12. Dec 2014

December 2014 – Vol 10 N o. 11 

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

Price: NRs.100/- IRs.100/- USD 5.95 EURO 5.95 GBP 4.95 

The Inn 

revisiting 

heriage 

Architects 

with solutions 

wooden 

marvels 

of Nepal 

PAST AND PRESENT 

REUSABILITY 

of concree 

LESSONS FROM 

RANA PLAZA DEBACLE 

A Wakeup Call

8 / SPACESNEPAL.COM

DECEMBER 2014 / 9

Conens 

Volume 10 N O. 12 | DECEMBER 

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

32 

INTERIOR 

The Inn: revisiting heritage 

The Inn, a boutique hotel located in Patan Durbar 

Square, one of the most popular tourist areas in 

Kathmandu is one of the best examples of the 

adaptive reuse of old buildings. Brick exterior is 

kept intact along with most of the other outer features including 

window frames and doorways, rooms are cleverly designed 

according to the space available and the spaciousness of the 

rooms in itself defies the stereotype of the traditional Newari 

interior as Dr. Rohit Ranjitkar, the chief architect of the complex 

strongly believes in minimum deviations to the original design and 

this is very noticeable in various aspects of the complex. 

45 

IMPACT 

Lessons from Rana Plaza Debacle: 

A Wakeup Call 

The deadliest industrial accident in the history 

of Bangladesh claimed nearly 1,138 lives and 

yet more than 2,000 were left seriously injured 

or disabled. International Labor Organization (ILO) estimated that 

some $40 million needed to compensate the families and disabled 

garment workers. The tragic sandwich collapse of Rana Plaza 

garment factory complex in the outskirts of Dhaka, brought about 

massive movements for similar industries to sign up for the newly 

implemented Bangladesh fire and building safety accord. 

67 

ART 

Wooden Marvels of Nepal- Past and 

Present 

The comment on the arguments between two 

great scholars of Nepalese art and architecture 

Mr Pratapditya Pal and Niels Gutschow in 

representing mountains on the surface of small icons is rightly 

caught up by the writer. “The Antiquity of Nepalese Wood 

Carving”, a book by Mary Slusser dig into the subject on wood 

carving, its history, authenticity and art forms in detail, features 

drawings of the old carvings by two Nepalese draughts persons- 

Vijaya Basukala and Rajan Shrestha from Bhaktapur. 

10 / SPACESNEPAL.COM


73 

ARCHITECTURE 

Architects with solutions 

Gnathang is one of these 

villages at an altitude of 3600 

m., flanked by mountains on 

all sides, and a meandering 

stream passing through the village. It is the 

highest station to stay in the Indian Part of Silk 

Route. A more humane, inclusive approach that 

uses local materials combined with contemporary 

innovative ideas had proved to be very successful 

in several projects in Afghanistan and India since 

2004 as Anne Feenstra, principal architect of arch 

i platform and Laureate of the Global Award for 

Sustainable Architecture 2012 (Paris), strongly 

believes in “Slow Architecture”. 

78 

ART SCAPE 

“The Sacred Feminine” by 

Prof. Dr. Laya Mainali 

Laya Mainali’s recent sculptures 

entitled, “The Sacred Feminine” use 

geometric forms to depict the female 

torso emphasizing femininity as a symbolism of 

divine power, worthy of being worshipped. He has also written 

six books related to Nepali art and artists. 

45 

FROM THE SHELF 

Celestial Realms 

There have been few exhibitions of 

Nepalese art in the United Stales since 

the opening of Nepal to the West in 

the mid-twentieth century. The 2010 

expansion of the Crocker Alt Museum has 

provided us with the opportunity to exhibit 

works previously not on display and to 

exploit new avenues of collecting. The 

addition of new gallery space has 

happily coincided with a growing 

Asian collection, particularly in the 

areas of ceramics and South and 

Southeast Asian sculpture., so this 

exhibition provides a unique 

opportunity to view both 

Hindu and Buddhist art 

from the region. 

81 

ARCHITECTURE 

REUSABILITY OF CONCRETE 

Concrete is inert material and cannot 

cause major chemical deterioration in 

further use. Reuse can help to reduce 

emission green house gases like CO, 

CO2, NO, NO2, etc. in some way, also contributing towards 

reduce in large amount of solid waste that ultimately 

goes into landfill. To save our environment, its imperative 

we start becoming conscious of what we are using and 

disposing, right from individuals up to the policy making 

levels and start acting responsibly. 

66 PERSONALITY 

64 STORE WATCH: EVEREST BATHWARE 

68 PRODUCTS 

72 OPEN SPACES 



ediorial 

SAARC summit was a complete success, and we’re proud. There were many last minute preparations but 

at the end it was all success. A fact we proved again we can do it. After the summit the highly aspiring 

has not cooled down. Constant effort is going on keeping the newly reshaped roads, greeneries and 

cleanliness being on top among agendas, and it is indeed very appreciable. 

While modernizing and building new structures plays the definitive role of development on one side, our 

architectural heritage that we’re bestowed deserves the similar attempt. It should reflect on everyone’s 

action and reaction to keep it at optimum. The Inn, a boutique hotel, is one of the best examples of 

the adaptive reuse of old buildings. A place where one can see and feel for themselves the exemplary 

coherence of modern amenities in a building we label ‘old’, many times, but proves to be a picturesque 

lifestyle instead. Popularity among quality tourists is evidence enough. 

NSET has been very active on raising awareness about precautionary measures and aftermath of 

earthquake, should that happen. Rana Plaza debacle serves a lesson in Bangladesh and we still are lucky 

to learn without having to suffer on that magnitude. According to NSET more than 60% of buildings in 

Kathmandu valley will collapse if there is an earthquake similar to the one that occurred in 1934. That 

brings to point where the reusability of concrete should a primal consideration in building industry. As 

the concrete is inert and reuse can help reduce emission of green house gases and lower costs at many 

places and point. 

There has been widespread, but often unintended, damage due to human intervention at many places. 

Sikkim, in India, is also not spared. WWF India and Forest Department Sikkim conducted intensive studies 

in Red Panda to asses the status and habitat. A more humane approach initiated where listening and 

sharing of ideas between architects and the community is the starting point. Architects with Solutions, 

the partnership process was well received and already showing improvements. 

Continuous effort on study of Nepalese craftsmanship on various forms and figures, woodcraft fitted on 

historic monuments and even private houses are of big challenge to find who, when and how. The finding 

of the oldest wooden art now preserved in the ‘Museo di Arte Orientale, Turin, Italy is to be especially 

noted with exception. This is the oldest woodcraft so far known from Nepal till date. ‘The Antiquity of 

Nepalese Wood Carving’, a book by Mary Slusser is a remarkable effort in documenting the rich saga of 

woodcraft in Nepal. 

Finally, a deeper meaning by Frank Lloyd Wright - 

‘Noble life demands a noble architecture for noble uses of noble men. Lack of culture means what it has 

always meant: ignoble civilization and therefore imminent downfall.’ 

Namaste! 



Volume 10 N O. 12 | December 

CEO 

Editor-in-Chief 

Creative Manager 

Contributing Art Editor 

Junior Editor 

Contributing Editor 

Photographers 

Intl. Correspondent 

Interns 

Chief - Administration 

Sr. Marketing Officer 

Marketing Officer 

Admin Officer 

Office Secretary 

Accounts 

Legal Advisor 

Ashesh Rajbansh 

Sarosh Pradhan 

Deependra Bajracharya 

Madan Chitrakar 

Kasthamandap Art Studio 

Sristi Pradhan 

President - Society of Nepalese Architects 

Ar. Jinisha Jain (Delhi) 

Ar. Chetan Raj Shrestha (Sikkim) 

Barun Roy (Darjeeling Hills) 

Pradip Ratna Tuladhar 

Hemant Kumar Shrestha 

Bansri Panday 

Binam Bajracharya 

Mohein Ranjitkar 

Swati Panta 

Anu Rajbansh 

Debbie Rana Dangol 

Biken Raithore 

Ashma Rauniyar 

Pramila Shrestha 

Sunil Man Baniya 

Yogendra Bhattarai 

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Contributors 

Sukrasagar 

Sukrasagar is an archaeologist 

and a specialist in Nepali culture 

and history. He, coauthoring with 

Mehrdad Shokoohy and Natalie H 

Shokoohy, has recently published 

Street Shrines of Kirtipur: As long 

as the Sun and Moon Endure 

(2014). The book focuses on the 

shrines’ chronology from the earliest 

specimens to the end of the twentieth 

century, the reasons for their erection, 

their typology and their iconography 

with the aim of providing a broad 

understanding of such features in 

a wider perspective for all Newar 

settlements. Another important he 

has coauthored is Jarunhiti (2013). 

Anne Feenstra 

Anne Feenstra, a Master in 

Architecture from Delft University, 

The Netherlands, has established 

a collective platform for 

architecture, arch i, along with four 

young and ambitious architects. 

Anne has been practicing 

architecture in the European 

continent and in London (William 

Alsop architects). In 2003, he 

established his own design group- 

AFIR. He has been lecturing and 

teaching in India, United Kingdom, 

Afghanistan, Germany, Nepal and 

The Netherlands. 

Amit Kumar Shrestha 

Amit Kumar Shrestha Public-Private 

Partnership specialist at National 

Society for Earthquake Technology- 

Nepal (NSET). He did his MS in 

Risk Control and Management 

Technology from University of 

Wisconsin-Stout, Wisconsin, USA. 

His experiences ranges among 

Environment & Occupational Safety, 

Risk Management, Emergency 

,Preparedness & Response, Loss 

Control, Enterprise Resource 

Planning, Business, Continuity 

Planning, etc. 

Asha Dangol 

Asha Dangol is a contemporary 

Nepali visual artist. He is the 

co-founder of Kasthamandap 

Art Studio and E-Arts Nepal. 

