SPACES Nepal SEPT 2018

Vol 15 No. 4 SEPTEMBER 2018

ART ARCHITECTURE INTERIOR

POKHARA

Lakeside DIGI-CHHEN A space to meditate

LABA BHAWAN EVOLUTION

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Kalagaon VISUALS FROM

Buddha’s Life: THEN AND NOW

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Contents Volume 15 NO. 4 | SEPTEMBER

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18 CONSERVATION

26 ARCHITECTURE

31 ARCHITECTURE

Pokhara Lakeside

Digi-Chhen A space to meditate

Laba Bhawan

36 INTERIOR Evolution of Bathroom

42 INTERIOR Traditional Comfort Boutique Hotel

54 ARCHITECTURAL PROCESS Kalagaon

60 ARCHITECTURE

64 ART

80 ARTSPACE

Architect of Jhingati Chhanas

Visuals from Buddha’s Life: Then and Now

Three Chairs

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Contributors

Volume 15 NO. 4 | SEPTEMBER CEO

Ashesh Rajbansh Editor-in-Chief

Ar. Sarosh Pradhan Contributing Art Editor

Madan Chitrakar Kasthamandap Art Studio

Madan Chitrakar

Kai Weise

Asha Dangol

Chhavi Vashisht

Rajina Shrestha

Urusha Karmacharya

Anne Feenstra

Sapana Shakya

Manjari Pradhan

Sumina Tha Shrestha

Prabal Dahal

Shreesha Nankhwa

Junior Editor

Shreya Amatya Sristi Pradhan Pratap Jung Khadka Tejal Rayamajhi Contributing Editor

President of Society Of Nepalese Architects (SONA) Ar. Brinda Shrestha Advisor

Ar. Pawan Kumar Shrestha Ar. Pravita Shrestha Kirti Kusum Joshi Photographers

Pradip Ratna Tuladhar Director- Operation & Public Relation

Anu Rajbansh

SR. Business Development Officer

Debbie Rana Dangol

Business Development Officer

Siddhartha Jung Khadka Legal Advisor

Yogendra Bhattarai Financial Advisor

Kiran Rajbhandary Accountant

Pratima Sherpa Subscription and Distribution Officer

Rohit Khadgi Intern

Sudikshya Dongol Ikchha Pokharel Prithvi Jung Khadka Madhu Pandey Sajeet Rajbhandari Published by

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

Phone: 5181125, 5180132 info.spaces4@gmail.com Design/Layout & Processed at DigiScan Pre-press

Printed at Wordscape The Printer, 9851037750 Distribution

Kasthamandap Distributors, Ph: 4247241 Advertising and Subscriptions

IMPRESSIONS Publishing Pvt.Ltd. Ph: 5181125, 5180132 spacesnepalmarketing@gmail.com

6 / SPACES SEPTEMBER 2018

Madan Chitrakar is a senior artist and an art- writer based in Kathmandu. As a leading art writer of the country, on many occasions he has taken Nepali Art beyond the borders - through his writings in many prestigious publications abroad - notably in Japan, India and Bangladesh. Two well acclaimed books Tej Bahadur Chitrakar - Icon of a Transition’ 2004 and ‘Nepali Art: Issues Miscellany’ - 2012 remain to his credit, in addition to the numerous writings on Art and Culture in English and Nepali. Presently, he is associated with Tribhuvan University, Central Department of Fine Arts and Kathmandu University, Center for Art and Design as a member of the respective Subject Committee.

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.

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.

Chhavi Vashist is a Delhi-based, graduate in Bachelors of Architecture and Post Graduate of Landscape Architecture. She is experienced in content writing as an Interior Designer.

She is a blogger, and working as a faculty of Interior Designing. She is

practicing as an architect and her firm undertake projects of varied complexity in terms of Architectural Design and Execution, ranging from Concept making, Space planning, Detailed designing, Interior Designing, Fresh construction, Addition and Alterations in existing buildings, and Renovation work for every type of Residential, Commercial, Retail projects.

Rajina Shrestha is a graduate student and a freelance writer. Surrounded by friends in architecture, design, construction, and environmental fields, she writes what can be communicated from the experts to everyday snippets and conversational paragraphs. On other days, she works with Women Leaders taking over Nepal and Comedy Enthusiasts taking over Kathmandu’s Bars.

Urusha Karmacharya is an architect from Institute of Engineering, Pulchowk Campus. Once a part of Tribhuvan International Airport’s new terminal building team, she currently does freelance work in interior design, building design, planning, and construction. She also teaches Diploma level students of Architecture and Hotel Engineering to students of Bachelors of Hotel Management.

Prof. Anne Feenstra is the laureate of the Global Award for Sustainable Architecture 2012 (Paris) and former Dean at Architecture of CEPT University (Ahmedabad). He has set up Sustainable Mountain Architecture (SMA) in winter 2013/14. Team SMA has tried to create pro-ecology, propeople, pro-local, frugal contemporary interventions in the built environment of the Himalayas.

Sapana Shakya is a practicing architect with a Master’s degree in Construction Management. She has been working with Sustainable Mountain Architecture since February 2015 in design and supervision of context-responsive sustainable projects. She is also keen in developing a better understanding of the historic buildings of Kathmandu valley to

preserve and maintain the timelessness of Newari Architecture.

Manjari Pradhan has a Masters Degree in Nepalese History, Culture, and Archaeology from Tribhuvan University. An employee of the National Department of Archaeology, she currently serves as an Archaeological Officer at the Hanuman Dhoka Palace, Supervision Office. In addition to these spectacular qualifications and experiences, she has also published a book about Newari culture called “Newar Samaj Ra Ihi”.

Ar. Sumina Tha Shrestha is a practicing architect who has recently joined the Masters program for Energy efficient Buildings at IOE, Pulchowk. She received her undergraduate in architecture from Khwopa Engineering College, Bhaktapur.

Having keen interest in traditional architecture, Sumina also enjoys singing and writing. Besides this she loves to spend her spare time with friends and enjoys making new acquaintances.

She is a strong believer in exploring architecture through traveling.

Prabal Dahal is a recent graduate of Bachelors of Architecture from Kathmandu Engineering College, an enthusiastic writer- interested in buildings, urban design and conservation. Former President of Association of KEC Architecture (AKAR), he has been writing articles for various functions since high school. At the moment he is serving as an International Services Director at Rotaract Club of Budhanilkantha. He also enjoys participating in various national Architectural events.

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.

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

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

SEPTEMBER 2018 SPACES / 7

Editorial We see many repetitive actions when we go through our daily commute, much as a habit for most.

Morning coffee might be one of the leading actions for numerous, but in doing so we are actively becoming global citizens and our lives are intertwined with so many others, and immediately a name is attached, “consumer”. The coffee that we drink, those beans are grown in some other country, flown to another where the marketing and packaging of the product is set. Then it travels all over the world to be delivered to your local shop, which is then brought by everyday ‘consumers. In that one act of buying coffee, we have travelled miles, and in that one sip we have participated in many political debates such as fair trade, exploitation of farmers, human rights that demand for better work standards, climate change and so on. With all green house gases produced making and transporting that same coffee, you cannot start your day without. We have moral responsibilities to understand the implications of our habits and our standing in the world. We are living in increasingly interconnected world where one needs to have their own stand on issues, have a grasp on change, on urbanization, on pollution, on human rights! We need to start noticing out impact and how we are connected in this massively complicated and crazy world, so I urge you read this magazine, and actually read it.

As, we have to become more aware citizens, therefore when you pass Laba Bhawan in Kumaripati, don’t just look at it is as just another building, but as a sign of the technological advancement occurring in Nepal, where a construction of an intricately thought out plan of a building to become more environmentally sustainable has been possible, think of it as a movement, a plea which highlights the urgency to think, to plan and detail different solutions to improve infrastructure and energy efficiency. When you pass a building with a rooftop in Jhingati Chhanas style, appreciate the historical context of it, the delicacy of its cultural heritage and most importantly the lives, the risks that generations of families have embarked on to continue this craft. When you visit Pokhara, wonder on how much it has changed, ponder about what sets it apart, what defines its beauty, but most importantly debate about whether we are ruining what is beautiful or preserving it. When you witness a new temple being built, art exhibitions being held, restoration of older palaces, support these artistic rebellions as we would be lost without them. That’s the beauty of being human, of having a conscience, the ability to explore unforeseen relationships, between population trends, societal constructs and cultural traditions. Therefore, enjoy on participating on becoming human.

Enjoy!

Ashesh Rajbansh / CEO

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NEWS

Synchronization of Thailand Nepal Art Exchange

E

xcitement and enthusiasm can be sensed when ten artists from Nepal gathered together at Tribhuvan International Airport. They were heading towards Bangkok to participate in Thailand Nepal Art Workshop and Exhibition 2018. To perform a new visual language to create paintings, the workshop was deeply formed in each of the artists: Jeevan Rajopadhyay, Uma Shankar Shah, Pramila Bajracharya, Sarita Dongol, Sangee Shrestha, Prithvi Shrestha, Samundra Man Singh Shrestha, Mukesh Shrestha, Meena Kayastha and Sagar Manandhar who participated on the exchange program.

Cultural and culmination of artistic venture is very much needed to develop the observation, and build up the thinking process of creative thoughts. Exchange of ideas and pictorial visual experiences are how every artistic personalities are

searching for the new platform- to enhance the work of art in this globalization era.

Wattanachot Tungatega, Coordinator of the workshop received the artist at Bangkok and waited for the next flight to Krabi, the actual venue for the workshop. Andaman Art Museum, Andaman Cultural Center at Krabi organized this exchange program for about thirteen artist of Thailand and ten artists from Nepal and E-Arts Nepal was the local partner for this event.The city of beads and the sounds of waves were even more interesting to look at. The city seemed silent but each and every steps taken in the city appeared lively with the creative perfection. Sculptures of different national artists from Thailand are placed on the streets. Importance for the imaginative and creative forms are highlighted which is a part of a respect to the art works as well as an opportunity to define the city with the balance of economy and art. Kind hospitality given by the Mayor of Krabi to develop the art and cultural sector was amazing. He was very keen to make the city more lively not only with the natural resources but also with the artistic intervention.

Each and every corner of the Andaman Cultural Center was furnished very well and standardized to put the cultural essence of Krabi.

Separate museum for beads and the collection of historical journey was well preserved. Another museum is of the artworks, where we could gather a taste of national and international artists from Thailand.

They have also collected the artworks from Nepal, Indonesia, Japan, India

12 / SPACES SEPTEMBER 2018

and some of the other countries.

Establishment of museums and gallery is not a big covenant, but to maintain its ambience and charge it with the aesthetical judgment- is what it really takes to control the heart of the viewers. That’s what made this particular museum so special.

Additionally, the care given to each and every paintings and placement of works with the compositional value was amazing. Excitingly, they are increasing the collections and more activities are in schedule to make it livelier.

Short presentations of the styles and techniques of the artists from Nepal was delivered with various information; the slides contained the short introduction of the artists and the analysis of paintings, videos form the Artists from Thailand were also shared with enthusiastic manner.

This was an interesting part for every creative personality; to share the ideas and knowledge apart from the paintings done at the workshop. On 4th August, 2018 the artists started to pour their experiences and emotional connections to the canvas. Workshop was conducted in the separate hall where all the artists worked in the same platform. The big hall was converted into the work of art and did not seem like the artists from Nepal and Thailand with different nationality were working. They were united and concentrated in their individual work ethics. Artists with the heart of creative affection were giving their best to acknowledge their skills and techniques. Some started with the key sketches and some with the splashes of colors on the canvas. These actions and planning of an individual

NEWS artist was worth to watch. For two days the venue illuminated the reflections of creative consistency. Exchange of colors, reloading the colors on the palettes, planting the colors on the canvas and the strokes were wonderful. All the art lovers would have wanted to be there, to viewto detail the process of the artists from the beginning till the end of the paintings.

