Vol 13 No. 06 November 2017
ART ARCHITECTURE INTERIOR
CARGOTECTURE IN THE VALLEY An Ode To
Wood
SECULAR ART
ON THE CONTRARY OF SACRED ART IN NEPAL
Sunakothi
NRs. 100/-
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twitter.com/spacesnepal
Exemplifying Neglected Historic Settlements
Attempts to Express Identity in Contemporary Architecture of
Kuwait
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Contents Volume 13 NO. 06 | November
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18 Architecture
68 Management
40 conservation
Cargotecture in the valley
The Flares of Solid Waste Disasters
Sunakothi: exemplifying neglected historic settlements
30 Interior
54 INTERIOR
24 Architecture
An Ode to Wood
Traditional & Modern Color Combination
Attempts To Express Identity In Contemporary Architecture Of Kuwait
62 Art
72 from the shelf
74 Artspace
Secular art on the contrary of sacred art in Nepal
Gods and Masks
E-arts
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Contributors
Volume 13 N 06 | November O.
CEO
Ashesh Rajbansh Editor-in-Chief
Ar. Sarosh Pradhan Director- Products and Materials
Kai Weise
Ar. Pravita Shrestha
Badan Lal Nyachhyon
Asha Dangol
Tejash Man Shakya
Contributing Art Editor
Madan Chitrakar Kasthamandap Art Studio Junior Editor
Shreya Amatya Sristi Pradhan Pratap Jung Khadka Advisor
Ar. Pawan Kumar Shrestha Subscription and Administrative Officer
Riki Shrestha
Contributing Editor
President - Society of Nepalese Architects Ar. Jinisha Jain (Delhi) Ar. Chetan Raj Shrestha (Sikkim) Barun Roy (Darjeeling Hills) Photographers
Pradip Ratna Tuladhar Intl. Correspondent
Bansri Panday Intern
Soyana Nyachhyon Director- Operation & Public Relation
Anu Rajbansh
SR. Business Development Officer
Debbie Rana Dangol Marketing Officer
Ruby Shrestha Legal Advisor
Yogendra Bhattarai Financial Advisor
Kiran Rajbhandary
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
Printed at Wordscape The Printer, 9851037750
Chaavi Vashist
Brinda Shrestha
Sanjeev Shrestha
Shreesha Nankhwa
Rajina Shrestha
Kai Weise is a Nepali national of Swiss origin who has been working as a planner and architect in the Himalayan Region. Kai Weise has been facilitating the establishment of management systems for World Heritage properties and was involved in earthquake response and rehabilitation for the culture sector in Nepal and Myanmar. He is president of ICOMOS Nepal and fellow of the Institute of Advanced Studies, Durham University. Badan Lal Nyachhyon is chairman of Earthquake Safety Initiatives, a company focused capacity-building for coping with Nepal’s earthquake hazard. The senior civil engineer is also managing director of Multi Consult (P) Ltd. Nyachhyon’s expertise include project management, contract management, civil engineering, research, construction management and community development, among others. He holds a Master’s in Architecture degree from the Kiev Civil Engineering Institute. Asha Dangol is a contemporary Nepali visual artist. He is co-founder of the Kasthamandap Art Studio and E-Arts Nepal. He holds Master’s Degree in Fine Arts from Tribhuvan University, and has been creating and exhibiting his art since 1992. He has 10 solo art exhibitions to his credit. Dangol has participated in numerous group shows in Nepal and his work has been exhibited in different countries outside Nepal. The artist experiments with painting, mixed media, ceramics, installation, performance and video. Tejash Man Shakya completed his master degree in Nepal history, culture and archaeology from Tribhuvan University, 2011 A.D. He has a double bachelor degree in business studies and fine art as well. He is a master sculptor, renovation and art coordinator for Nepal. He also works as a resource person for metal casting workshop and training. Mr. Tejesh Man Shakya has also won many honors and awards for the projects he was involved in. As a lover of art, he has been collecting different art collections from France, South Korea, Netherland as well as Nepal Chhavi Vashist is a Delhi- based Architect. She enjoys reading blogs & posts at blogger, WordPress, and some social networking sites too, which inspires her to write blogs. In past she had worked for a website: www.ebuild.in as an Interior Designing - content writer. She is also skilled in blogging, photography, travelling, event coordination, drafting, rendering, art & craft and model making. Brinda Shrestha is an architect/ urban planner who have worked as a former assistant professor in Nepal Engineering College. She has been working in the field of architecture and planning under different private consultancies, research and educational institutions in Nepal. Her major passion is exploring cities and its architecture through travelling and writing articles on architectural and urban issues. Sanjeev Shrestha is a graduate of Bachelors in Architectural Engineering from Central campus, Pulchowk/IOE. He is currently practicing as an Architect in Metalwood Nepal, a design studio and workshop based in Saugal, Patan. In Metalwood he practices designing and construction of minimalist furniture, interiors, renovation and Architecture. He doesn’t really focus in any particular Architecture type but follows a tenet that one should be wise enough to use any material where it is most appropriate. Shreesha Nankhwa is an aspiring environmentalist with a penchant for writing. She is interested in sustainable living, alternative energy and creating a better future for the planet. Her works have been published in a number of magazines and publications in Nepal. She currently writes and edits blogs for IT companies while dreaming of trekking across the Himalayas. Rajina Shrestha is currently working full time for Marketing and Operations at Threadpaints Store, a moderated online selling platform. She is a also co-founder at Women Leaders in Technology (WLiT) and Vice-President at Women LEAD. She is a freelance writer and asks too many questions.
Regd. No 30657/061-62 CDO No. 41
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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.
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Those submitting manuscripts, photographs, artwork or other materials to SPACES for consideration should not send originals unless specifically requested to do so by SPACES in writing. Unsolicited manuscripts, photographs and other submitted material must be accompanied by a self addressed return envelope, postage prepaid. However, SPACES is not responsible for unsolicited submissions. All editorial inquiries and submissions to SPACES must be addressed to editor@spacesnepal.com or sent to the address mentioned above.
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November 2017 SPACES / 11
Editorial A dominant strand of modern opinion doesn’t think it matters very much what our buildings speak to us about. It is deemed pretentious or over-sensitive to suppose that something as external as a building could really have much of an effect on our inner mood. We’d rather see ourselves as able to generate our psychological states independently of the color, shape and texture of the walls. In an odd but quietly very important way, works of architecture ‘speak’ to us. In modern commercial society, buildings are seen largely in terms of finance, cost and return on capital. Such an example to adaptiveness yet innovative and feasible design that we saw at RS Moto in Kathmandu. Cleverly stacked over the same sized 20 feet x 8 feet container that are primarily a dedicated workshop for automotive restoration and customization and then showrooms for their products. Standing tall as a unique concept, the space attracts people of different taste and lifestyle during different occasions. Truly becoming a trend-setter, they have uniquely termed it as a ‘Cargotecture. Boundaries were defined primarily with agricultural landscape on scattered medieval settlements that flourished in Kathmandu valley from the wealth through fertile land and lucrative regional trade. Rampant development pushes such as the widening of roads are tearing apart the spirit of these settlements neglecting the heritage of historic settlements. Buildings with no traditional identity are emerging elsewhere diluting the clearly defined compact settlement pushing the ancient shrines beyond existence. Sunakothi is one among many that are torn apart with jinxed luckless hasty urbanization. There’s other side of the coin. After oil discovery, Kuwait is transferring from local vernacular to modern urbanized city preparing to be part of modern global world through transformation demanded by time and people. Traditionally composed of dense urban framework of single storey mud brick houses, the city has successfully transformed blending principles of old and modern concept of architecture incorporating new function with new technologies but with traditional principles and elements. All eyes are eager to see suitable and sustainable developments in our local context. Profusely used since ages, although getting more expensive nowadays, wood is still tastefully used to mark one’s identity from outside to inside including structure, flooring, furniture and many exclusive decorative items. The house at Tokha, near Kathmandu, has rooms made entirely made of wood. Even the lighting fixtures are made of light wood that goes well with the décor of the room, truly a mark of unique personal taste. Again, Mr. Singh Bahadur Barahi devoted much of his life keeping the Barahi heritage running alive by creating exceptional woodcraft and achieving the inimitable domain with his passion. Though his works have gained international recognition, instead he appreciates his sons for keeping the legacy flourishing. Colors influence our emotions and actions. We can’t imagine life without color of our choice, be it in the form of architecture, interior decoration, even clothing depends on colors. The choice of color reflects our personality and thoughts – and spiritual feelings. Wish you all an eloquently colorful life though series that SPACES has been carrying in collaboration with Asian Paints Nepal. Enjoy!
Ashesh Rajbansh / CEO
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k Bonus Right
ibuting 70 percent areholders. The ors meeting held the distribution shares of the tained after us shares to ders. Both the ted to approval k the upcoming
as a paid-up of Rs distribution of the d-up capital of the 67 billion. The bank right shares, the bank will reach Rs
Movable Wall Partition Banking Activities
Money Gram Distributed Prizes of Festive Scheme
The intelligent solution for flexible space utilization.
Money transfer company MoneyGram has distributed prizes to the winners of its scheme launched during the festive season. The company distributed 10 motorcycles, 10 refrigerators and 10 mobile phones to
Wood
the winners. Julius, Senior Director of South Asian and JCC Countries of MoneyGram handed over the prizes to the winners with a promise of providing more services beyond the customer's expectation.
Muktinath to Distribute 34% Bonus Shares
k
na Temple
vided its support to emple. As part of ank provided nd dust bins to the amme held at the
Executive Director ank and Someshwar Bank handed dhari Sapkota, Temple Area ttee.
The 10th annual general meeting (AGM) of Muktinath Bikash Bank has approved the proposal of distributing bonus shares at 34 percent to its shareholders. The AGM also approved the proposal of distributing 50 percent right shares of the paid-up capital maintained after
distributing the bonus shares and right shares. Moreover, the bank has also approved relocating its central ofce at Kamaladi, Kathmandu and providing authorisation to the board of directors to initiate merger or acquisition processes with other BFIs.
Nepal Gramin Bikash Bank Net prot Increases Two Folds
The net prot of Nepal Gramin Bikash Bank has increased by two folds during the rst quarter of the current FY. During the review period, the bank earned a net prot of Rs 30 million. The bank said the increase has been attributed to the increase in operating
prot and net interest income. Similarly, the operating prot of the bank increased to Rs 45.5 million in the rst quarter of the current FY, a three-fold increase compared to the same period last year. Moreover, the loan extension of the bank has increased by 21.31 percent to Rs 6.85 billion. However, the reserve fund of the bank has decreased by 80.21 percent to Rs 45.8 million during the review period.
