SPACES Nepal NOV 2016

NOVEMBER – VOL 12 NO. 06

Vol 12 No. 06 November 2016

A R T

A R C H I T E C T U R E

I N T E R I O R

Building your

Dream Home

Dhakhwa House

conserving heritage

Elantas Beck India Ltd FUNCTIONALITY OF ENERGY EFFICIENT GREEN OFFICE BUILDING

Struts

in Nepalese architecture 4 / SPACES MARCH 2016

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connects

27. Arancia Kitchen & Furniture Pvt. Ltd. Kalanki, Kathmandu Ph: 9801020326 E-mail: arancia.nepal@gmail.com 72. Asian Paints Nepal Balkumari, Lalitpur Ph: 977-1-5203045 E-mail: ccm@asianpaints.com.np www.asianpaintsnepal.com.np 47&77. ATC Pvt. Ltd. 336/21, Ganesh Man Singh Path-2, Teku Road Ph: 977-1-4262220 info@atc.com.np 84. Berger Jenson & Nicholson (Nepal) Pvt. Ltd. Berger House - 492, Tinkune, Kathmandu Ph: 977-1-4466038 info@bergernepal.com www.bergernepal.com 16. Communication Corner Pvt. Ltd. (Ujyaalo 90 Network) Ujyaaloghar(Behind Central Zoo) Jawlakhel, Lalitpur Ph: 977-1-5000171 info@unn.com.np www.unn.com.np 81. Foto Hollywood Civil Bank Building, Kamaladi Ph: 977-1-4169060 www.fotohollywood.com.np 7. Furniture Land Store Pvt. Ltd. Blue Star Complex Tripureshwor, Kathmandu Ph: 977-1-4224797 5. Green Building Technologies Pvt. Ltd. Teku Hospital Road, Kathmandu Ph: 977-1-4240610 sktulshyan@gmail.com greenbuildingnepal@gmail.com www.greenbuildingtechnology.com.np 3. Fashion Furnishing Pvt. Ltd. Ratopool, Kathmandu Ph: 977-01-4420647, 4420661 E-mail: marketing@statusnepal.com 4. Nagarik - Nepal Republic Media Pvt. Ltd. JDA Complex, Bagh Durbar Ph: 977-1-4265100, 4261808 circulation@nagariknews.com 82. Nepal Construction Mart Kupondole, Lalitpu, Nepal Ph-977-01-5180320 E-mail: info@nepalconstructionmart.com nconstructionm@gmail.com

76. Red Pepper Designers Lampati-14, Kalanki, Kathmandu Ph: 977- 9843376000 / 9813900416 E-mail: idsushovit2015@gmail.com www.facebook.com/redpaperdesigners 77. Skylight Pvt. Ltd. Naxal (Opp to Police HQ), Kathmandu Ph: 977-1-4423851 E-mail: info@skylight.com.np www.skylight.com.np 18. Subisu Cable net Pvt. Ltd. 148 Thirbum Sadak, Baluwatar Ph: 977-1-4235888 E-mail: info@subisu.net.np www.subisu.net.np 80. Worldlink Communication Pvt. Ltd. Jawalakhel, Lalitpur Ph: 977-1-5523050 E-mail: enterprise.support@worldlink.com.np www.worldlink.com.np 61. Navin Distributor Pvt. Ltd. A.T. Complex, New Plaza, Putalisadak Ph: 977-1-4428196, 4430785 E-mail: ndpl@navindistributors.com www.navindistributors.com 73. Nepa Top Organization Samakushi, Kathmandu Ph: 977-1-4354117, 4363548, 4387901 E-mail: info@nepa.com www.nepatop.com.np 47. OEIL LLC Pvt. Ltd. Bansbari Ph: 977-1-4017195 E-mail: ravi@oeil.asia 2. JK White Cement 14 Kuleshwor, NayaBasti, Kathmandu Ph: 977- 9851050650 prashant.chaturvedi@jkcement.com www.jkcement.com 9,11. Bath n Room Trade Concern Pvt. Ltd. Tara Bhawan, Teku Ph: 9802015888, 977-01-4240610 17. Universal Trading Samakhusi Ph: 9801020326 37. All-Tech Solutions & Engineers P. Ltd. Tara Bhawan, Teku Ph: 977-01-4100235, 4100236 Email: sumit@alltechse.com.np

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Contents Volume 12 NO. 06 | NOVEMBER

S P A C E S N E P A L . C O M

20 ARCHITECTURE

28 ARCHITECTURE

38 ARCHITECTURE

Elantas Beck India Ltd.

Dhakhwa House

Struts

FUNCTIONALITY OF ENERGY EFFICIENT GREEN OFFICE BUILDING

CONSERVING HERITAGE

IN NEPALESE ARCHITECTURE

48 INTERIOR

62

66 INTERIOR

Building your Dream Home

BFA Exhibition Project 2016

POWER Colors

EXPLORATION OF NOUVEAU IDEAS

72

78 FROM THE SHELF

Winners speak

City Square

6 / SPACES NOVEMBER 2016

79 ARTSCAPE

NOVEMBER 2016 SPACES / 7

Volume 12 NO. 06 | NOVEMBER

CEO

Ashesh Rajbansh Editor-in-Chief

Ar. Sarosh Pradhan Director- products and Materials

Ar. Pravita Shrestha Creative Manager

Deependra Bajracharya Contributing Art Editor

Madan Chitrakar Kasthamandap Art Studio Junior Editor

Shreya Amatya Sristi Pradhan Advisor

Ar. Pawan Kumar Shrestha Interns

Contributors Shukrasagar Sukrasagar is an archaeologist and a specialist in Nepali culture and history.

He, co-authored Street Shrines of Kirtipur: As long as the Sun and Moon Endure (2014), with Mehrdad Shokoohy and Natalie H Shokoohy. The book focuses on the shrines’ chronology from the earliest specimens to the end of the twentieth century, the reasons for their erection, their typology and their iconography with the aim of providing a broad understanding of such features in a wider perspective for all Newar settlements. He is also the co-author of Jarunhiti (2013).

Riki Shrestha Contributing Editor

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

Pramila Rai Pramila Rai is a freelance writer with a keen interest in reading murder mysteries and fantasy novels. She has a masters degree in Mass Communication and Journalism from Amity University in Noida, India. She likes to write about innovative youth and empowered women.

Photographers

Pradip Ratna Tuladhar Intl. Correspondent

Bansri Panday

Shweta Shakya Shweta Shakya is a 4th year Architecture student in Khwopa Engineering College. She likes to travel and take photographs. She continues to write to keep her sanity.

Kritika Rana Kritika Rana is a graduate from IOE Pulchowk Campus. She is currently practicing architecture at Prabal Thapa Architects.

She is keen on researchbased writings about architecture and the sensation of spaces. She believes in understanding the essence of space and its influence in human behavior. She is also interested in energy efficient and sustainable design in contemporary scenarios.

Director- Operation & Public Relation

Anu Rajbansh

Sagar Manandhar

SR. Business Development Officer

Debbie Rana Dangol Business Development Officer

Priti Pradhan Legal Advisor

Yogendra Bhattarai Published by

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

Phone: 5181125, 5180132, info@spacesnepal.com Design/Layout & Processed at

DigiScan Pre-press Pvt. Ltd. Distribution –- KATHMANDU –-

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

Kasthamandap Distributors, Ph: 4247241 Advertising and Subscriptions –- KATHMANDU –-

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

8 / SPACES NOVEMBER 2016

Sagar Manandhar, Born in 1985 in Kathmandu, Nepal. He has completed his Bachelor in Fine Arts and Master in Fine Arts from Banaras Hindu University, BHU, Varanasi with gold medal in both Bachelor and Master degree. He has completed his Master degree under Prof. Mridula Sinha. He is now working as a lecturer in Kathmandu University, School of Arts, and Centre for Art and Design. He has designed the flag of Kathmandu Metropolitan City and has participated in many national and international art workshops such as asSAMHITA National Level Seminar cum Workshop, New Delhi, India, Inspiration Manaslu, Samagaun, Manaslu. He has eleven solo exhibitions and many group shows in his name in Nepal and foreign countries. He has also worked at Panjim, Goa in a residency organized

by Indian Atelier.

Regd. No 30657/061-62 CDO No. 41 SPACES is published twelve times a year at the address above. All rights are reserved in respect of articles, illustrations, photographs, etc. published in SPACES. The contents of this publication may not be reproduced in whole or in part in any form without the written consent of the publisher. The opinions expressed by contributors are not necessarily those of the publisher and the publisher cannot accept responsiblility for any errors or omissions.

