NOVEMBER-DECEMBER 2008
ART - ARCHITECTURE - DESIGN
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Cityscape - a new paradigm The Unsung Hero EMPORIOS - a tribute to great designers A Gentle Architecture
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CONTENTS
VOLUME 5 ISSUE 1 NOVEMBER-DECEMBER 2008
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48
CITYSCAPE - A NEW PARADIGM
EMPORIOS - A TRIBUTE TO GREAT DESIGNERS
In recent years, the residential condominium industry has been booming in the capital valley, Kathmandu. People have started to consider the concept of apartment complexes due to its readymade availability and provision of better infrastructural services and amenities. Cityscape joins the horde of this flourishing industry but stands as a new paradigm of dwelling complexes
INTERIOR
ARCHITECTURE
Cover photo: An evening view of Cityscape apartment homes, a new paradigm of dwelling complexes in the Kathmandu Valley.
In a quest for modish interior furnishes for his clients, architect Siddharth Gopalan has ended up summoning his own showroom. An outlet for his creative drive, and supported by Rajesh Budhiya and Binod Shrestha, this showroom also aims at educating the average client about interior aesthetics.
A GENTLE ARCHITECTURE
ART
24 THE UNSUNG HERO Nhono Lama - the artist and craftsperson who has spent more than two decades in sculpting monasteries is indeed an unsung hero who has given life to numerous monasteries while remaining content to be in the background and let others admire his work.
NEW DESIGNER
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62 CONSERVATION
Completely engulfed by the thick vegetation and highly contoured land profile, the Drigung Kagyud Rinchen Palri Monastery at Balambu, designed by Architect Rajesh Shrestha and his team at Vastukala Paramarsha, is indeed a work of art responding to the pattern of nature.
REDISCOVERING SHANGRI-LA Pedong is a small village, less than an hour’s drive from Kalimpong, in West Bengal, India. A scouting journey for a documentary film, beyond the ravaging rivers of Teesta and Rangeet, reveals a genuine 10th generation Lepcha Heritage House built during 1700 A. D. of something from beyond, something from Shangri-La.
CAR MANUFACTURING PLANT In the modern world, we cannot separate architecture with technology. The modern language of architecture not only talks about space planning but also the extremes of technology and brand supremacy. Today it is not about doing, but pushing to the limit. Fresh with these resolves, architect Sundeep Khatri’s final year thesis is all about new materials and technologies which according to him should not only add to the comfort of our space but also amuse us visually .
68 CONSERVATION
ARCHITECTURE
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PRESERVING THE NAGBAHAL HITI The Nagbahal hiti, located at Nagbahal had been dry for about a decade and urgently needed renovation works. The Nag Bahal Hiti Rehabilitation Project recently restored this important monument funded by the U.S. Ambassador’s Fund for Cultural Preservation and supported by the Nagbahal Hiti User Group.
EDITORIAL
“
For me, it is not only my profession, it is the only way of life.
”
Nhono Lama, Traditional Artist
Choosing one’s profession and to be able to make it ‘the only way of life’ comes only to those few having perseverance, talent and a bit of luck. In today’s world, predominated by the rat race, one can easily be overwhelmed into making compromises, resulting in a discontented life which will eventually affect work, family life and the society as well. I still remember long time back when I had just completed school, a relative telling me that, “Wouldn’t life be great if one’s interest is the choice of one’s profession? It would no longer make work as just a medium to earn the daily bread!” And Art as well as Architecture are such demanding professions, that what Nhono states in the article ‘The Unsung Hero’, should be written in gold for those to succeed. Early riders on the SPACES journey will remember an article on the magnificent Great Lotus Stupa built at Lumbini (Vol 1, Issue 2), initiated by the Drigung Kagyud Dharmaraja Foundation. This time round, in the article ‘A Gentle Architecture’, the Drigung Kagyud Rinchen Palri Monastery at Balambu, is no less in terms of design, dedication and reverence. This issue also features yet another housing project. However the story, ‘Cityscape – A New Paradigm’, does not end with just that. The architect involved in this project is no other than the veritable S.K.Das of S.K.Das Associated Architects of Delhi - a firm that ‘strongly believes in creating architecture that is finely textured, multilayered and granular.’ Talking about perseverance …. SPACES has added yet another chapter to the promised journey of ‘Art, Architecture & Design’. SPACES completes four years and starts on the fifth one with this November/December 2008 issue and would like to sincerely thank all well wishers and supporters who believed in us and what we represent. And with this first issue of the fifth year, we shall also be exploring our neighbours Darjeeling, Kalimpong and Gangtok. Nepal with its rich art and architecture is interlinked both historically and culturally with these places and SPACES is excited as to what discoveries will be made and what marvels the next issue will unravel ….. this issue starts with one such marvel -‘Rediscovering Shangrila’. Until the next discovery……..
CONTRIBUTORS
Jharna Joshi completed her Bachelor of Architecture from Tsinghua University, Beijing and subsequently, Master of Science in Historic Preservation from University of Pennsylvania, Philadelphia, as a Fulbright Scholar. She has worked on several architectural and heritage preservation projects in Hong Kong, Nepal and USA. Recently, she completed the Bandipur EcoCultural Tourism Project (EC/AsiaUrbs) and the Nag Bahal Hiti Rehabilitation Project (U. S. Ambassador’s Fund for Cultural Preservation). Both projects set heritage conservation within a larger planning context.
Barun Roy is an Author, Dramatist, Filmaker, Journalist, Blogger and Social Activist. He enjoys travelling throughout the world and documenting ethnic cultures. A Masters Degree holder in Computer Engineering and Journalism, Barun became one of the first persons to come up with the concept of ‘online citizen journalism’. Today, his online news blog ‘The Himalayan Beacon’ and the community ‘authored and edited’ online encyclopaedia ‘Gorkhapedia.org’ are visited by more than 575000 visitors per day.
Sundeep Khatri is a young product of Kathmandu Engineering College, whose love for art accidently pushed him into studying architecture. Very few people are satisfied with what choice of study works, and Sundeep is one of them. His final year thesis on ‘Car Manufacturing Plant’ featured here is a design in which he says that ‘in the modern world, we cannot separate architecture with technology.’
LETTERS
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MANAGING EDITOR Uday Sunder Shrestha, B.E, B.Sc. PUBLIC RELATIONS Prakash Bahadur Amatya CHIEF-MARKETING &
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PHOTOGRAPHY / PRODUCTION CONTRIBUTING
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ART EDITOR WRITERS
Ashesh Rajbansh Kasthamandap Art Studio Ar. Sushmita Ranjit Ar. Prajal Pradhan Ar. Prabina Shrestha Richa Bhattarai
A CCOUNTS Rajesh Dali TRAINEE -
Subscription of Magazine Do you courier issues to Kalimpong? Would like to subscribe. Ganesh Mani Pradhan, Kalimpong
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Criteria for publishing article I am a student of architecture here in US. I have some articles written by me. I want to publish it in your magazine. What is the criteria for this? Is there any way to subscribe from US? Deepak Baniya, dbaniya@bsu.edu
Informative articles The article on Paubha Art was very informative. Its history and difference with the more popular Thangka Art was something I had never realised. I hope to read more of such articles. Suman Maharjan, Lalitpur
Tips The Tips in the earlier issue was helpful. However I did not find any in the September / October issue. Looking forward to more of those. Rashmi Chitraka, Biratnagar
More Selective in Art Section I have been following SPACES and find the coverage on art very interesting and informative. However, it could be better if the news coverage on art was more selective Sangita Pradhan, Kathmandu
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ADVERTISING & SUBSCRIPTIONS
Towers and more Towers Kathmandu seems to be sprouting up towers all over. The Grande Towers seems to be quite an ambitious project with more than 400 apartments at a single location. However this caters to a certain section of the society. What about the lower class people? Rajen Manandhar, Kathmandu
A lot to learn The article on Urban Land Policy by Prof. Lim was something I hope our policy makers will learn from. Purusottam Paudel, Pokhara
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News and Happenings
November-December 2008
1. The restored Nag Bahal hiti was inaugurated with a group of Bajracharya priests reciting from the Pragyaparmita text, believed to ward of all evils. 2. The U.S. Ambassador, Nancy J Powel with Project Director Ar. Jharna Joshi and Padma Ratna Dhakwa (Nag Bahal Hiti User Group) at the inauguration ceremony.