NEW BUSINESS AGE DECEMBER / 2016
Insight Spaces Private Limited Tara Bhawan, 1st Floor (Near Prakash Pharmacy), Teku, Kathmandu, Nepal. Landline: 01-4100235, 01-4100236 , Mobile no.+977-9801023059 E-mail: marketing@insightspaces.com November 2017 SPACES Issue 189 | August 2017 | ECS NEPAL /7113
News
SONA and ARCASIA Assembly 2017
T
he 23rd Annual General Meeting of SONA was held on 2nd November, 2017. General secretary Ar. Sudeep Sharma Paudyal presented the report on current activities of SONA and put forward it’s tireless work for the betterment of professional architects. It was also brought to attention about the collaboration with Kirtipur Municipality on the friendship project, ‘Earthquake Memorial’ in the public landscape of Kirtipur. Besides, there was a brief talk about SONA’s work in the making of the Ecologically Responsible Architecture (ERA) guidelines under SONA committee on Green and Sustainable Architecture. The attendees were also informed of new membership in the UIA which was received with positive acclaim. The current treasurer of SONA Ar. Arjun Basnet informed the attendees about the financial status. In the session, award distribution ceremony was held for SONA Token of Love Design Competition. The winner Ms. Heena Gyawali, first runner up Ms. Heena Shrestha and second runner up Mr. Prashant Deshai were awarded with certificates and prizes by distinguished
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guests. Additionally, the best thesis projects from various Architecture Schools were also exhibited. The Presidents’ meeting of SAARCH countries in presence of observers was conducted at Soaltee Crown Plaza on 2nd November 2017. The meeting was conducted by the president of SAARCH, Ar. Kishore Thapa where the presidents of the respective countries discussed the agendas of the meeting. SONA has initiated the ‘Award on Single Residential Building Category’ this year. In that context, the jury meeting and evaluation of entries was held at Hotel Yak & Yeti during the exhibition event. The jury members were Ar. Poonam Shah, Ar. Sahidi Joshi and Ar. Sri Nivas Bir Singh Kansakar. On 3rd November, 2017, three different technical sessions were conducted. The formal session started at Yak and Yeti, hosted by Ar. Surena Shrestha followed by the warm welcome speech of Ar. Rajesh Thapa and then Ar. Biresh Shah for formal announcement
of opening of the session. The 1st session keynote presentations were Mr. Kanak Mani Dixit and Prof. Dr. Sudarshan Raj Tiwari. Mr. Kanak Mani Dixit, a journalist and an activist spoke about the prevailing status and response of people, government and heritage after Gorkha earthquake 2015. The major hazards created by earthquake were noted as hazard to identity and economy and the major challenges for the reconstruction process were money, labor and materials was addressed by Prof. Dr. Sudarshan Raj Tiwari. The 2nd session consisted of the keynote presentation by Prof. Dr. P.N Maskey. Highlighting some of the alternative construction technology which might be appropriate to Nepalese context,he showed a few examples of the earthquake damaged buildings stated that the strength of the building doesn’t depend upon material only but on the construction technology and workmanship on site. The Confined Masonry gained the major attraction as Prof. Maskey emphasized it as the probable good alternative for Nepalese socio-economic context where cost-effectiveness, strength and local identity are to be maintained. On 3rd technical session, Ar. Kishore Thapa made aware about the scale of destruction Gorkha earthquake could have brought had it been not holiday, so as to stress on the preparedness and awareness among architects and public. The rolesof architect were noted for formation of beautiful environmentas carefulness to place building in its surrounding, proper landscape designs and contribution towards the safer community. The technical sessions concluded with the closing remarks by Ar. Biresh Shah. The 38th ARCASIA Council Meeting started on 2nd November, 2017 at Soaltee Crown Plaza, Kathmandu where official delegates from 21 ARCASIA member institutes have come together to set directions on various issues and agendas of the organization itself and the architecture profession in larger context. The council meeting was hosted by Indian Institute of Architects (IIA). n
News
The True Stories Mural Stories “The True Stories Mural Project Exhibition� initiated from 23rd October to 29th October, 2017 at Siddartha Art Gallery, Babar Mahal Revisited. The exhibition was a collaboration between Maiti Nepal, Raksha Nepal Children workers in Nepal and Circus Kathmandu to showcase the empowering process that engaged individuals of different background and age groups from Raksha Nepal, Child Worker in Nepal. The exhibition was jointly inaugurated by Ms. Wenny Kusuma, the country representative of UN women and Ms. Anuradha Koirala, the founder and executive director of Maiti Nepal. Siddhartha Art Gallery collaborated with renowned mural artists like Kiran Maharjan and Martain Travers and the survivors of sex trafficking in creating an interactive mural. The Mural project was beyond museum walls to community
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spaces with the aim of a broader reach to become a popular art medium in Nepal and was an effective method of addressing the issue and help rehabilitee. The murals were based on the four key themes Objectification, Mythology, Exploitation and Empowerment. n
WOMEN ARCHITECTS, ARTISTS & DESIGNERS’ CONFERENCE & AWARDS - WADe Asia 2017 Woman Architects, Artists and Designers’ Conference and Awards(WADe) Asia 2017 was successfully held on 28th October, 2017 at Leela Ambience, Gurgaon, India. Over 700 Architects, designers and artists attended to celebrate Women-led Development in Architecture, Design and Art. WADe is about documenting the progression of women in design. It is also about a common ground for women in creative pursuits to meet, learn and share. With the coming together of India, Sri Lanka, Bhutan, Nepal, Bangladesh and Thailand, the audience witnessed the togetherness and developed emotional sentiments as well. The main objective was to connect the role models to the juniors for further learning. “One of the best things about WADe was the active and enthusiastic participation from not just Women
Architects and Designers but from men as well which was a wonderful achievement since WADe Asia strives to create an inclusive environment for all,” says Madhurima Chowdhury, Associate Director, WADe Asia. n
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Architecture
CARGOTECTURE IN THE VALLEY
TEXT : Sanjeev Shrestha   photo : Nicolas Marie
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Architecture
Container Architecture often referred to as Cargotecture, has been a revolution and has evidenced to be a flexible building typology worldwide. In Nepal, the use of these containers as a building material has grown exponentially over the past decade due to their inherent strength, wide availability at relatively low expense. As for Nepal, people have found its use for immediate emergency shelters, for offices setup, for residences or even for showrooms lately.
RS MOTO located in Gahanaapokhari, Naxal, Kathmandu opened in 2070 B.S. having a site area of about 5.4 ropanies, has been a commercial hub that has housed primarily a dedicated workshop for automotive restoration and customization and then a showroom for Araniko Skateboards and their other products. These days other brands such as Karma Coffee and their private enterprise RS Chaalaa has taken up the space too. The space is kept buzzing as the automotive workshop runs a restaurant within the compound. Raajib Sayami, the founder of RS Moto has a bedsit in one of those containers. His residential cabin is a 20 feet x 8 feet container cleverly stacked over the same sized container where the bike workshop is. The cabin furnished with just the required setup for a bedroom has an attached bath that cantilevers to the north and enjoys a private balcony to the south. The bike workshop is aligned perpendicular to the upper box whose roof has created a beautiful deck that overlooks the courtyard formed by surrounding containers. The space has a unique concept, well at least it was during the time it was constructed. The communal space attracts people of different taste and lifestyle during different occasions from book launches to outdoor concerts. The space is not based on some contemporary trend but a trend-setter. The space is mostly famous amongst locals and expats. Besides, it also depends on the person running it. The purpose it was built for is something new to the city. You don’t find someone restoring a bike for passion in every corner of the city. The concept has therefore become a hit in Town. Cargotecture has augmented in the valley lately.
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Architecture
Sited along Subarna Shamsher Marg, Gairidhara, Husqvarna Motorcycles Showroom deploys 40 feet long containers. The glazed facade takes up optimum area possible without harming the structure of the container. Another 40 feet long container placed against it at the back to enlarge the usable space. The design has tried to justify the industrial look and feel be it the walls of the container or the plumbing conduits for electrical lines that run through the space. North-South oriented blocks take lesser amount of heat from the sides in comparison to the roof. The roof is therefore insulated to cut down the heat and in turn the electric bills of AC. The stacked 20 feet containers at the right of the showroom serves for storage and office spaces of Benelli Motorcycles Nepal. The zigzagged orientation is the result of skewed site and the existing structures within. These two brands share the same parent company KTM International Trading Pvt. Ltd. The space is open to public from 2017.
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Architecture
Nepal Communitere is other such project that has managed to use twelve 20 feet containers to comprise a space that houses Nepal’s Robotic Association workshop primarily and a training space. The communitere is basically an organization that provides aids during disasters and works for the community the other time. “Nepal Communitere Resource Center and Innovation Hub provides a space of creativity and innovation to sustainably rebuild, renew and develop Nepal by being a place that fosters creativity and connectivity, inspiring the Nepali and international development efforts.” Containers have proven to be an economic way out to provide that large co-working space where technical students collaborate to innovate. The Northern block is the hard workshop, the eastern block is the Training center for 20 students and the western block of the office for Robotics Association. The open planning of the
blocks has proved to be dynamic in terms of functionality, meaning the space is flexible for any type of setup (offices, training setup, workshops, meeting halls etc.) Three of the blocks are similar in terms of planning. Individual blocks feature two containers kept apart producing an ample amount of effective space overall. Containers are stacked likewise on top of them and accessed through stairs. The corrugated walls of the containers have been utilized to make roofs. This has significantly brought down the cost of the construction and is one effective way to deal with the cut parts of the containers. The containers have been painted light greyish to reflect as much heat possible. The heat drawn into the containers has been insulated internally to produce an inhabitable environment. The spaces that Nepal Communitere run are rentable for co-working purposes and trainings. November 2017 SPACES / 21
Architecture
Niraj Joshi, a designer, notably a project manager and one of the cofounders of Metalwood Nepal/Metal Shaper talks about the Cargotecture in a brief interview. Q. What is the idea behind using containers? It's basically a client's decision to give an industrial look to the space if they require containers in their space. So, what we did for 3 of our projects is weigh the pros and cons of building a container like structure or using an actual container. For most of the cases the project budget comes out to be similar for both options. Therefore, opting for a container has always been a better idea due to look, modularity and flexibility (could be moved as required). Q. What is the project construction time for space such as RS Moto? It took about 4 months for RS Moto to build the structure with landscaping (front section - with courtyard). This included ordering containers to a logistic company and shipping the container to the site. Some clients already have containers with them and takes lesser time and hassle with the construction. As for space like Nepal Communitere it takes about 6 months and the Husqvarna takes about a month. (This also depends on the design though.) Q. What can be the main challenges during the construction? If you talk about a general challenge, managing logistics to ship the container has always been a greatest deal when it came to using a container to build some space. We've thought about doing it long before in some other projects but was never implemented for the same cause. Building space using a container is not a rocket science. Foundations
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are and should be stable enough and levelled. In RS Moto, we've employed a stable plinth with 6 bricks in cement footings that raise 7 inches high from brick in cement plinth tied with RCC Beams to keep off from the moisture. 4 of the containers were deployed first and the rest 2 (that has the living cabin) was added later.  Since the idea of using shipping container as dwelling is new to Nepal, the main challenge is to work with people incomprehensive of the work process and the concept. Generally, the workers we work with in Nepal are not result oriented and hence situation is really difficult to cope with. Q. What are the basic things to keep in mind while designing a space using container? First thing is to think about the logistics. One should see if the containers they want to use can be transported to the site they have in mind, and is in good condition of course. It must have an easy access for the cranes and enough room to not disturb the neighbor. Then comes the technical part of like placement and foundations. These things have to be pre-planned because it becomes really expensive when it comes to working with the crane. As the box is steel made one should think about the insulation (external or internal) and proper ventilation. It depends if it's for living purpose or for some commercial use where public flow is more. Basic engineering works for one or two stories and shall employ some kind of lock system in the corners for more than 2 stories.
