8. August 2014

August 2014 – Vol 10 N o. 08 

ART ARCHITECTURE INTERIOR 

10 TH YEAR - ANNIVERSARY SPECIALS 

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

Kumari 

Chhen 

LAKHE 

A DANCE OF THE DEMON 

WHERE 

THE LIVING 

GODDESS 

RESIDES 

SERENE 

RARA 

KATHMANDU 

VALLEY PAINTING 

THE JUCKER COLLECTION 

ADB 

OFFICE IN 

KATHMANDU 

Simplicity defines Character 

DESIGN 

THAT BLENDS 

‘AESTHETICS’ 

WITH ‘PURPOSE’ 

ACE SCHOOL 

A Heritage Building Converted 

into a Space for Kids 

DISASTER 

RESILIENCE OF 

HOTEL INDUSTRY 

IN NEPAL 

SCULPTING WITH FORM 

BFA EXHIBITION PROJECT 2014

2 / SPACESNEPAL.COM

AUGUST 2014 / 3

4 / SPACESNEPAL.COM

APRIL 2014 / 5

CONTENTS 

AUGUST 2014 VOL 10 N O. 08 

SPACESNEPAL.COM 

72 

Perspective 

Interior 

18 

Q&A WITH DR MADHAV 

MANGAL JOSHI 

Energies enter the house from 

the northeast direction and 

go to the southwest. Hence, 

to retain the energies in the 

house, it is advisable to put 

thick walls in the southwest. Heavy objects 

should not be placed in the northeast; they can 

obstruct the energies. Instead, concentrating 

heavy objects on the southwest can be helpful. 

Cover Story 

34 

36 

Impact 

KUMARI CHHEN: WHERE THE 

LIVING GODDESS RESIDES 

The Kumari Chhen, the home of the 

living goddess Kumari, is an elaborate 

three-storey brick building adjoining the 

old royal palace of Hanuman Dhoka in 

Kathmandu’s Durbar Square. It is richly 

decorated with carved windows and 

reliefs of gods, both Hindu and Buddhist. 

Built by King Jaya Prakash Malla in 

the year 1757, the chhen has a unique 

significance in the fact that it is the 

temple where the god actually resides. 

And this might be the reason for why, 

unlike many temples in the same vicinity, 

it has its own distinct architecture. 

DISASTER RESILIENCE OF HOTEL INDUSTRY IN NEPAL 

In 1934, an earthquake of magnitude 8.4 hit Nepal shaking 

Kathmandu Valley with intensities of X and IX MMI. Over sixty 

percent of the buildings were raised to the ground resulting in 

more than 4000 deaths in the Valley alone. Research study 

shows that if a shaking that of 1934 earthquake was to occur 

again, Kathmandu Valley may witness a death toll of over 

100,000 and a homeless population of more than 1.5 million. 

Are our hotels that resort thousands of tourists from across 

the world strong enough to sustain such seismic loads? 

70 

From the Shelf 

KATHMANDU VALLEY 

PAINTINGS: 


The author of Kathmandu 

Valley Paintings, Hugo 

Kriejger studied Asian art and 

archeology at the University of 

Amsterdam, where his main 

subjects were Tibetan and 

Nepalese Arts. The collection 

as it stands offers a fascinating 

tour of the painting tradition in 

the Kathmandu Valley - even 

taking in several extremely rare 

scrolls for which this author has 

yet to find comparable pieces in 

other collections. 

SERENE RARA 

Rara, the biggest lake in Nepal, looks like an 

ocean of crystal water on the top of a hill yet 

surrounded by other green hills. The serene lake 

of himalayan fresh water lies at an altitude about 

9,810 ft above the sea level covering an area of 

10.8 square kilometer. 

60 Art 

Journey 

48 

28 INTERIOR: ACE School 44 COVER STORY: LAKHE- A Dance of the Demon 66 STORE: Furniture Land 76 PRODUCT 84 OPEN SPACES 

6 / SPACESNEPAL.COM


Editorial 

Finding Balance 

Our culture is our identity and the 

festivals our assets. If we were to find 

meaning, harmony and balance in our 

environment – it would stem from the 

cultural richness our place simmers with. 

The present calendar is slated with 

festivals and the season of festivity 

has started – beginning August. We 

have already observed Naagpanchami, 

Gathemangal, Raksha Bandan and Gai 

Jatra of this season. And we are at the 

advent of Indrajatra, one of the much 

looked forward to festivals in Nepal. 

Indra is the Lord of Rain and the King 

of Heaven, Jatra is procession. Indra 

Jatra is celebration of God Indra’s Day. 

Some believe Indra Jatra is the thanking 

day to lord Indra for the rain. According 

to others, the festival is celebrated in 

the honor of Bahirab, who is Shiva’s 

manifestation and is believed to destroy 

evil. However festivals remain the fervor 

that brings our people together, bonding 

them and connecting us to values, 

stories and merry making that began 

long time ago! 

With an objective of casting light on the 

importance of festivals - Indrajatra is the 

cover story for this issue. We present 

the architectural interpretation of the 

Kumari Chhen and the artistic outlook 

of the dance of Majipa Lakhe. This 

issue also commemorates the age-old 

tradition of painting in Kathmandu Valley 

with myths and legends. The excerpts 

from Kathmandu Valley Paintings by 

Hugo Kriejger offers a glimpse into the 

fascinating tour of the painting tradition 

in the Kathmandu Valley, with the book 

showcasing the collection of several 

extremely rare Paubhas. 

We also feature writings by Vastu 

Shiromani Dr Madhav Mangal Joshi, 

which are insightful and based on 

the ancient traditions mixed with the 

contemporary interpretations. The article 

on Design that Blends ‘Aesthetics’ 

with ‘Purpose’ provides an interesting 

viewpoint on residence interiors, 

whereas the Ace School provides the 

story behind an innovative conversion 

of a heritage building into a learning 

space. We also present the design of 

the ADB Office in Kathmandu in the 

feature Simplicity Defines Character. 

Corporate Offices as well as international 

offices are setting the trend to develop 

immaculately designed spaces that 

resonate creativity and calmness. 

As the monsoon ends, the days clear 

up for the season of the festivity and 

blue skys. In this issue, our regular 

column on inspiring journeys takes 

you to the fabulous Rara, one of the 

most enchanting touristic destinations 

in Nepal. We also take a glimpse into 

the BFA Exhibition Project 2014, which 

showcases 17 painters, sculptors 

and visual artists, that put together a 

wonderful group show after six months 

of intensive studio work. 

As usual on an ending note - I would like 

each of us to reflect on our pursuits to 

find balance and happiness in our lives. 

While we are blessed with the cultural 

richness and god gifted environmental 

beauty of the place – do we really get 

inspired enough that we learn to take 

care of our environment? 

If sometimes we make it a point to step 

aside, and take a deep look and observe 

what we are blessed with – will we 

learn to find the necessary balance in 

our lives, happiness would follow. 

Namaste! 

Sarosh Pradhan / Editor in Chief 

8 / SPACESNEPAL.COM


Contributors 

ANIL NATH SHRESTHA is an engineer and also an alternative 

energy expert. He earned his bachelor’s degree in Civil Engineering 

from Tribhuvan University and his master’s degree in Natural 

Resource Management from Pokhara University. He worked for 

years in a number of alternative energy related offices including 

District Energy and Environment Unit under District Development 

Committee, Kathmandu and Rural Energy Development Program 

under District Energy and Environment Section, Mugu. Mr Shrestha 

is currently working as a Regional Coordinator at Alternative Energy 

Promotion Center, Khumaltar, Lalitpur. 

ASHOK MAHARJAN, a graduate in Interior Design from IEC, is 

a promising and dedicated interior designer. Currently working 

as a designer in Multi-Steps Pvt. Ltd, he has established his own 

company STARS Design Factory. Heritage Carpet (Kalanki), Uniliver 

(Kamaladi), Airport Sekuwa (Airport), and UNESCO (Sanepa) are 

some of the notable companies he has designed for. 

Kalyan Bista has over 20 years of experience working with national 

and international organizations and has professional expertise 

in managing projects especially in forestry, energy, health and 

disaster risk management sector. Currently working as the Public 

Private Partnership Specialist, Mr Bista was in senior management 

level of National Society for Earthquake Technology-Nepal (NSET) 

from 2003 to 2011. Mr Bista has owned his Master’s in Business 

Administration from Nepal and EMBA as well as a Post Graduate 

Degree in Disaster Management education from India. 

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. 

PRAGATI MANANDHAR, an Architect graduate from Kathmandu 

Engineering College and is currently working at Sarosh Pradhan 

& Associates. A music enthusiast by nature, loves travelling and 

exploring the human dimensions of art, music and architecture. 