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Nag Bahal Hiti Rehabilitation Project 8th September, 2008 - Press Release
The Ambassador to Nepal, Nancy J. Powell, inaugurated today the restored historic Nag Bahal hiti (stone spout) in the culturally rich city of Patan, Lalitpur. Rehabilitation of Nag Bahal hiti was funded by a grant of $ 85,535 through the Ambassador’s Fund for Cultural Heritage Preservation, provided by the U.S. Embassy to the Patan Tourism Development Organization, Nag Bahal Hiti Rehabilitation Project of Lalitpur. The restoration of the Nag Bahal hiti preserves the traditional water spout, an important element in the architectural heritage of Nepal. The project included mapping, cleaning and repairing the inlet water channel; also, maintenance wells were built for future preservation works, the sunken
water spout was restored, and the outlet channel cleaned and repaired. The restored traditional water spout at Nag Bahal, an important Buddhist residential courtyard in Lalitpur, supplies water to more than 100 households in the courtyard and the surrounding areas. The detailed documentation and mapping of the inlet channels and the underground water source will ensure the preservation and continuance of the water supply at this important heritage site. Over the past seven years, the U.S. Government has committed more than a quarter of a million dollars to restore and preserve cultural sites in Nepal. The U.S. State Department established the Ambassador’s Fund for Cultural Preservation in 2001
with an initial $1 million budget to help less developed countries preserve their cultural heritage and demonstrate U.S. respect for other cultures. American embassies annually propose projects for funding that are then ranked and selected by the State Department. Other projects supported by the Ambassador’s Fund for Cultural Preservation in the last seven years include the restoration of Kal Bhairav (2005) and Kageshwor Temple (2006) in Kathmandu Durbar Square; rebuilding the Lakshmi Narayan and Mahadev Temples, both in Kathmandu Durbar Square (2007); and S Machali Pati in Teku (2007)
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November-December 2008
NEWS and HAPPENINGS
Kala - Punja 9th September, 2008
“An artist must never be satisfied with his work, otherwise he will never be able to create anything. I am always seeking, always struggling for new expressions, experimenting with my work. And therefore I must constantly paint to find myself.” – Lain Singh Bangdel
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The late Lain Singh Bangdel was a writer, an art historian and foremost, an artist, whose creative works inspired a generation of artists. To honour Bangdel’s memory, Society of Modern Art (SOMA) held an exhibition at the Nepal Art Council, which not only bore witness to the extent of his artistic influence, but also brought together sixteen contemporary artists, who at different times (1964-2003), had worked directly under his guidance. S
Shree Ganeshaya Nama 26th September, 2008
Artist Govinda Dongol, held an exhibition of his works at the Park Gallery, with Lord Ganesh as the principal subject. The Ganesh series, both in water colour as well as acrylic, is a part of his 35 years of study and devotion in experimenting and creating different modes of expression in realistic as well as surrealistic forms. Besides being a product of Sir J.J. School of Art, Mumbai, Govinda Dangol also had the opportunity to work under Lain Singh Bangdel. The exhibition, inaugurated by the Ambassador of Israel, Dan Stav, remained open till S 21st October, 2008.
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Kumudinee – The Lotus 1st October, 2008
Six years of dedication culminated on 1st October, 2008, into an exhibition of black and white drawings, black pottery sculptures and a book on the artistic and philosophical aspects of the simple mud. Mud has always been a part of the Nepalese heritage. Besides its manifold use, it is the fundamental building material of the beautiful traditional buildings, now important enough to be assigned a world heritage status. Appreciating this fact and conveying his love for this undemanding material that he describes in his book as something ‘having a life of its own’, Kalapremi Shrestha has moved one up - improving upon the centuries old traditional mud firing techniques (haku thala) to create contemporary works of art, which according to art curator, Sangeeta Thapa, are ‘a celebration of nature, love and creation itself’. Kumudinee, the white lotus, flowers only at night, and for Kalapremi, it signifies pure love without any sexual overtones shadowing it. The exhibition continued till 28th October 2008 at the Siddartha Art Gallery and was inaugurated by Satya Mohan Joshi. S
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NEWS and HAPPENINGS
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UPCOMING EVENT
Living Canvas 2008, Bhutan 13th November, 2008
On the coming 13th of November 2008, Nepal and Bhutan, the two Himalayan countries come together on a single stage at the YDF Fund Hall in Thimpu, Bhutan. This extension of the earlier ‘Living Canvas’ performance by Kasthamandap Art Studio at Kathmandu will be supported by a Sri Lankan artist, three Nepalese musicians, seven Bhutanese artists and two Bhutanese musicians. The show comes at a time when Bhutan celebrates 100 years of Monarchy and the coronation of the 5th Monarch, King Jigme Khesar Namgyel S Wangchuck.
AUX - now in Nepal 29th September, 2008
Keeping in view the demand for electronic devices incorporating the latest technology, Him Electronics Pvt. Ltd., under Golcha Organization, recently launched the ‘AUX’ brand of air-conditioners and air conditioning systems. This world renowned Chinese brand, available in more than 170 countries, was officially launched amid a function at the Yak and Yeti hotel among a gathering of invitees consisting of architects, engineers, contractors and retailers. The AUX brand of airconditioners, manufactured in high-tech factories in China, Mexico and Indonesia, produce more than 1 million units per
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year after meeting stringent quality tests conforming to international standards. The factory at China is spread over an area of 3 sq km and employs over 30 thousand people. The air-conditioners are available in wall mounted, ceiling cassette, floor/ceiling types; Multi-split, floor standing and ARV/DARV systems also. As Him Electronics have their own in-house technical personnel and engineers, the company also offers technical support before installation as well as during and after installation. Besides having service centres in the 12 main cities, the company also has numerous sales depots throughout the country. S
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NEWS and HAPPENINGS
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Erina Tamrakar in Korea May to October
Artist Erina Tamrakar, founder member of Kasthamandap Art Studio, participated in the Cultural Partnership Initiative Program in South Korea under the Korea National University of Arts, Seoul, South Korea. This is a cultural exchange program with 80 young and senior artists participating from more than 30 countries including Nepal. The program started from May and will continue till November 2008. At the same time, Erina held a solo exhibition of her art works in Insadong Insa Art Plaza from the 15th to the 21st of October, 2008. An exhibition entitled ‘Himalayas of Nepal’ was also held by Kasthamandap Art Studio (consisting of Asha Dangol, Bhairaj Maharjan, Binod Pradhan, Erina Tamrakar, Pramila Bajracharya, Pradip Bajracharya and Sunila Bajracharya) at the Alpha Gallery, Seoul, South Korea. The exhibition was held in a program organized by Global Village Nepal and was inaugurated by the Ambassador of Nepal to Korea, Mr. Komal Prasad Koirala and the Chairman of Alpha Gallery on 8th September, 2008. This exhibition had paintings executed on the eight highest peaks of Nepal including Mt. Everest. S
BOOK RELEASE
Dui Chimiki ko Jalayatra 29th Septemeber, 2008 On 29th September 2008 water resource expert Ajaya Dixit’s book Dui Chimiki ko Jalayatra was released during the 26th Pani Satsang (reflective meeting on water) on the breach of the Kosi embankment. In the satsang organized by Nepal Water Conservation Foundation (NWCF) at Hotel Himalaya Kathmandu, Ajaya Dixit (NWCF), Dev Narayan Yadav (Kosi Pidit Samaj, Rajbiraj), Vijaya Kumar (Barh Par Nagarik Pahal, Patna) and Binod Dhungana (Nepal Red Cross Society) presented various aspects of the breach and the consequent disaster. Political scientist Hari Sharma and environmental lawyer Din Mani Pokhrel commented on the book. Written in Nepali spacesnepal.com
language in a reader friendly format with charts, figures and boxes Dui Chimiki ko Jalayatra provides an interdisciplinary account of the water bilateral development path of Nepal and India. The book includes various dimensions of water development and looks at the Nepal-India relationship using water as a lens. Published by NWCF and Action Aid Nepal the book presents concept useful for sustainable development and management of Himalayan waters that will pave the way for minimising future conflicts. Priced at NRs. 495 and distributed by Himal Books Pvt. Ltd the book is available in Nepal’s book stores. S
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November-December 2008
NEWS and HAPPENINGS
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NS Quality Award for Panchakanya 19th October 2008 Panchakanya Plastic Industries Pvt. Ltd. , a manufacturing unit under the Panchakanya Group, producing HDP Pipes, was the recipient of this year’s Nepal Standard (NS) Quality Award. On the occasion of the World Standards Day, a special function was organized by Nepal Bureau of Standards and Metrology, in which Minister of Industry, Astalaxmi Shakya presented the N.S. Quality Award 2008 to Mr. Pradeep Kumar Shrestha, M.D. of Panchakanya Group. Speaking at the occasion, Mr. Shrestha pointed out that the motto of Panchakanya Group to ‘ be always dependable and to be always one step ahead’ made it possible for the company to be in the lead by giving priority to production of quality products. Mr. Shrestha was also of the opinion that Nepalese products must be marketed in international levels, for which the products must be of quality and standard. The Chief Guest, Minister Shakya and Secretary Janak Raj Joshi of the Ministry of Industries, Mr. Kush Kumar Joshi, President of FNCCI, among others congratulated Panchkanya Group on receiving the award. The FNCCI President, Mr. Joshi stated that if the government gave priority to the Standard mark on all its purchases, it would S increase the production of quality products.
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The Unsung Hero Richa Bhattarai
Marvelling at the striking harmony and beauty of a monastery, we may have often wondered – who are the artists that have devoted their time and effort to create such spectacular works of art? Where do they find the patience and inspiration? How do they know just what touches and details to add? Our queries are easily satisfied when we place them before the artist and craftsperson who has spent more than two decades in sculpting monasteries – Nhono Lama. He is indeed an unsung hero who has given life to numerous monasteries while he is content to remain in the background and let others admire his work. “I have gained immense satisfaction from painting and crafting of monasteries,” the down-to-
The Drigung Kagyud Rinchen Palri Monastery at Balambu.
earth artist clarifies, “For me, it is not only my profession, it is the only way of life.” Born into a lower-middle-class family in 2023 B.S. in Helambu (Lama prefers calling it ‘Helmu’ as
he
says
that
is
its
real
name)
of
Sindhupalchowk district in Nepal, Lama spent his childhood learning the Tibetan script up to the seventh standard. By that time, his Guru, Chiva Lama, had already noticed the distinctive spark he had for art. “I used to fill all my notebooks with drawings out of imaginations,” Lama reveals with a smile, “My family was quite
“I have never had any regrets after joining this profession. Had I not learnt painting, perhaps I would have been a farmer back in my village.
supportive of my choice of profession as my
But painting has provided me with numerous
grandfather had also been an artist who painted
opportunities and I enjoy it thoroughly.”
37 monasteries in his lifetime.”
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November-December 2008
ART
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The 32 feet mandala ceiling art at the Great Lotus Stupa at Lumbini.
