SPACES Nepal SEPT-OCT 2005 by SPACES Nepal

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SEP-OCT 2005 VOLUME 1 ISSUE 6

FEATURES ARCHITECTURE

SERENE SHANGRI-LA

Pokhara is one of the loveliest cities in the whole wide world. The Shangri-La Village Resort is also ,without doubt, one of the loveliest resorts in the country. Architecturally speaking, the resort is designed in such a way as to impart graceful serenity.

Starkly Sophisticated- J Bar - Pg. 60

76 LUMANTI CHÉN In the Newari language, Lumanti Chén means ‘a home to be remembered’. This house, situated on the way to Sunakothi, certainly has many facéts that makes it extreme9ly hard to forget.

PROFILE INTERIOR

69 WEISE - THE LIFE THE WORKS THE TIMES

STARK SOPHISTICATION

Night life in Kathmandu has never been better, specially with the increasing addition of nightclubs that are as well designed as they are well stocked with the choicest of premium drinks. Featured here is one of the best as far as interiors are concerned.

Robert Weise is a name that is recalled often when discussing architecture in Nepal. His son Kai, an architect himself, goes down memory lane to recapture the life, the works and the times of his famous father.

65 SONIA

She is a sight for sore eyes just as her designs are. Invigoratingly fresh in her approach, this lady has the style and the flair to create refreshingly eye catching surroundings.

She describes herself first and foremost, as a humanist. Nevertheless, anyone familiar with her work will clearly detect a strong streak of rebellious feminism in her paintings and in her installation artworks.

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ART MOLTEN LAVA

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EDITORIAL “If you haven’t visited Pokhara then you haven’t visited Nepal” - Toni Hagen (1961) Just as Kathmandu is the cultural hub of Nepal, Pokhara is considered to be the centre of adventure. In this issue, SPACES visits the land of the Fish Tail mountain, where hotelier Shyam B Pandey and his team have built a ‘village’ for tourists to enjoy this beautiful place in an ethnic environment. Read about this ‘Serene ShangriLa’- how a group of young and fresh architects (currently a part of Design Cell) have made a point – do not underestimate youth. Coming back to Kathmandu - Kathmandu Valley Preservation Trust (KVPT) adds another feather to its cap. As Ms. Constance, Counsellor for Public Affairs, American Embassy, commented contentedly at the kshama puja, “He has now been freed”. We feature in this issue how KVPT has successfully restored the God of Justice, Kal Bhairav, to its original grandeur. Robert Weise -Pg. 69

Architecture knows no boundaries. This issue profiles legendary architect, the late Robert Weise - a person said to be instrumental in influencing and changing the style of architecture in Nepal. Also in this issue, we feature Sonia Gupta, an interior designer from India, whose works seem to be making waves in the city. We visited the residence of Kewal and Sunita Shrestha. ‘Lumanti Chen’, literally meaning ‘house to be remembered’, reflects the couple’s appreciation and love for all things beautiful. The Outer Ring Road (ORR) project, a much discussed and debated topic among us has generated assumptions and speculations. Architects Kishore Thapa, Project Chief ORR, and Sarosh Pradhan of Sarosh Pradhan and Associates, write about this 3 billion rupees project regarding its necessity and vision.

Serene Shangri-La- Pg. 36

If readers will remember, our first editorial (Issue 1 – Nov / Dec 2004) carried a sentence, ‘…….SPACES is the beginning of a journey to what we were, what we are and what we should aspire to be.’ This issue completes one year of this journey, which we hope has ‘informed, educated and helped you to make your space as you want it to be.’ And yes, ‘space cannot exist by itself – it affects and involves all those within.’ On the completion of this first year’s journey, the SPACES Team wishes to thank all those affected and involved for their encouragement, support and belief. Take a ‘Journey through SPACES’ this festive season of Dashain and ‘make your space a little more aesthetic, a little more comfortable and a little more functional’. Happy Dashain

Molten Lava - Pg. 20

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SEP-OCT 2005 VOLUME 1 ISSUE 6

CRAFT

49 DRIFTING TOWARDS FAME His is a different calling. He is driven by a desire to be actively involved in many fields. This desire has led to various degrees of success among which drift wood sculpture has become his signature brand.

TRENDS & TIPS

THAT DISTINCTIVE TOUCH

Elegant presentation could be the be-all of any fine artwork. Adding that distinctive touch of class to works of art, frames play an important role in the creation of a complete object d’ art.

COLOUR YOUR DASHAIN

Colours are integral to the making of any festive occasion. Colours are also important to the making of a lively environment and to keep spirits continously uplifted.

REPORT PROJECT This project could well change the future direction of the Capital’s journey towards development. That is why it is important that it is discussed and debated among all concerned before implementation, so that the project does not veer off the right track.

HERITAGE

28 KAL BHAIRAV-THE RESTORATION Much of the shrine’s historic fabric and details were already either lost or altered when the Kathmandu Valley Preservation Trust (KVPT) initiated the project in 2003. The restoration was completed this month.

PRODUCTS

SAVING WATER-IFB WAY

Washing machines are available in a vast number of brands. One brand claims to not only save energy and costs but also that most precious of all resources - water.

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GOOD LIVING

84 THE OUTER RING ROAD

Lumanti Chén. Pg. 76

ACCESS

If efficient & reliable communication is your concern, then the Access is the answer to your prayers. What’s more, the Access is also a very good security provider and ideally suited for housing projects.

93 CLICK-XPRESS FROM BALTERIO Laminate Flooring is a really great way to enliven any room. With the innovative ClickXpress technology of Balterio, not only are they easy to install they are also very easy to maintain. Besides, they look great.

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CONTRIBUTORS Kishor Thapa, Project Director of the Outer Ring Road Project is a Humphrey Fellow with degrees in B.Arch and Masters in Planning. His experience includes design/ construction supervision of international terminal complex in TIA as well as preparation of the Master Plan of Purbanchal University. Dr. Rohit K Ranjitkar, Nepal Program Director of KVPT has very recently had the satisfaction of completing restoration work of Kal Bhairav in Basantpur. He and KVPT are onto many more equally important projects in the coming days.

Sonia Gupta is a well known Interior Designer from Delhi who is also becoming as well known in Kathmandu for some outstanding works. She admits to having a special affinity towards Nepal and would love to get the opportunity to spend more time here. Kai Weise studied architecture in Zurich and has been working in Nepal as an architect and urban planner since 1993. Kai is the country representative of PAHAR (Plannersâ&#x20AC;&#x2122; Alliance for the Himalayan and Allied Regions) and is presently working as a UNESCO consultant for the Kathmandu Valley World Heritage Sites in Danger.

Sarosh Pradhan has been busy this year and involved in quite a diverse range of projects i n c l u d i n g conceptualisation of the Outer Ring Road Project from an architectural point of view.

Niti Joshi Shrestha, MBA, is the MD of Frame World which deals in picture framing as well as decorative items. Niti has more than fifteen years experience in the craft.

Soumitra Roy is the Marketing and Sales Manager of Asian Paints, a company that is active in fulfilling its corporate social responsibility by contributing to the beautification of Kathmandu.

Shristi Pradhan is an Interior Designer who has done B.Sc.I.D from Mangalore University. She has completed many residential and commercial projects and is busy with projects in and outside Kathmandu.

MANAGING EDITOR

Uday Sunder Shrestha, B.E PUBLIC RELATIONS

Prakash Bahadur Amatya ASSOCIATE EDITOR / MARKETING MANAGER Amar B. Shrestha PHOTOGRAPHY / PRODUCTION CONTROL Ashesh Rajbansh LAYOUT DESIGN

Pavitra D. Tuladhar MARKETING / SUBSCRIPTIONS EXECUTIVE Wimmy Kaur ADMINISTRATION / ACCOUNTS Sanjay Shrestha PUBLISHED BY

IMPRESSIONS Publishing Pvt.Ltd., Kupondole, Lalitpur, P.B. 227, DPO Lalitpur

Ph: 5544606. 5526040 (Regd. No 30657/061-62) COLOR SEPARATION

Scan Pro, Pulchowk, Lalitpur PRINTED AT

Variety Press, Kuleswor, Kathmandu DISTRIBUTED BY

bitarak.com Ph: 5529726 / 5522472 email: info@bitarak.com SPACES - guide to good living is published six times a year at the address above. All rights are reserved in respect of articles, illustrations, photographs, etc. published in S PA C E S . The contents of this publication may not be reproduced in whole or in part in any form without the written consent of the publisher. The opinions expressed by contributors are not necessarily those of the publisher and the publisher cannot accept responsiblility for any errors or omissions. Those submitting manuscripts, photographs, artwork or other materials to SPACES for consideration should not send originals unless specifically requested to do so by SPACES in writing. Unsolicited manuscripts, photographs and other submitted material must be accompanied by a self addressed return envelope, postage prepaid. However, SPACES is not responsible for unsolicited submissions. All editorial inquiries and submissions to SPACES must be addressed to editor@spacesnepal.com or sent to the address mentioned above.

ADVERTISING & SUBSCRIPTIONS

COVER

Verdant greenery and bubbling brooks reflect the tender loving care taken to make the Shangri-La Village Resort in Pokhara, a virtual paradise. No less soul stirring is the vibrant architecture of the resort, and in this it is obvious that similar care and thoughtfulness have been applied.

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Photograph by Ashesh Rajbansh Canon EOS 10D SLR 16 - 35 mm/f2.8 L USM lens 1/20sec@f8.0

Kathmandu: IMPRESSIONS Publishing Pvt.Ltd., Ph: 5544606, 5526040. email: market@spacesnepal.com Pokhara: Sachin Udas, Maadhyam, New Road. Ph: 521851. email: maadhyam@vnet.net.np Chitwan: Rajendra Kumar Shrestha, Saraswoti Book Store, Balkumari Kanya Chowk, Narayanghat Ph: 526031 Birgunj: Kishore Shrestha, Hotel Kailash, Adarsha Nagar. Ph: 522384, 529984. email: hotelkailash@wlink.com.np India: Deepak Sunder Shrestha, Nepal Curio House, 16 Nehru Road, Darjeeling-WB . Ph:54973 United Kingdom: Rajiv Pradhan,South Harrow, Middlesex Haz 8HA, London. Ph: 85373674. email: rajivpradhan@hotmail.com Australia: Leela Krishna Manandhar, Kogarah, Sydney, NSW. Ph: 422811704 email: nimadidi@hotmail.com USA: Subarna Joshi, West Palm Beach, Florida Ph: 3836207, Email: subarnaj@aol.com

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LETTERS MASS HOUSING Thank you for a very informative issue on mass housing. Since this is a subject that is of interest to the public, Spaces needs to be commended for giving an in depth look into the subject. Hope to read more of such public interest articles. Upendra Mishra Purano Baneswar, Kathmandu

NEW DESIGNER I think your features on new designers have been quite good. In your last issue (July-August 2005), the Science Museum amd Imax Planetarium Theatre article was quite interesting. I do hope such nice ideas get implemented. Tul B. Gurung New Road, Pokhara

A FAIRER PICTURE Although your last issue( July-August 2005) was informative I feel that instead of featuring only one housing project you could have done a comparative study of different housing projects. In addition to giving a more fairer picture, SPACES readers could have been allowed to draw their own judgements about different housing companies. P. K. Ranjit Bhaktapur.

WATER HARVESTING-VERY USEFUL The article on water harvesting was interesting. No doubt such initiatives can be very helpful to alleviate the chronic water shortage problems in Kathmandu. Magazines like Spaces should continue to create more awareness. Ravi Shrestha Bakhundole, Lalitpur

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NEWS & HAPPENINGS

ASA ARCHITECTURAL EXHIBITION 2005 The E-Block of the Department of Architecture, Pulchowk Campus, was venue for the 8th Annual ASA Architectural Exhibition 2005 from 21st to 23rd July. Organized with a mind to involve as many students as possible, the exhibition had on display design presentation of students as well as professionals. Also included in the program was a painting workshop cum exhibition that included a creative workshop involving water colour, sculpture and wall painting; presentation by professionals in seminars involving talks and discussion programs as well as an inter college design and a 3D graphics competition; exhibits of conservation research work ( Bhaktapur durbar square and traditional water conduits), technological research and displays (earthquake resistance in building, low-cost housing study, thermal efficient designs, rain water harvesting), besides case studies and thesis presentations. Inaugurated by Chief Guest, Architect Purna Kadariya, the event was kicked off with Asheswar Man Shrestha’s thesis presentation, ‘Science Museum and Imax Planetarium Cum Theatre’, followed by a documentary show titled, ‘Monuments of Time’. The day’s events also included Prof.

Dr. Jib Raj Pokharel’s ‘An Identifiable Earthquake Resistant Historic Core’ besides the documentary, ‘The Fountainhead’. The second day had Subhas Bhattachan presenting his thesis, ‘Gurukul’ as well as an interaction program with Architect Bibhuti Man Singh, a presentation on pest control, as well as two documentaries. The last day’s highlight was a talk program on ‘Application of Vaastu Shastra’ with Madhav Mangal Joshi, Architects Deepak

Pant and Sanjaya Uprety as well as Mathura Karki as the guest speakers. Spread over three floors displaying the various designs and models by students and professionals, the exhibition succeeded in putting on show diverse talents. The organizing committee under the able stewardship of Chief Coordinator Bhagawat Bhakta Khokhali has also to be credited with succeeding in involving a large number of students in the annual event. S

KAL BHAIRAV -RESTORED On the completion of the restoration works of the Kal Bhairav Shrine in Kathmandu Durbar Square, a kshama puja (prayer for forgiveness for any mistakes done during construction process) was held on 1st July 2005. Initiated by the American Ambassador to Nepal, His Excellency, James F. Moriarty, the ceremony was attended by Gautam SJB Rana, Development Director as well as the Board of Directors of Kathmandu Valley Preservation Trust and others who had generously supported the culturally

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important project. Although King Pratap Malla installed this massive image of Kal Bhairav during his reign in the 17th century, it was believed to have been accidentally discovered next to a water reservoir long before that time. The statue has now been successfully restored to its pre 1934 earthquake status with the help of historic photographs. On the same day, the Counsellor for Public Affairs, Embassy of the United States of America, Ms. Constance Colding Jones, hosted a party in honour of the Ambassador’s Fund for Cultural Preservation and the Kathmandu Valley Preservation Trust. S

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NEWS & HAPPENINGS INAUGURATION OF FISHTAIL RESIDENCY, POKHARA

FISHTAIL RESIDENCY in Pokhara was officially inaugurated on Ashad 28, 2005. One of the bigger housing complexes in the lovely city, the residency is situated at an ideal location, Ghari Patan, which is close to the airport. Consisting of seventy two well designed

and sturdily built houses, Fishtail Residency has an excellent infrastructure. According to the promoters, Annapurna Developers Ltd., the housing complex is ‘A Heavenly Haven’ providing a convenient location, modern amenities, affordable costs and comfortable accommodations. All the houses have four bedrooms each and are three storied with a car port in front. One of the major attractions, besides of course the munificent view, is a terrace garden on the top floor. For those thinking of owning a home away from home in the scenic city of Pokhara, Fishtail Residency clearly provides a good choice.

ARCHITECT AND BUILDERS’ MEET J.K. WHITE CEMENT WORKS, a unit of J.K. Cements Ltd., organized an ‘Architect and Builders Meet’ on the 23 rd of‘ August 2005 at Hotel Yak & Yeti. The meet was well attended with over one hundred architects and builders present on the occasion. Arvind Kumar, Regional Manager, Patna Branch, spoke about the company’s history as well as its present day activities. D. Nagendra Kumar, DGM (Marketing), gave an enlightening talk on the company’s products with special emphasis on JK Wall Putty, a white cement based putty. Touted as ‘the perfect putty for exteriors and interiors’, the main use of the Wall Putty is to fill uneven surface of cement plaster and concrete wall and give a smooth and strong finish to the walls for future application of paints/distemper. The company claims superiority of its Wall Putty as compared to traditional putty along parameters such as binding property, durability and coverage area as well as consumption of distemper, appearance, water resistance, cost and consistency. Following the presentation,

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SYMPOSIUM ON VAASTU – VOL 7

Amidst well-known architects, engineers, professors and architectural students, a symposium on the 7th issue of VAASTU was held on August 14, 2005. At the function held in Pulchowk Campus, guest speakers Prof. Sudarshan Tiwari, Prof. Jiba Raj Pokhrel, Campus Chief Suman Baidya and Uday S. Shrestha, Editor of SPACES put forward their views and opinions about the journal. VAASTU is published annually by the Association of Students of Architecture (ASA), IOE, and features architectural designs of IOE students besides articles from professionals.

questions were invited from the floor, which were answered by the professionals of the company. J.K. Cements has been sponsoring the annual Architect of the Year Awards since 1990. The awards include Indian Architecture Award (IAA) under which there are six separate categories and the Indian State Architecture Awards (ISAA) with three categories. Under Focus Countries’ Architecture Awards (FCAA) are: Focus Countries’ Architect of the Year Award, Focus Countries’ Commendation Award and the Focus Countries’ Young Architect’s Award. The Great Master’s Award (GMA) or Chairman’s Award (CMA) is open to

architects from India and neighbouring countries like Nepal, Bangladesh and Bhutan. All the awards carry cash prizes, citations and trophies. Past award winners from Nepal include architects Tom Crees, Deepak Sherchan, Roshan Marahatta, and Sarosh Pradhan. J.K. Cements is a part of the giant JK Group, one of the largest conglomerates in India, with a diverse range of businesses and industries including the famous JK Tyres and Raymond Suitings. While the head office is in Kanpur, the J.K. White Cement Works production unit is situated in Gotan, Rajasthan. The company has a large network of customer technical service centres all over India. In Nepal, Daya Trading Concern, under MD Kanhaiya Mittal, distributes the company’s products and Nalin Prabhat, B.E (Chemical) is the company’s Regional Marketing Officer. S

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NEWS & HAPPENINGS

Samay Chakra SCULPTURE IN WOOD: SYMPOSIUM 2005 Thirty two established sculptors and painters gathered at the Sirjana College of Fine Arts from 21st July to 4th August 2005 to participate in a workshop called ‘Sculptures in Wood: Symposium 2005’. Besides Srijana College of Fine Arts, ‘Arambha’-Contemporary Nepali

Bhandari, Om Khatri, Pushpa Sherchan, Raju Pithakoti, Ram Krishna Bhandari, Ravindra Jyapoo, Sharada Man Shrestha and Sudarshan B. Rana. The artists involved were Chanda Shrestha, Kiran Manadhar, Navindra

was supposed to finish on the 4th August, many of the artists could be seen on the premises of Sirjana Art Gallery till the second week, still hard at work trying to put the final touches to their creations.

