MAY-JUNE 2008
ART - ARCHITECTURE - DESIGN
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SETTING STANDARDS Dramatics, Colour & Life A Whiff of Tradition The Restoratin of Bhaktapur Price Rs. 100/-
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ADV Hotel Raddison
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VOLUME 4 ISSUE 4 May-June 2008
A WHIFF OF TRADITION ‘The Executive Lounge and Restaurant’ at the Tribhuvan International Airport, Kathmandu, is a five star facility sprawling over 10,000 square feet of international luxury and service for business class ticket holders. Designed by the architectural firm Design Cell, the project was completed within a record time of four months from concept to implementation.
CRAFT
38 TRADITIONAL PROGRESSIONS Designer Mike Krajniak believes that all arts head towards degeneration if not interpreted according to present day technology, spirituality and social values. The enterprise Red Buddha Folk Arts, conceived by Mike, along with Maggie Shah and Jeewan Shilpakar attempts to fuse traditional designs with modern concepts to arrive at – perhaps a modern tradition?
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DRAMATICS, COLOUR & LIFE
CONSERVATION THE RESTORATION OF BHAKTAPUR
REPORT
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Bhaktapur, a city 15 km from Kathmandu, was a thriving centre for trade, especially with Tibet until the latter half of the 18th century. However, with the construction of a highway to the capital Kathmandu, its decline, instigated by the resulting low economic activity, besides ignorance and inadequate administrative system, became steady and inevitable - until the Bhaktapur Development Project.
EFFORTS TODAY - DESTINY TOMORROW
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Architect Yogeshwor Parajuli has dedicated more than three decades of his life to the architectural profession. Now at the age of 53 a relatively young for a person to have garnered so much of experiences - believes that sincerity, honesty and diligence towards work will eventually pay dividends.
ECONOMIC UPLIFT THROUGH HERITAGE CONSERVATION BHAKTAPUR
Navin Joshi has a passion for photography. His photographs are simple images of everyday life and ordinary subjects but made alive and at times even dramatic with the clever use of artistic perception enhanced by modest digital computer editing.
REPORT
INTERIOR
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ART
The Annapurna hotel, designed by Robert Weise in 1965, is said to be an example of a blend of progressive and traditional architecture. Now fourty years hence, its legacy lives on, carried by his son - Kai Weise.
PROFILE
SETTING STANDARDS
CONSERVATION
ARCHITECTURE
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CONTENTS
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Conservation of architectural heritage is common in many parts of the world. But, can investment in architectural and urban heritage conservation foster economic development? Can it contribute to poverty reduction? Can it dramatically attract more tourists? These are most frequently asked questions all over the world including Nepal when it comes to conservation of cultural heritage.
THE RESTORATION OF BHAKTAPUR
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While building a home for most individuals is a once in a lifetime affair, major damage or complete loss of your home can be devastating. Do you have something that could give you peace of mind with respect to safeguarding your assets? This is where insurance comes to your rescue.
NEWS & HAPPENINGS
46 GARDEN TIPS Yet again, Floriculture Association of Nepal organised a Floriculture Trade Fair in Kathmandu, which also included the annual flower competition. And with the mercury rising, Dr. Umed provides tips on how to quench your plants thirst in spite of the water scarcity.
ADV Hotel Annapurnna
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EDITORIAL
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See page
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Does Joshi sound crazy? Or are we too deaf to hear? Whatever may be the case, it sounds music to those parched throats of the Valley and no wonder Prayag has earned a place of respect and honour in the hearts of those he has served. Our walk with him around Patan Durbar Square did add to this fact and as Bijay concludes in his article - The Water Bearer - 'With some more people with the thirst to improve things quenching our thirst for a better Nepal is not that difficult.' If readers will remember, we had earlier featured an article on the destruction of Tansen Durbar - one of the many unfortunate casualties of the decade long insurgency in the country. Unfortunate due to the fact that a part of our history was senselessly obliterated without giving regard to what we were and where we are heading to. However, as if to make amends meet, the Tansen Durbar is now being reconstructed with utmost priority, and in this issue, Ar. Sarita Shrestha Maskey, Chief of Housing Section and Reconstruction Unit, DUDBC, explains why and what is being done.
S R N E IO D T N C U U R T S N CO
Nepalese architects it seems are coming out of their shell and are no longer confined to Nepal only. Following our previous feature on Ar. Tom Crees, now based in Sydney, this issue now features a home in Dhaka, 'A Great Geometric Sculpture', designed by Ar. Suriti Joshi Kader with her husband Ar. K.M.Saiful Kader.
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Nepal's rich cultural heritage sites are not confined to the Valley alone. Lumbini, the birthplace of Lord Buddha, is equally important to us as it is to all those following his teachings. This issue also features an article by Ar. Kai Weise, who writes about its past, present and future. Dr. Bijay and Ar. Sushmita's report, as those in earlier issues, is both informative and exhaustive. Their article 'Sanitation Challenges' is their 'hands on' experience which we hope will one realise where we are and what can or should be done to make our space better and more organized. The article on insurance may confuse readers as to why such an article has appeared in a design magazine. As stated in my first editorial, 'SPACES affects and involves all those within'. The process of choosing a designer, building a house and filling it with prized possessions to transform it into a home, is a one time affair. And as Raju explains in his article, 'The W's of Insurance', protecting our space, something we all treasure to the best of our individual capacity, naturally is as important as the design and building process itself.
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Coming to our announcement regarding the 'Spaces Architectural Award 2008', the team is working on it and with your support and well wishes, we hope that this event will accomplish what we have planned for, i.e., 'To honour our past, define the present and forecast the future.'
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Architectural
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Award 2008 SPACES IS PROUD TO ANNOUNCE A GRAND ARCHITECTURAL EVENT WHICH WILL
Honour our past, define the present and forecast the future
DO FOLLOW THE COMING ISSUE FOR FURTHER DETAILS spacesnepal.com
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One of the unique features among the historical and religious monuments of the Kathmandu Valley is the spout embellished with images of gods and goddesses Cover Photo
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Photographs:Ashesh Rajbansh Canon EOS-1D Mark II Camera f/6.4 @ 1/500 sec ISO 200
CONTRIBUTORS
MANAGING EDITOR PUBLIC RELATIONS
Ar. Kai Weise, the son of Ar. Robert Weise, studied architecture at the Swiss Federal Institute of Technology. He has been working along the Himalayas for the past 15 years as an Architect and Urban Planner. Over the past few years he has also been serving as UNESCO Consultant for World Heritage Sites and lecturing on Conservation Planning.
ASSOCIATE EDITOR CHIEF-MARKETING & SALES
Ar. Yogeshwar K. Parajuli is currently the Managing Director of TAEC Consult P. Ltd., a multidisciplinary engineering consulting firm operating since 1977. After his graduation in 1977 from Chandigarh India, he joined the Bhaktapur Development Project carrying out the comprehensive urban renewal, conservation and development of medieval town, Bhaktapur for about a decade. As consultant he has been Team Leader/ Principal Design Architect, Project Director for a number of large scale architectural, urban planning, civil engineering projects.
Dr. Umed Pun is an ornamental horticulturist running Himalayan Flora Enterprises in Godavari. He is at present involved in growing ornamental plants, exotic cut flowers, foliages and orchids and is also a garden consultant working with several architectural design firms. He has been sharing his expertise with SPACES regularly. (Garden Tips)
Sampada Malla is the winner of 'Travel Writer of the Year 2005' awarded by Nepal Tourism Board. She regularly writes for leading English and Nepali magazines and has also published an anthology of Nepali stories called 'Anayas Eddin'. Sampada has been regularly writing for SPACES and is currently working as the program coordinator for Sarvanam Theater Group. (Chanting Divine Prayers)
Prakash Bahadur Amatya Bijay Shrestha Krishna Shrestha
EXECUTIVE-MARKETING & SALES Nijima Shrestha PHOTOGRAPHY
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PRODUCTION CONTROL CONTRIBUTING ART EDITOR ACCOUNTS ASSISTANT
Ar. Arun Pant completed his bachelor’s in Architecture from Nagpur University and Masters in Urban Planning from the University of Illinois at Urbana Champaign. He is a partner in Design Cell and is involved in designing and managing the various projects of the firm. Occasionally, he is involved with student work and lectures in the architectural and planning colleges in Kathmandu.
Uday Sunder Shrestha, B.E, B. Sc.
PUBLISHED BY
Ashesh Rajbansh Kasthamandap Art Studio Rajesh Dali Narayan Ale Magar IMPRESSIONS Publishing Pvt.Ltd., Kupondole, Lalitpur, P.B. 227, DPO Lalitpur Ph: 5544606. 5526040 (Regd. No 30657/061-62)
GRAPHIC DESIGN/ COLOUR SEPARATION
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DISTRIBUTION IN INDIA
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SPACES is published six times a year at the address above. All rights are reserved in respect of articles, illustrations, photographs, etc. published in S PA C E S . The contents of this publication may not be reproduced in whole or in part in any form without the written consent of the publisher. The opinions expressed by contributors are not necessarily those of the publisher and the publisher cannot accept responsiblility for any errors or omissions. Those submitting manuscripts, photographs, artwork or other materials to SPACES for consideration should not send originals unless specifically requested to do so by SPACES in writing. Unsolicited manuscripts, photographs and other submitted material must be accompanied by a self addressed return envelope, postage prepaid. However, SPACES is not responsible for unsolicited submissions. All editorial inquiries and submissions to SPACES must be addressed to editor@spacesnepal.com or sent to the address mentioned above.