Jeevan Rajopadhyaystarted to recollect the ideas form the ambience of Krabi.

The splashes of colors and beautifully balanced strokes reveals the path of his emotional experience, dialogue between the artist and the painting was also interesting to observe. The fluency of color and its vibrancy was interconnected with the final work of art.

Uma Shakar Shah's work delves deep into the controlled color strokes with a painting knife and creates an ambience of an imaginative cityscape.

The painting dominated by warm colors and city life can be visually experienced. He has connected himself up to his work to explore more imaginative forms.

Pramila Bajracharya's figural emotions make her own expressive language in painting. Textural value is well balanced with the controlled black lines which is also her personality of the creative process. Confident approach in the work while searching for her own individual perception revealed the beauty of the creative thoughts.

Taking a closer look at the work of Sarita Dongol, she explored the forms extracted from the nature. The rhythmic values and the extensive use of attractive colors reveal the beauty in nature. The forms seem to make a new way and dialogue between the objects and the subjective connection is interesting to visualize.

On the other hand the unique facial structure can be depicted on the work of Sangee Shrestha where the emotional attachment of human feelings can be glorified. Subdued color palette and meticulous details while working on texture made the work more powerful. The hidden message can be identified while approaching the work. A search for an identity and new experience can be detected from her imagination.

Talking about the metaphor and symbolic gesture Prithvi Shrestha created his own vision. Selfportraiture with meaningful symbolic relationship were incorporated in the work produced in the workshop.

The background was visually and emotionally balanced with the intricate small details.

Samundra Man Singh Shrestha painted Bhairva- traditional mask dance of Nepal. He captured the speed and rhythmic gesture of the dance with well-defined details.

Synchronization of the cultural forms and imaginative perception is captured in the work.

Imagining the traditional motifs of god and goddess Mukesh Shrestha painted Green Tara with his own individual aspects. The amalgamation of skill and contemporary practice can be sensed in the work. The lyrical forms and motifs interconnected with the detailed textural formation. The ambience of peace and rich traditional culture of Nepal is justified by the work.

Meena Kayastha transfers her own energy in the work that she created.

Divinity in the subject can be verified with bull as a main central attraction of her work. Small details add more panorama in her inventive process.

The sounds of waves, splashes of water and the environment of Krabi is depicted on the painting of Sagar Manandhar in ambiguous forms.

All artists enjoyed and carved a new source of energy from the workshop which ended on 5th August, 2018.

The exhibition of paintings created on workshop was inaugurated on 6th of August 2018. The workshop was exciting with all new experiences and the knowledge were shared among the participants on the event.

But there was another interesting episode of this tour, the chance to see the Museum of Contemporary Art (MOCA) at Bangkok. The building spread within two kilometers and need two hours to only glance at the work collected at the museum. It was thrilling and somehow surprised to see well maintained creative works.

Collection of sculptures, paintings and installation was huge and the importance given to the national and international category of Thailand artist was glorified. Big sized canvas and detailed sculpture filled new dynamism there was a want to stay more- communicating with the works collected.

The love and respect to the artists and care taken was amazing, it leads us to think the value of art in Nepal. Where we stand and how we should develop the artistic venture of the leading and youth force of the art world. Same respect and care is much more needed in Nepal if we want to further strengthen the art sector on Nepal.

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NEWS

Taragaon Lecture - SERIES 5

By Gautam V. Vajracharya

The Taragaon Museum has been conducting a series of lectures, since 2015, delivered by renowned personalities, as a platform to express and present their knowledge and opinions on themes of arts, architecture, development and similar intellectual subjects.The museum has more lectures scheduled in their upcoming Taragaon Lecture Series.

SADAN: The Five Petals

On September 2, 2018, acclaimed Nepali Sanskritist and scholar, Gautam V. Vajracharya delivered a lecture at the premises of the Taragaon Museum. The event was organized by “Taragaon Museum, Kathmandu” in cooperation with, “The Saraf Foundation For Himalayan Traditions and Cultures.”

The lecture titled as, “ About the life of a Newar Sanskritist and art historian” focused primarily on perspectives and influences of art and iconography found within the Indian sub-continent. Mr. Vajracharya’s presentation emphasized heavily on symbolism found within Nepali art and culture and the importance that these artworks hold towards the strengthening of the domestic economy. He goes on to discuss how Nepal is recognized in the global society for its staggering peaks and its lush and tasteful art and culture.

However, he further adds on how although Nepali and Indian subcontinental art is recognized for the vast array of symbolic knowledge and beauty it holds within it; these artworks have not been able to take hold of the a more international presence.

In his lecture, Gautam V. Vajracharya also gave us some insight into his personal life and experiences as he shares a handful of words on the life of a Newar Sanskritist and Art Historian.

On August 24, 2018 Classic Gallery hosted its maiden exhibition at its new location at Banglamukhi Marg, Patan. The exhibition comprised the works by artists Sabita Dangol, Anamika Gautam, Deepmala Maharjan, Anisha Maharjan, and Namrata Singh. Titled “SADAN”created by taking the initials from the first names of each of the artists, the word can be translated to mean “ a house of collective creativity.”

The spectrum of the exhibits dwells from themes of affection and love to pieces that voiced the unease and consternations of women in our society. Covering different perceptions of life through their works, the young women artists painted various themes onto their canvases. It may be compared to petals of a same flower coming together to create a more beautiful, bold and awe inspiring form.

The exhibition was inaugurated by veteran artist Madan Chitrakar, film maker and writer Prakash Sayami, and the owner of Fire and Ice Pizzeria Anna Maria Forgione. The exhibition will remain open until the 25th of September, 2018.

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NEWS

FULBRIGHT/HUMPHREY ALUMNI Experience Sharing-Workshop on Urban Issues in Nepal Nepal is rapidly urbanizing but the process has not been a smooth ride. On August 28, 2018, several Fulbright/Humphrey alumni and guests gathered at the United States Education Foundation (USEF) auditorium hall in Kathmandu to share their experiences on dealing with different contemporary urban issues.

The discussions ranged over a number of pertinent topics including the urban development strategies, road widening, urban flooding, sustainable water management, disaster risks, and preservation of historic neighborhoods. Lessons from the U.S. experiences were also shared during the workshop through talks featuring urban environmental problems and urban planning approaches. The presentations were followed by engaging rounds of discussions with active participation from the audience.

The program commenced with a presentation titled “National Urban Development Strategy for Nepal” by guest speaker Mr. Padma K. Mainalee, Deputy Director General (Urban) at the Department of Urban Development and Building Construction,who talked about the urban context in Nepal against the backdrop of two recent transitions in the country, namely transition from

rural to an urbanizing economy, and from unitary to a federal state.

Mr. Mainalee briefed about the policies, strategies, and investments necessary to leverage opportunities brought forth by these transitions.

Dr. Kirti Kusum Joshi, Assistant Professor (Urban Planning) at Institute of Engineering, Tribhuvan University and a Fulbright alum, presented on “Cities for Whom, by Whom?”, comparing the so-called benefits of road widening with the associated costs which are relatively less talked about.Stressing that roads should first belong to the pedestrians and not to the cars, Dr. Joshi argued that no city can be inclusive without its roads being inclusive in the first place.

Mr. G.P. Gorkhaly, an urban infrastructure planner and a Humphrey alum, also talked about road widening but from the perspective of compensation for land in his presentation titled “Urban Road Widening: With or Without Compensation”. Nepal’s planning laws such as Land Acquisition Act, Public Road Act, or Town Development Act have the provision of compensating landowners, but as Mr. Gorkhaly observed, some people, including urban planners, favor road widening even without compensation as they presume road expansion is

socially beneficial and therefore the government need not compensate.

He, however, opined that road widening without compensation is autocratic, which implies a direct violation of the rule of law and social justice, and is against the country’s constitution as well.

Many of the historic core areas or neighbourhoods of the Kathmandu Valley are experiencing decay and dilapidation. But there have also been some success stories in regenerating such neighborhoods through socioeconomic support. One of such stories was shared by Mr. Umesh Malla, a Humphrey alum in his presentation titled“Pro-Poor Urban Regeneration Pilot Project: Findings and Relevance for Historic Towns of Kathmandu Valley”based on a case study of Patan. Mr. Malla also shared examples of how cultural practices were revised as a part of urban regeneration.

Taking a brief break from the Nepalcentric urban issues, Ms. Nilima Shrestha, assistant expert at City Planning Commission, Kathmandu Metropolitan City and a Humphrey alum and Dr. Thomas Robertson, Executive Director of USEF-Nepal and a Fulbright alum shared useful lessons from the U.S. experiences in resolving some of the urban issues.

Presenting on “What I learned in the U.S.”, Ms. Shrestha highlighted the importance of community participation in city planning, citing ‘Imaging Boston 2030’as a great example.

SEPTEMBER 2018 SPACES / 15

NEWS

Dr. Robertson talked about “Cleaning up the Mess: How American Cities Have Addressed Air Pollution”, and shared how smog problems affected cities such as Los Angeles in the ‘40s and in New York in 1966 until they were solved through wise enforcement of regulations.

The next two presentations dealt with disasters. In his presentation titled “Understanding Disaster Risk in the Urban Context: Open Data and Risk Communication for Decision Making”, Mr. Anil Pokharel, Senior Risk & Adaptation Specialist at Plan8 Risk Consulting and a Fulbright alum, explained the concepts of hazards, exposure, vulnerability and risk, and outlined key priorities for risk assessment in Nepal given the

country’s new federal setup. He also highlighted key features of National Strategy for Disaster Risk Reduction and Management 2017-2030.

Dr.Meen Poudyal Chhetri, President at Nepal Chapter for Disaster Management, Professor at Institute of Crisis Management, and a Humphrey alum, discussed about “The Problem of Urban Flooding in Kathmandu Valley”. Urban flooding is a major problem in many cities around the world such as New York, Bangkok, Brisbane, and Hanoi. In case of Kathmandu Valley, the change in land use from farmlands (that used to hold rainwater) to impervious builtup areas is attributed to be the key factor contributing to increased urban floods.

As the last presenter of the day, Mr. Tyler McMahon, international advisor at SmartPaani Private Limited and a Fulbright alum, spoke on “SmartPaani and Merging Traditional and Modern Techniques for Sustainable Water Management”.

Mr. McMahon briefed about the current sources of water supplied in Kathmandu and explained how rainwater can be harvested in the urban areas to solve most if not all of the water worries while also recharging aquifers.

The workshop concluded with a group discussion on “The City Fix: Solutions” with a closing reflection by the organizers.

MANUJBABU MISHRA Veteran Nepali artist Manujbabu Mishra -renowned for his bold and unique approach to surreal and symbolic art, especially in his highly acclaimed Monalisa seriespassed away on the 8th of August 2018 at the age of 82. Mishra, who has had a medical history of high blood sugar, is said to have suffered from a cardiac arrest.

Manujbabu Mishra played a critical role in the modern Nepali art style and his untimely demise has left a gaping absence in the world of Nepali arts and literature. Mishra, who had remained confined to his residence for almost three decades, has left us with only his works ranging from his audacious takes on Da Vinci’s “Mona Lisa” to his most recent literary contribution Hermitage: Adhai Dasak Gufa ma.

Along will more than a dozen books to his credit.

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Manujbabu Mishra is survived by his wife, two sons and two daughters. The SPACES magazine family is shocked and deeply saddened by the death of such a prominent and esteemed contributor to Nepali art, and give our heartfelt condolences to his bereaved family.