He holds Master’s Degree 

in Fine Arts from Tribhuvan 

University. He has been creating 

and exhibiting his artworks 

since 1992. He has 10 solo art 

exhibitions to his credit. He has 

taken part in numerous group 

shows in Nepal and has been 

exhibited in different foreign 

countries. He experimented with 

painting, mixed media, ceramics, 

installation, performance and 

video as well. 

Bijaya Laxmi Rai 

Er. Bijaya Laxmi Rai is an 

Assistant Designer and Planner 

at Sanjen (Upper) Hydroelectric 

Project on behalf of contractor. 

She is interested in technical 

writing (Sustainability, Green 

Technology, Disaster Risk 

Management, Issues of 

Women, children and societies), 

amateur researcher (Seismic 

vulnerability). 

Drishti Manandhar 

Drishti Manandhar is an 

architect, graduate from 

the Pulchowk Institute of 

Engineering, currently working 

at S G Designs. Fascinated 

by Space - she loves to eat, 

read, sketch, talk (in radndom 

order) and write about 

the acquaintances in her 

environemnt. An art enthusiast 

by nature she is fascinated 

by the ability of words and its 

power in expression. 



Reviews 

HANDICRAFT 

SPREADING THE WINGS 

FHAN, Federation of Handicraft 

Associations of Nepal established in 

1972, organized the exhibition from 20th 

to 24thNovember 2014 at Brikutimandap, 

Kathmandu. Along with handicraft stalls 

from Nepal, the exhibition also had stalls 

from different SAARC countries which 

made it more lively. It benefited by huge 

publicity of the SAARC conference being 

held in Kathmandu. The large crowd of both 

buyers and sellers mutually benefited as 

the buyers and contractors got a variety of 

choices while the sellers could interact with 

their customers and promote their products 

and thought behind them. 

The main highlight of the exhibition started 

from the rainbow gate that represented 

seven countries of SAARC welcoming the 

visitors. From the entrance of the main 

hall, it was decorated with the ambience of 

Nepalese heritage and cultural touch which 

represented one of our Buddhist Stupas, also 

reflection of our Nepalese craftmenship. 

The attraction of SAARC handicraft 

exhibition and 12th handicraft tradefair 

were craft competition, handicraft 

fashionshow (Jewellry walk), live 

demonstration from artisan etc. 

Encouraging participantion of SAARC 

member states which made all the 

participants extra energized. 

The Nepali stalls ranged from jewellery to 

pashmina clothing to wooden handicraft. 

Bhusan Manadhar from Nepa Bhon, which 

deals in Nepali paper work, says that 

exhibition like these help businesses reach 

a larger crowd. He says, “The response is 

getting better each year and we have a lot 

of returning customers. Exhibitions help me 

show that handicraft is not only limited to 

woodwork and that Nepali paper also has a 

scope in handicraft and interior designing”. 

The SAARC stalls ranged from Onyx marble 

goods from Pakistan to clothes from 

Bangladesh. 

Being his first time in Nepal’s handicraft 

exhibition, Mr. G.L.W. Samarasinghe, Director 

of SAARC Cultural Centre of Srilanka, was 

pleased with the overall turn out of the event. 

He had been to two other similar exhibitions 

in Dhaka, Bangladesh, and in New Delhi, 

India and said that this is by far the best 

one he’d been because of the high number 

of participants. He further mentioned the 

demand in the world market for handicrafts 

product is very big. Mr. Samarasinghe 

predicts that this industry will grow and 

produce enough to meet the demand. 

Ms. Soundarie David Rodrigo, Deputy 

director of SAARC culture center expressed 

her feelings that this exhibition opened the 

door for handicraft business among the 

saarc countries. And also this exhibition will 

aid to generate a platform for exchanging 

cultural and local handicraft. 

Hon’ble state minister Mr. Giri Bahadur 

KC was pleased to see that this year’s 

exhibition turned out to be one of the most 

successful they’ve had. With participants 

from other SAARC countries and new local 

producers, the number of visitors was 

greater than what was expected. “There 

was also a relatively better support from 

the government” says Mr. KC. A lot of 

small firms that came from other districts 

really shows what the current status of 

the market bringing different producers 

and exporters together. There were a lot 

of difficulties during the preparation of 

this exhibition especially on finance due to 

the scale of the event, still the handicraft 

industry is getting more appreciated than 

before. There were some financial support

Reviews 

from both the government and SAARC 

but the still major problem is the improper 

exhibition hall. He further suggests that this 

industry can grow even further with proper 

government support and regulations. 

Mr. Hem Ratna Shakya, President of FHAN, 

says that with the involvement of all the 

SAARC countries and all the new producers 

this year’s exhibition has turned out better 

than ever. He further mentioned that there 

can be a significant amount of development 

in this sector with the government getting 

involved moe. In other SAARC countries the 

government plays a huge role in providing 

facilities to their handicraft industries 

but Nepal government is yet to do this. 

He’s been requesting the government to 

provide the industry with a piece of land 

that they can build the infrastructures by 

themselves and initiate a handicraft village. 

The export of these products can increases 

employment levels and be a good source of 

foreign currency earning. 

According to Mr. Kiran K. Dangol, 

Vice president and coordinator of 

SAARC Handicraft Exhibition and 12th 

Handicraft trade fair of Nepal, stated 

that this event has become a biggest 

showcase of fair, where a common 

platform for producers, traders and 

exporters were available for a wide 

range of products for buyers and sellers. 

Though being a multiproduct exhibition, 

collaboration with SAARC cultural center 

added additional values to this event. 

From this years’ event all the people 

from handicraft field are very optimistic 

and hopeful to get more support from 

government as well. 

“The FHAN exhibition’s craft 

competition acts as a stage for the 

craftsmen to show their skill.” says Mr. 

Sanam Shakya, coordinator of FHAN, 

and continues by saying, “The main 

objective of the craft competition is to 

promote and popularize the unexposed 

skills and innovations in terms of design 

and product of each craftsman.” Mr. 

Narayan Gopal Malegu, Secretary, Ministry 

of Commerce and Supplies also had 

similar thoughts about the competition 

and the exhibition. These events and this 

exhibitions can help the Nepali artists and 

craftsmen to bring out the forgotten arts. 

Due to increase in publicity, the 12th 

exhibition has been a complete success. 

With handicrafts from other SAARC 

nations integrated with Nepali handicrafts, 

this unique exhibition welcomed huge 

number of visitors. Media Co-ordinator 

Mr. Nabin Shakya was very optimistic 

though some difficulties arose as rumours 

about security problems surfaced. But 

itwas tackled in time for the exhibition to 

go smoothly. They also hosted a live wood 

carving competition. Along with this, the 

exhibition also celebrated Silver Jewellery 

week and a lot of stalls in the exhibition 

were occupied by traditional jewellery 

makers. Mr.Shakya noted that it gives a 

platform for traditional businessmen to 

approach more customers and wholesale 

buyers. For the organisers, the whole 

process itself was a learning process that 

will help in planning and organizaing more 

exhibitions, in and out of the country. With 

the new gained insight for the need to use 

handicraft more for interior decor, stalls 

with wooden, marble, and paper products 

also have been very popular. Mr.Shakya 

also states that Nepal needs to export 

more of its products. In the coming 

years, he hopes the exhibition will attract 

more visitors and plans to integrate 

more handicraft stalls to meet its need in 

interior decor. 

Visitors from other countries like China, 

middle east etc. also sensed the scope 

of handicraft business in Nepal. With the 

success and popularity of the 2014 FHAN 

exhibition and the involvement of the 

SAARC countries, all invloved seemed to 

be pleased with the turn out. They hope 

that the next year’s would be even better 

with more government support.

Reviews 

PLAST NEPAL 

REDUCING 

ENVIRONMENTAL 

IMPACT 

The organizers of Plast Nepal Foundation 

have organized the first edition of an 

exclusive exhibition of plastic, PlastNepal 

2014. The three-day event was held from 

November 14 to 16 at Bhrikutimandap 

Exhibition Hall with an aim to demonstrate 

the potential of industrial growth in 

the plastic sector such as packaging, 

construction, health, automobiles, 

household and footwear, among others, 

while at the same time to create awareness 

on recyclability of used plastics. According 

to the organizer, Plast Nepal Foundation, 

“Plastic balances modern day needs with 

environmental concerns as their usage 

have low environmental impact from 

start to finish. With good recyclability 

options plastics are also the most cost 

effective material available for wide 

range of functions”. It’s one of the prime 

objective was to create the common 

platform for both national and international 

market’s participants and to enhance their 

economical mutuality. The exhibition was 

also held in order to create awareness 

in the public about the usage of plastics. 

The organizers have faith that people will 

understand the proper use of plastic better 

after the exhibition. The inauguration of 

the expo was done by the finance minister 

Ram Sharan Mahat. 

According the organizers, the following 

were the objectives of the exhibition: 

• To promote plastic sector in the country. 

• To promote the country as a plastic 

destination. 

• To create the awareness of plastics to 

the government and the public. 

• To create the awareness of the benefits 

of the plastics to the government and the 

public. 

• To promote the awareness of 3R (reuse, 

recycle and reduce) of plastics. 

• To promote, develop and protect the 

trade, commercial and industries related 

to plastic and its appliances. 

PlastNepal Foundation made the pavilion 

of 4000 sq. ft. their stage where the 

exhibitors demonstrated the history of 

plastic, how it makes human life easier, 

how it consumes energy, its benefits 

and uses, and how it can be reused and 

recycled by contributing to clean and green 

Nepal that will help create a sustainable 

future. 

The event was held in Bhrikutimandap with 

about 150 national and international stalls 

and it was a success despite it being 

their first attempt. Spaces Magazine 

also took part in the exhibition with reused 

plastic materials such as plastic 

bottles, straws and cups and turned it 

into decorations like flowers, piggy bank, 

paper stand and plastic ribbons. 