Q. What is the difference in using a traditional material and using a container for constructions? Designing material is all about the concept. Some has to be built and some are ready-made structures. Container is however predefined space but one can play a lot with it like a Lego Brick. There are advantages to it I'd like to point out. It's a sustainable structure as its low risk, earthquake resistant and mobile. If logistics are easy it can be an ideal building material as its fast to erect and economic too. The conventional building material are however easier to work with than the containers. Working with containers needs skilled manpower and a good supervision. Sometimes it's economic to just use brick in cement structures when permanent structures are required because of its low maintenance characteristic and are more secured than containers. However, containers prove to be one of the best building typologies due to its high salvage value for long term temporary structures. These projects have been an inspiration to many and given the designing company a recognition in designing spaces with such building typology. Metalwood Nepal has been designing and constructing other spaces with containers within the valley. RS Moto is a good example to people wondering about using a container for living purposes. Proper siting however has always played greater a role in success or failure of any kind of project besides its Architecture and planning. n
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Architecture
Attempts to Express Identity in Contemporary Architecture of
Kuwait TEXT & photo : BRINDA SHRESTHA
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Architecture
Context Kuwait provides a good example of transformation and struggle of city to the pace of modern development and to return to the roots of its cultural heritage, at the same time. It’s not like European cities, where cities have passed through modern development and dealt downsides of modernism through urban revitalization /renewal and sustainable projects like smart cities concept. It’s neither like growing chaotic cities like Kathmandu, where no planning intervention has been implemented technically, nor it’s like an American city with fast growing infrastructural development and buildings. In my observation, Kuwait is transferring from local vernacular to modern urbanized city. It’s a city, which is preparing itself to be part of modern global world through transformation demanded by time and people. In the past history, Kuwait was inhabited by desert inhabitants from Arab countries, based its economy on sea trade but after discovery of oil in 50’s, Kuwait gained an economic boom and modern pace of development took place after that, which means, more cars, more high-rise buildings, more wider roads, and modern planned city. Kuwait implemented its first modern city plan during 50’s after oil discovery but after the tragic history of Iraq invasion, the country had to go through devastation of their important structures and infrastructures. But today, Kuwait had successfully recovered and overcome from its tragedy but marks will always remain in the hearts of Kuwaiti people.
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Architecture
Historical Background Kuwait City development went through important changes and transformation brought through various political and economic changes in the country. Traditional Kuwait City was composed of dense urban fabric of single storey, mud brick houses built around the courtyards (minimum 2 courtyards per household) connected with narrow alleys and lanes and connected roof-scape, in order to create private network of pathways for women. (Bukhamseen, H. Hamed. Kuwait City An Appendix to “Oil and Ink”) Urban built form in Kuwait passed through dramatic transformations after 1940’s discovery of oil and economic boom that transformed the closed society of Kuwait and paved the way to join the modern world and break the linkage with the past. Followed by discovery of oil, economic wealth (1970’s) economic depression (1980’s) and Gulf war (1990’s), city development process continuously went through changes and transformation with continuous economic, political, regional and global changes. The city architecture and urbanization followed 1950’s master plan of Kuwait, which was mostly inspired by post-war European master plan, with city center as center business district and sub urban areas as the potential site for neighborhood residential development. Single storey vernacular buildings in center were replaced by tall high-rise structures for offices and economic activities, residential buildings were converted to multistory apartment buildings of international style, narrow lanes to wide motorable roads. Kuwait
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development, then followed the path of “former city walls” in the development of concentric highway system, Ring roads, in order to execute modern day city planning concept.
with the local environment and suitable for the local community so that city stands strong against backdrop of modernization.
Importance of Identity
Attempts To Express Identity
When Kuwait was transferring from local vernacular city to modern urbanized city, at that period of time, the main intention, the city followed, was to enter into modern world with international style of development and participate in the urbanization brought through globalization. But after Gulf war and Iraq invasion, the issue of expressing identity in architecture has been part of major discourses, as it was later viewed as the architectural defense mechanism to retain city identity against the fast sweeping modern international style. It’s been discussed as a tool to defend and retain city identity in order to relate it
The attempts to generate identity in Kuwait City have been observed to be followed by various actors in various ways. Government and state primarily focusing on inspiration from tradition and Islamic principles. Initially, effort to express identity in architecture in contemporary architectural design practice of Kuwait initiated with the attempts of foreign architects who were involved in State and government institutional buildings design after first master plan during 1960’s. (Source: Bukhamseen, H. Hamed. Kuwait City An Appendix to “Oil and Ink”). Parliament Building, designed by Danish architect John Utzon is one
Architecture
of the landmark building of Kuwait. The building which is designed in sole contemporary theme of modern futuristic architecture, has however been inspired by cultural institutions of Islamic culture. Exterior faรงade of the building resembles Arabian Tent as a symbol of hospitality open to all visitors oriented towards the Gulf. (Source: Dr.Mahgoub Yasser, City of Kuwait Contemporary Conditions) Inspired by Kuwaiti Souk concept, the building is designed around central open space for meetings, maintaining massiveness of the structure. It incorporated the essence of tradition in its contemporary design. Architect Malene Bjorn, designed Kuwait Tower, the important landmark of Kuwait City. It is a water tank designed by Danish architect and inspired by sculptural form of Islamic tool used to sprinkle rose water (Marash) and imitates the tradition of Arabian perfume container. The water
tank consists of three towers, one of which is light tower. Grand mosque, designed according to Islamic architecture principles and elements as an expression of its function as a religious building. Place of Justice, designed inspiring from Islamic architectural shapes and elements. Al Seif palace reflects Islamic Arab and traditional Kuwaiti architecture in terms
of its masses and details. (Source for these examples: Dr.Mahgoub Yasser, Hyperidnetity and Kuwaiti architecture) While in the other hand, there are many examples of public buildings designed by Architect and developers primarily based on two perceptions of identities. First group, who tries to resist the invasion of modern architecture and
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Architecture
uses the traditional Kuwaiti architecture in their design, while the second group believes in blending principle, which blends old and modern concept of architecture through design of building that incorporates new function, new technologies with traditional principles and elements. For examples: Al Kout shopping mall, host modern shopping center which incorporates new technologies constructed on the traditional Kuwaiti Souq (covered market) concept. Elements like courtyards, waterfronts, shaded podium, mashrabiyas (Lattice wooden Arabic window) have been derived from its tradition while building is well equipped with HVAC, technical and communication system. The Avenues Mall, one of the largest malls of its kind, is constructed with
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a principle of creating city within the mall concept. The exterior of the mall is designed in modern architectural principle while the interior of the mall is planned on various architectural themes and the international style consisting of neoclassic style to old traditional souk concept. It stands as one of the good example of blending modern architectural and traditional architectural style under one skyroof. It embellishes almost all modern lifestyle trends from high class to average living style of shopping and enjoying city within the mall. In case of Individual houses, villas and apartments, there seem to be mix reaction of individual citizens towards identity expression from the building and it simply depends upon the agreement between client and
architects and simply depends upon client’s desire and architect’s skill and specialization. As a matter of fact, the result is kind of mixture of architectural style. Some people get influenced form what they see during their travel, some are influenced by their cultural and religious background while some shows interest in cultural identity and inspired to add traditional essence like wooden doors and windows, mashrabiyas (Arabic wooden lattice window), diwaniyas (a common gathering room for male) and entrance door.
Reflections: Like other developing cities, Kuwait City also tries to thrive between two challenges: firstly to break from
Architecture
the tradition and aim high to join the modern world of globalization, with high-tech futuristic and international style of development, that transformed it from vernacular settlement to the modern planned city and secondly, to attempt to express city’s unique ethos, by reasserting traditional principle of thoughts in architecture and built form. n
References: Frampton, K. (1983). Towards a Critical Regionalism: Six Points for an Architecture of Resistance. The Anti-Aesthetic: Essays on Postmodern Culture, edited by Hal Foster, Bay press, Port Townsen. Guardiola-Saenz, L. & Yamada, F.M. (2009). Culture and identity: Culture and Identity: Recasting the Bible for the 21st Century – Workshop at the Book Festival 2009 – STM, February 7, 2009 Chapter 1, pp. 4–5. Bukhamseen, H.S., Kuwait City , An Appendix to Oil and Ink. Maghoub, Y. (2006). Architecture and Expression of Cultural Identity in Kuwait. People in Place in People, 1st International Symposium on Environmnet, Behaviour and Society, The University of Sydney. Mahgoub, Y. (2007). Hyper Identity: The case of Kuwaiti Architecture., IJAR vol.1 no.1.
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Interior
An Ode to
Wood
TEXT : SHREESHA NANKHWA photo: PRADIP TULADHAR
F
rom the outside the house we are about to enter is barely any different from any of the other houses belonging to the same colony in Tokha. But as you enter through the gate, your eyes are immediately drawn to the Ganesh carving and the traditional Nepali bell just outside the main door of this modern looking house. And that sets the tone for the entire of the house we enter momentarily – a blend of east and the west. The first thing you notice when you enter the house is the wood. Wooden floors, wooden staircases, wood paneling in the walls and the solid wood furniture. The entire home seems like an ode to wood. The owner of the home, who wishes to remain anonymous, had no concrete plans when he began decorating his newly bought second home. However, being a veteran in the furniture and flooring industry and working mostly with wood, he could not help himself and used the element unreservedly while furnishing his home. According to him all the design ideas came from and were implemented by him and one of his top woodcraftsmen. The foyer itself features polished wooden floor and leads straight to a staircase, again built of wood. Below the staircase, the area has been utilized and cleverly converted into storage space. Off the foyer is the open drawing room, which is the first room you enter. The drawing room is dominated by a large comfortable sofa set that has been hand-carved by skilled local craftsmen. The floors are all wood with area rugs covering only small portions of the floor. Separating the living room with the kitchen is a wall set upon with a cupboard, again made of solid wood. The 12X14 kitchen itself is a modular kitchen, however, unlike most modular kitchen, it is made of solid wood. On the other side of the kitchen is the dining area, which features a table and a set of chairs. The final room in the ground floor is the guest bedroom, made entirely of pinewood. The bed, the furniture, the floors are all covered in light pine wood that gives this room a light, slightly rustic feel to it. Even the lighting fixtures are made of light wood that goes well with the décor of the room. November 2017 SPACES / 31
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As you move up the stairs, you’ll notice custom sized mirrors and Thanka paintings dominating the landings. The beams and pillars have all been covered with wood. The first floor contains the large 14 X 22 ft. the master bedroom, dominated by dark wooden floors and a magnificent bed made out of only two pieces of solid wood and has been handcrafted by his employees.