NEWS

VISUAL EXPRESSIONS Recently, ‘Pagoda Group’: Nepalese Contemporary Artists Guild successfully organized an event titled “VISUAL EXPRESSIONS 2018. It was described as an ‘Inter-college Painting Competition cum Exhibition.’ The event was conducted for three days, starting from the 1st of September and was concluded on the 3rd of September. It consisted of works of 47 students from 26 different colleges. Out of the total 54 paintings submitted by the participants, three works were selected for the 1st, 2nd and 3rd positions from each of three categories in Masters, Bachelors and the +2 categories. Additionally, three works were chosen as ‘the most appreciated works’ for the

“Sushil Shree Kala Puraskar-2075”.

And each of them was honored as 1st, 2nd and 3rd – along with cash prizes of Rs. 15000. , Rs. 10000/and Rs. 5000/- respectively. These prestigious awards were awarded to Bidyaman Tamang, Madan Shrestha and Sudil Shrestha.

The entire event was supported by the “Sushil Koirala Memorial Foundation.” The event was formally inaugurated by the chief guest, Er. Atul Koirala, Member Secretary of “Sushil Koirala Memorial Foundation.” During the program, there was also the presence of Mr. Birendra Pratap Singh – a senior artist and Madan Chitrakar – a

veteran artist and the principal of Srijana College of Fine Arts. The awards were judged by a panel with Mukesh Malla and Mr. Sreejan Rajbhandari as the members.

It is learnt that the ‘Pagoda Group’ has organized the event with a strong belief that Art holds the power and has a responsibility in shaping a good society. So there is a great need to create and nurture new generations of art students. In this regard, the Group opined that competitions like this has a great role and crucial. It would motivate and attract young artists to encourage more to engage in creative activities where they would learn more by observing the works of their peers.

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CONSERVATION

POKHARA

Lakeside

Text & photo: Kai Weise

POKHARA WAS WILD, A FRONTIER TOWN AT THE FOOT OF THE ANNAPURNA MASSIF AND THE ENTRANCE TO THE KALI GANDAKI VALLEY. COMPARED TO THE SOFT GREEN LANDSCAPE OF KATHMANDU, POKHARA WAS GREY, RUGGED AND ROCKY. MOUNTAINEERS AND ADVENTURERS GATHERED HERE BEFORE CONTINUING ON THEIR JOURNEYS INTO THE MOUNTAINS. POKHARA USED TO BE WHERE ONE DROVE AROUND IN LAND ROVERS AND CLAMBERED OVER BAMBOO BRIDGES. LATER THERE WERE THE REGGAE BARS IN SMALL SHEDS THAT CROPPED UP ALONG THE LAKESIDE. MOST OF THIS FEELING HAS BEEN ERASED BY INEVITABLE URBANIZATION. HAS POKHARA WILLINGLY SHED ITS IMAGE OF ADVENTURE OR HAS IT GOT LOST IN UNCONTROLLED DEVELOPMENT?

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I

was sitting by Phewa Tal, where the boats are tied near Phewa Hotel. It was New Year’s eve heralding in the new year 1995. Music could be heard from the bars and restaurants along the main street. As the sun set, lights from across the lake began reflecting on the waves.

The atmosphere was serene and the messy lakeside hidden by darkness.

The lapping of the water against the boats and the shimmering lights reminded me of Lago Maggiore in southern Switzerland. I suddenly got inspired to try to plan the lakeside to ensure that it is protected from uncontrolled development.

The next morning I visited the recently elected Mayor and told him that the lakeside needed to be planned.

After some discussions I naively believed I had gotten him interested.

He mentioned that a environmental

CONSERVATION

project was being carried out by the Asian Development Bank. The project included a sewer line along the edge of the lake which would flow down towards Dam-side. I later heard that the project was scrapped due to the lack of gradient. Instead a drainage system solely dedicated for surface water was constructed that was discharged into the Phirke Khola which flows into the lake. This clearly had disastrous consequences.

Before the Jana Andolan of 1990 regulations were strictly adhered to that no construction could take place between the road and the lake. This was reserved as a green buffer. This was particularly important for the section between Pame and Tal Barahai island. In the lower parts of the lakeside this strip of land was captured by palaces of the royal family and the army. The deterioration began in the days of anarchy following the people’s movement where individuals profited from the situation and began construction in the restricted zone.

This was what was considered the freedom of democracy. By the time the government got organized too many buildings had already been constructed and it was not possible to use any heavy-handed methods to remove them.

A new building code was prepared by the nascent municipal authorities allowing controlled construction along the lakeside. It was decided that a green-belt of 60 metres would need to be left from the edge of the lake. Along either side of the road leaving 30 feet from the centre of the road, buildings of maximum 45 feet

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depth and maximum 15 feet height could be built, leaving a minimum of one metre setback from either side of the plot boundaries. In the remaining space between these buildings and the green belt 25% coverage with temporary structures would be allowed. This was to cater to the garden restaurants that had already cropped up.

The issue that arose here was the threat of process and vision being absent. Something was going wrong with the development along the lakeside. Instead of Pokhara developing the lakeside as one of the main tourist destinations in the country, there has been a scramble for individuals for personal profit, whereby the overall character is destroyed. There are several observations that can be made. The government doesn’t have the means to establish planning of such a critical area which should be considered a national asset. Donor projects only focus on individual sectors without considering overall planning needs.

Furthermore the individual land owner believes that ownership gives them

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the fundamental right to develop and profit from their land in any way they like. This has created chaotic development not only in Pokhara lakeside but also throughout many parts of the country. The potential of developing a tourist destination to an international standard is destroyed by those vying to profit from tourism.

A small group of idealistic architects calling themselves members of the Planners’ Alliance for the Himalayan and Allied Regions (PAHAR) gathered in Pokhara in July 1996. The group analysed the lakeside and the present trend of development. We then took a boat along the edge of

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the lakeside from Pame to Damside.

As we passed the Fishtail Lodge people on the banks were waving to us. We suddenly realized that they were trying to warn us and the boat was moving on its own. It was getting faster. Suddenly it struck us that the gates of the dam must have been opened due to the monsoon rains and we were being swept towards our definite end. We rowed like crazy and managed to get to the opposite bank just before the last bend in the lake. This was an ominous sign and clearly not auspicious for our planning. Hence none of our ideas ever materialized.

At the time what I proposed to the Mayor was to create a special planning zone along the lakeside.

Development would be carried out based on a physical development plan or Master Plan. The Pokhara Lakeside would need follow this plan taking into account the 22 / SPACES SEPTEMBER 2018

special characteristics of the place, environmental issues as well as restricted commercial functions that allow the land owners to earn from national and international visitors.

The big question was what kind of a place should be lakeside be? Phewa Lake was created by damming the river for irrigation as well as for power, with a plant that generated 1000 kW of electricity. The lake that was created covers an area of about 4.43 square kilometres, though this depends on the water level which fluctuates between 793.7 and 795.7 metres above sea level. I remember the lakeside as slightly stepped agricultural fields where they probably grew paddy during the monsoon season. To maintain this would of course have been a difficult prospect.

However the visual link between the lakeside road and the lake needed to be maintained. The area needed to be developed as a green park with trees, gardens and lawns.

It would still have been necessary to allow for appropriate construction.

Within this area it would have been possible to restrict such buildings to single storey light structures that provided various services to the visitors such as shops and restaurants. These areas could have been run by private parties with usage rights based on specific guidelines and monitored by the municipality. The lakeside would have been alive with leisure activities and a promenade along the lake. Waste, sewage and drainage would have been managed to make sure that the lake remained clean.

Pokhara was about swimming in the lake with greenery all around and a pristine view of the mountains.

There was the easy going feel of the Reggae music that so characterised the lakeside. First the Hippies arrived in the 1970s. They were followed

CONSERVATION

by the trekkers. Today Pokhara is a mix of many things. The lakeside is still immersed in Reggae music, desperately hanging on to the past but things have changed. The urban clubbing scene has taken over and the thumping of the bass vibrates in the jungle of concrete buildings.

Instead of a park the lakeside is covered with buildings, some in concrete while those with a slight conscience have built with bamboo.

Pokhara continues to turn its back on Phewa Tal.

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ARCHITECTURE

DIGI-CHHEN A space to meditate Text: Shreesha Nankhwa photo: Sanu Raja Vajracharya

TRADITIONALLY, NEWARI BUDDHIST BIHARS ARE NOT JUST A RELIGIOUS MONUMENT. AS WE HAVE ALREADY EXPLAINED SEVERAL TIMES IN THE SERIES ABOUT THE VAJRAYANA MAHABIHAR, THAT IS BEING BUILT IN THE SACRED LAND IN LUMBINI, BIHARS ARE LIVING BREATHING SPACES THAT HOUSES PEOPLE WHILE ALSO FACILITATING THEIR SPIRITUAL JOURNEY. TILL NOW IN THIS SERIES, WE HAVE ONLY TALKED ABOUT THE MAIN BIHAR COMPLEX. BUT, AN IMPORTANT PART OF A NEWARI VAJRAYANA BIHAR IS THE “DIGI-CHHEN”.

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A

Digi-Chhen is a meditation home where one performs Buddhist spiritual practices like meditation and yoga, the term Digi-Chhen composed of the words “Digi” which refers back to Diguli while “Chhen” means house in Newari. The practice of long term meditation is called Puras-Charan in Vajrayana Buddhism, within the Newari community, this practice is also called Diguli, both Puras-Charan or Diguli are practicing forms of Dhyana-Samadhi (meditation) or Yoga.

Meditation is one of the core practices of Buddhism. As per professor Dr. Naresh Man Baracharya, the President of Nepal Paramparagat Boudha Dharma Sangha, “if you remove meditation from Buddhism, it no longer becomes Buddhism. So, it is essential for Buddhist practitioners to meditate. Moreover, meditation is considered to be a personal activity so it is done secretly and privately and also occasionally done long term; hence all of these factors have to been taken in to account when constructing a mediation home.”

ARCHITECTURE

A Digi-Chhen is a house either built inside the main monastic complex or nearby within the greater monastic complex of Bihar, often built as a long stretch of building, it serves its own purpose and has its own specific architecture wherein the spiritual practices set it apart from other homes and buildings, moreover it is less artistically decorated compared to the main Bihar complex, mainly acting as a residential space its structures resembles a traditional Newari home as opposed to a religious monument. In the case of the Digi-Chhen being built in Vajrayana Mahabihar in Lumbini, the structure is being built into an L-shaped monument within the greater monastic complex.

A traditional Newari home consists of four storied, the lower-most Chheli, which is the ground floor. The two floors above Chheli are Matan ( Newari term for 1st floor) and Chotta ( the 2nd floor), which acts as the living and sleeping quarters.

The uppermost Baiga acts as a kitchen and dining area, which is then covered by the roof. On the other hand, a Digi-Chhen, is normally two or three storeys tall, the one being built in Lumbini is going to be three storied tall; containing a Chheli, a Matan and a finished attic.

In the Digi-Chhen, in Lumbini, the ground floor (Chheli) consists of a multipurpose hall that acts as a practice hall during the day and as a dormitory during the night. Any functions that occur in the meantime can also be organized in this hall.

The ground floor also contains a large kitchen that can feed 200-300

people. The ground floor is designed for group practices. The toilets and bathroom facilities are also located here and are adequate and separated for the sexes.

The Digi-Chhen provides a highly convenient place for Buddhists who are interested in long term meditation and Buddhist practices, hence both beginners and advanced practitioners are welcome in these spaces provided that have been defined for all who wish to stay and meditate at this Bihar. In some forms of advanced meditation, there are rules set in place that ensure complete solitude with no interaction with any other person.

This practice is also called “PurasanChone” in Newari or “Gufa basne”

- staying in a cave, a well-known term used then- hence for better ease and functionality in the modern era, the rooms on the first floor (Matan) are ideal for people who wish to continue this practice.

