ART - ARCHITECTURE - INTERIORS - ACCESSORIES
MARCH 2013
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Cover Photo: A. RAJBANSH Location: .......................
contents Store Watch Somany Ceramics has it all
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by : Kriti Shrestha Somany Ceramics, is a brand that offers bathroom products and accessories under one roof. Quality products at a reasonable price!
Product .................... by : ....................... ...................................
Personality
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A Creative Mind
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Ideas
by : Shristi Chhetri A man who has utilized every opportunity that has come his way and has paved his way to success.
Charming Paper Décor
55 Architecture
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LANGKAWI
Heritage
by : .................. ................................
Rudravarna Mahabihar (Uku Baha)
60 Style Feature by : Puran Joshi Spring is the season of new bloom and colour. We bring you exciting coordination and contrast with colours that complement style elements to refurbish and decorate your interiors.
Artists reclaiming the public spaces
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Namuna Gaun in Sanga
NEPAL-A Guide to the Art & Architecture of the Kathmandu Valley
by : Rupesh Shrestha An individual ideal finds expression in a built structure - hidden and replete, welcoming and cautious, a home and, yet, a metaphysical notion that will withstand the test of time, space and existence.
The book aims to provide the curious traveller with an introduction to the art and architecture of Nepal. It will not tell you where to stay, what to eat or what to wear. Instead, it aims to explain and describe the extraordinary cultural efflorescence.
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Column
Commercial Kitchen Design
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by : Usha Sharma Artists have begun to showcase their artistic venture on the walls and public spaces to replace the negativities created by the slogans and advertisements by something creative and innovative.
From the Shelves
Interior
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by : Rupesh Shrestha Uku Baha, the main courtyard is a jewel of Nepalese architecture. The pattern, opulence and variety exercised here give any of its observer’s a sense of magnificance.
Art
2013: Global TRENDS
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by : Eva Shrestha Inspired by Martha Steward, learn the tricks to make charming paper décor, unique dog-eared book marks, elegant desserts and centre piece using orchid.
by : Chandani K.C. A kitchen is the heart of a foodservice operation. A commercial kitchen is where food is produced for a large number of people and its design is completely different from the residential kitchen design.
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Open SPACES by : School of Creative Communication .........................
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Volume 9 Issue 5 March 2013 Regd. No 30657/061-62 CDO No. 41
Managing Editor
Ashesh Rajbansh
Director - Editorial
Sarosh Pradhan
Editor at Large
Siddharth Lama
Editor
Shilu Manandhar
Director - International Affairs
Rajesh Lal Joshi
Director - Business Dev. & Fin.
Lalit K. Pradhan
Head - Operation and Promotion Suzata Shrestha Business Dev. Consultant
Birendra K. Agrawal Jyoti B. Shrestha Kripa Shrestha Roshan Lamichhane
Business development / Correspondence
Nikita Lepcha
PR / Business development
Prakash Darshan Puran Joshi
Contributing Art Editor
Madan Chitrakar Kasthamandap Art Studio President - Society of Nepalese Architects General Secretary - Society of Nepalese Architects Ar. Jinisha Jain (Delhi) Ar. Chetan Raj Shrestha (Sikkim) Barun Roy (Darjeeling Hills)
Contributing Editors
Accounts
Alison Basnet
Subscription/Distribution
Himal Shrestha
Subscription/Distribution Asst.
Bhuwan Shrestha Sajan Hamal
Legal Advisor
Advocate Yegendra Bhattarai
Int’l Correspondent
Ar. Bansri Pandey
Photographers
A. Rajbansh Pradip Ratna Tuladhar
Designed & Processed at
Digiscan Pre-Press Pvt. Ltd. Naxal, Kathmandu. Phone: 4436817, 4428572
Published by
IMPRESSIONS Publishing Pvt.Ltd. Chakupat (near UN Park), Lalitpur GPO Box No. 7048, Kathmandu, Nepal Phone: 5260901, 5260902
ISSN 2091-217X (Print), 2091-2188 (Online)
contributors Ar. Chandani K.C. completed Masters of City and Regional Planning from University of Texas at Arlington and Bachelor of Architecture from VNIT, Nagpur. She has worked in numerous urban planning projects in the United States and is currently working as Urban Planner in DUDBC. Her interests include urban research and regional development and she is keen to be involved in designing cities that are convenient, healthful and aesthetically pleasing.
Veneeta Singha is a communications professional, writer and music student from Kathmandu.
Usha Sharma, completed her Diploma In Interior Designing from IEC, Bagbazaar in 2007 and is currently working as an Interior Designer at Aakar International, Battisputali. She is currently studying fine arts at Srijana College of Fine Arts, Lazimpat and is also a photography enthusiast. Her fascination is towards Art and Architecture.
ADVERTISING & SUBSCRIPTIONS Kathmandu
IMPRESSIONS Publishing Pvt.Ltd. Ph: 5260901, 5260902 market@spacesnepal.com
Birgunj
Kishore Shrestha, Hotel Kailash, Adarsha Nagar. Ph: 522384, 529984. hotelkailash@wlink.com.np
Itahari
Naya Bazar, Dharan - 05
Biratnagar
Ph: 025-5-21164/025-525118, Cell: 9842054110
SPACES New Location
SPACES is published twelve times a year at the address above. All rights are reserved in respect of articles, illustrations, photographs, etc. published in S P A C E S . The contents of this publication may not be reproduced in whole or in part in any form without the written consent of the publisher. The opinions expressed by contributors are not necessarily those of the publisher and the publisher cannot accept responsiblility for any errors or omissions. Those submitting manuscripts, photographs, artwork or other materials to SPACES for consideration should not send originals unless specifically requested to do so by SPACES in writing. Unsolicited manuscripts, photographs and other submitted material must be accompanied by a self addressed return envelope, postage prepaid. However, SPACES is not responsible for unsolicited submissions. All editorial inquiries and submissions to SPACES must be addressed to editor@spacesnepal.com or sent to the address mentioned above.
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SPACES Office
editorial ..................
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C U R R E N T
E V E N T S
current events The Attic Human Rights Film Series
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uman Rights Film Focus Nepal (HRFFN) is a campaign dedicated to strengthening human rights advocacy and education in Nepal through the power of film and discussion. The power of art, especially film, in affecting social change can be transformative. In Nepal, human rights and social justice can help shape a hopeful future. HRFFN and the Attic in Lazimpat organized a Human Rights Film Series at the Attic, starting with a screening of Desert Flower on March 7 at 7 PM in honor of International Women’s Day 2013. The Attic and HRFFN aim to raise awareness of human rights and women’s empowerment challenges by showcasing powerful films and documentaries on these themes. Film screenings at the Attic will take place every Thursday at 7 PM, beginning on March 7and ending on April 5, 2013. It is hoped that the Attic Series will help to sustain and build the momentum of human rights advocacy and women’s empowerment in Nepal. Donations of Rs 100-1000 will support the HRFFN School Outreach Project - Shaking The Tree.
Managing the Historic Buddhist Region in Nepal
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he Indian Culture Centre in Kathmandu organized a talk programme with presentation titled “Managing the Historic Buddhist Region (Lumbini) in Nepal” by Architect Kai Weise. This was planned as a sequel to the Lumbini Symposium that was held in mid January at Lumbini by the Embassy of India (Kathmandu) in association with the Indian Council for Cultural Relations.
NYEF welcomes the government’s decision to use locally produced goods and services
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epalese Young Entrepreneurs’ Forum (NYEF) welcomes the decision made by the government to purchase goods and services made in Nepal. The decision was taken by the government to promote and encourage local industries and service providers. It also sought to increase the consumption of locally made products and services. The government had
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issued a directive to all government offices to have at least 50 percent of their purchases to be made in Nepal. With its mission to empower positive business thinking, NYEF has been constantly working towards creating conducive environment to promote Nepali products and at the same time bring favorable policy changes. During the opening of the recently held Made in Nepal Products and Service Exhibition, Prime Minister Dr. Baburam Bhattarai had assured that the government would bring a policy to encourage local products and services. Mr. Ajay B. Pradhanang, President of NYEF highlighted that a decade long initiative undertaken by NYEF to promote Nepali Products and Services has helped bring this positive changes. This decision has also given new impetus and hope to the Nepalese Entrepreneurs. The government has made a decision to increase the budget of government offices by 10 percent to enable the purchase of Nepali products and services. The government has further sought to provide various incentives to industries and businesses providing goods and services here in Nepal.
C U R R E N T
Mr. Kai Weise has been working in various capacities and as UNESCO consultant and advisor to the UNESCO office in Kathmandu since 2004. He has been involved in preparing Management Plans for various World Heritage properties including Lumbini. He was appointed coordinator from Nepal for the Indo– Nepal Lumbini Symposium in January 2013. His presentation highlighted the challenges of defining the Sacred Gardens and the establishment of an appropriate management system for Lumbini, a World Heritage site. Mr. Weise highlighted the descriptions of famous ancient Chinese pilgrims, Huian Tsang (who travelled through India between AD 629 & 645) and Fa Hein (who travelled between AD 400 & AD 414) indicate to this area, saying, “Lumbini, where the Lord was born, is a piece of heaven on earth where one could see the snowy mountains
amidst a splendid garden embedded with stupas and monasteries.” He added “Buddhist literature describes Lumbini as a pradimoksha – vana blessed with blooming sal-trees and masses of beautiful flowers, and a place where bees of five colors hum. From these descriptions, we can assume that Lumbini presented an undulating landscape of considerable beauty.” In the 3rd century BC., the Mauryan emperor of present day India, Ashoka, made a pilgrimage to Nepal and commemorated this event with the foundation of innumerable stupas and pillars as a token of his success in bringing the inhabitants into the Buddhist fold. Lumbini was lost in oblivion until it was discovered by the German Archaeologist, Dr. Fuhrer, wandering in the foothills of Churia (Siwalik) range, and the Ashokan pillar presented the first epigraphic evidence relating to the
E V E N T S
life history of Lord Buddha - the most visible landmark of the Sacred Garden. Mr. Weise added that the historic importance of the pillar is evidenced by the inscription engraved in the pillar (in Brahmi script). From excavations it has been found that the Ashokan pillar stands on its original base of un-burnt brick platform which concludes that the Pillar is at its original location. The distinguished audience attending the talk by Mr. Kai Weise included Hon’ble Minister of Science, Technology and Environment, Govt. of Nepal, members of the Lumbini Development Trust, as well as distinguished academics and architects.
