SPACES_March Is_17mar13 demo

MARCH 2013 

ART - ARCHITECTURE - INTERIORS - ACCESSORIES 

www.spacesnepal.com 

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Cover Photo: A. RAJBANSH 

Location: ....................... 

contents 

20 

22 

24 

Store Watch 

Somany Ceramics has it all 

by : Kriti Shrestha 

Somany Ceramics, is a brand that offers bathroom 

products and accessories under one roof. Quality 

products at a reasonable price! 

Personality 

A Creative Mind 

by : Shristi Chhetri 

A man who has utilized every opportunity that has 

come his way and has paved his way to success. 

Architecture 

LANGKAWI 

by : .................. 

................................ 

52 

55 

60 

Product 

.................... 

by : ....................... 

................................... 

Ideas 

Charming Paper Décor 

by : Eva Shrestha 

Inspired by Martha Steward, learn the tricks to 

make charming paper décor, unique dog-eared 

book marks, elegant desserts and centre piece 

using orchid. 

Heritage 

Rudravarna Mahabihar (Uku Baha) 

by : Rupesh Shrestha 

Uku Baha, the main courtyard is a jewel of Nepalese 

architecture. The pattern, opulence and variety 

exercised here give any of its observer’s a sense of 

magnificance. 

33 

Style Feature 

2013: Global TRENDS 

by : Puran Joshi 

Spring is the season of new bloom and colour. 

We bring you exciting coordination and contrast 

with colours that complement style elements to 

refurbish and decorate your interiors. 

68 

Art 

Artists reclaiming the public spaces 

by : Usha Sharma 

Artists have begun to showcase their artistic 

venture on the walls and public spaces to replace 

the negativities created by the slogans and 

advertisements by something creative and innovative. 

42 

Interior 

Namuna Gaun in Sanga 

by : Rupesh Shrestha 

An individual ideal finds expression in a built structure 

- hidden and replete, welcoming and cautious, a home 

and, yet, a metaphysical notion that will withstand the 

test of time, space and existence. 

78 

From the Shelves 

NEPAL-A Guide to the Art & 

Architecture of the Kathmandu Valley 

The book aims to provide the curious traveller 

with an introduction to the art and architecture 

of Nepal. It will not tell you where to stay, what to 

eat or what to wear. Instead, it aims to explain and 

describe the extraordinary cultural efflorescence. 

48 

Commercial Kitchen Design 

by : Chandani K.C. 

A kitchen is the heart of a foodservice operation. A 

commercial kitchen is where food is produced for a 

large number of people and its design is completely 

different from the residential kitchen design. 

80 

Column 

Open SPACES 

by : School of Creative Communication 

......................... 

spacesnepal.com 10 

March 2013

March 2013 11 

spacesnepal.com

Volume 9 Issue 5 

March 2013 

Regd. No 30657/061-62 CDO No. 41 

ISSN 2091-217X (Print), 2091-2188 (Online) 

Managing Editor 

Ashesh Rajbansh 

Director - Editorial 

Sarosh Pradhan 

Editor at Large 

Siddharth Lama 

Editor 

Shilu Manandhar 

Director - International Affairs Rajesh Lal Joshi 

Director - Business Dev. & Fin. Lalit K. Pradhan 

Head - Operation and Promotion Suzata Shrestha 

Business Dev. Consultant Birendra K. Agrawal 

Jyoti B. Shrestha 

Kripa Shrestha 

Roshan Lamichhane 

Business development Nikita Lepcha 

/ Correspondence 

PR / Business development Prakash Darshan 

Puran Joshi 

Contributing Art Editor Madan Chitrakar 

Kasthamandap Art Studio 

Contributing Editors 

President - Society of Nepalese Architects 

General Secretary - Society of Nepalese Architects 

Ar. Jinisha Jain (Delhi) 

Ar. Chetan Raj Shrestha (Sikkim) 

Barun Roy (Darjeeling Hills) 

Accounts 

Subscription/Distribution 

Subscription/Distribution Asst. 

Legal Advisor 

Int’l Correspondent 

Photographers 

Designed & Processed at 

Published by 

Alison Basnet 

Himal Shrestha 

Bhuwan Shrestha 

Sajan Hamal 

Advocate Yegendra Bhattarai 

Ar. Bansri Pandey 

A. Rajbansh 

Pradip Ratna Tuladhar 

Digiscan Pre-Press Pvt. Ltd. 

Naxal, Kathmandu. 

Phone: 4436817, 4428572 

IMPRESSIONS Publishing Pvt.Ltd. 

Chakupat (near UN Park), Lalitpur 

GPO Box No. 7048, Kathmandu, Nepal 

Phone: 5260901, 5260902 

ADVERTISING & SUBSCRIPTIONS 

Kathmandu 

IMPRESSIONS Publishing Pvt.Ltd. 

Ph: 5260901, 5260902 market@spacesnepal.com 

Birgunj 

Kishore Shrestha, Hotel Kailash, Adarsha Nagar. 

Ph: 522384, 529984. hotelkailash@wlink.com.np 

Itahari Naya Bazar, Dharan - 05 

Biratnagar Ph: 025-5-21164/025-525118, Cell: 9842054110 

contributors 

Ar. Chandani K.C. completed Masters 

of City and Regional Planning from 

University of Texas at Arlington and 

Bachelor of Architecture from VNIT, 

Nagpur. She has worked in numerous 

urban planning projects in the United 

States and is currently working as Urban 

Planner in DUDBC. Her interests include 

urban research and regional development and she is keen to 

be involved in designing cities that are convenient, healthful 

and aesthetically pleasing. 

SPACES New Location 

Veneeta Singha is a communications 

professional, writer and music student 

from Kathmandu. 

Usha Sharma, completed her Diploma In 

Interior Designing from IEC, Bagbazaar in 

2007 and is currently working as an Interior 

Designer at Aakar International, Battisputali. 

She is currently studying fine arts at Srijana 

College of Fine Arts, Lazimpat and is also 

a photography enthusiast. Her fascination is 

towards Art and Architecture. 

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

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

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

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

necessarily those of the publisher and the publisher cannot accept responsiblility for 

any errors or omissions. 

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

consideration should not send originals unless specifically requested to do so by SPACES 

in writing. Unsolicited manuscripts, photographs and other submitted material must be 

accompanied by a self addressed return envelope, postage prepaid. However, SPACES 

is not responsible for unsolicited submissions. All editorial inquiries and submissions 

to SPACES must be addressed to editor@spacesnepal.com or sent to the address 

mentioned above. 

SPACES 

Office 



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CURRENT EVENTS 

currentevents 

The Attic Human Rights Film Series 

Human Rights Film Focus Nepal 

(HRFFN) is a campaign dedicated 

to strengthening human rights 

advocacy and education in Nepal 

through the power of fi lm and 

discussion. The power of art, especially 

fi lm, in affecting social change can be 

transformative. In Nepal, human rights 

and social justice can help shape a 

hopeful future. 

HRFFN and the Attic in Lazimpat 

organized a Human Rights Film Series 

at the Attic, starting with a screening 

of Desert Flower on March 7 at 7 PM in honor of International 

Women’s Day 2013. The Attic and HRFFN aim to raise awareness of 

human rights and women’s empowerment challenges by showcasing 

powerful fi lms and documentaries on these themes. Film screenings 

at the Attic will take place every Thursday at 7 PM, beginning on 

March 7and ending on April 5, 2013. 

It is hoped that the Attic Series will help to sustain and build the 

momentum of human rights advocacy and women’s empowerment 

in Nepal. Donations of Rs 100-1000 will support the HRFFN School 

Outreach Project - Shaking The Tree. 

Managing the Historic 

Buddhist Region in Nepal 

T 

he Indian Culture Centre in Kathmandu 

organized a talk programme with 

presentation titled “Managing the Historic 

Buddhist Region (Lumbini) in Nepal” by 

Architect Kai Weise. This was planned as 

a sequel to the Lumbini Symposium that 

was held in mid January at Lumbini by the 

Embassy of India (Kathmandu) in association 

with the Indian Council for Cultural Relations. 

NYEF welcomes the government’s decision to use locally produced 

goods and services 

Nepalese Young Entrepreneurs’ Forum (NYEF) 

welcomes the decision made by the government to 

purchase goods and services made in Nepal. 

The decision was taken by the government to 

promote and encourage local industries and service 

providers. It also sought to increase the consumption of 

locally made products and services. The government had 

issued a directive to all government offi ces to have at least 

50 percent of their purchases to be made in Nepal. 

With its mission to empower positive business thinking, 

NYEF has been constantly working towards creating 

conducive environment to promote Nepali products and at 

the same time bring favorable policy changes. 

During the opening of the recently held Made in Nepal 

Products and Service Exhibition, Prime Minister Dr. Baburam 

Bhattarai had assured that the government would bring a 

policy to encourage local products and services. 

Mr. Ajay B. Pradhanang, President of NYEF highlighted 

that a decade long initiative undertaken by NYEF to promote 

Nepali Products and Services has helped bring this positive 

changes. This decision has also given new impetus and hope 

to the Nepalese Entrepreneurs. 

The government has made a decision to increase the 

budget of government offi ces by 10 percent to enable the 

purchase of Nepali products and services. The government 

has further sought to provide various incentives to industries 

and businesses providing goods and services here in Nepal. 




Mr. Kai Weise has been 

working in various capacities and 

as UNESCO consultant and advisor 

to the UNESCO offi ce in Kathmandu 

since 2004. He has been involved 

in preparing Management Plans for 

various World Heritage properties 

including Lumbini. He was appointed 

coordinator from Nepal for the Indo– 

Nepal Lumbini Symposium in January 

2013. His presentation highlighted 

the challenges of defi ning the Sacred 

Gardens and the establishment of an 

appropriate management system for 

Lumbini, a World Heritage site. 

Mr. Weise highlighted the 

descriptions of famous ancient 

Chinese pilgrims, Huian Tsang (who 

travelled through India between 

AD 629 & 645) and Fa Hein (who 

travelled between AD 400 & AD 

414) indicate to this area, saying, 

“Lumbini, where the Lord was born, 

is a piece of heaven on earth where 

one could see the snowy mountains 

amidst a splendid garden embedded 

with stupas and monasteries.” He 

added “Buddhist literature describes 

Lumbini as a pradimoksha – vana 

blessed with blooming sal-trees and 

masses of beautiful fl owers, and a 

place where bees of fi ve colors hum. 