Sculptors’ Group was the co-collaborator. The participating sculptors were 80 year old Prof. Govinda Narayan Jyapoo, Baikuntha Man Shrestha, Bijay Maharjan, Bhuvan Thapa ‘Bahuvi’, Indira Shrestha ‘Kamala’, Indra Khatri, Kamalesh Maharjan, Kishor Rajbhandari, Narendra B. Shrestha, Narendra

Rajbhandari, Rajan Kafle, Shanker Raj Singh Suwal, Sharada Ranjit, Sunil K. Ranjit, Sunita Rana and Uttam Nepali. Harka B. Shakya, Hridaya Ballav Pandey Krishna Manandhar, Pravin K. Shrestha, Purna Kazi Shakya and Uttam Kharel were the participants from the Lalit Kala Campus faculty. Although the workshop

One could judge that wood sculpting must be a strenuous art form, specially for the ladies, as evidenced from the exhausted bearing of Pushpa, whose well rounded work in yellowish Haldi wood seemed almost finished. It was heartening to see the octogenarian, Prof. Govind Narayan Jyapoo, still as enthusiastic as in his more youthful days, hammering away at his chisel, a look of pure happiness on his good natured face. S

LAUNCH OF 24X7 CUSTOMER CARE CENTRE IN KATHMANDU On 15th August 2005, Parryware, a division of EID Parry (India) Ltd. and part of the Rs. 6200 crore Murugappa Group, launched its 24x7 Customer Care Centre in Kathmandu. The CCC has been planned to come up within three months. Besides complaint resolution, bathroom designing, products installation and bathroom renovation, the CCC also provides annual maintenance service of bathrooms. Resolution of complaints is assured within 48 hours according to the press release and there is a 6 months warranty against functional defects. Another major advantage guaranteed is

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the availability of genuine bathroom product spares. The occasion was also taken advantage of to introduce Parryware’s range of taps and fittings, which according to General Manager George Angelo, is an addition to the Company’s regular line that includes closets, bidets, basins, pedestals, cisterns, urinals, lab sinks, electronic flushing systems, waterless urinals, bath tubs, seat covers, kitchen sinks and other accessories. With this addition, the company now claims to have transformed itself into a total bathroom solutions provider. S

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ART

LAVA

MOLTEN

“I AM IN LOVE WITH FREEDOM,” SHE DECLARES. “TOTAL FREEDOM,” SHE EMPHASIZES. 22 SEP-OCT 2005 SPACES

“When I was a kid, elders would ask me whom I wanted to be when I grew older, not what I wanted to be,” recalls Ashmina Ranjit. “I used to think, ‘What a stupid question!’” Today, after achieving a certain prominence in the field of art, she is very much a force unto herself. Oh yes, no one can doubt that Ashmina is now a persona in her own right. The twin snakes running up her nose to her forehead is only a supporting physical manifestation of a decidedly individualistic personality. Naturally, as is expected of an artist of unusual calibre, she lets her non-conventional works speak for themselves- in the processrevealing much about the uniqueness of Ashmina Ranjit.

inclined to do, had a message to impart as well. The gist of it being simply, that woman’s hair is a powerful instrument of feminine expression besides being a liberating experience when in free flow.

“I am in love with freedom,” she declares. “Total freedom,” she emphasizes. Maybe that is why she wanted to be a pilot when growing up, but soon enough recognized that art was what was she was searching

Her snakes and the reason for them being where they are could be discussed ad nauseam but she, herself, attempts to simply explain them away by saying that she has always been passionately fond of the reptiles. From an outsider’s point of view, too much importance needn’t be placed on this fetish-perhaps the artist is only proclaiming her rebellious nature in an artistic way. But more important, and more interesting, would be an insight into some of Ashmina’s avant-garde works. Many still remember her ‘Hair Warp-Travel through Strand of Universe’ exhibition at NAFA Art Gallery in 2000 when, in addition to charcoal sketches of innumerable strands of hair intertwined meticulously to form crowning glories, on view was also installation art in the form of huge red braids of accouterments usually related to meticulous hair-dos in Nepal. Besides being an obvious novelty in choice of subject, the artist, as she is

Right: An eloquently descriptive early work in which the artist clearly seems to have been on the safe track.

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ART for. “I realized that art gave me a feeling of great liberation.” She went on to complete her Bachelor in Fine Arts from Lalit Kala Academy in 1992 and had her first solo exhibition, ‘SAARC Girl Child Decade’ at the Goethe Institute in 1990, followed by ‘Women’, at the Srijana Contemporary Art Gallery in 1993. In the same year, ‘Wonderful Landscapes of Nepal’ was exhibited at the J Art Gallery. Ashmina then won a scholarship to do BFA from the University of Tasmania in Australia. With widening exposure to the world, the latent rebel in Ashmina seemed to be boiling over with righteous anger at the unjust gender inequality between the sexes back in her own country.

Left above: Asmina’s installation art in Durbar Square, Basantpur, expressing the loss of identity and the bloodshed of recent times. Left below: Charcoal sketch on lokta paper from the ‘Hair Warp’ series.

Anger, which gave birth to ‘Women and Sensuality’ in 1998 which was exhibited at the Kathmandu Art Gallery. One of the organizers was architect Sarosh Pradhan, an artist himself, and he remembers, “Ashmina wanted to title the exhibit, ‘Women and Sexuality’ but we advised her that it would be more prudent to use the term, ‘Sensuality’ rather than ‘Sexuality’.” Through this show, Ashmina wanted to ‘express the feminine perspective towards women’s sexuality’. Some of the oils on canvas created quite a stir-a profusion of blood red depicting depths of stark womanhood. Other canvases on display were lithographs which were more complex in nature. Ashmina claims to “have always been influenced by nature…Human Nature, Social Nature, Cultural Nature, Nature’s Nature’ which provokes searching for answers to the questions, ‘Who am I? What am I? Where am I?’”. Ashmina brings up an interesting point when she says that people should be able to understand the difference between skill and creativity in an artist. “An artist may be very accomplished, but it is creativity which uplifts art to a transcendent level.” According to ‘Gender and Globalism’ (Aomori Contemporary Art Centre/ 24 SEP-OCT 2005 SPACES

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ART Autumn 2002-Artist in R e s i d e n c e Program)Ashmina had started to feel suffocated by painting early in her career, and influenced by Andy Goldsworthy’s works (consisting of only natural materials), tried her hand at earth works. About ‘Cultural Body Installation’ at the Siddhartha Art Gallery in 2000, the artist had this to say, “One may adopt a new culture but what one has had from birth will always be within, layering & intermingling”. Various layers of materials as those used for clothing had been employed to symbolize this fact. ‘Hair Warp’ followed in the same year. ‘Feminine Fresco’ in New Delhi in 2002 was another display of Ashmina’s extremely candid opinions on women’s sexuality. Her installation titled, ‘Shakti SworupMenstrual Blood’, arose from the artist’s quest to ‘understand, express and visualize the strong emotions stirred by flowing blood, along with the fears associated with it’ besides stressing home the point that, ‘menstruation is a natural phenomenon without which creation would come to a standstill…full stop.’ Further reinforcing her versatility, Ashmina says, “Medium is not a

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Left: An evocative painting by an evocative artist.

medium of art through installation where mixed media, perforce, have to be applied. Perhaps this rebelliousness to escape from conventional art is the result of a desire to develop a completely different identity from those around her. Ashmina’s father, Krishna Gopal Ranjit, in his seventies now, is himself an artist whose domain seems to be picturesque scenes that echo serene tranquility in their technically perfect method of artistic execution. According to Ashmita, “At present, artists here seem to be afraid of taking risks. They should start coming out of their comfort zones.”

confining factor with me. Medium is not my master.” Many of her works are described as mixed media and include drawings, lithographs, oil on canvas, acrylic on canvas and paper, performances, and of course, installations. Her ‘Uplift’ at the artist-inresidence program in Japan in 2002, featured a mixed media installation of cloth, paint, color pigment, fishing line and video projector. It is obvious that the artist is very involved with the

Ashmina is a politically conscious artist who likes to define herself as a humanist. During an art event organized by Royal Nepal Academy in 2002 titled ‘Disillusioned Present’, Ashmina’s installation of scores of scattered shoes on red painted floors of Durbar Square, was meant to depict mass killings and loss of identity due to the strife in the country. More recently, in June 2005, Ashmina presented a performance art called ‘Tamas-The Darkness’ meant to contrast hope and despair as symbolized by light and darkness and pointedly compared the state’s citizens to cows who she describes as simple, docile and useful. In 2001, she had participated in an artistic protest condemning the destruction of the Bamiyan Buddhas in Afghanistan. Here too, Ashmina’s installation of 2500 bottled Buddha

Emerald Pools

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ART figurines in a spiral arrangement (where visitors were free to take them home) was a typical display of her inherent creativity. Three years ago, she along with a core group of seven well known artists, founded ‘Sutra’. She says, “Through this organization we would like to create opportunities for free expression for younger artists.” Ashmina is also closely associated with the Gallery Nine Art Gallery in Lazimpat. Her own studio is on the top floor of the Nepal Fine Arts Association building in Naxal but she has hardly stepped into it for the last one year for obvious reasons. Some of her works hang around the various rooms in the NAFA gallery and one large piece from ‘Hair Warp’ (charcoal sketch on lokta paper) is part of the National collection. Obviously, Ashmina’s installations, for which she is particularly famous, tend to be of impermanent nature and so one has to wait Facing page: ‘Shaktri Swarup-Menstrual Blood’- A particularly bold theme. Right: Installation art during the ‘Hair Warp’ exhibition in Kathmandu. Below: ‘Uplift’-Asmina’s exhibit at the artist-inresidence program in Japan.

for an exhibition to see them. However, she does have a suggestion about ways of making them more enduring . “Some of my installation art like ‘Shakti Sworup’ would be just right for places like large hotel lobbies.” Born on the 4th of October, this Libran seems to live up to at least something that the sign is supposed to represent- a seeker of justice. Also- one in search of perfect balance. Small wonder then that she believes there are two stages of any artistic endeavour- the conceptual level and the physical level. “The first can take a long time,” she says. “That is why it is not easy to say how long it takes for me to create art.” Ashmina is an artist in tune with existing times and so truly could be said to be a contemporary artist. And although Ashmina has gained national fame as well as a measure of international recognition, winning many coveted awards on the way, she shows only the smallest signs of satisfaction. This artist- who has won a Fullbright Fellowship to do her M.F.A. in visual arts for the 2004/2006 session at Columbia University in Manhattan, USA- seems to be living a life still very much unfulfilled. This artist- who has had exhibitions of her works displayed all over the world- seems to be living a life full to the brim. Contrasting words undoubtedly, but nevertheless, quizzically true and quite appropriate to describe the life and times of Asmina Ranjit. S

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Text: Kathmandu Valley Preservation Trust

THE IMAGE OF KAL BHAIRAV REPRESENTS LORD SHIVA IN HIS FEROCIOUS MANIFESTATION AND IS WORSHIPPED BY BOTH HINDUS AND BUDDHISTS ALIKE AS THE SEER OF TRUTH.

tanding imposingly at the centre of the Royal Square of Kathmandu since its consecration in the 17th century, the shrine of Kal Bhairav has evolved as a crucial part of the historic ensemble of the Square over a period of time. A very rare example of stone architecture, the image of Kal Bhairav

represents Lord Shiva in his ferocious manifestation and is worshipped by both Hindus and Buddhists alike as the seer of truth. The monument of Kal Bhairav has a significant place in the religion and culture of the Valley and it is believed that the person who lies before the monumental figure has to face terrible consequences. Besides being closely associated with the eight Mother Goddesses, Kal Bhairav is the most worshipped deity and is considered to be the protector of the Valley. The original configuration of the structure was completely lost under several layers of continuous alterations done due to wellintentioned votive offerings of the devotees. The first recorded major alteration made to the holy shrine was trig gered by the devastating earthquake in 1934. The upper level including the cornice and the pinnacles were severely damaged. During the repair the former shape of the upper structure was completely changed. Much of the shrineâ&#x20AC;&#x2122;s historic fabric and details were already either lost or altered when the Kathmandu Valley Preservation Trust (KVPT) initiated the project in 2003. The proposal to restore the structure back to its historical state was successful only after winning the U.S. Ambassadorâ&#x20AC;&#x2122;s fund for Cultural Preservation, 2003.

Photo: Manju Rana

With repair and restoration of this shrine, not only has the local community gained its Left: Kal Bhairav in 1910 before the 1934 earthquake: details such as the tympanum (found missing prior to restoration) still existed during this period. This photograph served as the prime reference to deduce the original form and lost intricate details.

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HERITAGE

HISTORICAL SIGNIFICANCE This elaborate Bhairav shrine was dedicated by King Pratap Malla as a part of the assemblage of monuments built during his golden reign of Kathmandu during the 17th century. Legend indicates that the principal image was discovered while excavating water conduits from Budha Nilkantha and was installed in the present location by Pratap Malla. Although no evidence can be found to support this myth, the prevailing legend indicates that the history of the historic image may go further than Pratap Malla’s own period as it was discovered during the king’s reign and not commissioned by him alone.

Photo: Manju Rana

historical and religious monument but also a vital piece of the Square’s whole assemblage has been brought back to its original glory.

Kal Bhairav was also tremendously popular as ‘Court Bhairav’. It has played an important social as well as religious role in the affairs of the country. He was the chief witness in front of whom civil servants were sworn into office. Such is

Above: The great earthquake of 1934 destroyed the upper level of the Kal Bhairav shrine including the cornice and the pinnacles that had collapsed. During the repair done in 1936, it was not restored according to the historic configuration. Left: This is one of the oldest photographic record of Kal Bhairav, taken by Dr. Kurt Boeck, circa 1890.

His impact in society that when Kathmandu’s former mayor returned to his post in early 2004, he, along with his associates, were sworn into their positions in front of the “Court Bhairav”. PROJECT FRAMEWORK Restoration of Kal Bhairav at Kathmandu Darbar Square, a UNESCO World Heritage Site, is a significant component of the KVPT’s ‘Kathmandu Darbar Initiative (KDI)’ project. It is the first of such campaigns to be funded by Nepalese Corporate Houses rallying for the restoration of temples at the Royal Square. Under this common banner, restorations of Indrapur and Narayan Temples have been completed in 2002 and 2003 respectively. The restoration of this outstanding historic shrine was undertaken in a project framework, which included both public outreach activities and critical training of local manpower in project management, public relations, preservation advocacy and the state of the art conservation technology. The implementation of the project was executed by the core staff 32 SEP-OCT 2005 SPACES

The restoration of Kal Bhairav was completed in May 2005. SPACES SEP-OCT 2005 33

Photo: Raju Roka, 2004

HERITAGE

Photo: Raju Roka, 2004

Above: The original fabric in the back facade was hidden below newly added layer of precast cement mesh.

of the Trust in close association with the Department of Archaeolog y and Kathmandu Metropolitan City.

Photo: Raju Roka, 2004

CONSERVATION ISSUES /STRATEGIES The historic buildings and monuments in Kathmandu Valley present a number of serious challenges regarding questions

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Left: A 1:1 scaled drawing of the tympanum was prepared with reference to the historic photographs. Below: The completed tympanum being washed before installation.

of historic material retention, authenticity and especially justification of replacement of carvings or fabric. Kal Bhairav is a representation of these monuments as it was a palimpsest of layers including the earthquake rebuilding, votive offerings and incomplete historic details. Historical photographs (Kurt Boeckâ&#x20AC;&#x2122;s

photo 1890, Ganesh Photo Lab photograph of before and after the earthquake) provided nearly all that is known about the evolution of this layer. Of great interest is the fact that these photographs, which span from 1890 to 1934, document the same architectural facade with no changes! The shrine thus survived the earthquake without major damage. A subsequent rebuilding between 1936 and 1991 did however greatly simplify this facade, while also adding depth to the structure through the addition of a new back wall. This was most likely done as structural reinforcement. The votive offering made in 1991, which is well documented, clad the entire architectural frame in marble tiles and added a concrete framesupported roof to cover the shrine. This cladding concealed the changes to the shrineâ&#x20AC;&#x2122;s architectural frame during the initial studies of the building. In preliminary work investigations, prime concern was on the extent of damage done on the underlying stone fabric by the addition of marble tiles laid in cement

mortar. On removal of this cladding in fall 2004, and expecting to find the colossal stone arch with sculptural figures with flanking assembly of columns and entablature, a much-reduced version of this 17th c. composition was found. This 20th century rebuilding can be hypothesized to be prompted by some major cracks resulting from the great earthquake of 1934.