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November-December 2008
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certainly accept other similar proposals.”
Encouraged by his Guru to learn painting,
He was invited to Pokhara and spent the
the then-budding artist spent the next four
next two years painting a monastery. He has
years under his guidance. “In those days, it
travelled many places in the course of his
Asked whether his profession is a satisfying
was really difficult to learn painting,” Lama
work, ranging from China and Scotland to
one, he emphatically replies, “Of course. I
recalls, “We had to spend a lot of time and
Singapore and Tibet. He has worked most
feel spiritually and practically gratified due
energy to make our own colours. To create
significantly in India. Besides working to
to my work.” As for financial benefits, he
the stone colour, we had to labour for hours.
beautify monasteries under the Maitreya
says, “My Guru had commanded me never
We even made our own brushes by attaching
Project of Bodhgaya and Bajra Vidya
to
mongoose fur or cat hair inside nigalo
Sansthan of Benaras in India, he has even
working. So I do not state my price. But I am
bamboos. The pencils were made by putting
reached places like Kashmir, Ladhak and Leh
always given far more than I expect. After
thorns inside the bamboo and putting them
in his zeal toward his profession. He was also
cutting other costs, the remaining amount
into a furnace until they could be written
involved in applying his carving skills to the
is quite adequate for me.”
with. We did not even have erasers.”
Golden Temple of South India.
His Guru then sent Lama to New Delhi to
In Nepal, we can appreciate his magnificent
practice of painting and selling thangkas
publish books pertaining to the Tibetan
craftsmanship in well-known monasteries
merely for monetary profit. “Painting
religion. Two years later, Lama came back to
like the Kapan Gumba, the stupa built in
thangkas is our ancient and holy tradition,”
his village to re-train himself in art. “That
Lumbini under the Tara Foundation, as well
he discloses, “My Guru had told me never to
done, I resolved to journey to Kathmandu
as the newly completed monastery of
sell one as it would be a sin akin to selling
and establish myself here in painting and
Balambu. “These are the works that have
Gods. So I gift my close ones but do not sell
craft,” he explains. Lama’s first assignment
satisfied me the most,” he confirms, “The
them.” Lama is adept with the Tibetan style
was the Seto Gumba in Bauddha. His
management team was quite efficient and I
of thangka. “Although the style of Newari
dedication and determination opened the
learnt a lot working under them. This has
and Tibetan thangkas may look the same,
doors for him from then on.
broadened my horizons and I would
there are differences in the script,” he says.
negotiate
for
remuneration
while
Lama does not look too favourably at the
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Similarly, he denies the observation that all
the image formed in our mind. According
Lama provides a glimpse of the hazards of
monasteries tend to look more or less the
to order, we may also have to carve the walls.
painting the ceiling, “While some artisans
same. “That is not so,” he immediately
I specially like to paint Buddha as well as
prefer to lie down and paint, I stand up so
counters, “While a lay person may think so,
landscapes.”
that my brush reaches the ceiling. For up to a week of completing the task, my neck keeps
the truth is that each monastery has its unique design, colour combination and
Lama justifies the need of wall paintings in
aching.” Yet Lama is not deterred by his work,
specialities.” One such specialty of his is that
this way, “As I understand, through wall
“I have never had any regrets after joining
he likes to work in the Tibetan style, as it
painting, various deities can be represented
this profession. Had I not learnt painting,
allows him ample scope for improvisation.
within a limited space. The walls themselves
perhaps I would have been a farmer back in
“I was impressed by the works of Prem Man
function like places of worship. Even in older
my village. But painting has provided me with
Chitrakar and his style of thangka painting”
monasteries made of mud, it was possible to
numerous opportunities and I enjoy it
he adds, “I would love to experiment with
paint on walls and save space or effort of
thoroughly.”
it, but I have trouble managing my time.”
building idols.”
Indeed, his time is most precious as the
The task of painting walls and ceilings is a
“I have lived up to five years in a single place
painting of monasteries is a time-consuming
daunting one. Lama explains the process,
while painting. While working, I concentrate
and painstaking challenge. “After the design
“First, white paint is applied all over. Then
so fully in my work that I am ready to put in
part is over, our work begins,” he elaborates,
we draw the outline with a pencil. About
all my efforts to create good art. If something
“The Guru of the monastery gives us certain
one or two painters can usually complete
is not as I want it, I can do it over and over
orders about which Gods and Goddesses to
this, but there are exceptions where we need
again.” Although Lama admits that such
paint; what to sculpt. After that, it is our
more artisans. Ten people worked for two
willpower, interest and a natural aptitude for
responsibility to study our traditional texts,
months just to paint the ceiling of the stupa
art are important in his field of work he also
find out the specialities and characteristics
in Lumbini. The Mandala of 32 feet was really
feels that it is essential to study and learn art
of each deity, and paint them according to
a great feat.”
thoroughly before using it in the practical arena.
November-December 2008
ART
27
He is generous with his time and skills as well,
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November-December 2008
ART “Sometimes we have to interact with the foreign donors, visitors and well-wishers who also ask me questions like you do.” Asked what can be done to raise awareness about cultural heritage and its builders among people, he presents his opinion, “Youngsters should make an effort to learn
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about it through books and knowledgeable artisans.” And indeed, this artisan has enriched us with the wealth of his precious knowledge.
“About two years ago, around sixteen students came to me to learn art. So I taught them and now they are working in places as far away as Sikkim and South India,” he says with evident pride. Lama is also hopeful about these students, as he is of the view that the present generation is much more aware and conscious than them. “As they are already educated, it is not difficult to teach them about art,” he says. “And it is also easier for them because now they have immediate access to painting materials and colours.” Lama does not see modern advancements and technologies as a threat to traditional art. In fact, this levelheaded artisan states, “I feel that if the modern and traditional are merged correctly, it will be a greater asset to painting. For example, in our times, we had to boil and use the residue of leather (called saresh) to our paints. Now, for the same purpose, we have turpentine and varnish.” But he also agrees that something is definitely missing, “Our stone colours used to last for years and grow stronger in the process while today’s artificial and chemical colours just fade away.” When asked how long he intends to continue painting, Lama replies carefully, “I have not given much thought to this matter. I wish to paint for as long as I can, though my eyes have been troubling me lately and it has become slightly difficult for me to make out the minute and fine details of painting.” It is little wonder that for one who is so preoccupied in his work, Lama has very little free time. “If I do have some time, I like to socialize and learn novel techniques of art,” he responds with his endearing smile. spacesnepal.com
S
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November-December 2008
ARCHITECTURE
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A Gentle
ARCHITECTURE...!!! Ar. Sushmita Ranjit
“A building or design must grow as nature grows from the inside out. Most architects design their buildings as a
as his canvas, where he performs his art with unique brush strokes and colours. The concept is simple and suave, up to being so naïve, and
shell and force their way inside. Nature grows from the
performing as the nature drives him.
idea of a seed and reaches out to its surroundings. A
and highly contoured land profile, this
Completely engulfed by the thick vegetation
building thus, is akin to an organism and mirrors the
Monastery designed by Architect Rajesh
beauty and complexity of Nature”
Paramarsha is indeed an art work responding
- Malcolm Wells.
to the pattern of Nature. The artist here plays
Shrestha
and
his
team
at
Vastukala
Malcolm Wells had further stated in his book
with the highs and lows of nature, exploring
‘A Gentle Architecture’ that “Building destroys
and enhancing every possible character of soil
land”. But it is only when there is confusion
and vegetation.
as to where the land ends and the building
spacesnepal.com
begins. The thing is that both land and
The Drigung Kagyud Rinchen Palri Monastery
building must mingle and should seem like
at Balambu is around thirty minutes drive from
it has evolved itself as if from within. Being
Kalanki Junction, and we were fortunate
a shrewd architect and very keen on being
enough for not getting caught by the freaking
environment friendly, he actually has Nature
traffic of Kathmandu on the day of our visit.
Monastry zone
The entire space, divided into the Monastry zone, the Activity zone and the Residential zone, is on an axis uniquely connecting the courtyard with the main monastery and the planning for the complex has been done with respect to this axis.
Activity zone
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Residential zone
While stepping in through the main gate, the glancing aura creates an overwhelming essence of Tibetan art and culture displayed on an elegantly festooned monastery.
The Drigung Kagyud Rinchen Palri Monastery nestles on a hill top at Balambu, around thirty minutes drive from Kalanki Junction, North-West of the Kathmandu Valley. It is said that Prithvi Narayan Shah stood on this hilltop to contemplate his next move into capturing the Valley.
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November-December 2008
ARCHITECTURE The Protector Temple, the linearly arranged stupas and the huge Maane are all entangled with the soft landscape looking neat and meticulous.
its area paved finished in grey; and the
32
slightly rough textured stone explicitly takes the main monastery building as an object to the background, generating a sound picture plane with good visibility and viewing angle. To the left of the main monastery is the Protector Temple, where all the daily morning rituals are performed. The pleasing landscape where the paved pathways and few religious elements like the eight linearly arranged stupas to the N-E corner and a huge Maane (prayer wheel) to the right of the entrance area are all entangled with soft elements like the carpet grass, low bushes, shrubs and slender pine trees, looking really neat and meticulous. The ground level of the monastery building is a voluminous hall adorned with overwhelming intricate art works in vibrant colours and patterns, portraying Gravel road wide enough for easy drive
and
ushered us to an amazing altitude little by
professionally.”
Landscape
were
all
worked
out
beliefs, myths, stories, rituals and culture – all displayed on the ceiling, walls, pillars,
little which we hardly noticed while on the
doors, and almost on all parts of the
route, until we reached the monastery area.