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The wall opposite the door features wooden wardrobes attached. The other three walls feature custom made paintings depicting different areas of Nepal. The eastern wall features a grand painting of sunrise while the northern wall depicts the Annapurna Range. The third wall consists of paintings depicting southern regions like Janakpur. The owner still plans to build a sitting for this master bedroom. The second bedroom in the first floor is also decorated with dark polished sisal wood. The floors, the bed, the wardrobe all match the dark wood theme going on in this floor. The wide windows dominating one of the walls lend the room a bright and cheery air. The topmost floor features another bedroom as well as a small prayer area. The bedroom again follows the theme in the other two bedrooms of dark wooden floors, solid beds and an entire wall with attached wooden wardrobes. The room also opens into the sunny terrace. The first thing you notice as you step out into the terrace is the gust of afternoon wind blowing off the November 2017 SPACES / 35
Interior
hills. You can get a good view of the surrounding areas, farmlands and faraway hills from the terrace. There are tables and chairs arranged neatly in the terrace, where you could have a family breakfast out in the open air.
a dĂŠcor that is impressive without being ostentatious. The house covers about 2300 square feet of space and has a warm and welcoming vibe to it, perhaps due to the overabundance of wood used in its dĂŠcor.
Outside of the house, in the backyard, you will also find a small cottage like structure that resembles old Nepali style homes common in villages of Nepal. The owner confesses to building it as it reminds him of his parents and of home. The house has been fitted with olden equipments like halo, jato, dhiki, sarangi etc that speaks of life in the olden days.
Although this is not the primary residence for the owner, it has served him well. At times it acts as a second family home, at times as a guest house for important clients and most importantly, it is a sample home for clients who want to commission wood work, be it flooring, furniture or anything else from his company. However, to us, this house is a great example of how wood can be incorporated in the dĂŠcor of a house to give it an elegant yet warm and inviting ambiance. n
Overall, the house shows off a neo-classical bent that neatly blends Western, Tibetan and Newari styles to create 36 / SPACES November 2017
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personality
SINGH BAHADUR BARAHI
“A MAN OF HIS WORDS” TEXT : Soyana Nyachhyon photo : PRADIP TULADHAR
Pioneering in the wood industry, Singh Bahadur Barahi has 50 years of experience and history in establishing his business in the growing Nepali market. Born to a cultured Newari family, his father Harkha Bahadur Barahi and mother Kharga Laxmi Barahi, has always motived him to keep the Barahi heritage running and alive. He is a man of his words; he says “great things are not done by inclination, but by a series of small things brought together.” After years of devoting his life to the handicraft business, he got married to Mohan Devi with three children. As the aspiring generation of the Barahi family, his two sons RAJU, Rajesh and his daughter Muna are helping with his established industry today. 38 / SPACES November 2017
personality
B
efore getting involved in handicraft business, he started off as a solo entrepreneur which was his toughest time, where he saw absolutely no sales. However, thanks to his father and his self- devotion to keep his inheritant timber work alive, he started out fresh without losing hope. “Success is focusing on the full power of your burning passion to achieve” says Mr.Barahi. He never let his urge for wood carving into rest. He impressively promoted his lust with the same amount of hard work to establish his own name. He says “I don’t really want to talk more about my kaleidoscope of memories which are filled with many hardship and struggles”. Slowly but impressively, he was able to achieve fame for his passion. He recalls the days when he had to travel Kathmandu and sell his goods but people had doubt on his work and didn’t even appreciate. One of his biggest achievements was when the owner of Radisson Chain Hotel himself got impressed of his previous works and offered him to showcase what he could do as a craftsman. God gifted as we may say, he truly has talent to accomplish what he aspires to. He then completed the project handed by Radisson hotel in about 3-year with his own creative skill and hand work. Even though he had been struggling his way up from Rana Regime, he has never given up just because of age factor. He always believed on doing the best to provide satisfaction to customers. Not only in Nepal, has his work been acknowledged but also in many different countries as well. He recalls the time when the daughter of Late King Birendra, Princess Shruti visited his small home, with the artist himself to get the artwork framed. “Because the law was everything at that time, I couldn’t even ask for a photo to keep as memory”, he exclaims. He never thought the passion for timber framing as a money-oriented endeavor. His mind would always circulate in further developing his products. Reaching here wasn’t as easy as he thought, for more than 7 years he worked alone, crafted his own designs with whatever materials he could find. Mr. Barahi recalls lengthy working hours from 6am to 11pm every day of the first 7 years of establishment. He accounts his constant hard work and ethical work habits that helped him sustain his business till this day. At that time he had a hard time
working with limited machinery that included hours of hard work and focus. Now that he has established his own domain, he still struggles to employee people as many are moving abroad to fulfill their dreams. He believes that even females are equally hardworking if they have passion within themselves. “Political instability has also been one of the problems which affect the business”, says Mr. Barahi. Historically speaking, the development of Nepalese handicraft industry is very old although it has its own rise and fall. In Nepal, the development of handicrafts has brought harmony with changing trends. The Barahi caste of Newars has been known to be inheritants of timber work. Newari history accounts that during important festivals like Rato Macchindranath, the selection of timber, construction and fabrication of chariot have always been allocated to the Barahis’ for their expertise in timber. After decades of establishment, they moved to ‘Patan Industrial Estate’ where his showroom Lalitpur Kalatmack Kastha Udyog and his factory are currently located there. In the period of establishing his own team, he spent a lot of time training his co- workers, so that his skill and knowledge gets transferred. During the crucial time of product development, his self-dependent nature led him to research and experiment. He welcomes the new machinery and technology as it is important to completely indulge yourself in the craft, as well as what comes with it. At the moment, his sons are handling his handiwork business with the proper guidance from their father. But the thing Mr. Barahi is afraid about is that the passion and hard work will vanish among the young generation. As a supportive father, he constantly nudges his sons to keep their business running. He says, ”While people get impressed with my showroom, not many people are aware of the amount of time, energy and dedication it took me to establish what is in front of them. I still believe in affirmative criticism, it is my Guru.” n
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Conservation
Sunakothi
Exemplifying Neglected Historic Settlements TEXT & Photo : KAI WEISE
T
he Kathmandu Valley is scattered with medieval settlements. These settlements flourished from the overall wealth of the valley which developed particularly between the 15th and 18th century due to the highly fertile land and lucrative regional trade. These settlements that had distinctly defined physical and spiritual boundaries were surrounded by an agricultural landscape, in many cases terraced
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paddy fields. Things have changed and when you are cycling towards the southern part of the Kathmandu Valley beyond the Ring Road, you encounter a landscape of suburban chaos. Passing through Sunakhoti you come across a desolate scene of destruction. A survey carried out by ICOMOS Nepal after the devastating Gorkha Earthquake of 2015 registered 53
historic settlements in and around the Kathmandu Valley. Many of these settlements were affected by the earthquake but in most cases we see that it is only an acceleration of an already established process of degeneration and neglects. Particularly devastating has been development drives such as the widening of roads that have been tearing apart the very heart of these settlements. In the blind drive towards infrastructure
Conservation
development, unsustainable planning and inappropriate buildings regulations the heritage of these historic settlements are totally neglected. Sunakhoti is an ancient settlement on the road from Lalitpur to Tikabhairab. Licchavi inscriptions from the 5th century found near the main temple of Bringareshwor refer to a settlement named after the temple: Bhringar Grama. It is however said that the proper settlement was founded by King Ratna Malla in the late 15th century with the boundaries defined by marker stones. There are various myths relating to the name Sunakothi. In many older documents and maps, even for example in the Protective Inventory of 1975 and in Mary Slusser’s 1982 Nepal Mandala the name Sunaguthi is used. It was in the 16th century that the Bhringeshwor Mahadev was rebuilt in a traditional three tiered structure. This temple however collapsed during the 1934 earthquake. The structure was rebuilt with a white plastered dome and some remains of the original temple such as the wooden struts can be seen exhibited around the temple complex. The settlement with some ten thousand inhabitants is still a homogeneous community of Newars. Regular celebrations are still carried out particularly those of Yomari Purnima and Balkumari Jatra. In both these festivals gods are carried around the town along specific routes and to specific locations in palanquins. The routes also link to shrines and temples in the surrounding areas. The temple dedicated to mother Balkumari is located in a forested area to the southeast of the town while the daughter Balkumari resides within the town. The settlement of Sunakoti consists of the main north south road that passing along the western side of the settlement. The main road is aligned
with rows of buildings which look down a slope towards the fields to the west. To the east the main settlement is defined by several parallel and perpendicular roads lined with rows of traditional houses in burned or sundried bricks. The settlement is further defined by various open spaces with ponds, patis, shrines and the more prominent temples of Bringareshwor Mahadev and Balkumari. A water canal curves past the settlement to the east. The rather clearly defined extent of the compact traditional settlement has now been diluted through scattered building in the surrounding fields. From within the settlement the main road is being widened which has become disastrous for the integrity of the settlements. The 1975 Protective
Inventory proposes that the main road be diverted to the east along the water canal to make sure that the settlement is not effected by growing traffic. The widening of the main road has begun to deface the streetscape. Traditional buildings are being left to deteriorate while cement and glass structures are waiting to emerge from behind. A section of such as row of traditional structures consigned to destruction has been documented through photogrammetry and presented here (credit to Ar. Anie Joshi). Once these buildings are removed an entire new set of buildings with no traditional identity will emerge changing the character of the historic settlement. Furthermore ancient shrines, chaityas and even an old well are condemned to be destroyed or November 2017 SPACES / 41
Conservation
relocated. A woman pulling up water from the well exclaimed that the road widening was going to destroy the well which is one of the few sources of water. There are of course all kinds of promises made that with the new road other services will follow. This is something the inhabitants seem to be very sceptical about. There is always a traffic jam within the old settlements where the roads are still narrow. Every driver will curse the constraint of the streets and complain about the government not improving the roads. It is exactly such mentality that highlights the total lack of any interest or understanding towards the heritage of ancient settlements. The road widening
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Conservation
drive carried out by the government is a priority project for the Kathmandu Valley Development Authority (KVDA). There have been protests from various community groups against such drastic measures. The response has however been very heavy-handed with the Chief of KVDA stating that he has always supported development and that they are trying to modernise the towns. In respect to the protest against the destruction of the ancient towns through road widening he stated that the government always wins despite local opposition, although there could be delays due of lawsuits. This short-sighted and authoritarian approach is the main threat to the historic settlements. There doesn’t seem to be any interest to look for more appropriate solutions that prioritizes the safeguarding of cultural heritage. It is said that “growth for growth’s sake is the philosophy of the
cancer cell”. Clearly the type of growth that does not consider the long-term is cancerous growth. The earthquake affected most of the historic settlements within the Kathmandu Valley. The focus on response and rehabilitation was however mainly on the twin settlements of Bungamati and Kokhana. This is where a lot of international involvement has taken place for example by the UN agencies such as UN Habitat and UNESCO along with various Japanese research organizations. This could be because there was great news coverage on the Rato Macchendranath chariot festival that was to start in Bungamati, something that only happens every 12 years. The earthquake however disrupted this procession and it took many months for the chariot to reach its destination in Patan. The Sri Lankan government funded the reconstruction of the
Macchendranath Temple. Certain interest could also be noted for the nearby medieval town of Kokhana, known for its production of mustard seed oil, because it is on the tentative list for World Heritage. Many of the less highlighted settlements such as Sunakothi are waiting for their faith to be decided. There were efforts made to establish procedures for the appropriate rehabilitation of historic settlements. UN Habitat took a lead role in discussing this issue particularly together with the National Reconstruction Authority (NRA) and the Department of Urban Development and Building Construction (DUDBC). It even led to draft bylaws being prepared. Further such exercises were carried out by other organizations; however there doesn’t seem to be any procedures nor legislation put in place to ensure the historic settlements are safeguarded. n
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smart choice
FIRST THINGS FIRST
If you’re building a new house, start your planning before the pipeline work. Decisions about placement and basic designs should be completed before plumbing and not the other way around. Otherwise, you’ll be left with ideas you cannot execute because the base of your bathroom has been established with mediocre and unplanned piping. If you’re hiring a designer, hire them before fixing the pipes. Otherwise, figure out where you want your commode, shower, and basin to be placed before you talk to your plumber.