The first floor (Matan), at Lumbini, consists of fourteen rooms, which can be used as a private area for long term meditation by the practitioner, among the fourteen rooms available in the 1st floor, eleven of them are small (approx. 11ft x 11ft) and can accommodate only one bed whereas three of the rooms are larger in size (approx. 11ft x 22ft) where a small group can practice together. These rooms were all sponsored by different patrons who donated 5 lakhs for the

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Ladies Toilet

Room 1 (11'-0"X11'-0")

Room 2 (11'-4"X10'-9")

Room 3 (13'-4"X11'-0")

Room 4 (11'-0"X24'-0")

Room 5 (9'-0"X11'-0")

UP

UP

Gents Toilet

Common Space (25'-0"X15'-9")

Room 8 (13'-4"X11'-0")

Room 7 (11'-0"X24'-0")

D3

Common Bedroom (64'X28')

D2

D5

Room 9 (11'-0"X7'-9")

Room 6 (9'-0"X11'-0")

Store room 2'

D2

W1

7'

Dish wash

Room 10 (11'-0"X24'-0")

East Elevaton

Room 12 (11'-0"X9'-0")

D2

Room 11 (11'-0"X24'-0")

Room 13 (11'-0"X9'-0")

Cooking table

V2

Service counter

FIRST FLOOR PLAN

GROUND FLOOR PLAN

2'-6"

4'-11"

8'-7"

10'-5"

3'

9'-1"

11" 2'

3'

7'-2"

1'

D3

D3

6'-4"

3'-8"

TOP FLOOR PLAN

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West Elevaton

W1

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smaller rooms and 8 lakhs for the larger rooms. A stone inscription acknowledging them for their contribution will be placed in the room itself. There are personal donations as well as organizations that donated to the Digi-Chhen. Two of the organizations are America Nepal Traditional Buddhist Association (Maryland) and Canada Newa Guthi.

Finally, the attic also contains a small hall that acts as a dormitory, practice hall and a program hall. There are three other rooms in the attic that act as a place where small groups can stay and practice meditation. The roof is made of a traditional tile called “Ainpa Pau”, these are thin interlocking tiles that you might find in old traditional houses in Kathmandu valley. The interlocking secures the tiles to each other and helps the roof be waterproof. There is also a protruding structure in the roof, that looks like a small high dormer window, which in Newari is called “Bhauwachaa”, provides light and ventilation in the attic and in typical Newari homes, it’s often used to offer rice to the Gods outside the home.

The building of Digi-Chhen, in Lumbini, sites an importance in preserving and facilitating Buddhism and its meditation practices in Nepal. The building of a mediation home in the birth place of Buddha, these two factors work hand in hand to allow for a spectacular spiritual connection and pays homage to the cultural richness of Lumbini, by facilitating and allowing current practices of Buddhism to process there.

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ARCHITECTURE

LABA BHAWAN Text: Prabal Dahal

Project Title: LABABHAWAN Location: KUMARIPATI, LALITPUR Architect: ANJANA SHRESTHA VAIDYA Structural Engineer: ROCKY SHRESTHA Client: LAXMI SHRESTHA Construction Period: 2 YEARS Contractor: KRISHNA P. MAHARJAN Building Type: RENTABLE COMMERCIAL Number of floors: 5 + BASEMENT About the Architect: Architect Anjana Shrestha Vaidya completed her BArch from Kathmandu Engineering College and MSc in Energy for Sustainable Social Development from Pulchowk Campus. Proprietor of the firm ‘Sustainable Building Design Nepal’, she currently is a Senior Lecturer at Kathmandu Engineering College facilitating Design Studios along with teaching Design Theory, Building Construction and Green Building to aspiring architects.

Architect Vaidya also teaches at the Institute of Engineering, Pulchowk Campus.

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M

aking a bold statement on the streetscape of Kumaripati, Laba Bhawan showcases a beautiful sloping glass exterior framed by inclined metallic and vibrant dark orange elements.

Strikingly identifiable by its eyecatching projected roof, this building somewhat looks like a modern sculptural award presented to the site by the designer.

In the age of sustainability and innovation, Laba refuses to be just an ordinary building with ordinary characteristics. Along with strong emphasis on the building form to make it visually outstanding, the designer has put an effort on some exterior design features that add to the building’s environmental response. The main façade facing the southern sun is inclined inward so as to receive good amount of solar radiation during winter while the inclined canopy roof makes sure that the direct sun does not fall on the façade during summer when the sun is at a higher altitude. All the inclined elements of this building are at 15 degrees in varying directions.

The architect of this socially attractive and profitable building believes that while it is difficult to convince clients to invest in energy efficiency in a commercial project, it is an architect’s responsibility to carefullyplan, orientand create the form of the building to minimize operational energy.

Originally designed with an internal courtyard to allow for natural light, ventilation and freshness in the internal environment and the

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ARCHITECTURE

circulation area, 18 feet setbacks in the building byelaws of the site allowed for the various projection in this North-South elongated building.

The main 17 feet projected roofing canopy has been the center of attention for the people passing by since the construction began whereas the pergolas at lower level provide shades for vendors apart from creating dramatic play of light and shadow on the glass faรงade.

Likewise, an eight feet cantilever emphasizes the commercial space in the first floor level along with forming a porch like space welcoming the visitors. The high commercial land value of the site area guided the client and the architect to use the maximum ground for built form basically made using earthquake resilient reinforced concrete cement structural members, brick walls and metal design elements.

With the firm belief that functionality, creativity and uniqueness in design

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make our works prominent, the architect reports that the large glass windows on the south was designed to satisfy the client’s desire for a good commercial value.

The vertical poles originating from the projections at second floor level also add to the commercial value providing space for signboards along with making the form of the building visually stable. Of course, if one is to look at the building now, sign boards have been put haphazardly on the glass façade, which for an architectural eye, is quite a chaos.

It is undeniable that a good relationship between an architect, client and contractor easily guides a project towards success.

LabaBhawan is an excellent example of this type of relationship which has resulted in a really attractive building. The unique form of this building most definitely inspires architects to be creative with their designs and helps them realize that the technology in the country has developed its potential to support converting daring imaginations into reality.

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EVOLUTION

of Bathroom

History: In context of World

Text: Sumina Tha Shrestha

T

oday’s hygienic, comfortable and luxurious bathrooms are the outcome of the continued practice in civil engineering and changes in society.

While turning back the pages of history of bathrooms, the first bathroom dates back as far as 3000 B.C. Primarily, bathrooms were designed as per the demands, guided by the religion and culture based around them. The baths were designed far from the residential area which they believe prevents evil to come to their houses. Water was taken as a strong purifying element therefore it was a common practise to take a bath before entering a religious site.

During that time, taking communal baths were a part of an important social lifestyle. Such baths were located distinctly separate from the residential areas. Indus Valley Civilization is the first origin point for the inventions of communal baths, which shows a dedicated passion towards the technology on baths. Harrapa and Mohenjo Daro are the civilized 36 / SPACES SEPTEMBER 2018

ARCHITECTURE

cities, of the Indus Valley Civilization, during which the first modern bath was invented. Excavation shows they also used to have bathrooms in their individual houses with proper drainage systems. They used to carry a bucket full of water from a nearby well and the waste water were sent to a central drain which connects to a nearby river. The difference in the ancient times and the present is the gap between the bathing and toilet activities. The bathing activities gave inventions like public baths and private baths. Similarly, hygiene demands gave toilet designs with drainage facilities. The Great bath is one of the oldest bath built during Indus Valley Civilization and is located in Pakistan on today’s world map.

Baths have been recorded into two different categories; steam baths in Europe and cold baths in Asia.

Roman baths were specially designed with prioritization of the social interaction as well as a source of relaxation and rejuvenation. They were built in the form of large pools so that a large number of single sex people can gather together and enjoy their time. Usually baths were two types; public and private.

Public baths were owned by a public institution while only the wealthier group of people used to have their own bath. The baths often featured hot, warm and cold rooms, with some also containing steam rooms. One of the living ruins of Roman bath is Thermae Bath Spa in Bath, England which is partially reconstructed, lies in then part of Roman Britain.

But not all the baths during Roman civilization were in the “large pool”

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design principles. Bathtubs were also used by the Romans. The earliest recorded bathtub dates back to 1700 B.C. which hails in the Palace of Knossos in Crete. The civil and sanitary inventions show similarity to present modern models. Not only the shape and design of the bathtubs, but also the water distribution and plumbing around it were just as sophisticated as today. Also there was consideration of hot and cold water supply then; found from the excavation of Akrotori town, Aegian island of Santorini.

Wealthiest classes of Romans used public toilets as they could pay and use the toilets. But also portable pots were used at communal gatherings.

Bathing was recognized as a valuable activity for the Greeks and Romans and they used to take it as an essential part of living. It was taken as a strengthening and purifying activity, which can be evidenced from illustrations by many writers. Greeks thus had invented dedicated bathing spaces with ceramic bathtubs which included sophisticated drainage for its operation. The ancient Greeks were the first people to have showers. Their aqueducts and sewage systems made of lead pipes allowed water to be pumped both into and out of large communal shower rooms used by elites and common citizens alike.

These Roman styles bath houses had largely disappeared in the West during Medieval period but still continued its existence in mid-east, people used to call the places as “Hammans�. Among them, one of

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ARCHITECTURE

the surviving Hammans is located at Syria today which dates back to 12th century. Baghdad alone is said to have numerous such bath houses at that time.

Medieval Period came up with more advanced baths such as natural hot spring baths, rock baths and clay oven baths, the different style of baths were taken as therapy, known as Balneo therapy, for good health and wellbeing. Many such baths can be seen today in present Japan. The places are now known as “Spa” and are widely used for various health treatments. But the late mid-ages reintroduced the Roman styled Baths again, during that time; further enhancement in Roman baths was introduced. Public steam baths then were named as “Stews” and were popular for social interaction; people

formally call the place “bagnios”.

The first stew house was built on the south bank of the River Thames in mid 12th century. Mixed sex bathing, often with eating facilities were added. But later on these stew houses were ordered to be closed due the misuse of the place.

Stone seats above tall holes were used as toilets in medieval period.

The toilets were drained into moats.

Medieval castles in Europe were provided with such private toilets, also were known as “garderobes”.

British religious abbeys used to have communal latrines with several stone seats. The flushing toilet was first invented by John Harington in 1596. Joseph Bramah of Yorkshire patented the first practical water closet in England in 1778.

Easy access of water is the main reason for the cities and civilizations to be established and can be concluded because water is a very important element for any living creature in this earth. May it be for drinking purposes or irrigation or transport or others; that can be categorized into daily activities and for livelihood.

One of them is “nature calls” that demands hygiene. The bathing and toilet facilities used to be taken into two different perspectives - if we see the history. But have been integrated today into a single room and termed as Bathrooms in 21st century, this is the result of the demands of comfort, changes in society, technology and urbanization. Indoor plumbing, flushing toilet, heated water, water pressure, electricity and ventilation may be taken as granted in our modern bathrooms.

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Bathroom Partition

Spider and Canopy Fitting

Fence

ARCHITECTURAL HARDWARE FITTINGS

Sails and Rails

Spider Glass System ADITYA HARDWARE ENTERPRISES P. LTD. Stick on Door Panel

TRIPURESHWOR ROAD 44600 (Adjacent to Kathmandu Hospital), KATHMANDU TEL: 01- 4238064 E-MAIL: sanjay_kyal@yahoo.com

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INTERIOR

TRADITIONAL COMFORT boutique hotel

Text: Rajina Shrestha & Urusha Karmacharya

JUST A LITTLE ALOOF FROM THE MAIN STREET OF KAMALPOKHARI, IS NEWARI DACHI APPA BRICK BUILDING: A SIX STOREY ADAPTATION OF TRADITIONAL HOUSES OF THE INDIGENOUS NEWARI COMMUNITY, OF THE VALLEY.