Above: A reduced and simplified version of the original structure exposed on removal of top layers.

Below: The roof structure with corrugated zinc sheets supported by G.I. pipes (inventory of Kathmandu valley 1971/UNESCO).

Below right: The shrine as it stood in December 2003 before restoration.

Photo: Raju Roka, 2003

â&#x20AC;˘ The rear wall, a veneer of stone blocks was structurally unstable and of poor workmanship. The surfaces of more than 60% of these stones were damaged by cement mortar, which was used to attach the marble cladding and cement slabs.

Photo: Raju Roka, 2004

RESTORATION DESIGN QUESTIONS Having discovered that the 17th century structure was completely lost, a study of the 20th century structure was done to evaluate whether it was worthy of conservation, and if so, by which means. Where major rebuildings have intervened between the buildingâ&#x20AC;&#x2122;s original construction and the most recent restorer, they were undertaken with intention and design, however inappropriate. The 1971 repair done to the shrine (addition of roof structure) was neither traditional nor due consideration was given to the prime image. Thus, it did not merit to be conserved. Likewise, the 20th century structure failed to convince us of its restorability for following reasons:

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HERITAGE • The composition of orders framing the colossal image appeared to be ad-hoc from post-earthquake repair years with little formal sympathy in relation to the fine focal image. • The roof and pinnacle composition was architecturally of poor quality. There were no proper joints between the roof members and the stone work at the roof level. In this case there was no way to waterproof the poorly laid stones. The existing configuration was still incomplete due to the 1936 repair and to complete the roof pinnacle, the design had to be reinvented. Excellent documentation of the pre 1934 configuration had fortunately been done, which was considered to be the original and hence the base for the restoration.

Photo: Lumanti Joshi, 2005

Restoring the Kal Bhairav shrine The approach to the restoration problem involved analysis of the structure as a whole and depended on various larger considerations in the local context. An on-site workshop was conducted with the entire KVPT technical team to explore different views regarding its restoration.

Top: Stone blocks on opposite facades with steel reinforcement drilled into the blocks to stablize individual pieces and strenghten the entire structure. Top below: Carved details of the pinnacles refined at site.

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Construction period: December 2003 - May 2005 Construction cost: Nrs. 29,99,211.00 With generous support from: U.S. Ambassador’s Fund for Cultural Heritage Preservation, US Embassy, Kathmandu, Nepal Investment Bank, Kathmandu, Mr. Prithivi Bahadur Pande, German Development Service (DED), Mr. Deepak Man Sherchan, Mr. Bikram Krishna Shrestha, Mr. Prem Lal Shrestha, Mr. Jitendra Basnyat, Mr. Jitendra Rajbhandari, Mr. Niranjan Lal Shrestha, Mr. Siddhant R. Pandey, Mr. Surya P. Shrestha Implemented by: Kathmandu Valley Preservation Trust (KVPT) In cooperation with His Majesty’s Government Department of Archaeology (DOA) & Kathmandu Metropolitan City (KMC) Documentation and Implementation Team: Erich G. Theophile, Dr. Rohit Kumar Ranjitkar, Sushil Rajbhandari, Raju Roka, Lumanti Joshi, Badri Juwal, Rajan Shrestha, Sujata Shakya, Sushma Bajracharya, Bishnu Chulyadha and Dinesh Tamang.

Some were of the opinion that the 1936 layer needed to be retained for its historic value. However, the stones had deteriorated considerably and some of them required urgent replacement. Juxtaposition of the historic stone with the new stone would be extremely jarring and thus seemed a rather harsh approach. Moreover, the architectural frame from the 1936 repair lacked the richness in artistic value of the original. It seemed to be ‘incorrect’ to leave it as it stood; restoring the original for m of the structure was preferable and so was recarving the lost elements. Since the advent of foreign visitors in 1951, the cluster of monuments at the entrance of the Hanuman Dhoka Royal Palace has been a ‘snapshot’ of the country’s architectural heritage, with Kal Bhairav as a major focus of the square. Thus, restoring the ensemble image, which has become iconic, was complementary to the environmental quality of the historically and architecturally significant Square. However, the thickness of the principal wall, which composed of core brick masonary, was retained reusing some of the surviving stone blocks. The study and documentation process to redesign this stone architecture from the photographs as well as the enormous number of excellent stone commissions generated, meant that the human factor weighed the argument in favour of re-

carving the lost carvings (i.e. pinnacles, cornice details and tympanum). Where vital components were missing, like the elaborate tympanum above the focus image and the details of the stone pinnacles, they were re-carved based on the historic photographs and documentation. The Trust has not just focused on the ‘visible’ restoration of the shrine but also on structural restoration. Additional stainless steel mesh has been introduced in between core brick masonry structures of the frame to tie the outer skin of stone blocks. This extra bracing of the stones supports and stabilizes the structure in the event of any probable seismic movement. Votive offerings of sculptures, bells and polychrome on the God seem to have been common for as long as we know. Restoring the monument at the disposal of these offerings would have been such as being disrespectful of the prevailing rituals and people’s sentiment. Considering this human factor as a significant aspect of the project, these details have been incorporated into the restoration of the Kal Bhairav shrine. Thus, the model effort of the Trust to reinstate the significant part of the historic ensemble incorporated various aspects of conservation methodology, integrating new technolog y and traditional construction methods. S

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SHANGRI-L A

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This view is in fact one of the key features defining not just the location of Shangri-La Village Resort in Pokhara, but the way it has been designed and built. TONI HAGEN The story of how, or more precisely, where, the Shangri-La Village Resort in Pokhara came to be, began in the year 1952. A Swiss traveller and geologist, Toni Hagen, was in Pokhara that year and he took a photograph there, facing north towards the Annapurna range. This photograph went on to become somewhat representative to the â&#x20AC;&#x2DC;outside

worldâ&#x20AC;&#x2122; of the beauty of Pokhara, a classic picture if you like, and Toni Hagen, following extensive travels across the length and breadth of Nepal, went on to become something of an authority on the geography of this country. Fast-forward to the year 1990 and we have Shyam Bahadur Pandey, hotelier and patriarch of the Shangri-La hotel in Kathmandu, recognizing an opportunity for creating a deluxe hotel in Pokhara. The site? The very spot (more or less), from which Hagen took this famous panorama of the Annapurna Mountains.

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1. Main Entrance 2. Parking 3. Main Building 4. Swimming Pool 5. Pool House 6. Multi Purpose Hall 7. Shops 8. Service Building 9. Guest Blocks 10. Walkway 11. Waterway

12. Temple 13. Chorten 14. Landscaped area

Many things have changed in Pokhara since the time that photograph was taken, but the view of the mountains have remained more or less like that which Toni Hagen saw that beautiful morning in 1952. This view is in fact one of the key features defining not just the location of Shangri-La Village Resort in Pokhara, but the way it has been designed and built.

Above left: Beautiful landscaping is one of the best features of the resort. Above: Nights at the Shangri-La are a special experience. Left: Master plan.

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Traditionally, hotels and resorts have tried to locate themselves along the lakeside, around Phewa taal, the main tourist area in Pokhara. This placement guarantees easy access to the tourist area around the lake, as well as automatically enhancing the architectural appeal of buildings, by virtue of being located beside an idyllic lake. Not so with the Shangri-La Resort. It is located nowhere near the lake, and in fact, is closer to the much less idyllic western end of the Pokhara airport runway. The architects themselves describe the original site, before they completed landscaping and construction, as “flat and boring”. So, in terms of creating a successful resort, the architects and clients had to come up

with a design that could somehow compensate for not being beside, or even close, to Phewa taal – which is for many, the definition of a Pokhara experience. As well as being flat and boring..! DESIGN CONSORTIUM The firm that executed this feat and help build the Shangri La Village resort was Design Consortium. It was this firm’s first major project. In fact, this ‘consortium’ consisted of just four young architects fresh out of architecture school, limited in experience, but plenty on drive. Clearly they did something right when they presented their case because Shangri-La, a well-established and successful hotel looking to invest what eventually came

to around five million USD in this venture project, chose the Design Consortium team to do the work. So back in 1994, the design team set to work and it took them around six months to finalize a design. The actual construction, however, was completed in a blistering eighteen months, a record pace of sorts - given the normally staid pace of construction that is more common here. In 1996 the resort was complete and started actual operations. Its management, and its designers, attribute a significant part of this feat to Uttpal Sengupta, a legendary taskmaster and perfectionist who for around two decades had been general manager at SPACES SEP-OCT 2005 41

well as work really hard, for this would be the consortium’s make or break project. This also meant Shangri-La could have more of a say in the design process and so there was a lot of input from their side but all in all a very healthy interactive design process ensued, resulting in a mutually satisfying end result. Design Consortium, which is now known as Design Cell, then consisted of four young architects: Sanjay Pradhan, Umesh Man Shrestha, Arun Dev Pant and Shakti Man Dangol. The current CEO of the Right & above: Pebbled paths and lush green ferns are well married to thatched cottages. He had the vision to see the possibilities-Shyam B. Pandey. Below: The grounds of the resort offers many excellent examples of an aesthetic mind.

Shangri-La in Kathmandu. He had the skills and experience required and shared in the vision of its owners. So when the Shangri-La group decided to set up a presence in the growing tourist market in Pokhara, he was a natural choice to represent Shangri-La. Interestingly, at this point, a design for the Shangri-La Village already existed, created by a French architect. But though acknowledged as being superb in many aspects both by the client and its final architects, this design did not find fruition. So why was Design Consortium selected over both an existing already-paid-for design, as well as other established architectural firms in the country at that time? They say Sengupta had a gift for recognizing talent, and he and his team saw in the Design Consortium team, well…talent! Also, being young and enthusiastic, they would help infuse energy into the project – as

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Left page: Symmetry and harmony are well demonstrated in the corridors.

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Shangri-La group, Daman Pradhan, tells the story of how these four young architects, fresh out of college approached them for an opportunity to work on the Pokhara project. It was a prestigious project and almost on a whim, the management allowed the foursome to make a presentation, never realizing that they would actually deliver what they wanted - but they did. In fact, Pradhan marvels at the fact that they did their research and came up with a design, mock up and all, in just three days. Their design worked, 44 SEP-OCT 2005 SPACES

so did their enthusiasm, and so Shangri-La was theirs to work on. THE DESIGN During the design phase the team went off to villages in different parts of the Pokhara region and recorded architectural features of settlements and buildings from the surrounding areas. Based on this, they came up with a design they describe as ‘contemporary, with local inspirations’, and having ‘an organic approach’. Structures in this resort are not rigidly defined along standard

axis’s - rather, structures occur naturally, in a more loosely bound, or organic, pattern. This pattern they say was inspired by the way village settlements are laid out – and so the end result was a ShangriLa Village Resort. Shangri-La’s instructions had been to create a place that was war m and welcoming, giving a flavour of local architecture – while providing all the comforts of a deluxe resort of this category. Surrounding settlements around Pokhara like Birethati and Siklis were visited to draw inspiration from for the village concept. One of the designers even thought of creating a village based on the idyll of Gaulish villages featured in the Asterix and Obelix comics, which some readers may be familiar with! However, reflecting on local elements of design was their brief, and that is what the resort has finally incorporated. DETAILS AND FEATURES In fact, a lot of this village element at the resort is found in the details like the Maithili motifs on the walls, the lamp niches in the stone walls and the stone walls themselves. Typical Nepali villages in the region incorporate a lot of stone, straw and wood in their construction and these materials have also been used

extensively in the resort to add to the village feel. Here, an essentially modern construction has been disguised to more or less give it a village veneer. The profile of the blocks with the guest rooms, backed up against the southwest perimeter of the property, has been deliberately broken up by creating a row of split level cottages with four sets of rooms each, with two more in the section joining the cottages. All of these blocks are shaped like a typical ‘matchbox’ Nepali house and have only two floors each. There are also a number of rooms in the southern corner of the property that seem to lie below ground level, an effect achieved by converting their combined flat roof area into a lawn. These rooms may remind guests of the flat roof design of the houses in Manang and the Mustang regions off north of the Pokhara valley. All of these rooms face the mountains to catch that priceless view - and every room comes with this view. The entire orientation of the resort has therefore been created with this view in mind. One of the most attractive features about the design of the resort is the way in which rooms seem to have so much privacy, an effect enhanced by the split levelling and the fact that no rooms face each other. The effect of

Above: The entrance itself promises expansiveness within. Left: Split level designs have been incorporated adding to the independance of each room with regard to uninterrupted view. Right: One view of the resort that exemplifies the thoughtfulness towards the creation of an interesting landscape.

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the orientation of the resort and the rooms is like having the place to oneself with a beautiful garden in front, and then a great view beyond. On the lower floors, it’s the pergolas that give the rooms privacy and the front of each room opens up into the garden allowing direct access to the garden from the rooms. If it weren’t called the Village Resort, this place would have done well to call itself the Shangri-La Garden resort. In fact, it is one of the best features of the resort. Probably no co-incidence as the original Shangri-La in Kathmandu also has a garden as one of its most attractive components. In most resorts, a garden is a formal element of design. Here it is is like coming across an empty concrete community hall in the middle of an otherwise pretty village. This hall is clearly not an accident as it was built to serve as a conference room/restaurant, but when not being used, it remains a bare hall that does not contribute to the overall appeal of the resort. Conferences and seminars are an important market that the resort was probably geared towards, in addition to the leisure tourists, and in this respect, it is a valid structure, but it does detract from the ‘village’ feel. In its defence however, what can be said is that it separates the rooms and garden area, from the somewhat different feel of the swimming pool and the main building area. the star – as far as appeal of the place as a whole is concerned – with no disrespect to the other factors that make up this heavenly resort! The garden works, but what doesn’t work so well is the conference hall in the middle of an otherwise very attractive garden. It doesn’t block the view or anything, but is a conspicuous, and usually empty structure, that guests have to walk by when passing between the rooms and the main building. The hall itself is a solid Nepali-feel building, but could perhaps have been located elsewhere. Its presence 46 SEP-OCT 2005 SPACES

THE POOL AND THE MAIN BUILDING The pool area and the main building are a bit more modern - the decidedly unvillage part of the village. By themselves they form an attractive area and in a sense, the village part consists of the garden area and the guest rooms, and this part the modern resort. There is a large open square flagstone area by the pool, lending sharp geometry to the pool area. The pool itself is a semi circular horizon pool, with the main building itself a cylindrical shape, blending with the pool’s curve. The main building also comes with pergolas following its curve, pergolas being a popular feature here. Though currently one of the most popular deluxe properties in Pokhara, its main disadvantage was not being located close to the lakeside. The swimming pool takes care of that in a way, perhaps by seeming to mimic the lake, so

unavoidable in most Pokhara images. And so the design of the pool area gives Shangri-La ‘village’ its own lake! On clear days, reflected in the pool, are the mountains. And being located at the northern end of the resort the pool traps this reflection, letting visitors walk in to the mountains, in the ‘lake’!

the garden. Three split stone walls allow access to the pool area as soon as guests leave the main building, but also block it from view, so the two areas with different feels do not clash in the beginning. The difference is not stark, but this split wall access allows for a more gentle transition from village, to a blue

horizon pool by a circular glass walled building - the upper floor of which has a viewing gallery that again offers great views to diners. INTERIORS The entire interiors, furnishing, and decor of the resort have been created keeping

THE LOBBY Visitors, on entering the resort through the main lobby, get an ethnic or village feel of the place by virtue of the décor, and this feel is sought to be preserved when they move towards the rooms – coming out of the main building, walking along the covered walkway, and through Facing page: The tender loving care taken in the making of an environment that is soothing and relaxing, as evident from these pictures, has to be appreciated. Above: What else but a Shangri-La could look like this at night? Right: An overview of the lobby which is open and welcoming.

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the village concept in mind. In the reception and dining area, there are reminders of local village life in the form of decorative elements consisting of everyday items used in villages. The reception and lobby area have also been created to give this impression. Most of the interiors and furniture however appear to be of Rajasthani origin and flavour. This was apparently because at around the time the resort was being built, a lot of Shangri-La’s clients were French

groups who used to travel on the Jaipur – Bombay -Nepal circuit. So when it was time to work on the interiors, the decorators went off to Rajasthan to get ideas for interiors and perhaps with the idea of pleasing their French guests, a Rajasthani décor was chosen. Because a lot of Rajasthani furniture and decorative items come from their villages, they do impart a rural flavour. At the same time, when placed in a different environment, they take on an exotic nature and so the décor was probably meant to give the resort an exotic rural flavour. Appropriate, one could say, for a deluxe village resort. THE OVERALL EFFECT In total the Shangri La Village Above: Bedrooms are furnished with an eye towards ethnicity. Left: The restaurant has a cosy atmosphere due to the diffused lighting through Lokta paper shades. Right: Nice ethnic touches make the rooms a delight to spend time in. Facing page above: Earthen pots, wicker chairs and recessed lighting explains the reason for visitors’ pleasant surprise as they enter the lobby. Left: The bar is, as expected, comfortable and with a warm ambience.