Design- Vastu VS Comfort
Granted that if you’re spiritual, Vastu Shashtra might play a huge role in how your house’s design- including your bathroom’s might turn out; but make sure to consider comfort as well. And in this day and age of pinterest, you might find yourself caught up with 10 pins you want to turn to reality. Make sure you’re a little realistic with what is available in the market and be ready to have to improvise a little. Talk to the showroom where you’re buying supplies from and understand that each design comes with plumbing requirements.
Tiles
In the market you’ll find all ranges of tiles from Indian and Chinese to Spanish. The price range starts from NRs. 65 per sq. ft. to NRs. 400 - 450/- per sq. ft. If the important tiles are a bit too heavy on the pocket, the Indian ones can be a great and closest quality alternative. You’re more likely to be left choosing between Ceramic and Vitrified tiles. Vitrified tiles are made with a process that keep them colored throughout their body. This means even if your tiles chip off, they look the same color as the tile rather than clay. They are scratch and stain resistant and easier to maintain but since bathrooms aren’t usually a heavily trafficked area in your house, you can get away with Ceramic tiles as well. Since Bathrooms are mostly used with lights on, you do not necessarily have to look for brighter tiles. Choose a color you like.
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smart choice
RIGHT MOVES SMART CHOICE FOR
Bathrooms Good bathrooms go way beyond sanitary reasons. While a chic living room and hallways reflect your hospitality, a great bathroom reflects your class. So if you were at the stage of designing a bathroom for your house or looking to remodel it, we have some tips and info for you at Right Moves Smart Choice that’s going to make things a lot easier! November 2017 SPACES / 47
smart choice
you want a custom size, you can go to your local glass workshop and get one ordered for a cheap price. Wide mirrors can also mean you and your spouse or roommate can get ready at the same time. You might want to consider open or closed shelves near your basin for toiletries and supplies.
Lighting
Basic lighting for Bathrooms consist of one centre lighting and one for the mirror. If you want to go one step further you can install smaller lights for your shelves or multiple LEDs for your mirror. Unless you plan to do some serious reading in the bathroom, choose warm lights to go with the setting as you’re supposed to mostly relax in your bathroom.
Climate and Customization
Faucets
Faucets are like your bathroom’s jewellery. You not only want them to compliment the rest of the look of the bathroom, but also keeps it classy with the genuinity. There’s nothing less sanitary than a leaking faucet so make sure you know what brand and service you’re working with. A set of faucets for a bathroom from Asian Paints costs around eleven thousand rupees to the imported fancies costing upto 2 lakhs.
Commode
Most of cities like Kathmandu has almost completely moved to commodes except for outdoor toilets. And for South Asian sanitation
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culture, you would be most familiar with commode sprays (technically called Bidet sprays). Another option you can go for, are jet sprays that are attached to the commode and can be used without your mechanical effort. However, even though they’ve been around for a while and the user reviews say they’re far more convenient, they haven’t been widely popular choice. While unfamiliarity is one reason, typical plumbings are done keeping bidet sprays in mind.
Mirror and Shelves
You’ll get presized mirrors that are the most popular in Bathware stores. If
If you’re from a city in Nepal that’s mostly hot throughout the year, consider having a ceiling fan targeting the commode or basin area where you’ll most likely not be being cooled with water.
Dry Bathrooms
The concept of dry bathrooms is getting wildly popular for its convenience. All you’d have to do is separate the bathing area with a glass door and you can also have warm rug where your feet are supposed to be while sitting on the commode. If glass doors are too much, you can also get yourself a half glass panel or even better, shower curtains. If you’re remodelling your bathroom, efficient planning can get your job done in 20 days.
smart choice
Tips:
● If you have less space, go for a corner basin. It doesn’t disturb the traffic and use up unnecessary buffer space. ● A wall mounted faucet allows you to use a smaller basin and save space in turn. ● Even if you’re not making shelves, a small pedestal below your basin can be great clean for towels at least. ● Add a towel bar at the door of your bathroom. This makes usage easy, saves space and will dry out your towel well and easy. ● A wide basin can also mean table space for your toiletries. ● If opening a door is taking too much space, go for a sliding door. ● Reducing mold and mildew begins with removing moisture. To do that, it’s best to have a multifaceted approach: a great fan that vents to the outside and an operable window.
Maintenance
Apart from regular maintenance for the sake of hygiene, make sure you’re cleaning the faucets regularly. Since most people in cities use water with high iron content, they might spoil your faucets. Do not use acids or other products on the jewellery- just soft liquid soap. Especially since the popularity of smartphones and wifi, you know you spend a great deal of time in the bathroom anyway. Wouldn’t you rather spend it in a dry, aesthetically pleasing bathroom? n
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myrepublica.com
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Interior
Traditional & Modern Color Combination
Exotic Elegance
TEXT : Ar. CHHAVI VASHIST
Over the globe there are diversity of people, with different culture, heritage and history. The depiction of our traditions is somewhere reflected in our home décor also. The architecture and interior design features follows vernacular skills, rich material selection, vibrant textiles, furniture etc. often handmade crafts are used in traditional way to decorate the space. On the other hand, modern interiors lead to an eclectic and simple look. An everlasting impression can be created by selecting the right color combinations for your dream space. Transport yourself to these exotic, interesting and complex design themes, it will give you a unique design goals and ideas for your abode.
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Tradtional rich color and texture — both are the key of elements of design — to give the living room walls couture a palatial feel here, the walls are coated with various shades of red Venetian plaster, the dramatic arch becomes the perfect backdrop for a framed textile. The columns are drizzled with copper paints and adorned with a subtle Moorish stencil design, while the remaining walls have a soft gold faux finish. Embroidered throw pillows and a leather ottoman complement the lavish surroundings. The play with textures and metallic tint and tones are vibrant and refreshing.
Interior
Handcrafted Furniture
Often intricately carved and made from exotic woods like teak, ebony and rosewood, authentic furniture is rustic in appearance and solid in quality. Direct contact with furniture designer or craftsman can help the buyer retain the natural look of wood. Here, the designer balanced a heavy, carved, wooden table with a more delicate bench-style sofa. Additional low seating and colorful traditional pillows create an inviting space to gather with family and friends.
Sumptuous Layers
The fine silks and other unique textiles, which are incorporated in the space, from window treatments (as curtains) to accent pillows to wall hangings art pieces can be selected. Here, designer injected plenty of color and texture into this living room with a knotted rug, an upholstered sofa and throw pillows in assorted patterns accompanied with simple furniture and decorative items.
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Antique Accents
Since traditional decor is often rich in color, pattern and texture, just a few strategically placed pieces can fill a room with exotic flair. An antique bedspread, hand-stitched with beading and gold thread, completely transforms this urban loft bedroom into a vibrant, energetic space. Patchwork pillows handmade from old textiles and the pink beaded sari underneath the ottoman, add as another vintage item. Here, the designer has selected bed sheet as a burst of color. Different texture in fabric can be a considered. Animal motif block printed table color or curtain or cushion cover can also help to achieve traditional look.
from the ceiling or from a frame a jhoola in a bold floral fabric can also be suspended from the ceiling by simple chains, matching the room’s traditional design. Here, a very simple jhoola is suspended from ceiling by gold shade chains, arranged together with simple hand crafted traditional sofas, sculptures and paintings.
you feel close to nature, “full of life�. This wooden workstation here is accompanied by vintage style cabinet to arrange a small library.
Contemporary Twist
Hits of color and pattern liven up the clean lines of this contemporary traditional living space. Exotic artwork and a patterned window shade spice up the lounge area, while a teal throw pillow with touches of pink and gold makes the seating area pop.
Simple and Functional
A Textile Tradition
In addition to luxurious silks, printed cottons are a staple of traditional decor. Block printing, in which intricately carved wooden blocks are used to print specific patterns on fabrics, is one of the oldest textile arts, as is tiedye. This green-hued tree pattern is block printed by hand, so each print has its own character.
A Fanciful Touch
Step inside a traditional themed home and you may find a jhoola, or swing. Typically placed in the living room, indoor swings can be of wood or metal, simple or ornate, and hung
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Traditional design furniture often calls to mind opulent rooms draped in colorful silks, but some interiors are quite simple and utilitarian. A charpoy, or a simple cot consisting of a frame strung tightly with rope, is a traditional piece of furniture popular in rural parts of the country. Here, a charpoy is dressed up with colorful pillows made from recycled cotton saris.