The event did well in informing us how 

it harms the environment when we 

mindlessly throw things away and how 

we should reuse it. 


Reviews 

(Ananda Baid- vice president of 

plastnepal) INTERVIEW: 

These type of exhibitions are more 

common in other countries. PlastIndia, 

ChinaPlast and PlastVision are the 

few among many organizations who 

conducts such exhibitions in their 

countries and we found the inspiration 

from them. 

There is a wrong perception in the 

mindset of our public about plastics. 

Plastic is used in making a lot of things 

that we use in our daily life but hardly 

notice it. It’s not that plastic is harmful 

but the way we use it is harmful. We just 

need to learn to use and dispose of it 

properly. 

In Europe, the use of plastics is maximum 

in architectural sector. From doors, 

windows, their frame to flooring and as 

DPM (Damp Proof Membrane). A new 

product called plastic-wood is also being 

produced these days. Using this material, 

we can make anything that is made up of 

wood and is a lot cheaper than wood. It is 

environment friendly as well. Plastics can 

even be used in walls which can be used 

as a thermal insulator. 

The main targets of this expo were the 

plastic industries and the international 

suppliers. Many suppliers are unaware 

that we have an industry and market for 

plastics in Nepal. They were our biggest 

target because with their help we could 

expand our industry and market our 

products accordingly. 

The main objective of the exhibition was 

to introduce consumers and producers to 

each other, and the exhibition succeeded 

in doing that. There were about 30,000 

visitors during the exhibition. The success 

story will be repeated in near future. 

IDC top 11 at 

Color Bazar 

November 2014, Spaces magazine 

10 organized an event that served 

to introduce the state-of-the-art color 

showroom to the top-11 Interior Designing 

Competition-2014 winners , Color Bazaar 

located at Anamnagar, Kathmandu. The event 

primarily focused on the introduction of different 

types of color palette, paints, textures and 

techniques available from Pashupati Paints. 

Color experts also provide counseling and guide 

us through this unorthodox experience. 

The IDC-2014 winners were introduced to the 

interactive showroom equipped with different 

exhibits to let visitors explore their artistry and 

to ensure that they personalize their own homes 

with this service. Computer rendering of the 

different color schemes are also presented for 

assisted visualization to the visitors. 

Since different rooms have different 

requirements and usages, Color 

bazaar is furnished with multiple 

replica rooms which presents us 

with different color schemes that 

enhances the ambience of the 

rooms. Moreover, different handouts 

of complimenting color palettes are 

elegantly presented throughout the 

show room for professional assistance 

with selecting colors. Customers can 

hand-pick colors and confirm if they 

complement each other or not, color 

experts will always be present to 

counsel as well. On the other half of 

the showroom, different textures that 

are available are effectively presented, 

where any customer can view different 

exhibits by sliding the painted wooden 

frames. They also provide services 

to customers that enable them to 

try out different color samples and 

graphically render them. Different 

techniques required for the textures 

like stencils and different brushes were 

also explained. Though the showroom 

doesn't directly sell paints, they refer 

the customers to the paint outlets 

and sub dealers who sell these goods 

and services. A completely new and 

only facility of it’s kind in Nepal, it will 

help the customers gain more value 

for their money and higher level of 

satisfaction by utilizing the features at 

their disposal. 


Reviews 

IDC 

AT YANTRA 

ARTITECH/SCIENCE 

Where everyone owns a smart 

phone, laptop and tablet lack 

the ability to think more creatively. 

But in Yantra 3.0, jointly organized 

by Robotics Association of Nepal, 

Karkhana and Siddhartha Arts 

Foundation’s Education Initiative, 

they’ve made these devices their 

canvas, pen and paint. It is more 

than just a photograph shown 

in a screen or a drawing made 

in Photoshop, its where art and 

technology truly blend into one. 

Spaces invited the Interior Design 

Completion (IDC) 2014 winners 

to join them in the exhibition. 

Soon as you enter the first floor 

of Nepal Art Council the first thing 

you notice is a 9 feet high and 

6 feet wide prayer wheel made 

of brass sheets. I was baffled 

when I saw people turning it and 

stopping it and then turning it 

in the other direction and just 

repeating the process. I was 

amused to find that the prayer 

wheel actually controlled the 

stop motion playing on the two 

projections on the wall nearby. 

There were also other tiny wheels 

near the big one made from 

recycled materials by primary 

school students. There were also 

what it seemed like paintings 

of barcode on the wall which 

seemed odd but it actually uses 

the bar code reader in your phone 

to play videos, show texts and 

pictures that would match the 

barcodes in the wall. 

Joining the exhibition was 

Joy Lynn Davis, an artist from 

Santa Barbara, California who’s 

been working in her project 

“Remembering the Past” which 

responds to the theft of sculptures 

from Kathmandu Valley. 

The IDC 2014 winners seemed to 

have had a good time exploring 

and learning from the exhibition. It 

appeared that they were intrigued 

and had their interest piqued 

at the time like each and every 

person visited there. 





INTERIOR 

Interior 


INTERIOR 

The Inn 

revisiting 

heriage 

THE INN, A BOUTIQUE HOTEL LOCATED IN PATAN DURBAR SQUARE, ONE OF 

THE MOST POPULAR TOURIST AREAS IN KATHMANDU IS ONE OF THE BEST 

EXAMPLES OF THE ADAPTIVE REUSE OF OLD BUILDINGS. 

TEXT : DRISHTI MANANDHAR PHOTOS: A. RAJBANSH, MOHEIN RANJITKAR, 

BINAM BAJRACHARYA 


I 

t isn’t difficult for us to imagine a 

building being used for something other 

than what it was initiallydesigned for, 

as many structures have outlived their 

original purpose and have been renovated, 

adapting to new requirements. Because of 

the concern with the preservation of cultural 

heritage, adaptive reuse of old buildings has 

been proven to be one of the best options 

when deciding to reclaim an old structure. 

Along with the conservation of traditional 

building designs, it is alsoa sustainable 

option for the recuperation of a site and an 

effective way of reducing environmental 

impact because of the minimal heavy 

construction work required in fully 

refurbishing an existing building. Through 

this, old and unoccupied buildings can be 

used efficiently for modern businesses. 

The careful selection of 

interiors and furniture 

rests gracefully 

within the design, 

complementing both its 

scale and proportion. 

The Inn, a boutique hotel located in Patan 

Durbar Square, one of the most popular 

tourist areas in Kathmandu is one of the 

best examples of the adaptive reuse of old 

buildings. As you enter the complex, there 

is a courtyard (a common feature in old 

Newari buildings), a three-storystructure 

that holds the 10 hotel rooms alongside a 

semi-open, two-story restaurant. The east 

wing of the hotel contains three rooms 

per floor with a suite at the top floor with 

access to a private balcony. This section is 

approximately 450 square meters in area 

with 4-suites, 3-twin beds and 3 deluxe 

bedrooms, each with a unique interior, 

offering a diverse experience in every room. 

As Dr. Rohit Ranjitkar, the chief architect of 

the complex strongly believes in minimum 

deviations to the original design and this 

is very noticeable in various aspects of the 

complex. The brick exterior is kept intact 

along with most of the other outer features 

including window frames and doorways. 

The rooms are cleverly designed according 

to the space available and the spaciousness 

of the rooms in itself defies the stereotype 



of the traditional Newari interior. The central staircase 

on the main complex provides access to all the ten 

rooms. The furnishing and decorations within the 

building have also been influenced by the traditional 

Newariarchitecture. Each room is provided with a 

spacious attached bath with all modern facilities and 

the internal surfaces and spaces have been designed 

using traditional, low-height, timber furniture. 

Most of the interior and exterior renovation of the 

building has been done on site. As Dr. Rohit says,” 

How I think may be perfect on paper but at the site 

it is a completely different story.” According to Dr. 

Rohit, during construction,reuse of the old materials 

was prioritized. “Those items which could be used 

again were left as it is and things that needed to be 

wreconstructed were done keeping in mind the norms 

of conservation.”- He further added. The Dalins were 

reused and the bricks, pillars and the railings used 

were remnants from other ruined structures. The 

maintenance and preservation of all elements in the 

building is done in a traditional way and for additional 

structural safety, metal bracing has been provided. 

The intervention is so minimal that no extensive 

construction is done in any part of the building, and it 

looks more restored than redesigned. 

One of the most intriguing aspects of adaptive reuse 

is the ability to adapt to any needs of the client without 

losing its original character. “Our major goal is to value 

old heritage. An approach of least interference is what 

makes all the difference in these types of projects.”- 


The traditional 

elements and the 

materials have been 

beautifully revived 

to create fresh and 

sophisticated spaces. 

{“Our major goal 

is to value old 

heritage. An 

approach of least 

interference is 

what makes all the 

difference in these 

types of projects.” 

- Dr. Rohit states. 


34 / SPACESNEPAL.COM 

Each of the ten rooms 

of The INN have unique 

layout and interiors, 

the spacious interiors 

of all the rooms are 

a highlight of this 

project. The minimal 

interiors help keep the 

essence of traditional 

architecture alive.

Dr. Rohit states. He believes that sometimes 

entrepreneurship may have both negative and positive 

impacts. However one of the major difficulties that 

designers have to face during these projects are 

convincing the clients to keep the design as close to 

the original as possible and making them understand 

the value of their assets. 

The Inn at Swotha is indeed an amazing boutique 

hotel based on the revival of traditional Nepalese 

architecture, excellently adapting to modern needs. As 

the designer believes that every home is a monument. 

Indeed our traditional homes are not just architectural 

masterpieces but they also represent our traditional 

lifestyle and culture. These kinds of projects definitely 

have a positive impact on local community and help 

promote use of local resources. It gives us a chance 

to embrace our historical and culturalbeauty while 

considering the present requirements. 