From these descriptions, we can 

assume that Lumbini presented an 

undulating landscape of considerable 

beauty.” 

In the 3rd century BC., the 

Mauryan emperor of present day 

India, Ashoka, made a pilgrimage to 

Nepal and commemorated this event 

with the foundation of innumerable 

stupas and pillars as a token of his 

success in bringing the inhabitants 

into the Buddhist fold. Lumbini was 

lost in oblivion until it was discovered 

by the German Archaeologist, Dr. 

Fuhrer, wandering in the foothills 

of Churia (Siwalik) range, and the 

Ashokan pillar presented the fi rst 

epigraphic evidence relating to the 

life history of Lord Buddha - the most 

visible landmark of the Sacred Garden. 

Mr. Weise added that the historic 

importance of the pillar is evidenced 

by the inscription engraved in the pillar 

(in Brahmi script). From excavations it 

has been found that the Ashokan pillar 

stands on its original base of un-burnt 

brick platform which concludes that 

the Pillar is at its original location. 

The distinguished audience 

attending the talk by Mr. Kai Weise 

included Hon’ble Minister of Science, 

Technology and Environment, 

Govt. of Nepal, members of the 

Lumbini Development Trust, as well 

as distinguished academics and 

architects. 

Qatar Airways to become global main 

partner of football giants FC Barcelona 

Barcelona, SPAIN – Qatar Airways 

will enter into a strategic 

partnership with football giants FC 

Barcelona that sees the airline’s brand 

name appear on fi rst team shirts from 

the start of the 2013/14 season. 

The three-year agreement 

with the runaway Spanish league 

leaders and former winners of the 

Champions League will be effective 

from 1 July 2013. 

Qatar Airways will become the 

club’s Global Main Partner, signalling 

the first time the airline has engaged in 

a sponsorship with a major soccer club. 

Qatar Airways Chief Executive 

Offi cer Akbar Al Baker said it will 

be a unique partnership between 

the World’s Best Club and the Best 

Airline in the World, describing the 

alignment with Barca as a “fi tting 

match for both organisations, which 

will elevate the brands to a new 

platform on the global stage and 

sharing the same values – passionate 

about being the best at what we do 

in our respective fi elds.” 

Al Baker was joined by FC 

Barcelona president Sandro Rosell to 

announce the upcoming partnership 

at a joint press conference held at 

the club’s home stadium, Camp Nou. 

“FC Barcelona is a club that 

exemplifi es passion, pride, heritage 

and culture at its core. These are 

values we share, admire and are 

fundamental to Qatar Airways,” said 

Al Baker. 

“Qatar Airways is entering a 

new chapter in our short history. We 

look forward to working with, and 

engaging with, the club, the fans 

and the people of Barcelona to help 

make a real difference through this 

exciting new partnership. It is great 

pride for my airline and my country 

to see Qatar Airways feature on FC 

Barcelona’s fi rst-team shirts from 

next season. 


spacesnepal.com


Panasonic launches FSV Variable 

Refrigerant Flow (VRF) Air 

Conditioners in Nepal 

Panasonic, a worldwide leader in the development and 

manufacture of electronic products, and Triveni Group; 

Panasonic’s authorized distributor for air conditioners and home 

appliance products in Nepal, launched a full line of FSV in Nepal. 

At the launching convention, Mr. Chen Choong Lim, Panasonic 

Appliances Air-Conditioning Malaysia Sdn, Bhd gave a presentation 

on Panasonic’s FSV advantages and its full line up availability. 

“With more than 30 years of experience, exporting to more than 

120 countries around the world, Panasonic is unquestionably the 

world -leaders in the air conditioning sector. In all, the company 

has produced more than 200 million compressors and its products, 

particularly residential air conditioners; now hold No.1 market share 

in Japan and other major countries in Asia. You can be assured of 

the extremely high quality of Panasonic’s air conditioners,” Mr. Lim 

commented further. 

The products unveiled appealed to the corporate-attendees, 

developers and bankers who attended the convention. Available 

are a range of turnkey air conditioning solutions for homes, 

medium-sized buildings such as offices and restaurants, and 

large-scale buildings. These offer maximum effectiveness, comply 

with the strictest environmental standards and meet the most 

avant-garde construction requirements of our techno-savvy time. 




spacesnepal.com

STORE WATCH 

Somany Ceramics has it all 

A place to buy Bathroom Accessories. 

TEXT: KRITI SHRESTHA 

Designing a bathroom is an essential part of 

building a house. To make the bathroom look 

elegant, hygienic and well maintained one has to 

ensure the use of good materials. 

Somany Ceramics is an Indian brand established 

in 1969 and offers an impressive range of bathroom 

accessories from tiles to CP fi ttings, sanitary wares 

and even adhesive and grouts. The company provides 

various types of tiles such as normal ceramic tiles, 

digital ceramic tiles and vitrifi ed ceramic tiles among 

others. 

Somany Ceramics Limited has been serving the 

Nepali customers since last two and half decades. The 

store offers bathroom products and accessories under 

one roof. Customers usually look for quality products 



STORE WATCH 

at a reasonable price. Somany 

gratifi es both these demands. Somay 

products are popular among middleclass 

as well as high-class families in 

Nepal. 

Somay has stores in 

Tripureshwor and Koteshwor. The 

company has a network of 20 dealers 

and sub-dealers. Somany Ceramics 

serves not only in the Valley but in all 

major cities like Pokhara, Hetauda, 

Biratnagar, Butwal, Birgunj, Janakpur, 

Narayanghat, Damak, Itahari and 

Dhangadi. 

“We have been the choice 

of customers since the last fi ve 

years. To ensure optimum reach of 

our products, we have made our 

products available at almost all 

areas. We have the best distribution 

network for our products. Customers 

do not have to travel far to get 

Somany Products,” says Rupesh 

Manhot, Area Sales manager 

at Somany Ceramics Limited, 

authorized dealer of Somany 

products in Nepal. 

Users of Somany products have 

a reason to celebrate as Somany 

has a patent certifi cate for high 

abrasion resistant glaze for Veil Craft 

(VC) shield group 50 tiles. Customers 

purchasing Somany products do 

not need to worry after buying the 

product as the company provides 

good after sales service and seven 

years warranty in CP fi ttings. 

Somany stores not only offer 

bathroom needs but also tiles for 

kitchen, dining hall, parking and 

exterior use. 


spacesnepal.com

PERSONALITY 

Mr Ujjwal Satyal: 

A Creative Mind 

TEXT: SHRISTI CHHETRI 

“It is difficult to be creative but it is more difficult 

to lead the way with that creativity and the next 

generation should keep this in mind.” 

When in Grade 9, the chairman of 

Soaltee Hotel came to give a career 

talk about hoteliers and it occured to 

Mr. Ujjwal Satyal that this was where he 

belonged. After completing his SLC, he 

joined hotel Mayalu as a receptionist, 

while also continuing his I.Sc. Back then, 

Hotel Management was not offered 

anywhere in Nepal. Hence, with an intact 

mission in mind, Mr Satyal went to Delhi 

for his bachelor’s in hotel management. 

He then joined hotel Broadway 

in Kashmir, where on his fi rst day 

at work, Mr. Amitabh Bacchan, the 

Bollywood superstar, had a fi lm shoot. 

Mr Sattyal, neatly dressed, was in the 

kitchen observing when Mr. Bacchan 

walked straight in and shook his hands 

complimenting about the excellent food, 

while the actual chef stood by! 

With work experience in Kashmir 

of almost 7 years, Mr Satyal returned to 

Nepal and started working as a restaurant 

captain at hotel Annapurna. He later 

joined hotel Blue Star as a food and 

beverage manager, the most challenging 

job in the hotel industry. Opportunities 

come with experience and Mr. Sattyal 

always had it waiting on his door. 

While working as a restaurant 

manager at hotel Himalayan, he was 

offered to teach at Nepal Academy of 

“Mr. Amitabh Bacchan 

walked straight into the 

kitchen and shook my 

hands complimenting about 

the excellent food, while 

the actual chef stood by!” 

Tourism and Hotel Management (NATHM) 

by the United Nations Development 

Programme (UNDP). Since then, for the 

last 25 years he has been passionately 

involved in teaching, and currently he is 

the head of curriculum development at 

NATHM. One of the pioneers in developing 

the syllabus for TU for Bachelors in Hotel 

Management, his aim is to make Nepal 

“THE” destination for studying hotel 

management in Asia. He adds “It is an 

asset of the Nepalese, so why not utilize 

it.” Working closely with the Tourism 

Board of Nepal, Mr Satyal believes that 

Nepal has undoubtedly the most potential 

in this industry in Asia. 

A multi-talented personality, his 

endeavors are far beyond this. While 

working with UNDP he went to Italy for 

training in commercial kitchen designing 

which was then unheard of in Nepal. 

Having studied hotel management, 

people came looking for suggestions on 

designing, building and gathering the 

resources for commercial kitchens out 

of which was born the idea of starting a 

manufacturing company here in Nepal for 

interior designing. 

Creative Décor was the result, which 

is now running in its 15th year. Quality 

Kitchen Equipment is also under Creative 

Décor that supplies, designs and builds 

commercial kitchen. Having explored and 

understood the dynamic market of Nepal, 

Mr. Sattyal also owns the franchise for 

the world’s leading modular kitchen and 

wardrobes Magppie-Ice Cubes. Likewise, 

included in his venture is the designing 

and supplying of luxury awnings, mostly 

used at restaurants, hotels and hospitals. 

According to Mr. Sattyal, people in Nepal 

“I have heard that people 

in Japan barely have time 

to sleep and eat as they 

are so productive, I want 

to witness that.” 

have gradually started understanding the 

concept that there is more to the kitchen 

than just cooking, and that designing 

plays a vital role like it does in another 

other rooms in the building. 