Those submitting manuscripts, photographs, artwork or other materials to SPACES for consideration should not send originals unless specifically requested to do so by SPACES in writing. Unsolicited manuscripts, photographs and other submitted material must be accompanied by a self addressed return envelope, postage prepaid. However, SPACES is not responsible for unsolicited submissions. All editorial inquiries and submissions to SPACES must be addressed to editor@spacesnepal.com or sent to the address mentioned above.

Bath n room

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editorial If we have decided that we aren’t rolling stones who don’t want to gather moss, then we most probably are the kind that loves to grow roots in a space we can call our homes. Homes that fulfill our needs and adhere to our wants. That’s a common dream which we work hard to manifest. Sadly for most, the process of building a house ends up giving aches and pains that were not bargained for. Volumes can be written about trials and tribulations of what a home owner goes through while creating a home or work space.

A completely different picture can be painted with a happy home owner if we had a good storehouse of ideas, clarity of what we want and need, detailed communication with the designers, and efficient coordination between construction, interiors and furniture. Far fetched in Nepal? Not really! As has been proven by the proud upholders of traditional Newari architecture, whose Dhakwa house is a pleasure to behold. KC’s yuppie home is also an inspiration that shows it can be done here too, if we do enough research and plan well.

Work space too need not be dreary or frightening. The write up on functionality of energy and green office building covers a whole new range of useful ideas. Last but not least is an extensive coverage of struts in Nepalese architecture. It opens ones eyes to the rich heritage of Newari architecture and inspires one to look closer at the details of struts mounted on the temples and old houses strewn around this beautiful valley.

Enjoy.

Ashesh Rajbansh / CEO

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r e v i e w

MASTER CLASS FROM MUNICIPAL MUSEUM OF CONTEMPORARY ART (SMAK) Master class from Municipal Museum of Contemporary Art (SMAK) in association with Siddhartha Arts Foundation Education Initiative (SAFEI) was successfully concluded on July6-July 7. SMAK being the third art curating workshop was held for 2 days with the duration of 8+ hours. It was held in Yalamaya Kendra, Patan Dhoka which was facilitated by artistic director from SMAK Gent: Philippe van Cauteren and Bjorn Heyxzak. The training program targeted at

managers and curators saw representations from various art institutions like Artree Nepal, Kathmandu University of Arts, Kathmandu International Art festival (KIAF), Spaces Magazine, Canvas Weekly, The Taragaon Museum, Artudio, Ka Baata, Lasanaa, Military Museum, Chhauni Kathmandu, and Srijanalaya. Participants in the workshop deliberated on developing curatorial frameworks and visions, and managing production of art for large-scale artistic events. The event was graced by the representative from Millitary Museum and Mr. Roshan Mishra, Director of the Taragaon Museum. The event was engrossed with the fabulous series of lectures which helped the participants to gain a vision and goal for the production of large scale artistic events.

The workshop had been helpful to the invited audiences followed by the interactive discussions. n

FEATHERLITE FORUM MEETS UNVIELED NEW PRODUCTS Parth International Pvt. Ltd organized a Featherlite Forum meets where renowned Architects, Corporate and Bankers were invited remarking their 50th anniversary in the furniture industry at Soaltee Crown Plaza on 2nd August, 2016. It also unveiled ergonomic workstations which would reduce the stress, strain and injury in the workplace with comfortable and modular furniture setup to mark their 50 years of global operations of Featherlite in the industry.

“We have received good feedback from individuals and corporate houses in Nepal, many medium and small-scale firms are still operating with traditional furniture, and we aim to foray into those segments.

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Moreover, Featherlite has also provided solutions to low-budget startups that require modern office setups” said Nitin Srivastava, general manager of franchise development at Featherlite. R Balaji, Vice president of operations at Featherlite stated that their products are tested through a rigorous process which makes them ergonomically certified. This furniture’s are certified globally by the Business and Institutional Manufacturers Association which has bagged them various awards for excellent product performance. This meet was also done to remark their successful presence in the market.

Featherlite has witnessed over 35 percent of growth sealing deals with big corporate houses like Samsung, Thompson Nepal, Ghorahi Cements and Pashupati Tradelink.

Its sale has been excelling with around 40 percent of retail sales and 60 percent of sale with business houses among its total sales. After the successful 2 years tenure in Nepal, Featherlite had unveiled its two new series of the products i.e. Color Series and Connect Series after the success of Perform Series and Edge Series. These workstations designed are kind of modular furniture which can be adjusted in small space lining it up and dividing into cabins or making it spacious which has been the key instrument for its success in Nepal. n

e v e n t s

GHORAHI CEMENTS PRIVATE LTD. DEALER’S MEET 2016 Ghorahi cements had hosted its Dealer’s Meet in Pokhara, Fulbari resort for its cement brands.

SAGARMATHA CEMENTS had its Dealer’s Meet 2016 hosted in Fulbari resort on Shrawan 21 &22 where 350 dealers and distributors graced the event. It is one of the company which produces both clinker and cements. The main motive of hosting the event was for standardizing their relations with their dealers and distributors. 33 dealers and distributors among the invited guest were awarded with token of appreciation which was categorized into 3 categories i.e.

Best payment, Best Seller and Outstanding seller. The event was conducted for 2 consecutive days where the first half of the

event on day one was accompanied by the live performance of Nima Rumba along with Dohori and was facilitated with cocktail dinner.

The 2nd day was segmented into site seeing where the invited Dealers and Distributors were taken for site seeing. The event was engrossed with games like tug of war, Ring toss, Fishing rod and Followed by live music.

The event was further glorified with live music by the local artist and the highlight of the event had been the Fire Juggler who was invited from Spain specially for the event.

BISHWOKARMA CEMENTS had its Dealer’s Meet on Shrawan 24 & 25 which was its first Dealer’s Meet which was graced by more than 440 dealers and distributors from all over Nepal. It offered awards to 96 companies where token of appreciation were given to dealers along with 50gm silver bar and 15 distributors were awarded with token of appreciation. The event was categorized into two halves where the 1st day of the event had the stand up comedy from Jitu Nepal who is an outstanding comedian of Nepal. It was accompanied by the live band performance by the local artist along with the cocktail dinner where the 1st day came at its end.

The 2nd day of the event was organized with site seeing in the morning facilitated with games and Fire Juggler from Spain which was the highlight of the event. Both the days were hosted by Ms. Subhechhya Khadka former Miss Nepal of the country. n

THE ART DISCUSSION SERIES AT MARTIN CHAUTARI The Nepalese art has a great history indulged within itself. The arts and paintings done back then were related with religion and as well as the life style carried by people at that era. The history has rich art engrossed with the potential of bringing revolution to the art culture as a whole. The only flaw lies within the fact that we don’t have any evidences of the art as they are not registered or to be found in any Historical Books, Journals and Documentaries. Although the traditional arts with a hint of religion has been in high demand right now but there never had been any discussion regarding the process of creating those paintings. Paintings were known but the struggle of the artist had never been explored before which has been taken as a challenge by a community known as ‘Martin Chautari’.

Martin Chautari is a Non- Profit organization which is more involved in the Social Studies

which could be related with History or Art which involves the development of Nepalese society. Martin Chautari has been conducting series of art discussion to promote Traditional art prevailing in the history of Nepalese society through the stories deliberated by the artist themselves.

Such initiations had never took place before where the artists were invited to vent out their sufferings and to iterate about the possibilities for the development of the

traditional form of art.These series have been innovative and useful as the artists are able to inspire people with their life events along with the different roles changing factors being active in the society. These series of discussions was started with an objective of archiving the Art, Audio, and the Books thus published which could be used as resource for the future use. Martin Chautari has a small library which is also opened for public visitors. It has been NOVEMBER 2016 SPACES / 13

archiving traditional form of paintings like Pauwa paintings. The series was hosted under the supervision of Mr. Sunil Shakya who is actively involved in promoting the traditional form of art and effort behind the creation. The 1st art discussion series was started in 7th June, 2016, the second followed on 5th July, 2016 and the 3rd was hosted on 2nd August, 2016 where Udaya Charan Shrestha spoke about Life and Work, Surya Bahadur Chitrakar expressed himself through Life and Karma, Muktisingh Thapa talked about Life and Glory. These discussions were conducted on every 1st week on Tuesday of the respective month.

These events were hosted to any art lover who wanted to be the part of the discussion.

They believed that this series would be the beginning for a revolution through art itself and the series is to be continued followed by other artist to speak forward on upcoming days as well.

The three artists so far have spoken about their journey being a popular artist having their paintings showcased in museums, exhibitions and even bought by public appreciating the art has been a motivational factor for the artists to continue further.