Qatar Airways to become global main partner of football giants FC Barcelona
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arcelona, SPAIN – Qatar Airways will enter into a strategic partnership with football giants FC Barcelona that sees the airline’s brand name appear on first team shirts from the start of the 2013/14 season. The three-year agreement with the runaway Spanish league leaders and former winners of the Champions League will be effective from 1 July 2013. Qatar Airways will become the club’s Global Main Partner, signalling the first time the airline has engaged in a sponsorship with a major soccer club. Qatar Airways Chief Executive Officer Akbar Al Baker said it will be a unique partnership between the World’s Best Club and the Best
Airline in the World, describing the alignment with Barca as a “fitting match for both organisations, which will elevate the brands to a new platform on the global stage and sharing the same values – passionate about being the best at what we do in our respective fields.” Al Baker was joined by FC Barcelona president Sandro Rosell to announce the upcoming partnership at a joint press conference held at the club’s home stadium, Camp Nou. “FC Barcelona is a club that exemplifies passion, pride, heritage and culture at its core. These are values we share, admire and are fundamental to Qatar Airways,” said Al Baker.
“Qatar Airways is entering a new chapter in our short history. We look forward to working with, and engaging with, the club, the fans and the people of Barcelona to help make a real difference through this exciting new partnership. It is great pride for my airline and my country to see Qatar Airways feature on FC Barcelona’s first-team shirts from next season.
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C U R R E N T
E V E N T S
Panasonic launches FSV Variable Refrigerant Flow (VRF) Air Conditioners in Nepal
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anasonic, a worldwide leader in the development and manufacture of electronic products, and Triveni Group; Panasonic’s authorized distributor for air conditioners and home appliance products in Nepal, launched a full line of FSV in Nepal. At the launching convention, Mr. Chen Choong Lim, Panasonic Appliances Air-Conditioning Malaysia Sdn, Bhd gave a presentation on Panasonic’s FSV advantages and its full line up availability. “With more than 30 years of experience, exporting to more than 120 countries around the world, Panasonic is unquestionably the world -leaders in the air conditioning sector. In all, the company has produced more than 200 million compressors and its products, particularly residential air conditioners; now hold No.1 market share in Japan and other major countries in Asia. You can be assured of the extremely high quality of Panasonic’s air conditioners,” Mr. Lim commented further. The products unveiled appealed to the corporate-attendees, developers and bankers who attended the convention. Available are a range of turnkey air conditioning solutions for homes, medium-sized buildings such as offices and restaurants, and large-scale buildings. These offer maximum effectiveness, comply with the strictest environmental standards and meet the most avant-garde construction requirements of our techno-savvy time.
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S T O R E
W A T C H
Somany Ceramics has it all A place to buy Bathroom Accessories. TEXT: KRITI SHRESTHA
D
esigning a bathroom is an essential part of building a house. To make the bathroom look elegant, hygienic and well maintained one has to ensure the use of good materials. Somany Ceramics is an Indian brand established in 1969 and offers an impressive range of bathroom accessories from tiles to CP ďŹ ttings, sanitary wares and even adhesive and grouts. The company provides various types of tiles such as normal ceramic tiles, digital ceramic tiles and vitriďŹ ed ceramic tiles among others. Somany Ceramics Limited has been serving the Nepali customers since last two and half decades. The store offers bathroom products and accessories under one roof. Customers usually look for quality products
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S T O R E
at a reasonable price. Somany gratifies both these demands. Somay products are popular among middleclass as well as high-class families in Nepal. Somay has stores in Tripureshwor and Koteshwor. The company has a network of 20 dealers and sub-dealers. Somany Ceramics serves not only in the Valley but in all major cities like Pokhara, Hetauda, Biratnagar, Butwal, Birgunj, Janakpur, Narayanghat, Damak, Itahari and Dhangadi. “We have been the choice of customers since the last five years. To ensure optimum reach of our products, we have made our products available at almost all areas. We have the best distribution network for our products. Customers do not have to travel far to get Somany Products,” says Rupesh Manhot, Area Sales manager at Somany Ceramics Limited, authorized dealer of Somany products in Nepal.
Users of Somany products have a reason to celebrate as Somany has a patent certificate for high abrasion resistant glaze for Veil Craft (VC) shield group 50 tiles. Customers purchasing Somany products do not need to worry after buying the
W A T C H
product as the company provides good after sales service and seven years warranty in CP fittings. Somany stores not only offer bathroom needs but also tiles for kitchen, dining hall, parking and exterior use.
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P E R S O N A L I T Y
Mr Ujjwal Satyal:
A Creative Mind TEXT: SHRISTI CHHETRI
“It is difficult to be creative but it is more difficult to lead the way with that creativity and the next generation should keep this in mind.”
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hen in Grade 9, the chairman of Soaltee Hotel came to give a career talk about hoteliers and it occured to Mr. Ujjwal Satyal that this was where he belonged. After completing his SLC, he joined hotel Mayalu as a receptionist, while also continuing his I.Sc. Back then, Hotel Management was not offered anywhere in Nepal. Hence, with an intact mission in mind, Mr Satyal went to Delhi for his bachelor’s in hotel management. He then joined hotel Broadway in Kashmir, where on his first day at work, Mr. Amitabh Bacchan, the Bollywood superstar, had a film shoot. Mr Sattyal, neatly dressed, was in the kitchen observing when Mr. Bacchan walked straight in and shook his hands complimenting about the excellent food, while the actual chef stood by! With work experience in Kashmir of almost 7 years, Mr Satyal returned to Nepal and started working as a restaurant captain at hotel Annapurna. He later joined hotel Blue Star as a food and beverage manager, the most challenging job in the hotel industry. Opportunities come with experience and Mr. Sattyal always had it waiting on his door. While working as a restaurant manager at hotel Himalayan, he was offered to teach at Nepal Academy of
“Mr. Amitabh Bacchan walked straight into the kitchen and shook my hands complimenting about the excellent food, while the actual chef stood by!”
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Tourism and Hotel Management (NATHM) by the United Nations Development Programme (UNDP). Since then, for the last 25 years he has been passionately involved in teaching, and currently he is the head of curriculum development at NATHM. One of the pioneers in developing the syllabus for TU for Bachelors in Hotel Management, his aim is to make Nepal “THE” destination for studying hotel management in Asia. He adds “It is an asset of the Nepalese, so why not utilize it.” Working closely with the Tourism Board of Nepal, Mr Satyal believes that Nepal has undoubtedly the most potential in this industry in Asia. A multi-talented personality, his endeavors are far beyond this. While working with UNDP he went to Italy for training in commercial kitchen designing which was then unheard of in Nepal. Having studied hotel management, people came looking for suggestions on designing, building and gathering the resources for commercial kitchens out of which was born the idea of starting a manufacturing company here in Nepal for interior designing. Creative Décor was the result, which is now running in its 15th year. Quality Kitchen Equipment is also under Creative Décor that supplies, designs and builds commercial kitchen. Having explored and understood the dynamic market of Nepal, Mr. Sattyal also owns the franchise for the world’s leading modular kitchen and wardrobes Magppie-Ice Cubes. Likewise, included in his venture is the designing and supplying of luxury awnings, mostly used at restaurants, hotels and hospitals. According to Mr. Sattyal, people in Nepal
“I have heard that people in Japan barely have time to sleep and eat as they are so productive, I want to witness that.” have gradually started understanding the concept that there is more to the kitchen than just cooking, and that designing plays a vital role like it does in another other rooms in the building. Having completed his masters in tourism here in Nepal, he has travelled to almost all the places in the globe. However, he would like to go to Japan. “I have heard that people in Japan barely have time to sleep and eat as they are so productive, I want to witness that”, he says, “It is indeed a significant ability that we need in the people of Nepal”. Happily married he has two sons, the elder one in the US studying hotel management and the younger one studying interior designing. He thinks that in the midst of work and life he missed how his sons had already grown up. However, balancing work and life today comes innately to him. Whenever free he indulges himself in magazines related to tourism and also jots down a few words on the hospitality industry. Every second is a productive second to him. He believes that it is difficult to be creative but it is more difficult to lead the way with that creativity.
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A R C H I T E C T U R E
For All Seasons Four Seasons Resort LANGKAWI, MALAYSIA BUNNAG ARCHITECTS
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he Four Seasons Resort Langkawi, located at Tanjung Rhu on the northernmost tip of Langkawi island, the largest in an archipelago of 99 islands in the Andaman sea, combines indigenous architecture with idyllic views. Set in a scenic and untouched enclave backed by limestone cliffs and shaded by luxuriant and tropical tress. The resort fringes a magnificent bay overlooking 1.2 miles, 197 foot wide white sand beach and clear, cool waters of the Andaman Sea.
The underlying principle of our design is based on Malay cultural heritage and its people. Our aim is to preserve, enhance and extend this heritage to meet the complexities of today’s life and luxury comfort, and to achieve architecture of the highest quality - with aesthetics and originality in design - that are unmistakably Malay. In our design, traditional Malay and Southeast Asian architectural heritage have been carefully assimilated and modified, but this alone is not enough; lessons and inspiration from faraway Islamic lands, from the cultural heritage of India and Nepal, as well as carefully selected design principles imported from the West, have all been part of our thinking and imagination. Through this approach, we hope to preserve and extend Malay cultural heritage into the present, aiming to hand it over to the next generation with pride.