Having completed his masters in 

tourism here in Nepal, he has travelled 

to almost all the places in the globe. 

However, he would like to go to Japan. 

“I have heard that people in Japan barely 

have time to sleep and eat as they are 

so productive, I want to witness that”, he 

says, “It is indeed a signifi cant ability that 

we need in the people of Nepal”. 

Happily married he has two sons, 

the elder one in the US studying hotel 

management and the younger one 

studying interior designing. He thinks that 

in the midst of work and life he missed 

how his sons had already grown up. 

However, balancing work and life today 

comes innately to him. Whenever free he 

indulges himself in magazines related to 

tourism and also jots down a few words on 

the hospitality industry. Every second is a 

productive second to him. He believes that 

it is difficult to be creative but it is more 

difficult to lead the way with that creativity. 




spacesnepal.com

ARCHITECTURE 

For All Seasons 

Four Seasons Resort 

LANGKAWI, MALAYSIA 

BUNNAG ARCHITECTS 

The Four Seasons Resort Langkawi, located at Tanjung Rhu on the northernmost tip 

of Langkawi island, the largest in an archipelago of 99 islands in the Andaman sea, 

combines indigenous architecture with idyllic views. Set in a scenic and untouched 

enclave backed by limestone cliffs and shaded by luxuriant and tropical tress. The 

resort fringes a magnificent bay overlooking 1.2 miles, 197 foot wide white sand 

beach and clear, cool waters of the Andaman Sea. 

The underlying principle of our 

design is based on Malay cultural 

heritage and its people. 

Our aim is to preserve, enhance 

and extend this heritage to meet 

the complexities of today’s life 

and luxury comfort, 

and to achieve architecture of the 

highest quality - with aesthetics 

and originality in design - that are 

unmistakably Malay. 

In our design, traditional Malay 

and Southeast Asian architectural 

heritage have been 

carefully assimilated and 

modifi ed, but this alone is not 

enough; lessons and inspiration 

from faraway Islamic lands, 

from the cultural heritage of India 

and Nepal, as well as carefully 

selected design principles 

imported from the West, 

have all been part of our thinking 

and imagination. 

Through this approach, we hope 

to preserve and extend Malay 

cultural heritage into the present, 

aiming to hand it over to the next 

generation with pride. 

The site does not have the 

unique mountainscape, choice 

beach or exquisite seascape of 

Bali or Phuket. 

Instead, it has incomparably 

calm and serene mornings, and 

intensely dramatic evening skies. 

Even during the monsoon 

season, dark with rushing clouds, 

one fi nds intense drama in the 

playful multicolored sunset sky, 

expressing colorful moods and 

memories of this site. 

Architecture that does not play 

with cosmic force is always dull, 

lacking drama and beauty. 

Here, we want our architecture 

to reach out into the drama of 

the evening sky, 

leave our mind on holiday, be 

absorbed by it, dance with it. 



ARCHITECTURE 

01.Sarosh : It is wonderful to have you 

as a friend of Nepal. Your Architecture 

and design explores the calming of the 

senses, and has a spiritual feel – can you 

elaborate a little on this... 

LEK : Architecture of Kathmandu valley 

will always be my teacher, both in 

terms of tangible as well as its principle. 

Serenity and joy is what I believe that 

Architecture must give to us apart from 

many other needs - because, we all 

need it in our everyday life. Spirituality is 

the very foundation of the East not only 

it gives us freedom and creativity which 

is different from the West, it is the very 

innermost core that determine our life 

and Architecture. 

02.Sarosh :The Four Seasons Resort 

design seems to be a fascinating 

highlight of screens, shades and a hue 

of colors. How do you bring out this 

balance with such precision in your 

works ? 

LEK : Good shade and shadow is very 

much needed in our tropical climate, 

together with natural ventilation and tall 

interior volumes. Screens help create 

varieties of shade and shadows and 

helps forming tropical space. In many 

ways it is very pleasing to our eyes 

because it is not a void, as the screen is 

a lot softer. Cosmic force is the very key 

to create Architecture. An Architect must 

learn to be familiar with it in order to 

command the precise amount of cosmic 

force in his Architectural work. 

03. Sarosh : You mention somewhere in 

your design - the idea is to create a song 

with a single note. There is a certain 

minimalistic view or should we call it 

focus. Yet you integrate craft with all 

its multiplicity and detail rather well in 

your work. Can you elaborate a little on 

the Eastern and Western fusion of your 

understandings in your works .... 

LEK : Yes, minimum type of Note, of 

form - a language that create as many 

possible varieties. I believe this is how 

beauty comes. It is easy to give ten 

musical notes to make a song but, it 

is diffi cult to make a beautiful song 

with one single note. To me - it is no 

East or West but, it is an existence and 

universe that we are part of. No matter 

who we are, we need freedom and 

creativity if we were to bring creativity 

into the world- we need both feeling and 

reasoning. 

04. Sarosh : Share with us - few of your 

struggles or notable events, that has 

been turning points in your approach as 

an Architect ! 

LEK : To get away from our past - our 

memories, our ideas and belief that 

does not belong to us, our knowledge 

enough to allow us to have creativity - is 

a struggle. Architect should not repeat 

oneself. Expression of art cannot be 

redone. To copy, to manipulate the 

past is not diffi cult but to bring New 

Architecture, New music, New Poetry is. 

No one in this World is the same though 

we may look alike! To explain what you 

see in your imagination to your friend is 

so very diffi cult. Then, Mathematics and 

creativity is needed in order to being 

this imagination into reality. So many 

people are involved in a single piece of 

Architecture making it very complex. 

Perhaps it is better to be a sculptor or 

a poet, all depends on you alone and to 

create each piece of Architecture takes 

3-4 years minimum. One needs maturity 

and time which is a struggle and is not 

that easy but, if you love it truly – you 

will enjoy it forever. 

05. Sarosh : Heritage - as a source of 

inspiration are echoed in your works. 

What comes to your mind as an 

Architect, to see a struggling nation 

that is rich in its history and Heritage – 

but the political and internal confl ict is 

eroding this richness rapidly ? 

LEK: Heritage means – a gift to you 

from the past. If it is your source of 

inspiration- it must make clear, and 

be an authentic inspiration. Then it is 

wonderful and it will give you creativity 

( No copy No manipulation). If heritage 

is for us to copy and for us to believe 

blindly then it could be more negative. I 

must make clear that we must study the 

past as much as we can but we must 

not carry it inside us. Put it aside, then 

select well what you may need from it in 

order to enhance your creativity. 

Nepalese are so very lucky to be 

connected to such a beautiful place. To 

me it is one of the most beautiful place 

in the World. You have at your backyard, 

beautiful proportions, endless beautiful 

forms no one has. If it is your real source 

of inspiration, what else can compare to 

you. I’m jealous. 

Art has nothing to do with Politics. Art 

has no frontier. The beginning of all art is 

love. The more you love, the higher the 

quality! 


spacesnepal.com

ARCHITECTURE 



ARCHITECTURE 

RECEPTION ROOM PAVILION 

(The Shadow Room) 

The key is Light. 

A series of timber screens arranged 

geometrically enhances the formation 

of this room-type architecture. 

These timber screens are 

designed as a layering of light veils, 

at times creating a diffuse light, at 

times creating crisp shadows, the 

whole producing a variety of patterns 

that lend a mysterious and delightful 

mood to the room. 

A thick-walled room-type 

architecture on a perfect square 

plan, at night the roof illuminates 

‘soft glowing’ light like a great lantern 

against the silhouette of the limestone 

peak beyond. 

During the day, sunlight and 

shadow from the roof reach down 

to the internal spaces of the room 

but without heat; thanks to natural 

ventilation, the room interior remains 

cool, with more shadow than light. 

The Great Verandah is designed 

to create shade and shadow, helping 

to reduce the amount of heat that can 

enter. 

The structure of the verandah 

is designed to stand apart from the 

building, allowing natural light and 

ventilation that help make the whole 

building composition appear lighter. 

1 How could anyone not long for the most beautiful doors from the 

Madrassa in Fez ? I really wanted to have one at Langkawi. 

2 Sunlight reflected from the water’s surface penetrates deep within the 

interior of the Porte Cochere Pavilion. 

3 Opening between the Great Verandah and the Greeting Verandah. 

4 Lantern wall at the Porte Cochere Pavilion by Bill Bensley 

Reception Room Pavilion Section 

(The Shadow Room) 

1 Sandwiched timber lattice roof light 

2 Twelve-sided vertical timber screens 

3 Hand-installed mirror mosaic 

4 Vertical timber screens 

5 Deep cobalt blue room (Terrazzo 

fi nish) 

6 Limestone peak 

The hand-installed mirror mosaic by local craftsmen - set within the recessed Islamic 

patterns enclosed by the deep cobalt blue terrazzo surface of the room’s walls - plays 

dramatically with sunlight and shadow to create a delightful, reflective, multicolored 

visual impression that changes throughout the day according to the movement of 

the sun. 


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ARCHITECTURE 

MELALEUCA VILLA 

The Bathtub Room is raised above the 

level of the bedroom so that guests 

can enjoy a view of the horizon from 

the bath. Only candlelight - creating 

softly moving shadows. 

The double-walled Dome Room 

has four skylights, one at the center 

of the dome and the other three set 

indirectly between the walls. 

Double-layered clear 

polycarbonate skylights allow natural 

day-lighting with minimal heat gain. 

Hand-installed terrazzo fi nish 

to bathtub enhances the monolithic 

architectural quality of this room-type 

architecture. 

Bathtub room after installation 

of interior elements by Bill Bensley. 

Beautiful arches by Khemvadee 

Paopanlerd of Bensley Design Studios. 

RHU PAVILION 

The design intent of this open pavilion is to control the 

quality and intensity of natural light on the interior while 

promoting natural ventilation. 

The visual composition along three sides consists 

of the formal Malay-style porch with high pitched roof 

attached to a perfectly square plan. The spaces of the 

interior are enclosed by a layering of vertical timber 

screens. 

Outer zone: Guest seating located inside the 

fi rst layer of timber screens, designed to cut off 

approximately 60% of direct sunlight. 