CEO 

Editor-in-Chief 

Creative Manager 

Senior Correspondent 

Contributing Art Editor 

Junior Editor 

Contributing Editor 

Photographer 

Intl. Correspondent 

Volume 10 N O. 08 | August 

Ashesh Rajbansh 

Sarosh Pradhan 

Deependra Bajracharya 

Pujan Joshi 

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 

Chief - Administration Anu Rajbansh 

Marketing Officer 

Debbie Rana Dangol 

Admin Officer 

Ashma Rauniyar 

Office Secretary/Subscription Pramila Shrestha 

Accounts 

Sunil Man Baniya 

Legal Advisor 

Yogendra Bhattarai 

Published by 

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IMPRESSIONS Publishing Pvt.Ltd. 

Chakupat (near UN Park), Lalitpur 

GPO Box No. 7048, Kathmandu, Nepal 

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info@spacesnepal.com 

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SPACES is published twelve times a year at the address above. All rights are reserved in 

respect of articles, illustrations, photographs, etc. published in SPACES. The contents of 

this publication may not be reproduced in whole or in part in any form without the written 

consent of the publisher. The opinions expressed by contributors are not necessarily those 

of the publisher and the publisher cannot accept responsiblility for any errors or omissions. 

Those submitting manuscripts, photographs, artwork or other materials to SPACES for consideration should 

not send originals unless specifi cally 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. 

COVER PHOTO: 

Kumari Chhen 

Kathmandu Durbar Square 

© Ashesh Rajbansh 

facebook.com/spacesnepal 

twitter.com/spacesnepal 

10 / SPACESNEPAL.COM


UPDATES 

IDC 2014 

Top finalists were declared 

Interior Design Competition (IDC 2014), one of the most 

awaited events to be conducted during FURNEX 2014, 

has declared it top 11 finalists. 

Interior design is the arrangement of living spaces to 

accomplish greater functionality that makes use of diverse 

aspects of other disciplines such as architecture, product 

design, environmental psychology, ergonomics and 

decoration. This is the first ever competition of this kind 

in Nepal. According to the organizers, Spaces Magazine 

and Nepal Furniture and Furnishing Association (NFFA), 

some of the major objectives of this IDC 2014 are to 

uplift the scenario of forgotten richness of interior design 

in Nepal and to help promising interior designers create 

career opportunities by giving the innovative designers an 

exposure in the market. 

A jury panel that consisted of an architect, an 

academician, an interior designer, an artist, and a home 

maker has selected top 11 finalists from around 50 

participants. The originality concept, innovation with 

cultural inspiration and the presentation of that included 

the assuming floor plan, zoning and partition layout, 

furniture layout plan, floor finish plan, reflected ceiling 

plan, cross section and furniture details were considered 

while selecting the finalists. 

The finalists are: Sarala Maharjan, Rabina Thapa Magar, 

Bishnattam Shrestha, Anish Pyakurel, Rabana Miya, 

Sona Subba, Anita Shrestha, Bikram Khadka, Sadhana 

Lamichhane, Bijesh Maharjan and Bibek Maharjan. Their 

project models will be put on display during FURNEX 

Expo that is being organized at Bhrikuti Mandap from 

August 26 to 30 August 2014. 

The visitors in the FURNEX can vote for their best 

models; the Jury panel will have 75 percent voting 

stake while the remaining 25 percent remains open for 

public voting. The winners for the First, Second and Third 

positions including two special categories viz. Pashupati 

Paints Best Colour Combination Award and Yeti Carpet 

Best Presentation Award will be announced on the 

closing ceremony of FURNEX 2014 and they will be 

awarded with a trophy, certificate and a cash prizes. 



INTERIOR 

DESIGN 

THAT BLENDS 

‘AESTHETICS’ 

WITH 

‘PURPOSE’ 

text ASHOK MAHARJAN 

Every designer has their own 

way of conveying style. That 

style or element is like identity. 

Besides the straight lines as 

our basic design element, in 

our design we usually prefer 

wood texture laminates rather 

than plain laminates. In most of 

the designs that STARS Design 

Factory executes, you will find 

furniture in shape of ‘S’. 

To go well with the demand of 

the client and the demand of 

the space, we created island 

like effect with water flowing 

around the outdoor sitting area. 

And for the fountain, since this 

area is beside bar, we kept an 

element called ‘Anti’ which is 

the Newari ethnic vessel for 

serving alcohol. 


INTERIOR 

NEPAL HOUSE, BALUWATAR 

This project was a big challenge. As the 

name suggests, we wanted to have 

elements of Nepali culture merged with 

mordern design. Besides, this was a 

residential building with a small room 

to be used as resturant and we were 

not allowed to bring much change in the 

existing structure. Our priority goes to the 

need of clients, our client wanted to have 

different auras in different parts of the 

resturant with the front bakery modern 

and rest with traditional designs. 

We designed a bar area display in a 

concept of traditional stairs which used 

to be of carving steps in a single log. 

We kept the furniture quite simple 

made of wood planks. 


INTERIOR 

SILVER CITY APARTMENT 

KALIKASTHAN 

This is a private apartment. The owner 

wanted to keep it simple without too 

many colours. So we decided to go 

for a repetition of material. After going 

through a variety of laminates available 

in market, we decided on two colours 

to laminate the whole apartment. 

These two colours complimented each 

other keeping each other in balance. 

We preferred straight lines to curved. 

The owner, being a busy businessman, 

wanted his apartment to be a place 

where he can leave his entire work load 

outside the door. So we used mostly 

neutral colours and straight lines for a 

simple, relaxed look. 

This is a duplex apartment, designed 

according to the modern concept: 

The living room is separated from 

dining with a partition. Considering the 

family requirement, we focused on 

luxuriousness blended with aesthetics. 

We have used bright tints for a pleasant 

look. Also, due to the limited space 

we have located a bar under the stairs 

which creates an open area living room. 

Designed for a family of four; we have 

prioritised the room and a kitchen to go 

well with it. 



INTERIOR 

ADB 

OFFICE IN 

KATHMANDU 

Simplicity defines Character 

text PRAGATI MANANDHAR 

photo A. RAJBANSH 

The ADB office interior holds a simple yet 

contemporary office feel, bringing together form and 

function, making the office aesthetically appealing 

and comfortable. 


INTERIOR 

Nepal Resident Mission 

(NRM) of The Asian 

Development Bank (ADB), 

previously located in Shree 

Kunj, Kamaladi, has shifted to 

Uttar Dhokha of Narayanhiti 

Palace, inside the Metro Park 

Building in November 2013. 

ADB is a multilateral 

development bank owned 

by 67 members; 48 from 

the region and 19 from other 

parts of the world. ADB 

aims for an Asia and Pacific 

free from poverty. Since its 

founding in 1966, ADB has 

been driven by an inspiration 

and dedication to improving 

people’s lives in Asia and the 

Pacific. It has been working 

as a key development partner 

with the Government of 

Nepal since it joined ADB 

as a founding member in 

1966. And it has provided 

assistance in several sectors 

including agriculture and 

natural resources, transport 

and communication, energy, 

water and sanitation, urban 

development, education, 

finance, and governance. ADB 

has consistently promoted 

gender equality and social 

inclusion in development, and 

is putting more efforts into 

building institutional capacity 

at all levels, including local 

governments. 

NRM was opened in 1989 

and provides the primary 

operational link between 

ADB and the government, 

private-sector, and civilsociety 

stakeholders in its 

activities. ADB NRM office in 

Kathmandu occupies the third 

and the fourth floor of the 

Metro Park building. It was 

designed by SaroshPradhan& 

Associates following an open 

bid competition. 


INTERIOR 


INTERIOR 


INTERIOR 

DESIGN AND INTERIORS 

The office interior has been designed 

to meet the global office standards of 

ADB. The design reflects an ambiance 

that resonates simplicity as its defining 

characteristic. 

The office has workplace for 70 

employees covering two floors. In 

addition to around 24,770 square feet 

of office space, there is around 5,450 

square feet for support functions that 

includes a cafeteria, open terrace, and 

a public information centre. Appropriate 

considerations are observed on its 

mechanical, electrical, and other services 

along with fire and life safety measures. 


INTERIOR 

The basement of the Metro Park building 

provides enough space for more than a 

hundred cars and hundred motorcycles 

along with car wash facilities. Parking 

area for around 40 cars has been 

separated for the ADB office. In addition, 

separate staircase and an elevator links 

to the ADB office area which gives the 

office more privacy. 

The office space is organized in a grid 

pattern allowing open planning and 

free circulation space; maintaining the 

work environment that stimulates long 

office hours and concentrated work. 

Ample passage space of 6 feet has 

been maintained in the office space. 

The individual closed offices are in the 

periphery of the building while the open 

cubicles are organized in the middle 

giving a feeling of openness. 

The office rooms are spacious and are 

bright with large windows ensuring 

sufficient natural lighting. The area 

of each office room is around 225 

square feet and has a spacious feel. 

The meeting rooms are planned in 

the central core of the office space as 

meetings and interactions are a key 

function in the bank. Among the four 

meeting rooms - one is larger, which 

can accommodate around 25 persons 

and the other three are smaller meeting 

rooms that can accommodate around 

12 persons at a time. All meetings 


INTERIOR 

The office space is organized in a grid pattern allowing 

open planning and free circulation space; maintaining 

the work environment that stimulates long office 

hours and concentrated work. 