(This journey began with a feature of the ongoing 

renovation of two private houses at Swotha, Patan, 

adjacent to ‘Traditional Homes-Swotha’ (previously 

featured in Jan-Feb2012 issue of SPACES) and “The 

Story of Swotha”(featured in March -April 2012 issue of 

SPACES) thus culminating into the successful conversion 

story of The Inn: Revisiting Heritage) 


Impact 

LESSONS FROM 

RANA PLAZA DEBACLE 

A Wakeup Call 

by : Amit Kumar Shrestha 

Last April 2014, the sandwich collapse of 

Rana Plaza garment factory complex 

in the outskirts of Dhaka, Bangladesh 

marked its one year anniversary with 

commemoration and protest for compensation 

and safer working condition for the workers. 

The deadliest industrial accident in the history 

of Bangladesh claimed nearly 1,138 lives and 

yet more than 2,000 were left seriously injured 

or disabled. International Labor Organization 

(ILO) estimated that some $40 million needed 

to compensate the families and disabled 

garment workers. Although many would 

call this disaster a wakeup call, some would 

choose to differ. These kind of accidents 

had happened in Bangladesh in the past but 

probably were not destructive or loud enough 

to register a wakeup call for the government or 

the concerned authorities. Most importantly, 

the disaster could have been predicted and 

prevented had they adequate safety and 

disaster risk reduction measures in place. 

The Rana Plaza garment factory debacle 

brought about massive movements for similar 

industries to sign up for the newly implemented 

Bangladesh fire and building safety accord. 

Although some progress have been made 

since, there still remains several unresolved 

issues such as lack of full implementation 

of newly-legislated labor laws, absence of 

a comprehensive building safety inspection 

process, and inadequate arrangements to 

compensate the victims of industrial accidents. 

There are lots of fire and building safety issues 

which still need to be addressed to comply with 

the accord. 

Meanwhile, there is evidence of positive 

change in safety culture as both management 

and workers are taking safety seriously and 

raising concerns especially over building 

safety and fire safety issues. This might be 

a long journey before any significant change 

will be noticed on the front of proactive safety 

approach by the private sector as well as 

government regulated disaster preparedness 

& response policy, however, the goal to 

mitigate the scale of loss in the event of such 

future disasters is sure achievable. 

Immediately after the disaster some key 

garment buyers and international retailers 

withdrew from Bangladesh while others 

responded with an objective of improving 

the factory condition including building 

infrastructure, fire safety and working 

conditions of the workers. There were about 

30 foreign retail brands which were supplied 

by more than 5,000 garment factories in 

Bangladesh. It was sad to see that, in the 

wake of the disaster, only half of the retailer 

brands came forward to compensate the 

family and the injured workers as part of their 

so-called Corporate Social Responsibility 

(CSR) activity. The other half probably wanted 

cheap clothes at the expense of safe working 

condition and wellbeing of the workers in 

Bangladesh. 

This could be a classic example of 21st 

century slavery where labors in developing 

countries are enslaved by affluent business 

societies around the globe. The end 

consumers (probably half way around the 

globe) need to wake up and see the tragedy 

of the labor behind the label and boycott 

those brands which are so indifferent and 

36 / 

SPACESNEPAL.COM 

SNEPAL 

COM

irresponsible towards their own workers. 

For a sustainable business in the long run, 

all the entities (including manufacturers, 

buyers, retailers and even the end users) in 

the supply chain have to acknowledge and 

respect the fact that the garments made in 

Bangladesh present a symbol of standards 

and not of workers’ exploitation. 

Businesses need to understand that the 

social responsibility of private sector 

goes beyond the day-to-day operation of 

producing efficient products and services 

for customers. The Corporate Social 

Responsibility (CSR) of a company is not 

concerned just with its clients, suppliers, 

employees and shareholders but also 

with communities and other downstream 

stakeholders who take an interest in the 

behavior of the company. Sometimes 

private businesses are so busy making 

money they forget to see the complete 

picture and misinterpret CSR as mere 

charity works in bits and pieces. 

Of course there are short term benefits 

associated to these philanthropic activities 

to both business houses as well as 

communities but the targeted social and 

business impact gets diluted as often 

budget is limited and not sustainable for 

the desired cause. Businesses need to 

rise above the charity and the compliance 

requirements set by the government or 

international organizations and work on 

building a solid/sustainable platform 

where private sectors, communities 

and stakeholders can come together for 

shared values and wellbeing of people & 

environment as a whole. CSR can bring 

fundamental impact/value to the private 

companies only if they learn to incorporate 

it into their growth strategy and sustainable 

business model. 

As per Bangladesh Garment Manufacturers 

and Exporters Association (BGMEA), 

foreign buyers cancelled orders worth 

USD 110 million from 37 factories in 2014. 

The number of new ready-made garment 

factories also declined from 113 in fiscal 

year 2012-2013 to 65 in fiscal year 2013- 

2014. On one hand Bangladesh has this 

immense need to address its existing safety 

and disaster preparedness issues such as 

fire and building safety accord while on the 

other it has more immediate challenge to 

quickly restore confidence of the foreign 

retailers so that the garment business 

continues with minimal disruption. 

Although identifying and fixing structural 

flaws of other similar business complexes, 

developing emergency preparedness & 

response plans and establishing proactive 

safety management system within private 

businesses will definitely take some time, 

Bangladesh cannot afford to lose its 

retailers by not meeting the basic safety 

requirements just now. The country and 

the private sector need to move fast if they 

want to recover and restore the garment 

businesses as ethics, brand identity, image 

and consumer awareness are rapidly 

becoming the competitive grounds for 

the growth of any organization. Further 

delaying and not meeting the basic safety 

standards might signal the international 

market/retailers to diversify to other 

places/countries which can provide with 

private businesses which are safety 

compliant, better prepared to face such 

disasters, have capabilities to respond to 

such emergencies and are well equipped to 

quickly recover from the tragedy. 

When a disaster like this (collapse of 

Rana Plaza building) takes place the 

entire business community or supply 

chain might go frantic, not sure what to 

do next. If the scale of disaster is huge 

such as massive earthquake, fire, flood or 

landslide, even the government or outside 

agencies become helpless in supporting 

the private companies before it is too late. 

According to the Insurance Information 

Institute, USA, up to 40% of businesses 

affected by a natural or man-made disaster 

never reopen. Under the circumstances, 

companies suffer a great deal while 

managing emergency response, disaster 

recovery and continuing the business as 

usual. In the event of a massive disaster, 

the most urgent need of businesses is to 

quickly respond to the emergency (to save 

lives and property) and next, to recover its 

operational activities (to become functional 

and continue the business) at the earliest. 

The collapse of Rana Plaza building 

served a lesson to Bangladesh. It has 

woken up a great number of private 

sectors, government bodies, employees, 

stakeholders and other groups from in and 

outside the country. Considering the parallel 

in demography, infrastructure, government 

policies, business culture and the level of 

preparedness for disaster, it really brings 

us closer to the Rana Plaza experience and 

provides a real-time lesson to consider and 

learn from. This certainly is a wakeup call to 

the government, private sector businesses 

and their stakeholders in Nepal. 

REFERENCES 

http://www.theguardian.com/world/2014/ 

apr/24/rana-plaza-factory-disasteranniversary-protests 

http://www.mercatornet.com/articles/view/a_ 

year_after_the_rana_plaza_collapse_recovery_ 

is_slow 

http://www.iccr.org/year-after-rana-plazainvestors-call-transparency 

http://www.nytimes.com/2014/04/28/opinion/ 

one-year-after-rana-plaza.html?_r=0 

http://business-humanrights.org/en/the-ranaplaza-building-collapse-in-bangladesh-oneyear-on 

http://www.iso27001standard. 

com/blog/2010/04/08/ 

how-to-write-business-continuity-plans/ 

http://www.adcouncil.org/News-Events/ 

Press-Releases/FEMA-Red-Cross-and-Ad- 

Council-Launch-New-Ready-Business-PSAs- 

to-Urge-Small-Businesses-to-Prepare-in- 

Advance-of-an-Emergency 

http://www.thehimalayantimes.com/fullNews. 

php?headline=Infrastructure+developmen 

t%3A+Involving+the+private+sector&News 

ID=381566 

http://www.adpc.net/igo/category/ID601/ 

doc/2014-imd5Ht-ADPC-ADPC_Newsletter_ 

Special_Edition_2014_Web.pdf 

"Corporate social responsibility and disaster 

reduction: A Global overview" - by John 

Twigg, Benfield Greig Hazard Research Centre, 

University College London 

"The Economic Impact of Disasters and the 

Need for Disaster Preparedness in the Nepali 

Private Sector", Spaces Magazine - by Kalyan 

Bista, PPP-Specialist, 3PERM/NSET 

Promoting "Public Private Partnership for 

Earthquake Risk Management (3PERM)” 

program, Project Brochures - National Society 

for Earthquake Technology-Nepal (NSET), 

Lalitpur, Nepal 

“Jagadamba Cement is one of the best cement with good sales and quality. It is the consumer’s fi rst choice and 

the most demanded cement” as per Mr. Rajan Shrestha, Branch Manager at Far Eastern Trading, Lokanthali, 

which has been taking dealership of Jagadamba Cement for last seven years." 

Address: Far Eastern Trading, Lokanthali, Bhaktapur, Ph: 6636113 

DECEMBER 2014 

/37



Architecture 

Architects 

with solutions 

Text:Himanshu La, Mariyam Zakiah and Anne Feenstra 

THE LONG AND WINDING ROADOFFERSEVER-CHANGING 

PANORAMAOF THE KANCHUNJUNNGA MOUNTAIN AND 

PATCHES OF HIGH ALTITUDE LAKES THAT MERGE WITH THE 

MASSIVE MOUNTAINS. THIS IS THE ROAD OF JELEP LA, OFTEN 

REFERRED TO AS THE OLD SILK ROUTE TO LHASA, IS ONE SINGLE 

LIFE LINE CONNECTING THE 32 VILLAGES OF SIKKIM EAST. 