ADVERTISING & SUBSCRIPTIONS Kathmandu:
IMPRESSIONS Publishing Pvt.Ltd. Ph: 5544606, 5526040 email: market@spacesnepal.com
Birgunj:
Kishore Shrestha, Hotel Kailash, Adarsha Nagar. Ph: 522384, 529984. email: hotelkailash@wlink.com.np
Dharan/Biratnagar: Parbati Shrestha, Dharan - 05 Ph: 025-5-21164 9842054110 India:
Vishal Sunder Shrestha, Nepal Curio House, 16 Nehru Road, Darjeeling-WB . Ph:54973
India:
Tanvi Shrestha, 253 Hudson Line, North Delhi Ph: 9953393171
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LETTERS
14 New Gallery for Contemporary Sculptures The article on Thakur P Mainali in your last issue (Mar/Apr 08) was very interesting. At the same time your magazine is very informative too. I have opened a small gallery for contemporary sculptures called "ART SPACE" in Baryo Fiesta at Naxal (next to Mike's Breakfast} and plan to exhibit the works of great sculptors like Mainali, , Pravin Shrestha , Pramila Giri, Om Khatri, etc. As SPACES relates to art besides architecture and design, I would like to invite SPACES to celebrate its opening. Kindly inform us as to whom to contact. Pushpanjali 9851099835 PRESS RELEASE March 2008 Invitation to all architects of the world: Contribute in the making of the future of architectural thought: World Architecture Community, launched on March 1, with 200 honorary members including Hans Hollein, Mario Botta, and Fumihiko Maki, is probably the first interactive database created to provide an opportunity for all local practices to become internationally recognized. Unique features of this portal enable all members to contribute in the making of the future of architectural thought by submitting, discussing, editing, rating, sharing their work. www.worldarchitecture.org
Contributing articles How can I contribute something to your magazine from UK! Please let me know. Sunil Shrestha, ASK group, UK sunu_ask@yahoo.co.uk (Contributions related to 'Art, Architecture & Design' can be sent to editor@spacesnepal.com - ed)
Featuring Interior Graduates As SPACES has been promoting Nepalese graduates who have excelled in architecture, I wonder if SPACES could similarly help to promote interior design graduates too. Rashmi Chitrakar Student of Interior Design, Kantipur College, Baneswor. spacesnepal.com
Encourage Infrastructure Development SPACES seems to be improving with every issue. Congratulations! The article on 'Sanitation Challenges' by Dr. Bijay K. Shrestha /Ar. Sushmita Shrestha in the Mar/Apr 2008 issue was very informative and those related to infrastructure development should be encouraged for a developing country like Nepal. It was also interesting to read about the 'Reconstruction of Tansen Durbar' by Ar. Sarita Shrestha Maskey. And yes, the idea of a 'National Architectural Award' was long overdue. Incidentally, an article on new techniques for swimming pools in Nepal would be interesting too. B K SETHIA ATC-Kathmandu
Value of SPACES I am glad and proud to say that I have all the issues of SPACES since all of them are collector's pieces. However, none of them have been purchased fresh from the stands but rather from a hawker at a throwaway price. According to the hawker, he gets the copies from star hotels who do not seem to realize its value. It would be better if these hotels donated SPACES to a local library or educational institutions, so that it would be available to those who will appreciate its value as a reference material. Rabin Rachalica, Green Team Bhaktapur rachalica@gmail.com
Progressive Path Thank you for featuring my design and giving me the opportunity to share my thoughts with your readers. I noted that another one of my buildings was prominently profiled but with no mention of my name as the architect. It was the article with the "Empire Heights" building interiors by the John Sanday Interior Team. I have attached some earlier photos that might be of interest. Keep up the quality of your publication which is excellent ‌ however, you would need Nepal to get onto a much more progressive path for the full benefits to be achieved I would think? Will the upcoming elections help in this? Tom Crees Cox Richardson,Level 2, 204 Clarence Street, Sydney NSW 2000 tom.crees@cox.com.au www.cox.com.au Empire Heights - First sketch study - Oct 1999
Help ! We are looking for an old traditional house with a spacious compound. Can u help? Binita Joshi binita11@hotmail.com I own a wonderful Maithili piece by S.C. Suman and would love to purchase another. Is it possible to contact S.C. Suman? (My brother, Mike Gill lived in Kathmandu for years and knows him I think.) Ellen Gill Pastore egillpastore@mac.com (S.C. Suman can be contacted at artistsuman@hotmail.com - ed) Hi. I am trying to get in contact with Dr Umed Pun , Phd . Justin Newcombe, New Zealand justin@landscapesafari.co.nz (Dr. Umed Pun can be contacted at umedpun@gmail.com - ed)
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NEWS AND HAPPENINGS
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CEEA introduces ABB Amid a function to launch ABB products in Nepal, Cosmic Electrical Engineering Associates Pvt. Ltd. (CEEA) organized a meet of architects, engineers and contractors at the Hotel de la Annapurna on 14 March 2008. According to the Product Manager of ABB, Mr. Dev Chandra Kuril, ABB (www.abb.com) is a global leader in power and automation technologies that enable utility and industry customers to improve performance
while lowering environmental impact and operates in around 100 countries. Also at the function, Mr. Mahesh Mahato, MD of CEEA, gave a brief introduction of his company. CEEA, established in 2000, is a services oriented organization with marketing, consulting, contracting, trading, installation & servicing of all types of electrical, electronics, communication, HVAC, computer systems and accessories.
BE SMART with
Fahim
The 28 of March 2008 saw a grand new entry of bathroom-ware products into Nepal. Fahim Sanitary Wares Ltd., a sister organization of Shamanta group of Bangladesh, literally blew themselves in with their attractive products displayed by equally attractive models at the Soaltee Crown Plaza. The products, marketed by Create Bath P. Ltd. of Kathmandu, were launched amid invited guest related to the building construction market and was inaugurated by the Bangladesh Ambassador to Nepal, Mr. Imtiaz Ahmed. At the function, the Ambassador pointed out that such ventures between business communities of both countries will further boost and expand the trade and commerce relations between Bangladesh and Nepal. At the function, Mr. Faiz Ullah Khan, CEO of Fahim Sanitary Wares Ltd., stated that Fahim is one of the largest export oriented industries in this sector in Bangladesh and have been exporting their products to India and Spain. With technical assistance from SACMI IMOLA of Italy, the company uses only the top most quality of raw materials which are imported from European countries. The prices are competitive ranging from Rs. 8040.00 to Rs. 11,156.25 for a set of water closet and wash basin.
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NEWS AND HAPPENINGS
PASSING THROUGH
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Pramila Bajracharya, a member of Kastamandup Art studio, exhibited her impressions at Park Gallery on the memories she collected during her visit to the beautiful island country of Sri Lanka. The exhibition was inaugurated by His Excellency Mr. Sumit Nakandala, Ambassador of Sri Lanka to Nepal on the 25th of March, which continued till the 6th of April.
Nirantar Kulla Dhoka 2007
The first time I banged my head on the door, Mom caressed my pain. The second time I banged my head on the door, Father advised me to be careful. The third time I banged my head on the door, I decided to build a taller door. - excerpt (translated) from one of the poems at the book launch
Giving continuation to the earlier Khula Dhoka, Siddartha Art Gallery hosted a book launch and exhibition of door paintings at the Nepal Art Council from 13th till 27th March, titled Nirantar Khula Dhoka, Continuous Open Doors. At the launch, contributing poets recited their poems which spoke of the need for political reconciliation and lasting peace in the country.
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NEWS AND HAPPENINGS
Floriculture Trade Fair - 2008 With the objective to promote floriculture business in Nepal, Floriculture Association of Nepal (FAN) organized a floriculture trade fair in the exhibition hall of Brikuti Mandap, Kathmandu. The annual event, which ran for four days from April 2nd to the 5th, had a total of sixty-two stalls of different commercial floriculture enterprises exhibiting their products, which included seasonal flowers, exotic plants, cut flowers, dry flowers,
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orchids, compost fertilizers, flower bulbs, seeds, gardening tools and pesticides. The event kicked off with an inauguration chaired by the newly elected FNCCI President, Mr. Kush Kumar Joshi, who commented that as this industry had a very high export potential, the government’s facilitation for such provisions should be seriously addressed. Also in the event, the FNCCI President gave away prizes and commendations to the winners of the Floriculture competition held under eleven different categories. FAN was established in 1992 with ten founding members to promote the floriculture business in Nepal and has been organizing such trade fairs every year since 1993.
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NEWS AND HAPPENINGS
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PETALS From the 9th till 23rd of March, Neera Joshi Pradhan exhibited her new series of acrylics and water colour paintings titled “Petals” at the Park Gallery, Lazimpat. The exhibition is the artist’s attempt to freely express her feelings and her inner state of mind rather than depicting what flowers actually are. “I have attempted to explain what I have seen in the nature of the petals and if the viewers have also observed the same things then I have done my job,” shares the artist who for the last ten years has been painting on the floral theme.
ADV Sana Hstakala
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NEWS AND HAPPENINGS
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The Unspoken Tantric motifs, auspicious symbols and local scripts on canvas were the images used at an exhibition at the Siddartha Art Gallery. Inaugurated on the 20th of March by the Bangladesh Ambassador to Nepal, the exhibition of paintings by Madan Chitrakar was the artist’s reaction to the recent political changes in the country.
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ARCHITECTURE
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Hotel de l’Annapurna designed by Ar. Robert Weise in 1965, set an early standard for modern architecture in Nepal. The beginning (1963 – 1965)
resulting blend of
SETTING STANDARDS
architecture came to be
Ar. Kai Weise
“Understandably the trend at that time was rather in favour of the progressive spirit, but it soon balanced and the
acknowledged as being Nepalese. An early example was the Annapurna Hotel, the first ‘modern’ tourist hotel which opened in July
The beginning (1963-1965) It was in 1963 that work started on establishing a modern hotel to cater to the budding tourism industry. “The originally planned 40-room hotel was a low-cost affair without air-conditioning, without room-telephones and room-music system, etc.”,(Weise, 19 July 1965). As the project commenced however, numerous additions and changes were made; 20 rooms were added, service and shop building increased, equipment and parts of the interior and furnishing were imported and the estimated 12 lakh project ended up costing 40 lakhs.
1965”, (Weise, 1984). The completion of the project was held up due to the delay in arrival of the transformer from England via Calcutta as well as the supply of furniture from BKK (Balaju Kashtha Kala). “During the past rice planting season, BKK was left with as few as six carpenters. Hence BKK suffered as much as we did at the site from shortage of labour. Now, the important fact for us is that it would have been against the interest of Her Highness (Princess Helen Shah) to pay double and triple daily wages simply to complete works whereas the hotel opening was postponed anyhow due to the electric supply not being available on time”, (Weise, 19 July 1965). Then when the rain started, the road was closed to traffic after a couple of diesel trucks got stuck in mud holes all along the way to Balaju. Consequently, the traffic was diverted via Swayambhu, but also this road was out of service spacesnepal.com
ARCHITECTURE
for the fact that none of these workers have ever received solid disciplined training in their trade. …. not one of these workers has ever seen such a building before, yet it was built by them.
within a few days time. For weeks, these roads were not repaired to become motorable for normal traffic. Even now, only jeeps can drive to Balaju. Such circumstances were the main reason for delayed production beside of the fact that raw materials and finished goods could not be brought over the roads for weeks. Many times the HotelTruck was sent to Balaju but returned before reaching Balaju because of the damaged road.” (Weise, 23 August 1965) The challenges of construction works in the 1960’s can only be imagined if we consider that even today we come across shortages of materials and skilled workers. The situation when constructing the Hotel can be somewhat perceived by reading through some of Ar. Robert Weise’s letters. “… shortcomings regarding carpenter work (especially doors) or plaster work in the Hotel… for the fact that none of these workers have ever received solid disciplined training in their trade. It was said by some that the Annapurna is the most beautiful building in Nepal. …. not one of these workers has ever seen such a building before, yet it was built by them. On the other hand, if the hotel project should have been a training centre for carpenters, bricklayers, plasterers, painters, flooring specialists, etc., all these workers would, according to Swiss or German standard, be in training for three to four years. Now instead of running a Hotel with roughly worked doors, plaster, paint, floors etc., we
would be halfway through with the training course”, (Weise, 23 August 1965) Material procurement was a major issue. This was described in an article written by Ar. Robert Weise in the Swiss WERK Magazine in February 1967. The local supply of construction materials was restricted to low quality chimney bricks, sand with high mica content, hand broken stone aggregate, marble, slate and wood from the saw mills in the Terai. Everything else needed to be imported and transported by truck or ropeway. The cost of materials were: bricks Rs. 85/- per 1000 (not counting broken bricks), roof sheets Rs. 2/- per sft (measuring finished roof size), cement Rs. 26/- per 50 kgs paper bags and 22/ - in gunny bags delivered to site. Negotiations were under way to build three cement factories (German and Russian projects), a large scale saw mill (American project) and a brick and tile factory (Chinese project). Under these circumstances, the Hotel was designed to reflect a modern style with local scale. It is also interesting to note that the floors were not concrete slabs but constructed of wooden joists and planking.