Inner zone: The Inner Sanctum screen room, at the 

center of the pavilion enclosed by double-layer screens 

- this is the darkest zone within the pavilion while also 

having the tallest space. 



View from the glare-less 

Inner Sanctum screen 

room looking out towards 

the horizon through 

the porch. The shading 

inside this pavilion is 

comfortable on the eyes, 

even during the height of 

the tropical midday sun. 

beautiful Islamic-style 

screen in front and 

furnitures by Jeffrey 

Wilkes Candle lamp by Bill 

Bensley 


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ARCHITECTURE 

My idea in using the screens is to draw 

parallels with the aperture of a lens: F5.6, 

F11, or F32. The amount of light is inversely 

proportional to the size of the opening in the 

lens; controlling light : layering of screens. 

Islamic-shaped openings penetrate some 

of the screens at sitting head-height so that 

guests can look out and see the sky and the 

horizon when relaxing deep within the pavilion. 

At different times of day, light fi lters 

through the layers of screens, creating variety 

of shadows, without causing any glare. 

The idea is to create a song using a single 

note (a variety of shadows being created by 

only one type of screen). This type of pavilion 

has not been done before in traditional Malay 

architecture. 

1 This little, open, four-sided classical Malay Pavilion is designed to ‘float’ on the still surface of the water The Water Court is 

protected from the breeze on three sides by a 7m tall wall. This court is oriented along a view towards the limestone peak 

borrowed as a backdrop. 

2 The roof-light above the Reception Room Pavilion (The Shadow Room) glows as a large lantern at night. 

3 The timber roof elements are clearly articulated by the horizontal beams, thus achieving a visual purity, lightness and beauty 

that appear quickly to the eye. 

4 Four-sided fluted glass screens inside the Restaurant Pavilin. 

5 Ander, Geganja and Pengerat - functioning as king post - are adapted from traditional Javanese architecture. 

6 Pool Pavilion 




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ARCHITECTURE 

MALAY RESTAURANT PAVILION 

1 The central interior space is 

composed of a series of timber 

screens that form room-type 

architecture. These curved 

screens are simplifications of the 

traditional Kedah timber screens 

originally found on Langkawi 

Island. 

2 Malay Restaurant Pavilion on 

stilts. The construction of this 

pavilion follows that used in a 

traditional Malay house with 

its system of prefabricated 

components that are built first on 

the ground before later assembly 

on the site. Various mortise and 

tenon, lap and dovetail joints are 

used - nails are not used. The 

Tuber Layer or gable ends serve 

to direct winds into the pavilion 

to cool the interior space. The 

inclined glass facade is designed 

to protect against driving rain but 

allow breezes to pass through. 

3 Square Malay-style pavilion 

raised on its timber deck. 

To avoid having a large building 

mass on site, and to ensure a 

Malayan residential scale, the Malay 

Restaurant Pavilion is dispersed and 

recomposed into three residentialscale, 

Malay-style, timber pavilions. 

Each of the pavilions is on 

stilts, joined by a large outdoor 

entertainment deck built also of 

timber. 

The restaurant is located at the 

very edge of the beach that opens 

on the Straits of Malacca. Each 

pavilion has a large overhanging 

roof with traditional Malay-style 

decorative fascia boards that help 

reduce glare. 

The Main Pavilion is flanked by 

tall, long verandahs on both sides 

whose long central spaces are very 

well ventilated and glare-less from 

within. 

Strong monsoons with driving 

wind and rain can be a major 

problem; extra glazing along the 

facade is provided to protect against 

such inclement weather while 

adding a contemporary feel to the 

pavilion. 

Traditional Malayan techniques 

for the construction of wood joints 

are used through the entire building. 

In some areas, we have 

considered the advantages of steel. 

In such cases bolted connections 

are used as a substitute for 

expensive and complex traditional 

joinery, while great care is taken to 

conceal these substitutions from the 

eyes of guests. 

A long and tall central room 

is divided by Kedah-style timber 

screens. These could be found in the 

villages on Langkawi Island many 

years ago, though today I can no 

longer find them; they are a dying 

treasure. 



ARCHITECTURE 


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ARCHITECTURE 

1 The four-sided cupola articulates itself 

above the skyline of the surrounding 

landscape, allowing visual penetration 

through to the open sky, thus creating a 

visual lightness to the pavilion. 

2 All day Restaurant Dining Pavilion interior 

3 The four massive vertical piers in the 

center form a dignified central square 

rom which terminates with the cupola 

structure above. 

1 Eight-sided cupola above The Library Room 

2 Decorative fascia board at The Malay 

Restaurant Pavilion 

3 Exposed underside of structural rafters - 

the king post is eliminated 

4 Wedged through-tenon (baji) detail of 

entrance stair at Melaleuca Villa 

5 Flower skylight above the Melaleuca 

Bathtub Room 

6 Simplified Malay-style gable end 

7 Articulation of copper gutters at rafter 

ends creates a visually pure form 

8 Flower skylights in the Bar Pavilion 

9 Bamboo screen string holder 

1 Small Entrance Court with 

Malay-style stair 

2 Malay-style porch entrance 

3 Entrance steps 

4 Main stair 

5 Outdoor Dining terrace 

6 Formal Dining Pavilion with 

Islamic-style chandelier above 

the central room. 

7 Stepped connector to 

restrooms 

8 Male and Female restrooms 

(air conditioned) 

9 Stepped connector with roof 

10 Dining Pavilion 

11 Buffet Pavilion (air 

conditioned) 

12 Landscape 

13 Fountain Court 

14 Kitchen and service area 

This pavilion and surrounding 

terraces were raised 3.5 m 

above the level of the beach 

ALL DAY RESTAURANT PAVILION 

Group of three separate, open pavilions joined 

by connectors. As most of the site is relatively 

flat, we have raised this restaurant 3.5 m above 

the existing level of the beach to create a more 

dramatic skyline. 

The architecture of this restaurant is inspired 

by the traditional Javanese pavilions - the ‘Joglo 

Jompongan’ of Java - with their perfect square 

plan, hipped roof and sixteen columns. 

The stepped gable roof is inspired by 

traditional Thai architecture. The overly wide 

overhangs of the roof are supported by inclined 

eave bracket supports, that find dominant use in 

traditional Thai and Burmese architecture. 

My feeling is that the Javanese traditional 

structure is too masculine in comparison to the 

traditional Malayan architecture with its gentler, 

more fragile, decorative and prince-like look. 

I always feel that midway between these 

aesthetics is the traditional architecture of the 

Kathmandu Valley - the Kashthamandapa. 

All these playful whims of the imagination 

appear somehow cooked together. 

... as it is now … 



ARCHITECTURE 


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ARCHITECTURE 

BEACH VILLA 

Private garden and vanity 

designed as one indooroutdoor 

space.Private garden 

and beautiful Interior design 

by Bill Bensley. 

2 Timber is always alive 

and is, to us, a very 

precious material. 

Respect and extra care 

are required before we 

touch it. 

3 Timber partition wall 

between villas. 

4 Beach villa presentation 

drawings shown to the 

client; the final design 

has not changed much 

since this early drawing 

- a single storey pavilion 

with a large verandah 

open tothe Straits of 

Malacca and surrounded 

by dense tropical 

gardens. A private 

plunge pool is attached 

to the bedroom along 

with the verandah. The 

shape of the plunge pool 

varies depending on the 

location of existing trees 

and existing natural 

features. 

5 A corner of the Beach 

Villa protrudes over the 

pond. 



ARCHITECTURE 

SPA WATER ROOM PAVILION 

(Reception Room) 

This Water Room is cool and well ventilated all day. 

There is no heat from the sun because of the double 

layered polycarbonate sheets sandwiching a timber 

lattice, used to reduce heat. This works together 

with the natural breeze created by the change in air 

temperature at the water surface between inside 

and outside - this natural breeze draws out the 

remaining heat from inside the room. 

Stillness of the water 

surface inside this 

indoor Water Room 

Pavilioncreates a 

strong sense of place, 

of serenity. This room 

is always cool and 

comfortable. Niches, 

very close to the 

water’s surface, are 

designed for candles, 

for reflection 


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ARCHITECTURE 

SPA WATER COURT 

The limestone cliff on the right falls on a line 

with the side of the Water Court. It helps 

prevent breezes thus creating a stillness on 

the water surface. It is our design intention to 

ensure that the reflectionon the water surface 

is equally as real as the reality itself.The Indoor 

Water Room (The Spa Reception Room) is 

behind this facade with its soft touch of Islam. 

Serenity through stillness has always been 

what I want to achieve. 



“Horizon”Her beauty is the secret to serenity.No matter 

where you are - on the mountain or the paddy fieldsshe 

always follows your eyes.Whenever you look at her, she 

will always be there.If you reach out to her, she will joyfully 

express her beauty.Beautiful interior elements and floor 

patterns byBill Bensley and Jeffrey Wilkes 

FOUR SEASONS RESORT 

LANGKAWI, Malaysia 

Location 

Completion 

Owner 

Master Plan 

Architect 

Interior Designer 

Landscape Architect 

Structural Engineer 

System Engineer 

Lighting Designer 

Jalan Tanjung Rhu, Langkawi, Kedah Malaysia 

2005 

MAS Hotels and Boutiques Sdn. Bhd. 

Bunnag Architects and Bensley Design Studios 

Bunnag Architects 

Bunnag Architects, Bensley Design Studios 

and LTW Design Works Sdn Bhd 

Bensley Design Studios 

KAL & Partners Sdn Bhd 

Iktisas Ingenieurs Sdn Bhd 

Project Lighting Design 


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Email : nepalkitchen@wlink.com.np, Visit : www.kitchenconcepts.com.np 


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STYLE FEATURE 

2013: 

Global TRENDS 

This spring, the season of color and new buds, we bring you exciting color 

coordinates, contrasts, and complementing style elements to re-furbish, redo 

and re-decorate your interiors. 