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Resort has 61 standard rooms, all of which are more or less identical in their boarding capacity and general layout and decor. The resort is now 11 years old and in some places showing its age, but for the most part, seems to be holding up â&#x20AC;&#x201C; though not ageing all that gracefully, given the fact it is under-utilised in the so-far unsteady tourism market. So what can be said about this resort that came to be because of one manâ&#x20AC;&#x2122;s vision, and another manâ&#x20AC;&#x2122;s photograph? This, that the Shangri-La Village Resort is a functional resort that is both attractive and well planned for the most. It is also comfortable, and fulfils a brief where it manages to incorporate village elements

in its design. The overall effect is pleasing, especially, as noted before, the garden, which is really spectacular. The way the profile of the Shangri-La Village Resort is spread out, and broken up into split levels is a clever feature, saving it from becoming a concrete block trying to call itself a village. This feature, lends credibility to the village goal, and to the overall aesthetic appeal. Wood and stone is the binding feature throughout the resort, and these materials have been used to good effect. Bottom line, a successful blend of deluxe features and ethnic elements to create the village resort the Shangri-La Village hoped to be. S SPACES SEP-OCT 2005 49

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CRAFTS

DRIFTING T O W A R D S

FAME Text: G. Shrestha

‘

… the poet has tried to cook many dishes with a variety of different tastes. It is no use judging them to be either tasteful or tasteless…it is the cook’s perseverance, effort and enthusiasm that must be given due praise.” Late Siddhicharan Shrestha

mong the many awards he has been able to earn in his 59 years, Narendra B. Shrestha is proudest of the ‘Byathit Kavya Award’ for poetry in 1994. He has had a slim book published on a collection of his poems from 1963 to 1986, and in the forward, the late Siddicharan Shrestha writes, ‘… the poet has tried to cook many dishes with a variety of different tastes. It is no use judging them to be either tasteful or tasteless…it is the cook’s perseverance, effort and enthusiasm that must be given due praise.” As a man who has dabbled in many diverse fields and with optimistic endeavour, Narendra is certainly deserving of such words from the great poet. He paints, writes, sketches, sculpts and, besides calling himself a good ‘business ‘Bhavishya Drastha’-Nepali Nostradomus SPACES SEP-OCT 2005 51

’

CRAFTS manager’, has always been active in the social service sector. “I am a Jack of all trades, master of none,” he admits modestly. But hold on, Mr. Shrestha, hold on. Don’t be so harsh on yourself. We must infor m you that we find you to be master in at least one field, which for lack of a better ter m, we shall call, ‘driftwood sculpture’. Now, seeing that it is a relatively new term, let us hear from Narendra about what exactly constitutes ‘driftwood sculpture’.

“I collect roots and branches that drift down the rivers,” he explains. “Then I visualize a particular concept I have in mind in relation to the particular characteristics of such driftwood. All driftwood has odd shapes and sizes that have been defined by nature. Constant hammering of rushing water, the gentle but continuous massage by free flowing rivers and the constant bouts with rocks and other obstacles on the way become responsible for making driftwood quite interesting and individually

different from one another.” Narendra goes on, “Next, I sculpt the concept according to my designs using the oddities of the driftwood in my favour.” From such an unusual source has arisen many unique pieces of artful sculpture that adorn his house in Nagpokhari. “I believe that each of my works is the only one of its kind in the world. I think it is virtually impossible to replicate them,” he declares. His particular brand of sculpture has been exhibited in art exhibitions from time to time. However, Narendra isn’t particularly enthusiastic about selling them. “Just imagine, each one is so uniquewouldn’t it be torture to part with them? Besides money isn’t my objective.” In fact, what Narendra is enthusiastic about, is “to have my sculpture in a museum permanently on display for public viewing.” Each of his works has exclusive names. So too, a history, according to Narendra. An interesting article titled ‘Finding Ravana in Singha Durbar’ published in a national daily some years ago describes how Narendra found a piece of 52 SEP-OCT 2005 SPACES

Above: This piece is the first one of Narendra’s driftwood works. Left: A vibrant sculpture such as this speaks volumes about his artistry.

driftwood inside the durbar and which he fashioned into a sculpture depicting Ravana kidnapping Sita. Similarly, he has found his raw material in many such unexpected venues. But whatever the origin, one will have to agree with the sculptor that each finished piece can be visualized to be carrying a certain concept, a certain story. Such as the large sized ‘Bhavishya Drashta’ for example. “You see this face and the hand he is peering unto?” asks Narendra. “Well he is the Nepali Nostradomus and can you also see the hand blessing him from behind? That is where he is getting his power of prediction from.” He turns the piece around and lo and behold-there is a bald man with a large nose in a stooping posture. “This man has had a lot to do with whatever has been the current trend of events in the country. Guess who he

is?” No need to guess, it clearly is meant to portray G.P.Koirala, prime minister umpteen times. ‘Mache Kanya’ (Mermaid) is another relatively big piece, and in this, one notices an almost ethereal quality of artistr y. The slim mermaid stands gracefully atop a dolphin and with another one taking a leap. The mermaid is well shaped but instead of the face, there is a gaping yawn-like hole. The result of all this is a sculpture that reflects vibrancy and action. It is undoubtedly one of Narendra’s more imaginative works. “All my works are sculpted from one piece,” he further informs. “This is another reason for my claim that each is one of its kind in the world.” A beautiful ‘Bal Sulabh Ganesh’ takes pride of place in his living room, and makes for an elegant looking centerpiece.

books have covers designed by Narendra himself and all the designs are in the form of arty drawings. Some of his paintings hang on the walls as does a wallhanging full of commemorative and

Above: Driftwood sculpture displayed below some of Narendra’s paintings. The books’ cover drawings were done by him. Below: The sculptor with a piece that is in the early stages of being crafted into a one-of-its-kind work.

Narendra B. Shrestha has several racks full of Nepali literature. And this is as expected of a man who considers himself to be a man of words. However, there is more to it than that. All those

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CRAFTS other medals acquired for work with associations like Lions Club, Jaycees and other social service as well as business organizations. Narendra has been recognized for his social service and this is evident from many awards including the International President Humanitarian Award presented by Lions International in 1997; the Birendra Aishwarya Sewa Padak in 2001 as well as the Second Best Social Service Award during the first Youth Festival in 1965. In 1970, as the cultural secretary for Nepal Unesco Club, Narendra was the one to initiate a beat contest in aid of beggars’ welfare, and in which a group of real beggar kids were invited to be the chief guests. Prizes too were given away by the ‘chief guests’. Presently, he is an executive member of the Satya Sai Kendra which runs a diagnostic centre for the poor, and in which Narendra holds the chairman’s post. He has also tried his hand at landscaping, having done the same for Satya Sai Kendra and for Nagpokahari. On the business side, he has a shop, ‘Neeru’s’ (named after his wife) at the Bishal Bazar. He is also a director of the

Bishal Bazar Company as well as director of the upcoming Lalitpur Bishal Bazar. It is a wonder how he manages the time for all his various activities but as he says, “Although I am a businessman, I don’t really give much time to my business. Still, it’s all a question of managing time properly.” He adds, “I am a very active person and thanks to God, I think I’m in almost perfect good health.” And, “Look at me, I am 59 years olddo I look it?” Before we forget, we must also mention that Narendra has taken acting lessons and performed with well known actor Madan Das Shrestha, in three plays staged in Naachghar during 19671968. In fact, he directed one of them which was titled, ‘Balbhadra’. Much has been dabbled at, and with some degree of success too, but all said and done, it is in the art of ‘driftwood sculpture’ that Narendra B. Shrestha really excels. One can judge that such marvelous work must be really time consuming, and the sculptor agrees. At the same time, the end results displayed in his

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Above: ‘Lion’-Lovely lines and polished looks make this a very interesting work indeed. Below: ‘Kurukshetra’- This intricate sculpture tells it all-the tale of the Mahabharat epic.

rooms totally justify any length of time taken because the art forms arrived at are, as he repeatedly says, ‘really unique’. Looking at his huge and solid ‘Singha’ (Lion) and the delicately poised ‘3rd Stage Ballet’, one cannot but marvel at his ingenuity. Similarly, his ‘Sangharshmaye Manche’ (Struggling Man) and ‘Man with Dog’ are worthy creations, as are ‘Save Nature’ and ‘Khelkud Ma Unmukh Haru’ (Those Who are Busy with Sports). Narendra’s ‘Kurukshetra’ is a depiction of the Mahabharat and when he goes into an explanation of the many nuances of the multi-figured sculpture, one begins to understand the tremendous effort and imagination that goes into the making of such wonderful works. Final words from the poet/painter/ businessman/social service worker/ sculptor-“I am not into ‘Kastha Kala’ (Wood Carving), I’m into ‘Kathe Kala’ (Wood Art). The former is traditional, the latter, modern.” S

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JOURNEY THROUGH JOURNEY THROUGH C SS PP AA C EE SS

due to this, glaringly, the other hotels in DESIGN RESPONSE TO HOUSING MARKET Nov/Dec 2004

Civil Homes Phase III in Sunakothi has been a design response to the planned housing sector which, according to the designers, Design Cell, has made a surprisingly late start in Nepal. The main objectives have been to balance cost with facilities provided, so that the project becomes economically viable while still maintaining higher standards of space and requisite amenities.

THE MASTER BUILDER

Nov/Dec 2004

Shanker Nath Rimal is best known for designing the Shahid Gate. However, his prowess is all the more appreciated for the design and construction of the Royal Nepal Academy Hall because, although an engineer, his architectural abilities have been well demonstrated by the multifunctional design. Other designs that have earned this artist/engineer an enviable reputation have been the highly individualistic and much discussed ‘Gudne Ghar’ and ‘Khutte Ghar’. Perhaps these signify the artistic nature of the man.

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HOTEL WITH A HISTORY

Nov/Dec 2004

The Shanker Hotel has a hundred year history behind it. Neo-classical in design, this ancient building is an architectural monument . Credit has to be given to the owners who have taken good care to make sure that the original facade is preserved for eternity. It has specially been a creditworthy achievment since even when much of the interiors had to be reconstructed for commercial viability, the exteriors were kept unchanged.

it highlights, difference with n the area and is

PROTECTOR OF MONUMENTS Nov/Dec 2004

The Kathmandu Valley Development Trust Office in Patan Durbar Square befits perfectly, its function-the preservation of traditional monuments in the Valley. It is not really surprising since the Nepal Program Director of this international body is the well known architect Dr. Rohit Ranjitkar who has a couple of interesting works to his credit such as the renovated Baber Mahal Revisited. He is fond of propagating, â&#x20AC;&#x153;It is not necessary to destroy traditional structures in order to provide comfortable living and working space.â&#x20AC;? The KVPT office proves the point.

AMIDST ENCHANTED FORESTS Jan/Feb 2005

Haatiban Resort stands some 400 metres above Kathmandu Valley and appropriately enough, has lovely invigorating weather all year around. Set in 2 hectares of lush green forest, the resort, designed by Narendra Pradhan, well known maker of monasteries, is only 15 kms from the Capital. Constructed with stone masonry and mud mortar, the architect faced some unusual challenges such as the difficult decision to have the cottages face west to take advantage of the perennial view of Kathmandu Valley, rather than east to catch the sun.

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The restoration of Ba was a labour of love fo great-great grandson o SJB Rana. Indeed motivation must hav transform dilapidate down guard quarters A SAMPLE OF THINGS TO COME

Jan/Feb 2005

Namuna Ghar of Bhaktapur, recipient of an UNESCO award, is the brainchild of an artist cum academician, Rabindra Puri who however, prefers to be called a â&#x20AC;&#x2DC;restorerâ&#x20AC;&#x2122;. Seeing that almost 80% of original materials were reused during the restoration of Namuna Ghar, and much effort put in to ensure originality of other materials, Rabindra Puri certainly deserves to be called just that- a restorer.

FIRST WOMAN ENGINEER

Jan/Feb 2005

Shanti Malla was, for almost seven years, the first and only woman engineer in the country. She spent a major part of her working life at the Department of Housing as an engineer, and six and a half years as a first class officer in the Anti Corruption Bureau. Today, she runs a school that she founded, Ananda Vidya Mandir in Koteswore, Kathmandu.

BABER MAHAL REVISITED MAR/APR 2005

The restoration of Baber Mahal Revisited was a labour of love for Gautam SJB Rana, greatgreat grandson of Maharaja Chandra SJB Rana. Indeed, a great deal of motivation must have been needed to transform dilapidated stables and run-down guard quarters to what is on view today- a truly remarkable monument.

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JOURNEY THROUGH

FLAUNTING SPACES REFRESHINGLY Mar/Apr 2005 One of the newer additions to innovative architecture in Kathmandu has been the Nanglo Bakery Café at Sundhara. Designed by Sarosh Pradhan, the project was envisaged as ‘an effort to be kinetic in nature, sculptural in form and poetic in treatment of spaces, materials and details’. With an abundance of space to play around with, the designer has succeeded in creating a haven in the middle of a concrete inner city jungle. Daring use of metallic structures combined with aesthetic traditional touches impart an interesting aura.

aber Mahal Revisited or Gautam SJB Rana, of Maharaja Chandra , a great deal of ve been needed to ed stables and runto what is on view THE FOUNTAINHEAD Mar/Apr 2005

Bibhuti Man Singh has earned quite a reputation as one of the most innovative of architects. His award winning design of the Himalayan Pavilion at Expo 2000 in Hanover created quite a stir. Park Village in Budhanilkantha and Club Himalayan in Nagarkot are two great examples of his innovativeness.

GOD IS IN THE DETAILS May/June 2005

The Country Villa in Nagarkot is, ironically, conspicuous. Ironic, because the architect, Siddarth Gopalan, envisaged much of his design concept towards blending the hotel with the local environment. Acutally, to be fair, it is conspicuous because of this- Country Villa Resort’s design has incorporated local architectural touches admirably and, in the process, has become all the more eye-catching.

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JOURNEY THROUGH

S ENDURING LEGACY

May/June 2005

The Garden of Dreams in Keshar Mahal is well on its way to completion. If we are to go by what has been achieved so far, then all we can do is wait with bated breath for the day it is fully complete. Gotz Hagmuller, the man who designed the path breaking Patan Museum, surely must consider restoration of this garden to be one of his magnum opuses.

ORGANIC TO THE CORE July/Aug 2005 Gangadhar Bhatt Halbe is the first man to have acquired an architectural degree in the country. He has had an eventful life and will always be remembered for outstanding landmarks such as the City Hall and the Soaltee Hotel. A man with an individualistic streak, Gangadhar Bhatt is also a man of modern thoughts.

One of the newer additions to i n n o v a t i v e architecture in ILLUMINATED LIVES

May/June 2005

Creative Builders Collaborative (CBC) is presently one of the premier design and construction companies in Nepal. It has been responsible for building seven out of the eight SOS Villages all over the country. In addition, the company has a long list of creditable works in their portfolio. Perhaps the combined glow of Dipak and Jyoti Sherchan have been the cause of so much illumination.

COMMUNITY LIVING

July/Aug 2005

Comfort Housing has not only been hugely successful in the business of selling housing projects, it has also been very successful in imparting the concept of community living. But of course, it is the design and construction which really matter, and in this, Architect Rajesh Shrestha of Vastukala Paramharsh and CE Construction have both done splendid work.

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n SPACES SEP-OCT 2005 61

STARK

SOPHISTICATION

he design of a bar or restaurant is like a theatre design: it sets a stage, effectively creating the mood for a wholesome experience. While a glass of beer is just a glass of beer, the surroundings in which that glass of beer is served should subtly engage the diner. It should offer a tenor that ranges from hard-edged urban sophistication to upscale elegance to downplayed comfort. It should be able to talk and to convey a message. 62 SEP-OCT 2005 SPACES

J Bar’s concept was visualized while holidaying in Sri Lanka. The plan was a rough sketch of the ceiling with charcoal pencil shading, highlighting the proposed recesses in the ceiling. It was more of an artist’s version of the ceiling - very fluid, very dramatic. This rough sketch was faxed to Anand (one of the owners) who surprisingly approved it instantly! IDENTITY Located on the first floor of the building that houses the famous

Himlayan Java in Thamel, the space now occupied by the bar was used partly as an office and partly as a store. Two entrances lead to the J Bar - one in the front of the building towards the main road and the other, opposite to the beautiful Keshar Mahal. There are no signboards or any kind of signage anywhere identifying J Bar. The bar’s only identification is through word of mouth of satisfied clients.

INTERIOR

Text: Sonia Gupta

The walls are bare, completely stark, and as darkness sets in, the riotous lighting plays havoc.

The shaft has been turned into the liquor display unit, highlighted with more recessed lighting and has become the main focus of the bar.