Mehndi-Inspired Mural
The mehendi color interior is inspired from our tradition of Heena Art. This ancient time, inspired color makes the wall highlighted. The wall can be decorated with paintings or art piece, that gives a working space a unique theme. Keeping furniture simple and some indoor native plants, one can achieve a design, which makes
Wild Design
Animal motifs are prevalent in traditional home decor, as animals play an important role in the mythology. Block prints by hand in rich hues like burnt orange, ivory and green etc. can create a difference. Here, sparrow and monkey shape blocks are used repeatedly in black and white color.
Interior
Hand-Carved Headboard
A common feature in traditional homes is carved wooden screens provide privacy while allowing the breeze to flow through the rooms. It also acts as semi visual barriers and also gives a rich background to create movable partition. Also, a hand carved headboard creates a magnificent royal look to a bedroom. Hand carved furniture is expensive but have more durability also. The richness in details can make a jaw dropping impact. This hand carved art never goes off from trend. It is always refreshing to feel close to traditional art.
Spiritual Elements to create iconic influence
Traditional interior design isn’t just about aesthetics; it’s also about creating a place that promotes health and wellbeing. Challenge is to arrange the space elements to bring happiness, prosperity and abundance to the homeowners. Upon entering the home, the user should feel blessed. Here, a carved statue of God can be placed. Behind the statue a set of antique doors or a water body can be designed. Embellished with spiritual signs, lights and flowers and fragrance, amazing everlasting first impression can be created.
Modern spaces have cleverly adapted the rapid social changes with more innovative and creative ideas. Despite popular belief, true modern homes do not follow popular trends. Modern houses focus on structural simplicity, order and functionality — monochromatic walls, basic materials and clean architectural lines are the foundation. This style includes minimalist design, as well as gridlike glass houses. Modern interior design emphasizes strong lines, a lack of ornamentation and minimal texture. It is just opposite to traditional home designs. It uses straightforward furniture and dramatic modern art to
complement the stark architecture. In a modern house, lighting is a key structural element that accentuates planes and highlights focal points. Modern design is often a love-it or hate-it style — many appreciate its minimalist, uncluttered feel, while others miss the warmth and variety found in other styles. Green and blue color theme is an analogous color scheme that is these colors are adjacent to each other in
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three. Any space can be perked up by sticking to three shades of color. For example, in a cherry bedroom, saturated shades of sunny yellow, navy blue and grass green can make you feel fresh and preppy. Use recessed lighting to light a general area. Illuminate your special home objects, architectural detail, or food presentation areas with track or recessed lighting. Task lighting focuses on a specific area to provide targeted illumination for accomplishing tasks. Lighting plays a vital role in modern interiors. Go with decorative fluorescent fixtures centered over a workspace. Pink and blue are the colors replicating youthfulness and romance. The stronger shades of purple-pink add extravagant and charming accents to neutral off white, light grey or beige backgrounds
the color wheel. This color scheme can make your space relaxing and calming, and you can also add definition to the space by a simple chandelier. It is best suitable for children’s room as this color scheme is playful and can uplift the mood and psyche of the little munchkins.
Go for denims shade sofas added up with some citrusy accents of soft colors such as beige shades or even you can team it up with perky florescent color combinations along with accessories. Proportionate the size of lighting fixtures with the space dimension.
Try dark shades to decorate your space. You can also try putting up dark shade on floor, medium shades on walls, and light tones on ceiling. To add dramatic touch you can also use downlights and standalone lamps.
There are lot many neutral trendy shades available in the market. Grey color can be paired with both kicky colors/florescent shades or with pastel palette to get warm or cool appearance. Follow the rule of
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Balance your white walls and floor by featuring highlight wall in monochromatic shade with texture. For Example: add cherry color or green saturated shades which always prove to be eye catching. When selecting a color palette for your room, you can add interest by using cool blue draperies with cream walls and dark brow floors. Contemporary shades can create a relaxing space. You may opt for a soft cream rug and brown zebra print fabrics which are always trendy. Use of accent lighting also has a great way of improving the outlook of a space by highlighting the features. Use of indirect lighting for
Interior
interior lighting purposes has a way of relaxing the atmosphere making it suitable for relaxation after a tiresome day. This is not only a spectacular design but also helps in reducing the brightness of the light. Use of thematic quality bright light can create such a magnificent look in a room and a spectacular interior ambience. The design completely transforms the feeling and look. With warm or cool vibrancy of colors and richer shades of light reflections you can achieve perfect look. Transitional design theme is a relation of traditional and modern furniture, finishes, materials and fabrics. It is two design themes in one style. The result is an elegant, unique, enduring design that is both comfortable and classic. The lines of transitional furniture are typically straight, though the occasional soft, sweeping curve may be thrown in for good measure. Organic elements add an informal note but complements the color scheme. This design style creates a room that is not too manly and not too frilly, making it comfortable for all. An emphasis is placed on moderately scaled pieces that exude an unassuming, refined style. Color palettes are very subtle, with an emphasis on ivory, beige and tan, creating a scheme that is relaxing and uncomplicated. The neutral wall color serves as the backdrop that ties together the treasures on display. A signature light fixture accented with warm woods, off-white walls and a blend of contemporary and traditional accessories suits any transitional room. Warm brown to chocolate wood tones are typically the only deep tones
used in transitional designs. With transitional design, flooring is neutral; soft-colored carpets or wood floors in warm tones are generally used. Because flooring is neutral, the texture in the carpets or rugs is important. Berber carpets, hides and sisal rugs are popular choices for transitional
style. Organic elements, an antique dresser and contemporary lighting and doors blend into a beautifully transitional area.
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Interior
Rich brown wall color warms up a sleek vanity, blurring the line between traditional and modern design. Harmonious shades of color ranging from white to chocolate brown impart a soothing calmness to this living room. Wooden Natural elements such as stone, granite, and wood are good choices for transitional design because they can play a significant role in both
traditional and modern styles. A mix of textures, including a table top and wooden cabinet, provides interest in this room’s composition, which blends traditional items with a modern flair. Window treatments are most often modest, solid-color drapes that are shirred onto unadorned metal or wood rods. When blinds or shades
are used, they are either clean-line Roman shades or texture-rich wovenwood blinds. Make sure your space has a natural flow by repeating colors and materials from one room to another. Use wall paint in the same tone and fabrics in similar colors and varying textures. A wooden ceiling that provides the interest in this room’s composition blends traditional tiles and furniture with a modern flair. Tasteful signature pieces are displayed without much fanfare. Display artwork and photos in an understated way, with basic white mats and simple frames with clean lines. Simple lines and white walls are softened by repurposed furnishings, knit fabrics and daylight for a comfortably transitional living space. With these ideas of traditional, modern and transitional color combination theme you may got some fresh tips to upgrade and remodel your spaces. You can try classic flooring; dark colors on walls with soft color upholstery and modern furniture, highlighted with lighting and enjoy the blend of bit of these design themes. n
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Interior
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Art
SECULAR ART ON THE CONTRARY OF SACRED ART IN NEPAL
Analytical outlook between Sacred art and Secular art of Nepal TEXT : Tejesh Man Shakya
In
early period of Nepal, both the rulers and people have spurred by a strong feeling of laissez-faire attitude on religious conviction. Religions were not only solitary affair of the rulers and the state but also common place community drew attention in them. Thus, the impact of religion in art of Nepal also instigated to become religious or sacred with connection of the ritual and cultic practices that carry out the sensible outlooks of the course of the spiritual realization. Sacred art is still prevailing in Nepali society and within sacred culture of the artist even after thousands of the years through artistic imagery based on Buddhist Philosophy and Hindu Philosophy in forms of painting, sculpture and architecture by using sacred inspiration and motifs. These two extreme sacred structures in Nepal, Buddhism and Hinduism, resulted thriving pantheons and always influenced and dominated by the Indian iconographical restrictions as well as developed Indian art styles in several periods to the Nepali sacred art. Though the fundamentals of Indian Buddhist and Hindu iconography imprecisely appointed and devoted to the benefit of dogmas of the nation along with the development of distinct iconographical identities and styles of the Buddhist art and Hindu art in Nepal which also established Lichchhavi schooling in ancient period and Malla schooling in medieval period as the major art schooling of the history of Nepali art.
Royal Portrait of Yogendra Malla - An example of Secular Art in Malla Style
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art
Regarding to the sacred art, Dr. Junu Basukala Ranjit, Lecturer and Researcher of Buddhist Studies at Tribhuvan University, says, “Nepali sacred art is strictly based on philosophy as regards to Hinduism or Buddhism and followed the iconography in which artists are restricted to be liberal while creating the painting or sculpture.” She also expresses, “Sacred art has been traditionally practicing in Nepal; however most of the practitioners are unfamiliar with the philosophy of the sacred art.” On top of that Lok Chitrakar, Eminent Paubhā Painter, adjoins, “The artwork subjected to religion could be a sacred art but the subject must be useful for religious activities with the purpose of worship,
© Tej Ratna Shakya
Buddhist art is extensively created in basis of Mahāyāna and Vajrayāna doctrines which interconnects the prophecy of enlightenment that enthuse people to attain their entity respite and bliss with the principal doctrine of Buddha’s Three Bodies (Trikāya) resembling the Body of Essence (Dharmakāya), the Body of Enjoyment (Sambhogakāya) and the Body of Transformation (Nirmānakāya) whereas, Hindu art is largely based on Śaivism, Vaisnavism and Śaktism which exposes idealistic spirit through ultra meditative consciousness with the innermost faiths of two mutual concepts: Religion (Dharma) and Liberation (Mokshya). The earliest authentic examples of the sacred art of Nepal is the stone sculptures of Visnuvikrānta dated 467 A.D. at Tilganga and National Museum (previously from Lazimpat); and Bronze sculpture of Buddha dated 591 A.D., which is now-a-days in The Cleveland Museum of Art, United States.
Buddha - An example of Buddhist Sacred Art in Lichchhavi Style
Portrait of King Jaya Varma - An example of an Early Secular Art 2nd century National Museum
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Art
Present day, the secular thoughts in Nepali art are also progressively dominating in contrast of sacred art. In fact, secular art is not a brand new concern in Nepal. Also in ancient period of Nepal, people used to practice secular art inconsequentially that even continuing till date. For instance, the stone portrait of King Jaya Varmā dated from 185 A.D. and currently exhibiting at National Museum, Chhauni, Kathmandu could be considered as an early secular
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political and social philosophy which rejects all forms of religious faith.