The monastery zone is purely a holistic zone
structure. The front wall has tall idols of
This high land is located on the North-West
and while stepping in through the main
Gautamma, the Shakyamuni Buddha,
part of Kathmandu Valley, nestled almost
gate,
an
placed at the centre with the other two of
on the top of the hill that also demarcates
overwhelming essence of Tibetan art and
his incarnations to its left (Jigpen Sumgon,
the valley line. It is said that Prithvi Narayan
culture displayed on an elegantly festooned
founder of the Drikung Kagyud Tradition)
Shah stood on this hilltop to contemplate
monastery, creating the perfect ambience of
and right (Nagarjuna, founder of the
his next move into capturing the Valley. And
peace and harmony for what it was meant
middle path of Buddhism). This hall has
what better location could there be, in terms
- the study of the Buddha Dharma. The
floor sitting containing soft cushions along
of serenity and natural setting - yet be in
entry area is paved with interlocking concrete
with low height wooden tables in linear
close proximity with the Kathmandu city -
blocks and with a saluting colourful flag on
arrangements for the monks to unite, sit
to study and contemplate the Buddhist
a slender post to the right, gives a sense of
and recite their prayers. Contrary to general
religion
spiritual
welcoming warmth. The main shrine at the
requirements, where the space above the
development. The principle architect of
higher level is easily accessed through a
place of worship is usually not made
Vaastukala Paramarsha, Rajesh Shrestha, the
bifurcating staircase paved with stone. The
habitable,
designer himself, was our guide for the tour
space in between this staircase has a
accommodations for High Lamas, as they
inside and it began with lots of admiration
traditional Nepalese dhunge dhara (stone
are considered to be pure. Consequently
and inquisition. “This project was unlike
spout), which although tries to give a
the first floor is the accommodation for
other projects, where architecture is backed
traditional local touch but seems not in
the Holy Highness, Drikung Chetshang
up with the usual basic technical services,”
consonance with the ambience contained
Rimpoche and the second floor is reserved
Rajesh informs with satisfaction and further
by the entire place in general. And probably,
for the Spiritual Director, Drubpon Sonam
emphasizes, “Instead this was a complete
the essence would have played off well with
Rimpoche. The lobby area in this
project where the three eyes of Architecture;
the surrounding had it been adorned with
monastery complex has something extra
Exterior, Interior (Focusing Tibetan Fine Art),
stone instead. Nonetheless, the entire entry;
to be defined and admired where the
spacesnepal.com
and
meditate
for
the
glancing
aura
creates
the
floors
above
are
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33
The ground level of the monastery building is a voluminous hall adorned with overwhelming intricate art works in vibrant colours and patterns. His Holy Highness, Drubpon Sonam Jorphel Rinpoche, on a visit to the Monastary.
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The way nature is kept undisturbed, integrating the concrete structures and existing trees is innovative, meticulous and overall overwhelming.
Standing there at the bottom of the staircase, all one can see is a ribbed semi-covered pathway framing a horizon extending infinitely. This is the place where it is hard to demarcate where the building starts and where nature ends .
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While the courtyard is used for performing the mask dance, the class rooms encircling the courtyard are arranged to receive good sunlight and air-circulation.
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35
designers have a well worked out design to
overwhelming. The trees are slotted through
with the main monastery and that the
make this part a vibrant space. All the patterns
the concrete slab of the staircase, adjusting
planning for the complex has been done with
engraved on the floor are well thought out
both the design and nature to grow. “It was
respect to this axis,” Rajesh explains, “The
solutions finished in Godawari marble and
quite an exercise to juggle between the
courtyard has a religious and cultural value
mosaic tiles, hinting of the traditional
constraints of saving the existing trees,
too, which is used for performing the mask
thangka designs, where colour and pattern
addressing the profile of the land, and at the
dance.”
play a dominant role.
same time to be able to visually unfold the
cleanliness the courtyard floor has stone
Monastery as one climbs up the staircase,”
paving
informs Rajesh.
Complimenting the profile of the land,
Moving down the contoured land towards
ramps
the activity zone and the residential area, a
For
easy
arranged for
the
in
maintenance simple
handicapped
and
patterns. connect
genuine appreciation of the steep sloped land
Startled with this genuine design solution
different levels of space easily, adding an
can be sensed. The platform that raises the
and construction possibility, this eco-
interesting character to the place itself. The
main shrine of the monastery has a vehicle
friendly passage guides us to yet another
class rooms encircling the courtyard are
parking level beneath it, which is not only
space that has another striking character.
arranged in a south-west orientation to
well hidden but is easily accessed without
Standing there at the bottom of the staircase,
receive good sunlight and air-circulation
disturbing the holly ambience of the place.
all one can see is a ribbed semi-covered
throughout different climatic variations.
pathway framing a horizon extending The walk down along the meticulous
infinitely as if the building and nature has
Another
landscape, through stone paved steps secured
mingled with each other, and nothing else
stretched out ramp leads to a huge dining
with pre-cast concrete railings, indicates a
but the silence rejuvenating the entire
area, a space carved just below the open
gesture of respect towards nature. The way
ambience. This is the place where it is hard
courtyard. This colossal dining hall has
nature is kept undisturbed, integrating the
to demarcate where the building starts and
wooden tables and chairs all commonly
concrete structures and existing trees is
where nature ends. “The entire space is on
arranged, while the floor is done on simple
innovative,
an axis uniquely connecting the courtyard
patterns of a combination of light pink
meticulous
and
overall
dog-legged
and
comfortably
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A comfortably stretched out ramp leads to a huge dining area, a space carved just below the open courtyard.
Stepped flag stone pathway flows down to guest rooms and dormitory, integrated with pockets of landscape and cosy courtyards.
Indian marble and tiles. Moreover, the burnt
to come up to such an extent where the design
brick colour of the furniture and a similar
speaks itself for its persona to respect nature,
textured free standing brick wall to the back
is in return respecting oneself portraying the
interestingly minimizes the huge volume of
art of living not solely, but with the splendour
the dining area visually making the space
of nature.
seem cosier as well as inviting to dine and relax. Another noticeable feature in the
DESIGN TEAM:
dining hall is the use of locally manufactured
Vastukala Paramasha, Kupondole,
stainless steel for basins and kitchen
Lalitpur. Email: vastun@enet.com.np
equipments,
easy
Principal Architect: Rajesh Shrestha
maintenance and a good level of hygiene
Structural Engineer: MRB, Sarad Lal
which
allows
for
Shrestha, Deepak Manandhar
and cleanliness .
wash areas the stepped flag stone pathway
Sanitary and Plumbing Engineer: PC Surana (Micro Tech)
Exploring through the dining hall and the
Electrical Engineer: Dinesh Shrestha
flows down to guest rooms and dormitory. All these are integrated with small pockets of
CONTRACTOR:
landscape,
with
CE Constructions Pvt. Ltd.
innovative designs that not only enhance
email: cecon@mail.com.np
cosy
courtyards
and
the built-environment but also foster natural vegetation as far as possible. This by the sense
KITCHEN EQUIPMENTS:
of being eco-friendly is an impeccable work
Quality Kitchens, Rabi Bhawan,
to mingle human creation with nature.
Kathmandu. ph: 00977-4274445
Architect Rajesh Shrestha, is content as he
PAINTINGS AND ART WORK:
pinpoints the excellent team work and
Nhono Yolmo Lama,
dedication from the construction team,
ph: 00977-9851079518
management and of course the designer. And
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November-December 2008
For further information: Tel: +977-01-5521821, Fax: +977-01-5546223, Cell: 9841 460824, email: info@cityscapenepal.com web:www.cityscapenepal.com 2/3/4 Bedroom Luxury Appartments& Penthouses *Earthquake resistance structure *Ample parking space-Basement Parking for all units *Great Mountain Vistas all around *24hours hitech secrity with emergency powerback up *Two elevetors in each tower *Jogging Trains,Club House,Courts,toddler parks
CLOSE TO NATURE CLOSE TO LIFE..........
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ARCHITECTURE
November-December 2008
ARCHITECTURE
A new paradigm
39
Ar. Prajal Pradhan Images: Cityscape
The Developer Cityscape apartment homes has been conceived and promoted by CG properties, which is headed by Mr. Arun Kumar Chaudhary, Managing Director of a very eminent corporate house - Chaudhary Group. For years, Chaudhary Group (CG) has been a prominent part of Nepalese life by devoting itself to industries like food and beverage, automobiles,
financial
services,
steel,
packaging, apparel, health care, hydropower, real estate, education and tourism. CG group today is a conglomerate of over 40 business houses and is evergrowing with the current an unmatched investment outlay of well over $ 215 million. The success of the group lies in its principle of ensuring customer satisfaction and surpassing the limits of product or service marketing to engagement marketing which includes effective tools like the
4Cs
–
Connect,
Connectivity,
Community, Commerce; and the 4Es – Engage, Experience, Enhance, Emotion.
spacesnepal.com
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ARCHITECTURE
40 Cityscape apartment homes is the iconic apartment complex designed to cater to the populace with sophisticated infrastructural services and amenities with a gracious design that makes living experience- ecstatic!
The new paradigm
Location
Design
Yes, the trend has begun. In recent years, the
The proposed site of the project is located
Basic concept
residential condominium industry has been
at Hattiban, Dhapakhel VDC, Ward no.