BASICS The built up area of the J Bar is rather small, somewhere around 1280 sq ft., although the total floor area, which includes Himalayan Java, its kitchen and offices, is enormous. Being largely a rectangular shaped hall, the interiors were architecturally very uninteresting. It had a low ceiling with a lot of irregularly distanced beams. In addition, there was a shaft on one side as well as four columns within the enclosure. This first

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time assessment of the site definitely posed some obstacles. At that moment, it was immediately decided that these inherent negative points of the site must be turned into its positive features for the design to be effective. The remedy started with designing the false ceiling in such a way that it would hide all the harsh structural elements yet make it aesthetically pleasing. Since the

existing ceiling was very low and adding a false ceiling would make it even lower, it was decided to highlight it with carefully placed light fixtures for ornamentation as well as for general lighting. This approach to the lighting in J Bar made it pleasingly aesthetic as well as efficiently functional.

liquor display unit, highlighted with more recessed lighting, it has become the main focus of the bar.

BEING SPECIAL Certain unique features have been adopted in J Bar: the lighting effects, the â&#x20AC;&#x2DC;rat eaten marbleâ&#x20AC;&#x2122; and the extensive use of glass. Like a painting, the marble on The other main issue that had to be dealt the wall tells a story and needs to be with was the shaft. By turning it into the perceived in that way. The many shades of ochre, the grains and the unfinished rawness of the marble becomes a centrestage in J Bar. The mood lights used enhances a personal theory of bar design being akin to setting up of a theatre. It has been used here to make drama, to set a stage, to create an atmosphere, to make people happy with this riot of

Above: Like a painting, the marble on the wall tells a story. The many shades of ochre, the grains and the unfinished rawness of the marble becomes a centre-stage. Left: The low false ceiling, with carefully placed light fixtures, hides all the harsh structural elements, making it aesthetically pleasing and functional.

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colour all around. These lights are programmed on timers and can play with the colour of the season. They can be programmed and controlled to whatever colour required, thus setting the mood for the evening. IMPLEMENTATION The construction took approximately 2 Â˝ months for which local contractors were employed to do the job. A major problem encountered during construction was the unavailability of proposed construction materials. Quite a number of days were spent in trying to source out materials locally. There were instances when the required material was found but not in enough quantities. Eventually it was decided to bring everything in from India as the bar was scheduled to open soon. Although each and everything was brought in from India, including the furniture, marble, tiles, glass, chillers, the bar backup equipment, as well as all the serving dishes, the sound equipment as well as the mood lights were imported from UK. Sound and light engineers were specially brought in from Delhi to install the systems.

AND AT THE END J Bar is simple in its design. It is an uncomplicated ambience created to soothe the nerves and yet be able to play up the emotions - whichever way one wants to look at it. Paintings as artworks have intentionally not been used. Rather the natural marble and prolific use of glass has been incorporated as the medium. The walls are bare, completely stark, and as darkness sets in, the riotous

lighting plays havoc. The hall with its beams, shaft and columns, perceived initially as design constraints, is in fact the canvas on which colour has been filled. The bar is also a play of light and shadow. The lines are clean, crisp, minimalist and almost clinical in approach. J Bar is one place where no compromise was made in terms of quality and where it was very clear to all concerned as to what the end product had to be â&#x20AC;&#x201C; a place to unwind, to relax and to be anywhere in the world that they wanted to be. J Bar truly reflects the personalities of its owners, Anand Gurung, Cabinet Shrestha and Gagan Pradhan, trendy, happening and with the times!! It could not have been accomplished without the immense faith they had in my design ability. S

Above & below: The mood lights make drama, sets a stage, creates an atmosphere, makes people happy with the riot of colour all around.

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Sonia Text: A.B. Shrestha

DESIGNER

Sonia’s entrance into the frame comes like a whiff of fresh air not only due to her attractive demeanor but equally due to her modern ideas.

onia Gupta, nee Malhotra, is starting to make her mark in Kathmandu. This pretty interior designer from Delhi is proving, once again, that art and design knows no boundaries. Nepal’s architectural landscape already has had the likes of the great Robert Weise and Louis Kahn imprinting their respective stamps, and currently, Gotz Hagmuller, making sure he leaves behind a legacy as well. So Kathmandu is no stranger to an international milieu in the architectural field. Now, a younger generation of international designers is entering the picture. Sonia’s entrance into the frame comes like a whiff of fresh air not only due to her attractive demeanor but equally due to her modern ideas. Her arrival on the scene perhaps adds to the much-needed move towards a more contemporary vision in interior designing in the Capital. J Bar in Thamel is one such move and it has certainly done Sonia proud. Jeans Café in Basantpur has been a continuation of the same spirit as has been Vineyard in Baber Mahal Revisited. Especially heartwarming to Sonia has been the end result of her efforts in J Bar. “I was fortunate to have really understanding clients who placed their total faith in my abilities,” she says. “My concept was accepted at first glance

and from then on, no stone was left unturned to ensure that my work progressed rapidly and without hindrances.” Enthused with the accolades that followed, Sonia must be realizing that now she has a reputation to live up to. The work she has been assigned to refurbish the Coffee Shop, the Ghar-E-Kabab as well as the rooms of the Hotel de l’Annapurna might well be her opportunity to do so. One cannot but notice an aura of confidence around her when discussing the project. “I already have a concept in my mind about what I think the finished project should look like,” she says. “I have been studying the clientele here and I have noticed that in addition to young customers and the usual tourists, there are a sizeable number of regulars. I don’t want them to feel out of place later on and at the same time I want the younger customers to enjoy a more sophisticated and modern environment.” She adds, “I will be working on this with Kai Weise who will be responsible for the architectural and structural work”. Well, this is one project that will be attracting some attention, keeping in mind that Kai’s father, the late Robert

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Weise, was the architect who designed the Hotel de l’Annapurna. Talking about fathers and such, it is interesting to know that Sonia’s maternal great grandfather Samuel Evans Stokes, a Quaker from Pennsylvania, introduced apple trees in Shimla in 1903, and thereby made Himanchal Pradesh into one of the biggest apple producing states in India. Besides being a social worker, he

known architect, Shiban Ganju, requested her to be his interior design consultant for two residential projects - that of industrial biggies, Khaitan and Goenkaboth in New Delhi. “You can imagine, I must have been blessed to have had such distinguished clients for my first professional works.” From then on it has been a busy ride, and her firm, Sonia Gupta and Associates, went on to do a lot of prestigious projects including,

Above & left: Two of Sonia’s recent works – Vineyard in Baber Mahal Revisited and Jeans Café in Basantpur

specialization as Interior Architecture and believes that it would be proper and in

also joined Gandhi in the freedom struggle and such was his stature in preindependent India that his life’s story entitled the publication of a book called ‘An American in Khadi’. How fitting also that Sonia was born on the 15 th of August- India’s Independence Day. Sonia reveals, “Actually my real name is Vandana”. Supposedly, during the five years of her B.F.A. Interior Design and Art Education in the University of Georgia, USA, people found it difficult to pronounce her name. So she began using her nickname, Sonia. She has also done a one-year Advertising and Applied Arts from College of Art, New Delhi. She finished her B.F.A in 1991 and surprisingly, did not start any work professionally for almost five years. “I got married,” she laughs. “And then my daughter was born, so I became pretty busy at home.” But destiny was only waiting to play its part. In 1995, the well-

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offices of PSA Legal Eagles in Delhi and New York, a NRI residence in New York, the Bandhavgarh Jungle Lodge, and the Opus in Delhi. However, with a growing list of Kathmandu projects including the Hotel de l’Annapurna and residences of HRH Princess Helen Shah and Kapil S.J.B. Rana, it does look like Sonia might well be as busy here. Half jokingly, she says, “I would love to build a cottage for myself in Kathmandu, but I hear land prices are over the roof!” She has built a small cottage recently in Shimla, which she visits occasionally. Sonia has had an exhibition of her computer graphics at the Guggenheim Museum in New York and another at the Lyndon Art Centre in Georgia. She was also a recipient of the Georgia Rotary Scholarship. And besides ranking 27th in the All India Order of Merit in the Class XII Board Exams, Sonia also topped the State of Delhi in Art. She describes her

the scheme of things if architects would work alongside interior designers as consultants. From her experience, Sonia believes that it is very important to be professional in dealings with clients but rues the fact that there are still many who do not understand the time and effort an interior designer has put in to arrive at a point of mutual satisfaction. Sonia says she is quite selective when accepting assignments and likes to have her interest aroused by challenging projects in which she is allowed a free hand to unleash her latent creativity. She says, “Working here has been a pleasure but it has been difficult as well.” Elaborating further, she adds, “Sometimes it is impossible to get the kind of materials I need and even when available, not in the requisite amounts. I do wish concerned importers would consult interior designers when ordering so that they have adequate stocks of required and in-vogue materials. This would make our task so much easier and prevent unnecessary delays in the finishing of projects.” S

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Text: Kai Weise

ARCHITECT ROBERT WEISE: SWITZERLAND Winterthur is an industrial city approximately 25 km north of Zurich. In the pre-war days, the euphoria of industrialization was slowly fading due to the harsh working conditions and the economic depression. Grey smoke belched out of the chimneystacks as masses of workers wearing faded overalls swarmed into the soot-covered brick cathedrals of assembly lines and machines. Ship’s engines the size of triple storey buildings were being manufactured to conquer the oceans. However a new wave of reform was being demanded by the trade unions, encouraged by the socialists. The newly established industrial bourgeoisie fought back heavy-handedly. Across the borders in Germany and Italy, the turmoil and depravation fuelled the establishment of a new order, the authoritarian regimes of Hitler and Mussolini. Under these circumstances, Robert Weise was born on May 23rd 1929 and grew up in a large household together with eight aunts and uncles who all followed the strict dictates of the grandmother. Being a single child, he was pampered by the family and was introduced to a wide range of activities: from constructing gliders to assembling radios. Robert went to primary and secondary school in Wulflingen. His passions were art and sports. He joined the Boy Scouts, where he participated enthusiastically and was given the name Silver Fox.

By the time Robert was 10 years old, the Second World War had begun. Step by step, Europe was engulfed by the German army, and as Mussolini joined forces and France fell, Switzerland was left an island in the midst

THE LIFE THE WORK THE TIMES PROFILE

“The foreign lands are not at all foreign to me; for it is there that I hope to be able to express the personal freedom in me”.

of repression. For five long years, the country was in a state of emergency. Food was rationed and windows had to be blackened at night. These were insecure times. Meanwhile, at school, the art teacher did not give Robert full marks in his final secondary school exams, which set him on a new course. Instead of becoming an artist like his friends, he followed the advice of his art teacher and chose a more technical profession; Architecture. Robert did his apprenticeship as a mason and then joined the architecture course at the Swiss Technical Institute in Winterthur. SPACES SEP-OCT 2005 71

The war had ended and Europe was licking its wounds. Though Robert moved away from art, he continued with his passion for sports. However, as he grew older, his physique became heavier and he had to change from gymnastics to wrestling. He made the Wulflinger Turnverein (gymnastic club) proud by bringing in medals and wreaths and even winning the cantonal (state) championships. Robert joined the obligatory army service with the “Light and Mechanized Troops”, where he thought he would be driving around in a jeep; he ended up with the bicycle troops. He left the army when he did not get first accreditations to become an officer. Even after leaving the ar my, he continued bicycling and toured large parts of war-torn France, Italy, Spain and England. An entry in Robert Weise’s diary dated: London 29th June 1948, gives an early hint on what he was going to do with his life. “The foreign lands are not at all foreign to me; for it is there that I hope to be able to express the personal freedom in me”. Robert Weise completed his architecture in 1953. Soon thereafter he wooed Lotti Stalder, an adventurous and attractive young woman from the Bernese Alps, to marry him. CAMEROON After completing his studies, Robert applied for a job with the Basle Mission to work in the British Cameroons. To prepare for the task of working in such a foreign context, he was sent to the Building Research Centre at Watford, England to specialize in tropical architecture. In December, his first daughter, Gerda, was born. Four months later, after last minute preparations for the long journey to the “black continent”,

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the family boarded the S.S. Reventazon in Liverpool. After 12 days, on May 11th 1954, the ship entered the bay of Victoria and docked at Tiko, British Cameroons. Cameroon had a turbulent past and after the First World War, the territory divided up between the British and the French, had little social or political progress. It was only after World War II that the independence movement erupted and guerrilla warfare raged in the French Cameroons. The security situation was deteriorating and though even missionaries carried personal firearms, Weise chose to remain unarmed, arguing that it was the firearms that attracted disaster. During the 3 years in the British Cameroons, Weise was assigned to various mission stations. Other than looking after the existing faculties of the mission, several new projects were carried out such as; a leprosy settlement in Manyemen, a theological seminary in Nyasoso, a bookshop in Victoria and a teacher’s training centre in Batibo. Working conditions were tough. Materials needed to be ordered and often selfprocured from Douala in the conflictridden French Cameroons. The roads were earthen tracks that became a quagmire of slippery red mud during the rains. The boats that frequented the route between Victoria and Douala had to wind through the creeks where danger lurked around every bend. The building sites had often to be cleared from the thick forests. The labour force lacked training and even the supervisors had difficulty understanding how to measure something that was longer than their measuring stick. Innovation and endurance was required. Weise brought about basic reforms on his construction site, by banning the beating of labourers. Lotti Weise did the

Above: Leprosy settlement and book shop, Cameroon. Below: Residence of Prince Basundhara and T.U. Library, Kathmandu

accounts and carried out first aid for the sick labourers. The contract ended in June 1957 and the Weises flew back to Switzerland. The wooden crates remained packed, for Robert had no intension of remaining in Switzerland. A new job was in the offering; this time in Nepal. A son, Stephan, was born in September and when Stephan was barely seven weeks old, the family boarded the plane towards the East. NEPAL It was November 11th 1957. The Dakota DC 3 landed on the Gaucharan airstrip in Kathmandu. A pickup was waiting to take the Weises to the SATA (Swiss

PROFILE

Above: Royal Palace proposal, Kathmandu. Right: St. Mary’s School and T.U. Science Block, Kathmandu. Below: Royal Hotel, Kathmandu

Association for Technical Assistance) office and guest house at Ekanta Kuna, Jawalakhel, Lalitpur. In 1957 Nepal was still in the throngs of setting up a democratically elected government. Robert Weise was on a twoyear assignment within the framework of the Swiss assistance to the Ministry of Agriculture. One of the ongoing projects was the establishment of cheese factories in the mountainous regions. The factory in the Langtang Valley had already been set up and additional factories were planned, such as the one in Thodung, north of Charikot. Designs were also prepared for storage godowns and staff quarters for the ministry. Weise also prepared a proposal for the establishment of a Building Research Centre in Kathmandu, which even after a concerted effort did not get the required backing of the Swiss.

The contract with SATA expired in 1959, nevertheless Weise had already been approached by the royal family for various design projects; a barn for the royal palace, a restaurant in the Gokarna forest and residences for Prince Himalaya and Prince Basundhara in Tahachal. A proposal was also prepared for the Nepal Bank building in New Road. However, it was not these projects that convinced Weise to stay on in Nepal, but the prospect of working on the proposed Tribhuvan University complex in Kirtipur. 1960 was a critical year, not only for Robert Weise, but also for Nepal. The Tribhuvan University project did materialize and he was given a three year contract as Architect-in-Chief for the preparation of the Master Plan and the design of the Library Building and the Science Block. The decision to leave the refuge of the Swiss government and take the leap to working for the local

government was that which led to the exceptional contribution of Robert Weise to modern architecture in Nepal. In 1960, King Mahendra took a bold step when he commissioned the design of a new palace. This clearly symbolised the break from the past history of Rana domination and was part of the nationbuilding process for a “Modern Nepal”. The Ranas used the neo-classical style of the colonial powers in India to distinguish themselves from the common folk and to symbolically strive towards equality with the British. However, King Mahendra wanted to replace the “Rana Style” palace with a building designed in a style representing a modern interpretation of Nepalese architecture. Architect Weise was approached to submit a proposal. The architect was honoured. However, as a young architect, he naturally felt rather

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overwhelmed with such a colossal task. The project however fell through due to misunderstandings with the Royal Aidede-Camp. The project design was later commissioned to “Chatterjee and Polk”, one of the largest architecture firms in Asia. Benjamin Polk, an American architect, described the design in his book “Building for South Asia, An Architectural Autobiography” as “the building has total balance and total lack of symmetry” with a “Hindu temple tower”. In December of the same year, Weise was contacted by the Anchaladish (Zonal Governor); a new city, Bharatpur, was to be planned in Chitwan and he should come down to study the site. By late afternoon of December 14 th 1960, Robert was sitting with the Anchaladish on the verandah of a traditional wooden house on stilts. Robert Weise began to ask questions, questions that an architect would ask when confronted with the task of planning a new city for the first time. The Anchaladish waved off the questions, explaining that the bulldozers were coming the next day, and he was to direct them on the alignment of the roads. The next morning it was announced on radio that King Mahendra had dissolved parliament. There was going to be curfew in the evening and so Robert had to return to Kathmandu immediately. Before leaving however, the only suggestion that he managed to give was that the city centre should not be on the highway. The suggestion was followed.