G 

nathang is one of these villages 

at an altitude of 3600 m., 

flanked by mountains on all 

sides, and a meandering stream passing 

through the village. It is the highest 

station to stay in the Indian Part of Silk 

Route. The climate cold and humid.The 

temperature in the peak winters may go 

down to -150C and high wind speeds 

add to the chill factor. The village has 26 

houses, a beautiful Buddhist monastery, 

a Lord Vishnu Temple, a war memorial 

commemorating the British soldiers of 

the Occupation of Gnathang in 1890’s 

and an army base camp. 


{The internal temperature is 

unmanageable without the 

bukhari. All the household 

activities take place around 

it. The local people usually 

go to bed at nine in the 

evening, and the bukhari is 

also lighted off. 

THE CHALLENGE 

Sikkim is one of the four states in India where 

the endangered Red Panda (Ailurus fulgens) is 

found. WWF India and the Forest Department 

Sikkim conducted intensive studies on the Red 

Panda at the Pangolakha Wildlife Sanctuary and 

Barsey Rhododendron Sanctuary to assess its 

habitat (temperate forests) and population status. 

Due to an increasing loss of their natural habitat 

with nesting trees and bamboo,the red panda 

population has declined, estimated to be about 

300 in 20111.This loss is a direct result of human 

intervention in nature. Village households collect 

firewood for water and space heating spending 

between 2.5 hours to 3 hours a day doing this2.Our 

challenge was to see if we could come up with a 

solution that would be good for everybody. 

THE OPEN DESIGN PROCESS 

Anne Feenstra, principal architect of arch i 

platform and Laureate of the Global Award for 

Sustainable Architecture 2012 (Paris), believes 

in “Slow Architecture”. A more humane, inclusive 

approach that uses local materials combined with 

contemporary innovative ideas had proved to be 

very successful in several projects in Afghanistan 

and India since 2004. His ‘open design process’, 

where listening and sharing of ideas between 

the architects and the community is the starting 

point, was also used for the Sikkim East project. 

He personally went to Gnathang and in one 

community meetings, three family houses were 

selected by the community themselves to be 

improved with the guidance of Anne’s team. This 

space heating improvement, reduction of fuel 

wood consumption, conservation and sustainable 

development of the serene environment can only 

be done with the consensus of the people. 

DEW ON THE BLANKETS 

After arch i platform had prepared a detailed 

feasibility assessment report based on desk and 

field research and WWF Sikkim had installed 

three solar water heaters, it was time to improve 

the thermal comfort of the three selected houses. 

The owners Mr. Lobsang Gyatso, Mr. Chamba 

Sherpa and Mr. Gyatso Bhutia, all live in houses 

constructed on a raised platform of about 450- 

600 mm. External walls are timber framed with 

wooden planks, floors are leveled with earth and 

covered with wooden planks. 

The temperature in the three existing houses 

is usually comfortable during the day, because 

of the passive heat gain from the sun. As soon 

as the sun sets the temperature goes down to 

freezing point, during the winters. The internal 

temperature is unmanageable without the 

bukhari. All the household activities take place 

around it. The local people usually go to bed at 

nine in the evening, and the bukhari is also lighted 

off. Within an hour, the internal temperature 

inside the existing houses houses is almost equal 

to the external temperature resulting in a cover of 

dew on the blankets next morning. 

HOLES, GAPS AND THE ARMY 

Working side by side, WWF and arch i team 

members observed that there was a very high 

heat loss due to the porous building envelopes 

of the selected houses. Through holes, both in 

the timber ceiling and in the corrugated metal 

sheets on the roof, we could actually see the 

birds in the sky.Gaps between the wooden planks 

on the external walls, allow the chilly wind to 

blow through the houses. This was aided by the 

high air infiltration from the windows and doors. 

All windows and doors had only single glazing. 

Although it is important for houses to have some 

natural ventilation, the situation we found was 

one of sheer neglect and ignorance. 

Anybody travelling to Sikkim East will be able 

to observe the presence of several army base 

camps. Where there is army, there are a lot of 

glass and plastic bottles, but also other waste 

like rubber tires and Tetrapak (the sturdy fruit 

juice packaging with an aluminum-based layer 

inside).The local households also produce 

abundance of waste. All waste is dumped into 

the serene and clean mountains, without realizing 

its long term impact on the environment and 

biodiversity. 


Our aim was high. We thought it should be 

possible to use the waste and transform it into 

building material that could improve the Space 

Heating of the selected buildings. We would 

reduce transportation costs and carbon footprint 

dramatically if we would be able to make this work. 

The initial task was to make the process 

comprehendible for the local people through 

posters and graphics, that conveyed the overall 

idea, making them aware about the loss of natural 

heritage because of excessive use of firewood, 

explaining the heat loss through the building 

envelope and improving them with the help of lowcost 

insulation. The posters were designed using 

the vibrant colors traditionally used in East Sikkim. 

The posters were distributed and explained at the 

community meetings and individually in the three 

houses. Interestingly, the young kids were the 

most enthusiastic in understanding the process, 

and became the brand ambassadors of the 

process, making it a point to explain the process 

to all the visitors in the house as well as tourists 

visiting the village. 

All the data collected by arch was put into the 

Solution Matrix high-lighting the individual houses 

to address the different components more 

specifically. 

After a month of distributing the posters and 

providing time to collect enough potential 

waste for the workshop, the implementation 

workshop was conducted in the last week 

of December 2011, just before the snowfall, 

to test the impact of the intervention. The 

workshop was divided in two phases. 

EXPECTATIONS AND SOLUTIONS 

When the arch i team arrived in Gangtok, 

they got the first surprise, that no carpenter 

was willing to accompany them. But the 

village people assured that most of them 

knew basic woodwork, so that wouldn’t be 

a problem. Arriving in Gnathang, the team 

expected that the households would have 

collected the bottles and could start with the 

workshop, but unfortunately nothing had 

been collected and that’s where the young 

environmental warriors came to our rescue, 

collecting about 200 bottles within an hour, 

brought buckets of water to clean them and 

luckily the sun beamed brightly, aiding the 

drying process. 


{The internal temperature is 

unmanageable without the 

bukhari. All the household 

activities take place around 

it. The local people usually 

go to bed at nine in the 

evening, and the bukhari is 

also lighted off. 

First the external roof was made water-proof, 

sealing them with coal tar/bitumen, which was 

easily available because of the extensive road 

works going on in this area. After repairing the 

gaps in the ceiling by filling in the gaps with 

smaller timber strips, a first layer of sacks were 

laid to ensure all gaps were covered. The cleaned, 

dried bottles were then sealed to make them air 

tight and laid in layers in opposite directions (as 

shown in poster) making the second layer. This 

was then covered with a layer of dry sand, as sand 

has good thermal mass. 

THE WAY FORWARD 

The process has been received well in Gnathang 

and already during the first workshops curious 

people from other villages on the Jelep Lajoined 

after they heard about the ‘architects that come 

with solutions’. Local people have starting 

improving their houses using these insulation 

techniques. The Step-by-Step Space heating 

improvement posters were distributed by WWF- 

Sikkim in other villages. It is anticipated that in 

the coming years, the consumption of fuel wood 

would come down and waste will be used as a 

construction material, as people see that it is 

possible to improve the thermal comfort of your 

house, while preserving the serene environment of 

the mountains. 

REFERENCE: 

1. Annual Report 2011, WWF-India 

2. Rural Energy Planning in Sikkim, K.Sudhakar 

& P.S Gusain 

The gaps between the window and door frames 

and walls were sealed with rubber strips, to allow 

easy movement of the shutters, as well as reduce 

the infiltration. Night shutters were fixed on the 

window openings to provide heat loss from the 

windows and add an additional layer of insulation. 

Since the women and also children of the village 

are very good in knitting woolens, woolen curtains 

were suggested, to act as a barrier between the 

window and the internal space. 

The houses were tested during the extreme 

winter conditions (-20 degrees) and the families 

expressed their satisfaction and improved thermal 

comfort of the house. 

The Second phase of the workshop was 

conducted in April 2012. The external walls were 

retrofitted in this phase.The gaps between the 

wooden battens were sealed. Tetra-pak was 

opened and flattened to sheets, cleaned and dried 

to dehumidify it. It was pasted on the inside face of 

the external wall timber battens. After this a layer 

of cleaned dried and sealed plastic bottles were 

stacked to create a layer of vacuum. This was 

covered with a layer of cardboard and the plywood 

internal panel was fixed. 


Architecture 

“If we can’t reuse/ recycle 

anything else, we should 

stop using those things 

right now.” 

REUSABILITY 

of concree 

Text: Bijaya Laxmi Rai 

A 

s we go from Balaju to Lainchaur along 

Sorakhutte, we can see many partially 

demolished skeletal buildings. These are 

consequences of road improvement project. There are 

many such projects running in the valley; such as at 

Dillibazar, Maitidevi etc. And I ask myself where does 

the concrete go? Mushrooming concrete jungles in 

major cities should compel us to think about reusing 

concrete. There is a famous adage, “If we can’t reuse/ 

recycle anything else, we should stop using those 

things right now.” 

Concrete is the most largely consumed construction 

material worldwide. About 95% of all manufactured 

cement is used to make various types of concrete. 

Concrete is the hardened mixture of coarse 

aggregate (stone & gravel), fine aggregate (sand), 

cement & water. Because of its versatility, beauty, 

strength & durability, concrete is used in most type 

of construction: buildings, bridges, dams, airports, 

subways etc. 

The use of cement as binding material came into 

effect in Nepal since early 1950’s & gradually with 

foreign aid followed by establishment of cement 

industries in Nepal, it flourished and more than 50% 

of the valley land has been occupied by concrete 

buildings today. 

