prof. Sudha Shrestha, head of department of architecture at the Institute of Engineering, Pulchowk Campus; Er. Sarita Shrestha Maskey from Department of Urban Development and Building Construction; Er. Pramila Bajracharya from Ministry of Physical Infrastructure & Transport; Er. Pratima Pradhan from Nepal Telecom; Er. Mandira Shrestha from International Centre for Integrated Mountain Development and, Er. Rima Lamichhane, Entrepreneur and Director at Green Building Technologies co-chaired the panel discussion. The panelists shared with audiences the importance of networking and how women should be empowered and independent, both professionally and personally. This day marked the 99th anniversary since the inception of women in engineering committee. n

epal hosted RISK2RESILIENCE (R2R): An International Conference on Experience of Earthquake Risk Management, Preparedness and Reconstruction in Nepal during 18th-20th June 2018 in Kathmandu, Nepal. The conference was jointly organized by the Government of Nepal, Ministry of Home Affairs (MoHA), National Reconstruction Authority (NRA), Nepal Academy of Science and Technology (NAST), and National Society for Earthquake Technology-Nepal (NSET) in association with various partners and stakeholders. The conference was inaugurated by the Home Minister Mr. Ram Bahadur Thapa. It saw the presence of both Nepali and International citizens across continents in order to learn about the progress of Nepal in areas of Disaster Risk Management and to collectively explore ways for Nepal to further strengthen the efforts in Disaster Risk Reduction and to pledge continue support to the people of Nepal to their excellent and innovative works of Disaster Risk Reduction and Preparedness under the leadership of the Government of Nepal. Based on three major themes: Learning from the Past three decades, Understanding the Present, and Searching the Future, the conference brought together 240 people including national and international citizens. A total of 40 international professionals from 13 different countries were present. Throughout the proceeding of the conference, there were 15 KeyNote Speeches, 12 Technical Sessions, 11 Panel Discussions and 2 Side Events. The Risk2Resilience Conference had resulted successfully with the approval of the Conference Resolution endorsed by Conference participants incorporating their final comments and suggestions. n

NEWS

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NEWS

ARCHITECT SPEAKS EPISODE 5 The fifth episode of Architect Speaks, which was organized by Society of Nepalese Architects (SONA), took place with the significant participation of experts, senior architects and students at Hotel Himalaya on 9th June 2018. Five young architects gave presentation on various topics related to their respective fields. Among the five architects, Ar. Damodar Acharya enlightened the scenario of public

office building in Nepal and how they lacked a particular design style and architectural essence. Ar. Sabina Tandukar (Rich Architect, Consultants, KVPT) shared on working with the cultural heritage, moreover on conservation as she is involved in Kathmandu Valley Preservation Trust (KVPT). Ar. Prabina Shrestha and Ar. Mahesh Maharjan, who believe that “there is inspiration everywhere”, talked about how they try to make

their designs sustainable and use vernacular material as much as possible. Similarly, Ar. Susan Vaidya (Team Consultants) informed about the difficulties faced by professionals while designing and handling projects. He also projected his belief on sticking to authentic construction technologies and materials and not let others dominate vernacular technologies. A short interaction with the audience took place after the presentations. n

INHERITENCE A Unique solo show of ‘Traditional Stone Sculptures’ The "Inheritence" is Chandra Shyam Dongol's solo sculpture exhibition being held between 19th -28th June 2018 at Nepal Art Council, Babarmahal, Kathmandu. It is being described as the First ever Solo traditional stone sculpture exhibition in the history of Nepal. The exhibition was inaugurated by chief guest of the event Mr.Yin Kun Sang- the director of China Cultural Center, along with the other special guests Madan Chitrakarthe principal of Sirjana College of Fine Arts, Lok Chitrakar- Senior Pauva Artist and Nabindra Rajbhandari – the vice-chairman of Sirjana College of Fine Arts Board. The exhibition was coordinated, curated and managed by the Courtyard Studio – an organization known for coordinating exhibitions events related to arts and photography.

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Chandra Shyam Dongol is a senior sculptor who has done his masters degree in Fine Arts and is specialized in stone sculpture. Born in a Newar Family at Khokana, he has had been inspired by the Newari sculpture tradition since his childhood. He has been working as a sculpture artist for the last 25 years; and has created more than 1000 stone carvings. His mission has been to preserve the traditional heritage of Nepal. He has taken part in different national and international exhibitions. Here his works were on display with the primary motives to highlight the unique motifs and features found in the earlier tradition of stone sculptures. Most of his works were based on the replica of stupas and

Buddhist gods and goddess. Through his works, he has showcased many rare and unique instances that reflect our past. The exhibition was a great success as it got a positive response from the visitors. According to the visitors, similar exhibitions should be organized frequently in order to preserve the earlier traditional stone sculptures. n

NEWS

ASIAN PAINTS AWARDS CEREMONY, KALEIDOSCOPE “HEROES OF THE FUTURE” An Award Ceremony of Asian Paints Kaleidoscope 2017-18 “Heroes of the future” was held at Hotel Yak &Yeti on 10thJune 2018. Students from seven different colleges; Pulchowk Engineering College, Kathmandu Engineering College, Nepal Engineering College, Khwopa Engineering College, Kantipur International College, Acme Engineering College and Himalaya College of Engineering had participated in design competition open to architecture students from all over Nepal. The chief guest of the event was Dr. Triratna Bajracharya.The key note speaker, Ar. Arun Dev Pant emphasized his presentation on the dynamic client-architect relationship and how it impacts the design process for the final output. He

had also showcased some of his successful design projects across Nepal.The other guests on the stage were - Ar. Rajesh Thapa, President of SCAEF (Society of Consulting Architectural and Engineering Firms), Ar. Suman Nanda Vaidya, President of SONA (Society Of Nepalese Architects), Er. Hom Nath Pokharel, Secretary of NEA (Nepal Engineers’ Association), Mr. Laxman Kr. Rana, Acting President of FCAN (Federation of Contractor’s Associations of Nepal) and Mr. Budhaditya Mukherjee, Country director of Asian Paints Nepal. The topic for the competition was”University Students Centre” and the site was Tribhuwan University, Kirtipur. Fifteen participating students were selected for the final round from different engineering colleges. The

jurors of the competition were Ar. Suman Mehar Shrestha, Ar. Suman Nanda Vaidhya, Ar. Poshan Thapa and Ar. Ila Shrestha, all of whom had no affiliation with any educational institution. Nikesh Maharjan from KEC secured the first place, Anil Waiba from IOE secured the second place and Gopi Nath Adhikari from IOE secured the third place respectively. All the winners were awarded with certificate, trophy and cash prize. Along with this, thesis toppers from different engineering colleges for the year 2017also received cash prize of fifty thousand rupees along with certificates which was given by Asian Paints. After the award ceremony, all the guests on the panel expressed few words on the event. They reasoned why entering such competition is detrimental not only to the individual, but also to the field of architecture which eventually pushes the field further. Since the students had to take out their time from their school schedule and work for these competitions, it not only taught them about time management skills but also helped to increase the understanding of the profession from various prospects. The program was ended light-heartedly with a lively performance by singer Junu Rijal and other artists. n

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NEWS

PROPERTY EXPO 2018 The 7th Property Expo was organized by Nepal Land and Housing Developers Association (NLHDA) in Bhrikutimandap, Kathmandu from 15-19 June 2018. The expo was inaugurated by the Prime Minister Mr. K. P. Sharma Oli. The expo had around 120 stalls on housing, apartments, building materials and other materials like tiles, bathroom fixtures, parquets, pipes, plumbing, etc. Mr. Min Man Shrestha, the General Secretary of NLHDA said that the number of people visiting the expo has been increasing every year, to approximately 1 lakh this year. He stressed that the “The aim of the expo is to bring customers, real estate developers and material vendors together”. The demand for housing continues to grow with the increasing population in Nepal, and more and more people are realizing that it is easier to buy a house from professional builders than to build one yourself as it becomes more cost effective, but also involves less hassle for the house owner. Accordingly, the market for houses in colonies and apartments is growing every year. The price starts from 1 crore for apartments, and 2-3 crores for independent houses. But the expo had several interesting offers, for example Civil Homes had onebedroom apartments at Rs. 37 lakhs, and many apartments and houses offered cash discounts or offered to construct the interiors like kitchens and ceiling for free on the purchase of a house.

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In an effort to bring professional services to all kinds of consumers, the expo also had stalls for online markets, house and land related websites, and companies that will design and construct your house if you have a piece of land. “Today, the demand for these types of professional facilities and services are growing,” says Er. Bipin Chitrakar, coordinator of the event. “People have realized that these services are more technically sound. Besides, apartments are gaining popularity because they have many facilities like gym, theater, swimming pool, etc. They also have more open space in the form of garden, and they have security, so people are more attracted to apartments in urban spaces.” Er. Ichchha Raj Tamang, President of NLHDA, believes the expo was successful in communicating a lot more to the public and to

the government. “There was an impression that the construction industry is a non-productive sector,” says Mr. Tamang. “But the Industrial Enterprises Act 2017 defined construction as a constructive and

NEWS creative industry. And one of the aims of the expo is to promote this idea and lobby for its inclusion in future economic policies.”Mr. Tamang believes the expo was successful in propagating this idea to both the government and the public. The expo also held a 2-day housing summit led coordinated by Er. Sangeeta Singh. This is the second time that the expo has included a housing summit, so as to create a platform for discussion on various issues related to housing.This year the theme was “the new urban agenda in housing”. Several papers were presented and discussions were held around this theme with keynote speech from renowned architect Prof. Dr. Christopher Benninger and the president of FIABCI Mr. Farooq Mehmood sent a message due to his last minute cancellation of his visit. Er. Sangeeta Singh also elaborated on the concept sustainable housing, which includes the quadruple bottom line of environmental, economic,

social, and cultural sustainability. Er. Singh suggested that public-private partnership for housing is necessary in order to cater to the future demand of affordable and safe housing in future.The expo partnered with a variety of organizations for a diverse experience; including with SPACES magazine as its one of the magazine partners, and NIC Asia bank as a title sponsor. In an era when more

and more people need housing loans, the banks have become flexible in providing them and many banks including NIC Asia provide housing loans with easy terms and conditions. The 5-day property expo was successful in bringing together various parties of consumers, builders, financers, planners, and many others in a mutually beneficial and informative event. n

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NEWS

2ND HOUSING SUMMIT 2018 The Department of Urban Development and Building Construction (DUDBC), Ministry of Urban Development and Kathmandu Valley Development Authority (KVDA) jointly with Nepal Land and Housing Developers’ Association (NLHDA), along with IOE and various institutions like NEA, FNCCI, SCAEF, RUPSON, SONA, UN HABITAT, and media partners, convened the 2nd Housing Summit 2018 with the theme “THE NEW URBAN AGENDA IN HOUSING” which was held on June 18-19, 2018 at Hotel Yak & Yeti, Kathmandu. The success of the 1st Housing Summit in 2017, has formed the path for this latter program and the subsequent Housing Summit which shall be held every year on. The sub-themes covered in the Housing Summit are: Sustainable Housing, Safe, Affordable and Inclusive housing, Urban and Rural Reconstruction and Housing in the Federal Context of Nepal. The Summit created an engaging platform for discussing Housing in the context of the new urban agenda as well as ways and means of achieving the sustainable development goal targets. In the context of Nepal, a special theme of “Housing in the federal context of Nepal” has been added so as to create a forum for discussion and for advising policy