Breaking the trend of a concrete jungle in
booming in the capital valley. People have
1 kha, Lalitpur. The site which is sprawled
the erstwhile housing complexes, an effort
started to opt for the concept of apartment
in nearly 50 ropanies of land (1 ropani
has been made to create a design that brings
complexes due to its readymade availability
= 5476 sq. ft.) lies adjacent to the lush
the occupants closer to nature. The focal
and provision of better infrastructural
green Hattiban hillock and is just 1 km
point of the project has been to go eco-
services and amenities. Cityscape joins as the
away from Satdobato (Ring Road).
friendly and as green as possible. For the same purpose, only 26% of the ground is covered
trend setter of this promising industry and stands as a new paradigm of dwelling
The apartment has been planned
by the Towers while the rest is dedicated to
complexes.
purposefully to be just at the outskirts
open spaces and greenery. Spacious balconies
of the Ring Road, away from the hustle
and large windows are provided, through
Cityscape apartment homes is the iconic
and bustle; the throttling congestion and
which exhilarating views of the landscape
apartment complex designed to cater to the
pollution of the city. , yet near enough
and the surroundings can be savoured.
populace with sophisticated infrastructural
to enjoy the city facilities.
services and amenities with a gracious design
Orientation of the Towers and large
that makes living experience- ecstatic!
openings play a crucial role in bringing in natural
light
and
maintain
proper
ventilation. The benevolent design of the apartment is further enhanced by the emphasis on the
The internal spatial planning has been done
communal
by
according to the type of the units. The single
greenery. The condominiums explore a
floored units have 2-3 bedrooms, a spacious
dwelling typology inspired by the lush green
open living/dining area, a kitchen, a store,
rejuvenating
a common toilet and an attached toilet in
spaces
complemented
environment
of
its
surroundings.
the master bedroom. A study room is also added in specific type of units.
In a nut shell, Cityscape is a conglomeration of luxury condos with modern lifestyle and
The duplex units comprises of 4 bedrooms,
yet in harmony with nature.
a spacious open living/dining area, a kitchen,
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41
Master Plan
Type A (3BHK Deluxe), 1392 sq. ft.
Type D (2BHK), 1084 sq. ft.
Type J (3BHK + Study Deluxe), 1523 sq. ft.
a store, a family lounge, a study room, a maid’s room and also a private terrace with multifunctional sky lounge. As the Kathmandu Valley is very vulnerable to earthquakes, special structural design has been considered and Cityscape plans to follow up with sophisticated construction technologies to ensure the buildings for this designed structural strength and earthquake resistance. The design also invigorates the principles of Vaastu to bring in the positive vibe for health and prosperity of the occupants.
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Development Insight The project ideates developing a total of 577 apartment housing units in a phase-wise manner. With the specification of finishes, open spaces, design of international standards with professional project management and construction techniques, the project guarantees a great value for money and an unmatched living lifestyle in an affordable price.
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Interiors Each individual apartment will have almost similar features in terms of finishes and ambience except for the sixteen penthouses which are specially designed for exquisite living with lofty floor heights and sumptuous treatments. In addition, the penthouse comprises of doubleheight living room, a private terrace and a maid’s room. All the bedrooms and living rooms will have acrylic emulsion paint on the wall and wooden laminate flooring. Considering the customary
and
traditional
need,
every
apartment also has a special space for puja. All of the rooms will have imported modular doors and powder coated aluminium frames for the windows. The entrance lobby will receive marble cladding and texture paint with Italian marble and granite on the floor. The sense of spaciousness in almost every room is enhanced by large private balconies.
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ARCHITECTURE
Social spaces
44
The architects have expertly crafted many harmonious spaces to deliver the best aspects of community living. The design enables the occupants to experience the wealth of recreational
and
social
opportunities.
Cityscape provides outstanding recreational facilities in a rejuvenating environment and at the same time harvests a harmonious social milieu. Such spaces offers the residents to simply spend relaxing times with friends and families. Social interactions abound at the graciously furnished club house with swimming pool, business centre, a cosy coffee shop, restaurant, fully equipped modern gymnasium,
badminton
courts,
a
multipurpose hall, children’s play area, yoga, meditation and aerobics centre.
Landscaping The architects have come up with the design where only 26% of the ground is covered by the Towers and the rest of the open space is allotted to greenery and social/recreational services. Green area covers almost 7 ropanies of land while the another 7 ropanies of space plies for recreation and social interactions. This greenery, besides acting as buffer zone to keep away the noise and other pollutants, renders a rejuvenating experience for the residents that will ensure a quality life free of stress and pollutants. A large area of the property is covered by extensive landscaping which includes gardens interspersed with water bodies and children tot-lots and jogging tracks.
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ARCHITECTURE
Childrens / Toddlers park
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Amenities Beside the recreational facilities like club house, children play areas and exquisitely landscaped gardens, the cityscape design caters basic infrastructural services like 24 hours water supply treated with modern technology, adequate street lighting, sewerage treatment plant and ample parking spaces, to modern amenities like lifts, intercom facilities and provision for landline telephone; CCTV at main gate, emergency power back up, provision for wifi network, provision for central laundry system. Round the clock security with hotline to fire, hospitals and police is also provided to ensure safety and security of the residents.
Aerial view of Club house and entrance. spacesnepal.com
November-December 2008
ARCHITECTURE
Cityscape stands as an epitome of apartment design
46
and a trendsetter in
The Architect
urban planning.
S. K. Das is a Delhi-based architect and professor, and is the head of S.K. Das Associated Architects, which he established in 1987, when he left his teaching and global Consultancy position at the Institute for Housing and Urban Development Studies (IHS), Rotterdam to return to India over twenty years ago. Since then it has expanded his scope as an architectural and planning practice with an international portfolio.
Conclusion Cityscape stands unique amongst the other dwelling complexes. The project adds a different dimension by respecting the issue of the Valley’s ecology. It also inspires others to emulate the design concept of prospering the ecological aspects of the Valley. Cityscape gives an opportunity for experiencing quality living closer to nature. Cityscape stands as an epitome of apartment design and a trendsetter in urban planning. Or shall we say-Cityscape is a lifestyle, not just an S apartment!
S.K. Das Associated Architects has worked on a wide spectrum of projects for a varied clientele, in the private, public and non-profit sectors ranging from housing, hospitality, commercial and institutional buildings, mixed-use complexes, urban design of public spaces and master planning. His projects include New Town Development Masterplan, Ghaziabad, Uttar Pradesh, Springfield Residential Community Development, Greater Noida, Windsor Park Mixed-use Development, Indirapuram, Urban Residential Quarter at Hudco Place, New Delhi. Cityscape is S.K. Das's first project in Nepal, and considering its design and functionality, he sees it as one of his benchmarks in his long drawn successful international career. The firm is currently also working with the renowned architectural firm Herzog & de Meuron, designers of the ‘Bird’s Nest’ Olympic Stadium in Beijing, China, on the design for the Kolkata Museum of Modern Art (KMOMA), which will provide India with its first state-of-the-art, internationalquality modern art gallery. (www.skdas.org)
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INTERIOR
November-December 2008
The entrance donned with a sleek front desk and a luxurious ceiling panel with gold foils gilded over it gives a suggestive glimpse of the world beyond.
EMPORIOS
49
a tribute to great designers
What does a creative designer do when his vision is impeded by the lack of desired finishing to his design? He opens his own outlet. And architect Siddharth Gopalan has done just that. In a quest for modish interior furnishes for his clients, Siddharth ended up summoning his own showroom. An outlet for his creative drive, and supported by Rajesh Budhiya and Binod Shrestha, this showroom also aims at educating the average client about interior aesthetics. Although people have slowly started gaining some insights into architecture the world of interiors seems rather cornered. By positioning interiors as an essential part of experiencing architecture; the architect has tried to start a movement of designer furnishings.
By positioning interiors as an essential part of experiencing architecture; the architect has tried to start a movement of designer furnishings.
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INTERIOR
50
Each unit is purposefully layered, creating each interior setting as free standing venues.
The planning and designing of the huge space is done such that the eye is guided through the various pockets of spaces carefully avoiding visual stagnancy. The entrance donned with a sleek front desk and a luxurious ceiling panel with gold foils gilded over it gives a suggestive glimpse of the world beyond. The entire lower floor is divided into two units - one for living and the other for bathroom accessories. Each unit is purposefully layered, creating each interior setting as free standing venues. The amalgamation of a variety of furniture, finishes and accessories creates different sets of bedrooms and living rooms, giving off a theatrical set effect. Various layers of space have connective visual and spatial continuation avoiding a chaos that usually haunts interiors enclosing a variety of spaces.
spacesnepal.com
November-December 2008
INTERIOR
Use of tiles on the walls gives a new refreshing stance and the indirect lighting from the walls sets the mood for the whole setting.
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The crisp white ceiling and walls plus muted brown carpet set a
The right wing which consists of bathroom fixtures and accessories
neutral color palate which gives the freedom to create multiple
again has the same layering of space segregated by solid partitions.
spatial configurations. White draperies suspended from the ceiling
Each set of bathroom has a different theme going on. From ritzy
act as a very convenient barrier between the sets creating a more
red tiled bathroom to classical ornate fixtures; each unit has
flexible free floating setting. Strips of wall act as a more solid barrier
something different to offer which encourages the visitor to stroll
and the gap between them produces a visual continuum.
around and not be pinned to a corner. The light reflected on the
Innovative use of materials, designer furniture and light fixtures
floor tiles from underneath the raised platform creates a wonderful
generate intimate, sculptural interior. Each individual set of space
effect and shows off the detailing that went into creating the
has its own unique backdrop. Use of tiles on the walls gives a new
showroom. The two separate units are visually connected through
refreshing stance to one of the living room settings as well as the
openings that have hanging glass Ganesh as an accessory; another
indirect lighting from the walls sets the mood for the whole setting.
fascinating design detail.