INTERIOR 


INTERIOR 

rooms are well furnished and equipped 

with Video Conference and presentation 

facilities. Sufficient lightings have been 

managed in the meeting rooms. By 

placing the meeting room in the central 

core, rest of the office spaces enjoy the 

natural light from the peripheral windows. 

The cafeteria is appropriately placed 

on the 4th floor; it is in the southern 

terrace, thus enjoys the greenery of 

the Narayanhiti palace. It has large 

curtain windows thus having certain 

brightness and a strong connection 

with the surrounding area. Ample 

seating area with a spacious pantry, 

microwave, a fridge and a cooking 

range, used by the staffs for their 

meals. There is sufficient breathing 

space in the terrace area with 

covered walkways: a perfect place for 

small functions for the ADB staffs. 

All the modular furniture have been 

imported from the Philippines. 

Further, creamy white color and 

the wooden accents in the pillars, 

walls and the doors dots the 

office interior in order to maintain 

warm palette; giving a simple yet 

a sophisticated look to the office. 

The ADB office interior holds a 

simple yet contemporary office feel, 

bringing together form and function 

and making the office aesthetically 

appealing and comfortable. The 

Interiors astoundingly sets the 

tone for an impressive business 

environment. It reflects that an 

impressive office interior design not 

only makes one’s business more 

successful, but helps build client 

trust in a professional environment. 



INTERIOR 

ACE SCHOOL 

A Heritage Building Converted 

into a Space for Kids 

text TEJITA VAIDYA AMATYA 

photo PRADEEP RATNA TULADHAR 

28 / SPACESNEPAL.COM 

Ace Higher Secondary School has 

been the epitome of education and 

their recent venture for young learners 

is Ace School located at Gyaneswar 

Height, Kathmandu. Centrally located 

in the heart of the city, the school is 

housed in a heritage building with 

essence of its own. 

This school was a transformation of 

a historic building into an educational 

space. Yet this transformation respects 

the legacy of the structure. The design 

was perceived with the concept of 

preserving the identity of the building 

and to create a child friendly educational 

ambience. The space planning was 

focused to the requirements of the 

different age group children using the 

school space. The entire design was 

conceived together by husband-wife duo 

Kundal&TejitaAmatya, of Conception 

Interior Pvt. Ltd. The design concept is 

simple and minimalist and playing with 

the existing historical elements in the 

building. Vaastu principles were also 

considered to receive optimum positive 

energy. 

Metal grilled gate coloured in ACE 

School corporate color greets at the 

entrance. The building is located on 

top of a sloped terrain, thus allowing a 

breath taking view of the valley on the 

eastern side. The building seems to be 

an isolated structure which has allowed 

it to maintain its integrity without being 

influenced by the adjoining metropolitan 

habitat. To compliment this fact, the 

large open play ground in front of the 

building again adds its value.

INTERIOR 

The school is benefited much from this age old 

building. The thick walls and the building materials help 

to maintain favorable temperature within the building 

both in winters and summers, cutting off cost of any 

external heating or cooling system. 

THE GROUND FLOOR 

The consideration has been given to 

the children of different age group 

ranging from 18 months to 12 to 14 

years. Thus the ground floor is allotted 

for pre-school to avoid staircase areas. 

The reception and principal’s office 

is shared in the same floor to have 

easy access to visitors and parents. 

Wall, ceiling, doors and windows are 

maintained from existing one, whereas 

flooring has been replaced with vitrified 

tiles for easy maintenance. Furniture in 

the office area differs from that of the 

classrooms due to its purpose. Brand 

colors are used in the reception area to 

enhance the presence of the institute. 

The Principal’s desk which is large in 

size is complemented with semi open 

cabinet to showcase schools achievements. 

Student’s works are displayed 

on the walls of visitor waiting space to 

share school’s beliefs with outsiders. 

Classroom is properly planned with reading 

area at carpet corner along with well 

distributed ergonomic furniture. Here 

also the elements like door, window, 

wall and ceiling are maintained from 

the existing one. Large windows keep 

the room well ventilated and naturally 

lit. Laminated parquet flooring gives 

the smooth feel. The table chairs and 

cabinets are specially designed for pre 

school children. Cabinets are specially 

designed to place learning materials 

and can be easily handled by little ones 


INTERIOR 

themselves. Each kid is also given 

personal cubicle to store their work. 

Carpet corner is complemented 

with easily accessible bookshelf. 

Bookshelf is designed in such a 

way that the books can be properly 

seen and easily reached by children. 

Colorful loose cushions are piled at 

one corner to use during carpet hour. 

Laminated topped tables are easy to 

clean from all the crayons and scribbling. 

Pine wooden furniture is light 

and its mild natural color spreads 

a soothing aura. Walls of the classroom 

are filled up with soft boards 

where children can share their works 

and achievements. Colorful works 

hung on the walls bring life to the 

entire classroom setup. Thus to give 

a proper solid base to children’s 

activity, the elements like furniture, 

flooring, wall color are chosen in 

subdued shades. Adjacent to this 

preschool classroom is the toddlers 

room where again the planning is 

done with necessary details. Here 

also carpet corner is similar as in pre 

school children section. Only addition 

to this is the nap area where 

little ones are provided with space 

to sleep with mattress, pillows and 

blankets. Nap area is designed in a 

double deck structure with separate 

storage space for kids. 

The wide passage is provided with 

shelf for shoes and hooks to hang their 

bags or jackets before entering the 

classrooms. Lockable staff cubicles are 

placed in the passage. All necessary 

amenities like toilets, drinking water are 

properly planned in this floor. As toddlers 

are to use this space, intricate details 

have been taken care of like separate 

toilets with special details with space 

for potty and assistant space. Even 

the wash basin height has been properly 

considered for independent usage 

for little ones. Toilets and wash areas 

are facilitated with proper hand wash 

system, individual towel hanging space. 

Proper drinking water points have also 

been allotted focusing on proper health 

issue. At every point height of each item 

are considered for easy access for little 

ones. 

Just outside the classroom is the play 

area for preschool children, where various 

toys like slide, swing, see-saw, etc, 

is placed. This is a separate play area for 

smaller age group, while bigger ones 

use the green grassed playground. 

“At Ace Preschool we have children with 

age difference of three years in one 

classroom. The furniture is designed 

according to size of the child and is comfortable 

for the children,” says Ms. Puja 

Singh, the Principal of the school. 

THE FIRST FLOOR 

First floor houses classrooms for bigger 

age group, with similar facilities as in 

preschool classroom but with appropriate 

sizes considering the age group of 

children. These classrooms have additional 

facilities with computer tables and 

science lab equipment cabinets. Again 

these computer tables are designed 

with different age group in mind. These 

classrooms have preserved beautiful 

hand paintings on the ceiling; even the 

old wooden flooring is re-used maintaining 

its original essence. The colorful glass 

on windows filters natural light into the 

rooms bringing in a feel of pleasantness. 

The original curved ceilings add drama to 

the ambience. Refreshing colours have 

been used to unify old and new elements. 

Overall the classrooms create a 

space for children hungry for knowledge. 

The staff work space opens to a balcony, 

where teachers recharge and revive 

themselves. Here basic furniture is 

placed for teachers to do any reading – 

writing work. The space is shared for a 

sick room as it would be a good idea to 

have teachers look over to needs of sick 

ones taking rest. Office cubicles are also 

planned for co-coordinators to look over 

the entire structure. Essentials like soft 

boards and white boards are placed on 

walls to make their work easy. 

The large passage on this floor is 

complemented with shoes shelves 

and hanging hooks before entering the 

classrooms. The existing stone floor 

is maintained and thus keeps the feel 

of the building intact. The walls of the 

passage and staircase area is planned to 

display activities of children, thus unifying 

in each and every corner into one 

sensation. On this floor also separate 

toilets, hand wash, drinking water areas 

are planned, prioritizing on sanitation. 


INTERIOR 

THE SECOND FLOOR 

The topmost floor has a common space 

near the staircase area, dedicated for 

art and craft work where bigger children 

can do activities outside their classroom. 

Adjoining to this space is a large hall 

dedicated for multipurpose activities like 

music, dance, yoga, etc. This hall is extra 

special as we have maintained most of 

the historic elements here. The beautiful 

carved ceiling, wooden floor and even 

the intricate hand paintings on the walls 

have been preserved to complement 

this space. We have added in extra metal 

grills in windows for safety of children and 

even while doing the necessary electrical 

works we have not disturbed these valuable 

elements. Equipment store room is 

next to this hall to assist in its function. 


INTERIOR 


INTERIOR 

As we move to another part of the 

building there is yet another crucial 

element of the school, which is the 

cafeteria. The steel kitchen is well 

designed with proper planning of 

cooking, preparation, storage, and 

wash and food distribution area. Even 

gas station is properly managed away 

from access of children. Steel kitchen 

is must for heavy duty usage and 

cleanliness can be maintained easily. 