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The site does not have the unique mountainscape, choice beach or exquisite seascape of Bali or Phuket. Instead, it has incomparably calm and serene mornings, and intensely dramatic evening skies. Even during the monsoon season, dark with rushing clouds, one finds intense drama in the playful multicolored sunset sky, expressing colorful moods and memories of this site. Architecture that does not play with cosmic force is always dull, lacking drama and beauty. Here, we want our architecture to reach out into the drama of the evening sky, leave our mind on holiday, be absorbed by it, dance with it.
A R C H I T E C T U R E
01.Sarosh : It is wonderful to have you as a friend of Nepal. Your Architecture and design explores the calming of the senses, and has a spiritual feel – can you elaborate a little on this... LEK : Architecture of Kathmandu valley will always be my teacher, both in terms of tangible as well as its principle. Serenity and joy is what I believe that Architecture must give to us apart from many other needs - because, we all need it in our everyday life. Spirituality is the very foundation of the East not only it gives us freedom and creativity which is different from the West, it is the very innermost core that determine our life and Architecture. 02.Sarosh :The Four Seasons Resort design seems to be a fascinating highlight of screens, shades and a hue of colors. How do you bring out this balance with such precision in your works ? LEK : Good shade and shadow is very much needed in our tropical climate, together with natural ventilation and tall interior volumes. Screens help create varieties of shade and shadows and helps forming tropical space. In many ways it is very pleasing to our eyes because it is not a void, as the screen is a lot softer. Cosmic force is the very key to create Architecture. An Architect must learn to be familiar with it in order to command the precise amount of cosmic force in his Architectural work. 03. Sarosh : You mention somewhere in your design - the idea is to create a song with a single note. There is a certain
minimalistic view or should we call it focus. Yet you integrate craft with all its multiplicity and detail rather well in your work. Can you elaborate a little on the Eastern and Western fusion of your understandings in your works .... LEK : Yes, minimum type of Note, of form - a language that create as many possible varieties. I believe this is how beauty comes. It is easy to give ten musical notes to make a song but, it is difficult to make a beautiful song with one single note. To me - it is no East or West but, it is an existence and universe that we are part of. No matter who we are, we need freedom and creativity if we were to bring creativity into the world- we need both feeling and reasoning. 04. Sarosh : Share with us - few of your struggles or notable events, that has been turning points in your approach as an Architect ! LEK : To get away from our past - our memories, our ideas and belief that does not belong to us, our knowledge enough to allow us to have creativity - is a struggle. Architect should not repeat oneself. Expression of art cannot be redone. To copy, to manipulate the past is not difficult but to bring New Architecture, New music, New Poetry is. No one in this World is the same though we may look alike! To explain what you see in your imagination to your friend is so very difficult. Then, Mathematics and creativity is needed in order to being this imagination into reality. So many people are involved in a single piece of
Architecture making it very complex. Perhaps it is better to be a sculptor or a poet, all depends on you alone and to create each piece of Architecture takes 3-4 years minimum. One needs maturity and time which is a struggle and is not that easy but, if you love it truly – you will enjoy it forever. 05. Sarosh : Heritage - as a source of inspiration are echoed in your works. What comes to your mind as an Architect, to see a struggling nation that is rich in its history and Heritage – but the political and internal conflict is eroding this richness rapidly ? LEK: Heritage means – a gift to you from the past. If it is your source of inspiration- it must make clear, and be an authentic inspiration. Then it is wonderful and it will give you creativity ( No copy No manipulation). If heritage is for us to copy and for us to believe blindly then it could be more negative. I must make clear that we must study the past as much as we can but we must not carry it inside us. Put it aside, then select well what you may need from it in order to enhance your creativity. Nepalese are so very lucky to be connected to such a beautiful place. To me it is one of the most beautiful place in the World. You have at your backyard, beautiful proportions, endless beautiful forms no one has. If it is your real source of inspiration, what else can compare to you. I’m jealous. Art has nothing to do with Politics. Art has no frontier. The beginning of all art is love. The more you love, the higher the quality!
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A R C H I T E C T U R E
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A R C H I T E C T U R E
RECEPTION ROOM PAVILION (The Shadow Room) The key is Light. A series of timber screens arranged geometrically enhances the formation of this room-type architecture. These timber screens are designed as a layering of light veils, at times creating a diffuse light, at times creating crisp shadows, the whole producing a variety of patterns that lend a mysterious and delightful mood to the room. A thick-walled room-type architecture on a perfect square plan, at night the roof illuminates ‘soft glowing’ light like a great lantern against the silhouette of the limestone peak beyond. During the day, sunlight and shadow from the roof reach down to the internal spaces of the room but without heat; thanks to natural ventilation, the room interior remains cool, with more shadow than light. The Great Verandah is designed to create shade and shadow, helping to reduce the amount of heat that can enter. The structure of the verandah is designed to stand apart from the building, allowing natural light and ventilation that help make the whole building composition appear lighter.
1 How could anyone not long for the most beautiful doors from the Madrassa in Fez ? I really wanted to have one at Langkawi. 2 Sunlight reflected from the water’s surface penetrates deep within the interior of the Porte Cochere Pavilion. 3 Opening between the Great Verandah and the Greeting Verandah. 4 Lantern wall at the Porte Cochere Pavilion by Bill Bensley
Reception Room Pavilion Section (The Shadow Room) 1 Sandwiched timber lattice roof light 2 Twelve-sided vertical timber screens 3 Hand-installed mirror mosaic 4 Vertical timber screens 5 Deep cobalt blue room (Terrazzo finish) 6 Limestone peak The hand-installed mirror mosaic by local craftsmen - set within the recessed Islamic patterns enclosed by the deep cobalt blue terrazzo surface of the room’s walls - plays dramatically with sunlight and shadow to create a delightful, reflective, multicolored visual impression that changes throughout the day according to the movement of the sun. March 2013
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A R C H I T E C T U R E
MELALEUCA VILLA The Bathtub Room is raised above the level of the bedroom so that guests can enjoy a view of the horizon from the bath. Only candlelight - creating softly moving shadows. The double-walled Dome Room has four skylights, one at the center of the dome and the other three set indirectly between the walls. Double-layered clear polycarbonate skylights allow natural day-lighting with minimal heat gain. Hand-installed terrazzo ďŹ nish to bathtub enhances the monolithic architectural quality of this room-type architecture. Bathtub room after installation of interior elements by Bill Bensley. Beautiful arches by Khemvadee Paopanlerd of Bensley Design Studios.
RHU PAVILION The design intent of this open pavilion is to control the quality and intensity of natural light on the interior while promoting natural ventilation. The visual composition along three sides consists of the formal Malay-style porch with high pitched roof attached to a perfectly square plan. The spaces of the interior are enclosed by a layering of vertical timber screens. Outer zone: Guest seating located inside the ďŹ rst layer of timber screens, designed to cut off approximately 60% of direct sunlight. Inner zone: The Inner Sanctum screen room, at the center of the pavilion enclosed by double-layer screens - this is the darkest zone within the pavilion while also having the tallest space. spacesnepal.com
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View from the glare-less Inner Sanctum screen room looking out towards the horizon through the porch. The shading inside this pavilion is comfortable on the eyes, even during the height of the tropical midday sun. beautiful Islamic-style screen in front and furnitures by Jeffrey Wilkes Candle lamp by Bill Bensley
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My idea in using the screens is to draw parallels with the aperture of a lens: F5.6, F11, or F32. The amount of light is inversely proportional to the size of the opening in the lens; controlling light : layering of screens. Islamic-shaped openings penetrate some of the screens at sitting head-height so that guests can look out and see the sky and the horizon when relaxing deep within the pavilion. At different times of day, light filters through the layers of screens, creating variety of shadows, without causing any glare. The idea is to create a song using a single note (a variety of shadows being created by only one type of screen). This type of pavilion has not been done before in traditional Malay architecture.
1 This little, open, four-sided classical Malay Pavilion is designed to ‘float’ on the still surface of the water The Water Court is protected from the breeze on three sides by a 7m tall wall. This court is oriented along a view towards the limestone peak borrowed as a backdrop. 2 The roof-light above the Reception Room Pavilion (The Shadow Room) glows as a large lantern at night. 3 The timber roof elements are clearly articulated by the horizontal beams, thus achieving a visual purity, lightness and beauty that appear quickly to the eye. 4 Four-sided fluted glass screens inside the Restaurant Pavilin. 5 Ander, Geganja and Pengerat - functioning as king post - are adapted from traditional Javanese architecture. 6 Pool Pavilion spacesnepal.com
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A R C H I T E C T U R E
MALAY RESTAURANT PAVILION
1 The central interior space is composed of a series of timber screens that form room-type architecture. These curved screens are simplifications of the traditional Kedah timber screens originally found on Langkawi Island. 2 Malay Restaurant Pavilion on stilts. The construction of this pavilion follows that used in a traditional Malay house with its system of prefabricated components that are built first on the ground before later assembly on the site. Various mortise and tenon, lap and dovetail joints are used - nails are not used. The Tuber Layer or gable ends serve to direct winds into the pavilion to cool the interior space. The inclined glass facade is designed to protect against driving rain but allow breezes to pass through. 3 Square Malay-style pavilion raised on its timber deck.
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To avoid having a large building mass on site, and to ensure a Malayan residential scale, the Malay Restaurant Pavilion is dispersed and recomposed into three residentialscale, Malay-style, timber pavilions. Each of the pavilions is on stilts, joined by a large outdoor entertainment deck built also of timber. The restaurant is located at the very edge of the beach that opens on the Straits of Malacca. Each pavilion has a large overhanging roof with traditional Malay-style decorative fascia boards that help reduce glare. The Main Pavilion is anked by tall, long verandahs on both sides whose long central spaces are very well ventilated and glare-less from within. Strong monsoons with driving wind and rain can be a major problem; extra glazing along the facade is provided to protect against such inclement weather while adding a contemporary feel to the pavilion. Traditional Malayan techniques for the construction of wood joints are used through the entire building. In some areas, we have considered the advantages of steel. In such cases bolted connections are used as a substitute for expensive and complex traditional joinery, while great care is taken to conceal these substitutions from the eyes of guests. A long and tall central room is divided by Kedah-style timber screens. These could be found in the villages on Langkawi Island many years ago, though today I can no longer ďŹ nd them; they are a dying treasure.