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INTERIOR
52
From ritzy red tiled bathroom to classical ornate fixtures; each unit has something different to offer
spacesnepal.com
November-December 2008
INTERIOR
Other than the design of the space, quality designer furniture is what makes this
53
showroom singular. Also the whimsical lights and eclectic accessories add a dash of spice to the whole space. To witness an array of designer furniture under a single roof is a sheer pleasure.
The two separate units are visually connected through openings that have hanging glass Ganesh as an accessory; another fascinating design detail.
The experience continues on the upper floor as well where the crisp white on ceilings has been replaced by black yielding a more sedate environment.
spacesnepal.com
November-December 2008
INTERIOR
For luxury lovers one could go for a le Corbusier sofa or a Charles Eames chair and to more appreciative eyes, there are collector's items and an investment worth the value.
54
Emporium seems to be bent on promoting quality. A client can be sure of the value they’re getting for their money. Goods under a budget and free of cost design consultation are other perks a client receives. However for luxury lovers, one could go for a le Corbusier sofa or a Charles Eames chair, and to more appreciative eyes, there are collector's items and an investment worth the value. In fact the whole showroom can be rendered as a tribute to great designers.
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November-December 2008
56
NEW DESIGNER
CAR
MANUFACTURING PLANT
Ar. Sundeep Khatri
After the industrial revolution at the beginning of the 20th century, and derivation of new principles of assembly line for mass production by Henry Ford, the face of the world changed. The principles of Ford emphasized on interchangeable parts and arranging machine tools according to the sequence by which parts were produced. Manufacturing plants today still run using the advanced forms of basic assembly lines developed by him.
Program Formulation The car production plant houses production areas, design studio and technical labs, display areas and offices. The production area is the major part of the project and principally contains three segments: Body, Paint Shop and Assembly. The design studio is more about an office space. The technical lab contains machineries for different preliminary and quality control tests. Display area is more like a showroom and museum displaying new produced cars and vintages. The offices areas will be the marketing and custom service areas.
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November-December 2008
NEW DESIGNER
CONCEPT
57
Increasing efficiency and performance standards The effectiveness of the design of a car manufacturing
plant
depends
upon
its
efficiency of production, which further depends on the efficiency of production assembly line which can only be attained by the programmatic arrangement of the three production segments. After the development of assembly line by Ford in 1913, a lot of advancements have been done in nearly a hundred years. Hence choosing a correct production system could remarkably increase the efficiency of the plant. The Toyota Production System (TPS) or more widely known as Lean production system is the basis for the global revolution in manufacturing and service business. According to TPS, there are two types of time in a system. Value Adding Time and Non-Value Adding Time. If the non value adding time is decreaed then the whole time taken is reduced. Such waste time should be identified and minimized to large extent. According to Toyota Production System (TPS), the inventory in-between the different units act as waste of space, time and energy. Minimizing those inventories can increase the efficiency of the production.
Insertion of greenery A factory is a place where thousands of employees spend more than half their life twisting brains and muscles to produce a better product. It is a scientifically proven fact that in close contact with nature, our mind and body can perform extremely well. Unfortunately we cannot build a factory in a natural environment. However, although we cannot go to nature, we can bring nature to us. The idea of inserting greenery inside the production space creates a more natural environment. Providing greenery inside and outside the factory space not only helps to balance the quality of air but also helps to create a comfortable working environment.
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November-December 2008
NEW DESIGNER
58
Energy efficient architecture A manufacturing plant is a huge building and hence requires a lot of energy to run it. In such cases, passive solar architecture can play a significant role in its design. It is also a fact that manufacturing plants are a major cause
of
environmental
degradation.
Correct planning of the plant and renewable and safe disposal of industrial waste can contribute
significantly
to
reduce
environmental pollution.
Natural daylight is used from the roof and wall to minimize use of artificial lighting. A multi-layered roof and ample natural air circulation
provisions
help
natural
conditioning of air. These features help to minimize the consumption of energy hence making the building energy efficient.
Innovative structural design A factory needs wide uninterrupted spaces. Hence a factory construction is always architectural as well as constructional challenges. In place of the standard vertical columns, innovative inclined, angled and tapered columns are used. This helps to provide support for beam structure in upper floors
while
avoiding
columns below, thereby contributing to attain large
column
free
spaces which is the basic requirement of the design. spacesnepal.com
Expressing brand supremacy In the modern world, we cannot separate architecture with technology. The modern language of architecture not only talks about space planning but also the extremes of technology and brand supremacy. Today it is not about doing, but pushing to the limit. Architects and engineers are constantly searching for new materials and technologies which not only add to the comfort of our space but also amuse us visually. Titanium plates for wall cladding and innovative trusses for extreme span areas are lifting the scope of architecture and engineering to a higher level. As the twentieth century was the era of production, the twenty- first century stands as the new world
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NEW DESIGNER
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of marketing. Good industrial buildings have stretched architectural imagination to devise solutions that could put manufacturers ahead of their competitors and express brand supremacy.
The aerodynamic form of the building not only helps to gain natural light and air but also depicts the form of a car, hence expressing brand supremacy to the workers and to the customers.
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PROFILE
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‘I was overjoyed to know how architecture is related to both art and technology’
Jack of all and master of many, Sundeep Khatri, born on 29th may 1983, is the new whiz in the field of architecture. With his wonderworking thesis on car manufacturing plant, the ‘smart as a whip’ gentleman proved he has it all to be an architectural maestro. In 1999, he completed his matriculation from Ananda Bhumi Boarding High School, Maitidevi, with distinction; Higher Secondary from St. Xavier College, Maitighar with first division, and earned his graduate degree in 2007 from Kathmandu Engineering College,Kalimati,with distinction. Art has been a passion for this architect since childhood. ‘I always dreamed of becoming an artist,” reveals Sundeep. But he kept his dream aside to respect his family’s wish to make him an engineer. At that time he had no idea as to what architecture was all about. It was only during an entrance preparation class for an engineering program that he got acquainted with architecture when he accidentally sat for the introductory class! ‘I was overjoyed to know how architecture is related to both art and technology’, Sundeep exclaims joyously and consequently decided to go for architecture. ‘I thought that in this way I can practice what I love and at the same time make my parents happy,’ says Sundeep wittily. ‘In the pursuit of practicing art, I bumped into architecture,’ he smiles. This joyful persona describes architecture as a technical expression of art. Besides art and architecture he is fond of computers and spend hours on it without complaining. His zeal for 3D modeling and animation acquired him the award for the best 3D modeling and animation by Pentasoft.
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In Pursuit of
Practicing Art Ar. Prajal Pradhan
Sundeep Khatri has always received accolades from his teachers and colleagues for his creative brilliance and his ‘thinking out of the box’ image. As for himself, he draws inspiration from people who are known for creating something atypical and extraordinary. His biggest aspiration comes from the architectural virtuoso Frank Gehry. ‘I like Gehry!,’ smiles Sundeep, ‘He always creates something unorthodox and exhilarating.’ He also appreciates L.I.Kahn for the simplicity of his design. Amongst local architects he likes the work of architect Sanjay Lal Shrestha who was also was his thesis guide. He has also worked in his firm ‘Outré Design’ as a trainee and later on a part time basis. Apart from Sanjay’s creations he also likes the city hall designed by the late Gangadhar Bhatta, the first architect of Nepal. ‘The design was completely futuristic for and something ahead of his time,’ he says. Going for international favorites, on the list of his appreciation comes the Louver Museum designed by I.M.Pei, the Guggenheim Museum by Frank.O.Gehry and the Rome Mayor Museum by Richard Meier.
On asking what qualities do you think would make an architect successful, he beams ‘While designing, an architect should always know what he is trying to do. For this he needs a lot of study and research. And an architect should always possess the art of clearly expressing his design.’ Upon discussion on brain drain in the field of architecture, he blatantly adds, ‘Leaving the country in pursuit of better opportunities may not be ethically right but practically it may be the only correct decision. Those who have left and those who are trying to leave may have felt that the remuneration here is not worth their talent and efforts.’ Asked if he will ever leave the country, he laughs, “Yes, I’ve plans for higher study.” Of late he is working on prominent projects in the firm, Axis Design Consultant Pvt. Ltd., at Hanumansthan, Lalitpur, under the supervision of prodigy architect Sareen Adhikari. His thesis on ‘Car Manufacturing Plant’ has earned many accolades. And going by his design, looks like he will receive more in the days to come. S
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62
CONSERVATION
If words could have portrayed our emotions, like colours in the hands of a painter; if words could have latched on to the reality of moment like a nestled dream in our mind…I would have been happy. I would have danced around the meadowed green like a cur training to catch a butterfly, like an unborn child trying to wiggle his way out from the womb of his mother. But alas, my words fail me… They leave me alone in the midst of battle surrounded by enemy, unarmed and baffled. Only to stop beyond the lines to look back and mock at the General they once served well. True, I am a man of words, and just words. True, I am a man moist in the deluge of dreams and imagination. But still, I can’t make it. Words fail me, when I need them the most today…… Emerald green, divine blue, visions of dream perhaps….
Rediscovering
Shangri-La Text & Images: Barun Roy
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Pedong occupies an area of about 45 sq km and slices right through the crest that divides India, China, Sikkim and Bhutan. The medieval Lepcha Kings administered the land but lost much control to the Bhutanese who later expanded during the 14th Century taking over much of Pedong and Kalimpong. The Sikkimese Rulers, themselves ardent Buddhists and sharing traditional legacy with the Bhutanese Royal House, enjoyed much freedom and access to the region. Regular trade was carried out between these Kingdoms and Tibet and the Silk Route that existed operated until the 1960s.