1965 Plan Section
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Shortcomings regarding carpenter work (especially doors) or plaster work in the Hotel…
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1965 Lobby
1965 Portico
1965 Reception
Hotel de l’Annapurna started operating on 30 July 1965. “The first guests have enjoyed a hot meal and a hot bath exactly 12 hours after the main electric supply was provided by means of a 50 KVA transformer. There was comparatively little trouble despite the tremendous task of operating the Hotel without prior testing of the overall electric system, water supply system… Kathmandu residents, local and foreign, as well as tourists, appreciate the exterior and interior architecture of the Hotel. Everybody is aware of the difficulties involved to establish such a Hotel under the prevailing circumstances. It is now really very important that this impressive début is followed up with an equally impressive reputation in any other aspect”, (Weise, 11 August 1965) spacesnepal.com
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ARCHITECTURE
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Plans for Hilton (1970 – 1974)
Early Extensions (1966 – 1970) With the hotel’s opening, further extensions were rapidly carried out. In 1966 a new larger kitchen was constructed and the dining room extended towards the west. Soon the 60 original rooms were insufficient and an extension of 30 rooms was constructed towards the south of the main block. A staff quarters building was also added towards the southern end of the compound. By the end of the 1960’s the Coffee Shop and Annapurna Arcade buildings were constructed along Durbar Marg (at the time single storey structures).
Hilton Project Bird’s Eye View
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The 60 original rooms soon became insufficient and a further 30 rooms were soon added by the end of the 60’s.
The Hilton chain of hotels was interested in taking over the Annapurna and was planning to enlarge the hotel to over 230 rooms. The preliminary designs of the impressive project were prepared by April 1970 and was further detailed out including interior layouts and finishes..Unfortunately this project was not implemented. The design work that went into this project was however the basis for the design of the much acclaimed Hotel Malla which was designed and constructed between 1970 and 1972. Although the Hilton project fell through, further extensions were planned to cater to the visitors who would be arriving for the coronation of King Birendra in 1975. A Coronation Wing was planned towards the north of the main block in a similar design to the previously constructed blocks. However this project also was not implemented.
ARCHITECTURE
During the period 1974 to 1990, and in lieu of the Hilton project, a more low key extension was planned. A contract was signed on 1 August 1974 for a further 60 room addition to the existing 90 rooms. The West Wing project however expanded to include 82 rooms, a new lobby, a new enlarged kitchen, a restaurant and banquet hall. Further facilities were added such as a large swimming pool and a laundry / fitness centre block with tennis courts on the roof. This phase of construction which was completed in 1977 gave the hotel its present form.
March-April May - June 2008 2008
West Wing Extension (1974 – 1990)
25 West Wing Extension Perspective (1977)
West Wing with Swimming Pool (1977)
Various plans were prepared in the 1980’s to add facilities to the hotel. A conference hall to the north and a banquet hall to the south of the main building were also planned but were however not implemented.
The Taj Years (1990 – 2004) The Taj Group took over the management of the Annapurna in 1990, which also ended Robert Weise’s association with the hotel. Over the next 14 years hardly any improvements were carried out to the hotel. The lobby was extended with a structure added towards the swimming pool. The west wing façade and various rooms were renovated. However the work that was carried out during this period shows that the Taj management had little understanding of the unique identity of the hotel and had no intention of preserving its character. The façade of the west wing was defaced to look like some second rate hotel in Delhi, with its red sandstone bands around the windows. The facility was run down to the extent that it lost much of its reputation.
The façade of the West Wing was defaced after the Taj Group took over the management, making it look like some second rate hotel in Delhi.
A change could be felt soon after Mr. Kapil Rana took on the post of Managing Director. Efforts were made to break the deadlock between the Owner and the Managing Company, leading to the preparation of an overall ’Renovation Restoration – Extension Plan’ towards the end of 2002. However, when the plan was presented to the Board in January 2003, Taj rejected it and proposed their own plan that they had got prepared by Ar. P.G. Patki from Mumbai; the same architect who designed the Hyatt Regency near Bauddha. This conflict came to an end when one fine day in December 2004 the Taj management suddenly departed. spacesnepal.com
ARCHITECTURE
May - June 2008
Revival 2005
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It was decided to immediately begin work on implementing the Master Plan. The renovation of the Coffee Shop building was seen as the most feasible and the size made it possible to begin work without delay. The design for the Coffee 1965 Shop renovation was completed and the bidding for Contractors took place in September 2005. Work commenced in December, however as the finishes were stripped off and the main structure laid bare, it became clear that the 35 year old concrete did not have many years of life left. The structure would need to be rebuilt. Within the next few weeks, the project was redesigned as a four storey structure with a basement. The ground floor was reserved for the Coffee Shop, which over the decades had gained an excellent reputation. The first floor was to be for the Ghar-e-Kabab, another well known restaurant for Indian cuisine (the Ghar-e-Kabab was temporarily moved to the new hotel lobby however was not moved back to the Coffee Shop building.) The basement was planned with provisions for future parking, however a ramp for just the 25 odd cars was not feasible. The main challenge of the project was to design the façade and volume of the building which, though a floor higher than the main hotel building, needed to retain the hotel’s identity. The design needed to take the essence of the previous designs done by Ar. Robert Weise and reinterpret it in within the contemporary context. More than a dozen schemes for the elevation were detailed out. Construction had started in April 2006 and was progressing rapidly. However the elevations were finalized only in October when time ran out and construction couldn’t be halted. The project was completed by December of the same year and the Coffee Shop opened on 24 December 2006. The reconstruction of the Annapurna Arcade commenced immediately thereafter. Phase One was completed within the year. Phase Two has begun and should be completed by April 2009. The Annapurna Arcade is legally not part of the hotel, however physically is closely linked to the hotel facilities. The design of the Annapurna Arcade therefore had to follow the concept of the Coffee Shop building, however adapted to its own function, location and scale.
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The main challenge of the project was to design the façade and volume of the building which needed to retain the hotel’s identity.
1977
1984
2006
The main challenge of the project was to design the façade and volume of the building which, though a floor higher than the main hotel building, needed to retain the hotel’s identity. The design needed to take the essence of the previous designs done by Ar. Robert Weise and reinterpret it in within the contemporary context.
ARCHITECTURE
May - June 2008
The Annapurna arcade being physically linked to the hotel had to follow the concept of the Coffee shop building.
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The renovation of the Coffee Shop building started in April 2006 and opened its doors in December the same year.
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ARCHITECTURE
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The Master Plan
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The Master Plan which was initially prepared in 2002 has undergone some changes however the approach and essence have been retained. The first phase was the reconstruction of the Coffee Shop building which was completed in December 2006. This was followed by the two phases of reconstructing the Annapurna Arcade (not legally part of the Hotel) which will be completed by April 2008. The second phase which would start in October 2008 includes a banquet hall and conference facilities as well as a multistorey ’knock down’ parking. Further phases are in the process of being detailed out focusing on the main hotel building. The two most important attributes of Hotel de l’Annapurna are its location and its long standing identity. The hotel’s location gives it a strategic prominence, since Durbar Marg has over the years become the most stylish part of the city. The hotel’s four decade long history and identity has been closely linked to its architectural style, which is a refreshing modernity with a local touch. This identity is being retained in the architectural style of the phase-wise renovation, reconstruction and extension of the hotel.
The hotel in 2008 Main Entry Façade Reception and Lobby Swimming Pool
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The hotel’s location gives it a strategic prominence since Durbar Marg has over the years become the most stylish part of the city.
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The Master Plan planned in 2002 has undergone some changes without losing its approach and essence.
A suite in the hotel
References Weise, R. Letters dated 19 July 1965, 11 August 1965 and 23 August 1965 Weise, R. Article in Werk, February 1967 p.106-107 (in German) Weise, R. Interview in Rasmi, December 1984 p.108-121
Ar. Robert Weise’s (1929 -1996) career in Nepal started from 1957 with humble designs of cheese factories, godowns and staff quarters, while on a two year assignment with the Swiss assistance (SATA) for the Ministry of Agriculture. However before his tenure ended, he had progressed to various private projects which included designs for the royal family as well as a proposal for the Nepal Bank building in New Road, Kathmandu. However, it was not these but the three year contract as Architect-in- Chief for the preparation of the Master Plan of the Tribhuvan University Complex and the design of its Library Building and Science Block, which prompted Robert decided to stay back in Nepal, leaving the shelter of the Swiss government. From then on till the late 1980’s, Robert’s designs attempted to bridge the modern style of architecture he had learnt as a student, as well as his experiences with European architecture in the late colonial period of Western Africa, to the context of the Kathmandu Valley. Notable among the many completed designs are the extension of the Royal Hotel (Bahadur Bhawan converted by Boris Lissanevitch), Hotel Annapurna, Fishtail Lodge in Pokhara, Hotel Malla, Army Headquarters, SOS Children’s Village in Sano-Thimi, Hotel Yellow Pagoda in Kantipath (now Nabil Bank), Geodatical Observatory in Nagarkot, Japanese Embassy Staff Quarters in Jawalakhel, Soviet Embassy, besides a number of residential buildings. In recognisance of his contribution towards the exemplary works of preserving Nepali cultural identity in modern buildings, Robert was commended by the Royal Nepal Academy in 1979. However, in spite of providing service to the country for 30 years, he was always condemned by younger architects as a foreigner and it was always a struggle for him to extend his visa. S
Reference: Architect Robert Weise – The Life, The Work, The Times by Ar. Kai Weise, SPACES (Sep – Oct 2005)
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INTERIOR
The transformation from a drab and terminal-like atmosphere to a gleaming and sophisticated one is instantaneous
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A Whiff of
Tradition
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Uday Sunder Shrestha
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“We have been requested by passengers, especially the elderly ones, to add a massage chair to the facilities,” says Ishwari K.C., Manager Airport Services of the Executive Lounge. And going by the Lounge’s immediate popularity and demand due to the increasing rate of movement of international flights, Navin Mohan Ranjit, Company Secretary of Radisson optimistically adds in, “Not one - probably a line of them very soon.”
'The Executive Lounge and Restaurant' at the Tribhuvan International Airport, Kathmandu, is a five star facility sprawling over 10,000 square feet of international luxury and service for business class ticket holders. "You know how it is with the system here. It took us almost three years of haggling and negotiations with the civil aviation authorities to convince them and finally clinch the deal to set up this establishment," informs Navin. Located on the second floor of the international terminal, the Executive Lounge is accessed through the departure hall of the first floor next to the immigration counters. The entrance to the Lounge is not directly visible from the hall as one moves from the immigration to the security check. With just a small signboard indicating the Lounge, it is almost easily missed if not for an employee of the Lounge, standing nearby probably saying, "Don't pass us by."