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Despite of the received glory their journey hadn’t been easy at the beginning as the art was more like fantasy or glory back than which had presumed evaluation of being appreciated or bought by only high class individuals but now it has been getting a lot of positive response as people want to preserve that raw form of traditional art which has been the affective factor for the success of these series. Artists are asked to speak about their devotion and imagination leading towards the completion of paintings.

Artists had said that media has also been a factor for their success as they have been involved thoroughly for making the awareness of these forms of art in the people for decades. The realization for preserving the art with a hint of religion in it has led for this discussion series which helps in showing a road to carry forward the art. The involvement of youths in these forms of art could preserve it from extinction is believed by the artists. In this series of discussion most of the artists have talked about the recognition which their paintings received but unfortunately they were left unrecognized as only few of the people involved in the same field recognized them. They are in verge of need for recognition through their work

which had been the objective of these series for letting people know about the struggle and the contribution of the artist in the industry with a touch of inspiration which they could probably pour into young generations and the awareness about the creation of traditional art with the touch of modernism has been the DNA of this sessions. n

IMAGES THROUGH TIME II Images Through Time II is Shyam Lal Shrestha's solo oil on canvas exhibition at the Siddhartha Art Gallery, after a hiatus of sixteen years. The exhibition was inaugurated by the Brazilian Ambassador to Nepal, H.E. Ms. Maria Teresa Mesquita Pessoa on 11th September, 2016.

Shrestha says "Art comes from within the core of the hearts. A painter must not limit his imagination by painting only a certain genre. He must show versatility on his canvas in order to appeal to the public eye and to explore his capabilities further."

Around 19 of his artworks were put up for display for the month long exhibition. His works mainly narrates the Newar way of life, pay homage to women, depict the Hindu/Buddhist scriptures and portray the universal emotion of love. His favorite artworks from his own collection include "Radha and Krishna" and "Mira and Veena". He tries to portray life in all forms and continues to explore further experimentations with his chosen imageries.

Shyam Lal Shrestha's artworks were first put up for solo display in B.S. 2032. Since then he has participated in many solo exhibitions in countries

like France, Turkey, Korea, England and the United States and various group exhibitions in Moscow, Dhaka, Japan and India. He is the recipient of many awards and recognitions including the Late Shri Ramananda Joshi Award for Outstanding Contribution in Water Color.

Shyam Lal Shrestha's transformation from a water color landscapist to a noted modern artist with his own creative idioms has remained commendable. He hopes to reach out to as many people as he can through his paintings reflecting on the cultural richness of our country. The exhibition is scheduled to wrap up on 9th October, 2016. n

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ARANCIA KUCHEN LAUNCHED On 23rd September, 2016 Arancia Kitchen and Furniture Pvt. Ltd. Launched three new complete ranges of modular customized kitchens and kitchenette brands including kitchen appliances: Arancia Kuchen, Evershine Baskets, Franke and Faber in Nepal. The launching ceremony was hosted at Soaltee Crowne Plaza. The event was engrossed by approximately 300 guests including renowned architects, contractors, engineers, interior designers, personnel from related enterprises. Moreover, Kitchen modules and appliances were placed on display for the audience in the ceremony.

Arancia, Franke and Faber are world renowned provider of products and solutions for residential kitchens, professional food services and coffee preparation.

These companies are the world’s leading

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providers of intelligent systems for domestic and commercial kitchens, trusted by more users in kitchen worldwide than any other manufacturers. The company also opened its first showroom at Kalanki, Kathmandu. n

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FINNISH DESIGN EVENING Finnish Design Evening was hosted by Finland embassy on 28th September 2016 where the well known Finnish architect Pekka Helin presented some of the works of Helin and Co Architects. Their major works are Urban planning, interior, industrial and graphic and visual designing. they

ANNOUNCEMENT FOR FURNEX EXPO 2016 AND IDC 2016 Nepal Furniture and Furnishing association and Shaan Furniture together has brought Furnex Nepal 2016 after the success of Furnex 2012-2016 which will be hosted in Bhrikuti mandap from Mangshir 17 onwards till Mangshir 21, 2073. Furnex Nepal- 2016 is being sponsored by Yeti flooring and the event will be managed by DRCS Event Management. IDC 2016 has also been announced which is a competition among students based on interior designing which had been successful last time. Furnex Expo- 2016 will have 17 small stalls and 46 large stalls which will be displaying office and home based Furniture’s and Furnishing appliances, Astrology suggestions and Home Appliances. n

have been awarded many times for their achievements and are supposed to be awarded to bring their expertise and knowledge to develop future Nepal. They are famous for their works as well as they have been highly involved for their contributions in Asian countries for their development projects. n

architecture

Elantas Beck India Ltd FUNCTIONALITY OF ENERGY EFFICIENT GREEN OFFICE BUILDING TEXT & Photo: J.K. India

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architecture

MATERIAL OF CONSTRUCTION DETAILS: FORM FINISHED CONCRETE: Discarding the finishes by using carefully designed and poured form finished concrete. This will eliminate the need for additional finishing materials, thus saving on embodied energy. Also the concrete walls on the east and west sides have a ventilated cavity with Aerated concrete block walls inside, keeping the interiors cool. Due to the stack effect in the ventilated cavity, the heat transfer created by concrete surfaces has been used to advantage.

WALL: All internal walls built from recycled fly ash bricks, thus reducing the carbon footprint GLASS: Glass has been used extensively on the North and South facades to gain enough light to create a vibrant work environment. Extreme care has been taken to create shading devices and adjustable louvers to eliminate heat transfer inside the building. These shading devices are also a very important visual articulation, reinforcing the minimal Architectural Character of the building.

LANDSCAPED TERRACES: The terraces between the buildings are heavily landscaped to form a tropical lush spectacle to work spaces. This has been used as a material in this building to add to the energy efficiency of the design.

WOOD: Wooden slats have been used on the South facade to create adjustable louvers to gain diffused light inside and reduce load on HVAC systems during summers.

DESCRIPTION OF PROJECT: The client 'Elantas Beck India Ltd' are part of the Manufacturing group 'Altana' which is a German conglomerate. EBIL floated an invited competition of Architects to design their upcoming corporate headquarters in Pimpri near Pune, which we won, and eventually got commissioned to design the same. Their brief, besides the functionality of an office building, was to design an energy efficient building.

They were going with the current trend of 'Green Buildings' and were expecting Architects to provide solutions which would fit into their international vision.

Making a 'Green' or Energy efficient building, challenges us in two different ways. One is to identify viable technologies to make it as sustainable as possible, and second, more importantly is to address Architecturally, these issues, in the design of the structure....an Architectural sensitivity where Architects and designers can contribute. Technologies can be identified and integrated in an already efficient design to add value and increase the efficiency, but a genuine contribution by design is what makes the architects work invaluable.

The design, as a result, was an architectural expression of the function and the energy efficiency.

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architecture

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architecture

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SPECIAL FEATURES: The building was divided functionally into two parts. Both the parts were roughly oriented East West, with longer faces exposed on the North and South sides. The East and West sides were left with very small or no openings, so as to block the horizontal sun in the morning and evening.

The south face was shaded by sun shading devices and further with operable louvers.

All the light necessary for office working is derived from the North and South faces which completely open out and can, in summers derive only diffused light.

The wedge shaped space between the

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two buildings, has been conceptualized as a valley between two rock outcrops. A hillock teeming with life and greenery. This was also to add moisture to the spaces and create a micro climate and reduce the ambient temperature in the building. The wedge shape of this space, narrower on the West/ South West windward side and opening out on the eastern side creates 'Ventury ' effect and the breeze generated takes with it the heat on the inside surfaces of the office blocks.

The elevator was planned to be taken away from the work space so as to discourage

architecture

SOUTH FACE SHADED FROM THE HIGH SUMMER SUN

CROSS VENTILATION THROUGH OFFICE BLOCKS ALSO FACILITATED BY THE VENTURY EFFECT AND MOISTURE CREATED

BY SOFTSCAPES SUBSTANTIALLY DECREASE TEMPERATURES IN THE ENCLOSED SPACES, THUS REDUCING THE LOAD ON THE HVAC SYSTEMS.

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architecture

users to access for vertical circulation.

Instead the beautiful, lush Hillock was created to act as a effortless walk up or down, creating an experience which is very personal and rich.

spaces have a vibrant and simultaneously a very meditative emotion.

Character of the building is international, but at the same time it is rooted in its place and culture.

Also this central space was interspersed with common activities like the Gymnasium and the meeting room, to create a dynamic space instead of a mere visual spectacle.

This space opens out into a large reflecting pool which in turn reflects the coconut plantation on the East.

The building and the interiors have been designed such that all work spaces in the building can be naturally ventilated in months when the need for HVAC is not required.