Here, function is prioritized along with 

design. The large well ventilated, well 

lit dining hall is decorated with various 

sized furniture standing on top of 

off-white tile flooring, as the dining hall 

is to be commonly used by a broader 

range of age group of children. 


IMPACT 

DISASTER 

RESILIENCE OF 

HOTEL INDUSTRY 

IN NEPAL 

text KALYAN BISTA 

Nepal is a country with diverse culture and 

rich natural resources. Its distinct culture 

and mesmerizing nature entice anyone who 

visits Nepal. People from different parts of 

the world come over here for recreational, 

leisure, business, entertainment or 

academic work purposes. Adventure and 

ecotourism like mountaineering, rafting, 

kayaking, canoeing, and trekking are 

central attractions in Nepal for visitors. 

Besides, the world heritage sites and 

other important religious pilgrimage sites 

throughout the country attract tourists from 

across the world. 

More than 300 hotels and resorts are 

established throughout the country to 

serve the tourists coming to Nepal. This 

industry provides all necessary facilities 

required by the tourists. Hotel Industry 

is a major stake of national economy 

and considered to have the highest local 

private sector investment in Nepal with 

the recorded investment of around Rs. 

100 billion. Tourism Industry in Nepal 

contributes around 9 percent of GDP of 

national economy. 

In spite of catering services tourists, it is 

imperative for hotel industry to prioritize 

the disaster risk preparedness. Nepal lies 

in one of the highest seismic hazard zones 

of the world. If we look at the occurrence 

of earthquakes in India, Indonesia, Iran, 

China, Chili, Haiti, Japan, New Zealand, 

Pakistan, Sri Lanka, Turkey and many other 

countries over the last decade, they clearly 

demonstrate the catastrophic impact of 

earthquakes on tourism. Lessons from 

recent earthquakes in neighboring countries 

warn us of huge potential economic 

losses due to earthquakes. A large brunt 

of the loss is taken by the public and the 

private sectors. There are cases that many 

big industries and companies including 

hotels are shut down forever after big 

disasters because of lack of proper disaster 

preparedness. 

Following the occurrence of an earthquake 

disaster, hotel industry may be in difficult 

position as they may face with the 

challenges of declining numbers of visitors 

and huge financial losses. The most 

important issues to tourists are safety and 

security while travelling as they want to 

make sure that they are well protected 

from hazards. A better emergency response 

planning and preparedness to respond to 

emergencies is a must for hotel industry 

to be able to cope with such crisis. An 

organization’s ability to react to a crisis 

situation is directly related to its degree of 

preparedness for the crisis. 

Earthquake Disaster Preparedness of 

Hotel Industry 

One of the initial efforts of the private 

sector including the hotel sector is to 

ensure their own safety and the safe and 

continuous operation of their businesses. 

More systematic efforts are required 

to ensure safety of hotel industry from 

earthquakes so that they can continue 


IMPACT 

In 1934, an earthquake of magnitude 8.4 hit Nepal shaking Kathmandu 

Valley with intensities of X and IX MMI. Over sixty percent of the buildings 

were raised to the ground resulting in more than 4000 deaths in the Valley 

alone. Research study shows that if a shaking that of 1934 earthquake 

was to occur again, Kathmandu Valley may witness a death toll of over 

100,000 and a homeless population of more than 1.5 million. Are our hotels 

that resort thousands of tourists from across the world strong enough to 

sustain such seismic loads? 

their function as early as possible after 

the disaster. Development of disaster 

recovery and business continuity plans 

for Hotel Industry and periodic practice 

of such plans will greatly help to get 

prepared for earthquake hazards or any 

other disasters. And, it will help them 

to continue the hospitality business 

without much hampers. 

The hospitality business - hotels, 

resorts, restaurants as well as travel 

and tourism, is the largest industry in 

the world, operating nearly everywhere 

in the world and thus vulnerable to 

business disruptions caused by any kind 

of disastrous events such as earthquake, 

floods, landslides, power failure, IT 

system failure, terrorist attacks, etc. 

Hotels rank among the top soft targets of 

terrorist groups around the world. But in 

Nepal’s case, the hotel industry sector is 

more vulnerable to potential earthquakes: 

Nepal ranks 11th globally most vulnerable 

countries to earthquake and Kathmandu 

valley, in seismic vulnerability ranking, 

comes in the first place. 

The negative impact of a disaster on 

the image of hotels or any tourist 

destinations can sometimes be very 

serious and malignant. Following March 

2011 earthquake and tsunami in Japan 

have given a different perspective for 

the disaster risk reduction experts 

to think of a new level of emergency 

management including the plans 

for disaster recovery and business 

continuity. Economic activities before 

and after the March 2011 Japan disaster 

completely changed due to the physical 

destruction observed in many industrial 

sectors. It also made the hotel industry 

to realize the need of ‘champions’ and 

‘best practices’ in hospitality business 

sector. Since people in the world are 

also products of nature, the physical 

effects of natural environment on our 

society are remarkable. Natural disasters 

significantly affect our societies. 

Therefore, we need to understand 

the subsequent impact of natural 

disasters on human behavior from both 

economical and social perspectives. 

Partnership Approach 

Hotel Association Nepal (HAN) is the 

leading representative organization in 

the hospitality industry, representing 

more than 300 hotels, resorts and 

guesthouses of Nepal. HAN is the official 

voice of Nepal’s hoteliers that safeguard 

their lawful interests and promotes unity 

and cooperation among its members. 

HAN can contribute remarkable initiatives 

in raising awareness on disaster risk of 

the country and conduct preparedness 

initiatives for hotel industry in Nepal. 

Being a significant entity of the country, 

it can also help in Government’s overall 

disaster risk management initiatives to 

make disaster resilient communities in 

Nepal where private sector operate their 

business. 

It has gradually been realized that it is 

utmost necessary to raise awareness 

of the private sector that earthquake 

risk management is much more 

than “charity”, and demonstrate 

the economic, social and corporate 

feasibility of Public Private Partnership 

(PPP) in earthquake disaster risk 

reduction, and persuade that it is a 

sound investment to be done. Disaster 

risk management should become a part 

of Corporate Social Responsibility (CSR) 

for the hotel industry. CSR focuses 

not only on maximization of profit for 

shareholders but also on responsibility 

towards hotel sector stakeholders. 

A partnership between HAN and 

National Society for Earthquake 

Technology-Nepal (NSET) has recently 

been made to enhance the earthquake 

disaster preparedness of the hotel 

industry in Nepal. HAN and NSET have 

joined hands together to work with 

each other to make Nepalese hotel 

industry disaster resilient. This would 

give positive message to tourists 

coming to Nepal about the safety 

of the hotels and protection of the 

guest as well as all necessary help 

during disasters. The partnership aims 

for a comprehensive Hotel Sector 

Earthquake Risk Management Program 

to raise awareness of all hotel sector 

stakeholders that closely relate with 

potential earthquake risk reduction 

activities to be led by the Hotel Industry 

in Nepal, and to enhance the level of 

commitments and potential energy 

and leadership of hotel industry to 

consider earthquake disaster risk 

management as one of the priority areas 

for mainstreaming into the tourism 

development process. 

DEALER: T.T.C Tankeshwar Trade Concern P. Ltd, Kalanki CONTACT: Saroj Upadhyaya (9851152480); 4032870 

Mr. Saroj Upadhyaya is a satisfied dealer for Jagadamba Cement. “Jagadamba Cement is a high 

quality cement, thus customers demand for Jagadamba cement and there is no complaint till now. 

Both PPC and OPC are highly on demand.” 


COVER STORY 

Kumari 

Chhen 

WHERE 

THE LIVING 

GODDESS 

RESIDES 

text DRISHTI MANANDHAR 

photo A. RAJBANSH 


COVER STORY 

The Kumari of Kathmandu, popularly known as the living 

goddess, has the legacy of more than 250 years. According to 

a newly explored chronicle of the Renovation of Swayambhu, 

the date of the sanctification of Kumari Chhen is confirmed 

as the eleventh day of the bright fortnight of Bhadra, 877 

Nepal Samvat (13 October 1757). And this is supposed to be 

the occasion when the first Kumari was installed in it and the 

first Kumari Jatra took place. History is not clear about how 

many girls were deified as the goddess since or even from 

before the Chhen was constructed, but it has been the home 

incessantly not only for Kumari but for a rich tradition of 

Nepali jatras, arts and architecture. 


COVER STORY 

Nepalese people are one of the most 

religious individuals, considering how 

they worship every form and idols 

of gods and goddesses throughout 

the year. Moreover the tradition of 

worshipping a god in the form of a 

living person, Kumari is one of the most 

unique traditions in our culture. The 

Kumari is a young girl who is believed to 

be the incarnation of the goddess Taleju. 