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During the 1960s, Weise was confronted with the challenge of adapting the modern style of architecture he had been taught in Switzerland and his experiences with the European architecture in the late colonial period of western Africa to the context of the Kathmandu Valley. This struggle is already clearly visible when comparing the modern style used for the residence in Tahachal, the various forms of brise soleil derived from tropical architecture used on the library building and the adapted traditional windows proposed for the Nepal Bank project. The institutional buildings designed by Weise in the early 1960s were purely functional, with little regard to style. Examples of such buildings are the 1962 designs of the Lincoln School auditorium and the classroom block for St. Mary’s School. However, Robert Weise experimented with forms and finishes in the residential buildings he designed. The cubical, flat roofed, white plastered buildings slowly transformed into exposed brick buildings with sloping roofs. The drawing of a residential building dating from 1961 shows how a “Newari” sloping roof was added to a design, which initially had a flat roof. This might seem an issue of little relevance today; however in 1961 there were hardly any “contemporary” designs to refer to. It was up to the architect to work towards an appropriate design which, seen in the larger context, would lead to the creation of a style. As Robert Weise explains: “There were two choices: either to forget about the traditional architecture and follow what at that time locally was referred to as ‘Bombay box style’ or ‘house without hats’, or else to blend the new with the traditional. It must be noted that in 1957 no qualitatively suitable materials were available to follow the ‘modern international style’ of that time nor would it have been economic. For me it was obvious that the new era in Nepal must be created though with a progressive spirit, but with a

Top: T.N.A. Hostel, Sikkim. Above: Fishtail Lodge, Pokhara. Below: Residential building, 1961, Nepal, showing ‘Newari’ sloping roof added to flat roof.

traditional mind”. A ‘Nepalese style’ of architecture for the given context was being sought after and the culmination of these initial experiments can be seen in the design of Hotel de l’Annapurna. Robert Weise refers to this struggle when he writes: “Understandably the trend at that time was rather in favour of the progressive spirit, but it soon balanced and the resulting blend of architecture was called Nepalese. An early example was the Annapurna Hotel, the first “modern” tourist hotel which opened in July 1965.” The family grew with the birth of a second daughter Zita, and four years later a second son Kai. The same year, the family moved to the Club House at Bahadur Bhawan, then known as Lal Durbar. The Bahadur Bhawan had been converted into the Royal Hotel by Boris Lissanevitch in the mid-1950s, where celebrities from around the world stayed when visiting Nepal. With the advancement of commercial aviation tourism became a potential industry for Nepal. Plans were made to enlarge the hotel. The proposal prepared by Weise retained the front wing of the Rana

PROFILE

palace and framed it with a ‘Nepalese’ style building in the back. It is of course interesting to compare this design to what has subsequently been done to give the palace a special ‘Nepalese’ identity; by adding ‘pagoda style’ roofs to the Ranastyle building. In 1967, the Chhogyal of Sikkim called Weise to Delhi in connection with the foreseen Sikkim House project. The audience was given at the Rastapati Bhawan, and the Chhogyal came straight to the point; “How would you perceive the Sikkim House to look?” So Robert Weise had to sketch out a design there and then, which the Chhogyal accepted. The Sikkim House was to be constructed exactly as shown in the sketches. This meeting was followed by a close relationship with the Chhogyal who asked Robert Weise to develop a ‘Sikkim Style’ of architecture. By the end of the 1960s, several projects had commenced in Gangtok, which reflected this newly conceived ‘Sikkim Style’; T. N. A. Hostel, T. N. Higher Secondary School and the Palace Secretariat. The 1960s was a decade of experimentation for Weise, which brought out some of the most interesting designs. In addition to the projects already referred to above, there were numerous residential buildings, schools and projects related to tourism. One project must be mentioned here in particular, the Fishtail Lodge in Pokhara. A simple design and the use of local materials created an environment that reflected the essence of Pokhara and captured its identity. WCAE In 1969 the firm ‘Weise Consulting Architects & Engineers’ was registered. The office grew quickly to comprise of at times up to 25 staff with a branch office in Sikkim. The next five years was the most productive period of Robert Weise’s career, during which over 100 projects were designed. In Kathmandu the most prominent of these projects were Hotel Malla, the Army Headquarters and the SOS Children’s Village in Sano-Thimi. The Hotel Yellow Pagoda on Kantipath was constructed. Several hotel projects were designed but

never constructed, such as the impressive design for the extension of Hotel Annapurna for Hilton. Army complexes were carried out in Chhauni, Baneshwor, Bhaktapur, Karipati, Pokhara and Nepalganj. Parallel to the projects in Nepal, there were some projects in Sikkim, many of which however ended up not being built, for history struck again. On May 16th 1975, Sikkim became the 22nd State of the Indian Union. With the transition of power, many of the projects conceptualized by the Chogyal were scrapped and for those that were later implemented, Weise’s services were no longer sought. In 1976, the office and residence was moved to Keshar Mahal, a building designed by Robert Weise. After Sikkim, a slight hint of fatigue shimmers through in Robert Weise’s work. The second half of the 1970’s led to a double heart attack in 1979. During this period there were however several major projects such as

Top: SOS Kathmandu.

Children’s

Village,

Above left: Hotel Yellow Pagoda, Kathmandu. Above right: Japanese Embassy staff quarters, Kathmandu.

the west-wing extension of the Hotel de l’Annapurna, the Geodatical Observatory in Nagarkot, the Japanese Embassy Staff Quarters in Jawalakhel, and work on the Soviet Embassy had already begun. In his book “Wege und Ir rwege der Entwicklungshilfe” (Paths and Erring-Paths of Development Aid), Dr. Toni Hagen presented Robert Weise’s work as a highly successful example of development aid through private initiative. During the period 1959 to 1979, a Swiss architect, without any foreign financing, provided practical training to 22 architects and 80 SPACES SEP-OCT 2005 75

§PROFILE

draftspersons. Seven architects who worked in the office for several years went on to open their independent offices. Robert Weise contributed to the contemporary architecture in Nepal by achieving a blend between the traditional and the modern. In 1979, Robert Weise was commended by the Royal Nepal Academy for his exemplary works of preserving the Nepali cultural identity in modern buildings. The 1980s was the most challenging period in Robert Weise’s life. The heart attacks had severely affected his health. All the children had left to study or live abroad and his position as the “Grand Master” was being under mined by younger architects who, not finding a better reason, condemned him for being a foreigner. Even after providing service to the country for over 30 years, it was a struggle to obtain a visa. In March 1989, Robert Weise was again hospitalized and had to be flown to Delhi for a double by-pass heart operation. During this decade there were nevertheless over 60 projects that were designed. Some of the projects that were implemented were the Annapurna Arcade, the Coca Cola Bottling Plants in Balaju and Bharatpur, the Samajik Sewa Mandir in Lainchour and the Embassy of the Federal Republic of Ger many in Gyaneshwor. It was however the Dreamland Resort project in Begnas that best exemplifies this period. The grand idea of having 76 SEP-OCT 2005 SPACES

boathouses built on Lake Begnas for a luxury resort remained a dream, due to environmental concerns. This period of hardship had a deep influence on Robert Weise, who diverted his attention towards other activities. He joined the Free Masons and committed himself to the Rotary Club of Kathmandu where he became president in 1988. In search of a more philosophical reason for existence, he started reading the teachings of Shree Rama Tirtha and meditating. However, the greatest task that he took upon himself was a study on the historic evolution of architecture in the Himalayan region. The study came to an abrupt halt with the sudden reoccurrence of his heart condition, leaving a huge collection of books and piles of notes. After the heart surgery, Robert Weise never recovered properly. He spent several months in a health resort in Switzerland. The near death experience made him a completely altered person; he turned vegetarian and abstained from alcohol and tobacco.

Top: Samajik Sewa Mandir, Kathmandu Above left: Hotel Malla, Kathmandu. Above right: Dreamland Resort, Pokhara

GERMANY Robert Weise was in Berlin when the Wall came down in November 1989. With the German capital being moved to Berlin, it became the biggest construction site in the world. Places such as the Potsdamer Platz, which was formerly segregated in two by the wall, were now centres of commercial power, surrounded by high-rises designed by the most prominent international architects. Robert Weise spent the last few years of his life doing what he loved mostpainting, travelling and engrossing himself in philosophy. In January 1996 he was admitted to hospital for chest pains. Over the next month his health steadily declined and he breathed his last on February 11th 1996. S

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Lumanti Text: G. Shrestha

Chen

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INTERIORS

[

bout one and a half kilometres from the ring road, in Dholahity- on the way to Sunagothi- is a simple looking house on the left side of the road. Besides the wooden gates is a copper plaque on which is engraved, ‘Lumanti Chen’. These are Newari words that translated means, ‘A House of Remembrance’. After spending some time inside the house, it becomes pretty clear that the name holds true for this two and a half storied building.

Four years ago, Kewal and Sunita Shrestha moved into Lumanti Chen from their old residence in Bhedasingh and they seem to have spent the time well. At least as far as creating a home that anybody would be proud of. A well tended garden with a miniature Swayambhu atop a rock mound with tree-like shrubs, and green beer bottles lining the flower beds at the perimeters, is early evidence that some amount of creativity has been given free reign. This is substantiated by the loving care and dedicated effort that has been obviously endowed in doing the interiors. And one

]

Stepping inside the doors, unto dark polished

parquet floors, one is immediately treated to a thoughtful review of a bountiful assortment of details in the living room.

has to give real credit for this to the homeowners. “After we bought the house we have almost completely redone the interiors,” says Sunita. “As far as the exteriors are concerned we haven’t changed much except to add a few extensions such as the car port on the right side.” The porch leading into the house has been decorated in such a way as to make a visitor expectant of better things to come. The carved wooden doors are flanked by brass lions and from the porch ceiling hang a few clay traditional handicrafts. Adjoining the porch is a tile-roofed space open on three

sides and supported by carved wooden columns. More functional use of this space has been food for thought for Kewal who says, “I think I’ll make this a glass enclosed bar.” Stepping inside the doors, unto dark polished parquet floors, one is Facing Page: The garden in front of this interesting house is well maintained and offers refreshing open space. Below: The homeowner is making plans to have this space converted into a glass enclosed bar.

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immediately treated to a thoughtful review of a bountiful assortment of details in the living room. The open entry into the living room is bordered on either side by two tall wooden lions and a massive (about 5’ by 7’) carved wooden Newari window graces the far wall. “I found the window in a discarded state in the wood carver Himal’s workshop in Lalitpur,” informs Kewal. “I had to buy it and yes, it cost me quite a bunch, around Rs.75,000.” Seemingly, it is different due to the fact that the central carving is that of the god Suryanarayan instead of the usual peacock. From the 80 SEP-OCT 2005 SPACES

ceiling hangs a miniature copper/brass alloy Krishna Mandir that was improvised by Kewal himself to ser ve as an interesting lampshade. Cost? Rs.9,000. On both sides of the fireplace stand two tall clay ‘panas’ (tall Newari lamp). At first sight they seem to be made of gilded metal but are in fact of clay. Four similarly styled but smaller carved wooden panas, gilded to give a metallic appearance, hold up a large square glass sheet to make up a centre table that becomes a conversation piece in front of the long low height wooden sofas set

at right angles. According to Kewal, each of the smaller panas table-stands cost him Rs.8000 each. “But it was worth it,” he says. “See how intricately they have been designed!” R.S. Interiors was the creator and in fact, they have done most, if not all the furniture in the house. A couple of circular wooden tables holding statues of the gods Bhairav and Ganesh, are placed around the room as well as a couple of other smaller glass tables with objects like clay vats (plain and with dragon designs) serving as stands. It has to be said that almost all the tables in the house are quite unique in style. And none

Above: One is treated to such a sight on entering the front doors. An assortment of traditioonal objects serve as tasteful decoratives. Right above: A view of the outside from the lounge, with Kewal, Sunita and friend in the garden. Right: The entrance into Lumanti Chen is such as to build expectancy of better things to come.

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more so than the circular table in the dining room which is arrived at through a small passageway from the living room and connected to the kitchen by a longer passage. The exquisitely carved wooden legs of the table holds a substantial circular glass top which makes for an impressive sight. Because of the circular nature, seating can be arranged for six at a time quite comfortably. Through the angled window, one can view the tiny rose garden in the backyard. A well-designed cabinet with compartments holding wine glasses and decoratives adorns one wall. Although there are many interesting objects on view, such as the small Newari brass vessels atop three simple racks, the centerpiece of the dining room is the fish-shaped glass bowl that has two goldfish making merry all day long. “I bought it at Bluebird for around Rs.5000,” informs Kewal. From the lobby, which seems part of the open living room, arise wooden-steps with wooden etchings all along the accompanying wall, leading up to a landing that opens unto a family lounge. Here, cosy seating has been arranged on the floor in front of three French windows that open out unto a verandah. The innovatively designed roll– up curtains of printed handloom (by Dhukuti) add a touch of sophistication to the lounge. This floor holds three bedrooms

SWIMMING

Above: Some small curios on the wall lends elegance to the dining room. Right: The private family lounge on the first floor with the French style windows leading on to the veranda.

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Top: Marble floors, elegant curtains and a beautiful dining table set is what makes a sumptuous dinner all the more satisfying.

O P S O L

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INTERIORS

- all with attached bathrooms – connected by the family lounge. The bedroom on the east is a haven for those seeking the war mth of early sunshine, assured by two bay windows facing east and northeast. The bathroom is also quite different because of the odd angles of the walls. The adjoining master bedroom has a bay window facing west and is well furnished. A wall cabinet and a divan complement a large double bed with attached bedside tables. On one of the bedside tables stands a beautiful nude arched backwards, holding a globular lamp. The third bedroom has two bay windows and a wooden cabinet displaying miniature animal figures and other showpieces. This is the son’s room and lokta paper lampshades enlighten it. The ceiling in this room is high and Kewal is mulling over plans to build a sort of loft in the space available. When seated on the private lounge one is treated to the interesting sight of wooden steps leading up to the third floor and this is further enhanced by the big brass hurricane lamp dangling from the ceiling. No chandeliers in Lumanti Chen, but then who needs one when there are such appealing lights available? A square Facing Page: The hurricane lamp casts a warm glow on the first floor landing and the private lounge. Above: The master bedroom is elegantly simple in its style of furnishings.

wooden mandala hangs near the second floor landing. According to Kewal, “Most of the wooden items are from Lalitpur while the clay ones are from Bhaktapur.” Sunita seems to have an affinity towards gardening and says, “We have a gardener coming twice a week but rest of the time I look after it.” She also says proudly, “At the back of the house is a small nursery which I maintain.” The back of the house, at two ends, also has a guest room as well as a mandir. The couple takes great satisfaction from a job well done. However Kewal admits, “I am constantly moving things around. It’s hard to be perfectly satisfied.” One of the reasons for his dissatisfaction stems

from the fact that he has always wanted to hang two portraits of Malla Kings on the living room walls, but says, “Sunita and I have visited many galleries but have yet to find what we are looking for.” Another reason for discontent is the malfunctioning of the fireplace. “Can you suggest how we can fix it?” Well one does need a few imperfections in real life otherwise life would be too sickeningly perfect. Still, we must wish them luck in their search for an artist who will paint for them the portraits they desire and an engineer who will make sure that the smoke from the fireplace does not come into the room and tarnish their creditable efforts. S

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REPORT

PROPOSED OUTER RING ROAD KATHMANDU VALLEY

Text: Ar. Kishore Thapa, ORR Project

Courtesy: Kishore Thapa.

The proposed Outer Ring Road of Kathmandu Valley has The idea of the Outer Ring Road was mooted about four been a topic of debate among planners and architects. Whereas years ago when the Department of Roads conducted a the planners are divided on the issue, architects are expecting feasibility study of the road and prepared a report. The study a lot of opportunities in Kathmandu once the project takes was followed by a short review of the project in terms of urban development. The off formally. In reality, the review was guided by the Outer Ring Road will change proposal for future land the cityscape of Kathmandu pooling sites in the three and if not planned properly, it The rationale of constructing the Outer districts of the Valley may encourage unprecedented including the proposed urban sprawl. Ring Road lies more on integrated new town of Harisidhhi. infrastructure development rather than Moreover, the JICA report The chaotic situation in the being merely a highway project of 1993 has clearly existing Ring Road needs to be underlined the need for a carefully studied while designing link road from Lubhu of the proposed road. The Lalitpur to Gokarna of challenge for planners and road engineers is not only to create a trunk road or a fast track for Kathmandu. Since the existing Ring Road has been located the city, but also to create an urban arterial road, which will in the northwest part of Kathmandu Valley, accessibility is serve both the urban and rural areas of the Valley. It has to very poor on the newly expanding settlements in Lalitpur link the traditional settlements of the Valley which have good and Kathmandu. The metropolitan areas of Kathmandu Valley are expanding towards east and south and those areas potential for tourism development.

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a bypass road for Greater Kathmandu (Kathmandu and Lalitpur combined together) once the Bardibas- Banepa road is completed. Similarly, bus terminals, sewage treatment plants and telephone exchanges could be located adjacent to the Outer Ring Road. The proposed road will also help in the delineation of rural urban boundary as envisaged by the Long Term Plan and opening up new areas for planned development.

Image: Sarosh Pradhan.

PLANNING CONCEPT OF THE OUTER RING ROAD The proposed Road will be approximately 66 km long and it will connect large numbers of villages and traditional settlements of Kathmandu, Lalitpur and Bhaktapur. It will help to promote the linkages of many cultural towns such as Harisiddhi, Lubhu, Thimi, Bode, Gokarna, Tokha, Kirtipur,

are in need of a major trunk road. On the regional basis, a bypass road is necessary to divert the traffic coming from the east of the Valley and going to the west or vice versa.