The reflecting pool collects storm water from the roof and the overflow runs into tube wells driven to recharge ground water.

There are two more tube wells on the West side which collect the remaining storm water from the building.

The visual appeal of the buildings is minimalistic expressing its deeper self without any cosmetics and frills. The

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The site, which is approximately 8000 sqM was isolated from the manufacturing facility owned by EBIL. The site had a lot of fully grown tree cover. Access to the site was from the main entrance, almost 700M from the plot. This road too was dotted with trees. The design of the building happens in between these existing trees.

We managed to build without damaging the trees, at times even making local changes to accommodate them. We also designed a winding road leading to the building using

the spaces left between trees for parking or greenery. There was a thick coconut plantation on the east side which was used as a vista opening out beyond the reflecting pool. Some old adjoining filtration plants were integrated into the site and used as water storage, both for the building use and also for fire. The paving required for parking and vehicles was done with paving blocks with grit underneath to facilitate percolation of water into the ground. Since the strata was rocky, the excavated stone and metal was used for soling and backfill in the plinth and under the paving. The excavated top soil was separated and used for the landscaping.

The structure is basically a RCC frame construction. The east and west exposed concrete walls i are 150 mm thk and are folded frequently to keep the thickness to minimum. These walls also form the supporting structure on the east and west facades. n

e: arancia.nepal@gmail.com w: www.aranciakuchen.com.np

Kalanki, Kathmandu-13, Contact Number: 01-4274803/9801201678, Email: arancia.nepal@gmail.com

architecture

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architecture

Dhakhwa House

conserving heritage TEXT: Shweta Shakya Photo: Dhakhwa house

Traditional buildings have always fascinated me. It makes me wonder about the people and their culture.

There’s a house more than a built up structure as it carries historical, cultural and emotional values.

Their lifestyles define their spaces.The traditional Newari house gives us a sense of uniformity and depicts a communal life. Over the years with the advancement of technology and changes in lifestyles new architectural styles have evolved with traditional houses being dismantled and replaced with concrete boxes. People clamor for buildings with modern amenities abandoning and dismantling their old traditional houses not realizing that their identity are being air brushed.

However many traditional buildings are being conserved these days through adaptive reuse of such building which means reusing an old building for a purpose other than which it was initially built for. The old Malla palace turned into Patan Museum is a very good example of adaptive reuse. It gives a liberty to replace certain materials. Rehabilitation gives more emphasis to the repair of historical materials. In this process more latitude is provided for replacement because it assumes the property is more deteriorated to work.

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A quintessence of adaptive reuse and rehabilitation is the Dhakhwa house in Patan which has proved that one may not have to be deprived of modern amenities within a traditional house. Led by a narrow alley in Nakabahil to a communal courtyard, nearly 10 decade old Dhakhwa house stands tall covering 850 sq ft( 600 sq ft plinth area+ 250 sq ft private courtyard).

The project started in 2012 with the combined effort of the owner of the house Mr. Prakash Dhakhwa and Ar. Jitendra

Shrestha well known for his renovation projects. The proposal was to design a series of self-sufficient apartments and suites that can be leased for short or long term occupants. This project has protected the identity of the indigenous architecture and can take a good initiative towards quality tourism as such that other traditional home owners would also get a boost to conserve their traditional buildings subsequently contributing to the conservation of the historic city of Patan.

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Mr. Dhakhwa was humble enough to show me around and treated me like a guest.

The entry faรงade was no different than other Newari house. The five feet high door necessitates to bowing down entering the house as a gesture of respect. The hot weather had really got the best out of me and as I found an oasis.

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The Dhakhwa House has been continually promoting the intangible heritage as well which is equally important as the tangible heritage Traditional Newari feast is catered by the Dhakhwa House for many occasions as Mr. Dhakhwa’s mother trains the people to make local alcohol(aila) and Mrs. Pramila Dhakhwa cooks the most savory Newari.

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balconies and ceilings. Kitchen counters and shelves were customized and made utilizing the same.

definitely seized the attention. There were red painted metal rods supporting the staircase and the whole load bearing structure as a whole. The building seemed well integrated. Though they are not the authentic traditional materials, they aided in giving a wider sense of space.

The ground had been used for workshops, for display and for storage just like the old times. I stepped into the personal courtyard and felt like I was teleported to a new epoch of architecture.

The metal rod reinforcements were an intervention to replace the old and familiar material, timber.The open rise staircase

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The first floor was accommodated by the owner Mr Prakash Dhakhwa. He told me that the house was in need of concern as it was in the verge of losing its ethnic significance. Like many, he too longed for a modern home with sufficient light and amenities and had left it to stay elsewhere.

Later, a brilliant idea struck him–the building had to renovate without letting the essence to be lost. Mr. Dhakhwa recalls his days where his neighbors tried to derogate his effort to renovate the dilapidated house.

He smiles triumphantly and says “ Now everybody wants to build a house like this�.

Beyond the eccentric red metal railings were the small but meticulously planned rooms. What stole my attention was the antique wooden glass top table in the living cum dining room. I asked him where did he get that from, he said it was decades old window retained from the house transformed into an antique table a very good example of sustainability. The materials like bricks, wooden battens from staircases and wooden joists were retained while reconstruction and used again in the

Sustainability was echoing from every corner and the effort was extremely commendable.The second floor were ensuite bedrooms with kitchenettes for the guests.The third and fourth floors had to be completely dismantled due to structural weakness and restored using metal joists with necessary water proofing hat was not used in the original structure and laid on precast concrete. The third floor had the authentic wooden joists on the ceilings only for aesthetics but the fourth floor had metal joists placed very near to each other which seemed like a direct representation of the wooden joists but seemed unnecessary in terms of stability.

The top floor had a small terrace farm filled with aroma of rosemary and mints. It also had a resting space which would act as a stage for occasional programs for guests.

Glass wools have been used in the ceilings for insulation.

The success of the Dhakhwa house cannot be credited just to the wonderful architecture but also because of the hospitality and the joint effort of the entire family. It has given the tourists an opportunity to experience a lifestyle in a traditional house. Mr. Dhakhwa assures that buildings like these can be constructed in limited budget as well. He feels proud to live in his inheritance and at the same has become a source of income. Should the people would just start conserving their own heritages then the city could recover its lost pride and beauty. When we talk about sustainability, green is all that comes in our minds but passing your heritage and knowledge to the posterity is also sustainability and the Dhakhwa house has set a whole new milestone. Mr. Dhakhwa has done his part on saving the heritage and also given an incentive to his children. n

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Struts

in Nepalese architecture TEXT & Photo: Sukrasagar

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The real pronunciation of a strut in Newari is twaanaasin meaning the tibia made of wood. Twaanaa means tibia and sin is the Newari word for timber. The whole weight of a man's body is carried by a twaanaa, the tibia a thin member of the long extremity in lower part of the human body.

Likewise the primary function of a strut (twaanaasin) is to support the heavy weight of the flaring canted roof of the Nepalese structures and keep the structure stable then transmit the weight coming down from up to the spinal wall finally to the gravity in order to keep the temple standing and make that stable even during the earthquakes.

Normally there are two types of struts –the wall struts(twaanaasin) and the corner struts(kunsala).

The corner struts are called in Newari as Kunsala meaning a horse in the corner. The function of corner struts is to keep the roof stretched and balanced.

Since the corner struts have to carry more loads

coming from two roofs, the size of them would be bigger and sturdy thus keeping the corner of the temples adjoining with two ends of the roofs.

Usually the corner struts would be longer than other struts. Heraldic lions and griffons powerful creatures employed not only as functional supports of the heavy roof corners but also as spiritual defenders of the temples. Usually there would be four spiritual animals carved on these struts comprised of Sinha(lion), Sardula(griffons), Ajarukula(goat headed demon) and Maahaanaaga(serpent headed, actually an aquatic demon) In traditional Nepali architecture, a strut is invariably canted at an angle of nearly 40 to 60 degrees. Since it has to support the projecting eaves of the buildingsthe lower end of a strut rests on a piece of wood known as laakaansinthat is fixed above the string course of bricks while the upper end bites the strut-rail(chalu).

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bites the strut-rail (chalu). It also gives the chance of swinging the parts of the structure saving from falling down immediately due to the pull-and- push force should there be an earthquake. This gives the chance of maximum warping effect on the structures and saves the structure from falling.

walk of life prevalent in the society. This part is filled with do and do not's to business life and story heard in the contemporary society including hearsays that stabilize the social life in the country. So to say the struts are the real picture of our ancient society.