TEXT, CONCEPT & STYLING: PURAN JOSHI PHOTOGRAPHS: A. RAJBANSH 



Aqua Antique 

Rich amalgamation of 

ethnic prints, traditional 

handicrafts and bright 

colors come together 

peacock album, Rs. 375, leaf plate, Rs. 400, lapis mala, Rs. 2600, turquoise 

mala, Rs. 440, metal ring, Rs. 300, pendant, Rs. 375, tiny tea cup, Rs. 50, prayer 

wheel, Rs. 450, H. prayer wheel, Rs. 975, peacock card, Rs. 25, L. prayer fl ag, 

Rs. 150, Mahaguthi, lining cup, Rs. 431, Dhukuti, ceramic glass, Rs. 145, 

paper cutting knife, Rs. 365, incense, Rs. 55, Sana Hastakala 


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Pretty Pink 

Soft pink fi nally come home to cream. Gift box, 

thaili, and pink accessories help to fi nish the look. 

felt cushion, Rs. 610, beads mala, Rs. 180, Mahaguthi, round box, Rs. 325, thaili, Rs. 185, ring-box, Rs. 60, stationery Rs. 70, 

plain paper, Rs. 35, Barefoot, bowl, Rs. 50, buttons, Rs. 40 each, incense, Rs. 45, notebook Rs. 155, Sana Hastakala 



True Blue 

Mix true blue with 

white, subtle prints 

and natural textures 

that compliment 

each other 

fish tray, Rs. 300, egg stand, Rs. 45, square plate, Rs. 460, pala bowl, Rs. 100, pen stand, Rs. 240, ceramic wind chime, Rs. 840, 

chips mala, Rs. 150, bamboo shawl, Rs. 675, tiny tea cup, Rs. 50, Mahaguthi, gift bag, Rs. 65, ribbon, Rs. 30/pc, pencil, Rs. 80, 

plain paper, Rs. 35, Barefoot 


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Black White Brown 

Simple yet 

stylish, dramatic 

contrast,clasical 

design. Bring the 

black-n-whites with 

brown undertones 

bamboo plate, Rs. 400, votic holder, Rs. 160, egg designed plate, 

Rs. 265, leaf bowl, Rs. 135, Mahaguthi, ceramic elephant, Rs. 111, 

Dhukuti, dinner plate, Rs. 745, bowl, Rs. 540, spa bowl, Rs. 260, 

incense holder, Rs. 150, lotus incense holder, Rs. 130, triangle 

incense holder, Rs. 50, scrubber, Rs. 130, Sana Hastakala 



Passionate Red 

Warm and positive mood setting. 

Stimulate some intimate passion in 

decoration with this vibrant deep color 

felt cushion cover, Rs. 610, chips mala, Rs. 150, prayer fl ag, Rs. 150, hair clip, Rs. 70, bamboo vase L. Rs. 225, bookmark, 

Rs. 55, Mahaguthi, bruket photo frame, Rs. 175, felt rose, Rs. 50/pc, ring box, Rs. 65, butterfl y paper, Rs. 65, Barefoot, 

paper cutting knife, Rs. 365, doll key ring, Rs. 145, felt pencil holder, Rs. 105, Sana Hastakala, square candle, Rs. 541, 

Dhukuti 


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Green Harmony 

Green in all shades, tones and 

hues. Challenging, but we promise 

refreshing results 

woolen floor mat, Rs. 3,900, singing bowl, Rs. 825, chips mala, Rs. 150, lotus plate, Rs. 355, Mahaguthi, ball neckless, 

Rs. 845, square plate, Rs. 190, two-in-one, Rs. 145, Sana Hastakala, cheese chopping board, Rs. 304, 3 hanging-bell 

wind chime, Rs. 1,150, roudn candle, Rs. 210, glass paper weight, Rs. 299, cylindric box, Rs. 209, Dhukuti, bangle box, 

Rs. 310, ring box, Rs. 65, paper, Rs. 55, Barefoot 



Citrus Punch 

This striking combination always 

looks amazing. Add some red, 

green for some taste. 

tiny tea pot, Rs. 465, egg stand, Rs. 45, mug, Rs 165, hammer plate, Rs. 255, curtain napkin, Rs. 90, Mahaguthi, ribbon, 

Rs. 30, felt rose, Rs. 50, pencil, Rs. 80, Barefoot, moti mala, Rs. 130, notebook L, Rs. 435, Sana Hastakala, metal napkin ring, 

Rs. 75, chicken rubberband, Rs. 38, pumpkin candle, Rs. 225, Dhukuti 


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Copper & Bronze 

Rustic antiques, old-warm words, 

whimsy and classic layers are 

looking all good this season. 

prayer wheel, Rs. 565, bamboo album, Rs. 375, door handle, Rs. 325, cymbala, Rs. 565, Mahaguthi, plain paper, Rs. 50, 

Barefoot, dalisha, Rs. 870, candle stand, Rs. 580, turtoise paper weight, Rs. 365, crocodile paper weight, Rs. 580, owl 

paper weight, Rs. 580, paper knife, Rs. 120, spoon/fork/knife, Rs. 235/each, stupa, Rs. 580, Sana Hastakala, anti tea pot 

miniature, Rs. 514, lotus bowl, Rs. 277, butterfl y ornament, Rs. 458, Dhukuti 




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INTERIOR 

NAMUNA GAUN 

T 

“Namuna banai diyau...” 

TEXT: VENEETA SINGHA 

he ideal of a potter transforming 

a mound of clay into a work of art 

harkens back to a fundamental existential 

strain of ingenuity, creativity and enterprise. 

In consonance, the word ‘shelter’ is almost 

mythical - conjuring a myriad notion of 

home, sanctuary and the traditions of 

humanism. An individual ideal further fi nds 

expression in a built structure - hidden 

and replete, welcoming and cautious, a 

home and, yet, a metaphysical notion that 

will withstand the test of time, space and 

existence. 

A brick-laden path wove its way to a 

Durbar Square as the morning light guided 

us to Bhaktapur. We found ourselves in the 

middle of the famous Bhaktapur Durbar 

Square. Standing in the middle of the square, 

momentarily it seemed, history had unfolded 

before us allowing us to breathe and bask in 

its glory. 

We walked through the traditional alleys 

embellished with the artisan’s wares and 

halted before an imposing gate introducing 

us to Namuna Ghar. Streams of sunshine 

gave the entrance a mystical delight. We 

waited at the traditional foyer somewhat 

taken aback by the ethereal simplicity of the 

house and its aura. I looked up at the house 

- the designs on it and on the structures 

nearby were unerringly familiar and, equally 

mysterious. The spiritual conventions of 

the Licchavi and Malla Periods in Nepali 

history are replete in the communities 

they built and helped enshrine - from the 

mythical _____ on the stone spout to the 

pantheon of Gods and Goddesses carved 

and engraved in the woodwork and stone 

facades. However, the built world impresses 

upon us, instead, a lived reality rather than a 

mythological one. 

PHOTOGRAPHS: A. RAJBANSH 

in Sanga 



A home with a view! 

Soon, we began an instinctual 

conversation with Rabindra Puri, 

our host, about Newari architectural 

forms, history and anecdotes - some 

of which are encased in stories 

than many of us have heard during 

our childhood. The Namuna Ghar is 

a restoration project initiated and 

managed by Rabindra and was the 

recipient of the prestigious UNESCO 

Heritage Award in 2004. The house 

is 175 years old, photographs of its 

somewhat checkered past reveal 

that it was also home to a chickens 

coop not long before the restoration 

which has now given it life and, 

indeed, infused contemporary Nepali 

architecture with a socio-historical 

design axiom unlike any other. 

The material and socio-cultural 

imperatives in Newari architecture 

have often resulted in both revival 

and re-imagination. Space, in the 

Namuna Ghar, has taken a medieval 

form yet the home is perceptually 

contemporary. The traditional 

brassware and earthenware that one 

encounters in shops across Nepal 

seemed to have found an appealing 

aesthetic form and function. With 

a library, a living area, comfortable 

bedrooms and a kitchen and 

dining area at the top, the Ghar is a 

complete exemplar. 

Had we come upon a beautiful 

dwelling or an archetypal way of life? 

Low ceilings and clay bricks typify 

the Newari style of architecture 

giving the built structure a feeling of 

comfort and community. Details and 

intricate craftsmanship abound in the 

Namuna Ghar. Our senses became 

aware, articulate and invigorated by 

the Namuna Ghar. 

A warm, sunny rooftop terrace 

above the kitchen brought in 

greenery - the nature and nurture 

dynamic is very important in Nepali 

life. Bhaktapur is well known to be a 

close-knit community - the homes 

and buildings that we saw nearby 

stood welcoming, reminding us that 

‘no home is an island’. Rabindra’s 

A detail encased in tradition 

The kitchen area with traditional utensils 


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estorative work on the Namuna 

Ghar was completed within a year 

and a half - a labour of love that still 

brings a proud gleam in his eyes. 

Employing local craftsmen and 

builders, he has brought the world 

immeasurably closer to ancient 

innovations now rendered immortal 

by their sheer beauty, utility and 

existential pride. 

THE NAMUNA GAUN IN 

SANGA: A PASTORALE RE- 

ENVISIONED 

Our trip to Sanga from Bhaktapur was 

a treat - one which many Kathmandu 

people delight in and savour. Moving 

away from an urbanized world to 

the hills and fields surrounding 

Bhakatapur, nature’s abundance 

manifested itself with a simple dignity. 

Known to be a primarily agrarian 

society, the Newars, to this day, 

exemplify true stewardship of the 

land and inculcate a profound natural 

and spatial intelligence. 

We reached a hilltop in Sanga 

and Rabindra’s new project, the 

Namuna Gaun, presented itself to 

us with sudden and direct impact. 

A work in progress, the Namuna 

Gaun is a collective of Nepali homes 

built in the Newari architectural style 

and infused with the materials and 

modes that typify the Gaun setting. 

Cradled in Sanga’s hills, the homes 

are a beacon, a built convention and, 

summarily, a blessing in disguise. 


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INTERIOR 

The entrance of Namuna Ghar 

A Nepali cultural symbol 

A home in Namuna Gaun 

We began to explore three houses 

in the Namuna Gaun, each structured 

around a theme and material inspiration. 

Clay brick, stone and mud are potent 

metaphors in Nepali socio-cultural norms. 