The Kumari Chhen, the home of the 

living goddess Kumari, is an elaborate 

three-storey brick building adjoining 

the old royal palace of Hanuman Dhoka 

in Kathmandu’s Durbar Square. It is 

richly decorated with carved windows 

and reliefs of gods, both Hindu and 

Buddhist. Built by King Jaya Prakash 

Malla in the year 1757, the chhen has 

a unique significance in the fact that it 


COVER STORY 

is the temple where the god actually 

resides. And this might be the reason 

for why, unlike many temples in the 

same vicinity, it has its own distinct 

architecture. 

The temple is surrounded by a wide 

base covered with bricks and stones 

that now offers a resting space to the 

passerby and the devotees visiting 

there. There are a total of about 22 

profusely carved windows of different 

shapes and sizes on the front façade. At 

the centre of the façade over the main 

entrance is gold-plated Gajhya which is 

only used by the goddess. The second 

floor entertains a Sajhya from where the 

Living Goddess shares glimpses with 

her devotees. The building is almost 

symmetrical except for the leftmost 


COVER STORY 

section, which is absent on the right 

side. It has an enclosure for the chariot 

of the Kumari, which is used during 

IndraJatra. 

The ground floor of the Kumari Chhen 

has numerous exquisitely carved doors. 

The main entrance door lead by the 

stone steps is guarded by 2 white 

painted singhas on either side. The 

doors open up to a grand courtyard that 

is enclosed by 4 symmetrical wings with 

equally impressive windows. 

On the top of the north face, on the 

roof covered with terra cotta tiles, is 

the pinnacle, called gajur. The gajur is 

the pride of Kumari Chhen and depicts 

the trust and belief of all the devotees. 

This is one of the buildings, besides the 

palaces of that era that is architecturally 


COVER STORY 


COVER STORY 

significant in many aspects and not just 

in a religious aspect like the temples. 

The Kumari Chhen is built using the 

3rd space concept as it uses space 

both inside and outside the building. 

This building is also an example of the 

magnificent architecture and the fine 

craftsmanship of the Malla dynasty. 

The Kumari and the Kumari Chhen 

have a special significance in the lives 

of the Nepalese people. It closely ties 

our devotion and faith to the most 

surreal form of religion and belief. It is 

undoubtedly an expression of how we 

were and who we are. 


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COVER STORY 

LAKHE 

A DANCE OF THE DEMON 

text JEEBESH RAYAMAJHI photo A. RAJBANSH 

As Lakhe enters into the crowd chasing Jhyalincha, 

the crowd disperses out of fear and leaves space for 

Lakhe to perform its demonic movements- in doing so 

the dispersed crowd also seems to be performing. The 

interplay between and among the Lakhe, Jhyalincha and 

the crowd resembles microcosms of the world of demon, 

god and people. 


COVER STORY 

According to one of the most told myths, Lakhe came into the valley with the goddess Taleju. Sometimes in the eleventh century, 

during the reign of Gunakamdev, the valley was suffering from a severe famine after a long draught. The King, as suggested by the 

tantric of the time, deployed a troupe of tantrics to escort Taleju Bhawani in. She was accompanied by a carnivorous Lakhe, her 

bodyguard. Though they could not refute the arrival of the Lakhe with her, they could at least confine it within the outer periphery of 

Kathmandu. This tells how Lakhe was introduced in the valley. 

In course of time, a Lakhe falls in love with a young girl from Majipa in Kathmandu. He starts visiting the girl in human guise. But 

when he is captured, instead of punishing him, Thakali, the then head of the town, offers him life with his beloved if he promises to 

give up his carnivorous appetite and protect the children of Majipa. And his public appearance was allowed once a year during Indra 

Jatra. In the Jatra, we see him managing crowd. 

One of the most striking features 

of Kathmandu valley culture is its 

Lakhe. There are a number of legends 

of Lakhe and Lasi in this valley of myths, 

histories and arts. The most famous 

Lakhe in the valley is Majipa who appears 

every year during the Indra Jatra festival, 

the oldest festival of this kind in the 

valley. The Lakhe bears its name from an 

abutting settlement of Kathmandu Durbar 

Square named Majipa. 

Indra Jatra is the biggest religious street 

festival in Kathmandu. During the Jatra, 

not only the old durbar premises but 

the whole of adjoining city stands as 

the stage where different performances 

like the Jatra of Indra, Kumari and 

Bhairava along with dances and dramas 

including the Lakhe dance covers the 

whole stage. Amongst the most sought 

after events in the festival is the dance 

of Majipa Lakhe, one of the most 

intimidating masked dances in the valley. 

In the jammed square, the Lakhe 

wearing a huge red wrathful mask 

makes demonic movements on the 

rhythm of traditional Newari beats of 

dhime (drum) and bhushya (cymbals). 

The enormous red mask with protruding 

fangs, serrated teeth, and a dark red 

wig is a work of customary, meticulous 

Newari art. It is accompanied by a 

matching red and golden bhoto and 

full-length skirt. The dancers also tie 

silk handkerchiefs around their writs 

to add color and vigor to the dance. 

With fast hand movements, these 

silk handkerchiefs appear as blurs and 

flashes of colour. This dance is not 

taught, but is inherited by the dancer 

from the spirit possessing the mask. 

The general belief is that the spirit of 

the Lakhe resides in the demonic mask. 

As the dancer puts the mask on, the 

spirit takes over the dancer’s body and 

dictates the movements. 

As a part of the Lakhe dance, a teaser 

called Jhyalincha (a guise of dragonfly) 

agitates Lakhe and is continuously 

chased by him. Jhyalincha, with its 

gestures and words, provokes Lakhe 

and plunges into the crowd. As 

Lakhe enters into the crowd chasing 

Jhyalincha, the crowd disperses out 

of fear and leaves space for Lakhe to 

perform its demonic movements- in 

doing so the dispersed crowd also 

seems to be performing. The interplay 

between and among the Lakhe, 

Jhyalincha and the crowd resembles 

microcosms of the world of demon, god 

and people. 



Skylight ad 


JOURNEY 

SERENE 

RARA 

text & photo ANIL NATH SHRESTHA 


JOURNEY 

Rara, the biggest lake in Nepal, looks like 

an ocean of crystal water on the top of a 

hill yet surrounded by other green hills. The 

serene lake of himalayan fresh water lies at 

an altitude about 9,810 ft above the sea level 

covering an area of 10.8 square kilometer. 


JOURNEY 


JOURNEY 

By the time I visited, there was no access of road to 

Mugu. Now the motor track has linked the District 

headquarter, but you can not rely on the hastily formed 

mountainous off road to Mugu. The only access for non 

natives is the air; still you have to count on weather and 

on limited number of flights. With a yearning to have 

confrontation with unexplored boondocks of Karnali, I 

packed my sack and reached Nepalganj- Nepalganj and 

Surkhet are only two airports you can fly to Mugu from. 

Seeing no hope to get chance to fly from Nepalganj I 

decided to try from Surkhet. But that did not bring fortune 

for me and I stayed in Surkhet for whole 16 days, counting 

on my luck to get any flight desperately. I had only just 

prepared to back home than I got the flight. It was really 

thrilling flight with life threatening experiences caused by 

bad weather and meandering fly in dark clouds. Finally the 

aircraft was safely landed at Talcha Airport that opens to 

the nature carved terrains of the region full of vegetations, 

deep gorges and rivers. Further you will love serene Rara, 

the terrain like human settlements and a unique mountain 

culture and life style. Your days flip quickly in appreciating 

the nature and awing wonders one after another. My 

months flicked away without letting me appreciate the 

beauty of the region in its fullest. 

Rara, the biggest lake in Nepal, looks like an ocean of 

crystal water on the top of a hill yet surrounded by other 

green hills. The serene lake of himalayan fresh water lies 

at an altitude about 9,810 ft above the sea level covering 

an area of 10.8 square kilometer. It is probably the deepest 

lake in Nepal which has a maximum depth of 548 feet. 

Abutting area is covered by Rara National Park that features 

a number of rare species of mountain faunas and floras. 


JOURNEY 


JOURNEY 


JOURNEY 

I was surprised to see 

some slopes covered 

with clay topped houses 

flattened one over another. 

The top of one building 

works as the front yard for 

another building owned by 

a totally different family. 

On the top of this you 

may find all the buildings 

in a village connected 

to each other and one 

can easily go across the 

top of the houses to get 

into any house without 

getting down on the 

ground. Stairs carved in 

a single log of woods are 

used to get upstairs. The 

walls smeared in white or 

earthen colour marks the 

house. Inside, cozy rooms 

mostly with smoked and 

dark interiors gives you 

the feeling of warmth and 

comfort. 


JOURNEY 


JOURNEY 

The landscape varies in its shape and colour. In one direction you 

might see dark green woods but on the other you find ugly and 

barren fields, too. The landscape of the area, unlike any realistic 

painting, changes its colour time and again. You can’t see it green all 

the time; some times of the year you see white everywhere with 

stinging snow and sometimes snow bit black barren world around. 