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makers and housing providers about necessary local changes and promoting opportunities for specific action in the federal context. The Summit comprehended the entire gamut of housing sector such as commercial and business property, architecture, construction, building, engineering, habitat environment. There is a tremendous growth in the housing market and its dominant role in the Nepalese economy has been gaining significant attention in the recent years. Housing is a fundamental socio-civic issue that has critical ramification in the politics and economy of Nepal. The aftermath of 2015 earthquake has seen the housing market rebounding and with a steady growth. Housing being a basic need for people, the perception of housing as a sound investment and the fast urbanization driven by rural migration to cities have all contributed to the organic growth of the housing and construction sector. The President of FIABCI Mr. Farooq Mahmood who was supposed to chair had sent a message informing of the last minute cancellation of his visit. The Keynote address was given by Christopher Charles Benninger, an American- Indian renowned architect on the topic ‘Housing for all: An

inclusive agenda.’ With decades of experience in multitude of projects of varying scales, Benninger reasoned the idea of people building with their own hands as the effective means of proper management and implementation of housing issues in the present context. Benninger further expressed that community should be inclusive for all occupations in a community group. Communities, in terms of livable space, economical sustainability and integration of job creating activities, is desirable. Communities should be integrated with transport systems and must be affordable to all people. “In contemporary misguided terms, housing referred to a product or an object. All of our efforts to create access to shelter failed because we had the wrong mindset. But John FC Turner, MIT says “ Housing is a process, not a product.” It is a verb, not a noun,” addressed Benninger. The Plenary Session was chaired by Dr. Sunil Babu Shrestha, former member of the National Planning Commission. Mr. Padma Mainali, DDG, DUDBC delivered the keynote presentation on “The New Urban Agenda in Housing” and the panelists were : Er. Ram Chandra Dangal, DDG, Housing Division, DUDBC, PS Joshi, Habitat Programme Manager, UN Habitat, Er. Ichchha Raj Tamang, Chairman, NLHDA and Er. Hare Ram Shrestha, President, NEA. The discussion by the panelists focused on the keynote presentation. Several papers were presented in the “Housing Café” session of the summit, which was chaired by Mr. Padma K. Mainali. Mr. Janak Raj Joshi, Joint Secretary, Department of Land Reform and Management, addressed issues of land in housing practices. Mr. Om Dharananda Rajopadhya, from DUDBC, presented a paper on ”New paradigm in housing, focusing on Cooperative housing in the federal context of Nepal” and Ms. Sama

Bajra, MD, Sewa Pvt. Ltd, focused on delivering affordable housing and its opportunities and challenges. Mr. Om Rajbhandari, from NLHDA, focused on housing issues faced by private sectors and plausible ways to overcome the issues. Ar. Sarosh Pradhan, Principal Architect at SPA, portrayed sentiments on the future of Nepal’s past-evoking the vernaculars. Mr. Ram Akkisetti, MD, CCBA Pvt. Ltd. Reverberated along the lines of the Christopher Benninger for the basic rights to housing and shelter. On the second day of the “Urban Café Session” Mr. Lars Onsager Stordal, UN-habitat, presented on the new agenda and the outcomes of the 9th session of World Urban Forum. Likewise, Ar. Ramita Shrestha, Senior Divisional Engineer at DUDBC, presented New Urban Agenda Issues and National Urban Policies relevant to Nepal. Dr. Mahendra Subba from ADB presented on the investment opportunities in urban infrastructures while Kalanidhi Devkota from Municipal Association of Nepal

reflected on urbanization and urban governance in the new context. Ms. Norliza Hashim, Chief Executive of Urbanize Malaysia, emphasized on creating better cities by implementing the New Urban Agenda- the Malaysian experience. The session was facilitated by Mr. Prafulla MS Pradhan, Former UN Habitat Program Manager. The Summit presented invaluable insights on the issues of settlement

planning, housing development and policy, statutory, institutional and financial issues prevalent in housing sector. The example of national and international instances have presented grounds to base future endeavors. The summit concludes at a positive note in realizing greater impact of Urban Agendas accomplishing the SDGs along the way and has come up with thirteen resolutions pertinent to Housing development. n

PRITHVI’S ‘ATTACHMENT’ - UNVEILED “Attachment” was the solo exhibition of paintings by Artist Prithvi Shrestha which was held in Siddhartha Art Gallery, Baber Mahal Revisited. Organized in collaboration with Himalayan Light foundation, the exhibition was held from 24th May -20th June 2018 and was later extended till 28th June 2018. Prithvi, one of the founders of Bindu Space for the Artists, is a popular name in Art community today. He has done his Bachelors in Fine Arts from Tribhuvan University. Through his paintings, artist Prithvi here has sought to express his personal connections with the great web of life, which includes various aspects of cultural, spiritual and the emotional feelings like love, the cycle of life from birth to death. And more so is with the environment. He has tried to express all these connections those aspects with the human beings.

Prithvi is also friendly with the concept that every aspect of life is connected with nature, rituals, religious beliefs and the culture. The artist is also seeking to remind the viewers that ‘Things change as time passes by. Likewise, the environment around us also changes along with the time'. As a visible example, through his works he has sought to narrate his own personal experiences - the changes that have taken place of river Bagmati – very close to Kupondole, the place of his childhood. He narrates visually the differences between then and now. And it is too huge to explain. Conclusively as a whole, the ‘Attachment’ remained a unique show where the artist pleaded the viewers to experience his notion of human attachments - first hand through his works. n JULY 2018 SPACES / 19

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CONSERVATION

DURBAR HIGH SCHOOL

A EULOGY TO THE OLDEST FORMAL SCHOOL BUILDING IN NEPAL Text & Photo: Kai WEise/Anie joshi

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CONSERVATION ARCHITECTURE IS ONE OF THE CLASSIC MEANS USED BY AUTHORITARIAN REGIMES TO EXPRESS THEIR IDEOLOGY AND CREATE THEIR IDENTITY. IN NEPAL, DURING THE RANA REGIME FROM THE LATE 19TH CENTURY TO MID-20TH CENTURY, A NEW ARCHITECTURAL STYLE WAS POPULARISED WITH A DESIRE TO BREAK AWAY FROM EARLIER STYLES BOTH IN TERMS OF SCALE AS WELL AS AESTHETICS. WITH THE IDEOLOGY OF PROGRESS AND MODERNISATION, THE RULING REGIME BUILT PUBLIC INFRASTRUCTURE AND INSTITUTIONAL BUILDINGS ALONG WITH GRAND PALACES WITH EUROPEAN NEOCLASSICAL INFLUENCE. HOWEVER, WITH THE ESTABLISHMENT OF DEMOCRACY IN 1951, SOME OF THESE PROPERTIES WERE NATIONALISED AND USED AS INSTITUTIONAL FACILITIES WHILE MANY WERE DEMOLISHED. MUCH OF THE ARCHITECTURAL HERITAGE FROM THIS ERA HAS BEEN LOST BUT THE LEGACY IT HAS BUILT FOR THE PEOPLE OF THE TIME AND LATER GENERATIONS DESERVES TO BE SAFEGUARDED. THE RECENT DEMOLITION OF THE DURBAR HIGH SCHOOL BUILDING DESPITE ONGOING PUBLIC OBJECTION QUESTIONS THE DEFINITION OF HERITAGE VALUE IN OUR CONTEXT.

EARLY EDUCATION â&#x20AC;&#x201C; TRADITIONAL OR FOR THE ELITE

Traditional education in Nepal was based on religious institutions such as at Gurukuls. Mostly education was based on apprenticeships closely linked to the guilds defined by family linage. The children learned the profession of the parents. This also ensured that the population maintained their traditional local customs and beliefs. For a very long time modern education was considered subversive, a tool that people would use to protest against oppression. With the desire to maintain international relationships, particularly with the British rulers in India, there was a need for formal education. Therefore, in 1854 the first school for the education of a select stratum of society closely linked to the Rana Regime was established. The subjects that were though included English, Politics and Geography. Initially the classes took place in various palaces, mainly for Rana family members. Later family members of higher government officials were allowed to join. This was a major step away from the traditional education in Sanskrit provided in Gurukuls.

ERA OF PIONEERING IN PUBLIC EDUCATION

It took almost half a decade to establish the school building in Kathmandu and another 20 years to establish the first college in Nepal. The development of the educational institutions took place in the vicinity of Rani Pokhari. The first building of Durbar High School was built during the reign of Bir Shumsher in 1892 to

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the west of Rani Pokhari along the central axis of the Balgopaleswar temple. The school remained restricted to the elite gentlemen with some liberalization taking place under Chandra Shamsher in 1902. It was however only after 1951 that the school opened to general public and started its co-education in 1973. Its name changed to Bhanu Madhyamik Vidhyalaya in 1967 and later shared its premises with the Sanskrit Madhyamik Vidhyalaya. Once a prestigious institute where the elites were educated, the demography of the Durbar High School changed completely, indicating how the value of this heritage institution has been ignored by the authorities. There are a total of around 330 students studying within these premises. 24 / SPACES JULY 2018

The first college facing the Durbar high school across the Rani Pokhari was established during the reign of Chandra Shamsher and King Tribhuwan in 1918. Tri-Chandra College was initially affiliated to Indian Universities, first Calcutta and then Patna, until it became part of Tribhuvan University in 1959.

ARCHITECTURE OF THE EARLY EDUCATIONAL BUILDINGS IN NEPAL AND ITS EVOLUTION

These educational buildings along the fringe of Rani Pokhari were iconic for its time and purpose. The Durbar High School building built in late 19th century has minimalistic ornamentation whereas the early 20th century Tri-Chandra campus building has elaborate faรงade treatment.

As the first formally designed school building in Nepal it would be interesting to better understand the rationale behind it. The classrooms are connected along a covered corridor which created the front faรงade on the east as prominent arcades. The classrooms would then look into the open space on the west making the building very functional for its purpose. Early photographs of Durbar high school show the original building structure to be a long symmetrical two storey building with hip roof and dormer windows. The classical architectural style is accentuated by the two rows of 35 arched arcades and the central entry porch. Use of wooden beams on the entry porch is supported on the brick masonry piers.

CONSERVATION

This historic building underwent changes over time. The first change is seen with the removal of dormer windows from the roof and construction of the Town Hall to the south of the school building in early 1900. The 1934 post-earthquake photos show the damaged roof structure and partial collapse of the arched walkway. Another major alteration after the 1934 earthquake is the additional block connecting the town hall and the school building as per the photographs from 1960s. In addition the roof structure has also changed in level and material separating the arcade and the class rooms. The recent change to the building was the attic floor which was constructed in reinforced concrete and raised roof with the attic windows to use the space for classrooms.

Tri-Chandra College built almost 20 years later has some iconic buildings. Most prominent is of course the Ghantaghar or Clock Tower. The campus building with the neo-classical influence pediments and applied column onto the symmetrical façade of two blocks was accentuated by the central clock tower. The main campus building has retained most of its original character along with the engraving “ERECTED 1918 AD”, a reason to celebrate its centenary. The clock tower, however was completely collapsed during the 1934 earthquake and was re-erected in a new design. Just across the road sits one of the most iconic modern reinforced concrete buildings in Nepal; the SaraswatiSadan built in 1946 by Engineer B.P. Lohani with its

impressive projected concrete slab over the entrance. These wonderful structures have evolved over time but have retained most of the original structure for the last century. However, the demolition of the Durbar High School after the impact of 2015 earthquake has completely disregarded this legacy.