A R C H I T E C T U R E
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A R C H I T E C T U R E 1 The four-sided cupola articulates itself above the skyline of the surrounding landscape, allowing visual penetration through to the open sky, thus creating a visual lightness to the pavilion. 2 All day Restaurant Dining Pavilion interior 3 The four massive vertical piers in the center form a dignified central square rom which terminates with the cupola structure above.
1 Eight-sided cupola above The Library Room 2 Decorative fascia board at The Malay Restaurant Pavilion 3 Exposed underside of structural rafters the king post is eliminated 4 Wedged through-tenon (baji) detail of entrance stair at Melaleuca Villa 5 Flower skylight above the Melaleuca Bathtub Room 6 Simplified Malay-style gable end 7 Articulation of copper gutters at rafter ends creates a visually pure form 8 Flower skylights in the Bar Pavilion 9 Bamboo screen string holder 1 Small Entrance Court with Malay-style stair 2 Malay-style porch entrance 3 Entrance steps 4 Main stair 5 Outdoor Dining terrace 6 Formal Dining Pavilion with Islamic-style chandelier above the central room. 7 Stepped connector to restrooms 8 Male and Female restrooms (air conditioned) 9 Stepped connector with roof 10 Dining Pavilion 11 Buffet Pavilion (air conditioned) 12 Landscape 13 Fountain Court 14 Kitchen and service area This pavilion and surrounding terraces were raised 3.5 m above the level of the beach
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ALL DAY RESTAURANT PAVILION Group of three separate, open pavilions joined by connectors. As most of the site is relatively flat, we have raised this restaurant 3.5 m above the existing level of the beach to create a more dramatic skyline. The architecture of this restaurant is inspired by the traditional Javanese pavilions - the ‘Joglo Jompongan’ of Java - with their perfect square plan, hipped roof and sixteen columns. The stepped gable roof is inspired by traditional Thai architecture. The overly wide overhangs of the roof are supported by inclined eave bracket supports, that find dominant use in traditional Thai and Burmese architecture. My feeling is that the Javanese traditional structure is too masculine in comparison to the traditional Malayan architecture with its gentler, more fragile, decorative and prince-like look. I always feel that midway between these aesthetics is the traditional architecture of the Kathmandu Valley - the Kashthamandapa. All these playful whims of the imagination appear somehow cooked together. ... as it is now …
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A R C H I T E C T U R E
BEACH VILLA Private garden and vanity designed as one indooroutdoor space.Private garden and beautiful Interior design by Bill Bensley.
2 Timber is always alive and is, to us, a very precious material. Respect and extra care are required before we touch it. 3 Timber partition wall between villas. 4 Beach villa presentation drawings shown to the client; the final design has not changed much since this early drawing - a single storey pavilion with a large verandah open tothe Straits of Malacca and surrounded by dense tropical gardens. A private plunge pool is attached to the bedroom along with the verandah. The shape of the plunge pool varies depending on the location of existing trees and existing natural features. 5 A corner of the Beach Villa protrudes over the pond.
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SPA WATER ROOM PAVILION (Reception Room) This Water Room is cool and well ventilated all day. There is no heat from the sun because of the double layered polycarbonate sheets sandwiching a timber lattice, used to reduce heat. This works together with the natural breeze created by the change in air temperature at the water surface between inside and outside - this natural breeze draws out the remaining heat from inside the room.
Stillness of the water surface inside this indoor Water Room Pavilioncreates a strong sense of place, of serenity. This room is always cool and comfortable. Niches, very close to the water’s surface, are designed for candles, for reflection
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SPA WATER COURT The limestone cliff on the right falls on a line with the side of the Water Court. It helps prevent breezes thus creating a stillness on the water surface. It is our design intention to ensure that the reectionon the water surface is equally as real as the reality itself.The Indoor Water Room (The Spa Reception Room) is behind this facade with its soft touch of Islam. Serenity through stillness has always been what I want to achieve.
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“Horizon”Her beauty is the secret to serenity.No matter where you are - on the mountain or the paddy fieldsshe always follows your eyes.Whenever you look at her, she will always be there.If you reach out to her, she will joyfully express her beauty.Beautiful interior elements and floor patterns byBill Bensley and Jeffrey Wilkes
FOUR SEASONS RESORT LANGKAWI, Malaysia Location Completion Owner Master Plan Architect Interior Designer
Jalan Tanjung Rhu, Langkawi, Kedah Malaysia 2005 MAS Hotels and Boutiques Sdn. Bhd. Bunnag Architects and Bensley Design Studios Bunnag Architects Bunnag Architects, Bensley Design Studios and LTW Design Works Sdn Bhd
Landscape Architect
Bensley Design Studios
Structural Engineer
KAL & Partners Sdn Bhd
System Engineer
Iktisas Ingenieurs Sdn Bhd
Lighting Designer
Project Lighting Design
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Creating gorgeous Kitchens for over 9 years ...
... and finding the one that’s perfect for you and your lifestyle is something we’re expert at. Our showrooms showcase a carefully selected range of over 30 kitchens from laminated to high end lacquered all of which boast the perfect combination of practical design and functional style. Once you’ve made your choice, our kitchen experts will guide you thought our “Total Kitchen Solution” service to create an affordable kitchen that’s as individual as you are.
KITCHEN
CONCEPTS
The Modular Kitchen Supermarket ^
GPO Box N. 8975, EPC 2700, Teku Road, Kathmandu (Next to Bakery Café) Tel.: (01) 422 1858, 421 2097 Fax: (01) 421 6112 Koteswor: Tel: (01) 446 4964, Kumaripati : Tel: (01) 500 8680 Sleek Kitchen Concepts : Srijana Chowk, Pokhara, Tel: (061) 53 4364 Chitwan Kitchen Concept : Sahid Chowk, Narayangarh, Tel: (056) 522 793 Email : nepalkitchen@wlink.com.np, Visit : www.kitchenconcepts.com.np March 2013
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TEXT, CONCEPT & STYLING: PURAN JOSHI PHOTOGRAPHS: A. RAJBANSH
This spring, the season of color and new buds, we bring you exciting color coordinates, contrasts, and complementing style elements to re-furbish, redo and re-decorate your interiors.
2013: Global TRENDS
S T Y L E F E A T U R E
Aqua Antique Rich amalgamation of ethnic prints, traditional handicrafts and bright colors come together
peacock album, Rs. 375, leaf plate, Rs. 400, lapis mala, Rs. 2600, turquoise mala, Rs. 440, metal ring, Rs. 300, pendant, Rs. 375, tiny tea cup, Rs. 50, prayer wheel, Rs. 450, H. prayer wheel, Rs. 975, peacock card, Rs. 25, L. prayer ag, Rs. 150, Mahaguthi, lining cup, Rs. 431, Dhukuti, ceramic glass, Rs. 145, paper cutting knife, Rs. 365, incense, Rs. 55, Sana Hastakala
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Pretty Pink Soft pink ďŹ nally come home to cream. Gift box, thaili, and pink accessories help to ďŹ nish the look.
felt cushion, Rs. 610, beads mala, Rs. 180, Mahaguthi, round box, Rs. 325, thaili, Rs. 185, ring-box, Rs. 60, stationery Rs. 70, plain paper, Rs. 35, Barefoot, bowl, Rs. 50, buttons, Rs. 40 each, incense, Rs. 45, notebook Rs. 155, Sana Hastakala spacesnepal.com
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True Blue Mix true blue with white, subtle prints and natural textures that compliment each other
ďŹ sh tray, Rs. 300, egg stand, Rs. 45, square plate, Rs. 460, pala bowl, Rs. 100, pen stand, Rs. 240, ceramic wind chime, Rs. 840, chips mala, Rs. 150, bamboo shawl, Rs. 675, tiny tea cup, Rs. 50, Mahaguthi, gift bag, Rs. 65, ribbon, Rs. 30/pc, pencil, Rs. 80, plain paper, Rs. 35, Barefoot March 2013
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Black White Brown Simple yet stylish, dramatic contrast,clasical design. Bring the black-n-whites with brown undertones
bamboo plate, Rs. 400, votic holder, Rs. 160, egg designed plate, Rs. 265, leaf bowl, Rs. 135, Mahaguthi, ceramic elephant, Rs. 111, Dhukuti, dinner plate, Rs. 745, bowl, Rs. 540, spa bowl, Rs. 260, incense holder, Rs. 150, lotus incense holder, Rs. 130, triangle incense holder, Rs. 50, scrubber, Rs. 130, Sana Hastakala spacesnepal.com
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Passionate Red Warm and positive mood setting. Stimulate some intimate passion in decoration with this vibrant deep color
felt cushion cover, Rs. 610, chips mala, Rs. 150, prayer ag, Rs. 150, hair clip, Rs. 70, bamboo vase L. Rs. 225, bookmark, Rs. 55, Mahaguthi, bruket photo frame, Rs. 175, felt rose, Rs. 50/pc, ring box, Rs. 65, buttery paper, Rs. 65, Barefoot, paper cutting knife, Rs. 365, doll key ring, Rs. 145, felt pencil holder, Rs. 105, Sana Hastakala, square candle, Rs. 541, Dhukuti
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Green Harmony Green in all shades, tones and hues. Challenging, but we promise refreshing results
woolen oor mat, Rs. 3,900, singing bowl, Rs. 825, chips mala, Rs. 150, lotus plate, Rs. 355, Mahaguthi, ball neckless, Rs. 845, square plate, Rs. 190, two-in-one, Rs. 145, Sana Hastakala, cheese chopping board, Rs. 304, 3 hanging-bell wind chime, Rs. 1,150, roudn candle, Rs. 210, glass paper weight, Rs. 299, cylindric box, Rs. 209, Dhukuti, bangle box, Rs. 310, ring box, Rs. 65, paper, Rs. 55, Barefoot spacesnepal.com
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Citrus Punch This striking combination always looks amazing. Add some red, green for some taste.
tiny tea pot, Rs. 465, egg stand, Rs. 45, mug, Rs 165, hammer plate, Rs. 255, curtain napkin, Rs. 90, Mahaguthi, ribbon, Rs. 30, felt rose, Rs. 50, pencil, Rs. 80, Barefoot, moti mala, Rs. 130, notebook L, Rs. 435, Sana Hastakala, metal napkin ring, Rs. 75, chicken rubberband, Rs. 38, pumpkin candle, Rs. 225, Dhukuti March 2013
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Copper & Bronze Rustic antiques, old-warm words, whimsy and classic layers are looking all good this season.
prayer wheel, Rs. 565, bamboo album, Rs. 375, door handle, Rs. 325, cymbala, Rs. 565, Mahaguthi, plain paper, Rs. 50, Barefoot, dalisha, Rs. 870, candle stand, Rs. 580, turtoise paper weight, Rs. 365, crocodile paper weight, Rs. 580, owl paper weight, Rs. 580, paper knife, Rs. 120, spoon/fork/knife, Rs. 235/each, stupa, Rs. 580, Sana Hastakala, anti tea pot miniature, Rs. 514, lotus bowl, Rs. 277, buttery ornament, Rs. 458, Dhukuti
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I N T E R I O R
“Namuna banai diyau...”