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T

raditional comfort is a boutique hotel whose entire guest experience is built around showcasing traditional artistic features of Nepal. Mr. Shiva Dhakal, owner of the hotel, started this business in 2016 after gaining twenty five years of experience in the travel and tourism business.

The entire attempt has been on enhancing historic details with chic elegance, artistic adaptations are very apparent in the careful design of the building with: carved wooden pillars, beamed ceilings, and artifact decorations in corridors. An example of this is the carefully arranged set of three matkas (earthen pots) as you’re climbing to the first floor. They look simple but carry with it a heritage that is still in use in many parts of the country. When you peek closer into rooms, smaller details like the enlarged khasto (dhaka patterned cotton sandwiched between muslin cloth) for blankets and pure Nepali cotton curtains all reflect the tradition and heritage that is till date held onto dearly. The hotel partners with a local NGO working with single moms to decorate rooms in beautiful traditional shades.

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INTERIOR

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Offering 36 rooms in total- all deluxe, the hotel works with 36 full time staff members trained for top notch hospitality and dressed in hints of tradition. Even though all the rooms are deluxe, the features vary in terms of slight difference in size of the room and bedding installed which subsequently varies price. Boutique hotels are by definition, stylish, small and luxurious hotels with 10-100 rooms and most times than not, its Unique Selling Point- the Traditional Comfort’s approach- is to make you feel like a personal guest in a local private room.

When one enters the lobby, the space greets you with warm lighting, slightly unusual furniture and a silent ambience.

Some pillars in the lobby have traditional hand painted Buddhist art that have been designed with eye pleasing symmetry. This is a fine contrast from the otherwise Newari influenced design. The most interesting and unique feature here, is the semi open design. The glasses alongside finely

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INTERIOR

carved pillars serve a compound purpose of natural lighting, view, and closed space for air conditioning. This makes the space feel a lot more spacious, comfortable, and connected to the outside. The view, despite being just around the main street, is pleasantly of green land and carefully planted shrubs.

On the first floor is an extended lobby which is spacious and comfortable. It has both computers for the guests to work on and round spaces where guests can relax, meet in groups, or have meetings with outsiders. For official visits and groups with specific travel plans from agencies, is a small meeting room

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INTERIOR

for 15 people with screen and a round table configuration.

This floor’s most notable feature is the Gājhyā (a classic Newar projecting bay window) around one of the rounded spaces for gathering. Traditionally these kind of windows are seen in Newari houses that were used to watch Jatras and ceremonies.

The dining space adjacent to the lobby is less intimate and more of a eat together setting but compliments the bar alongside it. If one wishes a more intimate dining experience, one can opt for the terrace space. And if the terrace reminds you of one of the Durbar squares in the valley, it is because the place is spread out into tiny, cozy temple designs. While most hotels and buildings keep the terrace as a spare part; to plan for later or to store things, Traditional Comfort took that space making the best out of it. And to add cherry on top, the hotel is also putting together a second bar on the terrace for everything the guests might need.

Their dedication towards giving you the best Nepali experience also runs through their gastronomy. From high quality authentic cuisine, down to the complimentary coffee and tea for every in-house guests and the À la carte

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Breakfast service, the hotel uses quality Nepali brands that are famous among the more fancy local tastes. This combination when mixed with warm hotel lightings, luxury beds, and sharp hospitality creates the experience the hotel is trying to serve. The guests are also offered a free mini bar in an attempt of putting its best foot forward. This social approach is probably one of the most exceptional and unique quality about this hotel.

Additionally, Traditional Comfort also focuses on ensuring their design is environmentally sustainable, they don’t endorse the use of plastic unless it’s an absolute necessity, an example of such practice is when they place a refillable glass water bottle to discourage the use of plastic bottles except, for electronics, everything else in the room is locally made and sourced-for instance the door is made of waste wood. Even the bathrooms tiles are designed and installed with art that looks very similar to mithila art. The most prominent presence of ancient living style is probably the raato maato effect on the walls that are painted red on the lower half. The flooring of Teliaeet (traditional brick from Bhaktapur) doesn’t just add to the aesthetics but also makes most sense in terms of comfort and temperature control.

INTERIOR

In a market where the hotel industry is moving to be smarter where most of your confirmations happen over the phone, and people seemingly appear distant with their history, culture and environment, contrasting to this viewpoint the Traditional Comfort prioritizes human interaction, where every detail, nook and cranny is significant and is carefully planned out to create a seamless blend between the juxtaposition of modernity and tradition.

Overall, the hotel has a great deal of focus on preaching and practicing environmental sustainability and local heritage while bringing in a constant modern balance.

This amalgamation is careful, well thought out, and made very apparent.

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SMART CHOICE

RIGHT MOVES SMART CHOICE FOR

SEEPAGE VERSION 2 SEEPAGE IN YOUR HOUSE EQUATES TO GETTING A HUGE KETCHUP STAIN ON YOUR EXPENSIVE WHITE SHIRT. THE UNPLEASANT MESS TAKES A HUGE AMOUNT OF EFFORT AND MONEY TO GET BACK TO NORMALNEVER MIND THE DAMAGE TO THE FABRIC.

But what causes the seepage? While it sure can be monsoon and leaky pipes(Nepal receives around 1,200 mm of rainfall during monsoon season. While monsoon lasts about 100 days, this averages about 1.2 cm of water accumulation on your roof every day), here’s why your house might have gotten more prone to the wet, often moldy situation.

1. WEAK STRUCTURE Cracks on top or bottom of the slab cause major structural weakness. It makes it easier for water to pass through the floor.

Cracks on support can also in turn result in structural damage on the slabs. A big reason for this can be incorrect water cement ratio.

2. BUILDING MATERIAL Poor quality of materials- particularly of RCC structures will in turn result in a lot of different issues like a weak structure, too porous, or too stiff concrete.

Looking for quality material down to branded cements can make a huge difference. When using building materials like sand, the mud

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particles need to be washed out. Your bricks shouldn’t have more than 20% absorption.

Other materials that aren’t as obvious are porous plasters, mosaic tiles(that aren’t waterproof), poor quality paint.

In fact, often in effort to solve problems, we can end up making it worse. Using exterior emulsion paints do not allow the moisture to escape or migrate to other places can trap the already existing moisture on your wall and cause damping and damage to the finishing. Look out for paints that are vapor permeable!

3. WORKMANSHIP Building a house is expensive and a huge portion of the cost is manpower. While it might seem like a good area for budget cuts thinking, it’s just unskilled labor, inexperienced and negligent workmanship can end up costing you more. If the portions of aggregates were not correct, or vibration wasn’t applied well enough, or compaction was poor, it can result in hollow spaces and cavities on or inside the concrete. Because it looks like a honeybee’s hive, it’s also called honey combing.

SMART CHOICE

Especially on surfaces like terrace and roof which receives rain, improper gradient or slope causes water stagnation. Instead of being drained out through pipes, they will stay on and weaken your slab over time as it gets absorbed. So it might be worthwhile to ask your engineer, designer, or contractor to recommend quality workers.

4. DESIGN FLAW If your architect/structural engineer didn’t do their mathematics for structural requirements for the design, it can cause in overload for the building and ultimately weaken your structure. More often than not, it can happen if you do not involve a qualified architect or engineer in the process.

5. DEFECTIVE WATER PROOFING First of all, we cannot stress enough on use of skilled manpower. Waterproofing can be a tedious job and will require patience and consistency. One of the major areas where it can usually fall apart is the lack of proper coping. The junction between your terrace and parapet walls isn’t waterproofed carefully, it creates an easy space for water to slide in.

Alongside, other high potential areas like under the sink, roof slabs, near and around water tanks need to be highly prioritized and water proofed under supervision. Needless to say, branded products are in general more quality than others.

6. WALL BREAKAGE If you end up making holes on your walls for gas pipes, or AC, or Chimneys, make sure they’re sealed up carefully without scope for water absorption.

7. AGE Materials will eventually age. Especially if it is prone to weather influences like sunlight and rain, it will ultimately deteriorate and require frequent renovation. Older houses are therefore more prone to seepage and other damages.

But you may not always build a house.

To save time or given a good opportunity, you could also end up buying a property.

But if you paid a huge amount of money to buy new shoes and found out the soles were damaged inside and you can’t return it, you’re stuck with it forever.

The stakes are higher when it’s a house you’ve bought.

Especially if they are commercially built houses, they could be built with economical ways that includes all of the opposites of what we’ve discussed.

Before moving further, find the state of reputation of the contractor, engineer and what the condition of older houses they built have been. It can be very helpful to ask them specific questions on their waterproofing process in specific places, the brands they used during construction to know their work quality and experience.

To be safe than sorry, you can opt for various tests of the building. Initially, you can take a look, try scraping of plasters and if any seepage is currently visible. A Non-destructive testing of concrete will let you obtain the compressive strength and other properties of concrete. It can consist penetration tests, rebound test, pull-out techniques, dynamic tests, radioactive tests, and maturity concept.

Examples include Schmidt hammer (Swiss hammer/rebound hammer), a device to measure the elastic properties and strength of concrete and penetration resistance. Ultrasound tests measures the time of travel of an ultrasonic pulse passing through the concrete to measure its strength. X-ray testing can test welding of metals. You can and should also opt for a structure test through an experienced engineer.

It might sound like a lot but a house that wasn’t built well is very hard to correct.

There are a lot of trials and errors involved in fixing and will end up being long and costly. And if the damage was in concrete strength, it is virtually impossible to fix. And no one wants to keep fixing broken things. Like the wise old people said, prevention is better than cure.

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ARCHITECTURAL PROCESS

Kalagaon Text & photo: Anne Feenstra & Sapana Shakya

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ARCHITECTURAL PROCESS

USER FRIENDLY APPROACH

Influenced by the knowledge of her university degree in Bio-diversity from the UK, Kala Gurung developed a keen professional eye for ecological hotspots once she was back in Nepal. At a younger age, her understanding of the complexities within flora and fauna had already naturally developed while growing up in Central Nepal. Her parents still live there, in Pokhara.

More recently, her husband George Varghese had been roaming the lands, high above the lakes of Pokhara-Leknath, for a few years.

He kept on looking for a site, where the family could make a home that would be surrounded by the outdoors and yet comfortable enough for their family of five.

To design something well is to also fully understand who we design for.

Numerous dialogues and discussions with Kala, George, their children and the grandparents helped us to paint a clear picture of how the future home would be used. Conceptual sketches, 3D modelling and physical models as a medium were used to best convey our ideas to the future users. The design process was a constant back and forth of receiving feedbacks.

DESIGN WITH NATURE

The first time I got to know about the project I would design with Prof. Anne Feenstra, was when he returned from a long weekend trip with his wife to go sailing on the Phewa lake. He vividly shared his first impressions.

He had gone up from at 742 m. altitude to the site. The rickety taxi,

had picked up Hari, a local nature guide who had been instrumental in finding the new land for Kala and George. Anne and Hari, had walked up the last twenty minutes on a wide path. The two small existing buildings, a house and a storage, were made from local stones, mud mortar and timber. They blended in well with the natural settings. Situated at 1350 m. altitude, only the roof seemed an alien element as it was clad in unassuming corrugated steel sheets. With his trained senses, Hari spotted three Asian Paradise Flycatchers. Anne could only see one, when it took off in a graceful undulating flight, its two silvery white long ribbon tail feathers dancing in midair.

Given the background and preparations of both George and Kala, it did not come as a surprise

that the land they selected to purchase in 2015 was stunning.

The ecological richness came with the terraced abandoned farmland, surrounded on three sides by light deciduous jungle. The North-West facing spot overlooks the majestic Annapurna Range, shooting up 8 km above sea level. In the range, the dramatically beautiful Machapuchare -also known as Fishtail- stands out.