The entry foyer and reception sets the mood of things to come.
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The transformation from a drab and terminal-like atmosphere to a gleaming and sophisticated one is instantaneous as one enters the wide, floor hinged clear glass doors. Polished granite floor, a small reception desk decked with a bouquet of fresh flowers and a contemporary ceiling fixture emitting blue light inscribed within a suspended square wooden grid sets the mood of things to come.
Ingeniously lighted handrail defining the profile of the staircase as viewed towards the entry foyer below.
"There has been a small deviation from the original plan regarding the furniture layout," says Navin. The small deviation turned out to be a corridor like space, designated as the handicapped lounge next to the staircase leading up to the main lounge and restaurant. The designer's attempt to amplify this small space with large mirrors on the wall seemed smothered by the oversized sofas each trying to push the other out.
Small but comfortable seating arrangements would surely have made this space more functional and seem less congested. However, if one overlooks the handicapped lounge and heads for the staircase, the sense of anticipation remains, highlighted more so by the ingeniously lighted handrail defining the profile of the staircase. The dimly lit staircase ends onto a landing where one tends to be slightly confused as to where to turn to, if not for the smart lady at the nearby reception desk. The right of course leads to the lounge and the left towards the restaurant through a small vestibule and corridor. The main lounge comes as a bit of an impressive surprise, probably due to the contrast of the tunnel-like straight flight dimly lit staircase devoid of any decorations besides the lights, opening out to a relatively large open sparkling space flooded with natural light, which unfortunately is so strong that it takes a while to take in and appreciate the surroundings. However, gradually, and as intended by the designers, ones attention is drawn towards the row of windows through which huge planes lined up on the tarmac can be viewed.
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The handicapped lounge is conveniently located at the main entry level.
The transformation from a drab and terminal-like atmosphere to a gleaming and sophisticated one is instantaneous as one enters the wide, floor hinged clear glass doors. The main lounge comes as a bit of an impressive surprise due to the tunnellike straight flight staircase opening out to a relatively large open sparkling space flooded with natural light.
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The pattern on the walls hints at traditional forms and colours while at same time maintains the overall concept of fine luxury.
As intended by the designers, ones attention is drawn towards the row of windows through which huge planes lined up on the tarmac can be viewed.
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Still, the vast difference in internal and external light intensity, intensified by the external glare makes it visually uncomfortable to the eye during daytime, which will probably induce visitors to opt for sofas facing away from the windows towards the rather unnecessary and monotonous large storage space for luggage. The pattern on the walls, a sample introduced in the lower level entry foyer and handicapped lounge, is carried over and profusely used here.
The combination of the blue textured cloth, slanting mahogany finished veneered panels and yellow coloured walls lined with hidden incandescent yellow lights, hints at traditional forms and colours while at same time maintains the overall concept of fine luxury. "Radisson demands perfection in everything. While we see only the dust on the glass, they want the rear cleaned too," informs Ishwari, pointing at a water colour painting of a serene Buddha by David Douglas titled, 'Buddha's Grace'. And this is only one of
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Paintings and artefacts depicting local culture are strategically dotted along the walls of the lounge and restaurant.
The meeting room serves those on the move and business can be wrapped up between connecting flights without having to staying overnight.
the many paintings and artefacts depicting local culture, strategically dotted along the walls of the lounge and restaurant. A finely sculptured stone replica of Vishnu Vishwarup at Changu Narayan and a framed mandala, as well as a small but elaborately decorated Khukuri and a silver prayer wheel are some of the depictions thought out. Seating is as promised - comfortable and relaxing - and of course with delicious snacks and beverages, both alcoholic and non-alcoholic, does complete the
package. A smoker's lounge at the far end, considerately designed for consistent smokers, is enclosed in a floor to ceiling clear glass partition which isolates the smoker, yet keeps him visually connected with his company. The meeting room next to the smokers lounge, supported by a compact secretarial support, serves those on the move and business can be wrapped up between connecting flights without having to staying overnight. The clear glass partition is repeated here too, although the element of
connectivity with the external lounge may not seem too logical besides giving continuity to the adjacent smokers lounge. The most relaxing area of the lounge of course seems to be the long transit restroom at the other end of the lounge with its soft backlight on the blue soft textured walls and large reclining sofas enticing the weary traveller to let his/her hair hang down. The restaurant on the other hand seems to be subdued as compared to the main lounge. The walls seem almost bare with
Seatings are as promised comfortable and relaxing.
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The smoker's lounge at the far end enclosed in a floor to ceiling clear glass partition isolates the smoker yet visually connects with exterior lounge.
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The most relaxing area of the lounge is the long transit restroom with its soft backlight on the blue soft textured walls and large reclining sofas
The restaurant though not as elaborate as the main lounge nonetheless looks spic and span with its floral granite topped tables.
spaced out niches, which seem a bit too deep, almost hiding the black and white copies of sketches by the late G. Douglas, a famous and renowned artist from Darjeeling. The table tops are floral patterned granite encased in a wooden frame while the counter, which is usually the centre showpiece of restaurants, is simple and without elaborate designs. To make up for simplicity, the half wall partition at right angles topped with glass seems try to compensate for the relatively lack of designs. However, although this partition also imparts a sense of privacy to those seated within, it has visually constricted the restaurant area besides becoming a visual obstruction to the service control from the counter. In totality, the restaurant though not as elaborate in size nor visually exciting as the main lounge, nonetheless looks spic and span, probably indicating the customer to finish his business and move on to make way for the next one. "We need business now," states B.K. Shrestha, M.D. of Radisson Hotel, Kathmandu. Yes, and as with all businesses, a good product with the appropriate marketing must always sell. And sell it surely will, what with eleven airlines already being serviced by the Lounge, the Tribhuvan International Airport at Kathmandu can now boast of a showpiece of international standards. S
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Executive Lounge and Restaurant TRIBHUVAN INTERNATIONAL AIRPORT KATHMANDU
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Text: Ar. Arun Dev Pant
Design Brief
Design Response
The Client wanted an international level executive lounge for business class ticket holders in order to woo the growing number of airlines that have started operating in Nepal. The lounge was to project a contemporary and luxurious feel while keeping some identity of the country. The brief also included the reestablishment of the airport restaurant – a much needed facility for all travellers who have to go through the long delays that characterizes our air travel – the design was to be clean and elegant with a sense of spaciousness that is often found in airports around the world.
Over ten thousand square feet of designed space to be implemented in less than three months meant that the design and detailing would have to take into cognizance the time factor. The main effort would be in setting the image of the respective areas, arriving at a conceptual sketch that reflects the desired image and converting the sketch into workable details given the time constraints. Less than a month was available for the design and construction drawings and it was imperative to freeze space planning and desired outlook early on. Yet, as it often happens in many projects, some main circulation patterns and available spaces were changed towards the end of the construction phase. However, in totality, it is felt that these changes were successfully handled and have been smoothly integrated into the project.
Plan of entry foyer with handicapped lounge
Plan of main lounge and restaurant
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Business Lounge The entrance to the facilities is on the departure floor waiting hall after the immigrations. A foyer and reception hall that also houses the handicapped lounge greets the traveller. It was felt that this foyer should set the tone of having arrived in a distinct environment, significantly different in the look and feel from the rest of airport yet not completely alien to the building. The brickwork and ceiling have been generally undisturbed to provide this sense of continuity. The staircase has been redone with a focus on a novel backlit railing design with that guides the customers to the floor above. A foyer on the top is placed at the junction of the passage to the restaurant and business lounge. The reception at the entry of the business lounge opens to a view towards the windows and airport runway with curving granite floors defining the walkways. Plush single and two-seater sofas are arranged on the carpeted lounge floor with bevelled blue reflecting glass top tables. The décor is dominated by mahogany veneered tapering central pillar with a gridded partial ceiling as well as the tapered wall panels. This is a contemporary take on traditional Nepali wood frames and also serves to house quality artefacts such as a stone replica of the frieze from Changu Narayan, stone mandalas, carved wooden struts as well as metal sculptures. The idea was that the travellers view the finest examples of Nepali art and sculpture. The lounge flows across the open dining and pantry with refrigerated counters towards another seating area which also houses a partitioned space which is designated as the smoking section. The facilities for the travellers include a meeting hall, secretarial services area, computer workstations. The toilets have been refurbished to meet the current standards. The windows facing the runways provide a continuous view of the airplanes and serves as focal point from all parts of the lounge. The secondary windows to the rear looking down into the departure hall are screened with vertical textured blinds to give a sense of privacy and exclusivity to the lounge. A third hall has been provided for longer stay travellers with reclining leather sofa chairs with the option of dimming the interiors to provide for a restful space.
The décor of the lounge is dominated by mahogany veneered tapering central pillar with a gridded partial ceiling as well as the tapered wall panels.
Restaurant The restaurant was designed to allow for windows of the runway to dominate the décor while retaining a sense of simple elegance within. The seating has been divided into three major zones – a built in sofa seating area along the wall, a semi partitioned area in the centre to give a sense of privacy and to break up the large hall, and individual tables that allow for flexibility of creating larger groups of seating along the periphery. A combination of niches, recessed lights, Nepali artefacts and prints of faces of Nepal are sprinkled throughout the interior. The colour tones and materials are selected to impart a bit of warmth to the place without making it overly plush and luxurious. In addition, a small area has been allocated near the exit of the kitchen area to set up small buffet tables for larger groups including for passengers from cancelled flights. LCD TV panels have been liberally provided in the interior theme which allows for both entertainment channels and flight information. A large kitchen and preparation area have been added to the back of the house area. This kitchen is quite sophisticated as it would have to handle the large volumes of passengers and would be quite occupied in times of flight cancellations and delays. In addition, the frequent bandhs that plague the country would mean that large storage areas would be necessary to ensure smooth operations. A closed circuit TV system has been installed in all parts of facility for security purposes which allow the management and operations staff to monitor both passenger and staff activities.
The colour tones and materials, as well as the combination of niches with recessed lights highlighting the Nepali artefacts and prints of faces, are selected to impart a bit of warmth to the restaurant without making it overly plush and luxurious.
Consultant: Design Cell Pvt. Ltd. Team: Sanjaya Pradhan, Arun Pant, Amit Rajkarnikar (Designers) Ujjwal Satyal (Kitchen Consultant) Rajiv Thapa (Electrical Consultant) Nest Interiors (Contractor) spacesnepal.com
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CRAFT
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Amalgamations of traditional and contemporary designs bestow a traditional feel as well as reflect modern day culture.
Mid morning sunlight bounces off Mike's cheerful face as it streams through the small windows of the lounge at his peaceful haven in Nagpokhari. Enjoying the warm playful acts of the sun, he begins our conversation with a persuasive thought, "I find a lot of Nepalese switching into Western lifestyles without looking back at their rich traditions. I wish they could interpret their traditions to create a new contemporary way of life, fusing the old with the new and thereby honouring the past by mixing it with a contemporary way of life".