The rationale of constructing the Outer Ring Road lies more on integrated infrastructure development rather than being merely a highway project. The government has been implementing the Melamchi Water Supply Project, which will bring water from the snow-fed Melamchi river to Kathmandu Valley through a 27 km long tunnel. The treated water from Sundarijal and Bansbari has to be distributed to the major towns and settlements. It would be cheaper to construct a road and lay pipes along its alignment. The road will also help in the location of the large reservoirs to be built in different locations of the Valley. Another infrastructure development project, which is suffering due to the lack of road access, is the electric transmission line. If the transmission line could follow the road, it will greatly help in the construction as well as operation and maintenance. Similarly other utilities like laying of telephone cables for telecommunication network expansion can be highly benefited by the construction of the Outer Ring Road. In the transportation aspect, there is an urgent need of

Image: Sarosh Pradhan.

WHY OUTER RING ROAD? Many people ask whether the Outer Ring Road is a necessity. In the given situation, improvement of the existing road network in the urban areas should be the first priority. This includes improvement of 14 numbers of existing radial roads. The much-awaited Inner Ring road, which includes Bishnumati, Bagmati and Dhobikhola corridor should also be given top priority. This will contribute to diffusing the traffic congestion in Kathmandu and Lalitpur. Similarly, accessibility of the southern and eastern regions of the Valley needs to be progressively improved.

Khokana and Thecho. It will roughly follow the rural and urban boundary envisaged in the Plan 2020 of Kathmandu Valley and will try to maintain the hierarchy of settlements in the Valley. Hierarchy of physical and social infrastructure shall be maintained as per the planning norms and standards. For example organised open spaces will be provided at cluster level, block level and neighbourhood level. The planning approach is to be adopted not only in the landpooling programme but also in the provision of the basic urban infrastructure. Building byelaws will be formulated to create a habitable neighbourhood. TECHNICAL FEATURES The only study report available today is that of the feasibility study done by Department of Roads. A detail project report has to be prepared to estimate the cost and to prepare

The Outer Ring Road will be divided into three sectors, namely Kathmandu, Lalitpur and Bhaktapur. Each sector will be divided into subsectors. Each subsector will be divided into neighbourhoods, which will be further divided into blocks and clusters. A block will contain about 15 clusters and each neighbourhood will contain about 6 blocks. Each neighbourhood will be linked to the Outer Ring Road through a 11 m road and each block will be served by a 8m wide road. A strip of 250 m will be delineated on the either side of 60m wide roads for planned development and the width of the planning area may vary as per local condition.

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REPORT engineering drawings of the road and bridges. According to the report, the total length of the road will be 66 kms and it will have a right of way of 60m. There will be six-lane fast track, two-lane service track on either side and a bicycle track and pedestrian walkway on either side. Sufficient landscaping will be done to maintain greenery within the right of way. There will be 22 bridges and 56 culverts. The longest bridge near Chobhar will be 120m long.

LAND POOLING (See Issue 1 Nov-Dec 2004) Land Pooling, a model of town planning, has been successful in small-scale land development projects in Kathmandu Valley and urban planners are now testing this model in large-scale town planning projects. In this concept, landowners are compensated by returning their developed land with lesser area but of higher value. No landowners are thereby displaced and prospective buyers will also get developed plots.

Due to the topography and local conditions, the Outer Ring Road will be merged to the existing Ring Road in Balaju area. Sewers, water mains and electrical distribution lines will be located along the road. Similarly, telecommunication cables (preferably optical fibre) will be laid along the road. This approach will help in reducing the individual project cost and facilitate operation and maintenance of the utilities. The Outer Ring Road can be constructed in different stages based on the detailed project report.

The Proposed Harisiddhi New Town Project popularly known as “New Kathmandu” has been planned as per land pooling concept. The same concept is very much feasible in the proposed Outer Ring Road. Land pooling will also facilitate infrastructure development of the entire project area, which is planned to be 250m on either side of the road. Buildings falling on the right of way of the road will be compensated according to the current market rate. Special resettlement policy will be formulated to address the issue of socially disadvantaged people affected by the project. The government has already initiated land pooling schemes in different locations of the Valley, falling in the alignment of the Outer Ring Road. These include Kamerotar in Thimi, Gothatar and Jorpati and Kirtipur in Kathmandu. Similarly Harisidhhi New Town Project, as mentioned earlier, is in the pipeline. These land pooling schemes will be taken as demonstration projects, which will be replicated to other areas of the Valley. Although land pooling is a time consuming and complex process, Nepalese planners have gained enough experience by successfully completing more than 12 such projects in the Valley. The response of the people and politicians has been very encouraging.

Chinese assistance will be available for the road construction only and the land acquisition cost has to be borne by His Majesty’s Government. The total cost of land acquisition is estimated to be Rs. 3 billion, which the government cannot bear alone. The direct beneficiaries of the project have to share the cost of land by contributing the land required for the road free of cost.

THE BUILT ENVIRONMENT AND THE TOWNSCAPE The planning concept of the neighbourhood will be combined with the vision of the built environment of the ORR corridor. The rendering of the neighbourhood design by architects will help the planners to plan the infrastructure. Architects and urban designers will be hired to prepare the proposed townscape and architectural guidelines at all levels of planning units, such as neighbourhoods, blocks and clusters. The proposed planning concept envisages the creation of a lively built environment at the neighbourhood level and a modern and architecturally pleasing townscape at the city level. On one hand the hierarchy of roads will be maintained to serve different planning units such as clusters, blocks and neighbourhoods, similar hierarchy will also be maintained in the provision of open spaces. The planning concept will also incorporate beautification of the service roads along the main road and intersection of the Outer Ring Road and radial roads. It should be noted that planned settlements might not be feasible on the entire length of the ORR due to ground conditions of Kathmandu Valley. It is expected that planned development will take place in about 60 percent of the length of the road. However, the ORR project will be a milestone in the development of the Valley for many years. S

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A N A LY S I S

Text & Images: Ar. Sarosh Pradhan, SPA

K A T H M A N D U

V A L L E Y

a vision with the outer ring road

e often forget the hills surrounding us – when we get busy developing our little plots, our little boxes, our infrastructure – our valley. Perhaps the lack of a cohesive vision blurs the potentials of a valley, which still boasts of seven world heritage sites and erodes off a unique identity, which we should develop further. It may be worthwhile to step back a little and reflect on the uniqueness of Kathmandu before we try giving any solutions to a growing metropolitan city. Climatically a haven, the landscape of the Valley is an enchanting feature. The organic development of the city so far has superseded any strong master plan. The inner cities of Kathmandu, Bhaktapur and Lalitpur have stood out in terms of character, scale and the uniqueness of a culture having historical roots. But what about the present happenings – does it have any reflection of that uniqueness…or is it just trying to arrive at a common minimum denominator for survival?…of solving functional equations. It is without argument that the city grows – and should be treated as dynamic. The process of growth of a city can be nurtured just like the growth of a little baby to adulthood. Basic understandings, with room for maturity and greater potentials need to be kept in mind while suggesting any new venture. The Outer Ring Road could be one such spark which could infuse an awareness of planning with broader issues in mind. The Outer Ring Road could become a catalyst to change and used as a planning tool for positive development and

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awakening of Kathmandu Valley to the 21st century. IMPORTANCE OF A WELL PLANNED ROAD

Cities are designed with the traffic in mind. The order and movement patterns within a city reflect, to a certain extent, the quality of life. If you look at our inner city - the pedestrian comes to our mind; which in turn reflects the scale of the built environment. But, put in fast moving cars and trucks (travelling slowly) within the inner city presently – an image of saturated chaos grows louder. Thus as the Kathmandu metropolis expands

(which is invariable with all major cities), it is urgent to have certain broad planning principles in place. This in turn would pave the way for a broader understanding of planning, services and infrastructure which are critical for a healthy development. A good road is a lifeline for transportation from one end to another. It increases the scope of transaction of arriving at new places for development with the added value of focus of new destinations.

Someone’s sitting in the shade today because someone planted a tree a long time ago. - War r en Buffet

Above: Saturated chaos. Below: Past townscapes of Kathmandu – lessons we could learn from the past identity / character and concepts.

Kathmandu

Patan

Bhaktapur

ZONE A: Satellite Business Centres The areas where high growths are likely to occur are the junctions between the ORR and radial roads which could be prime spots for business and commercial buildings, thereby decongesting the inner city area. ZONE B: Government Offices / Buildings The road project along with the government could formulate a long-term plan of focusing on a Government Buildings Zone on a strategic location of the road project.

Proposed Outer Ring Road Existing Ring Road Radial Link Roads Chobar (Bagmati River Gorge)

Above: Kathmandu Valley overview with the proposed Outer Ring Road

SETTING NEW STANDARDS The Outer Ring Road is a circular concept of connection – but along with it, we need to give room for setting new standards. New standards of road construction, new standards of fitting in services infrastructure, new standards of road intersections, new standards for signage, new standards of better planned integrated neighbourhoods.

The zoning is expressed as an exploration of a vision keeping in mind the distinct natural identity and character Kathmandu has. The townscape imagined would try to get a fresh approach with a larger functional requirement priority in place, yet trying to retain its unique character and environment, arriving at some vision of planned urban growth – with a refreshing identity – diffusing the fears of Kathmandu Valley becoming an urban sprawl.

ZONE C: Institutions / Schools Colleges There needs to be an environment to learn and space to grow and imbibe knowledge. Thus with the Education Ministry making certain by-laws to upgrade the requirements of these institutions, along with the road project, could zone out areas that already exist such as the one in Kirtipur area and give a focus on the developments of quality educational establishments to grow. ZONE D: Recreation Zones Presently there is a serious lack of recreational areas and are limited to movie theatres and restaurants. An exhibition ground, which can take in planned vehicular movement, a stadium, parks, zoos are some of the basic

RADIAL ROADS The urban growth within a specified region between the Inner - Outer ring roads need to be focused. Specialized zones should be developed where specific activities would be encouraged. Proper combination would allow for an optimised growth till the time that a target density is achieved. Subsequently, the growth areas will need to be expanded and a new development focus area can be delineated. ZONING The importance of zoning is relevant from the point of view of establishing certain character – in places where the road would pass. As the road is built, it is evident that land value would change. Thus it is with a certain overall view that land value could be developed and zoned.

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A N A LY S I S requirements of cities planned in the present age. ZONE E: Heritage / Cultural Points. There are various heritage sites such as Khokana, Bungamati, Lubhu etc through which the ORR passes. Thus these areas should be developed into heritage and cultural points. It is important that ORR should not pass through heritage points, as it will have a negative impact on their conservation. ZONE F: Residential / Housing Neighbourhoods. The ORR development will be an opportunity to provide people with better living standards. Housing developments with adequate parking, greeneries, open spaces and infrastructures could be done in the sparse land between the existing ring road and ORR. These neighbourhoods could be developed incorporating mixed income groups as this will help in reversal role play of people and help achieve a variety of volumetric space in the neighbourhood.

ZONE G: Bus Parks. After the ORR development, the existing bus park at Gongabu will not fulfil the requirements of the increased population. Bus parks at strategic points will be required. Proper zoning of bus parks will not only fulfil the demands of people but lessen the traffic inside the main city core. By limiting the highway buses to the outer ring road bus parks

the traffic inside the city will be more stable. It is convenient to develop bus parks in the areas where the outer ring road meets the highways. ZONE H : Whole Sale Market By developing markets at the ORR where the export-import goods can be sold at Below: Satellite commercial cities at junction and nodal points

wholesale prices, there will be lesser chaos in the core area. ZONE I: Water Reservoirs If we are to go along with the new development then we will have to solve the current and future water crisis. The best solution would be to develop water reser voirs like in Singapore where rainwater is stored in reservoirs and distributed to households after treatment. The proper locations for these reservoirs would be hilly areas so as to support natural flow and along the path of streams so as to collect stream water. ZONE J: Corporation / Services Zone Increased population means more wastes and more requirements. The ORR development will have to incorporate many aspects like sewage treatment, garbage disposal, telephone exchange, electric sub stations, public toilets, etc. Thus before we become numb to the existing problems becoming cancerous â&#x20AC;&#x201C; it is possible to do a workout on the city and slim it down to priorities with a strong sense of vision. Perhaps in this effort lies the direction of a Capital that could still inspire a nation in a positive direction. S

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Quality output calls for quality input.

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Harihar Bhawan, Pulchowk, Lalitpur (next to Himalayan Bank) 554 8861, 555 2335, 555 1123, 211 1103 fax 553 8671, GPO 8975, EPC 5620 info@scanpro.com.np www.scanpro.com.np SPACES SEP-OCT 2005 93

PRODUCTS

SAVING WATER

CLICK-XPRESS TECHNOLOGY

THE IFB WAY

FROM BALTERIO

Not only does IFB Industries Limited assert that its washing machines use the least amount of water compared to other brands, IFB Washing Machines are also claimed to use least amounts of detergent and electricity. In the process, saving money. According to the company, IFB machines occupy the leading position in the Indian fully automatic washing machine market, and every 8 minutes, one of its washing machines enters an Indian home.

The Balta Group of Belgium is a leading flooring manufacturer in Europe. Balterio Laminated Flooring, a premium product, is made of genuine oak wood and is highly resistant to scratches, dents and dings as well as moisture and stains. Balterio assures peace of mind, being practically maintenance free for years and years. That is why it comes with a 15 year warranty on residential usage.

Ranging from 5kg to 6kg capacity, the washing machines come with various brand names. All the machines are fully automatic and equipped with a range of different options, some of which are, digital display, imbalance control, easy fault diagnosis, automatic load detection and time adjustment. Similarly, spin speed is variable and detergent dispensation is automatic. The Digital and the Senator each are of 6kg capacity while the Executive Plus, the Executive Elite and Elena are of 5kg capacity. All the brands employ hot water option (up to 95 degrees Celsius) which facilitates detergent action. High rinse efficiency reduces alkalinity caused by detergents while tumble wash action ensures that clothes do not get twisted like in an agitator or pulsator wash.

When compared to many other flooring, laminate floorings are claimed to be extremely durable, impact resistant, castor proof and largely impervious to cigarette burns and stains. Due to its porous free surface, even felt tip or ball point pens and nail varnish marks are easily wiped off. Laminate flooring offers the appearance of real hardwood floors or stone tile, but cost much less. Besides many other advantages, laminate flooring has some intrinsic benefits such as high UV resistance, thereby protecting the floor pattern from fading with time, and easy installation, specially with the Balterio Click-Xpress technology as well as easy repairs.

Hygiene is assured because of stainless steel drums and variable spin speed dries clothes at the most optimum speed, thereby protecting fabric. Intermediate soak option during wash cycle assists in combating stubborn dirt areas while the imbalance corrective system reduces vibration levels by good distribution of clothes in the drum. Other features worth mentioning include 30 wash care programs, anti crease dependability, dry tap, and eco-wash whereby clothes are scrubbed clean even with least electricity consumption. One of the major features of IFB Washing Machines is the facility of variable water consumption. Water amounts are used proportionate to quantity and texture of clothes being washed.

Balterio flooring is installed on top of existing floors and because of Click-Xpress technology, is easy to install and even can be removed to install somewhere else when moving. The laminate flooring is available in planks, strips and tiles and because of its innovative glue-less technique called ClickXpress, can be installed at half the cost in comparison to conventional flooring which has to be glued. Laminate flooring is a combination of layers of wood and melamine plastic that imitate real wood, stone or other textures.

When compared to a top-loading fully automatic washing machine of equivalent capacity, an IFB front loading washing machine like the Senator scores by having a hot wash system as compared to cold wash for the top loading machine; a gentle tumble wash as compared to agitator and pulsator wash; and lower water consumption. The IFB washing machine uses only 3 to 4 buckets for regular wash while the conventional top loading machines needs from 6 to 8 buckets.

Hardwood floors cost 20 to 25% more than a comparable laminate floor, dent more easily and donâ&#x20AC;&#x2122;t stand up to heavy traffic as well as laminate flooring. In addition Balterio Laminated Flooring is far easier to install. Most Belgium laminate floorings come with an AC rating based on standards devised by the European Producers of Laminate Flooring (EPLF). On a scale of 1 to 5, where AC 1 is the lowest, Balterio has received AC ratings of 3.31 to 4.32 from EPLF.

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ACCESS

BOON FOR HOUSING COLONIES Matrix Telecom is a technology driven organization with a leading position in the Indian EPABX market. Matrix calls itself a provider of telecom solutions. One of the company’s premium products, the ‘Access’, is a reliable intercom system which is so designed as to be ideal for housing colonies, apartment blocks and commercial complexes. The ‘Access’ provides e f f i c i e n t communication between each apartment/house and the security manning the gates. Thus security is provided for starting at the front gates itself, and enables screening of visitors before access. A panic alarm comes with every extension, and multiple panic buttons can be located anywhere in the house. An intelligent display unit allows security to identify the number being called and the unit flashes the number when it is a panic alarm thus differentiating it from a normal call. ‘Access’ requires a watchman to punch a number after designated periods, thereby ensuring alert duty hours. In addition, the watchman’s extension rings at programmed intervals to ensure he doesn’t fall asleep. ‘Access’ also offers efficient and free internal communication. This service is supplemented by a call blocking facility to bar undesired connections and flexible numbering allowing extension numbers to be given as flat numbers. A PA System Port also comes along with the ‘Access’. In addition, a call forwarding facility enables redirection of calls. Because the ‘Access’ runs on a single pair wire, almost 50% savings in cable cost can be achieved. The system is compatible with all phones thus doing away with the need to purchase new sets. Technological edge makes the ‘Access’ reliable and convenient to use. Each card in ‘Access’ has its own micro-controller so that even if one card is faulty, the entire system is not hampered. All slots are universal and any card can be inserted in any slot avoiding confusion. The product has an unlimited number of ports that can be connected with economy. Bonus features include automatic control of four power switches using the telephone. For example, the main lights can be enabled to switch on and off at predetermined times and the water pump can be controlled likewise. Morning alarm, as well as alarms at predetermined times, and four ports for public address are also inbuilt into the system.