IMPACT OF EARTHQUAKES – HOW OLD IS THE DURBAR HIGH SCHOOL BUILDING REALLY?

We know that the school building was initially built and inaugurated in 1892. This would have been over a hundred years old and therefore considered to be worthy for consideration as a protected monument as per the Ancient Monument Preservation Act. JULY 2018 SPACES / 25

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However there has been pressure to assume that the building collapsed possibly during the 1934 earthquake and was rebuilt, which means it could easily be rejected as a heritage building. The significance of the building surely doesnâ&#x20AC;&#x2122;t only lie on its age, but that it symbolizes the beginning of modern education in Nepal. However even the argument of age doesnâ&#x20AC;&#x2122;t seem to be valid when looking into the situation more in detail as this historic structure was damaged by the 1934 earthquake but was not completely collapsed. The building has been altered over time and with limited funds for its upkeep and maintenance the building was not in its best condition before the 2015 earthquake. Despite of minimum alteration as per the need for proper functioning of the school most of the original fabric of this historic monument was maintained. The earthquake that shook Nepal in April 2015 was a major one and considering its magnitude, the Durbar High School did survive very well. The major damage was caused on the south wing with collapse of the gable wall and the roofing structure. However, of the original school building only the eastern arcade wall collapsed. The masonry piers and the beams of the entry porch were also affected. The classrooms had repairable damage and a large part of the building survived the earthquake. Post-earthquake rapid assessments however provided the building with a red sticker meaning that it was too dangerous to use and the school was run in the Temporary Learning Centre built within the

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premises. Paradoxically, the students ran around the arcade and into the building that was considered unsafe. Many institutional building in Kathmandu, modern and historic were affected by the 2015 earthquake. It is interesting to note that generally retrofitting was carried out on modern construction whereas the historic structures in brick masonry were subject to demolition. Durbar High school was one of the targets. This raises various questions such as whether we lack expertise in such historic structure and whether we lack the understanding for the heritage value of these historic building which once demolished will be regretfully lost forever for future generations.

CONTROVERSIAL RECONSTRUCTION

A further controversy has arisen with the reconstruction of Durbar High School. The first modern school building that was constructed in 1892 was damaged during the earthquake and instead of any efforts towards restoration; the government has plans to build a new school. The Department of Archaeology seems to have washed its hands off the project by saying it was destroyed during the 1934 earthquake and is therefore not 100 years old, which is not correct, since at the time it was only partially damaged. Department of Urban Design and Building Construction (DUDBC) is clearly not in a position to deal with historic buildings. A proposal by the Society of Nepalese

Architects (SONA) has been brushed aside. Supposedly the reconstruction of the school was started after approval from the National Reconstruction Authority, Department of Archaeology, the school management committee and Kathmandu Metropolitan City. They agreed to a new design using reinforced cement concrete and an additional fourth floor though it is said that the height of the building would remain the same and a neoclassical architecture look would be given. This controversial project of demolishing the first modern school building of Nepal and rebuilding it with a new design is being supported by the Chinese Government. Interventions by activists and conservationist were ignored. This is another loss to Nepali heritage. n JULY 2018 SPACES / 27

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KATHMANDU METRO

AN INTEGRATED FUTURE TRANSPORT FRAMEWORK Text & Photo: Badan Lal Nyachhyon

ABSTRACT The Authorities now seem very much desparate to resolve the traffic issues of Kathmandu Valley. Sometimes they announce implementation of flyovers, other time talk about monorail and now Investment Board of Nepal has called international consultants to carry out feasibility design of Dhulikhel – Nagdhunga Metro rail (37 Kms). The international competition intended to bag the contracts now in windfall in media with supplement of: The Chinese offer for monorail in Kathmandu Ring Road (Sky rail), The French ambassador is knocking the door of the ministry for Cable Car projects; JICA has proposed Bus Rapid Transit (BRT) and Automated Guided Transit (AGT) in Kathmandu Ring Road; and ADB is studying for various alternatives for MRT. The recently concluded Road Safety Conference has clearly indicated that one of the issues is lack of: ownership of transport assets in totality and institutional framework that can effectively provide coordination among the various agencies. In the context of Kathmandu, the traffic belongs to Traffic Police; Strategic Roads are dealt by the Department of Roads; Vehicles and Drivers’ registration is dealt by the Department of Transport Management; the urban roads are supposed to be the property of municipalities. The vehicle parking areas, pedestrian and bicycle paths are grossly neglected. Who takes care of new mode of transport? Is it Department of Railways or Kathmandu Metropolis or Department of Roads? The mass transit systems are systematically destroyed in favor of small vehicles and private cars with the aim to collect more revenues to the national treasury. The deteriorating road conditions, traffic jams, accidents, air pollution have created inhuman living conditions. Except the ring road, during last century not a single kilometer of road had been added to the traditional Kathmandu valley road network developed to cater the religious and cultural pilgrimage sites and the rulers’ palaces. Kathmandu Valley Authority has shown no other wisdom than to

INTRODUCTION

Kathmandu Metro vision is gradually growing with the understanding of its gravity for long term development of Kathmandu Valley, and creating an enabling environment for development of Kathmandu Valley 28 / SPACES JULY 2018

widen the roads by destroying the road side traditional buildings forming the traditional and heritage urban setting. In this context, the authorities and the people are desparate to resolve the transport issues and looking at various options as introducing monorails, flyovers, pedestrian overhead bridges which add to the traffic congestion rather than reducing the traffic jam and air pollution. As diaspora had expressed from time to time, the land should be free from encroachment of traffic densification and building construction, and rather the authorities should opt for underground traffic and high-rise urban development keeping the land free from physical development and provide the space to the people and natural environmental protection creating pristine environment committed by the new constitution. In this perspective, the author visualizes that the best transport framework for Kathmandu Valley would be a hybrid Metrorail system with underground rails within the ring road and over ground system beyond, and other transport modes as BRT, Monorail, Cable Car serving as feeder to the Metrorail system. Since the Metrorail development will take considerable time, adopting Metrorail as basic transport framework will help to develop other transport modes in systematic and effective manner without duplication of efforts, and more particularly demolition of the urban setting. At the same time, promoting Metrorail in Kathmandu Valley will be an opportunity for creating global partnership for further studies for future development and mobilizing technical and financial resources. This requires an advanced mission and vision of development on the part of the local municipal governments who are the responsible local bodies authorized by the new Constitution. Keywords: Free Land Space, Metro Rail, Municipal Authorities, Ownership, Coordination, Transport Framework, Long Term plan

as a pristine place for living, working and contributing for the betterment of Nepal and the rest of the World. Taking into consideration the historic advantage of the peaceful and pristine environment of Nepal, where several

ancient literature, philosophy and wisdom has been created through creation of Shiv Puran, Padma Puran, Garud Puran, Four Vedas, Ramayan and Mahabharat, and emergence of Budhism that enlighten the World with Gautam Buddha’s message of

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“Non-Violence”, peaceful coexistence, creation of New Nepal started by Huyan Ziang, a traveler from Tibet to Kathmandu Valley to worship the divine lightemitted from Swayambhu Hills. The conglomeration of seven world heritage sites in Kathmandu Valley is marvelous asset not matched by any sites in the world. The world heritage sites are flanked by numerous tangible heritage monuments spread over the whole townships and neighborhood in all settlements make it even more fascinating and unique. Once it is used say about Kathmandu Valley: more temples than people.

were recently widened to vehicular roads.

The development of Kathmandu Valley is based on these history, culture, knowledge and wisdom, and aspiration of the people. Every city in Kathmandu Valley is created with a philosophy behind and has a deep sense of knowledge and wisdom. Kathmandu is said to be developed in form of “Khadga – a divine sword of goddess Durga Bhawani” whereas Lalitpur is developed in the form of a Chakra and Bhaktapur in the form of a Conch.

Lately, the widening of roads in Kathmandu Valley was initiated by demolishing the road side buildings, heritage monuments and settlements to cater the growing number of vehicles in the Valley ignoring the heritage conservation and urban development context. Except the ring road, practically not a single new road was been planned and constructed in recent times but widening of the ancient routes.

TRANSPORTATION PLAN OF KATHMANDU VALLEY It is our firm belief that the development of Kathmandu should be based on a firm philosophy: continuity of the past blended with modern achievements of Science and Technology addressing the needs of ever-growing urban areas, and spatially keeping land free with transport system taking underground route and urban setting occupying overground space. This would primarily be governed by the transportation network that will remain firm for a long period based on a transport framework. The current transportation network in Kathmandu

Valley was developed based on the historic routes of pilgrimage serving the famous heritage and pilgrimage sites as Pashupatinath, Guheswori, Budhanilkantha, Bouddhnath, Swayambhu, Godavari, Matatirtha, and trading routes to Tibet and India, and lately developed for catering the movement of chariots of royal families. These ancient travel routes

In general, Kathmandu lacks a transport plan that can cater the demand of modern time and certainly not of the near future. In the absence of a long-term transportation and urban development plan, the authorities have no choice than to take ad hoc decisions and create chaos. The recent activities of the authorities for widening of the roads through dismantling ancient cityscape and encroaching the historic and heritage monuments is the outcome of this ad hoc approach. Back in 1990s with the restoration of the democratic municipalities, the Municipalities could not accept the proposals for development of new roads because it takes time for planning and implementation. The municipal JULY 2018 SPACES / 29

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authorities had no patience and ability to dedicate for research-based development. The tradition of ad hoc decision making is still in practice and the current news about flyovers, monorails, road widening through dismantling ancient settlements and houses are the outcome of the lack of planned development and long-term vision. The recent announcement for initiating feasibility study of selected routes of Metrorail is a welcome step but need to be careful since there is no agreed master plan or long term transportation development plan of Kathmandu Valley has been prepared. A mistake in selection of route or junction design will be very costly for the society. All sorts of precaution and risk analysis would be a preferred action.

INITIATION OF KATHMANDU METRO STUDY

The need for Metro Development in Kathmandu was realized in 2000 with the failure of Bagmati Bridge at Thapathali in 1995. This idea was shared with Nepalese students in Moscow for undertaking research and thesis work on Kathmandu Metro. But it took certain pace. Only with the initiatives of Dr. BL Amatya, who had taken time to develop a conceptual plan and shared to the professional audience in Nepal and abroad. Dr. Amatya made presentations in various forums as Society of Consulting Architectural and Engineering Firms Nepal (SCAEF) and Nepal Engineersâ&#x20AC;&#x2122; Association (NEA), the Embassy of Nepal in UK in 2016, and International tunneling Association in Norway in 2017.At the same time, the Department of Railways took initiatives to make a

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preliminary study of Kathmandu Metro in 2012 that considered Metro rail within the ring road.

surrounding hills for many years to come.