I began my journey without much planning
them as Kipling was, I had decided to venture
when common reality and the out turned
like most Indian travellers. By experience
beyond the ravaging rivers in search of an
mind reassert their thrall.
perhaps, of having travelled in Africa, Russia,
ancient specimen – a genuine Lepcha
Chechnya, Nepal and more so having
Heritage, almost invisible in the rest of Mayel
I confess I have never been so turned on by
survived in the interiors of Andhra, Uttar
Lyang. The journey was part of a scouting
history than I was at that moment. The crew
Pradesh and Bihar there were not much that
exercise for a documentary film but who
disembarked from the can much relieved to
I was expecting in the backyard of the land
would have known that we would experience
be humans again and more so to stand where
I was born. How far is Kalimpong? How far
something from beyond, something from
centuries ago people much like ourselves but
is Pedong? What more can be expected
Shangri-La.
less complaining travelled covering almost
beyond cheap hotels and monasteries visited
500 miles to Lhasa, the capital of Tibet. A
time and again? Rude questions that I had
Far yet near
short descending trek, thence, thank God,
levied upon those who were to accompany
To show how much close and yet far
took us to Sebastian’s house at Kashyone
me. There was reluctance on my part. Bhutan
removed from the hustles of the chaotic town
village, our base camp, a lone sentinel
would have been a much better destination.
of Kalimpong, it took only 52 minutes to
surrounded by hectares of greenery.
transport the crew to Pedong, packed like Possibly, my big mouth was to blame. On an
sardines, in a can people gloriously call ‘The
Unlike in urban settings where it is each one
earlier visit to Kalimpong, I had walked over
Commander Jeep’. Yet, immediately, the
for himself (or as T. S. Eliot put it – people
the crest of fearsome trans-Himalayan
slopes of Pedong summed up the lyrical
live together not because they love one
streams – unchangingly hostile - cold, grey,
appeal. The terrain was more beautiful than
another but because they can make money
icy and menacing in the typical profile of
dramatic and the poetry it conjured up was
from the proximity of others) the rare
the Teesta and Rangeet, their several
that of Rudyard Kipling’s – ‘The Jungle Book’
settlements in Pedong are pragmatically
headwaters that drain the Terai and beyond.
– an intense fragment of the psychic state
humane and helping hands are extended
What more lies above the forests – lured into
most of us come near to owning but lose
cheerfully
to
all
strangers.
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November-December 2008
CONSERVATION
This 10th Generation Lepcha Heritage House built during 1700 A. D. is inhabited by the ninth and the tenth generation Lepcha family, and today still is in its magnificent best. The thatched roof is bound with an inner frame of bamboo laces and the partitions thereof are made entirely of bamboo woven mats covered by mud paste.
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It was usual on climbing up during the trek
could be seen except hear the heavy
trying desperately to navigate the road a
and frequent hiking to experience the oasis
breathings of us, heavily laden gorks, making
furlong above, the house would probably
mood of a thriving little community
way towards the unknown forests. Our
have looked exactly the same during the
occupied with small but abundant holdings
guide as for the entire trip was Sebastian
advent of the Honourable British East India
and giving off that flavour so rarely met
Pradhan and the entire success and the
Company in India in the reign of Mughal
with
–
pleasure of the trip was due to his fluent
Emperor Jahangir in India.
contentment with their lot. Barley is a
knowledge of the land and the conditions.
in
more
advanced
societies
Sebastian quickly set out to explain the
bumper crop yielded in the lower Teesta and Rangeet valley. It is the world’s most ardent
“Don’t worry, Roy,” he would frequently
fascinating aspects of the Lepcha Heritage
fermentor. Chang may not compare with
cry from the top of a hill scampering over
House. Still inhabited by the ninth and the
whiskey but their parentage is common. If
them like a mountain goat, while, I, a man
tenth generation Lepcha family, the house
one is lucky and we were, a vintage Chang,
half his age stood down panting already
is built over huge stone pedestals, the
is a treat for the palate, a marvellous
convinced that the journey was ill timed and
foundation columns directly standing over
sensation indeed that stays for the rest of
the effort, wasted. Surprisingly, enough, our
them without a paste or a glue to bind the
many days. A bit, like rafting over the Teesta
guide never missed a prediction or a chance
two. The cross beams themselves dissecting
River. I felt rejuvenated by a decade – a
to explain about the birds, plants, trees and
and intersecting without a nail, joint or a
considerable blessing to an already ancient
animals. We reached the top to find the sky
binding agent. No equipments except an axe
mariner across the threshold of 30.
clearing rapidly and the drizzle now a distant
and a scratcher were said to have been used.
dream. The day turned into a glorious
The thatched roof was bound with the inner
The discovery!
afternoon with scenes of women beating off
frames of bamboo laces and the partitions
We left Kashyone, the next day, ready to
husks from rice in the distant terraced fields.
thereof made entirely of bamboo woven mats
rediscover a forgotten paradise, one that had
Suddenly and remarkably out of nowhere,
covered by mud paste.
already enthralled me. As our convoy of
then, a most fascinating structure stood out
scribe travellers made way up towards the
in the fore – a 10th Generation Lepcha
The house is roughly 68 ft long and 33 ft
Cross Hill, a light drizzle dampened much of
Heritage House built during 1700 A. D., and
broad. A typically one storied affair, the free
our spirit. The clouds themselves, likes
today still in its magnificent best. So much
standing foundation columns acting as a store
nymphs in hurry covered much of the
so that apart from a fresh coat of distasteful
and a barn with domestic animals tied to them
surroundings and soon there were none that
distemper on the walls and a Maruti Omni
and wood and grass stored for domestic uses.
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The main living quarters consists of a huge hall covering more than 1200 sq feet. An open kitchen is attached to the hall. Upon direct entry through the main door one comes across a corridor with two living quarters and then the kitchen and the hall. The roof holds a cozy attic where the family sleeps during the chill of the winter or else during the summer use it as a ‘warm room’ for fermenting home made concoctions and ‘riping’ fruits. The house is built over huge stone pedestals with the foundation columns directly standing over them without a paste or a glue to bind the two. The cross beams themselves dissect and intersect without a nail, joint or a binding agent. No equipments except an axe and a scratcher were said to have been used.
A verandah faces the slopes at the end of the hall and is the most peaceful place to enjoy a cup of tea.
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As Sebastian pointed out, while buildings collapsed and people died during the massive earthquake of 1985, the Lepcha Heritage House stood ground, dancing like a village maiden over a minstrel’s bard, yet not a single beam or a column or a pedestal was displaced. A miracle indeed! Who could ever imagine that a 300 year old Lepcha House which is basically a glorified hut incorporates a structural design which even today, being accepted as probably the safest, still is thought of to be possible only in the future; where ‘intelligent’ structures would react to surrounding change of space and based on that reaction remodel itself, preventing structural damage and stress. Well at least for the Lepcha’s; the future, it seems, came 300 years ago. The house is pleasantly placed in the heart of the Kashyone village on the slope overlooking Sikkim and Tibet. The soil quality is good and contains great amount of iron. The ground is strewn with formation of igneous rocks and is very stable. Tropical vegetation surrounds the house and a ground carved out of the slope facing the house acts as a courtyard which does not seem to be an integral part of the house.
The house has survived more than 300 years without a scratch or a column or a plank or beam being displaced or a pedestal being moved. It has survived because it incorporates a simple and an effective design. The free standing columns are truly free and not rooted. Like twelve legs the free foundation columns are capable of reacting and reinforcing pressure independently and collectively through ingenious use of interlocking columns and cross beams.
The origin of the house can be challenged as Lepcha’s do not have a tradition of written accounts. Their histories are scattered and based on fables and folk tales. However, since Lepchas were part of the ruling bureaucracy both in the Sikkimese and Bhutanese Royal Houses, excerpts of their history can be found in records of these Royals Houses.
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CONSERVATION
Kanchanjunga as seen from Damsang, Pedong.
Heritage House. Kazi Gorok’s appeal is also
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presently
the
oldest
Lepcha
written
document preserved for eternity. The question of history and architectural ingenuity settled, our crew quickly set on a photographing spree when the plight of the owners surfaced most dramatically. Nothing had been done for the protection, preservation, maintenance and the general upkeep of the historic house, and the owners themselves owing to the scarcity of fund, were desperate for financial help. An interaction between the owners and the crew mediated by Sebastian Pradhan ended Amidst the mist and fog, Barun and the crew stop to hoist a Lungta flag
up with my promise for financial help towards the protection, preservation, and reinstate Namgyal Phuntso. Proving
maintenance and the general upkeep of the
his credentials as a Lepcha of ancient
historic site. The predicament resolved and
Karwang lineage, he offers names of his
a hot Lepcha brew set us up for yet another
forefathers who had been Kazis of different
journey of discovery. The indomitable
places. He particularly states the following
Damsang Fort built by the spirits, according
Karwang Kazis, as his direct ancestors - Den-
to Lepcha legends, was our next stop. But
sa Kazi of Barmiok, Chogthup Kazi of
drenching my throat with hot Lepcha brew
Phedong,
Enchay
that reminded me of Chaang, I wondered,
(Gangtok), Rumtek, Tathang, Majong,
sitting on the porch staring towards Sikkim
Norzang, Gyengjong, Kotra Kungha Kazi
and Tibet; what must have it been like 500
of Illam, Dallam, and Bolot Kazi of Tateng.
years
Since all the Kazis were appointed by
through out the slopes and valleys and
Sikkimese the King Chakdor Namgyal and
people living in association with the nature
Chakdor Namgyal himself being crowned
not as a consumer of its resources but as a
in the year 1700 and his reign only extending
guardian. There was a great wisdom and
to the year 1717; the origin of the above
power in their simplicity since they were able
Lepcha Heritage House which by tradition
to redefine spaces not just in its physical
belongs to Chogthup, a Tibetanized name
terms but most importantly in psychic and
of Choothu could be safely placed during
purely spiritual terms. A house to a Lepcha,
the tumultuous 17 years of the Chakdor
I realized, is a simple ‘living’ space. There are
One such record is observed in an appeal
Namgyal’s rule. After the ousting of
palaces more opulent and older and there
sent to Captain Lloyd by Kazi Gorok of Ilam
Chakdor Namgyal in 1717 and Gyurme
are architectural structures more elaborate
in 1828. The Appeal essentially, an invitation
Namgyal coronation, all of the former
and unnerving, but none as simple, as
to mediate the internal feud leading to the
King’s nobles were forced out from the
unique and as futuristic as this simple Lepcha
flight of King Namgyal Phuntso from Sikkim
Kingdom.
to
hut which was built possibly during the
to Sinchel, Darjeeling and his reign being
‘Shaheyeb Llo…dd’ (Sahib Lloyd), being
reign of Emperor Jahangir by a small tribe
subsequently taken over by Changzod
the only present Lepcha written statement
of peaceful people who lived by the land as
Tamdring,
the
preserved at the National Archive, New
its guardian and protector. The land which
Honourable British East India Company to
Delhi, is of great signification to Lepcha
they called Mayal Lyang and the world,
support him to oust Changzod Tamdring
history and in this case to the Lepcha
Shangri La!