Here, they had found and furnished 

beautiful homes that we wished we never 

had to leave. We sat, looked around with 

awe as we sipped on tea and listened 

to Rabindra’s guiding vision for the 

Project. Inside, the homes comprise a 

living, dining and kitchen area with a 

fi replace, bedrooms on the next fl oor and 

a spacious study area and terrace at the 

top. Yet again, traditional Nepali details 

and craftwork have given the homes an 

identity and an overwhelming presence of 

comfort and shelter. 

Warm, earthen colour tones 

transmuted by the natural elements 

outside burnish this hearth. Our 

conversation turned inevitably towards 

the socio-historical axioms that have 

long held sway over Nepali architecture. 

The spiritual traditions of Nepal are 

often translated into the material world 

through design and the structural 

environment. Symbols of the divine are a 

form of supplication and remind us that 



the material world is preserved and 

strengthened by this connection. 

The homes overlooked lush 

greens, sloping fi elds and the 

valley ahead appeared as though 

in completion. The Namuna Gaun 

presents a complete world, in 

many ways. Rabindra’s vision has 

transformed this pastorale into a 

spatial haven that few can resist. 

Weaving traditional design with 

modern conveniences, the homes 

are beautiful renditions of comfort 

and creative synergy. 

In Sanga, the Nepali design 

sphere gives us a community 

that complements our unique 

character and values. The Namuna 

Gaun, will stand tall, inviting many 

with its blessings. The Nepali 

pastorale has now become a 

beautiful home again. 


spacesnepal.com

INTERIOR 

Commercial Kitchen Design 

TEXT: CHANDANI K.C. DIAGRAMS: UJJWAL SATYAL 

kitchen is the heart of a foodservice operation, 

A whether it is a restaurant, hotel, resort, hospital, 

schools, colleges or other commercial food outlet. A 

commercial kitchen is where food is produced for a 

large number of people. The design of it is completely 

different from the residential kitchen design. Proper 

planning of the space in terms of functionality and 

circulation of space is essential to achieve optimum 

performance. Proper planning is such that the kitchen 

staffs can easily access everything with minimum 

loss of time and energy. If the layout and design of 

the kitchen is not done properly, it will hamper the 

operations and in turn raise the operation cost. For 

designing of the kitchen, it is best to take the help of 

an expert as designing without adequate knowledge 

will lead to high utility bills, poor ventilation, employees 

tripping over each other and hamper the ability to 

produce quality meals. 

CHECKLIST 

Mr. Ujjwal Satyal, a kitchen design consultant mentions 

having a checklist as the fi rst step in the design process. 

The checklist will include the type of facility (hotel, 

restaurant, resort, hospital, schools/institutional, military 

or police facility etc), type of service (takeout, banquet, 



INTERIOR 

ala carte etc), demand requirements 

(seating capacity),operating hours, 

peak hours, budget, cost effectiveness, 

available power supplies, HVAC, water 

supply, fi re safety, lighting systems etc. 

MENU 

Developing a menu is important before 

you venture out into designing a kitchen 

for commercial purpose. A menu will 

give you the idea about the equipments 

needed in the kitchen and in turn the 

space. Including all the items that you 

may wish to add in the future will in 

turn save money for future. For facilities 

like schools, colleges, police or military 

facility, the quantity being prepared will 

also determine the equipments. 

SPACE PLANNING AND 

EQUIPMENTS 

Next step to designing the kitchen is to 

calculate the required amount of space. 

A complete list of equipments required 

for food preparation, refrigeration, 

display and storage must be prepared. 

This will help to calculate the required 

amount of space. The optimum height 

for base cabinet/ cooking range is 34”. 

Usually kitchen space is taken to be 20% 

of the dining space. 

ERGONOMICS 

A plan should be prepared on how the kitchen space will be used. 

Ergonomics, the fl ow of the kitchen is most important aspect in 

the design of space. Commercial kitchens should be designed for 

maximum labor effi ciency and safety. Ujjwal Shrestha mentions 

having the kitchen fl ow to be such that the cook/chef does not 

use extra steps and waste energy while cooking. There should 

be minimal counter fl ow of product or crossing traffi c within the 


spacesnepal.com

INTERIOR 

kitchen. Plenty of room has to be provided for staffs to 

move freely while carrying hot pots and bulky supplies. 

Cleaning area needs to be near the kitchen entrance. The 

major functional areas and work stations for commercial 

kitchen are receiving, storage, food preparation, cooking 

line, delivery, washing area and other specialty areas. 

Other specialty areas can be offi ce for chef, toilets for 

staff, bakery etc 

ENERGY EFFICIENCY 

Energy effi ciency specially in a place like Nepal is 

important so that the place operates without consuming 

too much energy. This is possible by choosing energy 

effi cient equipment which may cost more to buy but are a 

lot cheaper in the long run, designing the kitchen energy 

effi ciently and adopting good working practices. Dividing 

the kitchen into cold and hot zones with fridges and 

freezers in the cold zones will save energy. 

SERVICES 

Design of various services has to be taken into 

consideration for a kitchen design. These are water 

supply, drainage, fuel supply, electricity, HVAC, exhaust 

systems, lighting systems, ventilation etc. It is necessary 

to ensure proper ventilation in the kitchen to prevent 

high temperature inside and provide proper working 

conditions. Ventilation will remove excess heat produced 

from cooking and other processes. Lighting, both natural 

and artifi cial is necessary for the working conditions in 

the kitchen including the preparation of food. Besides 

the standard lights in the kitchen, it is necessary to have 

lights for individual workspaces. Individual work space 

lights that can be switched on and off individually, can 

save much needed energy. For this dividing the lighting 

installation into relevant zones will be useful. A kitchen 

consultant will estimate the electricity, fuel and water 

consumption during the designing of the restaurant which 

will help to foresee the cost. 

SAFETY 

Kitchens are very vulnerable to fi re due to the intense 

cooking heat and use of fl ammable oils. The damage 

that can be caused by a fi re in a kitchen can be quite 

signifi cant. Fire protection solutions such as fi re detection 

and suppression system are essential for all the kitchens. 

An automatic fi re detection and suppression system 

is operated without human intervention and posses a 

means of detection, actuation and delivery. It should 

consist of hood system, a chemical fi re extinguishant and 

fi re extinguishers. 

It is essential to build two doors to the kitchen: one 

for the in traffi c fl ow and the other for out traffi c fl ow. This 

will ensure that staff delivering food will not cross paths 

with staff bringing in dirty dishes making the kitchen much 

safer. Proper selection of fl ooring tiles also ensures the 

safety of kitchen. The texture of fl ooring tiles used should 

be non slippery. 

Every kitchen design is different and the design 

of it is governed by many factors as mentioned above. 

Designing a kitchen that accommodates all the required 

factors will make the kitchen energy effi cient, functional 

and ultimately save money. 




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HERITAGE 

a 

b 

The complex of Uku Baha comprises of 

three quadrangles - a) U Baha Gathica 

- Khanda Chuka Vihara; b) Uku Baha; c) 

Tago ChiBaha – Yantarivi Vihara 

c 

INTRODUCTION 

It is an acceptable fact that the tenets of 

Nepalese aesthetics were based on the 

doctrines and conventions of religious 

edifi ces that were transcendental and 

intellectual in character and idealistic 

in aim and purpose. In Rudravarna 

Mahabihar the space / time / light 

continuum are much better represented 

and understood in perspective than 

by other conventions. The process 

of development of such an affl uent 

heritage in indigenous Newari society 

clearly illustrates the response of sociocultural 

and religious demands. 

Contrary to other countries, Nepal 

practices Bajrayana Buddhism, which is 

derived from its predecessor Mahayana 

Buddhism. Bahal (in Nepali) and Baha 

(in Newari) are Buddhist institutions - an 

ancillary, a shelter for Buddhist disciples. 

It can be ascertained that the intention 

of the building is quite similar to Ajanta 

Ellora, which exists in our neighbouring 

country, India. Construction of this 

architectural masterpiece dates back 

to the 6 th century AD during the reign 

of the Lichhavi King, Shiva Dev, with 

further renovation from the subsequent 

ruler, King Rudravarna. However Prof. 

Dr. Sudarshan Raj Tiwari, an expert in 

this fi eld, is of the opinion that it was 

not actually built during the Lichhavi 

period nor by King Shiva Dev of that 

period, since there are no solid historical 

evidences. He even raises doubts of 

any existence of Bahas in Patan during 

the Lichhavi period. Nevertheless, one 

The main gate to the complex with two 

large stone lions gives an impression of 

a fortification rather than a gate for a 

monastery 

way of understanding the origin and 

development of the monastery can be 

through its etymology. 

The full name of the monastery 

as according to the book (Rudravarna 

Mahabihar– Chhagu Addhyan) by Pundit 

Hem Raja Shakya is ‘Shiva Dev Sanskrit 

Okuli Rudravarna Mahabihar Uku Baha.’ 

From the toponymal consideration 

of the word ‘Uku Baha’, which is the 

present name for this monastery, we 

come across the monosyllabic nature of 

Newari language (Newari language has 

an ongoing tendency to shorten words). 



HERITAGE 

RUDRAVARNA MAHABIHAR 

Uku Baha 

TEXT: RUPESH SHRESTHA 


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In Newari “l” and “r” are constantly interchanged. The 

word Baha is also a transformation of the word ‘Vihara’. 

Often Baha is also squeezed and termed as “Ba” only. 

Okuli means cultures of Malla and Thakuri kings embodied 

in its rituals and customs. Also colloquially derived from 

Okuli, Wakuli in Newari means South-East which gives the 

direction of this monastery from the Patan Durbar Square. 

Thus from the word Okuli, in due course of time, this 

monastery was given the short name Uku Baha and will 

be termed the same hereafter. 

According to Daniel Wright (History of Nepal), the 

chronicle assigns the foundation of Uku Baha to King 

Shiva Dev, ruling from about 590- 604 A.D., who later 

became a monk, and in due course of time and with 

consent from his Guru, returned to his comforts and 

luxuries of a king. Then after, with the sanctions of his 

Guru, built a Bihar (also a colloquial derivation of Vihara) 

and lodged his Guru in it. But contrary to this consistent 

belief that Shiva Dev retired in Uku Baha, Dhanavajra 

Vajracharya, also an expert, concludes that the place 

where Shiva Dev retired is Baudhanath of Kathmandu 

(with support of references made from Gopalaraja 

Vamsavali), adding more controversy over its establishment. 