KATHMANDU METRO AS A FUTURE TRANSPORT FRAMEWORK

The Kathmandu Metro System has now taken a certain shape at least in the minds of professionals as they are looking for a rational and judicious system that can serve Kathmandu Valley in a sustainable manner. The Government has initiated a feasibility study of Kathmandu Metro in 2012 with a limited access within Kathmandu Ring Road with 5 lines and central station at Jamal. It is a limited study and did not considered integration of other critical parts of Kathmandu Valley as Thankot, Godavari, Budhanilkantha, Thimi and major potential economic centers in Banepa and Dhulikhel. The major issues are the lack of clarity:

Now, we have fairly good knowledge on the need for development of Kathmandu Metro as the basic and long-term transport framework of Kathmandu valley serving whole valley and integrating all transportation modes into one integrated transport system and connecting business and tourism hubs. Other transport modes as buses, cars, railways, airport, monorail, metro cable, bike tracks all could be integrated into a future transport framework serving whole Kathmandu Valley and the

FEASIBILITY OF METRO

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for connecting small cities/towns, which section will be underground and overground, number of major stations to be reduced and routes to be shortened, conservation of historic and cultural heritage sites, conservation of hydro-geological heritage of Kathmandu valley expressed in terms of ancient Royal Canals feeding ponds, dug wells and traditional heritage water spouts with history of over 1,500 years. Dr. BL Amatyaâ&#x20AC;&#x2122;s study The study by Dr. BL Amatya presented in Nov 2016 has taken several of the issues described above into consideration and has a wide vision for development of Metro as a long-term transport framework of Kathmandu Valley. The other modes of transport will serve as feeders and allow integrated system development. The study covers Kathmandu Valley in broad terms and developed with

the objectives of: developing a sustainable, affordable, fast, safe and reliable transport system integrated with populated and business centres, decongest the already congested surface transport system, promoting Kathmandu Valley as regional and international business centre bringing unaccountable intangible economic benefits, converting core heritage areas into pedestrian areas creating peaceful and pristine environment, helping conserve the tangible and intangible heritage, encouraging cultural tourism and image of the nation.

NEED FOR CONTINUED RESEARCH, STUDIES, DIALOGUE AND COLLABORATION

Kathmandu Metro is a mega project and for its implementation, there is a need for mega preparation, research, study, dialogue and collaboration. It is essential that the studies are continued without losing time and whatever resources are available should be mobilised. The colleges and universities of Nepal could be a source for research works provided them to come forward to take initiatives and extend cooperation.

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The message of sustainability of Kathmandu transport framework in long run is essentially needed to be delivered to the decision makers, general people and the world community for generating understanding, mobilising technical knowledge and skill, mobilising resources including enhancing tangible and intangible benefits. Dr. BL Amatyaâ&#x20AC;&#x2122;s initiatives and exhibition in Norway in the International conference on Tunnel engineering has led to the friendship between International and Nepalese professionals. This has opened a new avenue for establishing cooperation for research on Kathmandu Metro Development .

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DETAILED STUDY TO CORRECT PATH

The Investment Board of Nepal has recently taken initiatives for undertaking the detailed feasibility study. This initiative is probably based on the preliminary study conducted by JICA. It is not known whether the preliminary study developed as a master plan taking care of long term development and have developed consensus with the local society at large and the professional societies. The feasibility of Metro lines shall be decided based on the overall master plan based on a transportation framework that will lead the

development of future transportation of Kathmandu Valley. May be the Government needs to focus on the Master plan study based on long term mission and vision. A detailed feasibility of a single route without a proper long-term vision and Master plan is always dangerous and risky. Any mistake in selection of an alignment of the metro system cannot be recovered and will be a big burden. Probably a good homework is of essence to establish a long-term transport development framework with Metrorail as a base and conducting a mass discussion and getting confidence in what we are planning may lead to a correct path. n

CONSTRUCTION

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MADAN PURASKAR

Pustakalaya Text: Pranathi Photo: A. Rajbansh

MADAN PURASKAR PUSTAKALAYA, LOCATED IN THE HISTORIC PRECINCT OF PATAN, ADJOINING THE PATAN DHOKA HAS BEEN A BEACON FOR ARCHIVAL ENDEAVORS IN NEPALI LITERATURE. IT IS A RECEPTACLE OF LITERARY AND CULTURAL TREASURES. IT HOSTS THE LARGEST ARCHIVES OF NEPALI LITERATURE IN THE COUNTRY AND HAS AN ACTIVE DOCUMENTATION OF HISTORIC BOOKS AND DOCUMENTS. THE TRUST OF MPP FOUND ABARI, A DESIGN-BUILD FIRM, IN THEIR QUEST FOR NEPALI DESIGNERS TO RE-BUILD THIS MONUMENT OF SORTS, AND IN THE EFFORT BE ABLE TO UPHOLD THEIR VALUES OF PRESERVING THE VERNACULAR IN THE ARCHITECTURAL LANGUAGE OF THE NEW BUILDING.

he Rana style building that was adversely affected post the 7.8 magnitude earthquake in 2015 was built with Nepali burnt bricks and decorated with plaster of Paris trimmings. Its characteristic library look was emphasized with the minimalist grid windows that looked out into the manicured gardens.“When we set out to rebuild the historic building we had to pay homage to its previous incarnation, so we decided to build on the same foundation and reuse some of the historic bricks, with the historic Bikram Sambat dates still evidently etched on them!

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PUBLIC READING SPACE

TOILET

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ARCHIVE

The company has been a pioneer and specialist in contemporizing the ancient technique of rammed earth walls. The core of the complex is comprised of rammed earthwalls and the offices are designed around it, for a more constant thermal comfort; whilst the archive has a more light-weight breathable wattle and daub wall construction that is inspired from the Terai region’s vernacular language. The archive has a dramatic double storey which is best appreciated when one is looking down at it from the split-level balcony. The entrance to the library is punctuated with the unmistakable

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OFFICE SPACE

OFFICES

feature of ABARI’s spatial designs, a bamboo staircase! It has beautiful detailing and floats effortlessly to the split level upper storey. The material palette is truly a celebration of earthen colors with pastel shades of earth paint on the wattle and daub walls, from deep reds to subtle yellows. And the golden hues of the bamboo are offset with the black angular metal junctions. This joining technique was developed over years of research and was found ideal in Nepal’s context where one could construct a large space using pre-fabrication systems. It played a pivotal role in the speedy yet stead fast resurrection of the library to

The library has been functional for the past two years and has been appreciated by the staff and visitors for its customized spaces with quiet corners and the filtered sunlight. The chamber with the collection of books is adorned with small windows at strategic locations to ensure there’s plenty of light and ventilation, whilst the facade has dramatic glass windows which invite the passerby to enter and explore the space. There are no embellishment sowing to the minimalist design approach, which deftly highlights the bamboo and soon becomes the subject of discussion. OFFICE SPACE

One of the highlights during the construction process as recalled by the designers and foundation members alike, was when the late chairman, Kamal Mani Dixit addressed this new take on the building as a Chapel of Light. He appreciated the marriage of the modern take on fenestrations and the classical look of a cathedral in the double height space of the library. It stands singularly proud of its newage design yet blends effortlessly into the soft hued brick and tiled roof neighborhood of the colloquial Newari architecture. It represents a promising future for conserving, preserving as well as contemporizing all that is traditional, cultural and vernacular. n

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HYBRID LANDSCAPES OF NEPALâ&#x20AC;&#x2122;S HIMALAYAN FRONTIER Text & Photo: Dane Carlson

IN MUSTANG, THE INTERACTIONS BETWEEN DEEP CULTURAL HISTORIES, EMERGING INFRASTRUCTURAL PRACTICES, RAPID DEMOGRAPHIC SHIFTS, AND OTHER REALITIES DRIVE THE CONTINUOUS FORMATION OF A HYBRID LANDSCAPE. THOUGH IT IS KNOWN AS A PLACE OF DEEP HISTORY AND BEAUTY, THE REALITIES OF THIS LANDSCAPE ARE MUCH MORE COMPLEX. AS THE HYBRIDITY OF CONTINUITY AND CHANGE CONTINUES TO UNFOLD, THE LANDSCAPE CAN BE SHAPED BY PARTNERSHIPS BETWEEN DESIGNERS AND COMMUNITIES TO BUILD PRODUCTIVE RELATIONSHIPS AND REDUCE VULNERABILITY.

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andscape architecture is ideally suited for this design practice. This discipline is not limited to planting design or decorating the works of architects. For example, the growing number of coastal resiliency-building projects on the eastern seaboard of the United States initiated in response to disaster and rising sea levels are led by landscape architects. This practice defines landscape not only as vegetation and topography, but as “land and the people who inhabit the land, as well as the relationships between them.” As the landscapes of Nepal are increasingly shaken by change and uncertainty, this practice is necessary.

As design begins to respond to these and more complex challenges, the methodologies of practice must also change. The emerging discipline of design anthropology proposes the agency of ethnography is its use “in the design process itself, rather than as a retrospective tool.” Utilizing ethnography as a platform for design intervention, designers can appropriately situate their work next to the lives unfolding within the landscape. To do this, they must immerse themselves in the concrete realities of daily life, understanding the rhythms of the land and the ways in which people work with it.

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Design anthropology allows us to see the inherent conflicts between the complexities of human life and the one-dimensionality of dominant design practice. New infrastructures often have a singular purpose and fail to respond in any way to the possibilities of the landscape surrounding them. Prolific road building provides many examples. The recently paved road from Muktinath to Kagbeni is plied by seasonal jeep and bus traffic. This is dangerous for the shepherds and livestock that travel along portions of this road, particularly near the roadâ&#x20AC;&#x2122;s many blind corners. Concrete canals are another example. They convey water from point A to B, increasing speed and reducing water loss. But in Mustang, many fields are no longer cultivated and increased water volume is unnecessary. A waterproof concrete lining prevents firewood, fodder, and fruit producing trees from receiving the subsurface irrigation provided by stonelined canals. In Chhyongkar, one herder noted that a new section of concrete channel was both more difficult for his goats to drink from and increased the risk that a kid might be carried away in the swift water. But people still find ways to adapt these one-dimensional infrastructures to their changing need. Below Thorong La, another herder uses runoff from a poorly installed pipe to fill a series of small watering ponds. The streams here all lie in deep gorges, and these small ponds provide a simpler and safer alternative for watering livestock. Infrastructures and engineering practices can shift away from onedimensionality, supporting the needs of people that live within and around them.

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Materiality provides another lens through which to analyze the relationships between people and land. Political ecologist Jessica Barnes describes materiality, saying that â&#x20AC;&#x153;the material properties of a thing shape the kinds of apparatus employed to extract, process, transport, and utilize it. In the process, they variously facilitate, inhibit, or disrupt forms of society-environment interaction and set the terrain of political possibilitiesâ&#x20AC;?. Investigating materiality provides a deeper understanding of the broad systematic relationships underlying objects and materials. The example of the chhorten (stupa) provides insight into the depth of materiality. Photos of Mustang often feature colorful Chhortens made from mud and stone painted with clay pigments. These materials erode as exposed to the elements, a material property that goes hand in hand with cycles of ritual and physical regeneration. As rain and snowmelt runs over an earthen chhorten, the texture of the surface is a visible, tactile register of the passage of time. Clay pigments are painstakingly extracted from mineral deposits and colors and patterns vary from village to village. Chhortens are visible signifiers of memory or of the landscape narratives which inhabit Mustang. The materials used to make them have complex relationships with the landscape.