© Sandhya Silwal
meditation and religious preaching.” Even as Samundra Man Singh Shrestha, Contemporary Paubhā Painter, says, “A sacred art is the combination of affection, sympathy, compassion, knowledge and skill from which people experience the spiritual world in the secular world.” Madan Chitrakar, the eminent artist and art writer, expresses, “In my opinion, sacred art is slowly going to history. What we see today as sacred art, specially painting, is not really sacred or religious. For sure, they are for visual appreciations and not for worship or religious purpose. Contents and style have been borrowed from the past but motive is secular for sure.”
Madan Chitrakar, articulates his words, “The entire length of history of Nepali art is within the religious thoughts of Hinduism and Buddhism until the emergence of modern ideas however, there have been frequent appearances of secular art as early as 15th century.” Chitrakar also mentions in his book – Nepali Painting through the Ages, “Gagansim and his two Wives remains one of the earliest examples of Chitrakar painters dealing with secular subjects, as the painting depicts a local government representative from Dolkha.” The painting was originally created by the artists Adyaraja Puna and Udayrama Puna in 1470 A.D.
art of Nepal. Also, there are several other evidences of Royal Portrait as the secular art from Malla period in Palace areas of Kathmandu valley and in museums of Nepal in the form of sculpture and painting. The “Secular” or “Non-sacred” both connote nonspiritual or concern with non-religious subjects whereas “Secular” is more relevant with tendency of the system of
The circumstance of development of secular art in Nepal is utterly diverse from the secularism developed in Europe during Renaissance. The most important motive of development of secular art in Europe is the people’s new interest in ‘Humanism’ along with the desire of freedom from religious control of powerful and welloff Churches. However, in Nepal, the
© Sushma Shakya
© Madan Chitrakar
Art
Although before that another break through artist Raj Man Singh Chitrakar kicked off to draw sketches of human, birds, animals and architectural shrines by tracing the accurate image from the aid of Lucida camera for the research of British Resident in Nepal, Brian Houghton Hodgson on the natural sciences, geography and anthropology of Nepal including social and cultural studies with 22 years’ service span from 1820 to 1832 A.D. and from 1833 to 1843 A.D. Madan Chitrakar writes in his book – Nepali Art Issues Miscellany, “The arrival of European concepts in full force and for good in Nepali art marked by the emergence of two young artists – Tej Bahadur Chitrakar and C.M. Maskey in late twenties of
© Muna Bhadel
secular thoughts robustly set up the foundation merely after expedition of the first Rana ruler Jung Bahadur in Britain and France in 1850 A.D. One of the historically recognized Nepali artists Bhaju Man Chitrakar was also included in that expedition, which made twist in the Nepali art history to set up the secularism in Nepali art.
last century constitutes a real dividing line between the two eras - religious and the origins of Western forms. This precisely some one hundred years after Brian Hodgson caused Raj Man to make sketches from nature to natural objects.” Sushma Shakya, artist and has been faculty of Western Art Studies at
Kathmandu University, speaks on, “Present day, secular art in Nepal has been developed vastly as in mediums like installation art, performance art as well as digital art, which also subjected to the contemporary social and political issues with the Western influences.” Again, she expresses, “Sometimes the secular art also contains sacred subjects but the purpose of subject matter play vital role to be a secular. For example, I also did a painting on the subject of Shree Yantra that is based on Tantrism but the purpose of my painting is quite secular since the viewer sees only the triangular in simple way than as it is religious Shree Yantra.” As regards on subject Samundra Man Singh Shrestha also articulates similar view, “Definitely my paintings are based on traditional Paubhā with use of traditional patterns and motifs but I also tried to include my new ideas in representational form. So, my paintings are mostly secular, even if they’re subjected to the religion.”
November 2017 SPACES / 65
© Tejesh M. Shakya
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© Samundra Man Singh Shrestha
© Lok Chitrakar
Art
Conclusion
Of course, the secular art is on the contrary of sacred art in Nepal as in other world since the sacred art is carefully mulled over the religion and its philosophy consequent to Hinduism and Buddhism along with the spiritual activities whereas the secular art is unbolt and liberated to explore and express through the variety of mediums on with the choice of subjects. As per the time phase, religion was (is) essential in society to make well educated and well cultured on disciplinary life of the people in Nepal as well. Through art devoted to the religions - either Hinduism or Buddhism – for everyday rituals, people have acquired unworldly experiences with ultimate bliss. But people’s needs and materialistic limitations are progressively reorganized in Nepal as well, since when Nepal opened the door to the occidental people in early 19th century. This made to people of Nepal to become individual and liberal with additional secular ideas beyond the religion in stages, which also reflected towards the art of Nepal to establish the secularism in art until to the instant process of globalization of early 21st century. n
Art
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MANAGEMENT
The Flares of
Solid Waste
Disasters and the killer virus TEXT : Badan Lal Nyachhyon
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MANAGEMENT
1. Introduction
The Solid Waste issue in Nepal, particularly in Kathmandu Valley, flares up time again with the agitation of the local residents from Sisdole landfill areas and Teku Transfer station. As a result, solid waste dumped in the street corners will remain uncollected for several days and consequently a disastrous situation is created with environmental and public health hazard, traffic congestion and disrupted urban flow. Certainly, the heads of the decision makers face the turbulent vertex. The current Solid Waste Disaster of August-September 2017 is not the new one, which flared up with the agitation of the people from Sisdole area and the Kathmandu residents from Teku area. They have taken vow they will not allow the movement of Solid Waste vehicles unless rationale decisions are taken and their demands are not fulfilled. On Sep 10, 2017, the Himalayan Times published the news on the recent situation of Solid waste in Kathmandu Streets created by the persistent obstruction by locals to disposal of KMC’s waste at the landfill site in Okharpauwa. Garbage on the roadside and at various intersections across the city had started piling up every day over the last few days that has not only affected traffic movement and pedestrians but also has posed serious health risks to the public. The understanding between KMC and the local protesting people was reached after talks that ended at 2:00 am morning. The Author has listed the episode of August-September 2017 as the Fourth disaster flared up during its course of over last four decades.
2. Series of Disasters in Solid Waste Management
The previous disasters on Solid Waste Management sector are accounted as follows that had created suffering to the Kathmandu denizens. They are: a. First Disaster of 1983-84: At that time, the solid waste sector was not an issue. Practically, none of the government institutions were responsible for solid waste management including the municipalities except as guided by “Sarsaphai adda” responsibilities. The scale and magnitude of the situation was not much remarkable but the littering with solid waste in all towns and tourists’ spots were unsightly and hazardous. This situation triggered the formulation of the First Project in Solid Waste Management with the support of the Government of Germany. The project established the composting and transfer station at Teku, Kathmandu and the first Land fill site at Gokarna, Kathmandu.
b. Second Disaster of 1990: The closure of pilot level waste processing facilities as Gokarna Landfill Site, Teku Transfer Station and institutional transformation from: 1) Panchayat System to Democratic System in 1990, and takeover of the Solid Waste Management affair in Kathmandu by Kathmandu Municipality following the refusal of the three municipalities namely Kathmandu, Lalitpur and Bhaktapur to make financial contribution to the Solid Waste Management Project (SWMP) and 2)
Withdrawal of support of the German Government to the SWMP. The huge pile up of the Solid Waste in the major corners of Kathmandu Valley as Rani Pokhari, New Road, Ratna park, Pulchok, Patandhoka etc, which was reported by the Panaroma TV of Germany declaring Kathmandu as a environmentally unsafe place for tourists to visit. The tourism sector with a yield of over 500,000 tourists’ visits per year dropped down to less than 200,000, which forced closer of several hotels as Hotel Yellow Pagoda, Hotel Blue Star, Kathmandu Hotel, etc.
c. Third Disaster of 2006 July 24: On that day, Kathmandu municipality dumped the Solid Waste in the heart of Kathmandu in Tundikhel as a symbolic gesture to show the huge problems associated with the Solid Waste Management and failure of Sisdole Landfill site to function as a semi-aerobic facility that created huge environmental hazard with bad odor spreading over a large area about a distance of over 3 Km, and the agitation of local residents from Sisdole area protesting against the violence against human rights and environmental issues created by the malfunctioning of the Landfill site. Even today, the disaster created by the Sisdole landfill site is continued without any remedy. d. Fourth disaster on August, 2017: The Sisdole site is again closed. Lalitpur municipality issued a press note declaring difficulty in collection and disposal of waste and asked the citizen for restraint and bear for the case, which is promised to be solved quickly. The issue is known for last two decades and very little efforts were made to solve it. We are waiting for the big procurement packages under Nepal Investment Board to be implemented. Probably, we have to suffer more. e. Fifth disaster-in-Waiting in 2018: Next year, when the over saturated Sisdole land Fill Site will be closed due to the capacity exceedence. KMC will face huge problem of disposal without any alternative solution. The
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MANAGEMENT
only option will be again to keep huge piles of waste unattended in the streets and corners of Kathmandu Valley, if alternative solutions are not sought in time. The proposed Banchare Land Fill Site needs to be implemented with urgency, otherwise a huge two-fold disaster may occur: a) failure of the Sisdole Landfill site to accommodate additional disposal of waste, and b) resistance of local residents blocking movement of vehicles carrying solid waste. Bringing change to this pathetic situation of the sector needs very strong institutional strengthening of the sector through promoting strong strategic plan and institutional strengthening of the central, provincial and local level institutions for planning, coordination, implementation, execution, and performance monitoring, feedback, and mobilizing capital investment in waste management infrastructure. The current Institutional Gap in dealing with Sisdole issue, which was dealt by the central agency before, has been divulged to the 22 local municipalities of Kathmandu Valley since July 2017. That means the burden of management deal with Sisdole Issue has to be repeated many folds and dealt by each of the 22 municipalities. Kathmandu Municipality, as the largest municipality in the Valley, may need to take the lead role and act as the regional coordinating entity in the absence of the role of the Central entities. The current disaster need to be dealt in two folds manner: 1) Seeking new solutions: Such as introduction of waste management at source including source segregation, composting of organic waste, storage for a week, practicing reducing, reuse and recycle following “Waste Free Communities� concept of Solid Waste management promoted by Rotary Nepal, reducing waste disposal in Landfill site, establishing Material Recovery facilities, and marketing of waste products, and 2) Creating alternative facilities for closing the Sisdole landfill site, which is already an over saturated facility and further over use of it will bring another Big disaster similar to the recent disasters of Landfill site in New Delhi, Colombo and Hong Kong that took life of several people. 2. Megha disaster in waiting from Fiscal Year 201718 onwards: Next Disaster-in-waiting from Fiscal Year 2017-18 onwards will be associated with the institutional gap created by the Constitution 2015, Local body restructuring plan of March 2017 and the Budget Speech of Fiscal Year 2017-18 and is related to the Institutional framework between the Centre, 70 / SPACES November 2017
the provinces and the municipalities. The Constitution has allocated the full responsibility of Solid waste management to the municipalities without spelled role of the central, provincial and district level institutions. The Constitution 2015, Local Body Reform Report 2017, Budget Speech 2017/18 had made provision to transfer the responsibility of Solid Waste Management to the local level and the Solid Waste Management and Technical Support Centre has been transferred to local level. The responsibility of central entity towards SWM is absolutely abolished. It is felt that this act has created a kind of Constitutional gap in SWM. This is the only one example of transfer of a central level entity to local level. a. The Constitution of Nepal has visualized very strong central, provincial and local governments. But there is no evidence till now of any studies made towards how strong and sustainable government could be established. It is for sure without a strong Central Government, the provincial and local governments also will not be strong enough to take the allocated responsibility according to the Constitution and it will not be possible to coordinate and regulate. b. In order to strengthening the Central Government, the Executive, Legislative and Judicial entities need to be strengthened. Under the Executive Entity, the Cabinet of ministers, ministries, various constitutional Councils and Commissions, supporting departments, and other entities are included within the institutional framework. With the support of these departments and other entities, the cabinet of ministers and ministries, the planning government programs and execution are carried out. Without the head offices of these departments and entities, the Central Government would be incomplete and the Constitutional gap could be strongly felt. Because of this gap, there is a mass confusion created how the coordination, planning of activities, training, technical assistance, feedback, monitoring and evaluation will be carried out. There is a wide interaction being ongoing in the media in this aspect. c. In the same context, recently the government has announced that several district offices such as District Administrative Office, District Police Office, District Coordination Committee, Funds and Comptroller’s Office, District Election Office, District Advocates Office, District Land Registration Office, District Land Survey Office, District Post Office, District Camps and regiments of Nepal Army will remain within the institutional setup as of today (i.e. as of previous provision), which is widely appreciated. This action has initiated the efforts to minimize the Constitutional Gap. Probably, this effort will be continued in relation to other district offices related to the technical and infrastructure development and the Constitutional Gap prevalent will be minimized.