NAMUNA GAUN TEXT: VENEETA SINGHA PHOTOGRAPHS: A. RAJBANSH
T
he ideal of a potter transforming a mound of clay into a work of art harkens back to a fundamental existential strain of ingenuity, creativity and enterprise. In consonance, the word ‘shelter’ is almost mythical - conjuring a myriad notion of home, sanctuary and the traditions of humanism. An individual ideal further finds expression in a built structure - hidden and replete, welcoming and cautious, a home and, yet, a metaphysical notion that will withstand the test of time, space and existence. A brick-laden path wove its way to a Durbar Square as the morning light guided us to Bhaktapur. We found ourselves in the middle of the famous Bhaktapur Durbar Square. Standing in the middle of the square, momentarily it seemed, history had unfolded before us allowing us to breathe and bask in its glory. We walked through the traditional alleys embellished with the artisan’s wares and halted before an imposing gate introducing us to Namuna Ghar. Streams of sunshine gave the entrance a mystical delight. We waited at the traditional foyer somewhat taken aback by the ethereal simplicity of the house and its aura. I looked up at the house - the designs on it and on the structures nearby were unerringly familiar and, equally mysterious. The spiritual conventions of the Licchavi and Malla Periods in Nepali history are replete in the communities they built and helped enshrine - from the mythical _____ on the stone spout to the pantheon of Gods and Goddesses carved and engraved in the woodwork and stone facades. However, the built world impresses upon us, instead, a lived reality rather than a mythological one.
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in Sanga
A home with a view!
Soon, we began an instinctual conversation with Rabindra Puri, our host, about Newari architectural forms, history and anecdotes - some of which are encased in stories than many of us have heard during our childhood. The Namuna Ghar is a restoration project initiated and managed by Rabindra and was the recipient of the prestigious UNESCO Heritage Award in 2004. The house is 175 years old, photographs of its somewhat checkered past reveal that it was also home to a chickens coop not long before the restoration which has now given it life and, indeed, infused contemporary Nepali architecture with a socio-historical design axiom unlike any other. The material and socio-cultural imperatives in Newari architecture have often resulted in both revival and re-imagination. Space, in the Namuna Ghar, has taken a medieval form yet the home is perceptually contemporary. The traditional brassware and earthenware that one
encounters in shops across Nepal seemed to have found an appealing aesthetic form and function. With a library, a living area, comfortable bedrooms and a kitchen and dining area at the top, the Ghar is a complete exemplar. Had we come upon a beautiful dwelling or an archetypal way of life? Low ceilings and clay bricks typify the Newari style of architecture giving the built structure a feeling of comfort and community. Details and intricate craftsmanship abound in the Namuna Ghar. Our senses became aware, articulate and invigorated by the Namuna Ghar. A warm, sunny rooftop terrace above the kitchen brought in greenery - the nature and nurture dynamic is very important in Nepali life. Bhaktapur is well known to be a close-knit community - the homes and buildings that we saw nearby stood welcoming, reminding us that ‘no home is an island’. Rabindra’s
A detail encased in tradition
The kitchen area with traditional utensils
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restorative work on the Namuna Ghar was completed within a year and a half - a labour of love that still brings a proud gleam in his eyes. Employing local craftsmen and builders, he has brought the world immeasurably closer to ancient innovations now rendered immortal by their sheer beauty, utility and existential pride.
THE NAMUNA GAUN IN SANGA: A PASTORALE REENVISIONED Our trip to Sanga from Bhaktapur was a treat - one which many Kathmandu people delight in and savour. Moving away from an urbanized world to the hills and fields surrounding Bhakatapur, nature’s abundance
manifested itself with a simple dignity. Known to be a primarily agrarian society, the Newars, to this day, exemplify true stewardship of the land and inculcate a profound natural and spatial intelligence. We reached a hilltop in Sanga and Rabindra’s new project, the Namuna Gaun, presented itself to
us with sudden and direct impact. A work in progress, the Namuna Gaun is a collective of Nepali homes built in the Newari architectural style and infused with the materials and modes that typify the Gaun setting. Cradled in Sanga’s hills, the homes are a beacon, a built convention and, summarily, a blessing in disguise. March 2013
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I N T E R I O R
The entrance of Namuna Ghar
A Nepali cultural symbol
A home in Namuna Gaun
We began to explore three houses in the Namuna Gaun, each structured around a theme and material inspiration. Clay brick, stone and mud are potent metaphors in Nepali socio-cultural norms. Here, they had found and furnished beautiful homes that we wished we never had to leave. We sat, looked around with awe as we sipped on tea and listened to Rabindra’s guiding vision for the Project. Inside, the homes comprise a living, dining and kitchen area with a ďŹ replace, bedrooms on the next oor and a spacious study area and terrace at the top. Yet again, traditional Nepali details and craftwork have given the homes an identity and an overwhelming presence of comfort and shelter. Warm, earthen colour tones transmuted by the natural elements outside burnish this hearth. Our conversation turned inevitably towards the socio-historical axioms that have long held sway over Nepali architecture. The spiritual traditions of Nepal are often translated into the material world through design and the structural environment. Symbols of the divine are a form of supplication and remind us that spacesnepal.com
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the material world is preserved and strengthened by this connection. The homes overlooked lush greens, sloping ďŹ elds and the valley ahead appeared as though in completion. The Namuna Gaun presents a complete world, in many ways. Rabindra’s vision has transformed this pastorale into a spatial haven that few can resist. Weaving traditional design with
modern conveniences, the homes are beautiful renditions of comfort and creative synergy. In Sanga, the Nepali design sphere gives us a community that complements our unique character and values. The Namuna Gaun, will stand tall, inviting many with its blessings. The Nepali pastorale has now become a beautiful home again.
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I N T E R I O R
Commercial Kitchen Design TEXT: CHANDANI K.C. DIAGRAMS: UJJWAL SATYAL
A
kitchen is the heart of a foodservice operation, whether it is a restaurant, hotel, resort, hospital, schools, colleges or other commercial food outlet. A commercial kitchen is where food is produced for a large number of people. The design of it is completely different from the residential kitchen design. Proper planning of the space in terms of functionality and circulation of space is essential to achieve optimum performance. Proper planning is such that the kitchen staffs can easily access everything with minimum loss of time and energy. If the layout and design of the kitchen is not done properly, it will hamper the operations and in turn raise the operation cost. For designing of the kitchen, it is best to take the help of an expert as designing without adequate knowledge will lead to high utility bills, poor ventilation, employees tripping over each other and hamper the ability to produce quality meals.
CHECKLIST Mr. Ujjwal Satyal, a kitchen design consultant mentions having a checklist as the ďŹ rst step in the design process. The checklist will include the type of facility (hotel, restaurant, resort, hospital, schools/institutional, military or police facility etc), type of service (takeout, banquet,
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I N T E R I O R
ala carte etc), demand requirements (seating capacity),operating hours, peak hours, budget, cost effectiveness, available power supplies, HVAC, water supply, fire safety, lighting systems etc.
MENU Developing a menu is important before you venture out into designing a kitchen for commercial purpose. A menu will give you the idea about the equipments needed in the kitchen and in turn the space. Including all the items that you may wish to add in the future will in turn save money for future. For facilities like schools, colleges, police or military facility, the quantity being prepared will also determine the equipments.
SPACE PLANNING AND EQUIPMENTS Next step to designing the kitchen is to calculate the required amount of space. A complete list of equipments required for food preparation, refrigeration, display and storage must be prepared. This will help to calculate the required amount of space. The optimum height for base cabinet/ cooking range is 34”. Usually kitchen space is taken to be 20% of the dining space.
ERGONOMICS A plan should be prepared on how the kitchen space will be used. Ergonomics, the flow of the kitchen is most important aspect in the design of space. Commercial kitchens should be designed for maximum labor efficiency and safety. Ujjwal Shrestha mentions having the kitchen flow to be such that the cook/chef does not use extra steps and waste energy while cooking. There should be minimal counter flow of product or crossing traffic within the
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kitchen. Plenty of room has to be provided for staffs to move freely while carrying hot pots and bulky supplies. Cleaning area needs to be near the kitchen entrance. The major functional areas and work stations for commercial kitchen are receiving, storage, food preparation, cooking line, delivery, washing area and other specialty areas. Other specialty areas can be office for chef, toilets for staff, bakery etc
lights for individual workspaces. Individual work space lights that can be switched on and off individually, can save much needed energy. For this dividing the lighting installation into relevant zones will be useful. A kitchen consultant will estimate the electricity, fuel and water consumption during the designing of the restaurant which will help to foresee the cost.
SAFETY ENERGY EFFICIENCY Energy efficiency specially in a place like Nepal is important so that the place operates without consuming too much energy. This is possible by choosing energy efficient equipment which may cost more to buy but are a lot cheaper in the long run, designing the kitchen energy efficiently and adopting good working practices. Dividing the kitchen into cold and hot zones with fridges and freezers in the cold zones will save energy.