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But concrete and store-bought paints are increasingly used to build Chhorten. This is in part to lessen the annual burden of remaking, including associated costs and labor requirements. It keeps the belongings placed inside, often those of a deceased lama family member, dry and safe. The shift to concrete construction is concurrent with the outmigration of young people and the loss of knowledge surrounding regeneration practices, symbolic meanings, village mythologies, and the purpose of the Chhorten. As in any other place across Nepal, the ability of people in Mustang to

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exercise agency within the landscape varies dramatically. Established and typically landed castes, such as the Thakali or Gurung, hold the lionâ&#x20AC;&#x2122;s share of economic, political, and social capital. Marginal groups hold comparably little and are subjected to greater vulnerability. In lower Mustang, shepherds are one such group: usually from districts south of Mustang, they care for animals that are not their own in a landscape where they have little acknowledged agency. Their vulnerability is exacerbated by strained relationships with flock owners, increasingly unpredictable precipitation, overgrazing, and livestock predation.

Designers have the ability and duty to act in partnership with marginal populations, reducing vulnerability by shaping the relationships between people and land. But the toolkit of design here is not simply alteration of the built environment. It is to develop partnerships that allow people to be proactive in the context of emerging change, expanding their knowledge and agency within the landscape. Shepherds accumulate knowledge of this landscape through their daily ranging practice. If this knowledge is supplemented by a broader understanding of basic scientific principles of ecology, biology, and other disciplines, it can expand their ability to productively shape the landscape.

ARCHITECTURE

In the rangelands shared by Dzong, Chhyongkar, and Putak, small villages close to Muktinath, overgrazing and a recent decline in precipitation have severely reduced available fodder. Water from sporadic, heavy rainfalls do occur, is quickly lost as surface flow down a series of heavily eroded gullies. Remaining soil moisture is further reduced by sun and windinduced evaporation. In response, a design proposal suggests the construction of a series of check dams along a seasonal flowline. Each check dam is flanked on its west side by a small wall. As the check dams slow storm runoff to reduce erosion and recharge groundwater, the walls create shade and diffuse the powerful southwest wind. On the slope above and to the southwest, a series of

small walls act as snow fences, interrupting snow-bearing winter winds and causing the formation of drifts around these walls. The shade cast by each wall slows the melting time of each snow drift, allowing it to act as a sustained water reservoir. Each of these measures supports fodder growth by recharging and sustaining water in the soil. Most adjacent hills are topped with a small horseshoe shaped stone shelters from which shepherds can watch their flocks as they graze within and around these walls. The modification of existing infrastructures can also support this herding practice. Above Chhyongkar, a concrete canal runs to the fields of Dzong and Putak. But most of

the water it carries is unneeded and is eventually discharged into the river below. By taking a small cut of this excess water and channeling it through a series of cascading enclosures, herders can grow firewood for themselves and fodder for their animals. Both of these are vital commodities in short supply in the surrounding landscape. These enclosures are accessed by a small ladder, preventing goats from climbing inside, and walls protect the vegetation inside from wind and sun. One wall of each is made of adobe textured by deep triangular grooves. As grazing practice is phased out in the coming years, the erosion of these walls, expedited by rainwater running over these grooves, will open the enclosure to deer and other wildlife. These proposals are an extension of a broadened database of knowledge and an increased landscape agency for shepherds. Their design responds to the complexities of daily life and the needs of people. Landscape architects and other designers can, and have the duty to, expand their design practice in support of people in the changing landscape. This work was made possible by support from the U.S. Fulbright Student Program, 2017-2018 n JULY 2018 SPACES / 45

Thamel Villa HERITAGE HOTEL

Text: Rajina Shrestha / Urusha Karmacharya Photo: Sunny R. Tuladhar

THE MOST ADORED THINGS IN OUR COUNTRY AND CITY ARE CONSISTENTLY INCONSISTENT. TILL A FEW DECADES AGO WHEN ALUMINIUM WINDOW PANES, AND EVEN CEMENT PLASTER WERE NOT A TREND OR TECHNIQUE USED IN BUILDING CONSTRUCTION; MUD HOUSES WERE MOSTLY 2-3 STORIED, AND SPACE WASNâ&#x20AC;&#x2122;T THE BIGGEST LUXURY. WHAT STOOD OUT AMONG BEAUTIFULLY INCONSISTENT CITY HOUSING, WERE THE FANCY NEO CLASSICAL ARCHITECTURE AND ITALIAN MARBLES THAT THE RICH COULD AFFORD.

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nside a concrete tile pathway at Chaksabari Marg in the busy Thamel, is a beautifully renovated Newar neoclassical style building sitting in its own comfort; welcoming you with the now contemporary name sign saying “Thamel Villa Heritage Hotel”. Just 50 footsteps in from the noisy, hipster paradise, every house you see is quite, small, green and previously all a part of the same property. Starting from the middle of the 19th century, beside neoclassical, certain elements found in Mughal architecture in India were incorporated into the Newar

vernacular thus exhibiting a unique Newar architecture, the Newar neoclassical style you can see in most significant buildings in the country. Bahadur Shamsher Rana originally owned most of what your eyes can see in the space and was later bought by Sanunani Shrestha Singh, Ganesh Man Singh’s mother in 1953 AD. The building is believed to be 102 years old. The bigger share of the property was later segregated and one of the houses today is a boutique hotel with classic architecture and

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upscale amenities. This choice of accommodation comes in between an impersonal five star hotel and a cheaper alternative that lacks character. The hotel, now four months in operation, has 8 rooms and a view it got in inheritance. You are welcomed into a reasonably spacious lobby beside a courtyard, before being escorted into one of the four choices of rooms available: Deluxe, Super Deluxe, Village Superior, and Villa Suite. All the rooms are either floored with wood or telia tiles (mud tiles from Bhaktapur) and decorated with mostly vintage furniture. The rooms, named “Ka”,

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Kha”, Ga”, upto “Ja” move bigger in space till they reach the Villa Suite at the top floor. The Suites look like a service apartment- a concept getting more popular in the city, with your living room, small kitchen and dining space, leading to the entrance to the terrace. The terrace is semipartitioned and shared through two entrances from the two Villa Suites. The bedroom, is an interesting attic space with skylight. The guest is sleeping directly under the roof and stars with slanted glass windows just above for the view. The skylights were one of the things conserved during renovation of the

building. In the Suite Bedroom and the lobby, they serve the purpose of daytime lighting. Other examples in the hotel of old design currently exemplifying the space are the TV set just above the furnace in Village Superior rooms, spacious staircase made of old chip marble, and cozy old wooden beams at the roof. Renovation is tricky, hard, and expensive when it includes retrofitting and refurbishment. Especially where all the surrounding cousin buildings are also renovated and in-use, Thamel Villa has tried to maintain the consistency. The renovation, that started in 2015 just before the

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earthquake, took quite a while to complete. The construction with intentions of minimal invasion saw only wood, bricks, and zinc sheets being reused. The wooden staircase leading to second floor was changed to meet the current practice standard (due to less preferred inclination) and is now a more stable L- shape. The flooring in most rooms were renovated from originally mud to being supported by wooden board and then hardwood flooring . Most bathrooms were newly constructed. The third floor terrace which was originally part of the attic was newly constructed on. Because the building is divided into two, you can notice the compromise in design to maintain a level of consistency between the cousin buildings. The terrace construction required a wooden board support as did other floors, followed by an I Beam support and cement dhalan. Apart from Sofas and a few contemporary tables and lamps, most of the furnitures were locally made in vintage theme. Apart from that, the renovation was a challenge, says Alok Maskey, the designer of the building, that smallest things like wiring were remodeled to fit in to the clean design. Renovation saw a lot of background work with structure support and technicalities like retrofitting. The cost can come to as much as building a new one and itâ&#x20AC;&#x2122;s still a process. Even though AC was not a priority initially since buildings like these with 18-24 inch walls provide a thermal insulation, it will be added JULY 2018 SPACES / 51

on for comfort of the guests. As winter is approaching, heating also needs consideration and dampness is an issue that will need to be tackled. Mr. Maskey also has similar buildings in Patan where spaces like these are a growing area in Air BnB business. Online visibility are helping the businesses like these gain attraction and these businesses are in trend for right reasons! The architect who designed the original building, also designed a very similar building in Beni which is now a hotel called The Heritage at Mallaj. Maybe apart from the beautiful space and accessibility, one of the most comfortable things about Thamel Villa Heritage hotel is a fun restaurant, Jatra, right next to it where the guests get their dinner and breakfast is ordered in from. There is a remarkably consistent comfort in this small space in Chaksibari Marg. n

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NEW

IN THE MARKET

FENESTA Fenesta, India’s No. 1 uPVC windows and doors brand is now available in Nepal. A part of DCM Shriram, the 125-year old group acknowledged for its transparent work culture and diversity, offers a complete-end-to-end solution, from the selection of designs, site surveys and fabrication at state-of-the-art factories to installation and after-sales service. Fenesta, the superbrand in fenestration has specialized features like, Insulation against pollution, Sound proofing against noise, Blocks rainwater seepage, Resistant against weather and withstand extreme climatic conditions. Apart from these, one can be assured for its elegant looks and low maintenance. The energy efficient windows and doors ranges in many varieties which integrates a grill and bug mesh in the Villa Window, the world’s first casement that combines the traditional window design with the advantages of uPVC whereas the Tilt and Turn Windows swings like a door or can be tilted at the top. The Slide & Fold Door’s panels can be configured with multiple panels for large openings and can fold smoothly to one side. Besides these, there are other varieties of windows and doors according to ones necessity and preference. The architecturally outstanding models come with multiple point locks and the option of grills and toughened glass. For further detail, contact: Parth International P. Ltd. - 9802044440, 01-4245342

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ART

ART FOR THERAPY

REVISITING THE WALLS OF A HOSPITAL Text: Madan Chitrakarâ&#x20AC;&#x192; Photo: Manish Lal Shrestha

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ART

And at the sight of these exotic imageries on the walls or the installations hanging in air, a patient – a child, it is most likely, would momentarily forget his or her sufferings – the very reason visiting the hospital. Instead, is being led to a pleasant world of fancy imagination – filled with colorful birds flying high in the sky, or rows of floating fishes above the waves of water or groups of birds – flying or dancing in air or a similar world of fantasy; and then is led to a momentary solace.

ART FORMS ON WALLS: A TIMELESS TRADITION

But creating art-forms on walls has never been something new or a nobility in human history. Men have had learnt to create art on the walls since he began to live within a closed enclosure or inside a shelter – or a place with walls. Exotic cave art found in now world famous Altamira and Lascaux - located in France, are

some of the glaring examples in this regard. And it shows how men began to embellish their walls - by drawing and painting. They began the tradition so early in the human history – with almost realistic or correct depictions of wild animals like bison and bulls some 10,000 years ago! Students of art history may find it familiar, during 3000 B.C., Egyptian artists began to embellish huge and the entire walls of their temples with imageries – glorifying the heroic deeds of their kings or the Pharaohs with the scenes of hunting. So are the fabulous frescoes found in the island of Crete – created during the great Minoan civilization – long before the rise of famed Greek civilization? But what has had remained common in all these historic art, is the choice of subjects or the theme – mostly always converged to the depiction of birds or the animals at play. An image of ‘Bull Leaping’– a bull in a play-full mood found in the frescoes from Minoan period, some 2000 to 1400 B.C. remains a typical example.

recent visit to the Kanti Children’s Hospital at Maharajgunj, one may be for some unexpected but pleasant surprises. Not that the mode of services in the hospital have been changed radically overnight or visitors are now begun to be treated with a five star luxury. Rather, it is the physical visual looks that a visitor would confront once inside the premises. For sure, as a visitor first enters the premises, he or she would unfailingly be welcomed by an array of recently created colorful and exotic visual imageries – a panorama of visual forms – adorned all over the important walls or the corners of the Hospital.