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TRENDS

A DISTINCTIVE

Text: Niti Joshi Shrestha, Frame World

TOUCH OF CLASS It is true that no matter how good a work of art, if it is not presented well, becomes just one more ‘fine art’. But if care is taken to have it presented with flair, the work becomes an object d’art in the true sense of the word. Adding that distinctive touch of class, the ‘frame’ has always been an important element in the display of works of art. In choosing a frame for specific works of art it would be wise to keep these fundamental principles in mind: a. A picture should not be ‘over-framed’: The frame should not command more

CUSTOM FRAMING Why does custom picture framing play such an important role in home and office decoration? Perhaps one reason is that framing is an affordable way to create a completely unique handmade design object-one that reflects your individual taste and personality. By definition, a custom frame is one-of-its-kind, designed with you and for you alone-something that helps express who you are.Custom framing, like original art, is a lasting investment. A well made custom frame that you purchase today will look as good as new twenty or thirty years down the line. If you own valuable artwork or have irreplaceable mementoes or documents, custom framing is the best way to both enjoy and protect them. Framing will guard such priceless possessions from damage that will almost inevitably occur due to improper handling, dust, humidity, pollution, etc when they are stuck away in a drawer. And, of course, neither you nor anyone else can appreciate them unless they are displayed on your walls.

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attention than the picture. This however, does not necessarily mean that all picture frames should be simple and bland. This also should not mean to imply that the frame must be so integrated with the work of art that it becomes a part of it. b.The first and most important consideration for the frame is the proper size. For example, the smaller the painting, the larger the frame it requires, and larger paintings can usually be framed pleasingly with narrower moldings. c. Aluminum frames with high gloss or metallic finish are particularly suitable for framing modern works of art.

d. Wooden frames are ideal for all classical motifs. The colours of wooden surfaces are more delicate than aluminum and therefore produce a soft and warm effect. Besides, wooden frames are available in many different colours. e. As far as width of borders is concerned, it is good to go with the principle of: small format-narrow border; large format-wide border. The question arises, how do you define what is small and what is large? If in doubt, it is better to choose a slightly wider frame border because it is the only way to guarantee that the frame achieves the desired effect.

Picture framing is an art by itself and requires a high sense of aesthetics as well as some amount of expertise, and besides the above basic principles, it should also be mentioned that framing could be double glassed and that pictures can either have simple frames, double frames or even triple frames. Imported brands (mainly from Italy), are synthetic in nature and cost from Rs. 500 onwards. While aluminum frames are currently not much in demand, imported synthetic frames are quite popular due to their finish and convenience in execution. Nevertheless, it must be

remembered that wooden frames, available locally and mostly custom made, are specially suited for art works to lend the distinguishing aura that only the grandeur of wood can provide. S

Located opposite Narayani Complex in Pulchowk, Frame World is an exclusive establishment dealing in picture framing and decorative items. Established just a year back, Frame World is managed by Niti FRAME Joshi, who has a rich experience of more than World fifteen years in the craft of picture framing. According to her, â&#x20AC;&#x153;All our frames are specially manufactured by skilled experts. We also provide personal advice and lay emphasis on prompt customer service.â&#x20AC;? Obviously, Frame World deals primarily in custom made frames, but at the same time, the firm also stocks a wide variety of imported synthetic frames. Frame World provides excellent framing services for art pieces, cloth painting, tapestry, embroidery, canvas painting, photographs, glass paintings, tiles, mirrors and antique items including brass and other metallic objects. Frame World also has a branch in Maharjgunj, Kathmandu.

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TIPS

R U O OL

R U YO

DASHAIN

Painting your home or work place is much more than just protection of walls. Just like the colour of the clothes you wear, the colours of your home are an expression of your personality. Moreover the effects of the surroundings can be used to enhance your workplace or dwelling place and set the mood you desire. Text: Soumitra Roy, Asian Paints Here are a few ideas to plan and have your painting job done in a more organized way:

INTERIOR WALLS 1. Identify the rooms you wish to paint. 2. Decide the shades/ scheme you want to use in each room. To arrive at the right colour combinations check out outlets in your town for the appropriate product. 3. Remove light fixtures or mask them with masking tape, paper and/or cloth in order to prevent damage due to paint spillage. WATER SEEPAGE FACTS AND FICTION 1. Paint is NOT a water proofing solution. The only permanent solution to water leakage and dampness is to rectify the source of the problem. Typical causes of water seepage are due to cracks in the external walls; leaking drainage pipes or water supply pipes; high ground water level that is getting absorbed in the walls from the foundation 2. Application of Enamels (Oil Paints) will not solve the problem of water seepage.

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3. The water seeping through the wall will erupt on the surface at some place or other. 4. We advise you to get a civil contractor or waterproofing expert to rectify the problem before you paint.

EXTERIOR WALLS 4. For exterior surfaces it is very important to undertake repairs of any wall imperfections before commencing painting. The most common problem with exterior walls, especially old constructions is cracks in the wall. Avoid applying putty or filling compound while painting exterior surfaces. Fill up cracks with a 1:3 cement and sand mixture. 5. All external drainage pipes must be checked for rusting or leakage. Any faulty plumbing must be rectified. 6. Special attention must be given to the roof. Check for cracks near the edges and close to the water reservoirs. Proper masonry or waterproofing work on the ceiling will enhance the performance of the painted surfaces.

SURFACE PREPARATION 7. Newly plastered surfaces must be allowed to cure for at least 35 to 45 days before painting. 8. To ensure long protection, the surface to be painted should be free from dust, grease and any loose materials. 9. Remove any fungus and algae growth thoroughly by brushing it vigorously with wire brush and then cleaning it with bleaching powder solution in water (dissolve 10% bleaching powder in 1 litre of water, filter the solution and apply by brush or sponge). This treatment should be done with greater care on the top of awnings, sunshades, parapets and other horizontal surfaces where water is likely to accumulate during monsoon. 10. Previously oil painted surfaces should be sanded thoroughly to remove loose particles and made dull and matt for better adhesion. Exterior rough surfaces, previously coated with cement paint, should be wire brushed and washed with water thoroughly and dried completely. Before painting, ensure that the surface is free from chalking.

PAINTING 12. Apply a liberal coat of approved exterior wall primer using recommended method. 13. Apply two coats of top-coat paint at recommended dilution. 14. A gap of 4 to 6 hours must be given between two coats.

11. The exterior surface should not be affected by any water or by constant dampness. If you are painting during the rains, allow for 2-3 days of total sunshine for the surface to dry out completely before commencing painting.

15. It is recommended that horizontal surfaces like the tops of awnings and parapets must be given an additional coat for greater protection. S

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Text: Shristi Pradhan, Spatial Design Company

Setting Moods Among the many finishes applied on walls, one of the most commonly used is paint. Wall surfaces act as a background against displays, or even as a dominant feature of a room and if used properly, effectively sets the mood of the room. It is widely recognized that colours have a strong impact on human moods and emotions. Hence choosing the appropriate colour is a daunting task. COLOUR SCHEME AND CHOICE

While deciding on colour schemes, a few factors have to be kept in mind. The orientation and extent of daylight supply to the space through windows/ openings, and the type and location of artificial lighting used for specific purposes, are important in the sense that ill illuminated areas require lighter shades of colour. The duration that the space will be used, the purposes it will serve and the climatic condition also needs to be analysed. In addition, the character or atmosphere desired (calm, restful, stimulating, exciting, dignified, playful, etc.) also affects the colour scheme to be chosen. Choosing the correct colour can also make a space visually aesthetic as well as functional. A small space can be made to seem larger and an oddly shaped space to seem better. For example, if the end walls of a long and narrow room are of a strong warm colour, while the sides are lighter and cooler in

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tone, the ends seem to come closer visually and the sides move away, making the room look more normally shaped. Similarly, a dark ceiling will tend to seem lower than the same ceiling in a lighter tone. COLOUR EFFECTS

Colour creates some surprising effects. Warm colours like red, orange and yellow are said to advance, that is, appear closer than they actually are, while cool colours like green, blue, and violet recede, appearing farther away. Light colours make objects look larger and lighter than they are, while darker colours make them look smaller and heavier. A dark floor and ceiling can greatly reduce apparent height and may even seem oppressive. A door painted to match the colour of the wall around it or a window curtained in a tone matching its surroundings will blend into their environment. On the other hand, the same elements if treated in contrasting colours will be emphasized. However there is no hard and fast rule to make any interior space lively. A small room can also be inviting and cosy using warm colours rather than going against space size. COLOUR HARMONY

The concept of colour harmony is one of the keys to under-standing the theory that lies behind the development of various colour schemes. Before choosing any colour for

complementary of the background colour. For example, a small area of strong green will seem more intensely green when placed on a reddish (pink) background and when placed on a violet background, its hue will seem to shift towards yellow green. PAINTS

Colour permutations and combinations.

the wall, the total colour scheme for the room should also be considered. Neutral colours like shades of grey, beige as well as browns, tans and white are safe colours for those who are hesitant to experiment and explore. They appear homelike in their milder tones and masculine in their heavier values. Almost any colour can work in certain situations and almost any combination can be successful, given balanced relationships of hue, chrome and value, and sound choices of location, area, texture and other variables. In practice, all of the systematic knowledge of colour reviewed above is best absorbed as background for creative work that proceeds in ways independent of formula or routine. COLOURS IN RELATION TO EACH OTHER

The actual space influence how colours appear. When seen against a larger background, small areas of colour may alter in both value and hue. Light colours will appear lighter than they are when seen against a darker background and dark colours become darker against a light background. A medium tone can be made to seem either light or dark through contrast with its surroundings. Similarly, hues will seem to shift in relation to surroundings. A neutral grey will appear warm when placed on a blue background and cool when placed on red. Stronger colours will seem to shift in hue in relation to background, with a small sample seeming to move toward the

The selection of the paints available in the market can be confusing. Basically, paints are divided into two types: water based and oil based. Paints are available in different finishes: matte, satin and gloss. Matte finish is practical and inexpensive as it covers a large area quickly. However surfaces with matte paints are difficult to clean but can be touched up easily. Satin paints are oil based and are slightly expensive than the water based paint. While gloss finish gives more shine, texture paints gives a rough finish to the surface. Try adding different textures to the room to add interest and variety to an otherwise plain wall. Painting finishes can be plain, textured or patterned. Emulsion paint is a good choice for painting walls as it lasts longer and gives a good finish. Distemper is another choice for walls and is comparatively cheaper than emulsion paint. For external surfaces, different paints like exterior emulsion, cement paints, waterproof paints and textures are available in the market. TROUBLESHOOTING PAINT PROBLEMS

1. Choose good quality primer. This gives a smooth surface. Apply and dry fully. 2. If you are not happy with the applied colour, repaint it. You can also try ragging and sponging over the painted surface, giving a mottled look. 3. If paints spill on the carpet in a small portion, then do not rub. Instead let it dry and rub with abrasive sandpaper. For water-based paints, immediately remove by washing with plenty of water and blotting with clean rags. For oil-based paints, first scrape the colour then wash with white spirit and soapy water. S SPACES SEP-OCT 2005 103

Perfecting the art of printing VARIETY PRINTERS Pvt. Ltd P.O.Box. 9240, T.U. Road, Kuleshwor, Kathmandu, Nepal. Tel: 977-1-4278869, 4284265. Fax: 977-1-4278050. email: variety@wlink.com.np

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TRANSITIONAL HICCUPS Courtesy: Dr. Rohit K Ranjitkar

1992 MAHAPAL HOUSE

PATAN

This post 1934 earthquake construction represents a new building type. The piano mobile two storey structure has uncommonly tall ceilings that are not usually associated with traditional buildings. And although people complain about low ceilings being a disadvantage as far as old houses are concerned, that has not stopped them from destroying even such houses where the rooms are tall enough. In the process, cultural destruction goes on unabated.

2005 SPACES SEP-OCT 2005 105

DIRECTORY A listing of professionals featured

ADVERTISERS Aditya Hardware

101

Ashmina Ranjit- Artist Behind British Cemetry Samakhusi Kathmandu Phone: 4353284 Mobile: 9851026155

Asian Paints

Bloom (RS Interiors)

Late Robert Weise- Architect

Civil Homes

Front Inside

Create Bath

Dakshin Barahi Itta

Emerald Pools

Exterior - Interior

Fishtail Residency

Frame World

Glassic

Home Furnishers

Hot Pot

Hotel Diyalo

Hotel Shanker

Hotel Vishuwa

IFB

J.K Cement

Narendra B. Shrestha- Sculptor 172, Nagpokhari Kathmandu Phone: 4434536 Mobile: 9851069696 Sonia Gupta, BFA, Int. Designer, USA Interior Designer Sonia Gupta & Associates 411, Osian Building, 12, Nehru Place New Delhi-110019 Phone: 0091-11-26214277, 26424767 Mobile: 98-100-99972, 9851035289 E-mail: soniadesign@rediffmail.com

SUBSCRIBE & SAVE Yearly subscription Rs. 500 only Call - 5544606

ATTENTION PROPERTY OWNERS If you have any constructed property waiting to be disposed, we will be pleased to feature it under our ‘Prime Properties-For Sale’ section in forthcoming issues of ‘Spaces’. Please note that prior to acceptance for publication, our in-house experts will first inspect the property. Contact: Marketing Department. Phone: 5544606/5526040 email at market@spacesnepal.com

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Avco

Balterio

Front Fold

Kasthamandap

Kitchen Concept

La Décor

Megatech

Moni’s Creations

Nepa Marble

Node

Panchakanya Steel

Back Cover

Pashupati Paints

Pashupati TMT

Pest Control

Rich Interiors

Scanpro

Thanka House

The Explore Nepal

U-Like Interiors

Urban Pixel

Valley Homes

Back Inside

Variety Printing Press

102

Whirlpool

Cover Fold

Wood Carving Industries 24 Wood Craft

Yak & Yeti

AVAILABLE AT New Road Deshbhakta (Pipalbot) Krishna, (Pipalbot) Madan, (Pipalbot) Chitrakaar, (Pipalbot) Sandesh Griha

United Books Himalayan Map House

Chabahil Bhaba Books Charumati Books Asha Books Kantipath Student Books Mandala Book Point Pashupati Books Educational Book House Samjhana Books Perfect Books Point Kupondole Parijat Stationery White Lotus Book Shop Pilgrims Pulchowk Radiant Dept. Store Lazimpat Namastey Supermarket Blue Bird D.K. Stationary Departmental Store Saraswoti Book Store Asmita Stationary Pradhan Chamling Stationary Ekta Edu. Palace Gemini Grocer Bhat Bhateni Saleways Dept. Store Bhat Bhateni Dept. Patan Maharajgunj Joshi Stationary Baba Gyan Book House Shakti Poudel Stationary M.S.Stationary Patan Dhoka Books Namastey Supermarket R.C. Stationary Baburam Machhindra Stationery Prabhat Stationary New Baneswor Janapriya Stationary Acharya Siddhi Matidevi Manjushree Saugat Books Rabim Stationary Khanal Books Naxal Shrestha Dept. Store Old Baneswor Sailungeshwor Babarmahal Everest Book Stall Thamel Barga books Tahachal Pilgrims Metro Mall Barnes & Nobel Academic Koteshwor Thamel Books Narayan Poudel Book Land Depot Earth Books Khasi Bazaar Walden Book House Suman Book Store Shangrila Book House Horizon Kritipur Dexo House Kipu Book Store Nepal Book Depot Glory Book Shop Nayabazaar Madhav Books Swoniga Book Store

Oak Tree Celebrating The Grand opening of 28 Exclusive Luxury Homes at Terraces, Sunakothi

Your life is a book, Make sure your home is the best Chapter.

Imagine a neig n neighborhood with beautiful wrought iron

thing under the sun, or not much of anything at all,

walking and jogging paths, a community club fences, nces, walkin

Terraces is the unique community your entire family

wit all the modern facilities. Imagine gorgeously with

can enjoy. Valley Homes invites you to be a part of

landscaped greens where you can watch your chil-

the family at Terraces, the place you want to be. Wel-

dren play or where you could sit in the shade of a

come to Terraces, welcome home!

tree as watch the Himalayas change their hue. Imagine modern city facilities and easy routes to shopping, dining and work. That’s Terraces, Sunakothi.

4ERRACES

Enjoying quality time. Making memories. Living life to the fullest. That’s what Terraces offers you. A life-

P i c t u re s a re s i m u l a t e d g r a p h i c

time of Saturdays. Whether you’d like to do every-

Cedar Tree

- Õ > Ì

Welcome Home

Palm Tree

For fur ther infor mation contact: Corporate Office

Terraces, Sunakothi :

Willow Tree

5548418, 5523864 5573565, 5573566

w w w . v a l l e y h o m e s . c o m . n p All models are indicative and are subject to change as decided by the company or by a competent authority.

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