SERVICES Design of various services has to be taken into consideration for a kitchen design. These are water supply, drainage, fuel supply, electricity, HVAC, exhaust systems, lighting systems, ventilation etc. It is necessary to ensure proper ventilation in the kitchen to prevent high temperature inside and provide proper working conditions. Ventilation will remove excess heat produced from cooking and other processes. Lighting, both natural and artificial is necessary for the working conditions in the kitchen including the preparation of food. Besides the standard lights in the kitchen, it is necessary to have
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Kitchens are very vulnerable to fire due to the intense cooking heat and use of flammable oils. The damage that can be caused by a fire in a kitchen can be quite significant. Fire protection solutions such as fire detection and suppression system are essential for all the kitchens. An automatic fire detection and suppression system is operated without human intervention and posses a means of detection, actuation and delivery. It should consist of hood system, a chemical fire extinguishant and fire extinguishers. It is essential to build two doors to the kitchen: one for the in traffic flow and the other for out traffic flow. This will ensure that staff delivering food will not cross paths with staff bringing in dirty dishes making the kitchen much safer. Proper selection of flooring tiles also ensures the safety of kitchen. The texture of flooring tiles used should be non slippery. Every kitchen design is different and the design of it is governed by many factors as mentioned above. Designing a kitchen that accommodates all the required factors will make the kitchen energy efficient, functional and ultimately save money.
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H E R I T A G E
b a
c The complex of Uku Baha comprises of three quadrangles - a) U Baha Gathica - Khanda Chuka Vihara; b) Uku Baha; c) Tago ChiBaha – Yantarivi Vihara
INTRODUCTION It is an acceptable fact that the tenets of Nepalese aesthetics were based on the doctrines and conventions of religious edifices that were transcendental and intellectual in character and idealistic in aim and purpose. In Rudravarna Mahabihar the space / time / light continuum are much better represented and understood in perspective than by other conventions. The process of development of such an affluent heritage in indigenous Newari society clearly illustrates the response of sociocultural and religious demands. Contrary to other countries, Nepal practices Bajrayana Buddhism, which is derived from its predecessor Mahayana Buddhism. Bahal (in Nepali) and Baha (in Newari) are Buddhist institutions - an ancillary, a shelter for Buddhist disciples. It can be ascertained that the intention of the building is quite similar to Ajanta Ellora, which exists in our neighbouring country, India. Construction of this architectural masterpiece dates back to the 6th century AD during the reign of the Lichhavi King, Shiva Dev, with further renovation from the subsequent ruler, King Rudravarna. However Prof. Dr. Sudarshan Raj Tiwari, an expert in this field, is of the opinion that it was not actually built during the Lichhavi period nor by King Shiva Dev of that period, since there are no solid historical evidences. He even raises doubts of any existence of Bahas in Patan during the Lichhavi period. Nevertheless, one spacesnepal.com
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The main gate to the complex with two large stone lions gives an impression of a fortification rather than a gate for a monastery
way of understanding the origin and development of the monastery can be through its etymology. The full name of the monastery as according to the book (Rudravarna Mahabihar– Chhagu Addhyan) by Pundit Hem Raja Shakya is ‘Shiva Dev Sanskrit Okuli Rudravarna Mahabihar Uku Baha.’ From the toponymal consideration of the word ‘Uku Baha’, which is the present name for this monastery, we come across the monosyllabic nature of Newari language (Newari language has an ongoing tendency to shorten words).
H E R I T A G E
RUDRAVARNA MAHABIHAR
Uku Baha TEXT: RUPESH SHRESTHA
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In Newari “l” and “r” are constantly interchanged. The word Baha is also a transformation of the word ‘Vihara’. Often Baha is also squeezed and termed as “Ba” only. Okuli means cultures of Malla and Thakuri kings embodied in its rituals and customs. Also colloquially derived from Okuli, Wakuli in Newari means South-East which gives the direction of this monastery from the Patan Durbar Square. Thus from the word Okuli, in due course of time, this monastery was given the short name Uku Baha and will be termed the same hereafter. According to Daniel Wright (History of Nepal), the chronicle assigns the foundation of Uku Baha to King Shiva Dev, ruling from about 590- 604 A.D., who later became a monk, and in due course of time and with consent from his Guru, returned to his comforts and luxuries of a king. Then after, with the sanctions of his Guru, built a Bihar (also a colloquial derivation of Vihara) and lodged his Guru in it. But contrary to this consistent belief that Shiva Dev retired in Uku Baha, Dhanavajra Vajracharya, also an expert, concludes that the place where Shiva Dev retired is Baudhanath of Kathmandu
(with support of references made from Gopalaraja Vamsavali), adding more controversy over its establishment. Rudravarna Mahabihar (Uku Baha) is located in Uku Baha tole, a couple of minutes from Sundhara of Patan and is one of the oldest, best documented and best preserved Bahas of Patan. It has the greatest number of branches of all the Bahas in the Valley (twenty nine) and the second largest Sangha (a group of non-celibate monks formed during the Malla period). In sculpting this genuine classic, Nepalese artists and craftsmen personified such status. It reflects the ambience of the Golden age of Nepal during the Lichhavis and Mallas in a timeless fashion to create a memorable impression to any of its visitors. The complex of Uku Baha comprises of three quadrangles: a) U Baha Gathica - Khanda Chuka Vihara; b) Uku Baha; c) Tago ChiBaha – Yantarivi Vihara
THE MAIN GATE & U BAHA GATHICA The main gate on the north side to the complex has two large stone lions and a plastered gateway with two modern plastered lions on its top, each holding a spear. There is an interesting fact associated with the establishment of this gate, which to the casual onlooker, might give an impression of a fortification rather than a gate for a monastery. Uku Baha was renovated subsequently by Gen. Chandra Sumshere, the then Prime Minister and the de facto ruler from 1901 to 1929 AD, and a local from Uku Baha by the name of Dhirjanrisingh Shakya, alias ’Gwara Company’, led the team for its renovation. To please Chandra Shumshere, Dhirjanrisingh designed the gate to symbolically represent Chandra Shumshere’s name - on the top of the gate is a Moon representing Chandra and below it are two symmetrically placed lions holding spears representing Shum-Shere (lions alike). So we once more find architecture governed by rulers rather than by the people during the Rana period. From the main gate we come across the first quadrangle - U Baha Gathica. It is an enclosed courtyard, which faces the Uku Baha on the south side. The east and west side of the quadrangle has houses belonging to private owners. Inside the courtyard are two shrines and a chaitya. According to John K. Locke, S.J. (Buddhist Monasteries of Nepal), the temple facing east is a modified shikhara temple, and contains an image of Aksobhya who is the Kwapa-dya (Protector-Deity) of this branch. The other shikhara temple of stone, contains an image of Padmapani Lokesvara.
The entrance of the main quadrangle, Uku Baha, is marked by two stone lions which are images of Harihariharivahana Lokesvara with the lion resting on an elephant which in turn rests on a turtle. Over the doorway is a new wooden torana put up at the time of renovation in 1982, depicting the Buddha (Aksobhya), flanked by the Dharma (Prajnaparamita) on his left and the Sangha (Avalokitesvara) on his right. Records credit the renovation of that period to Prince Dhirendra, member of the former Royal Family of Nepal. It is said that the completion of the renovation had received a special audience from the Royal family including former King Birendra, along with the Prime Minister and foreign dignitaries, which depicts the importance of Uku Baha for a country like Nepal. spacesnepal.com
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The sunken courtyard of the Uku Baha is a jewel of Nepalese architecture. Although fundamentally of Buddhist origin for the religion they served, certain combination of art was appropriated from Neo-classical style of the Rana period which after its renovation during the reign of Gen. Chandra Shumshere.
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UKU BAHA – THE MAIN COURTYARD The main courtyard is a jewel of Nepalese architecture. The pattern, opulence and variety exercised here give any of its observer’s a sense of magnificence. From U Baha Gathica we observe the façade of the central quadrangle. To a casual observer it might well seem as a usual façade of a Baha with tactfully placed windows - Pasuka Jhya (with five openings), Chhapa Jhya (Blind window for decorative rather than functional purpose) and Tiki Jhya (lattice window). But a closer observation might reveal the plastic embellishment, as will have been gathered, is of a special character. While the intention of the building, as well as their surface treatment, was fundamentally of Buddhist origin for the religion they served, on the other hand, certain combination of art was appropriated from Neo-classical style of the Rana period which had been appropriated during its renovation during the reign of Gen. Chandra Shumshere. In the design of the façade, the craftsmen employed pilasters contemporary to the Rana period, which might have influenced Nepali Builders during that time. The main quadrangle is filled with a luxuriant representation of mystical beings of metal and an extensive repertoire of varied motifs. Such carvings are generally unobtrusive, but encompass some of the most consummate artistry in the monastery precinct. Although the monastery quadrangle is morphologically similar to a palace and a commoner’s house, they differ in certain ways. Some differences can be accounted for due to the function of the Bihar as a residence for the Sangha and at the same time by its role as a house of God. The use of gilt metal in the monastery quadrangle far exceeds the somewhat modest use of metal in other similar monastery quadrangles. And as like the metal works, paintings are also used in the main courtyard for embellishment and didactic purposes. However these paintings are scattered and confined to some medallions or isolated panels. Carved struts support the roof which is overlaid with special tiles viz. Aenpa. On entering the U Baha, the Dalan (entrance hall / vestibule) opens out into a sunken courtyard, from which can be seen the main shrine standing resolutely and telling tales of grandeur and passion of its creator. This Ying-Yang relationship (open-tosky-space surrounded by solid built forms and viceversa) generates a figure/ground pattern in which open spaces act as areas of visual rest between the enclosed volume. The courtyard is filled with artistic objects of metal and stone, some of which are strangely incongruous. The pair of horses, garuda and lion in front of the shrine are totally unlike those seen in other traditional temples. Adding to the concourse is a standing life-size statue of Juddha Shumshere Rana, the Prime Minister who sanctioned funds for renovation after the great earthquake in 1934.