Egyptian artists painting the walls of a Temple, 3000 BC.

Nearer home, there are also the great examples of exquisite frescoes of Ajanta in India and at the Fifty five Window Palace at Bhaktapur Palace complex. For sure, moreover, it all have had also well demonstrated that throughout the human history, as an example of where art and architecture could meet or converge, nothing can

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Bull Leaping, - A frescoe from Minoan Palace, 1500 BC.

be more vivid and meaningful than a mural or a work of art on the walls. So here, in spite of all such glorious and historic examples, however, but what brings us here – to the recent art on the walls of Kanti Children’s Hospital, is the motives to create, the choice of subjects and the medium.

ART HERE: NOT ONLY TO ADMIRE

Entitled ‘Health Transformed by Art’, going through the entire array of works here one may find, the art is primarily created for soothing or healing objectives. And the entire series are the result of a commendable initiative made by Siddhartha Art Foundation and executed by the students of Sirjana College of Fine Arts and Kathmandu Centre for Art & Design: and as said earlier, is exclusively planned, designed and executed with the sole objectives to make use of the entire art for therapeutic purposes.

And regarding the choice of the site specific, a fact that, hospitals which usually filled with the cacophony of groaning, wailing sounds of the ill or the wounded or a solemn air filled with not so pleasant medicinal odor, nothing can be of a better alternative than a panorama of colorful forms or visuals - for distractions and as a source of immediate psychological So to begin with, the very motives of visual relief. And to attain a lofty goal of the entire project has remained noble, art for therapeutic purposes, for sure different and far from a contemporary the organizers obviously have chosen a notion of art - to ventilate individual very right decision – a hospital, focused feelings of an artist; or unlike in to the health of children. And the the past, to cater to the collective organizers must be commended for the religious thoughts. Moreover, instead apt choice made. of an art aimed to be admired by a set of chosen elites, here the entire The other amazing part of this exercise exercise is made humane – solely is the thoughtful choice of forms or directed towards the well-being of the colors. It’s a common wisdom that sick or wounded children. children are fond of shapes and forms 56 / SPACES JULY 2018

of birds and animals. They get lost and love to be mesmerized with the play with the birds or the animals. More so when it’s all presented in simplified or cartoonised forms. Precisely bearing it in mind, the creative team has focused more on the depiction of huge birds, animals and fishes in simple multiple primary colors. To cite few examples, there’s an impressive figure of a huge colorful bird – wings spread …richly colored. So enchanting is the image that people with their sick child began to pose with the visual bird as the backdrop. Yet interesting images include huge heads of elephant and the stag. As is made for children, they are all created bearing in mind the children’s love for fancy and primary colors. And a colorful circular disc – supposedly the sun radiating the cosmic energy to the benefit of mankind.

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When asked on how it all began, Manish Lal Shrestha – a well known visual artist and one of the coordinators of the project from Sirjana College of Fine Arts, shared that it was initially a very simple idea – just to get rid of ugly eyesores like undesirable signage etc: and create a clean and a little better pleasant environment of the hospital. Later, it developed into a more creative art project with the noble objectives – An Art for Therapy. It could be done by creating simple imageries of things children love the most – birds, animals etc. Thus also began the colorful image of Sun - a huge circular form – rotating in close-wise direction. Added

to it were the images of different sizes of fishes – some nailed on the walls and some in groups dancing above the waves of water. It’s all as if they’re seeking the warmth of sun. More interesting is the scores of fish-like forms hanging in air – with the help of wires – as if they’re all there to welcome incoming visitors. But the most important part of the project has been the medium of the art – chosen to create forms. Often a common problem and a complaint has been that hospitals are usually littered with unpleasant waste materials – mostly plastic bottles and

the caps. So a wisest way to get rid of it is to make use of it. Accordingly thus, here the entire imageries are created not through any of the professional paints or brushes – rather the cutout plastic bottles of different colors, shapes and sizes or the caps of the bottles. By making choice of such waste materials, the artists have well succeeded in attaining twin objectives at a single shot – proper use of waste materials and help create a series of beautiful artistic forms. No need to add it did help create an artistic ambience in an unlikely place – the walls of a hospital! n

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MARVELS

FROM THE SELF-TAUGHT AND THE GROOMED Text: Suprasanna Aryal Photo: Bijaya Maharjan/Nipurna Bajracharya

here is a creative side of each one of us, which when groomed and practiced well, can create wonders. Realizing this, some prominent people born in the mid-nineteenth century in Nepal chased their inclination toward art despite belonging to different academic and professional backgrounds, and emerged as selftaught artists. With some guidance and support of renowned senior artists, they have brought in their

expertise from fields including political science, history and human rights, expressing new perspectives and emotions in the contemporary art world of Nepal. Additionally, there are some more artists from this era who have been academically and professionally groomed well, going to art schools and learning theoretical and practical aspects of art from artists belonging to different countries.

This generation of artists got comparatively more exposure to newer techniques and forms of art than the senior artists and have been sharing their experiences to the younger generation of emerging artists. Many of them are part of Sirjana Contemporary Art Gallery and Sirjana College of Fine Arts team. Their art pieces were on display at the collective art exhibition Sirjana-2018 held in Kathmandu in May 2018.

CONTEMPLATING THEIR ART PIECES No relationship is as beautiful as that of a mother and her child. A mother can be as soft as silk when it comes to nurturing her child but she can also turn into a tigress if her child needs protection. Artist Mahen Mohan Shrestha depicts this beautiful relationship in his painting ‘Vision’. Inside a bluewalled room on a comfortable orange mattress sits a mother with her child on her lap. The child seems to feel warm, safe and pampered. She holds her child tight, thinking of her child’s future. The child is chubby- plump face, arms and legs. While these are signs that the child will grow up to be an amazing human being under the mother’s care, the image also raises many questions; is she financially secure to be able to provide for the child? Will she be able to raise her child right? Work by Mahen Mohan Shrestha.

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Artist Rajesh Gautam’s art pieces are influenced by his academic and professional background and we can see traces of his knowledge on human rights activism, politics and history in his art work. For his oil painting ‘Red, Blue, Green and Yellow’, he has used different shades of these four colors that fit perfectly together, giving us a very soothing sight. Yellow perhaps denotes light- the hopes of people that tomorrow will be a better day. Red signifies revolution and gives the message that we should always be faithful towards our duties but also should not hesitate to fight for our rights. Green represents happiness and peace that we acquire after a revolution. Blue probably implies that the sky is boundless and all human beings should have the freedom to live their lives the way they want. In his artwork ‘Musical Mood’, artist Radheshyam Mulmi illustrates the rich traditional music of Nepal, bringing together colorful figurative and nonfigurative elements. We can see the image of an old-fashioned house in a beautiful village surrounded by hills and mountains. Lord Krishna is in a very good mood playing his flute. Depicting how the modern world is still preserving ancient traditions and culture, his painting has young people playing different musical instruments like Sarangi, Sitar, Tabala, Madal, Narsinga and Harmonium while one person is enjoying the music and applauding. The artist has illustrated sceneries of a religious musical event (Jatra) which is popular all over Nepal. Looking at the smiling faces, we can well understand how the music has lightened the moods of all the people, despite their diverse ethnic backgrounds. Nature is rich in colors. Observe carefully and you can get to see colors existing in nature in different forms and areas. Along with colorful flora and fauna, you can witness that several colors are reflected when sunrays fall on dewdrops or rays of light fall on a diamond. Artist Sharad Ranjit’s inspiration for abstract art comes from nature. In his oil painting ‘Dancing Colors’, he has played with several shades and these colors look like they are in motion. His fusion of colors in motion existing together harmoniously in the painting reflect the fact that different forms of dance bring together people from different countries, ethnicity and cultures. Despite their own unique identities, lifestyles, professions and religions that help them thrive in the world, these people make up peaceful, joyous and happy societies.

Work by Rajesh Gautam.

Work by Radhe Shyam Mulmi.

Work by Sharad Ranjit.

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Artists Sunil Ranjit and Sharad Ranjit are brothers and we can see traces of influences and inspirations from one another in their art works. The painting ‘Purkhyauli Naach Maruni’ by Sunil Ranjit is an abstract art depicting the traditional dance of Pun Magar community, performed to commemorate their ancestors. This dance used to be performed by only men years ago, but now even women are allowed to join in. People are adorned with colorful and beautiful ethnic costumes and jewelries. In the painting, you can see people dancing in their colorful attires and feel the excitement and happiness that the dancers are feeling while dancing. Patches of green signify that the dance is taking place in the hilly region of Nepal, characterized by a favorable weather, spreading celebrative vibes among the dancers. Lord Ganesh is worshipped for his great wisdom. This is why in his painting ‘Ganesh’, artist Gautam Manandhar has used bright yellow color on the deity’s head to portray his wise mind. The altered image of the deity is accompanied by figures that look like elephants and a small mouse, Ganesh’s baahan (transport). All these elephants look up to Ganesh, which implies that even the strongest of creatures on earth worship his wisdom. Ganesh has even got a blessing from his father, Lord Shiva, that he is to be worshipped even before people worship the mighty god Shiva himself. Looking from a different angle, the head also represents the sun while the other elephantslike figures represent hills and lands, suggesting that just like the sun provides light to the earth, Lord Ganesh bestows knowledge in our world.

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Work by Sunil Ranjit.

Work by Gautam Manandhar.

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According to the Vedic philosophy, everything in this world is made of Panchatattva; the five elements, namely Prithvi (earth), Jal (water), Bayu (air), Aakash (sky) and Tej (light). Living beings, for instance, are born on the earth and when we die our bodies go back to the earth. We cannot survive without water, air, light and its heat. Communication between two beings is only possible because of the vacuum (signifying sky) that exists between them. In his abstract painting ‘Panchatattva’, artist Navindra Man Rajbhandari represents these five elements through five different colors. Black implies the earth, yellow is air, red is light, dark blue is water and sky blue color represents the sky. All of these differently colored geometric shapes in the painting overlap each other, signifying that they exist in harmony and if there is an imbalance in any of these elements, our lives are perturbed. Tara is the female Bodhisattva (Buddha-to-be) or female Buddha. A legend says that she was born from the tears of Avalokitesvara (the male Bodhisattva). Green Tara is one of her forms who is believed to have incarnated as a Nepali princess. She is also known as “Forest Goddess”. The painting ‘Green Tara’ by artist Ashok Man Singh illustrates this deity seated on a lotus flower floating in the ocean. Her ornaments signify prosperity. One of her hands that is held downward signifies that she is there to provide protection to people and another one held higher shows that she is bestowing people with boons. Her green body represents youthfulness. Through the painting, the artist is trying to illustrate human emotions- the reason why they worship the deity- the desire to be prosperous, protected, evergreen and fearless.

Work by Navindra Man Rajbhandari.

Work by Ashok Man Singh.