JOURNEY 

Though the land offers seemingly beautiful 

landscapes, salient culture and life, and awe 

feeling experiences to the visitors, the life for the 

local inhabitants is full of hardships, pains and 

challenges. They work hard for hand to mouth 

round the year but the cultivated land rewards 

pretty less and they need to be dependent on 

the southern plain and government sponsored 

ration. Landslides, flood, excessive rain and 

snowing up to 2 feet high cripple their life. With 

Nepal’s lowest human development index, the 

famine and epidemics are other challenges the 

people in this district face every so often. 




ART 

SCULPTING WITH FORM 

BFA EXHIBITION PROJECT 2014 

text PRAGYAN THAPA 

This year’s BFA Exhibition 

Project 2014 saw 17 

painters, sculptors and 

visual artists, who had 

put together a group 

show after six months 

of intensive studio 

work completing the art 

school’s four year long 

undergraduate program. 

Cooling off the onslaught of 

Kathmandu’s August heat, I walked 

inside the premises of Nepal Art 

Council; masking the wonderment of a 

kid at a zoo with a make-believe layer of 

an art connoisseur. The gallery building – 

a bluish gray, bulky and box-like structure 

with an attic roof – is flanked at the edge 

of the now wide Babar Mahal main-road, 

and happens to be the most occupied 

art space in the valley. The occasion was 

Kathmandu University’s Art and Design’s 

annual “BFA Exhibition”. 

My art sniffing began with a distinctive 

rush-hour scene of a chaotic traffic point: 

micros, safa-tempos, bikers and regular 

commuters squeeze and trudge to find 

their way in a disorderly and dusty city. 

Artist Tsewang Lama has unfolded the 

complex moment using 21 separate 

canvases to build a larger picture. 

He has employed alert detailing and 

spattered color composition, capturing 

the usual traffic influx at the city’s 

abundant chokepoints. In a different 

piece, he has painted a defoliated 

tree and at its base, the empty tree 

laps discarded modern day gadgets 

– a gaudy symbolism of world going 

downhill, which is a unified theme in his 

series of paintings called “Lost”. Lama 

has channeled to disentangle the city 

dwellers’ collective consciousness that 

has somehow twisted itself into a mass 

of collective ignorance like the tangled 

telephone cables on a slender pole as 

depicted in his last painting. 


ART 

The show was an explosive mingling 

of forms and contemporary issues. 

Prabal Bikram Shah’s graffiti inspired 

work has portrayed former Police Chief 

of Kathmandu SSP Ramesh Kharel’s 

transfer controversy by headlining it 

on a mock-up newspaper’s front page. 

The masthead reads DISOBEYING and 

on a closer inspection the background 

has a stenciled image of Kharel, which 

is a planned homage to one of Shah’s 

graffiti art inspiration Shepard Fairey, 

whose street art design of “OBEY Giant”, 

featuring the wrestler Andre the Giant, 

has got a contextual Nepali treatment by 

defining a state of lawlessness. 

In truth, it was a hospitable site for the 

innovative and the unconventional. From 

scraps and junks Prajwal Bhattarai has 

resurrected a new rendering for the 

concept of beauty. He has re-engineered 

tossed away parts of bicycles to model 

musical instruments, a marble track and 

a charkha shaped design, which can be 

pedaled to project fluttering patterns of 

colors. The same intimacy was evidential 


ART 


ART 

in Kiran Rai’s kinetic sculpture, a reimagination 

of the mythical bird-like 

creature “Garud”. Once the current is 

passed, the kinesis gradually brings the 

steel wings of the “Garud” to life and 

the flapping sound, close to a grumbling 

generator, awakens appraisals for the 

artist’s resourceful genius. 

Tapping similar vein but disposed to a 

social message were Ramesh Khadayat 

and his miniature horses. For his project 

he picked up his hometown Kailali to 

explore and identify with the Kamaiya 

community. The toy horses were of 

sacred importance to the community 

and Khadayat told me that his army of 

terracotta horses was not a depiction of 

the community through the eyes’ of an 

outsider: He saw this simple form of art 

as their possible voice for recognition. 

With the predomination of art shaping 

up life, there in the display were some 

very personal reflections on the Hindu 

deity Bhairav in the section “Wishes” 

from Niroj Maharjan, covering his native 

Newari roots and his psychological 

renditions, such as a self-portrait 

blotted out with a Bhairav mask and 

alignments of molded faces of Bhairav 

with overlapping poetic verses about his 

philosophy to stay limitless and fearless. 

I think it helped to see that there 

were not any barbed-wire perimeters 

restricting these young talents. As I 

talked to Prakash Ranjit, I was amazed 

by his productivity to cut into several art 

forms ranging from video performance 

to surrealist, layered oil paintings. His 

ideas celebrate the complexities within 

a person and toil against the dispirited 

societal fixation on stereotypical gender 

roles. At the same time, I met up with 

another radical artist: a digital artist from 

Germany named Matthias Plank. Plank 

has worked on a roleplay gamebook and 

the illustration posters that make up his 

“Alter” series and takes us through his 


ART 

rigorous work process in designing and 

detailing the mystical creature characters 

and post-apocalyptic, alternative reality. 

When I asked Plank about his decision 

to take BFA at Kathmandu University, 

he had a conclusive answer: “You learn 

everything from the beginning. They 

don’t expect you to be a fully grown 

artist since the first day. They want 

you to show them that you have the 

prospect of becoming a great artist and 

then they do their best to make you that 

great artist.” 

And at once the students’ display of 

works was successful to present a 

strong testimony indicating that the 

young artists have come of age, ironingout 

their talents and ideas to speak 

clearly through visual imagery. 



STOREWATCH 

FURNITURE LAND 

a landmark for the state of the art furniture 


STOREWATCH 

FURNITURE LAND, established in 2001, 

with their first office in Teku and an outlet 

in Krishna Tower and by providing high 

quality imported furniture for a reasonable 

price they’ve taken the Nepali furniture 

market by storm and are now one of the 

most renowned names in this business. 

The head office is located in Blue Bird 

Shopping Complex, Tripureshwor and 

other showrooms in Maitighar and 

Maharajgunj. Furniture land provides 

affordable, comfortable and an array of 

products from Thailand, China, India, 

Vietnam, Malaysia and many other 

countries. Even with large variety of 

products they’ve maintained a large stock 

of this variety of products. Not only do 

they supply imported furniture but they 

also promote locally made furniture. 

From beds, sofas, vases, and coffee 

tables to outdoor tables, furniture land 

includes six main categories of products: 

bedroom, dining room, office furniture, 

garden furniture and decorative. To go 

with changing taste of Nepali people, 

Furniture Land has been able to supply 

the consumers with all the state-of-the-art 

products. They expect Nepali consumers 

to have an even higher demand of modern 

furniture in the future and are willingly able 

to supply that demand when it happens. 


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news.com 



FROM THE SHELF 

KATHMANDU 

VALLEY PAINTING 


For most lovers of Nepalese art, the 

Jucker collection will come as a 

revelation. The core of the collection was 

assembled during the 1960s in India, 

with a few well-judged additions in recent 

years filling in the remaining stylistic and 

iconographic lacunae. The collection as it 

stands gives, an excellent overall view of 

the painting tradition in the Kathmandu 

Valley from the thirteenth to the early 

twentieth century - including several 

extremely rare scrolls for which there are 

no comparable pieces in other private or 

public collections. 

Author: Hugo E. Kreijger 

Publisher: Serindia Publications 

Published Year: 1999 

Hardcover: 128 pages (9.8 x 13.5 inches) 

Language: English 

Hugo Kriejger studied Asian art and archeology 

at the University of Amsterdam, where his 

main subjects were Tibetan and Nepalese Arts. 

The collection as it stands offers a fascinating 

tour of the painting tradition in the Kathmandu 

Valley - even taking in several extremely rare 

scrolls for which this author has yet to find 

comparable pieces in other collections. 

Almost all the scroll paintings were 

executed by artists from the Newari 

community. The Newar lived and still live 

in the Kathmandu Valley - which with its 

three cities of Kathmandu, Patan and 

Bhaktapur - has been the cultural heart 

of the eastern Himalayas throughout 

history. Nepal as we know it today did 

not exist earlier than 1769, when the 

Gorkhas conquered the area and set up 

the reigning Shah dynasty. In a sense, 

therefore, it is more appropriate to 

speak of Newari rather than Nepalese 

paintings. 

One of the most interesting aspects 

of the Jucker collection is that one can 

clearly distinguish two different painting 

traditions in the history of the Kathmandu 

Valley. The first, and oldest, bears some 

influence from the northern India of the 

Pala dynasties (circa 750-1200). Active 

from at least the eleventh until around the 

sixteenth century, this early Kathmandu 

Valley tradition in turn came to influence 

the painting traditions that arose with the 

second diffusion of Buddhism in Tibet. 

The second tradition appeared in the late 

sixteenth century and seems to have 

been limited in its patronage to the Hindu 

and Buddhist communities of the valley. 