To some extent opulence is often correlated with size. Though Uku Baha is not as large as the magnificent palaces of the Mallas, it is still an exception, and its popularity can be seen by the donations it subsequently attracts and which still continue. Stretching north of the shrine is a row of traditional pieces - Licchavi style Chaityas; stone Dharmadhatu mandala surmounted by a Vajra; a recess for the sacred fire; a metal lamp on a stand and an image of Manjushree with his ensemble. Next to these artefacts is a large image of a devotee referred to as Ratna Maniju, who had made a substantial offering for the Baha. The first floor of the quadrangle is white washed with lime-plaster while the ground floor is of exposed brick. The method of headers and stretchers is followed, care being taken that no two joints came over one another and a mixture of clay is interposed between the joints as an adherent. In conjunction with statuary based upon Newari architecture, neo-classical elements also have been freely employed by the craftsmen and the distinctively composite style thus evolved, displays a fusion of Neo-classism of Rana period with Buddhist ideals. March 2013
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Though Uku Baha is not as large as the magnificent palaces of the Mallas, it is still an exception, and its popularity can be seen by the donations it subsequently attracts and which still continue.
The red faced Shakyamuni Buddha, ‘Kwapa-dya’, inside the main shrine.
MAIN SHRINE While the rest of the quadrangle is used as a workshop for members of the monastery, the shrine is in effect as a Buddhist temple. The main shrine which is three storied with two roofs supported by carved struts, houses the Kwapa-dya , and is taller than the rest of the building. The first storey has the usual five-fold window flanked by figures, over which is a small torana showing Aksobhya and at the end of the façade are cast metal peacocks. Five gilded chaityas rest against the first roof with a sixth set in front of them. The low façade of the next storey has five false windows. Each short strut support a lattice work, the over-hanging balcony, which in turn supports the gilded copper roof. The use of gilt metal is on both tiers of the shrine and also on the façade of the ground floor. The roofs are entirely sheathed in copper – gilded with fanciful gajura, rows of human faces and metal streamers. The shrine door, doorway and torana above it are also of gilt copper. Such doorways are splendid monuments to the Nepali art of metallurgy and contain miniatures of great artistic and iconographic importance. From the roof hangs a single banner which flows down over the lower roof. It is believed that King Shiva Dev during the 6th century performed his initiation rites here, a custom followed later by several Lichhavi kings of Patan. The practice was discontinued until King Rudra Malla revived it in the 13th century. The remaining buildings of the quadrangle have retained the style of a Baha. The floors of the two storied court style building are divided into different rooms overlooking the courtyard. While two doors flank the shrine itself with one leading to the large nani (courtyard) behind, the other leads upstairs to the main agam of the Baha. The eastern wing and the western wing both have an open space on the ground floor with doors at the either end leading to store rooms, or to the area upstairs. The
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façade of the upper storey of these two wings has a triple window over each doorway and a five-fold window in the centre. Some of the exquisite wood carving, like struts depicting willowy goddesses standing upon dwarfs or demons, dates back to the early 14th century.
PRESERVATION AND CONSERVATION ISSUES The people of Uku Baha have exercised great care and with the establishment of the Rudravarna Preservation Committee, which handles the day-to-day culture and religious practices besides the maintenance of the monastery, the complex of Uku Baha can be said to be in a relatively satisfactory state. The protection of the Monastery is conducted through a joint effort of the afore mentioned Sangha, who even have a protection team patrolling at night. However the Sangha lacks co-ordination from the local law enforcement agencies. Acting President of Rudravarna Mahabihar Preservation Committee, Mr. Dharma Raj Shakya is unhappy at the indifference shown by the Lalitpur Municipality and the Department of Archaeology for the preservation of this monastery and stresses on the need for co-operation and co-ordination from such Governmental bodies.
At the same time, Mr. Naresh Man Shakya of Mahabauddha Baha, a branch of Uku Baha, suggests additional promotion campaigns for such heritages towards income generation of the community as well as heritage preservation - both tangible and intangible – as both Uku Baha and Maha Bauddha Baha have a strong possibility for attracting tourists. These sites can be taken as models for development of a particular place through its Architecture. Such practices are encouraged to be done for other Bahas of Patan which lack such co-ordinated effort. Although it might be a social process of commoditisation of our heritage yet it is very relevant and is needed in the present context for a country like Nepal. Meanwhile Dr. Rohit K. Ranjitkar, Nepal Program Director of Kathmandu Valley Preservation Trust (KVPT) states that prolongation of such structures depends upon its maintenance. Although specific studies are to be done, he is of the opinion that the main cause of deterioration is moisture, which may be due to roof leakage or dampness rising from the ground.
1. The Tago ChiBaha complex located directly behind Uku Baha is one of the branches of Uku Baha. It has a large chaitya known as Yatalibi chaitya in the centre but is has no Kwapa-dya . 2. Construction of the Uku Baha dates back to the 6th century AD during the reign of the Lichhavi King, Shiva Dev. Its customs are still followed and adhered to by the Shakya clan of Uku Baha
CONCLUSION Rampant urban population growth has already overwhelmed the existing utility systems of Kathmandu and barbarized the traditional city form. Nevertheless, Rudravarna Mahabihar is a monumental architectural structure and can be seen as a nexus for tourism development. Historical preservation goals are to be served if the needs of local inhabitants are to be fulfilled. Many other recommendations can be developed as subsidiary activity which is beyond the purview of this paper. However, it can be safely concluded that nothing has failed to find a place in Patan’s Uku Bahal, whether it be old, middle-aged or modern. The structure represents the golden age of Nepal – an ensemble of its glorious past - a treasure produced by the artisans from the City of Artists called Patan.
Acknowledgement • Prof. Dr. Sudarshan Raj Tiwari, Institute of Engineering, Lalitpur • Dr. Rohit K. Ranjitkar, KVPT, Lalitpur • Ar. Punya Sagar Marahatta, Lecturer, Institute of Engineering, Lalitpur • Mr. Dharma Raj Shakya, President, Rudravarna Mahabihar Preservation Committee • Mr. Naresh Man Shakya, Resident, MahaBauddha, Lalitpur.
References • Shakya, Hem Raja. Rudravarna Mahabihar – Chhagu Addhyan. Yala: 2538 Buddha Jayanti Samaroha Samiti. • Locke, John K. Buddhist Monasteries of Nepal, Kathmandu: Sahayogi Press Pvt. Ltd, 1985 • Slusser, Mary Shephard. Nepal Mandala. New Jersey: Princeton University, 1998 • Korn, Wolfgang. The Traditional Architecture of Kathmandu Valley. Nepal: Bibliotheca Himalayica, 1976
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P R O D U C T
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ideas
BY HAND
Charming Paper Décor
Cheap and beautiful
Martha Steward inspired.
TEXT, CONCEPT & STYLING: EVA SHRESTHA PHOTOGRAPHS: A. RAJBANSH
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WHAT YOU NEED Color paper Scissors Pencil Glue stick
Step 1.Draw a spiral on a sheet paper Step 2.Cut out the spiral line Step 3.Begin rolling up the spiral from the outside until ntil there’s no more left to role Step 4.Use a bit of glue to keep the flower from unrolling. olling.
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I D E A S
How easy! How cute!
Dog eared book page can damage your page instead try this cool and unique DIY book mark.
WHAT YOU NEED Color paper Scissors Ruler Pencil
Glue stick Other decorating tools (optional)s Marker, stickers, stamps, etc..
Step1. On a piece of plain scrap paper, draw a square. Use your ruler so its sides are perfectly straight. Draw second square exactly the same size on the right side of the first square (so they share a side) and a third square exactly the same size on the top of the first square. You should end up with 3 squares that compose an L shape. Step 2. Using your ruler, draw a diagonal line across the uppermost square, from its top right corner to its bottom left corner. Scribble out the upper left half Next, draw a diagonal line across the bottom right square, from its top right corner to its bottom left corner. . Scribble out the lower right half Step3. Cut out the scribble part. You should get a square with two triangles attached to it, one on the top and one on the right Step 4. Fold one triangle inwards, Apply glue to the underside (the side still facing up) of the second triangle, and fold it over onto the first triangle. Step 5. Add any decorations or illustrations you wish.
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I D E A S
Easy and elegant dessert! Who doesn’t love a chocolate covered strawberry? They are so easy to make that we don’t have to wait for a special occasion.
INGREDIENTS Semi sweet chocolate Strawberries
RECIPE 1 1. Place chocolate in a bowl set over a saucepan of simmering water. Stir occasionally until melt. 2. Hold the strawberry by the stem dip the bottom half of each strawberry in the melted chocolate. Place it on top of the baking wax sheet. 3. Chill chocolate- dipped strawberry at least 15 mins to set chocolate. Note: the chocolate dipped strawberries are best if eaten in 24hrs. Serve at room temperature for greatest flavor.
Create a centre piece using Orchid THINGS YOU NEED: • Clear vase (Shape & Size as your preference) • Pebbles/Marbles anything suitable for the vase • Orchid 1. Start with placing pebbles in the vase which will also act as an anchor for the orchids to hold them down. 2. Place the orchid in the vase, try to put the stem among the pebbles so the orchids are held down. 3. Fill up the vase with water. 4. Finish it up by toping it with floating candles.
TIP: • Water your orchid plant only once a week, and allow the water to drain. • Place the Orchids away from the direct sunlight.
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A R T
Artists
reclaiming the public spaces TEXT: USHA SHARMA
K
athmandu valley known for the rich art and architecture, slowly seem to have lost its charm .Everywhere around the city, posters banners, commercial hoarding boards and above all political slogans can be seen. Once, known as the city of temples and city of ancient fine arts the city is now known for the overcrowded, unwanted, unsystematic settlements. Along with the pace of change and urbanization once adorned by the magnificent artifacts the city now is shadowed by the changes. The mesh of unplanned, unsystematic overcrowded buildings. To add to that everywhere around the city there are advertisement boards, posters, billboards and above all the political slogans. Almost every nooks and corners of the city seem to be occupied by the marketing strategies of every minor products and dominated by the political agenda. A city inevitably renowned for the art culture is overshadowed in the advertisement pollution.