d. The modern institutional structure has given priority to following four factors: • Strengthening of Institutional Framework • Protection of Institutional Memory • Nomination of Right Person at Right Place, and • Effective Communication across the Institution. These important factors are not dealt in the Constitution 2015 and in the Budget Speech 2017/18, and this matter may be instrumental in creating Institutional Gap. e. According to the Modern Management theories in the context of Institutional Structure, the hierarchical ratio between an entity and its subordinates is typical considered best is 1:7. According to the Constitution 2015, the Hierarchical Ration between the Center and the Provinces is exactly 1:7 whereas the Hierarchical Ration between Province and Local Level Institutions as municipality is 1:108 not taking account of the district offices since they are authorized to provide coordination only. The ration of 1:108 is very large and practically is considered “Not Accessible” and “Unpractical”. This ratio will create Institutional Gap. Practically, the communication between the provinces and the local level municipalities will be very complex. In order to minimize this gap, it may be essential to reinstate the district level entities (which is partially already done in October 28, 2017 to some extent). If this is done, the Hierarchical Ratio between Province and District will be 1:11, and that of District and local level entities will be 1:10. These ratios are could be termed practical and will be instrumental in eliminating the institutional gap in practical terms. f. It is very essential to gain overall knowledge and understanding on the institutional structure of the Central Government. The fundamental base of the Executive or the Cabinet of Ministers and Ministries is the performance and delivery of services provided by the subordinate departments and other entities. The outcome of performance of these subordinate departments is the base for performance of the Ministries and the Cabinet. The absence of these subordinate entities will give a strong feeling of the institutional gap and there will be erosion in the performance of the Central Government. In any case, if such situation will be created it will be a case of big disaster and the country may have to pay big price to recover. g. A lot of time will be required to define and establish the new institutions such as the provinces and most of the municipalities, since most of them are new ones. This gap will create disastrous condition in solid waste management since most of the institutions have no practical experience and capacity except of few, which have some history and experience. The situation will be aggravated since the institutional capacity to deal with Solid Waste Management will
be reduced with the central authorities are divulged to local level institutions. Particularly, the important functions such as Planning, Coordination, Facilitation, Surveillance, Monitoring, and Feedback reporting will suffer in the absence of Central and District level institutions. 3. The Killer Virus: It seems that a killer virus has been installed that destabilizes the institutional framework for the Centre downwards as the Constitution will be implemented. In order to establish the new provincial and local bodies, it is obviously required to depute the knowledgeable and experienced staff to the local bodies. This process weakens the Centre and creates disparity at the local level since the local bodies are deprived of their right to choose right persons for their institutions and fell imposition and interference of the Centre. At the other hand it is not the priority of the experienced staff from the Centre to shift to the local bodies. Only a judicious decision making process that makes the Centre extra strong will keep the virus trapped in a corner. n November 2017 SPACES / 71
From the shelf
GODS AND MASKS Cultural objects are meant to serve various composite functions in a given society. Categorization of these objects into ‘religious’, ‘secular’, ‘artistic’, ‘social’, etc. may be necessary to have a certain academic understanding of a particular cultural trait, such a categorization has often led to reconstruction of a fragmented picture of the society or its cultural expression. The modem museum and exhibition dominated society as ours is used to displaying cultural objects of ‘other’ societies as ‘art’ in one context and publishing lengthy discourses on their artistic merit, and a few months later, the same object is shown in another exhibition where its ‘ritual’ context is glorified without any comment on the object’s artistic merit.
T
he presence of masks as both ritual and art objects is attested among the traditions of mankind’s oldest civilizations. Cutting across cultural and geographical barriers, they have exhibited a remarkable range and diversity of meanings throughout history. The present study focuses on the masks worn in the Kathmandu Valley by the main ethnic group, the Newars. A specific aspect of the Newars is that, despite the political dominance of Hinduism, Buddhism is still alive. The masks represent gods, goddesses and demons, but never the dead or the ancestors. The author argues that the reason for the absence of figurations of the dead or ancestors is to be explained by the funerary rituals. There are no memorial monuments or other objects which perpetuate the memory of the deceased: It is through rituals performed after their death that the memory is preserved. The distinction is made between statuemasks and the masks worn during ritual
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dances. The author focuses on the contexts in which the masks are worn by professional dancers and draws attention to the legends which explain the origin of the dances and their ritual role. Detailed descriptions are given of the dances performed during different festivals in the localities of the Kathmandu Valley The masks then worn are destroyed and re-made ritually each year by painters. Anne Vergati explains the relation between the dancer as a social person with a social identity and the mask which represents a god or a goddess. The mask is not supposed to hide the face of the dancer but to transform his identity in such a way as to make of him a deity. n
This is not a Book Review; this is just an effort to conveying information to the readers on rare and valuable books on art and architecture. This column aims to give a helicopter view on such books and thus presents the excerpts and illustrations either from the preface, introduction, jacket or main contents of the book from the shelf. This book was kindly provided by Mandala Book Point, Kantipath, Kathmandu (Tel. 4227711).
ART DIGEST
“Re-construction at a pace of a snail.”
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Artscape
The Mannequin His mannequin series are inspired from the motifs of rickshaw paintings of Bangladesh. His painting exploits the decorative lines of Nepali traditional paintings by cutting the glittering sheets of rickshaw paintings. In this single work, we can see and feel the forms of photography, painting and the shiny sheets of rickshaw that are merged together. His self portrait manipulated how he wants to escape from the complexity of contemporary society. Asha Dangol
Jupiter Pradhan Born (1977) in Kathmandu, he did his B.F.A. from Fine Art College, and did his M.F.A. in painting from University of Development Alternative (UODA), Dhaka, Bangladesh. He has done four solo shows and did Residency outcome show at Fukuoka Asian Art Museum, Japan in 2011. He received Honorable Award from UODA, Dhaka, Bangladesh in 2008 and received Special Award on Video Art from Nepal Academy of Fine Art in 2011. He is the Founder & Trustee of Space A, an alternative art practice in Kathmandu.
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52 Nagarik - Nepal Republic Media Pvt. Ltd. JDA Complex, Bagh Durbar Ph: 977-1-4265100, 4261808 E-mail: circulation@nagariknews.com 11 Navin Distributor Pvt. Ltd. A.T. Complex, New Plaza, Putalisadak Ph: 977-1-4428196, 4430785 E-mail: ndpl@navindistributors.com Website: www.navindistributors.com 77 Nepa Top Organization Samakushi, Kathmandu Ph: 977-1-4354117, 4363548, 4387901 E-mail: info@nepa.com Website: www.nepatop.com.np 76 Pest Control Nepal House no. 1607, Baburam Acharya Marg, Old Baneshwor Ph: 977-1-4492285 E-mail: sks3p@wlink.com.np Website: www.pestcontrolnepal.com 06 R. I. P. L. International Pvt. Ltd. Teku Road Ph: 977-1-4270730 51 Rohi International Near Ganeshsthan, Kuleshwor Ph: 977-1-4271760 53 Skylight Pvt. Ltd. Naxal (Opp to Police HQ), Kathmandu Ph: 977-1-4423851 E-mail: info@skylight.com.np Website: www.skylight.com.np 44 Subisu Cable net Pvt. Ltd. 148 Thirbum Sadak, Baluwatar Ph: 977-1-4235888 E-mail: info@subisu.net.np Website: www.subisu.net.np 09 Technical Associates Services P. Ltd. 1st Floor, Abhiyan Building, Panchayan Marg Thapathali, Kathmandu, Nepal Tel: 977-1-4219999 E-mail: sktulshyan@gmail.com Website: www.theheatingexpert.org
D3 110.40 General woodworking Adhesive Laminate / Wood to wood joint Finger Joint (Food Grade Certified)
D4 (PUR) 687.40 Outdoor Furniture 100% Water Proof Adhesive Gurantee
02 The Carpenter Hardware Center Pashupati Sadak, Gyaneshwor Ph: 977-1-4420202, 4417684, 4420234 50 Worldlink Communication Pvt. Ltd. Jawalakhel, Lalitpur Ph: 977-1-5523050 E-mail: enterprise.support@worldlink.com.np Website: www.worldlink.com.np
Hot Melt 282.30 / 280.50 For Panel Processing Manual Machine Thru Feed Machine
(PUD) 152.25
Membrane Door Adhesive Membrane Kitchen Shutter Adhesive (Complete Water Based Adhesive)
Sole Distributor for Nepal
Bridge Tech International P. Ltd.
Paper Packaging & Book Banding Hot Melt Spine Glue / Side Glue
Satdobato, Lalitpur, Nepal Tel: +977-1-5151171 / 5151822 Cell +977-9851213044 info@bridgetechintl.com sales@bridgetechintl.com
November 2017 SPACES / 77
78 / SPACES November 2017
November 2017 SPACES / 79
80 / SPACES November 2017