Besides the structural function a strut is the place of ornamentation of the temple structure also, and therefore a place to exhibit the merits of the builders. Due to its slanting position this is the best place for the carver to show his skill therefore daringly chiseled out completely in an effort to free limbs and ornaments. This is also a most conspicuous part of a temple that can arrest the pilgrim's gaze immediately on his/her arrival because of slanting position. Therefore central portion of it is carved with different gods and goddesses. Gods and goddesses play the spiritual part of human life. Then the pedestal portions are used for exhibiting the social life structures including every

Philosophically, a strut could be divided mainly into three parts.

The top one often with foliation is attributed to the infinite universe. The middle portion is the main part of the gods and goddesses belonging to the realm of heaven where the divine beings live therefore portrayed likewise. The pedestal part is dedicated to the mortal world carved with all sort of social life. In olden days the main portion was occupied bytree spirits carved in the form of elegant female figures often called shalabhanjikawiththeir legs crossed, grasping the branch of a tree with abundant foliage and fruits. Those figures are shown standing often on squat figures like ascetics, musicians,

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child like figures with Herculean strength(Yakshya in Sanskrit and Khyaa in Newari) and sometimes an amatory couple as well. All are shown demonstrating the blessing of creation and procreation.

The struts are the place for exhibiting all sorts of expressions. The figures to depict on them are selected therefore from most strong, most beautiful, most interesting and most intricate way of combining strength, velour, charm and beauty.

Therefore to chronolize the evolution of patterns in the struts will not

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be out of context. The oldest struts that have been dated with absolute dating method of Carbon'14 from nine and ten centuries to twelve and thirteen centuries are the oldest ones. That time the portrayals were of simple type though erotic for example the struts of Ukubahal, Tyagahsatah and Indresvaratemple of Panauti are specimen in which only slight touch of eroticism is touched. We can simply term them as amatory couple. Once the time passed on the indulging became more active, velour and lustful. When it comes to seventeenth to nineteenth centuries it became real lustful and licentious. Even the Buddhist temples of Lokanath temple of Chobhar and Bungadya of Tabahaa in Patan started getting the place for eroticism in their struts. The bestiality started getting place in the struts. During the time of Pratap Singh every aspect of eroticism became the essentials of the struts. A detail visit to the struts of Basantapur Durbar is an enlightening one in this licentious subject if one likes.

The earliest extant struts are from Indresvara temple of Panauti, Ukubahaa , Tyaagahtwaa satah, and Bhelaachhenchapaah ofPatan and Yetkhaabahaa all date back from nine to twelve centuries.

Other many struts fixed in many structures that could not be scientifically dated yet but certainly old are scattered all around the Kathmandu valley.

One of the most mind arresting themes in Nepalesewood carving that shouldnot be forgotten is erotic depictions. Like on stones in Khajuraho of India, timber in Nepal takes the place for this subject. Usually people from the west are shocked to see those erotic carvings in the sacred temples. Therefore any one seeing them is bound tothink its explicit display in temples. If one asks the society who belongs to them simply answer it was there just to ward off the possible striking of thunder and lightning. But this is too much a simple answer. If so why are the most coital icons

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worshipped in theesoteric rooms by both Hindus and Buddhists in Kathmandu valley.

Therefore we should think of its explicit use from many aspects, the one, being education point of view that keeps the creation and procreation continued. It has therefore too much philosophical meaning and it is simple way ofgiving sexual education indirectly to our futuregenerations. In no society a man or woman can teach directly to their children this act of procreation. Therefore such expositions were thought of by our ancestors in an indirect way. Virtually speaking the writer has collected more than 40 subjects depicted in the struts inclusive of all activities seen in the society from bestiality, masturbation, and group sex, forced sex to exposure of private parts, peeping Toms, animal sex and acrobatic sex. So it can be said that the subject chosen for the depiction on the

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pedestal part of a strut is freely given to the choice of a carver. There was no prescription that was to be followed for this matter and there were no iconological cannon for this subject as well.He chose the subject what he felt appropriate or depended on what he heard in the society. Therefore all sorts of the human activities negative and positive are found carved in the struts. The examples are numerous to count. However we see in carvings, the carvers used to collect the themes and stories from what he heard in the contemporary society and events from the street markets to grabbing chance, from social work to judicial punishments.

Conclusively, we can say the pedestal depictions in the struts of the Nepalese structures are the visual pictures of our ancient society. n

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Dream Home Building your

TEXT: Pramila Rai Photo: A. Rajbansh

Sudhan KC’s new apartment is getting him great compliments.

The apartment has been set up in minimalistic style with KC sticking to the bare essentials in his new home. He has made use of colorful furniture and furnishings to offset the pristine white of the walls. Visitors can expect a sophisticated home with contemporary dĂŠcor and a comfortable vibe at the same time.

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So how did KC manage to build such a modern home when the nationwide design/décor mantra has chiefly been ‘the more, the merrier’?

Most of us grew up in houses where decorations meant cramping our spaces with as much furniture and bric-a-brac as possible. Things our parents decided were beautiful and deserving of a place at home.

And like many other things, we have perhaps inherited our parents’ tastes for interior design and décor too. Till today many of us inhabit houses which are comfortable but also a remainder of the way our parents decorated.

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But as an increasing number of young people go abroad to study and work, they’re acquiring different tastes including the way they want their homes to look and feel. They’ve discovered there are various ways they can plan their homes to suit their personal tastesa raw and rustic look, a bohemian home, a sleek and modern design, or a home with a shabby but chic vibe.

The increase in standards of living of the young generation is also one of the major reasons why home interior decoration has come to receive such attention. Many urban Nepalis are carving a better life with an increase in their disposable income that allows them to pay attention to their desire when it comes to acquiring a home of their dreams.

However, this is easier said than done and breaking away from the old standard of interior design is not easy. There seems a dearth of services catering to needs of clients who want something new and different from the norm in the market and those who try to achieve their ideal home have to go through the difficulty of translating their ideas to workers who most likely have never done anything like that before.

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Indeed, KC was one of those having difficulties finding the right people to transform his dreams to reality. He had a clear vision about the kind of home he wanted to come back to after a long hard day at the office. He wanted not just a comfortable place to relax in but intended for his home to be aesthetically pleasing as well.

The right kind of interiors can totally lighten up the available space inside a house. With the correct tools, a small space can appear bigger and a large home can avoid looking cold and uninviting. Every detail matters when we’re creating a home for ourselves and our family. The colors, the placement of the windows, and the right kind of furniture all make a difference ultimately.

Our home is a reflection of our tastes and ideals. It’s a smart move to invest wisely in a house that will be our home and haven in the years to come.

KC did have his share of difficulties and challenges on the way to his dream home.

“Workers are used to doing things a certain way. So when I told them about my plan of having a raw/unfinished looking ceiling or about keeping the wood unpolished and rustic, they found these ideas hard to grasp and would question me. So you need to be there to guide them,” he says.

Nepalis have always tended to focus more on the exterior than the interior of homes, he points out. “Apartments are normally delivered unfurnished to clients so that they can do up their homes as they please. I believe that restricts the homeowners when it comes to décor because they now have to look for furniture that fits the existing space,” he says.

As a smart young homeowner, he did away with that problem by involving himself right at the beginning of the project. He had a clear vision and he put his ideas forward to the building team working with them to design the space he actually wanted to live in and not the typical setup of the apartment. So instead of the original three bedroom apartment, his was built as a two bedroom place with an open area and high ceilings.

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“Young people who’ve traveled and seen beautiful interiors want something similar for themselves, something more than what is currently being done here. But it’s very difficult as there is no coordination between construction, interiors, and furniture in Nepal.

There’s no proper channel to help them realize their dream home even if they are willing to spend. Ideas are still very basic in Nepal,” he explains ruefully.

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“I liked the open concept so, apart from the two bedrooms, we have an open design. I didn’t want false ceilings as they cramp the space so we have more wood panels and very less false ceilings. I was sure that I wanted a minimal look and design. So I don’t have a lot of furniture of clutter at my place,” he says.

The proud homeowner points out that even those who have nurtured good ideas for a long time struggle because of the huge gap between planning and execution. There are people who want modern looking houses or homes that have a certain vibe but they usually have to compromise. Either there’s no professional skilled enough to implement the client’s ideas or there’s the lack of materials needed to build the dream.

This lack of service and ideas force many homeowners to settle for less. And while there is a big need for companies that offer contemporary services in the country, there are a few businesses that help customers bridge the gap between dreams and reality.

Fortunately for KC, he discovered the services provided by Index Furniture Nepal which helped him accomplish his vision. He found that Index not only has a wide range of contemporary furniture but also offers a customized 3D designing software service for their customers.

The software called 3D Rooms-to-Show allows customers to see what their chosen furniture would look like in the space/style of their homes.