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Kazi
Gorok
requests
Yogdra
Kazi
Kazi
Gorok’s
of
appeal
ago…..Lepcha
houses
dotting
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The common terms hiti or dhara is used in everyday life and includes not only the water spouts but has a few deities and a pati or two flanking the entrance, thus making this a social and religious structure.
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CONSERVATION The hiti and the rajkulo are the traditional water supply systems in the Kathmandu Valley that started in the Licchavi period (500 - 800 AD) and was further developed in the Malla period (1420 - 1768 AD).
PRESERVING THE
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Nagbahal Hiti HITI: MORE THAN JUST A WATER SOURCE
Sithinakhah, which is also the day traditionally
Text and images: Ar. Jharna Joshi/ Nagbahal Hiti Rehabilitation Project
dedicated to clean all water architecture. The hiti is supported by the rajkulo (irrigation canals), ponds and wells that are part of the
Among the many forms of water architecture
traditional water architecture group, along
found in Nepal, the hiti, no doubt, is the most
with the ghats (riverside cremation sites) and
elaborate and intricate in design and
jahdu (drinking water tanks). The hiti and
technology. It is known by many names: gahiti
the rajkulo are the traditional water supply
(Newari) or gairidhara (Nepali) as these
systems in the Kathmandu Valley that started
structures are usually found below street level;
in the Licchavi period (500 – 800 AD) and
lhohiti (Newari) or dhungedhara (Nepali)
was further developed in the Malla period
referring to the material (stone) that is
(1420 – 1768 AD). The rajkulo was built to
predominantly used for the water spouts. The
irrigate the paddy fields in the villages and
common terms hiti or dhara is used in everyday
facilitate drinking water in the cities. The
life and includes not only the water spouts
intricate rajkulo system originates at the
but the complex that usually has a few deities
natural water sources (intakes) in the
and a pati (open rest house) or two flanking
surrounding hills of Kathmandu Valley and
the entrance, thus making this a social and
brings water through open canals irrigating
religious structure. The terms water conduit,
the paddy field and feeds the ponds at the
spout or fountain does not adequately
edge of the cities. The hiti is fed either by
describe this complex structure and confirms
underground natural aquifers or the rajkulo
the origin of this type of monument
with the earliest extant inscription found at
indigenous to Southeast Asia, with stepwells
Mangal hiti, which dates this structure to
found in India and Srilanka that are similar
570 AD. The manmade ponds recharge the
to the hitis.
natural
aquifers
at
various
places
throughout the city, which in turn feed the Besides functioning as the main source of
hitis placed at strategic places in the city
water
these
through a highly developed underground
intriguing pieces of architectural elements still
canal system that filters the water as it flows
play a vital role as religious and social spaces.
to the hitis.
for
the
neighbourhood,
Many of these hitis are associated with specific festivals and rituals, such as the Kumbeshwore
Most of these hitis are still the only source of
hiti that becomes the focal point of
water for many, especially the urban poor.
celebrations
The municipal water supply system has not
during
Janai
purnima
or
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November-December 2008
CONSERVATION been able to provide adequate drinking water to the urban areas and a large population still depend on these traditional water supply systems. However, the unplanned building construction, the infrastructure growth in the expanding urban core and the construction of modern underground structures, has not only damaged the rajkulo but is affecting these ancient systems, especially with the loss of ponds that The Nag Bahal Hiti after restoration (2008)
help in recharging the hitis.
70 Rehabilitation of the Nag Bahal hiti, Lalitpur Till date, out of the total original 38 hitis in Lalitpur about 30 are still partially functioning, while the rest have either dried or been buried. The Nagbahal hiti, located at Nagbahal had been dry for about a decade and urgently needed renovation works. Nagbahal is one of the biggest residential courtyards in Lalitpur that was originally a Buddhist monastery. Although the original structure no longer exists, this bahal still retains its religious and cultural significance. The Dipankara yatra, a religious excursion around Kathmandu Valley that occurs once in about 18 years when all the 5 auspicious elements align and celebrated by both Hindus and Buddhists, originates from this site. Nagbahal is also the site where the five-yearly Patan Samyak, the assembly of all the Dipankara Buddha images from Patan and its surrounding areas take place. There are three individual stone taps at the Nag Bahal hiti. About halfway down the steps leading to the hiti, there is a large standing stone image of the Buddha of a later date inside a small temple. The construction date of this hiti is unknown but, in the northeast corner of the area around the The Dipankara yatra that occurs once in about 18 years when all the 5 auspicious elements align originates from this site. Nag Bahal is also the site where the five-yearly Patan Samyak, the assembly of all the Dipankara Buddha images from Patan and its surrounding areas take place.
hiti, a stele about three feet in height with four figures of different Buddhas carved on it dates to the eighth century. Before the restoration works, the supply of water at Nag Bahal hiti was very poor and the outlet was also partially blocked. The source of this hiti had been identified and is
Nag Bahal is one of the biggest residential courtyards in Lalitpur that was originally a Buddhist monastery. Although the original structure no longer exists, this bahal still retains its religious and cultural significance. The Nagbahal hiti, located at Nag Bahal had been dry for about a decade and urgently needed renovation works.
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CONSERVATION located Khwayebaha, southeast of the hiti. The inlet channel from the source to the hiti is more than 530 meters in length passing through dense residential area. The Nag Bahal Hiti Rehabilitation project recently restored this important monument funded by the U.S. Ambassador’s Fund for Cultural Preservation and supported by the
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Nagbahal Hiti User Group. The rehabilitation works included repairing the inlet and outlet channels of the hiti, by digging several maintenance holes that helped to precisely map
and
clean
the
channel.
These
maintenance holes are marked in the documentation maps for future repair works and have been filled with gravel, sand and earth for filtration. The inlet channel is nine to twelve feet underground and constructed of bricks, about 4 inches wide and 6 to 7 inches deep. Stone or brick collection bowls are placed
About halfway down the steps leading to the hiti, there is a large standing stone image of the Buddha inside a small temple. The construction date of this hiti is unknown but, in the northeast corner, a stele about three feet in height with four figures of different Buddhas carved on it dates to the eighth century.
where the line is turned and is filled with pebbles for filtration. The mapping of the inlet channel also indentified the private and public plots above the supply line. This map is essential to protect the water flow of Nagbahal hiti, so that new constructions will not damage the channel. The 3 or 4 storied traditional buildings are rapidly being replaced by higher structures with the danger of their foundations going deeper and destroying the supply channel. General repairs to the hiti complex reused the existing materials as far as possible and have made this monument a focus of the courtyard once again. The flow of water has increased noticeably since the restoration works, however, only the protection of the
Before the restoration works, the supply of water at Nag Bahal hiti was very poor and the outlet was also partially blocked The rehabilitation works included repairing the inlet and outlet channels of the hiti.
inlet channel and groundwater recharging will ensure the future of the hiti.
The inlet channel is nine to twelve feet underground and constructed of bricks. Stone or brick collection bowls are placed where the line is turned and is filled with pebbles for filtration.
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The mapping of the inlet channel indentified the private and public plots above the supply line.
The flow of water has increased noticeably since the restoration works, however, only the protection of the inlet channel and groundwater recharging will ensure the future of the hiti. The future of hitis
will have long term effects on the water
manmade ponds were built to support the
This project has set an example by
supply system of a larger area.
water architecture and are in dire need of
documenting the hiti system and providing valuable
for
its
revitalisation. The welfare of both the hiti
future
There is an urgent need in Kathmandu Valley
and the private deep wells depends on the
maintenance as well as other hitis. This project
to recharge the ground water. Since the
overall water table of the city.
can be further replicated in other hitis to
municipal water supply is inadequate, the
revive the ancient water supply system that
majority of city dwellers are depending on
This hiti system that has its roots in the 6th
has been supplying water to the urban areas
individual deep water wells that is over-
century needs detailed investigations on its
of the valley for more than a thousand years.
extending
water
origins and technology. This is a unique and
The hitis can also follow the example of the
resources and decreasing the water table
highly intricate system that should be
Alko hiti and Dhobighat hiti, both in Lalitpur,
rapidly. More and more people are digging
preserved for the future generation, not as
storing the water at night to redistribute
deeper to access ground water without
a decorative monument but a functioning
benefitting a larger population. However,
recharging the ground water, which will only
architecture.
recharging the ground water is essential and
add stress to the system. The rajkulo and the
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information
the
natural
ground
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