The paintings of this school are strongly 

figurative and quite often much more 

naively rendered. The colour schemes also 

show a marked evolution toward more bold 

and vivid pigments, resulting in stronger 

contrasting colours. Influences on this 

style came not only from India, but also 

from Tibet, and can especially be seen in 

the depiction of landscape, textiles and 

architecture. It was this second painting 

tradition which gave the Valley its own 

place among the various Asian painting 

traditions. 

This catalogue is the first to treat the 

Kathmandu Valley painting tradition. 

As such, its scrolls, book-covers and 

sketchbooks are an indispensable resource 

for all students of Nepalese art. (from the 

jacket) 

excerpts from INTRODUCTION 

The Licchavi period ended in 879 or 880. 

The new era, which lasted until the advent 

of the Malla dynasty in 1200, has been 

known as the Thakuri period. These three 

centuries, however, were an extremely 

important phase in the development of the 

religious arts, to which the many surviving 

palm leaf manuscripts and bronze and 

stone sculptures bear witness. In particular, 

the twelfth century, the last before the 

advent of the Mallas, is regarded as the 

classical period of the religious arts of the 

Kathmandu Valley, although no known 

paubhas of this time have survived to the 

present day. 

The earliest of the paintings in the Jucker 

Collection dates from approximately 1200, 

and more than half of the works under 

consideration date to either the early or late 

eras of the Malla period (Plates 1-21). It is a 

period marked by both centralised political 

control and complete factional collapse. 

It is also, perhaps paradoxically, a pe¬riod 

in which the Valley’s painting tradition 

flourished. 


FROM THE SHELF 

The first 180 years of the Malla 

period are not well documented 

by inscrip¬tion, and its history is 

speculative. It is due to the upheavals 

of this period that no known painting 

and al¬most no architecture dating from 

before the Malla period has survived to 

the present day. The fact that only two 

of the twenty-one Malla period paintings 

in this catalogue (Plates 1 and 2) actually 

date from these 180 years, accurately 

reflects the number of such early 

paintings extant in comparison to those 

pro¬duced later in the Malla period. 

The prosperity of Yaksha Malla’s reign (r. 

1438-1482) is attested to by the abundant 

inscrip¬tions of the period. Many 

temples and shrines were founded, 

and civil works were undertaken. 

Both the Hindu and Buddhist faithful 

commissioned many sacred images and 

paintings (Plates 6 and 7). 

After Yaksha Malla’s death, the Valley was 

divided amongst his three sons, each of 

whose kingdoms were centred on one 

of the three cities of the Valley - Patan, 

Kathmandu and Bhaktapur. Their rivalry 

of the three cities was matched only by 

their artistic rivalry, and all three strove 

to build the most beautiful palaces, 

temples and shrines. It is especially the 

carved woodwork of these buildings that 

provides such a feast for the eye and can 

still be admired today in the old sections 

of the cities. The painting ateliers of 

each city also entered into this three-way 

compe¬tition, and the Jucker collection 

contains many beautiful examples of their 

ef¬forts (Plates 8-31). 

Bhupatindramalla was a great builder, 

erecting several temples in Bhaktapur’s 

main square and completely renovating 

the ancient palace of the Malla kings. 

His portrait can still be seen in a mural in 

the palace, as well as in several paubhas, 

including one in this collec¬tion (Plate 18). 

Although their leaders and many of their 

fellow Newars were Hindu, it seems 

that most Newar paubha painters were 

Buddhist in faith. And as the Jucker 

collection helps to demonstrate, many 

Buddhist scrolls (Plates 8-11,13-16,19 and 

21) as well as bronzes were still made 

during these centuries. 

The weakened position of the Shahs 

brought a new party, the Rana family, 

into power, although the Shah fam¬ily 

remained as titular kings. Although the 

kingdom’s borders were technically 

closed, several of the Rana family 

travelled abroad, and returned to Nepal 

with new, mainly Western, ideas. 

Their most visible patronage of the 

arts, therefore, is western in character. 

Western influences can also begin to 

be seen in painting, and are particularly 

evident in two paintings in the Jucker 

collection (Plates 38 and 39). 

This is not a book review; this is just an effort to conveying 

information to the readers on rare and valuable books 

on Nepali 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). 


PERSPECTIVE 

Q&A 

with Dr Madhav Mangal Joshi 

Energies enter the house from the northeast direction and go to the southwest. 

Hence, to retain the energies in the house, it is advisable to put thick walls in the 

southwest. Heavy objects should not be placed in the northeast; they can obstruct the 

energies. Instead, concentrating heavy objects on the southwest can be helpful. 

Dr Madhav Mangal Joshi, the Vastu 

Shiromani, is a Vastu and Feng-shui 

expert. The Chairperson of the Vastu 

Bivag at Nepal Jyotish Parisad, he is 

also the Founder Principal of Global 

Vastu Pratisthan. Also the Chairperson 

of Nepal Vastu Sangh, he is associated 

with a number of associations home and 

abroad. In recognition of his high patronage 

to the cause of research and development 

of International Astrology and 

Vastu, Asian Astrologers Congress, India 

and KP Stellar Astrological Research 

Institute, Mauritius has conferred him 

Swami Vivekananda Award and Hony 

Doctorate of Vastu Shastra. Spaces, with 

an objectives of catering authentic Vastu 

solutions to the queries of its dearly 

readers, has resumed this column. We 

are grateful to Dr Joshi for being kind in 

addressing the queries. 

In which direction and how can waterreserve 

tank be placed in the house? 

Mallika Ghimire, Balkumari 

The best place to have underground water 

tank is the northeast corner. Energies 

flow into the house from the northeast, 

and water tank placed in this corner can 

absorb all energies. Then the energies 

can be passed on to anyone who uses 

the water. As for overhead tank, it can 

be placed in the south or west, but most 

appropriately on the southwest. 

What is the right place and position 

to place a mirror in the house? 

Nandita Rana, Baluwatar 

Just as a candle in front of a mirror gives 

double the energy, a mirror multiplies the 

energies of whatever room it is placed 

in. But the best directions to place the 

mirror in are the north, northeast, and 

the east. Placed in these areas, a mirror 

magnifies the positive energies that flow 

into a house. It should never be placed 

in the south. A mirror placed here will 

multiply the sorrows. 

What are the main directions in Vastu 

to bring prosperity in the constructed 

house? 

Bijaya Tamrakar, Chhauni 

Vastu is the study of heavenly objects, 

and each direction is associated with the 

quality of a particular heavenly object 

and the motion of the earth. In a house, 

rooms should be assigned according 

to its quality, which can maximize the 

energies entering the house. 

It is often said that underground 

water tank shouldn’t be built at 

home. Is it true? Are there any 

remedies, if that is true? 

Samina Shrestha, Sundhara 

Underground water tank can be 

constructed, but it should not be at 

the entrance of the house. Water is 

like sponge, it absorbs energies. Large 

bodies of water attract smaller bodies. 

Two thirds of our body is made of water. 

Water in the underground tank attracts 

the water in our body. If we enter the 

house tired and depressed, the water 

tank absorbs this positive energy, 

and this is what gets dissipated later 

through water. Hence, the location of 

an underground tank should be chosen 

wisely. It is best if the tank is not inside 

the house at all, but outside on the 

grounds. If that is not possible, the tank 

should be on the northeast corner, or 

north, or east or west. 

What is the best direction for the 

elements like batteries and Inverters to 

be placed? 

Rohit Thapa, Nardevi 

Elements like inverters spread radiation. 

Hence, they should be kept in the south 

or southeast, where the governing 

element is fire. Until 11 AM, south and 

southeast get good vibes from the east. 

But after that, they get negative energy 


PERSPECTIVE 

kinds of energies, and elements resonate differently with 

different persons. So it is not easy to give general directions. 

Before starting the foundation of the house, what are 

the things to be considered as per Vastu? 

Ambika Maharjan, Balkumari 

The energy of the location should be studied before laying 

the foundations of the house. Some lands emanate positive 

energies, and some negative. But even if the land emanates 

negative energy, there are some remedies for that. Raising 

cows at the location for 1-2 months will rid the land of all 

negative energies. We respect cows as mothers and holy 

beings, and cow dung is a well known antibiotic, too. 

from the sun at its zenith. If fire elements are kept in this 

direction, then they are at no risk of disturbing the positive 

energies elsewhere in the house. If that is not possible, they 

can be kept in the northwest. 

What type of elements helps to ground energy of house? 

Khusi Bhandari, Jhonchhe 

Energies enter the house from the northeast direction and 

go to the southwest. Hence, to retain the energies in the 

house, it is advisable to put thick walls in the southwest. 

Heavy objects should not be placed in the northeast; they can 

obstruct the energies. Instead, concentrating heavy objects on 

the southwest can be helpful. 

Which is the best color for the master bedroom according 

to Vastu? 

Kamala Gurung, Mahalaxmisthan 

What are the correct tools if water reservoir is not in the 

correct position? 

Supay Singh, Kuleshwor 

The water tank should be placed in such a position that you 

should not step on water when you are going in or out of 

house. But if the water reservoir is already installed in the 

wrong position, there are some remedies. Divide the top 

of the reservoir into nine equal parts of a 3X3 matrix. Place 

a crystal pyramid in the middle of each section. This will 

prevent the water from pulling your energy. 