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As my eyes trail towards an exhibition of unique and lovely artefacts designed by Mike, he questions, "Isn't it true that Nepalese have seldom dared to alter the traditional and intricate designs of their precious artefacts (almost as if they are sacred) into slight contemporary variations?" Putting forward an example, Mike states that the design of an Aankhijyaaal (traditional Nepali window) developed many centuries ago, till today, remains much the same, "Many may ask - why is there a need to tamper with the designs of such beautiful works of art? We should however realize that these wonderful reminders of the past, though intricately crafted, were for daily usage several hundreds of years ago. The idea is not to change but to further develop them for modern use and taste. These beautiful artefacts need to fuse with the present, thereby giving them a new life and meaning." According to Mike, a rich heritage of the past can coexist with an ongoing development of
Traditional Progressions Sampada Malla
Mike Krajniak, founder member and designer of 'Red Buddha Folk Arts' believes that all arts head towards degeneration if not interpreted according to present day technology, spirituality and social values. spacesnepal.com
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a 'new heritage' which present day craftsmen will pass on to the next generation. All the arts (including folk art and crafts) are the very soul of a culture. Some of them head towards degeneration or even extinction if they don't keep interpreting the culture according to present day technology, including spiritual and social values. "Other countries such as Thailand, India, Vietnam and Japan are doing a wonderful job of keeping their traditions alive by adapting them for contemporary use," informs Mike. One of the reasons behind the inception of 'Red Buddha Folk Arts' was to contribute towards addressing this burning issue which till this day goes unnoticed by the general public.
Red Buddha Folk Arts specializes in carpentry, wood carvings and paintings including fusion art through ceramics and pottery.
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Mike, founder member and designer of the organization, while pointing towards a traditional looking pillar, says, "This pillar is an amalgam of traditional and contemporary design. While it bestows an aesthetic and traditional feel, it also reflects certain aspects of modern day culture. It is relatively cheap to make and is not heavy because it is made from veneer wood. It can even be disassembled for easy delivery (by mini-van) to local customers. Convenient packing will also reduce risk of damage during shipping to other countries." The uniquely constructed pillar which is a reminiscent of the traditional Nepali pillar has been transformed into a contemporary design and evokes a fresh feeling to its onlookers. Shifting his gaze towards another piece of furniture, Mike throws a question at me, "Does this cabinet remind you of
anything?" I reply immediately, "Yes, it seems like a Tibetan cabinet to me. I have seen it in many places of Nepal, especially on my recent trek to Lukla where mostly Sherpas reside." With a witty smile, he says candidly, "But a person familiar with Tibetan cabinets would not necessarily agree. Though the faรงade and certain elements of the designs of this cabinet are vaguely similar to the Tibetan style, the floral paintings are more Nepalese in nature. In traditional Tibetan cabinets, the paintings are often associated with gods and spirituality." Here again, a fusion of traditional and contemporary design can be savoured. "This cabinet is one of my favourite pieces at home. I have placed it in my kitchen and the microwave oven rests on top of it. I can store utensils inside its spacious storage," marks Maggie Shah, another founder member of the enterprise and current board member of the
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"Fusion is simply mixing two things in such a way so that when it is mixed, a new look emerges.
Mahaguthi Craft Shop at Kupondol. "Guests visiting my house admire it so much that they want it in their homes too. It has helped tremendously in making my kitchen look beautiful." According to Mike, the idea of fusing the traditional and modern generated during his arrival in Nepal in 1982. Says he, "When I came to Nepal, I was amazed to see such rich and diverse culture and art with very impressive folk traditions. I was also influenced by Buddhist art. What attracted me most was the fact that Nepal has so many unique arts and crafts to offer to the world." Defining his perspective on fusion art, he states, "Fusion is simply mixing two things in such a way so that when it is mixed, a new look emerges. Perhaps a new tradition is in the making I constantly fuse western and Nepali traditions to create something innovative." Showing me a latch from a cabinet door, Maggie adds, "This simple brass piece taken from taken from a jewellery motif is now transformed into a handle. Other component parts for furniture pieces have been inspired from traditional wood carvings or hand woven carpets. This is fusion art." Born in Michigan, Mike spent his childhood in an artistically stimulating environment. His father was a carpenter and Mike learnt the trade at an early age. "But my father did not want me to be a carpenter. He felt that this profession had no future," Mike reminisces. But his interest towards art made him pursue a degree in industrial design despite his father's wishes. After gaining abundant work experience in the field of art in countries like Bangladesh and Philippines, Nepal
proved to be his ultimate destiny. He worked for Nepal Women's Organization and Association of Craft Producers and was actively involved in creating new horizons for Nepali arts and crafts. "We developed paper crafts with a new perspective - painting, printing and even sometimes using Lokta paper to wrap lidded wooden boxes. The experimentation never stopped. We also taught women the process of screen printing and block printing," Mike recalls. In 1985 he imported an improved manual machine to spin wool, "The traditional machine that women used for the same purpose was very tedious and slow. Today, this improved spinning wheel is very much in use," he says. After working for many years in Nepal, Mike suddenly left for America to pursue a Master's Degree in psychotherapy. He was fifty seven years old, then. "After working with Nepali women for fifteen years, I began to see just what it meant to be a Nepali woman - to maintain a house, family, fields and sometimes inlaws. And, at the same time go somewhere and work for a living within a male-dominated society. It was incredible. I wanted to know how much mental stress she goes through. And soon I realized that making money was not the only important thing for her. She wanted to break out of her isolation and mix with society and fuse her untapped skills with a desire for a better life," he says thoughtfully.
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Maggie Shah, another founder member of the enterprise, is proud to be the owner of cabinet designed by Mike which she says has helped to make her kitchen beautiful.
Mike discusses with his team on how the new designs can be implemented to make the final product appear more alluring and beautiful.
Red Buddha Folk Arts is only two years old. It mostly specializes in carpentry, wood carvings and paintings but has recently started creating fusion art through ceramics and pottery. Researching the various potentialities spacesnepal.com
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Jeewan Shilpakar, the third founder member of the trio forming Red Buddha Folk Arts, has been involved in making traditional handicrafts for many years and is the one who implements and transforms Mike's creative designs into reality.
We carry the traditions forward not just by copying them but also
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developing them to be unique and representative of our time."
features, furniture, screens, small tables and fine art paintings," Mike informs. He expects to build more contacts and showcase the firm's abundant potentialities through the exhibition.
of Nepalese traditional artefacts and developing new contemporary forms is a major activity of the firm. Like most producers in Nepal, it manufactures furniture according to the needs and requirements of individual customers. Jeewan Shilpakar, the founder member of Red Buddha says, "I have been involved in making traditional handicrafts since many years. It is also my family occupation. But working with Mike is a different experience. We sit together and discuss how we can create new designs of the traditional artefacts. I implement his creative inputs to make the final product appear alluring and beautiful. I like his colour combinations the most." However, he also relates various experiences where he faced difficulty to translate Mike's design into reality. "But, we have always turned out as winners finally," he marks with a twinkle in his eyes. The products that Red Buddha Folk Arts offer ranges from cabinets, shrines, altars, stools to windows, pillars, deities and even Thangka paintings. It is holding an exhibition on the coming May 9 at Imago Dei Cafe at Nagpokhari. "It will showcase a variety of interior settings that will include architectural spacesnepal.com
Over the years of his stay in Nepal, Mike has witnessed a drastic change in the lifestyle of the people here. "Their keenness to transform the country into a key player in the 21st century has made them more materialistic. However, they have great potential and I am very pleased to share my skills with them," he opines. Mike nonetheless is of the opinion that Nepal needs to expand its rich arts and crafts and present it to the modern world, "Here, the old traditions are so preserved that they find difficulty in adapting to the future. It's good to have respect for what our ancestors have left behind. But one day, we too will join our ancestors.
Contemporary designed doors and pillars
What will we leave behind for the future generations? We build on the past for a better future. We carry the traditions forward not just by copying them but also developing them to be unique and representative of our time." We talk more about the richness of Nepal and suddenly I feel lucky to be born in such a beautiful country. As the interview wraps up and I walk towards the exit, I turn back to wave goodbye to him but Mike is already busy looking at his creations fondly, buried in umpteen thoughts. I don't want to disturb him. As the warm sunlight continues to frame him with a golden glow, I recall what he had said earlier, "Our ancestors have given us much but what will we give to the future generations to help them further identify their uniqueness in a world that is constantly changing? Will they proudly remember us?" S
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Dramatics, Colour & Life Uday Sunder Shrestha
What influences a person and coerces him to do something can be different for different people. For Navin, it was the simple statement by Irving Penn, 'Photographing a cake can be art,' which drove him to opt for photography as a medium of expression, in spite of being born into an artist's family. Son of the late well-known artist, R.N. Joshi, Navin grew up surrounded by his father's paintings, which also probably guided him to pursue a career in Communication Art from the JJ School of Art and Architecture in Mumbai. Now 12 years hence, Navin is an established 'Creative Director' in the world of Nepalese visual communications and his passion for photography, matured with time, has become stronger by the day. His earlier photographic exhibitions, 'Colour from the world around us' and 'Three Men's Perspectives', in 2001 and 2002 respectively, were termed then as 'Far more artistic than virtually any touristy pictures'. These photographs were a collection of simple images of everyday life and ordinary subjects, but made alive and at times even dramatic with the clever use of artistic perception enhanced by modest digital computer editing. Professional cameras were very expensive then and the mid ranges were not professional enough. At the same time, Nepal had not really updated to the digital world. Navin's courage and daring to experiment with an analog SLR to produce such photographs does call for commendations.
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Pictures of the 2001 exhibitions
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Pictures of the 2002 exhibitions
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Fast forward to 2008, and Navin still uses his old faithful - the 35 mm SLR analog camera of the Nikon C90 series - the reason being of course the cost factor. However Navin is happy that the mid ranges are now available that are comparatively easy on the pocket too and hopes to go digital from 2009 onwards.
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However, the perception remains the same - probably more focused - and with technology growing in leaps and bounds, the production too made easier than before, skipping the tedious method of slide processing, scanning through professional scanners rearranging on the computer and then on to the final print. The subjects as before are again of everyday life. Nonetheless, the end product amazes one with its dramatics, colour and life.
Pictures of new set
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Navin is also fascinated by architectural subjects. The simple door, a stack of wood, a crumbling building, and even a simple green sari, can be brought out to its own beauty with a good composition. One needs to have an eye for such things - like saying 'Beauty is in the eyes of the beholder.' It is not that Navin is totally alien to digital work. All his commercial products are digital and he is pleased with the end product since there is a greater possibility of experimentation. Navin humbly professes that with photography getting more and more technical, it gets exhausting to keep updated and hence prefers outsourcing since there are more professional people working on it. And with better studios offering better colour balancing, Navin agrees that "The future is surely digital now!" S spacesnepal.com
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PROFILE
As prominent architect, Yogeshwor Parajuli settles for an interview, the first thing I notice is the aura of calm self-assurance and dignity that surrounds him. Simplicity personified, his humble nature is perhaps one of the major reasons that has helped him to achieve many milestones in the field of Nepalese architecture. Youthful even at the age of 53, there is no stopping him as he aims to transcend higher and with a devotion of more than three decades of his life in this field Parajuli has carved out a niche for himself. Managing Director of TAEC Consult P. Ltd., Parajuli is a founder member of Nepal Medical College, National Society for Earthquake Technology Nepal (NSET), Shree Satya Sai Shikchya Sadan, Tokha and a life member of Society of Nepalese Architects (SONA).