While the software makes the work easier, it still requires planning and effort on the part of clients. Customers can use this software during the planning stage so that it complements the carpentry work they want done around the house during the building phase.

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While building the home of our dreams, KC suggests prospective homeowners to do a thorough research instead of leaving everything to the interior designer or leaving things for the last minute. From the architecture to the color combinations and furniture, it is important to know one’s tastes and work on building a home they would be proud to live and socialize in. Instead of doing things haphazardly and at the last minute, it is possible now to experiment with contemporary designs and décor.

He says, “Their furniture was ideal for the kind of décor I had in mind.

I got all my furniture from the company and also used their 3D designing software service to see how my ideas for the apartment would actually look. It helped me see how the furniture I had chosen would look in the intended layout of my apartment and to compare color combinations between the furniture and the walls.”

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Budget is a major factor when it comes to creating a lovely home. Hence, timely research and planning is an advantage. Take the time to shop wisely, invest valuable time when making a purchase so that it’s a perfect fit for your new home.

Sharing his observation, KC says, “We’re used to buying our furniture at the last minute and pushing it in the existing interior. The result is not always appealing.

With the availability of great looking furniture in the market, it’s become convenient to focus on the interior and plan how we want our homes to look.”

At the end of the day when he heads home, there is a soothing welcome waiting for him. His home balances comfort and chic well which is the perfect respite from hectic work days.

“People are pleasantly surprised when they see my place. A frequent remark I get is ‘Is it possible to build something like this in Nepal!’ And I tell them it’s absolutely possible if you take the right kind of help available,” KC concludes. n

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BFA Exhibition Project 2016 Exploration of Nouveau ideas

TEXT & Photos : Sagar Manandhar

As we walk through the passage and galleries of Nepal Art Council, the sense of ideas and design concepts hover around us. New exploration and culmination of thoughts and the interactive relations of the artistic language are weaved in BFA (Bachelor in Fine Arts) Exhibition projects 2016. New horizon of the creative concepts can be experienced. Expressions in the contemporary art scenario is described in a new way where the viewers can move on with nouveau dimension of expressive forms.

BFA Exhibition project 2016 includes the collective creative works by graduating BFA students majoring in Studio Art, and in

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Graphic Communication from Kathmandu University, School of Arts, Center for Art and Design. Students’ individual projects and their process of their hard work capabilities in their final semester are displayed.

The concepts and the final works are presented in the forms of product design, book illustration, jewelry design, paintings, installations, relational aesthetics, video art and video installation.

Various thoughts and its perception of the visual language are conveyed in different artistic forms. A journey by the graduating batch and their culmination of thought process are illuminated in this exhibition project. Somehow a sense of changing art

scenario in contemporary world can be established. The content and the process of the whole work itself make a good language to move forward and achieve best in varied pictorial thoughts. Displacement of traditional world and traditional pottery with the modern approach is cleverly shown in the installation of pots by Shyam Prajapati. Engraved modern brands such United, Coca cola, etc and its gestures can be demonstrate on the individual pots that he made himself. Concentrating on the pots and other earthenware utensils as metaphor he tracked us to think how the world is changing and sense of displacement is going on. Shyam is traditionally from the potter’s background and it is obvious that his work is more familiar to him but his concept to compare the traditional and contemporary thinking is interesting to look forward and makes us think about our losing identity. Persistence of Amrit Karki can be revealed through the painterly language where self is the concert form. He paints the selected elements that comes from his own emotive vibes. Self-identity and its exploration is glorified by his in depth detail works. Bharat Rai’s Pissing Zone reacts to the scenario of the political situation in valley. The statement and the slogan written on the wall and the fractured layers seen within the wall is beautifully depicted.

Through the paintings, he intended to express the opinions of the people irritated, upset and disgraced. Opposite opinion of his thoughts is perceived by the different

pissing position of dogs in the paintings.

The nostalgic memories and its expressive thoughts are illuminated in the works of Bibek Thapa. Homes away from Home is series of carpets where his childhood harmonies and experiences are captured.

Subtle culmination of the colors and layers of color makes us swim deep inward the works. New description of his exploration can be discovered in the new medium that he worked on. Bibek’s approach is simple but effective use of medium is interesting in his approach. Human desire and seduction is what Hisila Maharjan explored in. Her painting is not only the acrylic on canvas but she weaved two canvases together where the two emotions and ideas are interlocked to create new meaning. The admiration of women’s body is achieved in her works. Monochromatic palette exploit the desired root of emotions that she wanted. “The mysteries of subjects are just a part of a larger mystery” that is what Kunjan Tamang’s work is all about. Known or unknown individuals where the mysteries are created in his main idea to work on.

Dark room with small triangle canvases where different mysterious eyes gazing at us and the popping of the images makes us realize to dug deep into the history. Theme

of illusion and ambience is created in his work. Manju Sunuwar brings up his memory and attachment towards her friends is glorified by painting the portraits. Facial expression and its emotions are established and illustrated within her work. She feels that we are like a book that contains our life story and our face as a book cover. Negative happenings and deeds are what Minod Bhaila ‘s work speaks about. Everybody is after money, money is everything that

what the society of today is all about. His works are composed in the thousand, five hundred and hundred Nepalese currency where he twisted the appearance. The wide range of his personal thoughts and his personal provocation are doodled. Minute details with subtle color approach makes us search a story in his works. Meaning of life and death its explanation is given by Parish Shakya in his video installation. The life of plant is metaphorically presented

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to relate the live of every creature’s life.

Videos shown is two different opposite walls expressed the journey of the plant. Some point the video is reverse recollecting the past and that curiosity is what he want to show. Simple but emotive notion and the sense of water, fire, earth, air and space is expressed in Rahul Thapa’s video. The video is culmination of the five elements where he tried to capture the meaning within the surrounding he lives in. Definition of the elements are perceived in his work, video captured the wind flowing, running water, warmth of fire, the space around the city and the earth where people walked through. The struggles of the street vendors waiting for their customer in the busy street of Kathmandu can be analyzed in the photographs of Sameer Tamrakar. The emotions of street vendor patiently waiting and their calmness with their expression is established in his photographs. The composition of the photographs are set with the multiple exposure which creates his unique abilities to set apart from other works of photography. The rushed and hurriedness is captured by Sameer in this project.

Passion for the music and self-expressive content can be illustrated in the interactive installation of Santosh Jarga Magar’s work.

Synchronization of the plastered sculpture in the forms of clapping hand the installed speaker within the hand make the whole space a studio of music. It is not just an installation but an interactive one. As a viewer goes closer to the installed sculpture,

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the sound of clap vibrates the environment.

Saroj Maharjan’s work illuminates the life and the tradition. Traditional stylistic approach and minute details in the motif evokes us to concentrate in his work. His composition is approached with self-portrait to depict the power of a common people and importance of the people around. He also talked about the social hierarchy which his own individual effort. Blending of imaginative ideas and the realistic world of today is explored on the works of Sushank Kalapremi Shreshta. His works are not just the different language of pictorial forms he talked about but the highly imaginative format that he stepped on. The work is weaved with a combination of photographs of the city and the illustration of a sci- fi fantasy based fictional character. Paintings are painted on a printed canvases of the cities of Kathmandu Valley. He successfully blends his fantastic outer world character in the work. He aims to encourage people to revisit their own world of fantasy. Sense of intuition can be felt in the work of Utsab Maharjan’s wood installation. Institutive compositional aspects and expression through the medium stacking the materials allowed him to explore in his thoughts. Ximi Wang’s work displayed with of motifs of Marilyn Monroe’s death scenes. Dark and somber exuberance in her color approach and her command in oil technique made the work more powerful and vibrant. Yajyu Manadhar video installation glorify the exploration of peoples life and the metaphysical and interpretations of the world. Dark room and a peek hole to observe the video make the viewer involved more into the work.

Nepal and the thing found in the country are included in her book with a very joyful manner. Lively color combination and cute character designs tends to attract more to observe the work. Kshitij Maharjan aims to promote local product and resources.

The forms of the lamp are inspired by the temples and its architectural values. The use of bamboo, wood brass and metal in his final product is lavishly presented. Luniva Shakya’s jewelry design showcased the inspiration from ‘Tayo Mala’ a traditional newari jewelry. The jewelry is simple and in contemporary geometric shapes. Nouveau concept in design in achieved in her work.

the design and products. Anup Shankhadev worked on a desk accessory for space management. It is a solution of a problem where tiny space can be utilized for the desk accessory. Idea from the jigsaw puzzle to create new design vibes is worth to visualize. Anushri Lama’s Pop Up book illustration is fun and dazzling. The information and images of different part of

Enthusiasm can be seen on all the graduating students, and the hard working capabilities are achieved but this is only the procedure to open a platform for their future professional artistic career in the field of art. This is not the end but beginning for a new horizon and level of thinking in the contemporary art scenario. Demonstration of these strength and moving ahead with more ideas will make them stand in the contemporary stage. n

Different ambience is created in the space of Grahic Communication Section where the four students explored their ideas on

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POWER Colors FOR A PERFECT Workspace TEXT : Ar. Kritika Rana

W

assily Kandinsky, an influential Russian painter and art theorist once said, “Color is a power which directly influences the soul.” The subliminal and instinctive effect of colors on our body, mind and emotions have been known to man from time immemorial.