Rudravarna Mahabihar (Uku Baha) is located in Uku 

Baha tole, a couple of minutes from Sundhara of Patan and 

is one of the oldest, best documented and best preserved 

Bahas of Patan. It has the greatest number of branches of all 

the Bahas in the Valley (twenty nine) and the second largest 

Sangha (a group of non-celibate monks formed during the 

Malla period). In sculpting this genuine classic, Nepalese 

artists and craftsmen personifi ed such status. It refl ects the 

ambience of the Golden age of Nepal during the Lichhavis 

and Mallas in a timeless fashion to create a memorable 

impression to any of its visitors. The complex of Uku Baha 

comprises of three quadrangles: a) U Baha Gathica - Khanda 

Chuka Vihara; b) Uku Baha; c) Tago ChiBaha – Yantarivi Vihara 

THE MAIN GATE & U BAHA GATHICA 

The main gate on the north side to the complex has two 

large stone lions and a plastered gateway with two modern 

plastered lions on its top, each holding a spear. There is an 

interesting fact associated with the establishment of this 

gate, which to the casual onlooker, might give an impression 

of a fortifi cation rather than a gate for a monastery. Uku 

Baha was renovated subsequently by Gen. Chandra 

Sumshere, the then Prime Minister and the de facto ruler 

from 1901 to 1929 AD, and a local from Uku Baha by the 

name of Dhirjanrisingh Shakya, alias ’Gwara Company’, led 

the team for its renovation. To please Chandra Shumshere, 

Dhirjanrisingh designed the gate to symbolically represent 

Chandra Shumshere’s name - on the top of the gate 

is a Moon representing Chandra and below it are two 

symmetrically placed lions holding spears representing 

Shum-Shere (lions alike). So we once more fi nd architecture 

governed by rulers rather than by the people during the 

Rana period. 

From the main gate we come across the fi rst 

quadrangle - U Baha Gathica. It is an enclosed courtyard, 

which faces the Uku Baha on the south side. The east and 

west side of the quadrangle has houses belonging to private 

owners. 

Inside the courtyard are two shrines and a chaitya. 

According to John K. Locke, S.J. (Buddhist Monasteries of 

Nepal), the temple facing east is a modifi ed shikhara temple, 

and contains an image of Aksobhya who is the Kwapa-dya 

(Protector-Deity) of this branch. The other shikhara temple of 

stone, contains an image of Padmapani Lokesvara. 

The entrance of the main quadrangle, Uku Baha, is marked by two stone 

lions which are images of Harihariharivahana Lokesvara with the lion resting 

on an elephant which in turn rests on a turtle. Over the doorway is a new 

wooden torana put up at the time of renovation in 1982, depicting the 

Buddha (Aksobhya), flanked by the Dharma (Prajnaparamita) on his left and 

the Sangha (Avalokitesvara) on his right. Records credit the renovation of that 

period to Prince Dhirendra, member of the former Royal Family of Nepal. It is 

said that the completion of the renovation had received a special audience 

from the Royal family including former King Birendra, along with the Prime 

Minister and foreign dignitaries, which depicts the importance of Uku Baha 

for a country like Nepal. 




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The sunken courtyard of the Uku Baha is a jewel of 

Nepalese architecture. Although fundamentally of 

Buddhist origin for the religion they served, certain 

combination of art was appropriated from Neo-classical 

style of the Rana period which after its renovation 

during the reign of Gen. Chandra Shumshere. 



UKU BAHA – THE MAIN COURTYARD 

The main courtyard is a jewel of Nepalese 

architecture. The pattern, opulence and variety 

exercised here give any of its observer’s a sense of 

magnifi cence. From U Baha Gathica we observe the 

façade of the central quadrangle. To a casual observer 

it might well seem as a usual façade of a Baha with 

tactfully placed windows - Pasuka Jhya (with fi ve 

openings), Chhapa Jhya (Blind window for decorative 

rather than functional purpose) and Tiki Jhya (lattice 

window). But a closer observation might reveal the 

plastic embellishment, as will have been gathered, is of 

a special character. While the intention of the building, 

as well as their surface treatment, was fundamentally of 

Buddhist origin for the religion they served, on the other 

hand, certain combination of art was appropriated from 

Neo-classical style of the Rana period which had been 

appropriated during its renovation during the reign of 

Gen. Chandra Shumshere. In the design of the façade, 

the craftsmen employed pilasters contemporary to 

the Rana period, which might have infl uenced Nepali 

Builders during that time. 

The main quadrangle is fi lled with a luxuriant 

representation of mystical beings of metal and an 

extensive repertoire of varied motifs. Such carvings 

are generally unobtrusive, but encompass some of the 

most consummate artistry in the monastery precinct. 

Although the monastery quadrangle is morphologically 

similar to a palace and a commoner’s house, they differ 

in certain ways. Some differences can be accounted for 

due to the function of the Bihar as a residence for the 

Sangha and at the same time by its role as a house of 

God. The use of gilt metal in the monastery quadrangle 

far exceeds the somewhat modest use of metal in other 

similar monastery quadrangles. And as like the metal 

works, paintings are also used in the main courtyard 

for embellishment and didactic purposes. However 

these paintings are scattered and confi ned to some 

medallions or isolated panels. Carved struts support the 

roof which is overlaid with special tiles viz. Aenpa. 

On entering the U Baha, the Dalan (entrance 

hall / vestibule) opens out into a sunken courtyard, 

from which can be seen the main shrine standing 

resolutely and telling tales of grandeur and passion 

of its creator. This Ying-Yang relationship (open-tosky-space 

surrounded by solid built forms and viceversa) 

generates a fi gure/ground pattern in which 

open spaces act as areas of visual rest between the 

enclosed volume. The courtyard is fi lled with artistic 

objects of metal and stone, some of which are strangely 

incongruous. The pair of horses, garuda and lion in 

front of the shrine are totally unlike those seen in 

other traditional temples. Adding to the concourse is 

a standing life-size statue of Juddha Shumshere Rana, 

the Prime Minister who sanctioned funds for renovation 

after the great earthquake in 1934. 

To some extent opulence is often correlated with size. 

Though Uku Baha is not as large as the magnifi cent palaces 

of the Mallas, it is still an exception, and its popularity can 

be seen by the donations it subsequently attracts and 

which still continue. Stretching north of the shrine is a 

row of traditional pieces - Licchavi style Chaityas; stone 

Dharmadhatu mandala surmounted by a Vajra; a recess for 

the sacred fi re; a metal lamp on a stand and an image of 

Manjushree with his ensemble. Next to these artefacts is a 

large image of a devotee referred to as Ratna Maniju, who 

had made a substantial offering for the Baha. 

The fi rst fl oor of the quadrangle is white washed with 

lime-plaster while the ground fl oor is of exposed brick. 

The method of headers and stretchers is followed, care 

being taken that no two joints came over one another and 

a mixture of clay is interposed between the joints as an 

adherent. In conjunction with statuary based upon Newari 

architecture, neo-classical elements also have been freely 

employed by the craftsmen and the distinctively composite 

style thus evolved, displays a fusion of Neo-classism of 

Rana period with Buddhist ideals. 


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Though Uku Baha is not as large as the 

magnificent palaces of the Mallas, it is still an 

exception, and its popularity can be seen by 

the donations it subsequently attracts and 

which still continue. 

The red faced Shakyamuni 

Buddha, ‘Kwapa-dya’, 

inside the main shrine. 

MAIN SHRINE 

While the rest of the quadrangle is used as a workshop 

for members of the monastery, the shrine is in effect as a 

Buddhist temple. The main shrine which is three storied 

with two roofs supported by carved struts, houses the 

Kwapa-dya , and is taller than the rest of the building. 

The fi rst storey has the usual fi ve-fold window fl anked by 

fi gures, over which is a small torana showing Aksobhya 

and at the end of the façade are cast metal peacocks. Five 

gilded chaityas rest against the fi rst roof with a sixth set in 

front of them. The low façade of the next storey has fi ve 

false windows. Each short strut support a lattice work, the 

over-hanging balcony, which in turn supports the gilded 

copper roof. The use of gilt metal is on both tiers of the 

shrine and also on the façade of the ground fl oor. 

The roofs are entirely sheathed in copper – gilded 

with fanciful gajura, rows of human faces and metal 

streamers. The shrine door, doorway and torana above 

it are also of gilt copper. Such doorways are splendid 

monuments to the Nepali art of metallurgy and contain 

miniatures of great artistic and iconographic importance. 

From the roof hangs a single banner which fl ows down 

over the lower roof. It is believed that King Shiva Dev 

during the 6th century performed his initiation rites here, 

a custom followed later by several Lichhavi kings of Patan. 

The practice was discontinued until King Rudra Malla 

revived it in the 13th century. 

The remaining buildings of the quadrangle have 

retained the style of a Baha. The fl oors of the two storied 

court style building are divided into different rooms 

overlooking the courtyard. While two doors fl ank the 

shrine itself with one leading to the large nani (courtyard) 

behind, the other leads upstairs to the main agam of the 

Baha. The eastern wing and the western wing both have 

an open space on the ground fl oor with doors at the either 

end leading to store rooms, or to the area upstairs. The 

façade of the upper storey of these two wings has a triple 

window over each doorway and a fi ve-fold window in the 

centre. Some of the exquisite wood carving, like struts 

depicting willowy goddesses standing upon dwarfs or 

demons, dates back to the early 14th century. 

PRESERVATION AND CONSERVATION ISSUES 

The people of Uku Baha have exercised great care and 

with the establishment of the Rudravarna Preservation 

Committee, which handles the day-to-day culture and 

religious practices besides the maintenance of the 

monastery, the complex of Uku Baha can be said to be 

in a relatively satisfactory state. The protection of the 

Monastery is conducted through a joint effort of the 

afore mentioned Sangha, who even have a protection 

team patrolling at night. However the Sangha lacks 

co-ordination from the local law enforcement agencies. 