BENEFITS OF CONCRETE REUSABILITY: 

According to NSET Nepal, more than 60% of 

buildings in Kathmandu valley will collapse if there 

is an earthquake similar to the one that occurred 

in 1934 A.D. As a precautionary measure, 

either these buildings should be reconstructed 

completely or be rehabilitated. In either case, 

concrete, is certain to go a waste. If any 

misfortune happens as predicted by geologist/ 

seismologists, there will be a big problem of 

concrete debris disposal. Thus, reuse of concrete 

can reduce large amount of solid waste that 

ultimately goes into landfill sites, and, it can save 

landfill spaces. 

Also, crushing concrete at actual construction site 

with portable crusher reduces the transportation 

cost of conveying material from quarry to industry 

to construction site. 

Use of concrete aggregates reduces the need of 

raw material for concrete, hence helps to reduce 

need of quarry site which ultimately protects 

environment. 

Concrete is inert material and cannot cause major 

chemical deterioration in further use. 

Reuse can help to reduce emission green house 

gases like CO, CO2, NO, NO2, etc. in some way. 

HOW TO RECYCLE USED UP CONCRETE? 

Used up concrete can be reused directly or after 

recycling. 

Uncontaminated concrete is collected from 

demolition site is put through crushing machine. 

Crushing can be done at actual construction site 

or away. 

Large road portable plants can crush concrete 

asphalt rubble at up to 600 tons per hour or more. 

The systems normally consist of a rubble crusher, 

side discharge conveyor, screening plant, & a 

return conveyor from the screen to the crusher 

inlet for reprocessing oversize materials. 

Compact, self contained mini-crushers are also 

available that can handle up to 150 tons per hour. 

Properties of recycled concrete aggregate (RCA): 

The physical properties of RCA vary from natural 

aggregates. These are more angular, have 

rough surface texture than natural aggregate, 

which require more water to produce workable 

concrete than smooth rounded aggregate. 

Typically, RCA have lower specific gravity, higher 

water absorption than comparable sized natural 

aggregates. 


a 

b 

c 

d 

USES OF RECYCLED CONCRETE: 

Major Use: 

Granular Base & Sub-base of Road: RCA can 

provide adequate stability, load support, good 

compaction and requires less cement for sub-base 

use. In many applications, RCA prove to be superior 

to natural aggregates. The fines content of RCA 

may restrict drainage, particularly in sub-base, 

but it facilitates compaction. Recycled aggregates 

accounts for about 6% to 8% of aggregate use in 

Europe. The greatest users are in UK, Netherland, 

Belgium, Switzerland and Germany. 

Concrete Block: Concrete blocks are made 

by mixing Portland cement, sand, and other 

aggregates with small amount of water and 

casting the entire mixture in the molds. The 

major components (coarse aggregate and sand) 

accounts for 90% of its composition. RCA along 

with other industrial wastages such as blast 

furnace slag can be used to make it. 

Concrete blocks can be solid or hollow. The size 

is usually 4-5 times larger than burnt bricks and 

requires less mortar for joints. Hollow blocks 

facilitates for reinforcement, hence whole building 

can resist both vertical and lateral forces. Also, 

these can provide acceptable degree of sound 

insulation and can be made thermal insulation too. 

Retaining walls and Terraced Gardens: Used up 

concrete can be used as backfill to make partial 

retaining walls to control soil erosion on slope or to 

create terrace garden. For that, put broken concrete 

blocks at the base and put some soil or fines to fill 

spaces. Then, compact them with rammer or roller. 

Now, planting sites become ready. 

Also, wire gabions are filled with these concrete to 

give more stability for retaining walls. In addition, 

well graded and aesthetically pleasing materials 

can provide pleasing appearance and can 

substitute landscaping stone or mulch. 

Paths and walkways: Broken up concrete can be 

used as concrete paving stones for paths and 

walkways around home and yard. Some urbanite 

enthusiasts stained these concrete blocks to give 

decorative appeal. The spaces between urbanite 

can be filled with gravel or soil to grow plants. The 

provided gaps allow rain to percolate into soil, 

thereby reducing the quantity of potentially harmful 

runoff into drains. 

a 

b 

Minor Use: 

Embankment Fill: RCA should have high 

friction angle, good bearing strength, negligible 

plasticity, & good drainage characteristics 

for embankment construction. Large sized 

crushed concrete can be used as riprap 

revetment, which is very effective in controlling 

soil erosion. Design procedure is same as that 

of normal aggregate. Fines should be screened 

out before such type of use. But, exposure to 

moisture may cause corrosion of aluminum 

and steel pipes and can increase PH to produce 

alkaline solution. 

Drainage and filter material: RCA intended for 

this use should be washed to remove the dust 

and fines as fines are not suitable for drainage 

use. 

To save our environment, its imperative we 

start becoming conscious of what we are 

using and disposing, right from individuals 

upto the policy making levels and start acting 

responsibly. Reusing concrete is a huge step 

towards that direction. 

Schematic illustration of concrete recycling process 

Preliminary 

Screening 

Dirt & Undersize 

Particles 

Crushing 

Foreign matters 

& Rebars 

Screening 

Desired grades of 

recycled aggregates 

REFERENCES: 

1. en.wikipedia.org/wiki/concrete- recycling 

2. www.wbcsdcement.org/recycling 

3. Concrete network.com 

4. Official website of Portland Cement Association 

5. www.concretthinker.com/technical brief/ 

reduce- reuse- recycle.aspx 


Art 

wooden 

marvels 

of Nepal 

PAST AND PRESENT 

Text and photo : Sukrasagar 

AS CARPENTERS, MASONS, METALWORKERS, AND PAINTERS, THEY ARE INGENIOUS AND 

SKILLFUL, AND THE STRIKINGLY PICTURESQUE APPEARANCE OF OLD NEPAL IS LARGELY 

DUE TO THE AESTHETIC TEMPERAMENT OF THE NEWARS. 

The level of 

saree exposing 

eroticism in three 

different struts 

from Tyagal tole 

and Ukubaha of 

Patan, the middle 

strut is in exile. 

PERCY BROWN 

"The Antiquity of Nepalese Wood Carving” 

A Reassessment by a divine figure, a 

book by Mary Slusser, published by the 

University of Washington Press, Seattle 

and London in association with Freer 

Gallery of Art and Arthur M. Seckler Gallery, 

Smithsonian Institute, Washington D.C. 

All 288 illustrations in the book are 

stamped with unbeatable quality 

photographs. The vision of the 

photographer Mr. Stanislaw Klimek excels 

in every aspect in choosing the quality of 

wood carving itself. Equally noteworthy 

are the drawings of the old carvings 

drawn by two Nepalese draughts persons- 

VijayaBasukala and RajanShrestha who are 

from Bhaktapur. 

Slusser has inventoried the wood 

carvings from two main places of 

Kathmandu (Yetkhaabahaa and Itumbahaa 

whereas from several localities in 

Patan(Su:bahaa, ,Tvaaybahaa,Ukubahaa, 

Bhelaachhensatah and TyaagahSatah. But 

more concentrations are from last three 

places. Introducing all about the included 

struts first in 87 pages, she then started 

to dig into the subject on wood carving, its 

history, authenticity and art forms in detail. 

The finding of the oldest wooden art now 

preserved in the Museo d’Arte Orientale, 

Turin Italy is to be especially noted with 


The dating from the 

sample of wood came 

for the first time from 

the old beams of the 

monasteries and 

houses of Mustang 

area (1996) 

The new 

generation of 

wood carver 

Indraprasad 

working in his 

workshop. 

exception. This is the oldest woodcraft so far 

known from Nepal till date. 

Appendix one gives the inventory of 32 artifacts 

(struts and icons) with the most scientific way 

of recording ever known to a Nepali scholar. 

The writer has been successful in presenting 

Saalabhanjikaa figure from even Aachen 

Cathedral of Germany which shows her depth of 

study on the subject (p138). 

The scientific dating on the Nepalese wooden 

art from Kathmandu has come for the first time 

in Nepal. No such efforts were made before. The 

dating from the sample of wood came for the 

first time from the old beams of the monasteries 

and houses of Mustang area (1996) from where 

even the Dendro-calendar has been framed up 

to 1342 AD from present. If we have a historical 

piece of the pine wood from Mustang region we 

can date very near to the precision, if the piece 

falls within the time frame of the calendar made. 

The description of the Bhelaachhen struts 

is a master copy of describing something 

(p.118-122). Likewise the end paragraph 

of communality of the figural struts with 

Lichchhaviand otherart pieces from the 

transitional period is a must reading to all native 

art historians (p122-123). 

Even a simple definition of Chhepu is lengthened 

and elaborated, on which Nepalese art historians 

did never reach that depth. The art object of 

a Chhepu is, in a way, a real bridge between 


different stages of development of art pattern in 

Nepalese art history from its birth of civilization to 

present time. Chhepu is a creature imagined by all 

the people within the length and breadth of Asian 

subcontinent. There is such an enumeration on the 

examples of Chhepu art pieces on wood; one can 

hardly count the number. 

The master 

copy product 

of Indraprasad 

exposed in 

his gallery. 

The Chhepu is followed by other figural 

representation as well. In the Toranas 

below the Chhepu are always two figures of 

Hitimangah(Makara in Sanskrit). The hind part 

of a Hitimangah is represented with both foliated 

and floral pattern combined with watery element 

of cloud (Meghamandala in Sanskrit). That is why 

Newars call that part as naapva(in Bhaktapur) and 

la pva(in other parts of Kathmandu valley)which 

means Pocket/bag of water. He is also portrayed as 

saaliyamha (one who pulls in). Especially while used 

in a Torana, the roaring cloud is often represented 

by the complete body with the tail and mouth of a 

Makara figure. Newars call that figure as mala a 

mythic figure coming out of the thundering cloud 

while it storms. Therefore when the figure roars his 

tail portion squeezes because of the bodily force 

and,theNewaars think, the water spurts out from his 

mouth as his tail squeezes while roaring takes place. 