Especially in an office, the power of colors can be harnessed unceasingly to completely transform the work environment.

In an office space, there can be countless possibilities of using the color psychology to leave a positive impact on the visitors, clients and most importantly- the employees. Colors can be used as a stimulus to establish a distinctive image. With the use of accurate

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colors, a positive narrative can be projected to the outside world right from the entrance.

As for the employees, the permanent inhabitants of the space, colors can give a push in the right direction. Colors can also be accounted for our overall well-being, as working in a room with inspirational hues can make us feel and perform better. Moreover, it is believed that a vivacious assortment of stimulating colors in a workspace can boost our output and spark creativity at the same time. Offices today reap the power of colors to design a perfect workspace that maximizes the employees’ potential ultimately leading to the path of success.

CHANGING THE PERCEPTION OF TEMPERATURE The attributes of warm and cool colors can also be used to manipulate the perception of temperature within a space. Offices can use this to their advantage by choosing color schemes that relate to the climatic conditions. Creating a warmer or cooler atmosphere psychologically with colors can consequently minimize the overall heating and cooling costs.

OFFICES THEN AND NOW Traditionally, offices were designed with the concept of depicting a sleek and sophisticated look for the clientele to build their confidence. Dense colors for a serious and tense air instantly became the classic office colors.

Strong authoritative colors such as green, grey, cream and beige teamed with dark wood walls, floor and furniture portray control and responsibility. Even today, these conservative dark shades are generously used in leading establishments to represent success.

Warm colors, such as red, orange and yellow in colder climates can cause people to believe that the office is warmer by a few degrees. Conversely, cool colors, such as blue, green and purple in a warmer climate can cause people to estimate that the temperature is cooler.

In the same office, orange slightly raises while blue drops the perception of temperature

Nowadays, with a shift in the paradigm, bold and dynamic colors such as orange and yellow are gaining popularity to create a high energy working space. On the other hand, some use soothing shades of blue and green to design a calm atmosphere to focus solely on the tasks at hand. To pick up pace, some use the combination of both which adds vivacity to a tranquil space.

Brighter colors can appear more casual and relaxed, yet they stimulate productivity in an office space like no other set of hues. Leading companies today have transformed their workspace and the company itself with these lively shades.

The more clearly we understand the basics of color psychology, the more effectively we can utilize the power of colors in a workspace.

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COLOR PSYCHOLOGY FOR A PERFECT WORKPLACE According to the 4- primary color wheel published by Ewald Hering, a German physiologist in 1878, there are four ‘psychological primaries’- namely red, yellow, green and blue. These primary colors are also entitled ‘opposing colors’ as red is opposite green and blue is opposite yellow in the color wheel. The special characteristics of opposing colors is that they can never mix to form any secondary colors. For example: red mixes with yellow and blue to form orange and violet hues respectively, yet red and green do not mix.

The two primaries yellow and blue show the same characteristics.

In color psychology, research has shown that the four psychological primaries have a salient power over us, each color affecting a different aspect. Blue affects our mind, red our body, yellow our emotions, while green maintains the ‘balance’ between our mind, body and emotions.

CHOOSING COLORS The choice of colors to paint a workspace should always be guided by the type of work performed.

Recognizing whether the work demands a motivated mind, body, emotions or balance will determine the set of colors that will work best in the scenario. Moreover, these selected colors channeled through the color psychology goes a long way in appropriately projecting the genre of work the office represents.

Blue for the Mind: Blue, the universal color of professionalism, always works in an office irrespective of the type of business.

When it comes to office space, most studies also suggest that blue is the most ‘productive’ color. As it helps in stimulating the mind, blue is believed to rapidly increase the productivity in offices centered on mind-work through the day. For example, painting an accountant’s office blue can help create a calm and stable atmosphere where one can focus solely on the tasks at hand.

Blue is widely popular among large corporate offices such as banks, airlines, lawyers and financial advisors as it denotes many attributes of successful establishment. Rational as well as authoritative, blue is the color of loyalty, strength, wisdom and trust.

Also in production areas, to minimize the effect of commotion, light shades of blue can be incorporated that gives a feeling of space as well as tranquility.

As the four psychological primaries as a whole is believed to profoundly influence our behavior, they are often used by leading companies such as Google and Microsoft.

Even more fascinating, we can achieve multiple effects of these stimuli with a combination of two or more primary colors.

For example, by combining red and yellow, orange can be achieved that stimulates both our emotions (yellow) and body (red).

Lavish use of blue to stimulate the mind in an Airline Company

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Splash of red in walls and floors to stimulate activity in an Auto Workshop

Reddish hues in office cafeterias reflect urgency for a fast service

Red for the Body: For a job that involves physical labor, red, the most intense color on the color wheel, can provide physical strength and stimulus. For example, in a carpenter’s workshop, red walls can increase the productivity by delivering a boost of energy for the physical activity. The hue stimulates our body by increasing the heart rate and blood flow which also aids in detail oriented work.

However, red is not appropriate for works that involve analytical thinking and a focused mind. As the color itself is very loud, it becomes challenging to concentrate and complete a task. Even in an institution, students are likely to get distracted and perform worse in a room with red walls.

On the other hand, a red workspace can provide a push increasing productivity for employees who work at night. The otherwise vibrant red walls will appear muted and rich in the lamp light producing a warm atmosphere to work in.

Yellow for the Emotions: Along with uplifting and energizing us, yellow, the color of joy, is believed to stimulate creativity. This shade is perfect for workspaces of imaginative professionals such as designers, artists and writers.

Yellow can get our creative juices flowing and pushing us to break new ground.

Furthermore, it stimulates our ego and spirits and makes us optimistic and confident about exploring new endeavors.

Yellow is the easiest color to see, which can sometimes cause eye strain by overstimulating the eyes. This can either annoy and irritate employees or over stimulate the emotions resulting in anxiety. Studies indicate that employees are likely to lose temper in a room with excess yellow. Therefore, the amount and intensity of this shade should be minimized to achieve the best results.

Prolific use of yellow shades to unleash creativity in a Design Firm

In order to grab attention, offices can use the penetrating and alarming trait of red to their advantage. Displaying notices, rules and achievements in a red background can urgently catch the eye.

Red can also be a great color choice in ancillary areas of the office such as corridors, cafeterias and lounges. As red reflects urgency and stimulates activity, employees tend to run back to their offices and not linger in these areas.

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COLORS CHOICE FOR DIFFERENT AREAS

Green for the Balance: Dark shades of green have always been a recurrent color choice for offices from the word go. Commonly associated with money, banking and finance, many corporate offices use dark green to signify wealth and security.

Green is the most balanced, positive and stable color found in the nature which symbolizes life, growth and vitality. Research have also shown that green retains the ‘balance’ between our mind, body and emotions. Therefore, green can prove to be extremely productive in work areas where it is essential to have a strong sense of balance.

Green works best for offices where tasks revolve around tough business decisions and reasoning on a regular basis. By generating a calm environment in a workspace, green provides the comfort and reassurance for out-of-the-box thinking.

For offices with long working hours, green walls retain the calm and efficiency of the personnel and reduces the chance of anxiety to swoop in. Moreover, green is perfect for workplaces where the employees work in front of a computer all day. The hue is believed to mitigate the strain on our eyes and prevent visual fatigue. This also works in offices that lack optimal lighting conditions.

Nutritional and pharmaceutical companies also use green- the color of nature and health to advertise healthy and natural products.

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Reception Area: For any office, the reception is the where the client first gets in touch with the company.

As the reception represents the office and the business as a whole, it is extremely important to make a great first impression. Moreover, reception areas serve as a basic introduction of what the office stands for and the type of work it undertakes. Colors can also be used to deliver this message evidently to its clientele.

Painting the walls with positive shades such as soft muted orange and peach resonates comfort.

Around this hue, clients always feel welcome even to enter a new territory. Besides, a splash of bold orange can add an element of surprise in this space to emanate creativity. Orange and peach often generates a social and talkative atmosphere which works for a reception area, but should be strictly avoided in workstations.