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Efforts today destiny tomorrow Sampada Malla
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His sheer commitment and dedication to deliver his best and his gratitude towards his country, among many other qualities, make him an inspirational icon to all young aspirants. He believes in actions more than words. He also feels that when someone’s passion becomes his/ her profession, success will be achieved eventually. A man of principles, Parajuli wants to attain spiritual satisfaction in any work that he does.
Life itself is temporary so why do you need a permanent job?
Please highlight on your educational background. ; I studied until S.L.C in Durbar High School and completed I.S.C from ASCOL, along with Dr. Baburam Bhattarai, who is much in the news now. After which I went to Chandigarh, India under the Colombo Plan Scholarship and completed bachelors’ degree in architecture in 1997. Finally, I did a postgraduate training in Architectural Conservation from Rome in 1980 A.D. Why did you choose to study architecture? ; I was always fascinated with buildings and wanted to be a building engineer since my childhood. Architecture was unheard of at that time. Unfortunately, due of my marks, I could not study engineering and so, as a second option, I chose to study architecture which eventually became my profession. During my college days, my favourite subject was “housing design” and I would always score the highest marks in it.
where I met E.Wissinger, the German team leader of the project. Wissinger offered me a job as an architect planner in the project, to which I flatly refused, explaining that I had already applied in Lok Sewa Ayog. On hearing my refusal, he then simply asked, “Mr. Parajuli, life itself is temporary so why do you need a permanent job?” His question impressed me so much that I took back my initial decision and immediately accepted the job.
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Tell us about Bhaktapur Development Project and your achievements from it. ; BDP (A.D 1977-1986) was a joint project of the Government of Nepal (then HMG) and the Federal Republic of Germany. It aimed at ‘Integrated Urban Renewal and Development of the Historic Town of Bhaktapur.’ The project worked mainly on the preservation of the built environment, housing improvement, development control and public education, awareness and training in Bhaktapur.
After completing your education in Chandigarh, you came back to Nepal. Did you start working immediately? ; Yes, as with all young blood, I was very passionate to contribute to my country and wanted to start work immediately on my return from India. After a few days of my arrival, Lok Sewa Aayog published a vacancy of five seats for architects. I applied for the job but continued searching for other vacancies too. One day, solely out of interest, I went to observe the Bhaktapur Development Project (BDP) spacesnepal.com
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I chose BDP because it was a multi sector cost effective project. It is one of my favourite projects so far. During the project, I learnt about the importance of cultural sensitivity in architecture. My biggest achievement is the book that I wrote about BDP, “Bhaktapur Development Project: Experiences in Preservation and Restoration in a Medieval Town�.
techniques differ with the status of each historic object. As part of the training, field visits were made to countries like Italy, France and Germany, which further helped me in my profession. After I returned back to Nepal, it was initially difficult for me to change the traditional methods and apply the international philosophies that I had learnt from the training.
After working for two years in BDP, you went to Rome to do a postgraduate training in Architectural Conservation. How did it help you in your profession?
It can be seen in conservation projects, that different types of materials having little or no relation with the history and traditions of cultural heritage are being used to renovate them. How do you analyze this trend?
In 2000 A.D, you presented a paper on earthquake engineering in the 12th World Conference in New Zealand. What does a layman need to know to protect him from earthquakes?
; I feel that they should be used only if there is no other alternative. The first principle of conservation is to use related modern technologies with minimum intervention in order to extend the life of cultural heritages. For example, if a monument’s life extends by replacing two jhingati tiles by new ones, then we must do only that and
; Firstly, it is important to understand that earthquakes do not kill but unsafe buildings do. Therefore, it is imperative that buildings are made earthquake resistant. A simple added detailing for earthquake resistance in the building structural design can be tantamount to saving lives at a mere increase of about 7% in the building cost. In terms of
; While working in BDP, I noticed that the historic buildings restoration and conservation implied its complete destruction and then building it again. This was the restoration and conservation concept applied then in Nepal. My training in Rome changed that. I acquired insights to different theories and philosophies on conservation and that conservation
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not change the whole of the roof tiles. However, in Nepal, we have tendency to renovate more if we have more money. This damages the cultural and archaeological integrity and values. Therefore, if this principle is followed seriously, more heritages can be conserved with lesser money, which will also compel the conservation architect to become more creative to be able to address this issue accordingly.
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The responsibility of the architect does not end with building design with awareness with regard to earthquakes, NSET sponsors earthquake prevention programs which are aired every week by FM stations. You were associated as the ‘National Team Leader’ for developing the concept, framework, etc., of the first building code for Nepal (NBC) in A.D 1992. What is the basic concept for its development? ; Nepal lies in a very active seismic zone, where unfortunately only 5% of the total buildings are engineered structures. Keeping this fact in mind, NBC has divided buildings into four categories, a system which is unique as compared to other countries. The first one is ‘state of the art design’ where buildings are constructed with designs are brought in from foreign countries having building codes different from ours. Such designs need to comply with minimum requirements of Nepal’s earthquake building code before it can be approved and implemented, for
a design it, forget it attitude. Completed projects must be reviewed so that future designs can be improved upon. In addition, buildings must be made maintenance friendly for it to last within its lifetime.
example, the new American Embassy building. The second category states that all government buildings need to have an engineered design. The third category is the code of conduct for local engineers and technicians while constructing public and private
buildings. These buildings will be considered legal if it is proved to the Municipality that the codes have been followed. The final category addresses construction of traditional buildings with traditional materials. You are presently the Managing Director of TAEC Consult P. Ltd. What is the ongoing projects of the firm? Also, tell us about your favourite projects completed under TAEC. ; We are at present working on a part of the Outer Ring Road Project besides the Sub Regional Transport Facilitation Project funded by ADB. This ADB project is the construction of a dry port in Bhadrapur. My most satisfying projects so far are the Nepal Red Cross Society’s Headquarter Building Complex, the Karnali Bheri Integrated Rural Development Project and the Pokhara Airport project. A proposed design for the entrance gate to Biratnagar is also dear to my heart, although it was never implemented.
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PROFILE
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What are the general constraints faced by architects of Nepal?
importance and value of architecture. Over the years, the architectural profession has evolved wonderfully.
colours, textures, scale, compositions and proportions are wonderful and appealing.
; Architecture involves three major aspects: utility, beauty and safety. Since most clients are utility oriented and have cost constraints, we need to work within a limited boundary and at the same time maintain aesthetic beauty besides following the NBC. As for introducing new construction materials and technologies, the market is so small that it becomes commercially unviable. However, I am happy that people today are more aware about the
You have travelled to many countries like Sweden, New Zealand, India, Thailand, China and Hong Kong. What are the unique features of Nepali architecture as compared to other countries?
What are the new arenas that architects should explore to widen their horizons?
; I think the architecture of the Malla period is unique in the world architectural scene. I especially like the Dattatraya Square of Bhaktapur. The
; We should start researching on alternative building methods, cost efficient technology and new construction materials. The responsibility of the architect does not end with building design with a design it, forget it attitude. Completed projects must be reviewed so that future designs can be improved upon. In addition, buildings must be made maintenance friendly for it to last within its lifetime. We also need to be interdisciplinary in our profession. For example, my wife is an architect but she later studied sociology. Presently, she works in the field of Gender and Disaster Management at NSET. Finally, what are your views on young upcoming architects of Nepal? ; The new generation architects are undoubtedly more talented, creative and hard working than those of previous generations. Their biggest challenge however is to survive in today’s very competitive global market. Nonetheless, I strongly believe that our efforts of today will become the destiny of tomorrow. Our prime duty is to work honestly, sincerely, and with diligence, so that one day, our society and the nation will definitely recognize our skills. Let us not grumble about things that we do not have but let us act on achieving them and contribute something to the society.
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REPORT
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ECONOMIC UPLIFT THROUGH HERITAGE CONSERVATION
Bhaktapur
Ar. Yogeshwar K. Parajuli
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Conservation of architectural heritage is common in many parts of the world. But, can investment in architectural and urban heritage conservation foster economic development? Can it contribute to poverty reduction? Can it dramatically attract more tourists? These are most frequently asked questions all over the world including Nepal when it comes to conservation of cultural heritage. Most, including policy makers in the government, are reluctant to accept the fact that development and conservation can go together. This is evident from the low priority this sector receives in the national development budget. For example, in the fiscal year 2004/2005 (2060/61) Department of Archeology (DoA) and other conservation related institutions together were allocated less than 0.6% of the national share of the development budget for conservation and management of country’s cultural heritage. Corresponding figures for the same period for the Department of Education (DoE), Department of Health (DoH), and Department of Roads (DoR) were 5.1%, 1.1% and 17.7% respectively. The figures including administrative and operation costs for DoA, DoE, DoH and DoR were 0.02%, 14.42%, 4.93%, 9.4% respectively. Even bilateral and multilateral donors, as well as other financing institutions (ADB, WB), with the exception of UNESCO, have not recognized cultural heritage conservation as a potential sector for their major assistance. It is rather considered to be a secondary or tertiary activity related to urban (infrastructure) development or tourism promotion as evident in bilaterally funded urban development projects.
“To improve the living conditions of the people of Bhaktapur” was the officially stated objective for Bhaktapur Development Project (BDP), which was the basis for granting bilateral assistance by Federal Republic of Germany. BDP in 1974, endeavored to achieve the stated objective by judiciously working out and implementing strategies for overall urban development, infrastructure improvement and economic promotion, complementing the conservation and preservation needs of the town. Only 12.7% of the project fund was utilized directly for conservation and restoration of monuments. The rest was allocated for overall urban infrastructure improvement and development. The perception has not changed even today. For example, the World Bank’s most recent Poverty Assessment report does not consider heritage conservation and tourism development as an important pillar for poverty reduction (World Bank 2006). However, during 1993 and 2000, Bhaktapur Municipality continued to focus on the area of conservation initiated by BDP and on an average, spent 57% of its development budget for heritage conservation and management. If conservation of built historic and urban heritage is to compete for a larger share in the national and local development budget of developing countries, it must be able to demonstrate a visible economic return. The case cannot compete on the basis of abstract values like architectural, aesthetic, cultural, historic, documentary, archaeological, political, spiritual, symbolic etc., which may form a normal basis for relatively developed countries.
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REPORT
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REPORT
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Bhaktapur
Economic Conditions
Bhaktapur is located some 15 km from Kathmandu, the capital of Nepal. According to the 1971 census, the population of Bhaktapur municipal area was 40,112 (110,157 for Bhaktapur District) with an average household size of 5.9 persons. The present population of Bhaktapur is 72,543 (2001 census) and is spread over an urban area of about 7 sq.km; its population density ranging between 300 per hectare to 600 per hectare in the urban core.