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Artist Praveen Kumar Shrestha has contributed notable unique pieces to the Nepali modern sculpture. His sculpture ‘Couple’ is made from gypsum plaster in which he has used both figurative and abstract forms. The sculpture looks like a joint figure of two bodies, tall and short, possibly depicting husband and wife. We can see that between their bodies is a hollow space which seems to be in the process of being filled with some distorted features. This distortion perhaps is signifying that the couple in love is in need of more time to understand each other. This can mean both positive as well as negative connotation; is their love growing stronger or are they in the verge of breaking up? Many factors play a role; their internal matters like individual values and preferences, or external matters like their families and financial situations. The Post Modernism Age of art suggests that art isn’t meant to be only looked at, the audience is supposed to participate in it. Artist Sharda Man Shrestha’s art are based on this very philosophy. His multimedia art work ‘Let’s see who wins’ depicts board games popular in Nepal and he wants his audience to participate in his games. The chessboard’s pieces (Kings, Queens, Pawns and Bishops) don’t look like the usual pieces that we use on chessboards at our homes. He has modernized them into different geometrical shapes. His board of the game Baghchaal has images of stones positioned on different points of the board, depicting that the game has already started. To participate, the audience is encouraged to contemplate on the positions of these pieces and predict which team would win upon making certain moves. Lord Bhairab, an incarnation of Lord Shiva, is popular for both the extremes; he can become immensely pleased with his devotees and grants them everything they wish for and he also gets aggressive really soon, with abilities to even destroy the world in an instant. Devotees visit Bhairab temples and pray for their protection from evils and also to get their wishes and desires fulfilled. They offer alcohol, animal sacrifices, eggs and other food items to the deity. Artist Ravindra Jyapoo in his resin artwork ‘Hatha Dyo’ embodies Lord Bhairab that people can visit only on the day of Indrajatra in Kathmandu. Looking at this piece, you can perceive either the pleased Bhairab, smiling with big bright peaceful eyes and giving blessings to everyone around, or the agitated Bhairab looking at you with a frown and aggressive eyes that are on fire. n 62 / SPACES JULY 2018

Work by Praveen Kumar Shrestha.

Work by Sharda Man Shrestha.

Work by Ravindra Jyapoo.

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TIMELESS RED Text: Bansri Pandey

RED IS THE COLOR REPRESENTING LIFE WITH ALL ITS CONTRADICTIONS. IT IS THE COLOR OF COURAGE AND WAR. DANGER AND LOVE. POWER AND PROSTITUTION. RED IS THE COLOR OF OUR HEART AND OF OUR ANGER. IT IS THE COLOR OF BLESSINGS AS WELL AS SACRIFICE. RED IS THE COLOR OF OUR GODS AND OF OUR DEMONS. RED IS PRESENT IN OUR CULTURE SO DEEPLY, THAT WE CANNOT IMAGINE A NEPALESE SOCIETY WITHOUT IT. AND SO IS THE CASE WITH OUR ARCHITECTURE.

ricks and red clay have been some of the fundamental elements of Nepalese architecture. Developed in the Malla period, ‘dachiappa’(veneer bricks) and ‘ma appa’ (structural bricks), have since flaunted themselves on temples, palaces and homes in Kathmandu Valley. The ‘dachiappa’ bricks are especially fired at very high temperature, are darker red in color, and have a glossy finish that makes them perfect for cladding. Traditionally, Newars used a special kind of mortar known as ‘silay’ which was made from oil, vegetal resins and red clay (ratomato) to make the color that would match with the bricks.

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Many African and Indian ancient cities were mostly built from soil, clay or sand. This gave them more reddish, brownish or pinkish tone depending on the mixture used. Red has exceptional position in Chinese culture, believed as a fortunate color giving happiness, success and longevity. Front doors in Chinese culture are painted red as a symbol for ‘entrance to prosperity’. The China Pavilion on World expo Shanghai 2010 was designed with seven shades of red. Each shade was painted on a different level in order to make the pavilion look uniform in color under the sun. Many places all over the world have derived their names from using red color extensively. Marrakesh (Morocco) is also known as the ‘Red City’ due to the use of Red earth that gives the buildings a salmon pink hue. The name of the city ‘Rothenburgob Der Tauber’ in Germany, gets its name from German words ‘Rot’

(Red) and ‘Burg’ (medieval fortified town), referring to the dominating red color of the ceramic roof tiles. Not only cities, often buildings are named after the color they wear. For example, the famous Red Fort in New Delhi, Red Brick House in England (designed by Philip Webb in 1859), and Big Red-light house on Holland MichiganHarbour (built in 1907). Red is a bright and distinct color which dominates any space it appears. This is the reason, designers are very careful using this color as it activates human emotional response to the space. Most common colors used in modern architecture today are blue, green, grey and white which are in a sharp contrast to the big Red. However, the constraints are architect’s opportunity. There are many examples of buildings in contemporary architecture that uses red boldly.

Casa das Historias Paula Rego, designed by the architect Eduardo Souto de Moura, is a museum in Portugal built in the year 2008 to house some of the works of the artist Paula Rego. The building can be immediately remembered due to its two pyramid shaped towers and the red colored concrete used in its construction. It was designed to follow the artist Rego’s wishes to make the museum ‘fun, lively and a bit mischievous’.

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INTERIOR The hotel Porta Fira in Barcelona, was the 2010 first-place winner of the Emporis Skyscraper Award. Designed by the Japanese architect ToyoIto (ITO AA) and the Spanish architect Fermín Vázquez (b720 architects), the hotel tower has a geometrically complex, organic, non-orthogonal form in the style of deconstructionism. The outer facade consists of red aluminum tubes attached to ball joints to follow the surface geometry. The red color together with its form, gives the tower a distinct appearance and makes a bold statement in the suburb. The Ibirapuera Auditorium is situated at Ibirapuera Park in São Paulo, Brazil. It is designed by Oscar Niemeyer for the presentation of musical spectacles, completed in 2005. The building has a simple form of a trapezoid in white and a bold marquee built with red painted metal covering the main access. The form and color of the marquee has transformed the branding of the auditorium, acting as an architectural logo. It is officially called ‘the Labareda’ (flame). The Python Bridge, known as High Bridge, spans 90m between the canal between Sporenburg and Borneo Island in Amsterdam. It was designed by Adriaan Geuze and was built in 2001. It won the International Footbridge Award in 2002. The bright red bridge with its fluid form dominates the canal and makes its own space in the cityscape. Even in Nepal, we see the extensive use of exposed brickwork in modern buildings which dominate the streets with their red color and texture. The Taragaon museum in Kathmandu, designed by the Austrian architect Carl Pruscha was originally built in 1972. It has been now brought back to life by the Saraf Foundation for Himalayan Traditions & Culture. It was built during a time when Rana architecture dominated in the country that used white brick dust plaster. The villas of the 1950s used plaster with cement coat, often kept grey to demonstrate“modernity.” But

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Carl Pruscha revived the use of red facing bricks inspired by the barrelvaulted shelter buildings along the Ghats, a style which he introduced to Taragaonâ&#x20AC;&#x2122;s architecture. Even today, the museum is an outstanding example of architecture and use of natural red color with exposed brickwork. Red, black and white were the first colors used by artists in the Upper Paleolithic age (about 10,000 years ago), mainly because natural pigments such as red ochre and iron oxide were readily available where early people lived. Since then, red has been an integral part of human societies all around the world. It is one of the fundamental colors used in architecture in ancient as well as in modern era. However, perceptions

attached to the color, also requires a precautionary approach while designing buildings. Red dominates other colors. Red dominates the sunrise and the sunset in the sky by winning over all other colors.

REFERENCES:

Tarajko-Kowalska, J., (2010). Red colour and light in architecture. First International Conference proceedings, pp. 92-98. Cracow University of Economy, Cracow, Poland.

Red has a bold voice and strong symbols. Red has a presence that cannot be ignored. Be it a red Ferrari or a red Fort, one cannot pass by it without noticing. Red has power. And power can be a blessing and a curse. But, red, with all its contradictions, has been and will be the color of our heart and of our nation. n

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ARTSCAPE

CHEEVA Creating ‘Cheevas’ an ancient form of Buddhist stupa, has always remained one of the most favorite subject of Chandra Shyam’s sculptures. He is of the opinion that as the form is based on the historic monuments since Licchavi period of the Kathmandu valley, it has had always fascinated him. ‘Cheeva’ is a Buddhist stupa regarded or used as a place of meditation; and it represents the cosmic five elements, i.e. earth, water, fire, air and space. n

ASHA DANGOL

Born in Khokana (1977), Chandra Shyam Dangol is a well known sculptor with a Master’s Degree in Fine Arts from Tribhuvan University, Kathmandu. His field of specialization is in stone sculpture. To his credit are a number of prestigious international participations including World Shanghai Expo 2010. He has also participated in various group exhibitions and fairs. Some of the notable events are Asiatic Society of Bangladesh Gallery of Fine Art, Dhaka 2008, 9th SAARC Trade Fair, Bhutan 2009, Stone Sculpture Exhibition organized by Nepal Heritage Society 2011. The Founder of Khokana Stone Carving, Chandra Shyam has received numerous awards and accolades including his National Best Entrepreneur from Small Scale Cottage Industry Government of Nepal 2006, Achievement Award from Qita Asian Sculpture Exhibition Japan 2008, Fine Arts Special Award from Nepal Academy of Fine Arts 2012 and the Best Artist of the Year by Federation of Handicrafts Association of Nepal. Similarly, he has been honored by Suzhou Art & Design Technology Institute, China in 2014.

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FROM THE SHELF

H A Oldfield on

19TH CENTURY NEPAL

istory-writing in Nepal started just two hundred years ago when British diplomats began to write about the country. William Kirkpatrick, who headed a British mission to Nepal in 1793, wrote an account entitled An Account of the Kingdom of Nepaul which on its publication in 1811 became the first published work on the country. Mention must also be made of Brian H. Hodgson, who remained in Nepal for more than two decades and was the British Resident for ten years (1833-43). He made a serious study on different aspects of the country and produced a significant number of papers and some books. It is around the same time that the present two volume work by Henry Ambrose Oldfield appeared under the title Sketches from Nipal. Oldfield was appointed Residency Surgeon in 1850, at the British Residency in Nepal, and he remained there for about thirteen years. In the course of his tenure of office, Oldfield was given the responsibility of being the Assistant to the Resident for about a year in 1857-58. Oldfield started writing almost immediately after being posted in Nepal; it seems that he completed the book in 1858, because the book traces the history of Nepal up to the end of 1857. The book gives the authorâ&#x20AC;&#x2122;s observations on Nepal affairs from as early as 1851. The original book, however, was published only in 1880, after the authorâ&#x20AC;&#x2122;s death. Oldfield was correct in saying that a trustworthy census of the entire population of Nepal had never been undertaken. Evidence shows that the first census in Nepal was taken only in 1911. The author is also honest enough to mention that Nepal had extended her boundary to Kumaun and Sadaj river in the west; she had lost this territory under the treaty of Sugauli, 1816, after she her defeated in the Anglo-Nepal war. Regarding the origin of the Nepal Valley, the author has mentioned both Hindu and Buddhist versions, giving credit to Vishnu (Krishna) and Manjushree, Hindu and Buddhist deities respectively. The detailed description of major rivers with their physical features is another contribution of the author in the book.