The comment on the arguments between two 

great scholars of Nepalese art and architecture Mr. 

Pratapditya Pal and Niels Gutschow in representing 

mountains on the surface of small icons is rightly 

caught up by the writer (p.118-122). The citation of 

the reused wooden art members in different places 

during different times of renovation is remarkably 

traced which gave an idea for right recognition 

of pantheon. How a Buddhist representation 

could come into the staunch Hindu monastery in 

Bhaktapur (p.191-see 115 footnotes) is an example 

of the transfer and reuse of the nice art pieces. If the 

Mahantas would have known this fact, they would 

certainly not give a place for a Buddhist icon in their 

Math. Same is repeated in Kasthamandapa as well 

where there is a Buddhist story panel carved. The 

Kasthamandapa example was the salvaged panel 

from the Laayakubahi during the renovation after the 

great earthquake of 1934. 

We should also learn from the book what we 

ought to do from our side in the conservation and 

preservation of those priceless pieces? Now we 

know how important those wood carvings are and 

how they are going to disintegrate and be ultimately 

destroyed. We have an example already from the 

strut number one from Bhelaachhen. The fate of 

destruction is inevitable if we do not do anything. 

Why shouldn’t we do something that is in our powers 

in order to rescue them and hand them over to our 

future generation, so that they could appreciate the 


Chhepu is 

a creature 

imagined by all 

the people within 

the length and 

breadth of Asian 

subcontinent. 

During every century or a half or even in a decade, 

God sends the men in the society who possess the 

skill equal to their ancestors. 

Indrakazi and Indraprasad , a generation of 

Silpakaar family in Bhaktapur, is a brilliantly 

qualified artist of Nepal specialized in woodcraft. 

Indraprasad is well educated and holds the degree 

of Master in Fine Arts; but dedicated towards the 

fine art of his ancestors. It is as written by Percy 

Brown the caryatid struts (of old Nepal) are at 

times such wonderful figure groups that they may 

almost be classed as fine art. Exactly like that 

Indraprasad and his father copied those figures 

skillfully and saved the skill of old fine art on wood. 

Indraprasad copies the masterpieces of Nepalese 

art and then replicates that into wooden art. 

He is confident that he can live on his skill thus 

proud on that as well. He says one should try to 

perfect in skill. Actually he and his father Indrakazi 

generation represent the twenty-first century 

master carver in wood of present Nepal. 

skill on wooden art of their common ancestors 

of more than thousand years? It has been really 

too late to preserve those priceless art pieces. 

There are people we can exactly copy them. All 

those priceless pieces be copied with which the 

original ones be replaced. Then the originals are 

taken to Patan Museum for its safe upkeep and 

exhibit in strict scientific supervision in the way 

Jayavarmaa icon has been done in National 

Museum. They are irreplaceable now. They all 

need is a place of protection that will arrest the 

enhancement of their decaying process due 

to the moisture. The cost of making new ones 

is much cheaper than the real antique value 

of those struts. They will be pride possession 

of the museum and enhance the image of 

the Patan museum in general and save the 

archaeological face of Nepal. 

The government should take stern steps to 

arrest the ageing and destructive process of 

those wood works. As has been prescribed 

by the UNESCO experts, the locals should 

be encouraged than to use the iron fist of 

government rules and regulations to secure 

those priceless possessions. There is one 

possibility, start the negotiation and convince 

the guthi possessors by giving them with 

the new ones of equal quality of works made 

exactly like the ones standing there. All they 

need is to décor their edifice. They will be 

satisfied with the new quality works and will 

give the old ones happily to the nation. The 

negotiation may be long but will be convinced 

sooner or later. 


WHERE 

ArtMEETS 

Science 

Text: PRAGYAN THAPA photos: Binam Bajracharya 

YANTRA 3.0, THE THIRD INSTALLMENT OF THE YEARLY 

ROBOTICS FESTIVAL ORGANIZED BY ROBOTICS 

ASSOCIATION NEPAL (RAN) AND KARKHANA, AN 

EDUCATIONAL COMPANY THAT’S DEVOTED TO INTERACTIVE 

AND UNCONVENTIONAL LEARNING METHODS, FEATURED A 

FRESH INTERCHANGE FOR ART AND SCIENCE. 

The art-tech exhibition at Babar 

Mahal’s Nepal Art Council carried 

itself with the fluidity of artistic 

impressions and the astuteness of a 

science fair. Artists from Artee Nepal and 

engineers from Karkhana synthesized 

this level of festive interaction of cultural 

arts with technology in the installation 

of their giant Mani, a prayer wheel. 

When one gradually moves the prayer 

wheel, the movement from the prayer 

wheel regulates a motion sensor, inside 

the body of the mane, which in return 

controls two projectors that flicker stop 

motion animation on two adjacent 

screens. 


Sakar Pudasaini, one of the 

founders of Karkhana, gave a 

tour session to a group of visitors 

about how the mane intersects 

native arts and technology. 

American artist Joy Lynn Davis’ 

collaboration with engineer 

Roshan Bhatta embodied the 

same interchange. Their work 

titled “Revisiting Kathmandu” is an 

inquisitive concept: a wall holds 

several concave openings, the 

visitors are asked to gently put their 

hands in each opening, as they insert 

their hand in the enclosed space a 

sensor causes the adjacent screen 

to give you a virtual tour of a heritage 

site from where religious sculptures 

have been stolen in the past four 

decades. 

Mahima Singh’s “Scan Me” was 

another clever and contemporary 

merge piece. It took the smartphone 

savviness of using the 

cryptic QR codes that connect us 

to, among others, the powerful 

poetry of Mahakavi Devkota, the 

meaning of life and faded images 

of Kathmandu. 


ART Scape 

THE SACRED 

feminine 

by : Prof. Dr. Laya Mainali 

Laya Mainali’s recent sculptures 

entitled, “The Sacred Feminine” use 

geometric forms to depict the female 

torso. The sculptures emphasize femininity 

as a symbolism of divine power, worthy of 

being worshipped. The female torsos are 

boldly textured and structured on a base 

of bronze casting that creates the overall 

shape of the sculpture. 

Dr. Mainali has a Ph.D. in Sculpture from 

Tribhuwan University (T.U.) and a Masters 

in Sculpture from Surikov State Art Institute 

Moscow. He is currently a Professor of 

Sculpture at Fine Arts Campus at T.U. and 

was a visiting Professor at The University 

of Wisconsin in America. He has done 

11 solo exhibitions in Nepal as well as 

in foreign countries including the UK, 

Canada, Thailand, and Spain. He has also 

been awarded and honored with various 

awards and felicitations for his genuine 

contributions to Nepali. He has also writeen 

six books related to Nepali art and artists. 

ASHA DANGOL 



From the Shelf 

Celestial 

Realms 

Seldom a 

private collection 

of art is 

published, the book 

Celestial Realms by NANCY 

TINGLEY showcases the rich 

heritage of excellence of Nepalese 

craftsmanship from different 

collectors, including museum. The 

2010 expansion of the Crocker Alt 

Museum has provided us with 

the opportunity to exhibit works 

previously not on display and to 

exploit new avenues of collecting. 

The addition 

of new gallery space 

has happily coincided with a 

growing Asian collection, particularly 

in the areas 

of ceramics and South 

and Southeast Asian sculpture. 

There have been few exhibitions 

of Nepalese 

art in the United 

States since 

the opening of Nepal 

to the West in the mid-twentieth 

century, so this exhibition provides 

a unique opportunity to view both 

Hindu and Buddhist art from the 

region. Celestial Realm draws 

works exclusively from the Crocker 

s budding Himalayan collection 

and from private California 

collections, providing visitors with 

an opportunity both to familiarize 


themselves with the museum and to see 

works not generally on view to the public 

We are particularly appreciative of the 

exhibition’s lenders, including the Catherine 

and Ralph Benkaim Collection, the David 

Kamansky Collection, and the Collection 

of Sam and Sharon Singer, as well as 

numerous anonymous lenders. I also want 

to thank Nancy Tingley for her dedication to 

the Crocker—she has had a strong guiding 

hand in making the Crocker a repository 

and exhibition venue for Asian art. 

THE KATHMANDU VALLEY is the most 

populated region of Nepal, and the Newar, 

probable descendants of the Kirati who 

settled in the Valley in the first millennium 

BCE, have for centuries created the art 

included in this exhibition at the Crocker 

Art Museum, Celestial Realms: The Art 

of Nepal from California Collections. The 

exhibition includes forty-four works from 

the seventh to the nineteenth centuries 

drawn from the Crocker's collection and 

private California collections. In addition 

to the Hindu and Buddhist sculpture 

and paintings that form the bulk of the 

exhibition, tribal works from the middle 

hill region are also included, providing a 

contrast with Newar production. 

This exhibition has provided her with 

an opportunity to explore the glorious 

art of Nepal--in the Kathmandu Valley, 

the Crocker Art Museum, in private 

California collections, and beyond. Her 

interest in Nepal dates back to the 1970s 

when she first visited the country, a time 

when scholars Mary Shepherd Slusser, 

Pratapaditya Pal, and Lain Bangdcl were 

laying the groundwork In Nepalese art 

history All subsequent scholarship rises 

from the foundation they established and 

continue to expand. 