Pre-BDP Bhaktapur, in the early 1970s, ethnically 99.6% Newar and religiously over 97% Hindu, was a very cohesive society, and stratified in the “Varna’ caste system. While this system continues to define ones occupations and life in Bhaktapur, the system has changed as a result of modern education. Bhaktapur’s literacy figure (about 19%) during this period was the lowest among the 16 municipalities in Nepal.
Between the 12 th – 15 th century, Bhaktapur was the capital of a unified Kathmandu Valley Kingdom, which got disintegrated in 1484 AD. Most architectural masterpieces and outstanding monuments, including Bhaktapur Durbar Square, Taumadhi Square and Dattatrya Square were erected during this period. These monuments have now acquired not only national significance but also an international value since their being included in the World Heritage Sites list.
About 66% (76.7% for rural Bhaktapur) of the municipal population was engaged in agriculture. The average income per household (5.9 persons, 2.9 earners) was Nrs. 361 (US$ 40.0 @ Nrs. 9.0 to one US$). Apart from agriculture, many farmers also engaged in other activities during off (farming) season. They include sectors such as pottery, construction, weaving, cap making, handicrafts, wood carving, furniture making etc. A survey carried out during the pre-BDP period showed that: (a) About 450 families (with about 1,200 working members) were engaged in pottery making. However, only about 15% of their household income was accruing from pottery making; (b) About 5,000 (2,000 improved types and 3,000 traditional types) cloth weaving handlooms were in operation. Mostly women were engaged in weaving/ making traditional clothes. But gains were minimal as middlemen mostly provided looms and raw materials; (c) Bhaktapur produced around 2.5 million Nepali caps a year, engaging 6,000 persons at one time or other; (d) Very few (about 25 families) were engaged in the production of curd/ yoghurt.
An inventory (1975) of major to moderate monuments of architectural and cultural significance reveals that the town of Bhaktapur has 172 temples, monasteries and mosques; 172 Patis (Public shelters); 27 Sattals (Public inns); 19 Maths (Priest Houses); 152 Inars (Wells); 34 Pokharis (Ponds); 77 Hitis (Sunken Stone Water Spouts); 5,550 Private buildings (30% of which have an architectural value while 62% an urbanistic value). The intangible cultural heritage of Bhaktapur includes seasonal and annual festivals, the traditional prayers, hymn (Bhajans), prayer groups (Dafas), local trusts (Guthis) and folk dances that make the city living and vibrant. Bisket Jatra and Gai Jatra are the most important festivals celebrated in Bhaktapur.
Pre- BDP Socio-Cultural and spacesnepal.com
After the early cultural development period, Bhaktapur’s development in the last century was constrained by the lack
of infrastructure development. As Kathmandu started to develop and modernize in the early 1960s, development of Bhaktapur was limited by road access to the capital. The city, once highly developed, started deteriorating with inhabitants even starting to migrate to Kathmandu because of better job opportunities. The devastating earthquake of 1934 provided the initial jolt, leading to serious deterioration of its infrastructure, including important monuments and architecturally significant private residences. With the condition of the city getting worse and monuments starting to deteriorate, the city became dirtier and unsanitary. Bhaktapur then had no proper sewage or drainage system, which was further aggravated by the growing population in the city (including migrants from surrounding hills). In 1975, about 75,000 tourists visited Nepal. Out of that number, some 35,000 tourists handled by organized travel agents visited Bhaktapur. In addition, it is also estimated that individual low cost travelers ranging from 3,000 to 9,000 also came to Bhaktapur. The main attractions included the arts and architecture (Durbar, Taumadhi and sometimes Dattatreya square); daily life and street scenery (pottery making area); short stretch of street depicting traditional cityscapes. According to the tour organizers, tourists visit in the town lasted for about one hour on average. The reasons for such short stays were: inadequate shopping facilities; non-existent toilet facilities; only one tourist restaurant; no tourist hotels (only second grade lodges were available); unavailability of professional trained local tourist guide; communication problems of language ability (English); little information and few booklets were available specially focusing on other than historic monuments for individual tourists; tourists without
Bhaktapur Development Project (BDP) Bhaktapur Development Project was part of a bilateral assistance (of about US $ 9 million excluding the cost of technical assistance support in the form of expatriate specialists) from the Federal Republic of Germany to Nepal. Technical assistance for the project was provided through the German GTZ and was implemented between 1974 and 1991. BDP’s objective was “to improve the living conditions of the people of Bhaktapur” (Parajuli, 1986). To reverse the process of the general decline of the town and to preserve its rich architectural heritage, BDP set out to achieve its stated objective by judiciously working out and implementing strategies for overall urban development, infrastructure improvement and economic promotion, complementing the conservation and preservation needs of the city. Only 12.7% of the project fund was utilized directly for conservation and restoration of monuments, the rest was allocated for overall urban
services and trade; (d) Tourism development, through (i) promoting the exhibition of open air activities, including Bhaktapur festivals such as Gai Jatra; (ii) improving the road surface of the traditional lanes included in the tourist route with regular cleaning service; (iii) restoration/ preservation works along these streets and lanes; (iv) three main monumental zones to be restricted to pedestrian use (v) traditional dance for tourists to be performed in appropriate courtyards, squares; (vi) a sound and light show to be introduced in the durbar square; (vii) opening of new handicraft centers and the future use of restored buildings to be oriented to meet the needs of tourism; (viii) additional restaurants to be opened, promoted; (ix) a guidebook laying emphasis on the social life to be made available; (x) sign boards to be placed to facilities orientation; (xi) telephone and taxi service to be established for tourist; (xii) a tourist information center to be opened in key entry point; (xiii) an urban tax/ levy to be raised on each tourist coach.
infrastructure improvement and development. During 1974-85, BDP prepared plans, programs and directly implemented the comprehensive conservation and development activities. From 1985 to 1991, the project withdrawal phase took place, sectoral agencies were provided backup technical and financial support to enhance their capacities to continue and expand the program implementation. Elected Municipal authority finally took over in 1992 with the responsibility for continuation and expansion of key conservation and development activities. Specific features of the conservation and development efforts and activities included: (a) Formulation and implementation of urban development strategies, plans, programs encompassing various sectors including housing, transportation, water supply, sewerage and waste disposal; (b) Restoration and preservation of important heritage sites such as temples, ponds, public baths etc,; (c) Economic promotion activities such as handicrafts and cottage industries and their marketing, and
z
z
z
z
Note: ˜ Maximum benefit (traditional occupation too) º Partial benefit (newer entrant in the sector)
11
10
z
z z
Brick kilns
57
Public vehicles
61
Furniture making
60
Tourist Lodge/ hotels
32
Tourist restaurants
19
P ro dn. center
General curio/ handicrafts shops
wood
16
Carved items
5
S ales ou tlets
Textile (traditional cap, clothes)
z
Thanka painting
26
Masks
Pottery
% of population
N o. o f enterprises B rahm in 1.8 C hha thari 15.6 Panch thari 4.6 Jya pu 47.6 P rajapati 11.7 C hipi 5.2 C raftsm en 7.7 U ntouchables 3.2 N ew ar-B uddhists 2.2 N on -N ew ar 0.4
Traditional handmade/ carved bricks
1 2 3 4 5 6 7 8 9 10
Caste
S.N.
Table 1: Key Beneficiaries from Tourism/ Economic Promotion Related Enterprises in Bhaktapur
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578
86
z
z
(Source: Field observation/ survey: March 2005) spacesnepal.com
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guide had difficulty moving around the city;
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Main Beneficiaries
Key Findings
Data compiled from various conservation sites under BDP between 1974 - 80 when force account system of construction was followed, revealed that 370,713 person-days of employment were generated. Depending upon the intricacy of the object under restoration, between 4050% of the project cost went for labor payment. US$ 85,9306 (@ Nrs. 10.60 to US$ 1.0) was the recorded expenditure in conservation sites during the same period. As wage rates were very low during the initial phase of the project, one job was created for every 2.32 US$ spent. Corresponding figure today shall not be less than US$ 7.5 per job.
There has been a distinct and visible improvement in the overall economic status and quality of life of the people of Bhaktapur in comparison to 1975.
Table no. 1 indicates present status of tourism/ economic promotion related enterprises Vs key beneficiaries within main caste system.
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According to a survey among locals, which included owners of hotels and handicraft outlets, the BDP was a ‘turning point’ in Bhaktapur’s development and the project acted as a catalyst in engendering various developmental activities, including improvement through a sustainable approach on BDP initiated activities being gradually mainstreamed and taken up by the Municipality and the Bhaktapur community. It had changed significantly from being seen as a dirty city to being one of the cleanest and best organized cities in the Valley. This has helped to increase the number of domestic as well as international tourists visiting Bhaktapur.
The Bhaktapur Municipality was awarded the prestigious UNESCO PEACE PRIZE for 1988-1999 in recognition of its endeavor to safeguard the town’s cultural heritage. Bhaktapur has also been granted the standing membership of the ‘Organization of World Heritage Cities (OWHC)’. The Government of Nepal has initiated necessary steps to declare Bhaktapur a ‘Cultural City’ of Nepal, bestowing national recognition for what it has achieved and is pursuing. After the enhanced image of Bhaktapur, the absolute number and percentage of tourist visiting Bhaktapur has increased in comparison to that in 1970. As per the Fiscal Year 2000/ 2001, some 180,053 tourist (up from 35,000 and over 45% of tourists visiting Nepal) visited Bhaktapur and increased its share of 1.6% of foreign exchange earnings in comparison to only 0.16% contribution in the 1970s - a tenfold increase in foreign exchange.
In-migration: The non-Newar population has increased from 0.4% to 11.6% due to in-migration. People have moved in because the town now offers better economic opportunities. Occupational structure: It is gradually shifting from agriculture (76.7% of district, and 65.8% of urban population in 1971) to secondary and tertiary sectors. (41.44% of district and approximately 30% of urban in 2001 census) Education: More than 10,000 students (50%) now go to relatively expensive private schools. In 1975, none went to such schools, as only government schools existed. The percentage of school-going-age children going to school has increased from 60% to 90%. Only 27.2% population of Bhaktapur town was literate in 1975. The figure now is 67%. Increasing number of tourism related enterprises: There have been dramatic increase in tourism related enterprises, including curio shops (from 12 to 212), wood carving workshops (from 1 to 60), furniture industry (from 20 to 57), tourist restaurants (from 1 to 11), tourist lodges (from 1 to 10) etc. Latrine: In 1975, less than one percent of the households had individual latrines. Now more than 90% have the facility in their dwellings as compared to the national average of 46.8 % and national urban average of 78.1% Average annual HH income: HH with annual average income between US$ 50-100 has increased from 5.8% to 12%. Similarly, HH having average annual income range between US$ 1,000-2,000 has also gone up from 5.8% to 22% between 1975 to 1999. Tourist spending in the town: In five
Methodology and Limitations Requisite data to compare with those generated by BDP in 1975 was collected from primary as well as secondary sources. Both qualitative and quantitative tools have been used for the study. Quantitative data were gathered from the secondary sources such as project reports, other relevant literature and HH survey conducted by Living Environment Survey of 1999 for ADB funded urban water supply project in the Katmandu valley. However, the HH survey had very limited value for the study as it suffered from very limited sample size (1.0 %) and purpose bias. Various qualitative tools used for the study to collect the primary data include field observations and verifications, interactions and discussions with key informants. It was not possible for an individual to conduct sample survey covering the 12,133 HHs. Tracer study of some entrepreneurs initially supported by BDP was also made. Due to existing conflict, various forms of coercive donations, tightening tax laws and recent 40-50% drop in tourist arrival (during field survey, March 2005), concerned entrepreneurs and stakeholders were not forthcoming in sharing positive aspects of their enterprises, which is basically related to heritage tourism in Bhaktapur.