(Readers are requested to send 

their queries on Vastu, if any, at 

market@spacesnepal.com.) 

The color of the room depends on where it is located, because 

every location has a planet associated with it, and each 

planet has an associated color. The best location for a master 

bedroom is the southwest, which is the most stable room in 

the house. Stable colors like cream, yellow, and lemon are 

associated with this position. Orange can be an alternate color. 

Which is the best place at home for the kitchen? 

Binita Ranjit, Satdobato 

Southeast is governed by fire element, and the kitchen’s 

most important element is fire. Hence, the best place for the 

kitchen is in the southeast. Food cooked in this room will be 

hygienic and full of the invigorating life force that flows in from 

the east. It is best if the person who is cooking faces the east. 

Which direction in a building is best to set up an office? 

Min Lama, Koteshwor 

The Vastu of an office is a cosmic study in itself, and is not 

different from the Vastu of a house. Still, the best direction to 

have an office, in short, is the southwest. It is the most stable 

direction where the positive energies gather, so having a work 

environment in this direction will bring prosperity. 

Is there any color and element according to Vastu that 

could be helpful for the success? 

Deepak Baral, Baneshwor 

The best color and element for success vary from person to 

person and the directions, too. People belonging to different 


*conditions apply. 

& 



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ARTSPACE 

LIFE OF 

SUNDARPUR 

VILLAGE 

text ASHA DANGOL art RAJAN PANT 

Dramatic color composition, contrasting and bright hues of red, yellow, blue, green 

and purple in the landscape creates more curiosity in the viewers. His surreal colors 

are unnatural and but in this painting these colors try to capture the daily life of 

Sundarpur Village. The movement of colors and irregular lines flow together with 

his landscape. Lines are very strong and he has shown Terai life in a move in every 

detail the tractors, rickshaws, house hold utensils, dresses and so on. 

The Artist 

Rajan Pant, a visual artist and a founder of Zero Century Fine Arts Foundation, 

is a promising contemporary Nepali young artist. He holds Master’s Degree 

from Tribhuwan University, Kirtipur. He has coordinated various art programs 

since 1995 which include art exchange tour for young art student in Varanasi, 

Kolkatta, Delhi, Sikkim and Darjeeling. He has traveled extensively to 62 

districts of Nepal to get inspirations for his paintings. 



OPEN SPACES 

I took this snap when I visited London’s one of the 

most protected and well maintained safari park 

named Whipsnade Safari Park, which covers over 

600 acres of land. Cheetahs have been a longstanding 

success story at Whipsnade Safari Park, 

where a staggering 130 cubs have been born. In 

here, you will feel you are caged not the animals. I 

must say wildlife is protected at its best. 

The Photographer: 

Prabindra Lal Singh, has his master’s in English and 

Economics from Cambridge University, UK. 

Highly interested in creative genres including 

photography and writing, he is nurturing dreams in 

his field and dares to make them true. He believes 

hard work is the key to summit his mission. 

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 communications. We offer training programs on 

art, photography, creative writing and communication skills. 

We have been conducting SCC Explore Photography 

workshops since its establishment in 2009. We also 

organize SCC Blue Bag, a sharing program with scholar 

once a month. SCC is located at Kupondol, Lalitpur, Nepal. 

(Link road to Bagmati River) 

www.scc.org.np 

facebook.com/scc.kathmandu 




CONNECTS 

17 Aditya Hardware Enterprises 

Bluestar Complex, Room # 522, Thapathali 

Ph: 9851007818 

ektakyal@yahoo.com 

47/75 ATC Pvt. Ltd. 

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

Ph: 977-1-4262220 

atc@wlink.com.np 

11 Balterio - Navin Distributors Pvt. Ltd. 

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

Ph: 977-1-4430785 

balterio@navindistributors.com 

www.balterio.com 

04 Beko - Orbit International Pvt. Ltd. 

Putalisadak, Kathmandu 

Ph: 977-1- 4422190 

www.beko.com.np 

83 Berger Jenson & Nicholson (Nepal) Pvt. Ltd. 

Berger House - 492, Tinkune, Kathmandu 

Ph: 977-1-4466038 

info@bergernepal.com 

www.bergernepal.com 

12 Bestbuy Nepal Pvt. Ltd. 

Kupondole, L.P. 

Ph: 977-1-5523289 / 5545481 

info@bestbuynepal.com 

www.bestbuynepal.com 

46 Best Interior Furniture Industry 

GPO Box: 1949, New Baneshwor, Kathmandu 

Ph: 4782864 / 9851025858 

hkajimaharjan@gmail.com 

27 Bombay Dyeing (Thanvi & Sons) 

Share Market Complex 

Putalisadak, Kathmandu 

Ph: 977-1-4242046 

thanviandsons@gmail.com 

73 Bricks Café 

Kupondole, Lalitpur 

Ph: 977-1-5521756 

info@brickscafee.com.np 

www.brickscafe.com.np 

75 Buddha Air 

Jawalakhel, Lalitpur 

Ph: 977-1-5542494 

www.buddhaair.com 

33 Chaitanya Spa 

Wellness Healing Spa Pvt. Ltd. 

Bakhundole, Sanepa 

Ph: 977-1-5547774 

info@chaitanyaspa.org 

www.chaitanyaspa.com 

57 Eco Green Multipurpose Pvt. Ltd. 

Adwait Marg, Baghbazar, Kathmandu 

Ph: 977-9851014820 

nepalecogreen@gmail.com 

www.nepalecogreen.com 

13 Exterior Interior 

Hattisar & Bhatbhteni Supermarket, 2nd Floor 

Tangal, Kathmandu 

Ph: 4435419 / 4436876 

extint@wlink.com.np 

85 Foto Hollywood 

Civil Bank Building, Kamladi 

Ph: 977-1-4169060 

www.fotohollywood.com.np 

09 Furniture Land 

Blue Star Complex 

Tripureshwor, Kathmandu 

Ph: 977-1-4224797 

sales@furnitureland.com.np 

www.furnitureland.com.np 

07 Index Furniture 

Metro Park Building, 1st Floor, Lazimpat 

Ph: 4415181 

info@indexfurniture.com.np 

www.indexfurniture.com.np 

03 International Electronic Concern (P) Ltd. 

Harati Bhawan, Putalisadak 

Ph:977-1-4421991 

market_iec@wlink.com.np 

www.iec.com.np 

Jagdamba Cement 

Neupane Tower, 6th Floor 

Tinkune, Kathmandu 

Ph: 977-1-4111500 

jcement@wlink.com.np 

17 MD Furniture 

Maharajgunj (Opp. U.S. Embassy) 

Ph: 977-1-4721484 

mdfurniture@snet.com.np 

www.mdfurniturenepal.com 

89 Marvel Technoplast Pvt. Ltd. 

Heritage Plaza - II, 2nd Floor, Kamladi 

Ph: 977-1-4169122 

info@marvel.com.np 

www.marvel.com.np 

69 Mercantile Office System Pvt. Ltd. 

Hiti Pokhari, Durbarmarg 

Ph: 4440773 / 4445620 

raj@mercantile.com.np 

www.mospl.com.np 

68 Nagrik - Nepal Republic Media Pvt. Ltd. 

JDA Complex, Bagh Durbar 

Ph: 977-1-4265100 / 4261808 

circulation@nagariknews.com 

83 Pashupati Paints Pvt. Ltd. 

Maitighar, Kathmandu 

Ph: 977-1-4258209 

pashupati@paints.wlink.com.np 

43 Pyramid Vaastu Consultant 

244 Rudra Marga, Ratopool, Kathmandu 

Mobile: 9851151618 / 9815717618 

mundharanp618@gmail.com 

47 Skylight Pvt. Ltd. 

Naxal (Opp to Police HQ), Kathmandu 

Ph: 977-1-4423851 

info@skylight.com.np 

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65 Starnet Enterprises Pvt. Ltd. 

Shankhamul, Pragatimarga, Kathmandu 

Ph: 977-1-4781945 

info@starnetenterprises.com 

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88 Subisu Cablenet Pvt. Ltd. 

148 Thirbum Sadak, Baluwatar 

Ph: 977-1-4429616 

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05 Technical Associates Services Pvt. Ltd. 

Thapathali, Kathmandu 

Ph: 977-1-4219999 

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www.tas.com.np 

58 Thamel.com 

Hattisar, Kathmandu 

Ph: 977-1-4416888 / 4416175 

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74 Worldlink Communication Pvt. Ltd. 

Jawalakhel, Lalitpur 

Ph: 977-1-5523050 

sales@wlink.com.np 

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86 Yeti Airlines 

Tilganga, Kathmandu 

Ph: 977-1- 4464878 

reservations@yetiairlines.com 

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59 Yeti Polychem Pvt. Ltd. 

Dillibazar, Kathmandu 

Ph:977-1- 4421501 / 9851004448

8. August 2014

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