The Newar, now a minority in the Valley, 

are key to any study of its development, 

because they formed the matrix of 

Valley culture until the eighteenth-century Gorkha 

conquest.2 They created most of the Nepalese 

art that has come down to us, so that one should 

understand that the study of Hindu and Buddhist 

Nepalese art is in fact a study of Newar art. While 

agriculture was vital to the Valley s dominance, 

its location on the trade routes between India 

and Tibet provided further benefit. This strategic 

position on the crossroads facilitated the exchange 

of both goods and ideas, and resulted in a diverse 

population who practiced Hinduism or Buddhism, 

both religions brought from India. The I.icehavis, an 

Indo-Aryan people who may have descended from 

the Licchavi of North India, established the first 

state in the Valley in the fourth century ce (300— 

879).3 The 464 ce pillar inscription at the Vishnu 

temple of Changu Narayan provides the earliest 

genealogy of the Licchavi kings, and indicates the 

Vaishnavite affiliation of King Manadeva, who 

was responsible for the inscription. The 

Licchavi kings and subsequent 

rulers practiced Hinduism, 

but their Sanskrit 

inscriptions indicate 

that they also 

supported 

Buddhist 

establishments. 

THIS IS NOT A BOOK REVIEW; THIS IS JUST AN EFFORT TO CONVEYING INFORMATION 

TO THE READERS ON RARE AND VALUABLE BOOKS ON ART AND ARCHITECTURE. THIS 

COLUMN AIMS TO GIVE A HELICOPTER VIEW ON SUCH BOOKS AND THUS PRESENTS 

THE EXCERPTS AND ILLUSTRATIONS EITHER FROM THE PREFACE, INTRODUCTION, 

JACKET OR MAIN CONTENTS OF THE BOOK FROM THE SHELF. 

THIS BOOK WAS KINDLY PROVIDED BY MANDALA BOOK POINT, KANTIPATH, 

KATHMANDU (TEL. 4227711). 


Personality 

Jaquar 

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LEADER IN THE FAUCET INDUSTRY, 

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INNOVATION AND TECHNOLOGY. BE IT A RETAIL 

ESTABLISHMENT, CORPORATE OFFICES, RESIDENTIAL 

BUILDINGS, LARGE FACTORIES OR TOWN SHIPS, 

JAQUAR HAS A VAST AND UNBEATABLE PORTFOLIO 

TO ITS CREDIT. 

Speaking with Mr. Rajesh Mehra – Director 

& Promoter – Jaquar Group, said, “To keep 

Jaquar timeless and in line with our vision, 

repositioned Jaquar stands for the new 

age customer who aspires for complete 

and coordinated bathing requirements. 

Thus we are moving away from Jaquar as 

a faucet brand to Jaquar as a complete 

bathing solutions brand. Since the inception 

of the company delivers the world class 

bathroom requirements, suiting every type of 

customer, through constant development and 

continuous innovation.” 

Jaquar has stepped into a lot of various 

bath related markets to make it a “Complete 

Bathing Solutions” Brand. Available under the 

Jaquar banner is sanitary ware and a wellness 

range of products like shower enclosures, 

shower panels, showers, whirlpools, steam 

cabins and spas, water heaters and flushing 

systems. Recently it has also diversified into 

lighting. A comprehensive and world class range 

of specialty lighting, for commercial, residential 

and outdoor applications. The change hasn’t 

come easy for the company. “From a group 

positioning of a faucet player to a complete 

bathing brand has been our biggest change,” 

shares Mr. Mehra. 

Jaquar owes its organic growth and leadership 

status to its high standards of quality, innovative 

products and customer service. Operating with 

three state of the art ultra modern manufacturing 

facilities spread over 1 lac sq. mtrs which is one 

of the largest in Asia, the units are eco friendly 

and are a zero waste plant. 

Today, with over 60% market share in bath fittings 

industry, the Jaquar group continues to spread 

its wings by expanding its presence across five 

continents, making it a true global player. 

Having crossed the 1900 crore sales mark in FY- 

13-14, Jaquar continues to expand its footprint 

across the country. And achieving the ultimate 

bathing experience becomes much easier 

with the widespread Jaquars well appointed 

Orientation Centres (OC) across the country. 

“Orientation Centres provide expert advice, 

installation assistance, free estimation and live 

demo to assist while you choose, visualize and 

create your dream bathroom”, says Mr. Mehra. 

Since its inception, Jaquar has achieved 

numerous milestones and with strong support 

and encouragement from all its stakeholders. 

Jaquar keeps raising the bar by introducing 

newer products through constant innovation 

in design and technology. A plethora of laurels 

and international certifications including the 

prestigious "Super brand India" status bears 

testimony to Jaquar's commitment to produce 

highest quality products with incomparable 

performance and durability standards. 



storewatch 

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bathware 

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E 

verest Bathware has been providing its services since 

1979. With the motto of good quality at low prices, 

Everest Bathware supplies tiles from India, Malaysia and 

Spain. They have a wide array of products ranging from tiles to 

bathroom products to arches. Soon, they are launching mosaic 

tiles and shortlythey will be launching digital tiles which is 

expected to replace marbles 

and can be used for both 

exterior and interiors. For 

exteriors, they also provide 

natural stones, which can be 

used in parking lots. Everest 

Bathware also provided 

flooring for the SAARC 

setting hall. Marmoleum is 

antibacterial and resistant 

to chemicals, was also used 

in the arrival lounge at the 

Tribhuvan Int’l Airport. 


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Open 

Spaces 

The School of Creative Communications is a unique 

blend of creativity and communication. We provide 

a platform for those who dream of nurturing one’s 

creativity through communication. We offer training 

programs on art, photography, writing and languages. 

We have been conducting SCC Explore Photography 

workshops since its establishment in 2009. We have 

been organizing SCC Blue Bag, a sharing program with 

scholar once a month. It is located at Kupondol, Lalitpur, 

Nepal. (Link road to Bagmati River) 

I 

love to be at this place whenever I visit 

Lumbini. A Peace Pagoda / Shanti Stupa is 

a Buddhist stupa; a monument designed to 

help unite all in their search for world peace. 

It was constructed by Nipponzan Myohoji 

monks in November 2001 at the Buddhist 

pilgrimage site Lumbini, where Queen 

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who in turn became Buddha and gave birth 

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built as a symbol of peace. 

THE PHOTOGRAPHER 

Sanjay Kumar Sharma is from Gulmi, currently 

doing his Bachelor in Business Administration in 

Tilottama College, Butwal. He loves photography 

and travelling to new places. His future plan 

includes earning money and travelling to new 

places and document those places and people. 

He aims to be a wildlife photographer. He is a 

participant from SCC Workshop Butwal. 

www.scc.org.np 

facebook.com/scc.kathmandu 



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CONNECTS 

connecs 

1 Aditya Hardware Enterprises 

Bluestar Complex, 

Room # 522, Thapathali 

Ph: 9851007818 

sanjay_kyal@yahoo.com 

2 ATC Pvt. Ltd. 

336/21, Ganesh Man Singh Path-2, Teku Road 

Ph: 977-1-4262220 

info@ atc.com.np 

3 Balterio - Navin Distributors Pvt. Ltd. 

1st Floor, A.T. Complex, New Plaza, Kathmandu 

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balterio@navindistributors.com 

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Ph: 977-1- 4422190 

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info@bergernepal.com 

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6 Bestbuy Nepal Pvt. Ltd. 

Kupondole, L.P. 

Ph: 977-1-5523289 / 5545481 

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8 Communication Corner Pvt. Ltd. 

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Ujyaalo Ghar (Behind Central Zoo) 


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Ramshah Path, New Plaza Margha 

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Ph: 4423379, 4421991 

10 Featherlite Office Systems Pvt. Ltd. 

Kamladi Complex, Ground Floor 

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12 Furniture Land 

Blue Star Complex 

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13 Futurex 

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14 Home Furnisher Pvt. Ltd. 


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16 International Electronic Concern (P) Ltd. 

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17 India Design Event 

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18 Jagadamba Cement 

Neupane Tower, 6th Floor 

Tinkune, Kathmandu 

Ph: 977-1-4111500 

jcement@wlink.com.np 

17 Maruti Cement 


Ph: 4257566, 4267377 

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18 MD Furniture 

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19 Marvel Technoplast Pvt. Ltd. 

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20 Nagrik - Nepal Republic Media Pvt. Ltd. 

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21 National Society for Earthquake Technology, 

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22 Panchakanya Group 

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23 Pashupati Paints Pvt. Ltd. 

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Ph: 977-1-4258209 

pashupati@paints.wlink.com.np 

24 Shuvakamal Global Business Hub P. Ltd 

Kathmandu Business Park 

Buddhabari, Teku 

Ph: 4104587, 98510-64567 

info@skamal.com.np 

www. skamal.com.np 

25 Skylight Pvt. Ltd. 

Naxal (Opp to Police HQ), Kathmandu 

Ph: 977-1-4423851 

info@skylight.com.np 

www.skylight.com.np 

26 Starnet Enterprises Pvt. Ltd. 

Shankhamul, Pragatimarga, Kathmandu 

Ph: 977-1-4781945 

info@starnetenterprises.com 

www.starnetenterprises.com 

27 Subisu Cablenet Pvt. Ltd. 

148 Thirbum Sadak, Baluwatar 

Ph: 977-1-4429616 

info@subisu.net.np 

www.subisu.net.np 

28 Technical Associates Services Pvt. Ltd. 

Thapathali, Kathmandu 

Ph: 977-1-4219999 

ta@ta.com.np 

www.tas.com.np 

29 Universal Electrocom (Black & Décor) 


Ph: 4251622, 4251623 

www.uec@wlink.com.np 

30 Worldlink Communication Pvt. Ltd. 


Ph: 977-1-5523050 

sales@wlink.com.np 

www.worldlink.com.np 

31Yeti Airlines 

Tilganga, Kathmandu 

Ph: 977-1- 4464878 

reservations@yetiairlines.com 

www.yetiairlines.com 

32Yeti Polychem Pvt. Ltd. 

Dillibazar, Kathmandu 

Ph:977-1- 4421501 / 9851004448

12. Dec 2014

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