Anilji, Please leave a space or at least two pictures for this article besides as above. Pics shall be of the durbar square
years between 1996- 2001, tourists visiting the town have spent an estimated amount of US$ 18.25 million (@ average 400 tourists per day spending US$ 25.0 per four-hour stay). This amount has gone directly to the Bhaktapur inhabitants as it was spent for lunch and handicrafts in the establishments owned by natives. Increasing number of handmade brick kilns: Before 1975, efficient rotational type of handmade brick burning kilns was non-existent. BDP supported the establishment of the first such kiln as huge quantities of bricks were required for conservation and infrastructure development sector. Now there are 86 such kilns with an annual turn over of US$ 100,000 - 150,000 and a profit margin between 30 - 40%. Each kiln generates regular employment for 60 native Bhaktapur dwellers. Traditional hand carved brick production units: BDP supported the establishment of the first of such units
in 1975. There are now five such units with an annual turnover of US$ 150,000 - 300,000 and a profit margin of 40 50%. Each of them employ 8 - 10 regular staff, who are mostly either from within the family or relatives, and a further 40 - 50 other seasonal workers for brick making and carving with 50% of them observed to be females. The bricks have markets even in Europe. Wood carving units: The first such unit was established by BDP in 1975/ 76 with 120 carvers as members of a cooperative. It employed 30-50 carvers during off (farming) season. Now, more than 60 such establishments are operating in Bhaktapur albeit in smaller scale employing 5-7 members of the family and relatives.
What Made It Click? The BDP initiated important and comprehensive urban reforms designed to improve the living conditions of Bhaktapur people. After spacesnepal.com
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Other significant impacts of post BDP include the following:
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revisiting the objectives and strategies of the prepared Bhaktapur Town Development Plan (BDP), and recalling personal experiences and observations, the following lessons can be derived. A modest and achievable goal was set for tourism and economic promotion. It simply aimed to increase the length of stay of tourist from one hour to half a day by creating appropriate enabling environment (tourist restaurants in conservation zones, handicraft centers, opening up new areas of the town). A balanced strategy of conservation and development was pursued. Conservation policies and programs were targeted for long-term social and economic benefit of the town. Development of the town and urban infrastructure improvements were made complimentary to conservation needs. Priority was given to conserve the whole square/ monumental zone rather than one particular significant monument of national and international importance. As a result, the town has become the most preserved and the cleanest town in Nepal from the most backward and the dirtiest one. There was an appropriate commitment and action for investment in conservation (from 12.7% by BDP to 57% by Bhaktapur Municipality) and resources generation. The decision to enforce tourist entrance fee for the whole town was made by the Municipality for the first time in Nepal; BDP’s recommendation was to levy fee to tourist coaches entering the town. This decision has generated a substantial revenue for the town
The European Experiences The investment made in heritage conservation, particularly when integrated with urban infrastructure development has been a success story in Nepal. What has been the experience spacesnepal.com
in the developed countries with built heritage treasures? A comprehensive study undertaken by a team of Norwegian Parliament within selected European Union Countries has also come up with more or less similar findings. According to this study, 6-10% of tourists’ daily expenditure is a direct income to heritage conservation sites; investment in conservation of monuments creates 26% more jobs than Motorway/ Expressway Projects and16% more jobs than New Building Projects; every direct employment in heritage sector creates additional 26.7 jobs indirectly in the sector while for a car industry, it is 6.3 indirect jobs. In France, 15% of revenue from tourism is attributed to historic buildings like Palaces, Castles, and Monasteries etc.
Conclusion and Recommendations The study has established that investment on thoughtfully conceived and planned conservation and development project can really trigger the economic development in the long run. If implemented well and with a strong commitment, it can bring about a positive change with an improvement in the quality of life of the people. Conservation of historic heritage pays in the long run
• • •
•
It provides direct employment at local level; It supports small scale local enterprises; Conservation work provides income directly where it is needed, while most other investment feeds relatively wealthier; Conservation is seed money for sustained and long-term income from tourism.
National Development Policy Makers and Donors: • Heritage conservation must be recognized as a means of economic uplift • A balanced approach of CONSERVATION & DEVELOPMENT is a must • Conservation is important, but creative management assumes greater role for sustainability • Object and the context both need emphasis in framing conservation approach. Historic Building owners, stakeholders: • Historic buildings/ quarters are economic asset, not liabilities • Do not abuse, use/ convert them into economic asset (learn from the best practices of the other countries too)
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REPORT
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Hukum Sunder
The period between the 16th and the 18th century is often referred to as the ‘Golden Age’ for Nepalese art, architecture and craftwork in the Kathmandu Valley. During this period, the three Malla city-states of the Valley - Bhaktapur, Patan and Kathmandu – although constantly feuding, vied to see who could build the most artistic and beautiful structures and monuments. This competitive spirit honed the craft of building with bricks, timber, stone and mud, resulting in the creation of the magnificent Durbar Squares, temples and shrines which were not only aesthetically outstanding but were at the same time adapted to the local climate and functionally integrated into the building as well. However, as happens many a times and in so many areas, the old crafts begin to die out with modern materials and spacesnepal.com
The Restoration of Bhaktapur construction methods replacing the increasingly expensive traditional construction materials and techniques. At the same time, the advancement in scientific and technological achievements catalyze the desire in people everywhere in the world to seek for better housing, sanitation, social amenities and opportunities for employment. In the case of Bhaktapur, a city 15 km from Kathmandu which was a thriving centre of trade, especially with Tibet until the latter half of the 18th century, the construction of a highway to the capital Kathmandu resulted in it being by-passed by the new trade routes. Its decline, instigated by this low economic activity besides ignorance and inadequate administrative system, hence became steady and inevitable. Fortunately, a determined effort was
made to reverse and remedy this deterioration. ‘To improve the living conditions of the people of Bhaktapur,’ the Bhaktapur Development Project was launched as a venture of the then His Majesty’s Government of Nepal (HMG) with assistance from the Federal Republic of Germany which was represented by the German Agency for Technical Cooperation. Bhaktapur Development Project (BDP) Before the project started in 1974, Bhaktapur had 40, 000 inhabitants and an area of 250 acres with two-thirds of its population being employed in agriculture, resulting in frequent seasonal unemployment. The average income of a family was about US $ 40 and illiteracy amounted to 74 percent. Living conditions were poor. Physical infrastructures like drinking water, sewage disposal and toilet facilities were
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nonexistent. Housing conditions were unhealthy characterized by damp, dark and draughty rooms, leaky roofs and dilapidated walls. Public buildings and temples were not poorly maintained and new houses were constructed out of concrete with flat roofs and corrugated sheets. The unique historical value of Bhaktapur was the direct reason for the conception of BDP. However it was realized that in a complex urban system such as Bhaktapur, isolated measures are not effective enough. Hence with its integrated approach to urban development in a historic and traditional town, BDP aimed to make Bhakatapur a better place to live in through improvements in infrastructure and by building up skills and organizations which would eventually make people independent of the project. This integrated approach included orientation towards basic needs of the inhabitants; orientation towards certain underprivileged groups to involve them in the development process; institutionalization of the project to incorporate it into the existing administration; involvement of all relevant sectors within the project; due consideration of regional aspects; and simultaneous planning, implementation and evaluation to ensure a continuous feedback so that planning could be controlled and adapted to new and unforeseen development trends. The project which lasted for 17 years (1974 – 1991) was implemented in phases and if considered to be a success, it will have achieved three objectives – the strengthening of an age-old culture by a sensible blending of old and new techniques; the economic revival of a declining town; and the creation of a large number of jobs.
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References: · Bhaktapur Development Project, Experiences in preservation and restoration in a medieval town (1974 – 1985) – Yogeshwar K. Parajuli · Bhaktapur – A Town Changing – Ane Haaland · Integrated Urban Development: The Example of Bhaktapur – Kurt Sturzbecher in collaboration with Claus-Dieter Aresin
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GARDEN TIPS
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Summer gardening and how you can quench your plants thirst effectively! Dr. Umed Pun
Marigold
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Summer is hot and dry in most part of Nepal. A beautifully developed and maintained garden could be a good space to retreat to from the heat and enjoy the evening. Summer flowering trees (Silver oak, Gul mohur) and shrubs (Coral tree) and shady trees (Camphor) in the garden can add colour and provide much needed shade in summer. Besides, inclusion of several beautiful summer seasonals (Marigold, Petunia, Snap dragon etc) can make your garden colorful and vibrant. However, the biggest challenge is to prevent the plants from water stress. The following approach should be considered to combat stress of plants in summer.
1. Weeding: All unwanted plants, such as weeds or plants other than the desired one should be removed. Growing of unwanted plants in the area where your plants are grown competes for the same source of nutrients and water. Hence, removal of unwanted plants reduces loss of nutrients and water. 2. Mulching: Placement of dried leaves in whole or cut into smaller pieces or barks around the trunk of plant is called mulching. This covers the exposed soil around the trunk or small plants and reduces water loss and weed growth. This is a very effective technique to reduce water loss. It also enriches soil with organic nutrients due to decomposition of organic matter used for mulching. 3. Watering: Water is most of the time in short supply, whether it is in Kathmandu or else where. It is very essential to use water very judiciously and application of water should be done in the evening. Where possible, wastewater from kitchen can be collected and used for watering plants, thereby saving precious drinking water. 4. Placement of plants: Plant preference for open or shady location depends on its type. For example, Azaleas prefer partially shady location. Its root system is shallow and therefore when grown in open location it needs more water than when grown in shady location. Hence, proper placement of plant is very important.
May - June 2008
GARDEN TIPS
Floriculture Trade Fair - 2008 Welcoming the spring of 2008, Floriculture Association of Nepal (FAN), yet again successfully organized a floriculture trade fair in the exhibition hall of Brikuti Mandap, Kathmandu from April 2nd to the 5th. The exhibition was a riot of colours of different flowers and plants, with each stall trying to outdo the other to showcase their beautiful products. The fair was also host to a competition, which focused more on orchids this year, were as follows: 1 2 3 4 5
Best Seasonal Flower Best Ornamental Plant Best Flowering Plant Best Landscape Best Flower Arrangement
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Best Stall Best Orchid Flower (Standard) Best Orchid Flower (Intermediate) Best Orchid Flower (Miniature) Best Cut Flower Producer for 2063 Consolation Prize
Best Seasonal Flower
Best Ornamental Plant
Best Stall
Best Flowering Plant - Azalea
Best Landscape
Best Orchid Flower Standard
Best Flower Arrangement
Best Orchid Flower Intermediate
Best Orchid Flower Miniature spacesnepal.com
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ADV Kitchen Concept
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