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But, from the past few years, along with the intervention of pollution, a few peculiar changes started appearing in the city. The most needed change to the art admirers and art enthusiasts. Group of artists began to showcase their artistic venture on the walls and public spaces once dominated by “visual pollution”. The sites in the public places were not essentially targeted as the war against “advertisement pollution”. The main purpose of utilizing the misused public places started as a process of replacing the negativities created by the slogans and advertisements by something creative and innovative.
A R T
Street art on the theme “Stop Violence Against Women” by Artudio
Street art by Art Lab on the walls of teku road
CITY OF MURALS The new generation of artist is working in collaboration to embellish the city with murals. Sattya media art collective has initiated a project”Kolor Kathmandu”. As the name suggests, through the project the artists from various background are trying to intrude the public spaces and display their magnificent art works with murals.
This new wave of making street murals is targeted towards replacing the ugliness of advertisements and slogans. It also started as a quest to reclaim the public walls. The murals are a medium to bring splendid art works of the artists to the public at the same time generating a vibe of happiness to the public through thee refreshing colors of art. “The goal of the project is to bring art closer to the art lovers, promote art and revives the art tourism”, states Yuki Poudel, project director at Kolor Kathmandu. The objective of the project is to develop a new generation of mural artist and also developing Kathmandu as city of murals. Besides adornment of the city, through the murals the city dwellers will be able to observe a hint of diverse culture of seventy five districts as well. The ongoing project hopes to bring a little reflections of the whole country to the capital city. Each mural will somehow resemble some critical issue not in a very concrete but just an attempt to make the murals more meaningful. Through the murals the artists hope to change March 2013
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A R T the ambience of the city at the same time question the limitations of art. The murals have revived the art values of the city at the same time is a beginning of create meaning ful art in public places that are either wasted or misused. The expressions of artist at such places could be sources of inspiration to the passerby and bring attention to the general public on many issues depicted in those art works. The murals could be developed as a mirror of the prevalent society.
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A R T Mural by Kolor Kathmandu team on the go
Mural titled “Bajura” by Shradhha Shrestha and Kolor Kathmandu team
STREET ART CULTURE The culture of street at is not so common to the art scene. But slowly the young generations of artists who are influenced by the popular Western street art culture have brought the culture to the walls of the city. The purpose of creating the street art is no different to the mural artists. They have been working on the same concept of bringing art outside the gallery. The artists however claim that though they have been following the trend of street art, their aim is not rebel against the politicians or the advertisement culture. Street art to them is just another way of following art for art sake. “We are definitely influenced by the street artists, graffiti around the world but at the same time have tried to give a Nepali touch”, says Aditya Aryal one of the artists following the trend of street art,who has been actively involved in this form of art for almost a year.
ART ON SOCIAL CAUSE The artists have certainly broken the boundaries of the traditional ways of following art and brought art to the public places through various medium. Public places give an opportunity to the artist to interact to the general public and receive their views towards art. However, the purpose behind bringing art to the public spaces is not limited to bringing art works outside galleries. When artists come on streets they have a common voice to share. The artists are
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A R T paining the walls replacing the visual pollution with something innovative, but at the same time their works have reflected the contemporary socio-political issues. From the health issues of washing hands to the much hyped issues of women violence and many other social issues, the artists displaying their work on public walls have tried to reach to the public by supporting their cause and problems. The artists have tried to contribute to the society by spreading awareness on related topics through art in public. In a way they are creating art in
Mural “Sindhuli “ by Kolor Kathmandu team
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public for the public, and the artists are working as a catalyst to spread awareness regarding social and political issues. “The artists are not only trying to reclaim the misused public spaces but at same time our collaborative works are also a medium to raise voice on the social issues”, Kailash K Shrestha, a visual artists shares his experience of working on the streets. He has been initiating the collaborative projects of street art for almost two years and most of the works are on the social issues. For him bringing art
to the public spaces is a medium to vandalize the wrong culture of advertisements and political parties. General public are fooled by these slogans and the artists have put their efforts to support a cause and contribute to the society. The artists are undoubtly following a commendable works by replacing the dominant advertisement culture and the antigovernment slogans, by something new, creative, and refreshing to the general public. To some artists working in public places is just a matter of another practice of art
A R T Street art by Art Lab spreading the message of unity
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A R T
Mural on the process by Kolor Kathmandu team
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A R T
Street art done with school children on the theme of Handwashing on the walls of Trichandra College
and experiment. In a view of few street artists, street art can be boring but must reect some contemporary issues. While to some it is just an initiation towards replacement of negativities by positivity spread
through various medium of art. The artist are reclaiming the public spaces to spread happiness to public through the arts at the same they are contributing their efforts to the society.
PHOTO/REFERENCE: Artlab,Artudio,Satya Media Arts Collective For more on murals and street art: kolorkathmandu.sattya.org, www.artudio.org,artlablife.com
Street art by Art Lab
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F R O M
T H E
S H E L F
NEPAL A Guide to the ART & ARCHITECTURE of the Kathmandu Valley
THE KATHMANDU VALLEY This book is the result of an initiative taken by Paul Strachan of Kiscadale Publications. who 11 rst approached the editor in 1990. It aims to provide the curious traveller with an introduction to the art and architecture of what has been termed the ‘heart of Nepal’—die Kathmandu Valley. It will not tell you where to stay, what to eat or what to wear. Instead, it aims to explain and describe the extraordinary cultural efflorescence that took place in Nepal over many centuries, and to direct the visitor to some of the most important sites and monuments. Although it is not a large county, Nepal contains a number of different cultures and traditions. No one book could describe all of this variegated heritage in any measure of detail. Therefore, this book focuses on specific aspects of the culture of the Kathmandu Valley, and on selected sites within it, without pretending in any way to present a comprehensive treatment of the subject. Nonetheless, these descriptions of palaces, temples and stupas in the Kathmandu Valley are rather more detailed than those that appear in any tourist guide.
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The ancient history of the Valley begins with a myth - or rather, with a number of myths among which one particular account has gained the widest acceptance. This is preserved in a Buddhist text, the Swayambhu Purana. The earliest known copy of this text dates from 1558, but it may recycle a much older myth of lakedrainage that originates ultimately from Khotan in central Asia. Each myth describes the draining from the Valley of a huge lake, often called the Naga-vasa-hrada (lake of the Nagas’ abode). The geological record confirms the existence of this lake during the Pleistocene era: subsequent erosion by rivers and streams has removed the top layers of sediment (tar) to increase the area of fertile plains (dol) of lacustrine soils. Most of the Valley’s settlements were built on the higher tar plateaux. According to the Swayambhu Purana, the lake was inhabited by a large number of Nagas—serpentine creatures closely associated with water, rain and agricultural fertility which are ubiquitous in the art
F R O M
of the Valley. Prompted by the miraculous appearance of a lotusborne flame upon the waters of the lake, the Bodhisattva Manjushri came down from the north to cleave the southern rim of the Valley with his sword and release the waters, thus rendering the Valley habitable and suitable for the propagation of religion. Nowadays the gorge at Chobhar, to the west of Lalitpur, is identified as this cleft, though the Bagmati river actually leaves the Valley through the Kotwal (‘swordcut’) gorge a few miles downstream. The foundation of a shrine to protect the flame (called Swayambhu: ‘self-existent’, ‘self-manifest’) on a hill called Singum (cowtail) or Goshringa (cowhorn) is dated to prehistoric times by the myth. A Hindu (Vaishnav) account of the draining of the Valley gives credit for the action to Pradyumna, the son of Krishna, who thus released the rivergoddess Vagvati (the Bagmati) from the demon who had imprisoned her. This version of the myth was given greater credence during the late Malla period than it is today. Essential for both the traveller and scholar alike, Nepal fills a long dormant gap in the literature of this spectacular region and Is a product of many years of individual research by scholars of Nepal’s history,
religion, art and sociology. It draws on a variety of authoritative studies of Nepal’s cultural history that have been published in European and Nepalese languages. The guide begins with an overview of the history of Nepal. This focuses on the Kathmandu Valley, with its rich and sophisticated culture, but also outlines developments of historical importance outside the valley. This is followed by a detailed introduction to religion as it is practised in Nepal: here, the. focus is on Hinduism and Buddhism, and on the major deities
T H E
S H E L F
of each tradition, their relationship to one another, and their representation in art and sculpture. There are also introductory chapters on the main forms of architecture and the principal art forms: painting, stone sculpture, metalcasting and woodcarving. The second part of the book consists of in-depth descriptions of specific sites within the Kathmandu Valley, each written by a scholar who has a long and intimate acquaintance with the temples, palaces, stupas and other monuments he or she describes. The book is copiously illustrated with photographs in monochrome and colour,, and contains maps and linedrawings. There is a chronology and a full glossary of Nepali, Newari and Sanskrit terms. Although written mainly by academics, the book is intended for a general readership. Easily portable in format, Nepal does not tell the reader where to stay, what to eat or what to wear. It will though help those who wish to appreciate the cultural splendours of Nepal in their historical and religious context and require more information than is imparted by the average tourist guidebook.
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C O L U M N
OPEN SPACES
Saturday is an official holiday across the country. Generally women in the family spend the day washing the weeklong used garments. A house owner in western part of Kathmandu hangs laundry that will be used in the following week.
ABOUT THE PHOTOGRAPHER Kapil Raj Khadgi, is a part time photographer who was trained in SCC. His work has been exhibited in Kathmandu. He is an active volunteer at SCC.
Open Spaces is dedicated column at SPACES, where School of Creative Communication (SCC) will contribute photographs related to art, culture and many more. SCC, is open platform for the creative beings, it is located at Kupondol, Lalitpur. Web: www.scc.org.np Facebook: http://www.facebook.com/scc.kathmandu
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