On my first visit, I did a proper survey, took measurements and started a careful assessment of the existing situation.The footprint and orientation of the house and storage were excellent.In the design principles, capturing the inspiring environment and views without compromising the comforts of a home, was the quint essential balance that I had to find in an architectural solution.

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What was crucial for the design process is that I spent ample time on site in different times of the day in different seasons. Within the Sustainable Mountain Architecture team, we believe it will be important that the first rays of morning sun, the changing local wind directions and the best views towards the snow clad Himalayas were understood. In the design, we provided five subtle apertures in the roof so the blue-ish moonlight is allowed to enter the house at night. We call it Design with Nature.

OPEN DESIGN PROCESS

Over a period of a year, the design ideas, the environmental approach and logistical phasing strategy were being worked out with Kala and George. The initial thought of a transformation process --were that the two small existing buildings would become a part of the newfangled composition-- prevailed.

The existing storage became the family bathroom, while the existing house offered enough space for the new kitchen and one bedroom.

The North, East and West side of the existing house would get a new structure; a double-height space for living, playing, eating.

The spatial composition revolves around this newly created 4.7 meterhigh area. Natural light flows into the space, bringing the lush landscape and grand sky inside. We designed all the spaces from the inside to the outside. The kitchen opens itself completely and a mezzanine is inserted. For the balustrade of this inserted upper floor, up-cycled climbing ropes from mountaineering

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expeditions is used in an innovative manner. The traditional and comfortable Telia floor tiles naturally extends towards the Northwestern views into a timber outside deck.

When much of the design was being finalized, a detailed physical model in 1:50 scale was prepared. During the model making process, the design

further improved considering the level of details of flooring patterns, rethinking window glazing and amount of daylight entering the building. The model dramatically helped to better visualize the spatial qualities and material finishes proposed. One of the young daughters liked the scale model so much, that I would not be surprised she’ll become an architect herself.

PHILOSOPHY OF TRANSFORMATION

One of the great advantages of respecting the existing footprint of the original buildings is that we have been able to make a design that truly has a responsible dialogue with the natural environment of the place.

Prof. Anne Feenstra’s experience in deeply understanding the inbuilt sustainability in design helped a lot. We choose for locally chiseled stones, a lime improved mud mortar instead of an industrial cement mortar. The roof has Nepali slate tiles on a layer of thermal insulation.

As we refused to cut down large trees for the main beams and columns, we started a dialogue with a steel from a Pokhara. After some mock-ups, they were able to reach the quality

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of a fine-detailed finishing that suits a residential ambience. The house has ample timber finishing in pine wood planks. Additional indigenous trees have been planted, while new climbers and plants will be placed carefully around the house. The studies of the watershed and the unique asymmetrical roof design, encouraged to make the rain water run-off calculations. This made it possible to come up with a water harvesting strategy by Nepali experts.

The new transformed spatial composition is earthquake resistant.

All doors and windows have double glazing, so once the sun has warmed up the house, the energy will stay inside. The thermal insulation of the roof adds to keeping the house warm in the winter and cool in the summer.

The natural cross ventilation ensures there is no need for energy guzzling airconditioning.

MAKING ARCHITECTURE

For transforming the design into built form, I realized I had to use all my previous experiences on building sites. My Masters in Construction Management came in handy as I was able to ask the right questions about planning and preparation to the construction team. Sustainable Mountain architecture team normally works in close collaboration with the actually builders.

For this project we had selected a local civil works contractor and the earlier mentioned Pokhara-based steel company. As some of the steel beams and columns are embedded in the stone wall masonry, the steel fabricators and masons had to co-ordinate and cooperate with each other.

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For the steel fabricator team, as shared by them on site, this is a small project for them. During one of my site visits, a steel worker told me; “this project is very interesting as the hinged joints look like the joints in a knee or an elbow�.

For the slate details we worked with slate builders from Bandipur. We had mockups being made and thanks to

their suggestions, we could make some improved details.

Working together and getting feedback from the craftsmen and skilled labor on site is essential for us as designers (architecture, landscape or structure). The shared process of making architecture in a truly collaborative manner, will make us better designers.

DRY IN THE MONSOON

On one of the earlier site visits, with Himanshu Lal and Laxman Khanal, we all got drenched in a massive Pokhara rain. The project site, with nearly 3000 mm of annual precipitation, is one of the wettest areas in Central Nepal. We clearly understood that especially the monsoon period would pose a challenge during construction.

As soon as the steel structure was up, we covered the whole building with a massive umbrella of Silpaulin sheet tied to bamboo scaffolds.

It worked well as a protector for the construction workers and the building.For the building contractor it was a small extra investment with great returns as it kept everybody happy. And, not unimportant, it also will make it possible to complete the project as planned.

ARCHITECTURAL DESIGN: Prof. Anne Feenstra, Sapana Shakya, Shyamli Dongol STRUCTURAL DESIGN: Laxman Khanal, Prof. Anne Feenstra, SCALE MODELS: Shuvashana Pradhan, Arpana Shakya, Pooja Jha and Manisha Sah. SITE INSTRUCTION & SUPERVISION: Himanshu Lal, Sapana Shakya, Laxman Khanal CONSTRUCTION: Bisesh Thapa STEEL WORK: Deependra Bastakoti WATER STRATEGY: SmartPaani

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ARCHITECTURE

ARCHITECT OF

Jhingati Chhanas Text & photo: Manjari Pradhan

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ARCHITECTURE

THAT WON’T NECESSARILY HAPPEN IF YOU’RE MORE CAREFUL WHILE WORKING, CHHĀNĀ BĀJE WAS ADVISED.

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ARCHITECTURE

P

opularly known as the Chhana Baaje for his love, expertise, and care for Jhingati Chhanas, Bāje hadn’t shown up to work for the last six months after his coworker had met a tragic accident; his coworker, while carrying on with his regular maintenance duties with the Jhingati Chhānā, had unfortunately slipped and fallen from the roof-top which cost him his life.

Chhānā Bāje had been experiencing a post-traumatic stress disorder – “What if the same happens to me?”

Yet, after the advice, he summoned his faith altogether again – and even today, he continues risking his life every day, taking care of the Jhingati Chhānās, a responsibility once handed over to him 15 years ago by his forefathers which is now his sole occupation.

Yet, as demonstrated in the recent renovation methods used for the Kirtipur tower and other rooftop in the periphery of Lohan Chowkin Hanumandhoka Durbar Square, it can be easily noted that there is a steeping trend that favours the use of such metallic/plastic alternatives over the use of the traditional Jhingati technologies for many rooftop structures. The reason for such a preference is understandable: Jhingati Chhanas have their own distinct set of problems. With Jhingati Chhanas, grass/weed extensively flourishes, rainwater consistently seeps, and the bricks themselves have higher vulnerability to being dismantled by the monkeys from the neighborhood, effectively making the metallic alternatives seem like the superior choice for restorative purposes.

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While such metallic rooftop alternatives do, in fact, seem lucrative at first, it can, however, be accepted that they are not completely free from drawbacks either. For starters, they are inherently more expensive than clay; their lack of local availability also forces us to depend upon foreign imports for the conservation of our own historic infrastructures. Similarly, they also lose their luster and shine due to the constant effect of rain as well as sunlight. They glare/dazzle due to the effect of sunlight which is why they are not aesthetically interesting or preferable or unique like their Jhingati counterparts either.

But an even more important consideration is still required to be

made – if we continue replacing our ancient technologies with modern ones, our traditional bricks/soil with modern cements/mortar, in the name of conservation, restoration, or renovation, how will our traditional infrastructures survive to safely preserve their uniqueness which got them enlisted as World Heritage Sites in the first place? The issue here, at the heart of the matter, is not about practical usability or benefit, but rather about our identity, our culture, our tradition, our history, and our uniqueness altogether.

It is not so that our forefathers opted for the use of Jhingati Chhanas because other metallic alternatives were scarce – our deities’ idols, our

ARCHITECTURE

alternatives, guaranteeing a clean, consistent, and cohesive look regardless of whether it is sunny or rainy. Moreover, such a design has been deeply incorporated into other various traditions and customs of the Newar community; take, for example, the Bhawpwacha that is used to offer rice to the deceased ancestors everyday. There are endless reasons why Jhingati Chhana technology is still pertinent to our traditional architecture.

traditional utensils, as well as our historic jewelleries all extensively used alloys of various precious metals. However, they still chose to implement the Jhingati Chhana technology for the rooftops because there are also a lot of practical benefits associated with using a system that inherently benefits from the properties of a cheap, abundantly available natural clay. Unlike their metallic counterparts, rooftops designed with mud/soil have the ability to regulate the temperature inside the buildings naturally based on the weather outside – thus, making buildings more humid as well as hospitable for the residents inside. Likewise, they also serve an aesthetic purpose: they do not easily glare or dazzle like the metallic

In an era where historically recognized difficulties associated with the use of Jhingati Chhanas can easily be rectified using modern technologies, it would be highly unwise for us to abandon such a unique feature of our traditional architecture completely in the favor of their modern alternatives.

Quality checks can be put in place for the clay used in such rooftops.

The use of ‘virgin-soils’ that have no traces of plant seeds can be used. The clay can be treated with related effective chemicals and sufficient sunlight beforehand.

Likewise, the water seepage problems can be treated by the use of other related chemicals that help absorb moisture. While the problems caused due to monkeys dismantling the bricks may not be easily solvable by using such technologies, should we have the support and availability of the skills and the craftsmanship of Chhana Baaje and his team at our disposal, we will definitely be able to keep the problem in check through routine maintenance.

In fact, there should be additional physical security systems (say,

for instance, through the use of trampolines and safety nets) as well as economic security provisions (say, for instance, through emergency relief funds and insurances) set up for Chhana Baaje and his team who are rare, highly specialized Jhingati Chhana experts in their own regard. A routine maintenance of Jhingati Chhanas would have never been possible if it hadn’t been for their courage and dedication to undertaking such a risky responsibility every new day.

No matter what, the fact remains that Jhingati Chhanas are quite expensive for common people to afford and employ in their homes. As such, it is forevermore crucial that conservation efforts for such historically unique features be launched right from the governmental level at a national scale on these crucial locations that have gained international recognition as World Heritage Sites. Only then will we be able to truly support our country whose economy so greatly benefits from such related historical/ cultural tourism prospects. Only then will we be able to protect our identity, our uniqueness, our history, our culture, and our tradition – our complete essence in that regard.

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ART

Lord Buddha in deep meditation – by Mukesh Shrestha, 2017

VISUALS FROM

Buddha’s Life: THEN AND NOW

Text: Madan Chitrakar Photo: Bijaya Maharjan

IT’S BEEN MORE THAN TWO THOUSAND AND SIX HUNDRED LONG YEARS, SINCE LORD BUDDHA OR SHAKYAMUNI - A MORTAL, WAS BORN IN NEPAL, AT LUMBINI. NO ONE KNOWS FOR SURE HOW HE LOOKED LIKE THEN - WHEN HE WAS YOUNG OR OLD. OR HOW WERE HIS STRUGGLES OR THE SEQUENCE OF EVENTS ACTUALLY HAPPENED - AS HAS BEEN TOLD IN THE NARRATIVES. NO ONE KNOWS. BUT TO THIS DATE, WHENEVER THE FOLLOWERS OF BUDDHISM OR THE DEVOTEES NEEDED TO IMAGINE HIM OR THE EVENTS FROM HIS LIFE, THEY WERE AND ARE LED TO IMAGINE THROUGH THE WORKS OF ARTS, INCLUDING THE LOOKS AND THE CHARACTERS, SETTING AND THE ACTIVITIES. THROUGH ALL THE AGES, SUCH VISUALS IN FACT, HAS HAD ALWAYS BEEN IMAGINED AND CREATED BY THE ARTISTS ALONE.