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FROM THE SHELF

The principal cities of the Nepal Valleyâ&#x20AC;&#x201D;Kathmandu, Patan, Bhadgaon, and Kirtipur have been described in detail; the numerous Hindu and Buddhist temples have been especially mentioned, along with housing patterns of the area. The author particularly mentions two public buildings, Kasthamandap, which according to chronicles was constructed by Laxmi Narshing Malla during the medieval period, and Dharahara, a tower constructed by Bhimsen Thapa in the first quarter of the 19th century. Oldfield has compared Dharahara with the British National Gallery. While giving details of four major cities of the Nepal Valley, the author has mentioned the cruel conduct of Prithivi Narayan Shah in the course of his conquest of those areas. But the author is not correct in saying that Bhadgaon surrendered to Prithvi Narayan without a struggle. In fact, Kathmandu and Patan were easily conquered without a major battle, but Prithvi Narayan had to fight heavily to conquer Bhadgaon; the result was the death of 2000 soldiers and the burning of 500 houses. For some descriptions, Oldfield has fully depended on the earlier reports by British authorities. The invasion routes into the Nepal Valley have been discussed on the basis of a report prepared by Ross Bell in March 1839, and the introduction to the Tarai areas of Nepal has been prepared on the basis of a report submitted by Dr Campbell in July 1841. Similarly, the description of Nuwakot (North-West of Kathmandu) is made on the basis of Hodgsonâ&#x20AC;&#x2122;s report, and the route from Nuwakot to Gosaithan has been prepared on the basis of notes made by a Nepali painter named Rajman Singh. n

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

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SMART CHOICE

RIGHT MOVES SMART CHOICE FOR

Swimming Pool

THERE ARE A BUNCH OF THINGS YOU CAN DO WITH EXTRA SPACE. MAKE A GARDEN AND PLANT A TREE, INSTALL SWINGS AND GET A DOG, OR DIG IT UP AND MAKE A

Written after market research and interviews with Experts. In particular, Mr. Rajesh Prasad Shrivastav- senior consultant in swimming pool design and structure engineering, who has been designing Swimming Pools since 2031 B.S. Swimming isn’t just a great way to relax, it’s also one of the easiest and most efficient way to work out. It doesn’t require any equipment and holds no age or ability barrier. Not just nice hotels, swimming pools are becoming an amenity in apartments, hostels, schools/colleges communities, and even residences. While it sounds farfetched, installing an in-ground pool doesn’t have to be hard if you know what you are doing.

SWIMMING POOL!

PLANNING Size Depending on how much land you have, you can create anywhere between a large and a lap pool. The smallest pools are for one person use and are at least 10 feet wide and 6 foot long. However, not all your available land will be the pool. The deck space can be from 4 to 10 feet around your pool depending on use and need. Budget Once you know what size you’re working with, the next variable is your budget. “The thumb rule is that one litre of pool will cost you from NRs. 35 to NRs. 65/- apart from filtration and other units.”, Mr. Rajesh Prasad Shrivastav suggested. But variations he says can be made as follows: Depth of the pool: For a given volume of pool, the deeper your pool is, higher is the cost per volume. This is due to excavation and labour cost corresponding to it. If the depth is more than 1.5 metres, you are also required to have lifeguards. Tiles and quality: Other than the obvious cost of tiles used in the pool, cost of tiles used around the pool can differ as per your requirement. In very hot places, it would only be wise to use materials that absorb the least heat for the deck. Another option could be to use grass around the tiles to keep the area around the pool cooler. After all, it’s not very pleasant to have to get burnt feet after your now soft feet walks out of the pool. Accessories: There are multiple things you can do to embellish your pool. Depending on your

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SMART CHOICE budget, decide what kinds of lights you want for your pool, deck decorations, and if you want other things like an infinity pool, etc. Core Material: After digging up the area as per your required depth, it is covered by Plain Cement Concrete(PCC) which is then covered by Reinforced Cement Concrete(RCC). The safe and required thickness for this will be best calculated by your consultant and/or structure engineer. This layer is then followed with pipes and then a layer of tiles. Pipes or nozzled for outlets are placed in the ground because the traditional method of side nozzled did not filter or heat the entire pool. PVC pipes have today replaced the traditional CI pipes. In fact all of pumps and tanks are made of plastic. Tiles The tiles inside the pools are the same you would choose for your bathrooms but are fixed by the highest possible standards such as tile grout adhesive. They are chemically inert and do not react with chemicals like Chlorine. They are mostly vitrified tiles and can be porcelain or glass. Porcelain ones are a cheaper option than glass counterparts. Another thing to consider in pricing is that smaller squares are cheaper than the bigger pieces. Piccolo and Pearl Mosaico are examples of Porcelain and Glass tiles respectively in the market. If you wanted a Mosaic pattern in your pool rather than a plain color, you can have an expert from any of the tile companies to offer you designs that can be made from their collection. Just outside the pool at the area where swimmers look to grip, can be tiles with more ridges and grip. This is where the deck area starts and the surface can be made of mosaic or a rocky surface to avoid any slippery accidents. For a sleeker look, you can also choose tiles with barbed looking surfaces, sand textures or stone like surfaces available in the market. Filtration The basic mechanism of a pool consists of an inlet and outlet. The water in the pool goes out through the outlet to a filtration system and flows back in through the inlet. Filtration is preceded by chemical treatment with Chlorine, HCL or Soda. Sand Filter, Diatomaceous Earth Filter and Cartridge Filter are basic options you’ll find in the market. “Sand Filters are most common and considered dependable for their excellent filtration with minimum effort and minimum cost.”, as confirmed by Mr. Shrivastav. Ideally, the entire pool should go through the filtration system within in 5-6 hours. This time needs to be shorter in commercial pools. Only a small amount of water is added everyday to compensate for mechanical loss and evaporation. To avoid wastage through overflow of water from the pool when more people jump in, a balancing tank keeps the available water constant throughout the day’s use. Terrace pools Planning for a terrace pool should start before construction of the terrace by considering the area, and weight of the pool (people and water) for it to be able to hold the pressure generated.

In Kathmandu, the pool at the top of the World Trade centre in Tripureshwor is an example of this kind of pool. Around the globe, new and fancy hotels are also constructing personal lap pools at balconies of each room. This is also around the same principle and process. Indoor Pools Indoor Pools are famous in sports activities, and for people who are more conscious about the effect on skin by the swimming pool. They are also famous as 12 month use pools. However, these pools are more complicated to construct and need more care and attention. If the water is hotter than the surrounding, it will start evaporating. To avoid this, the room temperature is made at least a degree hotter than the pool. Alongside that, Ventilation and a dehumidifier is used to avoid leaving the room muggy. The moisture will also damage the wiring and create short circuit. Mr. Shrivastav has designed 3 or 4 himself, but there are hardly 2 that are functional today. One of them is in the base of Ace Apartments. The pools are usually heated using heat pumps and this can affect the use of chemicals. Then since chemicals like Chlorine are used in the pool, which is fairly volatile and corrosive, it can evaporate to the ceiling and affect the pipes it comes in contact with. By using an insulated waterproof Pool Blanket (slightly bigger than the Pool surface area), Mr. Shrivastav says you can reduce the cost in heating the pool water by Hot Water Generator and also reduce the evaporation of the Pool water when pool is not in use.

TO KEEP IN MIND 1. The outlet of the pool should be in the direction of wind in your space to support the flow of water naturally. 2. The level of water in the pool should be the same throughout the pool. Failure of this indicates fault in construction. 3. Consider surroundings of your space before construction- such as trees. While it is necessary to get rid of trees that are in your planned space for the pool, ones around the pool might also need to be cut if there is a chance their pollens might fall on the pool making it susceptible to allergens and dirt. 4. Water used in the pool should always be soft water. 5. Keep your pool secured from kids by fencing. 6. Because the water used is heavily dozed by chemicals, drainage of water from the pool should be responsibly designed.

Maintenance Cleanliness of pool is important not just for health reasons, but also to keep it appealing. The pool deck needs to be cleaned regularly. After a long time let to settle, which is mostly in the morning, sedimentation of dirt can be observed on ground surface of your pool. This needs to be vacuumed every day. n

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Connects 76 Agni Enterprises Kupondole, Lalitpur Ph: 977-1-5529526, 5547629, 5526634 E-mail: adhikari.agni@gmail.com info@agnienterprises@gmail.com 68 Asian Paints Nepal Balkumari, Lalitpur Ph: 977-1-5203045 E-mail: ccm@asianpaints.com.np Website: www.asianpaintsnepal.com.np 73 ATC Pvt. Ltd. 336/21, Ganesh Man Singh Path-2, Teku Road Ph: 977-1-4262220 E-mail: info@atc.com.np 80 Berger Jenson & Nicholson (Nepal) Berger House - 492, Tinkune, Kathmandu Ph: 977-1-4466038 E-mail: info@bergernepal.com 78 Bharati Trade Centre (Graffiti) Maitidevi, Kathmandu Ph: 977- 9801179313 E-mail: raulzain555@gmail.com 17 Communication Corner Pvt. Ltd. (Ujyaalo 90 Network) Ujyaaloghar (Behind Central Zoo) Jawlakhel, Lalitpur Ph: 977-1-5000171 73 CHAMPAK & CHIRAG INTERNATIONAL Teku (Opp. Laxmi Bank), Kathmandu Ph: 977-1-4249991 E-mail: adbnb1@gmail.com Website: www.evercrete.com www.nepaladhesive.com 7 Festival of Architecture and Interior Designing (FoAID) Andheri (E), Mumbai-400059 India Website: www.foaidindia.in 77 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 Ph: 977-1-4224797 3 Home Saaz Maitidevi, Ratopool, Kathmandu Ph: 977-01-4420661/ 4420647 E-mail: homesaaznepal@gmail.com 79 Marvel Technoplast Pvt. Ltd. Heritage Plaza-II, Kamaladi, Kathmandu Ph: 977-1-4169122/123 E-mail: info@marvel.com.np Website: www.marvel.com.np

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72 Nagarik - Nepal Republic Media Pvt. Ltd. JDA Complex, Bagh Durbar Ph: 977-1-4265100, 4261808 E-mail: circulation@nagariknews.com 63 Nepa Top Organization Samakushi, Kathmandu Ph: 977-1-4354117, 4363548, 4387901 E-mail: info@nepa.com Website: www.nepatop.com.np 71 Nepal Property Market (Aaron) Lazimpat, Kathmandu, Nepal Ph: 977-01-4414417/ 4002005 E-mail: info@nepalpropertymarket.com Website: www.npminterior.com 9 Parth International Pvt. Ltd.(Featherlite) Central Business Park, 4th Floor Thapathali, Kathmandu Ph: 977-1- 424 5342 / 410 1504 E-mail: info@parthinternational.org Website: http://www.parthinternational.org 39 Shree Marble Traders Gwarko Kharibot, Balkumari Ph: 977-1-5550007, 5550077 E-mail: shreemarble@hotmail.com replymani92516@gmail.com 2 Shree Shyam Hardware Pvt. Ltd. Kathmandu Ph: 977- 1- 4275835, 4282337 39 Skylight Pvt. Ltd. Naxal (Opp to Police HQ), Kathmandu Ph: 977-1-4423851 E-mail: info@skylight.com.np Website: www.skylight.com.np 21 Technical Associates 1st Floor,Sharda Group Building Thapathali, Kathmandu Ph: 977-1-4219999, 9802030479 E-mail: sktulshyan@gmail.com www.theheatingexpert.org 13 The Carpenter Hardware Center Gyaneshwor, Kathmandu Ph: 977-1-4420234, 4420522, 9841897027 thecarpentercenter@gmail.com 33 Murarka Organisation (Pashupati TMT) Rudramati Marg, Thapathali Ph: 01-4260910 20 Worldlink Communication Pvt. Ltd. Jawalakhel, Lalitpur Ph: 977-1-5523050 E-mail: enterprise.support@worldlink.com.np Website: www.worldlink.com.np

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