Furthermore, pink evokes casual and cozy feelings that might only work for reception areas.

For the entrance foyer, soft yellow, a cheerful hue, instantly brightens the area making it feel expansive as well as welcoming. For receptions that demand the clients to make decisions on the spot, such as hotels and airlines, soft blue- green shades creates a tranquil aura assisting the clients to think clearly and reach a conclusion.

Adding an element of surprise with a splash of bold orange in the reception

Green and blues in the waiting area of a clinic to calm the patients

Waiting Area: Soothing colors of the nature- blue and green are the most accepted hues among the people. These shades can be used to spread positivity in waiting areas for any workspace. As the clientele waiting for their turns are already fairly anxious, cool colors create a calm and relaxed atmosphere. These reassuring colors help loosen the nerves particularly in tense spaces such as law offices, counseling rooms and doctors’ clinics. Moreover, a touch of pink can add compassion and calm people down at the same time. Yellow, on the other hand, can add to the anxiety and stress, so should be avoided at all costs.

CHOOSING THE RIGHT COLOR SCHEME After the identification of the effect desired in a workspace, a number of appropriate hues can be narrowed down.

Blue walls and ceiling to motivate the mind to produce results in a meeting

Conference Room: Blue can be a perfect shade for conference rooms as it promotes communication and efficiency. Moreover, during brainstorming sessions, blue can help stimulate the mind to bring fresh ideas and action plans to the table. On the other hand, pink is believed to calm people down, which could be the best choice for lawyers on arbitration as well as conference rooms where frequent arguments and conflicts arise.

For some offices, blues and greens are best to create a serene atmosphere and enhance the overall sense of well-being.

On the downside, these shades may slow down the staff by making them too relaxed.

Adding a hint of red, orange or yellow in the space may just increase the energy flow.

Conversely, some offices use bold hues to stimulate the employees and get the job done faster. Too much of red may cause aggression, orange may cause a chatty atmosphere and yellow may cause anxiety.

To calm things down, a splash of soothing colors such as blue and green will keep the emotions on par.

Therefore, when a single hue is used in excess in an office, it may have a negative influence as well. A color scheme featuring complementary colors- orange with blue or red with green helps balance out the effect of both to create a perfect workspace.

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NOVEMBER 2016 SPACES / 73

Winners speak Winners PRAKASH MAHARJAN

The earthquake memorial designed by Prakash Maharjan, an undergraduate student of architecture at the Institute of Engineering, Central Campus, Pulchowk was declared the winning project at the Asian Paints All Nepal Architecture Design Competition-2016. He says, “I came up with a simple and general understanding of the earthquake and took into consideration the geographical position of Nepal together with the journey of the earthquake’s waves from the epicenter to the direction it propagated. The causes and effects of tectonic activities as the approaches for my design.”

His design also makes use of other symbolic representations to showcase how the April 25 earthquake and the days following it are etched in the memories of all Nepalis as a ‘black day.’ Prakash believes that his simple understanding, clear and precise approaches made his design better than that of his competitors.

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1ST RUNNER UP SURAJ KARKI

While 1st runner up Suraj Karki mentions that his use of separate building blocks as per the type of space—public, semi-public and private—is what made his design stand out. Suraj Neupane, 2nd runner, up considers his emotions that he tried to connect to the spaces to have made all the difference.

Elaborating on his concept, Suraj explains: “Axis of memory is the main concept of my project where each part of the site expresses certain memory. The moments immediately following the big earthquake are represented by the free standing black walls, which also inspire people to withstand the test of time. People’s fear has been represented by the steel post ducking to take cover and the axis of magnitude is a literal translation of the frequency of seismic activities in the height of the free standing wall.”

Furthermore, he has also placed three galleries at three different levels of the site—Gallery of Destruction, Gallery of Fear, and Gallery of Hope—each representing the state of people’s mind during, immediately after, and in the long run of the earthquake.

Consolation prize winners SANJAY NEUPANE

Consolation prize winners Gaurav Neupane and Sohil Shakya have invested unique concepts on their memorials too. Gaurav’s use of pointy triangles to represent the country’s mountainous roof-line presents its aggression.

The use of acute angles in his design creates an unpleasant view, much like people’s reaction to the damages made by the movement of tectonic plates. Likewise, Sohil has tried to plan the space on his memorial whilst emulating people’s psychological reactions towards the calamity and its aftermath.

Thanks to the use of ramps in the spaces, Sohil’s is the most disabled-friendly of all designs. “I have tried to create a central courtyard where people can get together and rest, recover and feel close to nature. To sum up, I’ve tried to create spaces which are easily accessible, use less artificial energy and bring users close to the nature,” he explains.

The top five winners say that the competition helped as a “skill upgrading tool” and a platform to showcase their skills at the same time. It helped to boost their confidence and put to test the lessons they have learnt in class.

The best thing about the competition was the freedom to think and explore the whole designing process without any external influence NOVEMBER 2016 SPACES / 75

Consolation prize winners GAURAV NEUPANE

and objections. It was both challenging and gratifying, the winners mentioned. Getting to network with young architects and professionals from the field, and having the latter notice their work was another plus point of the competition.

These young students of architecture, who have plans to gain practical knowledge after graduating from college and before joining a Master’s program, are happy that such competitions help them explore their own talents. They also maintain that efforts should begin in the classroom itself to encourage young architects.

Sanjay says: “The course we study today in architecture colleges needs to be updated according to the changing world so that we can compete with students and graduates from other countries.” He also points out the lack of mentorship as a major drawback affecting young architects and recommends formation of a young architects’ forum that can engage, inspire, advocate, serve and promote young architects.

As for the competition, they would like to see it continue regularly in the upcoming years with participation from more students, and workshops and mentorship programs from established national and international architects.

“All things said and done, it would be great if the organizers chose a time when students wouldn’t have to worry about exams and other college activities while participating in the competition. That would help us focus more on the given project,” winner Prakash concludes. n

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Consolation prize winners SOHIL SHAKYA

From the Shelf

Over half of the world’s citizens now live in cities, and this number is rapidly growing. At the heart of these municipalities is the square— the defining urban public space since the dawn of democracy in Ancient Greece. Each square stands for a larger theme in history: cultural, geopolitical, anthropological, or architectural, and each of the eighteen luminary writers has contributed his or her own innate talent, prodigious research, and local knowledge.

Eighteen renowned writers, including David Remnick, Zadie Smith, Rebecca Skloot, Rory Stewart, and Adam Gopnik evoke the spirit and history of some of the world’s most recognized and significant city squares, accompanied by illustrations from equally distinguished photographers.

Divided into three parts: Culture, Geopolitics, History, headlined by Michael Kimmelman, David Remnick, and George Packer, this significant anthology shows the city square in new light. Jehane Noujaim, awardwinning filmmaker, takes the reader through her return to Tahrir Square during the 2011 protest; Rory Stewart, diplomat and author, chronicles a square in Kabul which has come and gone several times over five centuries; Ari Shavit describes the dramatic changes of central Tel Aviv’s Rabin Square; Rick Stengel, editor, author, and journalist, recounts the power of Mandela’s choice of the Grand Parade, Cape Town, a huge market square to speak to the world right after his release from twenty-seven years in prison; while award-winning journalist Gillian Tett explores the concept of the virtual square in the age of social media.

This collection is an important lesson in history, a portrait of the world we live in today, as well as an exercise in thinking about the future. Evocative and compelling, City Squares will change the way you walk through a city. n 78 / SPACES NOVEMBER 2016

CITY

SQUARE

ARTScape

Lyrics of Circus Lyric, rhythm and life are the key elements of her sculpture.

Doused in native earth- tone and grafted into rhythmic figure "Lyrics of circus" build out of bicycle-wheel, teeth, marble, bike headlight, papier- mache, ceramic dust and other objects. Earth like tone reminds us of primitive and tribal arts. As she said, “If life is circus then you should certainly be the star in your own ring”.

ASHA DANGOL

MEENA KAYASTHA

Bachelors in Fine Art from Centre for Art and Design, Kathmandu University, Meena is a freelance sculptor who works on Junks materials such as rusted pipes, wheels, rod, chain and wire. Her first solo show “Lyrics from the Junkyard” at Siddhartha Art Gallery was one of her outstanding works and rich ideas. She believes in the beauty of discarded objects and stands against all odds where she uses her personal style of using debris and junk materials.

NOVEMBER 2016 SPACES / 79

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NOVEMBER – VOL 12 NO. 06

Vol 12 No. 06 November 2016

A R T

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I N T E R I O R

Building your

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Elantas Beck India Ltd FUNCTIONALITY OF ENERGY EFFICIENT GREEN OFFICE BUILDING

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