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I

n Nepali tradition, art depicting the events from the Lord’s life first appeared in 11th century – quite a long time after the actual life and death of the Lord. But when it appeared, the art - the visual narratives – was found divided into ‘the eight principal events’. In the visual narratives thus, accordingly, almost always began with the scene of his birth, act of his renunciation, in deep meditation, scenes of demon Mara’s attempts to distract him from his meditation, scene of his attainment, the first sermons and ended with his departure to his heavenly abode or the death. Since then unmistakably, the sequence remained not only the routine narratives but also the iconic imageries from the Lord’s life.

In Nepali Art, the earliest appearances of Lord Buddha’s life, as said earlier, are found dated 11th century, reasonably long after the Lord’s demise. But by then, the philosophy of Mahayan – the bigger wheel or the second phase of Buddhism was already in great rise – and multiple forms of imageries of Bodhisattvas or various forms of Lokeswors had well appeared.

ART

Many of the principal events from the Lord’s life were painted as the covers of manuscripts and in lesser numbers in inside folios of ‘Asta Sahasrika Prajna-paramita’ – associated with the cult of Mahayan or the bigger wheel.

It meant, in all likelihood, it was made so – more as a show of respects to the Lord than as an integral part of the rituals or the faith. As the available documents suggest Nepali artists – the Newar painters yet continued to focus or create the narratives until the 15th century. Then after, it seemed visibly the public interests on the narratives of mortal Buddha’s life waned considerably. The dominance of Mahayan in art was hard to miss.

So was the continual presence of art based on more esoteric Buddhist cult – known as Bajrayan. The rise of powerful Shakta cult during the period, also explains the waning popularity of art based on Buddha’s life. Precisely is the reason many of the exquisite works in Paubhas or vertically hung scrolls and in Bilampus – horizontally hung scrolls essentially more focused to the later phases of Buddhism. It meant lesser number of arts was found totally devoted the lord’s life - as the central theme or as the elements.

Renunciation of Princely life – an interesting work by Chandra Man Maskey, 1956

the prescribed notion of eight events.

But the changes they produced were phenomenal - and were found in their own contemporary medium and the setting, not to mention the changing artistic style. In the following lines, there are attempts to see a comparable study on how the artists differed in between – ancient and modern times – perception of the same events: and of course, the changing style in presentations.

IMAGERIES: THEN AND NOW

First let’s give a running look on how the changed imageries, beginning with the early manuscripts – dating 11th century and later. The visual narratives here, essentially begun with a scene from the birth of Lord Buddha. In the illustrated cover, Queen Maya Devi – the mother of Prince Siddhartha- a given name of the Lord before he attained Buddha hood, is seen holding of a tree

Amazingly enough, however, it was only during the second half of the 20th century Nepali artists began to rediscover interests, after a long gap: and began recreating art based on the life of Lord Buddha. Interestingly, even after such a long gap, artists began to imagine the narratives as based on the earlier concept of ‘eight principal events’.

Occasionally, mainstream artists began to explore and express within

Feeding milk to the Lord – by Chandra Man Maskey, 1956

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ART

(From Left to Right) – Prince Siddharth leaving for forest, Mayadevi giving birth to Lord Buddha, Lord Brahma welcomes Lord Buddha taking his first seven steps. (All the paintings are from 11th century manuscripts known as ‘Asta Sahsrika Prajna-paramita’).

branch as a support while giving birth to the Lord. And this body posture of the Maya Devi to depict the scene – imagined so early, remained almost immortalized, continued to be followed by artists of every generation, right up to the present times.

Here she is presented as a young woman – still desirable with sensuous physical features – set in a total green wood like environment. As the Nepali Painting remained still highly influenced by the Pala School of north India, during the period, one can see the strong influences in simplicity in lining the subjects and in the

depiction of the drapery. Very close to it, there’s also an iconic scene of the Lord - taking seven miraculous steps, immediately after his birth.

Here the Lord, as a just born boy, is shown standing above layers of lotus –petals. Interestingly, the way he is presented is found – emulated by later artists for a long time to come. More importantly, almost in every picture the lord is shown being greeted by the trinity of Hindu pantheon – including Lord Brahma, and also Indra, the king of heaven.

A scene depicting the Lord as Prince Siddhartha renouncing the earthly

pleasure or leaving his palace for good also remained an integral part of his narratives. Artistically however, richer presentation is found – in scene with demon king Mara making attempts to distract Lord Buddha from his deep meditation. An interesting image is provided in the texts - as an example – in a square like composition, there’s a presence of angry demons seeking to intimidate the Lord. A colorful picture with interesting forms and colors, it presents an excellent example of imagination and workmanship achieved during the period. Yet a scene, unmistakably found in every narrative is the depiction of Lord

Principal events from the Lord’s life – by Mukesh Shrestha, 2017

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ART

Buddha reclining – as if making a final departure from the earth. The scene almost always constituted as the concluding part of every narrative – meaning that finally Lord has attained his ‘Nirvana’ – the final salvation.

Maha Pari-Nirvaan – the demise of Lord Buddha

by Mukesh Shrestha, 2017

Demon Mara – with his legions, attempting to distract the Lord by Mukesh Shrestha, 2017

In style and in presentations, apparently, the artists then laid the primary focus on to narrate visually the story in the simplest manners possible – with least possible distractions other than the needed in the story. It explains the use and stress in flat colors - with obvious bold outlines.

ART ON BUDDHA’S LIFE: MODERN TIMES

Fast forward to the modern times, during the early part of 20th century there’s been a visible resurgence of artists’ interests in creating imageries from Buddha’s Life. One of the pioneers of modern age in Nepali Art, Chandra M. Singh Maskey painted an iconic series based on Buddha’s life. Although created as illustrations for an epic “Sugat Saurabh” – penned by renowned poet Chittadhar Hridaya, the series independently, proved to be one of the best works of the Master painter in the annals of Art here. Painted in water colors, Maskey imagined the life of Lord Buddha totally in the local setting – often revealing his profound love for his country and the medieval Valley civilization.

In one painting, a shepherd is seen feeding milk straight from a she-goat to the lord – in deep meditation but rendered weak because of a long hunger. This work

Demon Mara with his followers - Details from a folio of Asta Sahasrika Prajna

herald a new age in the art of visual narratives – rendered with proper understanding of human forms and a hilly background. Unlike in the earlier works of 11th century, one can enjoy the beauty of nature with proper light and shade works – to suggest the depth and dimensions.

Yet one more example of artist’s love for the contemporary times is a scene where the prince Siddhartha on a horse back about to leave his palatial luxuries – described as ‘Renunciations’. Here artist Maskey depicted the scene of the palace so close to the palace courtyards of historic medieval durbar squares of the Valley.

MUKESH SHRESTHA: A LONE STORY-TELLER

In the modern times, Nepali Painting seems well enriched by an impressive growth of multiple thoughts and styles. In addition to the continual growth of modern thoughts, there has also been a great revival of interests on traditional school of painting – known as Paubhas. Many artists of younger generations are found fascinated with the intricate contents, colors and the styles associated with the earlier tradition. As a result, there’s an impressive presence of young artists engaged in Paintings – resembling with the historic style and contents.

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ART

Three different phases of Lord Buddha – by Mukesh Shrestha, 2017

Yet strangely enough, there’s been a very few who are keen to work on the visual narratives based on the life story of Buddha’ life. In this regard a prominent name and standing tall, is Mukesh Shrestha.

Albeit he is groomed in modern art education, amazingly, Mukesh is found consistently in the depiction on the life story of Buddha. This is considerably after a long time earlier painter Chandra M. Maskey created the masterpieces as described above.

So what makes Mukesh’s narratives still relevant and interesting today when philosophy of making art has taken new heights, let’s give a glimpse on his visuals. As said earlier, theme wise, ‘Lord’s Buddha’s life’ is not a new subject. It has very ancient roots – taking us back to early medieval times. But the way, Mukesh has been putting it all in his visuals, is different and connects to the present – arrangements of needed elements, the style mixed with experimental techniques.

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As is natural, the principal elements are all human forms – but by utilizing his academic background, Mukesh has cleverly made an amazing fusion of traditional Paubha style with the basic tenets of western style – with needed play of light and shade effects. Secondly, his composition of elements in the setting as the episode demanded has remained. Interesting examples recur and galore in number of occasions. Glaring examples include a scene from the Lord’s birth episode. In the work, as has been seen in the archaic model from the earlier times, here too the mother of would-be Buddha, Maya Devi is taking support of a branch of a tree, attended by her maids. Here the similarity ends. The style and setting is totally connected to the present. In the backdrop, a viewer would notice an image of recently built physical structure – to protect the archaeological site where the Lord Buddha was actually born.

Moreover, the human forms are shown surrounded by birds and nature in a very pleasant color scheme. What’s more, to give an antique look, the artist has provided a peeled off plaster look here and there.

Other features of his unique style of painting is found in the depiction of his meditation, Mara’s distractions – supported by dreadful demons, at the same time in seductive seminude female forms – the nymphs.

More interesting its imagination to top the entire composition is the inclusion of an actual shrine from Lumbini – where the Lord is believed to have been born.

Conclusively speaking, this kind of experiments in visual narratives is unique and Mukesh’s vision deserves critical appreciations. For sure it adds a new dimension in the making of a new facet in Nepali Painting as a whole.

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INTERIOR

Role of COLOR in

landscape architecture text : Ar. CHHAVI VASHIST

COLOR IS A LANDSCAPE’S MOST CONSPICUOUS ELEMENT. COLOR HAS THE POWER TO PULL A LANDSCAPE TOGETHER OR THROW IT INTO CHAOS. THE SAME HOLDS TRUE FOR INDOOR PLANTS AND THE VESSELS WE PUT THEM IN. IF YOU’RE NOT AFRAID OF COLOR — AND THERE’S NO NEED TO BE — CHOOSE A BOLD SHADE THAT ECHOES A COLOR FOUND ELSEWHERE IN THE ROOM. HERE, YOU WILL FIND SOME IDEAS ABOUT PRACTICAL APPLICATION OF COLOR THEORY IN LANDSCAPE. AND, HOW TO USE OF REDS, PINKS (A TINT OF RED), YELLOWS, BLUES, PURPLES, LAVENDERS (A TINT OF VIOLET) ORANGES, WHITES AND SILVERS ETC. IN YOUR LANDSCAPE DESIGNS?

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INTERIOR

IT

is true; a well-landscaped yard surrounding a brand new home is a beautiful sight. Not only does it allow you to feel more at home, it will generate compliments from family and friends. Moreover, though those are both excellent things, they are certainly not the only benefits landscaping provides. The landscaping adds significant value to your home. The primary goal is to merge the home with its natural surroundings to create a sense of place. We want to avoid the feeling that the house was literally dropped out of the sky onto the ground. Whether we plant evergreens for privacy, create outdoor rooms for entertaining, or install swimming pools or perennial gardens, the target is to have the user, look forward to spending time at home with family and friends.

Planning the design of the space along with the design of the house brings better organization to a project. The amenities like pools, patios and plantings can make the overall appearance complete. It also ensures that the structure works well with the elevations of the property.

Landscapes and its colourful features are important because they contribute significantly to our well-being and quality of life. Landscape provides the broader context within which we live our lives. Living within aesthetically pleasing and culturally meaningful landscapes enhances our sense of prosperity. Landscaping can also help the energy-efficiency of your property.

In reference to color flowering plants and pots can be added in the interior spaces.

Greenery is important to keep you fresh, healthy and active for the day ahead. Fresh plants and flowers abate the depression level and keep you up throughout the day. Well planned and implemented landscaping can provide trees for shade, shrubs to direct cooling breezes, and open areas for the accumulation of winter snow summate the view.

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INTERIOR

By applying a mix of the principles and elements, one can achieve a mesmerizing outdoor plant design or an invigorating indoor landscape with houseplants. Color, along with form, line, texture and scale, is one of the basic elements of landscape design, while proportion, transition and unity are some of the principles that rely on those elements. Your choice of colors to be used in the yard should not be considered in isolation. Rather, always keep in mind how color interplays with the other basic elements, with the principles of landscape design, and with the overall objectives of your plan. Another factor is choosing the right plant with respect to your requirement, plant’s characteristics (height/foliage/ flowering/fruit etc.) and light and water requirements.

From the vast biodiversity of flora it is quite difficult to make the selection.

You can take opt to hire a landscape architect to consult you about the native plants that can survive longterm or can take suggestions from local nurseries or horticulturist.

The spectrum of colors is often divided into 4 categories: • Primary: reds, yellows and blues.

• Secondary: greens, violets (purples) and oranges.

• Tertiary: Blends of the primary and secondary categories.

• Neutral: White gray’s and silvers.

Pastel is a subtler, calmer color scheme that uses pastels and silver and gray plants.

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Proper use of color can influence mood and perception. For instance, red, yellow and orange are considered "warm colors" and may excite the viewer. Blue, purple and green are considered "cool colors" and are more likely to relax you. Thus for a meditation garden, blue and/ or purple flowers would be a logical choice. Using color theory as your guide, you can match the colors you use in your landscaping so that they "go together."

Furthermore, you may put in an outdoor deck or terrace to make a serene outdoor living space. This offers the ability to appreciate a quiet family barbecue or some massive gathering of friends. Moreover, following construction is the perfect time for the landscaping job. It offers you a clean slate to produce your yard like no other time and have your courtyard done correctly.

Aside from creating beautiful sites, landscaping provides physical and mental health benefits. Soft landscape can be merged with hardscape to get a mixed texture.

The reason plants and trees are important to our ecosystem is because they remove carbon dioxide and produce oxygen rich air.

Indoor landscaping, also known as “plantscaping” or “interiorscaping,” does the same thing - but inside.

Adding plantscapes to your interior enhances your indoor air quality by removing toxins and filtering air.

Plants also absorb sound; therefore, background noise in your building can be reduced. Additionally, plants can save energy by increasing humidity and keeping the air temperature down. It has been proven that being surrounded by nature reduces stress, increases productivity, and generates happiness in users.

INTERIOR

With warm colors like red, you may perceive large spaces to be more intimate. The warm colors appear to come forward in the landscape, and seem closer than they are in reality - thereby scaling down the whole landscape in the process. Red is the color associated with passion, boldness, drama and energy. Also keep in mind that as a warm color, red will not stand out in shady, dark corners of a space. Red flowers should be used to draw attention to focal points, such as a doorway or a patio for dining. If contrasted with its complementary color green, red can stand out even more. Red lilies such as dahlias, petunias, celosia, geraniums, nicotiana and crocosmia are all good choices for red blooms.

Streetscape and street lighting plays a vital role. It creates shades and shadows, which not only illuminates the building outside but creates

interesting patterns and serves as aesthetic element. Landscaping also allows for easier navigation throughout your open area.

Another application of color theory can be seen in the use of color to create either unity or contrast.

Landscapers may stay within the warm-colors group or the cool-colors group in order to provide unity, be it within the landscape. In the latter case, different parts of the land are thereby tied together to form a harmonious unit.

Orange is brilliant and conveys happiness. It is welcoming and creates a friendly atmosphere. This is another color that can be used near the outdoor entertaining area.

It is another warm color so orange should be used to attract attention to areas, just like red. When using a lot of orange flowers, focus on

adding different shades and hues so the subtle differences can stand out between the species. When working in larger spaces with orange flowers, poppies or tulips can work well in filling the space. Chrysanthemums, marigolds, zinnias, tiger lilies and dahlias are all good orange varieties of plants.

Yellow is an optimistic color and is often associated with sunshine and happiness. Yet this color must be treated with caution as it can also create anxiety in individuals and become over stimulating if not broken up by other colors. When working with yellow, select a few bright shades and then pair with softer yellows so the color does not become too vibrant. Use this color when trying to brighten an area or bring some cheer to a gloomy part of the backyard. Sunflowers, goldenrod, lupines, roses, verbascum, rudbeckia and coreopsis are a few of the many yellow-petal flowers to choose from.

Green is a color often taken for granted in the landscape. It is able to invoke the much needed rest and renewal people seek in their backyard escapes. Green is also said to convey reassurance and safety. Green should be used to create borders or hushed alcoves. Because green is a cool color, it can be used to make a space calm. Cool colors recede in the background and seem farther away. If a cool color scheme is used in small

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INTERIOR

space, it can make the area seem larger. In the shade, cool colors are able to shine brightly. Foliage comes in copious tints and hues of green.

Combining all the variations allows the greenery to stand out as individual plants. Ferns, moss and boxwoods are just the tip of the iceberg when it comes to green plants.

Another calming, cool color, blue is associated with tranquillity, the sea and the sky. Blue can tend to disappear into the background and it is often suggested to add purple or yellow to the mix so the mass planting of blue does not come across as washed out or cold. Blue can be used to accent other blue objects in the landscape such as a water feature, a path with sea glass, or a blue container.

Purple is associated with the ideas of luxury, royalty and mystery. Purple can be either dramatic or subtle in the garden. It’s important to select the right hue of purple, because there are some that are more blue, red or black than traditional purple. If your client wants a calming or romantic space, purple is a good color to add. German iris, loropetalum, pansies, lavender, alliums and muscari are a sampling of some of the hues of purple that can be used.

White is emotionally associated with purity, innocence, and being fresh and clean. It can be counted on to glow

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early in the morning and late in the evening. Use white in areas that can take advantage of this, such as patios or walkways. White can help other colors seem brighter. When used by itself, white in the garden can exude class and style. It is important when only using white to isolate it from the rest of the garden. Hydrangeas, Japanese anemone, lilacs, calla lilies, Shasta daisies, spiraea and astilbe can all work in a white garden. Silvery foliage can be used as well.

Color Schemes of landscaping After deciding what color/colors to use in the landscape, the scheme must be selected. Monochromatic color schemes involve only one color, such as the elegant white garden.

Sometimes the challenge here can be to avoid going overboard with that one color.

Pairing colors with their color wheel opposite is known as a complementary color scheme.

Because the colors are so different from each other, they both make the other stand out more. In landscapes, one of the colors should be dominant.

Purple and yellow, red and green, and blue and orange are all examples of this.

• Analogous color schemes are pairings of colors that are next to each other on the color wheel. Red and orange, orange and yellow, yellow and green, green and blue, blue and violet, violet and red are all analogous pairings. This color scheme tends to blend together at a distance, but it is visually harmonious.

• A riotous color scheme uses multiple colors that are vibrant and bold. It is important to use repeating colors in this scheme; otherwise, the space will simply clash without any unity.

• Triadic color schemes use the primary colors of red, blue and yellow or the secondary colors of purple, orange and green together.

Interior plant maintenance experts ensure your plants are irrigated, fertilized, pruned, and cleaned.

Ultimately, the goal is to make sure your plants always look vibrant, healthy, and aesthetically pleasing.

It’s best to check with a local nursery before bringing any plant into your garden.

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FROM THE SHELF

WHAT REALLY PRODUCES SUCCESS?

By Looking at the Science Behind What Separates the Extremely Successful from the Rest of Us, We Learn What We Can Do to Be More Like Them and Find Out in Some Cases Why It’s Good That We Aren’t

But in 2009 this does not affect the man in the number-one spot. He is literally half a day ahead of number two. Jure Robić seems unbeatable.

He has won the RAAM five times, more than any other competitor ever, often crossing the finish line in under nine days. In 2004 he bested the number-two rider by eleven hours.

Can you imagine watching an event during which after the winner claims victory you need to wait half a day in order to see the runner-up finish? It’s only natural to wonder what made Robić so dominant and successful in such a grueling event. Was he genetically gifted? No. When tested, he seemed physically typical for a top ultra-endurance athlete.

without.” What’s fascinating is that Robić’s gift was not unknown as an advantage in athletics. As far back as the 1800s, scientists like Philippe Tissiè and August Bier noted that an unsound mind can help an athlete ignore pain and push his or her body beyond its naturally conservative limits.

Did he have the best trainer? Nope.

His friend Uroć Velepec described Robić as “Completely uncoachable.”

I don’t know about you, but my high school guidance counselor never told me that hallucinations, mailbox assaults, and generalized insanity were vital to being a world-renowned success at anything. I was told to do my homework, play by the rules, and be nice.

All of which raises a serious question:

Coyle wrote that Robić saw his insanity as “awkward and embarrassing but impossible to live

What really produces success?

This book explores what brings success in the real world.

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).

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# Text copied from ‘Introduction’ of the book.

O

utside Magazine declared the Race Across America the toughest endurance event there is, bar none. Cyclists cover three thousand miles in less than twelve days, riding from San Diego to Atlantic City. The Race Across America (RAAM) does not stop. Every minute riders take to sleep, to rest, to do anything other than pedal, is another minute their competitors can use to defeat them.

Riders average three hours of sleep per night reluctantly. There is no respite. The exhaustion, pain, and sleep deprivation only compound as they work their way across the entire United States.

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THREE CHAIRS His work employs a variety of visual languages to create narratives that are both personal and relatable. His works titled ‘Three Chairs’, - Satya Sundaina, Satya Boldaina and Satya Dekhddina, like his other current works essentially deal with the contemporary socio-political contexts of the three major political parties of Nepal. n

ASHA DANGOL

Kailash K Shrestha Born in Gairimudi village Dolakha, Kailash K Shrestha is a contemporary artist: and is based in Kathmandu. He received his BFA degree from Kathmandu University Center for Art and Design and did Masters (MFA) from Central Department of Fine Arts, Tribhuwan University. He is the founder of Artudio - a Centre for Visual Arts based in Chaunni. He has remained a recipient of The Australian Himalayan Foundation in 2009. Also, he has had participated in several national and international workshops and residencies in addition to two solo exhibitions in Kathmandu.

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7 Festival of Architecture and Interior Designing (FOAID) Andheri (E), Mumbai-400059 India Website: www.foaidindia.in 81 Foto Hollywood Civil Bank Building, Kamaladi Ph: 977-1-4169060 Website: www.fotohollywood.com.np 5 Furniture Land Store Pvt. Ltd. Blue Star Complex, Tripureshwor Ph: 977-1-4224797 33 Home Center Nepal Teku ,Kathmandu,& Hattiban, Lalitpur Ph: 9801047158 , 9851047158 Website: www.homecenternepal.com 3 Home Saaz Maitidevi, Ratopool, Kathmandu Ph: 977-01-4420661/ 4420647 E-mail: homesaaznepal@gmail.com 69 Karuna Interior Pvt. Ltd. Gairidhara Kathmandu Ph: 01-4434181, 4434581 info@karunainterior.com www.karunainterior.com 84 Marvel Technoplast Pvt. Ltd. Heritage Plaza-II, Kamaladi, Kathmandu Ph: 977-1-4169122/123 E-mail: info@marvel.com.np Website: www.marvel.com.np 40 Nagarik - Nepal Republic Media Pvt. Ltd. JDA Complex, Bagh Durbar Ph: 977-1-4265100, 4261808 E-mail: circulation@nagariknews.com 83 Nepa Top Organization Samakushi, Kathmandu Ph: 977-1-4354117, 4363548, 4387901 E-mail: info@nepa.com Website: www.nepatop.com.np 17 Nepal Property Market (Aaron) Lazimpat, Kathmandu, Nepal Ph: 977-01-4384189 E-mail: info@nepalpropertymarket.com Website: www.npminterior.com 28 Panchakanya Steel Panchakanya Bhawan, Krishan Galli Ph: 977-1- 5526551 E-mail: info@panchakanya.com

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