Acting President of Rudravarna Mahabihar Preservation 

Committee, Mr. Dharma Raj Shakya is unhappy at the 

indifference shown by the Lalitpur Municipality and the 

Department of Archaeology for the preservation of this 

monastery and stresses on the need for co-operation and 

co-ordination from such Governmental bodies. 



At the same time, Mr. Naresh Man Shakya of 

Mahabauddha Baha, a branch of Uku Baha, suggests 

additional promotion campaigns for such heritages 

towards income generation of the community as well as 

heritage preservation - both tangible and intangible – as 

both Uku Baha and Maha Bauddha Baha have a strong 

possibility for attracting tourists. These sites can be taken 

as models for development of a particular place through its 

Architecture. Such practices are encouraged to be done for 

other Bahas of Patan which lack such co-ordinated effort. 

Although it might be a social process of commoditisation 

of our heritage yet it is very relevant and is needed in the 

present context for a country like Nepal. 

Meanwhile Dr. Rohit K. Ranjitkar, Nepal Program 

Director of Kathmandu Valley Preservation Trust (KVPT) 

states that prolongation of such structures depends upon 

its maintenance. Although specifi c studies are to be done, 

he is of the opinion that the main cause of deterioration is 

moisture, which may be due to roof leakage or dampness 

rising from the ground. 

CONCLUSION 

Rampant urban population growth has already 

overwhelmed the existing utility systems of Kathmandu 

and barbarized the traditional city form. Nevertheless, 

Rudravarna Mahabihar is a monumental architectural 

structure and can be seen as a nexus for tourism 

development. Historical preservation goals are to be served 

if the needs of local inhabitants are to be fulfilled. Many 

other recommendations can be developed as subsidiary 

activity which is beyond the purview of this paper. However, 

it can be safely concluded that nothing has failed to find a 

place in Patan’s Uku Bahal, whether it be old, middle-aged or 

modern. The structure represents the golden age of Nepal 

– an ensemble of its glorious past - a treasure produced by 

the artisans from the City of Artists called Patan. 

1. The Tago ChiBaha complex located directly 

behind Uku Baha is one of the branches of Uku 

Baha. It has a large chaitya known as Yatalibi 

chaitya in the centre but is has no Kwapa-dya . 

2. Construction of the Uku Baha dates back to the 

6th century AD during the reign of the Lichhavi 

King, Shiva Dev. Its customs are still followed and 

adhered to by the Shakya clan of Uku Baha 

Acknowledgement 

• Prof. Dr. Sudarshan Raj Tiwari, Institute 

of Engineering, Lalitpur 

• Dr. Rohit K. Ranjitkar, KVPT, Lalitpur 

• Ar. Punya Sagar Marahatta, Lecturer, 

Institute of Engineering, Lalitpur 

• Mr. Dharma Raj Shakya, President, 

Rudravarna Mahabihar Preservation 

Committee 

• Mr. Naresh Man Shakya, Resident, 

MahaBauddha, Lalitpur. 

References 

• Shakya, Hem Raja. Rudravarna Mahabihar – 

Chhagu Addhyan. Yala: 2538 Buddha Jayanti 

Samaroha Samiti. 

• Locke, John K. Buddhist Monasteries of 

Nepal, Kathmandu: Sahayogi Press Pvt. Ltd, 

1985 

• Slusser, Mary Shephard. Nepal Mandala. 

New Jersey: Princeton University, 1998 

• Korn, Wolfgang. The Traditional Architecture 

of Kathmandu Valley. Nepal: Bibliotheca 

Himalayica, 1976 


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PRODUCT 

Category: Jacuzzi 

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ideas 

BY HAND 

Charming Paper Décor 

Cheap and beautiful Martha 

Steward inspired. 

TEXT, CONCEPT & STYLING: EVA SHRESTHA PHOTOGRAPHS: A. RAJBANSH 

1 2 

3 

4 

WHAT YOU NEED 

Color paper 

Scissors 

Pencil 

Glue stick 

Step 1. Draw a spiral on a sheet paper 

Step 2. Cut out the spiral line 

Step 3. Begin rolling up the spiral from the outside until 

there’s no more left to role 

Step 4. Use a bit of glue to keep the fl ower from unrolling. 



IDEAS 

How easy! 

How cute! 

Dog eared book page can damage your page 

instead try this cool and unique DIY book mark. 

WHAT YOU NEED 

Color paper 

Scissors 

Ruler 

Pencil 

Glue stick 

Other decorating tools (optional)s 

Marker, stickers, stamps, etc.. 

Step1. On a piece of plain scrap paper, draw a square. 

Use your ruler so its sides are perfectly straight. 

Draw second square exactly the same size on the 

right side of the fi rst square (so they share a side) 

and a third square exactly the same size on the 

top of the fi rst square. You should end up with 3 

squares that compose an L shape. 

Step 2. Using your ruler, draw a diagonal line across the 

uppermost square, from its top right corner to its 

bottom left corner. Scribble out the upper left half 

Next, draw a diagonal line across the bottom right 

square, from its top right corner to its bottom left 

corner. . Scribble out the lower right half 

Step3. Cut out the scribble part. You should get a square 

with two triangles attached to it, one on the top 

and one on the right 

Step 4. Fold one triangle inwards, Apply glue to the 

underside (the side still facing up) of the second 

triangle, and fold it over onto the fi rst triangle. 

Step 5. Add any decorations or illustrations you wish. 

2 3 

4 5 

1 


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IDEAS 

Easy and 

elegant dessert! 

Who doesn’t love a chocolate covered strawberry? They 

are so easy to make that we don’t have to wait for a 

special occasion. 

INGREDIENTS 

Semi sweet chocolate 

Strawberries 

RECIPE 1 

1. Place chocolate in a bowl set over a saucepan of simmering water. Stir 

occasionally until melt. 

2. Hold the strawberry by the stem dip the bottom half of each strawberry in 

the melted chocolate. Place it on top of the baking wax sheet. 

3. Chill chocolate- dipped strawberry at least 15 mins to set chocolate. 

Note: the chocolate dipped strawberries are best if eaten in 24hrs. 

Serve at room temperature for greatest fl avor. 

Create a centre piece 

using Orchid 

THINGS YOU NEED: 

• Clear vase (Shape & Size as your preference) 

• Pebbles/Marbles anything suitable for the vase 

• Orchid 

1. Start with placing pebbles in the vase which will also 

act as an anchor for the orchids to hold them down. 

2. Place the orchid in the vase, try to put the stem 

among the pebbles so the orchids are held down. 

3. Fill up the vase with water. 

4. Finish it up by toping it with fl oating candles. 

TIP: 

• Water your orchid plant only once a week, and allow 

the water to drain. 

• Place the Orchids away from the direct sunlight. 




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ART 

Artists 

reclaiming 

the public 

spaces 

TEXT: USHA SHARMA 

Kathmandu valley known for the rich art and 

architecture, slowly seem to have lost its charm 

.Everywhere around the city, posters banners, commercial 

hoarding boards and above all political slogans can 

be seen. Once, known as the city of temples and 

city of ancient fine arts the city is now known for the 

overcrowded, unwanted, unsystematic settlements. Along 

with the pace of change and urbanization once adorned 

by the magnificent artifacts the city now is shadowed 

by the changes. The mesh of unplanned, unsystematic 

overcrowded buildings. To add to that everywhere around 

the city there are advertisement boards, posters, billboards 

and above all the political slogans. Almost every nooks and 

corners of the city seem to be occupied by the marketing 

strategies of every minor products and dominated by 

the political agenda. A city inevitably renowned for the art 

culture is overshadowed in the advertisement pollution. 

But, from the past few years, along with the 

intervention of pollution, a few peculiar changes started 

appearing in the city. The most needed change to the art 

admirers and art enthusiasts. Group of artists began to 

showcase their artistic venture on the walls and public 

spaces once dominated by “visual pollution”. The sites in 

the public places were not essentially targeted as the war 

against “advertisement pollution”. The main purpose of 

utilizing the misused public places started as a process 

of replacing the negativities created by the slogans and 

advertisements by something creative and innovative. 



ART 

Street art on the theme 

“Stop Violence Against 

Women” by Artudio 

Street art by Art Lab on 

the walls of teku road 

CITY OF MURALS 

The new generation of artist is 

working in collaboration to embellish 

the city with murals. Sattya media 

art collective has initiated a 

project”Kolor Kathmandu”. As 

the name suggests, through the 

project the artists from various 

background are trying to intrude 

the public spaces and display their 

magnifi cent art works with murals. 

This new wave of making street 

murals is targeted towards replacing 

the ugliness of advertisements and 

slogans. It also started as a quest to 

reclaim the public walls. The murals 

are a medium to bring splendid art 

works of the artists to the public at 

the same time generating a vibe of 

happiness to the public through thee 

refreshing colors of art. 

“The goal of the project is to 

bring art closer to the art lovers, 

promote art and revives the art 

tourism”, states Yuki Poudel, project 

director at Kolor Kathmandu. The 

objective of the project is to develop 

a new generation of mural artist and 

also developing Kathmandu as city of 

murals. 

Besides adornment of the 

city, through the murals the city 

dwellers will be able to observe a 

hint of diverse culture of seventy fi ve 

districts as well. The ongoing project 

hopes to bring a little refl ections of 

the whole country to the capital city. 

Each mural will somehow resemble 

some critical issue not in a very 

concrete but just an attempt to make 

the murals more meaningful. Through 

the murals the artists hope to change 


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ART 

the ambience of the city at the same 

time question the limitations of art. 

The murals have revived the art 

values of the city at the same time 

is a beginning of create meaning ful 

art in public places that are either 

wasted or misused. The expressions 

of artist at such places could be 

sources of inspiration to the passerby 

and bring attention to the general 

public on many issues depicted in 

those art works. The murals could 

be developed as a mirror of the 

prevalent society. 



ART 

Mural by Kolor Kathmandu 

team on the go 

Mural titled “Bajura” by 

Shradhha Shrestha and Kolor 

Kathmandu team 

STREET ART CULTURE 

The culture of street at is not so common to the art scene. But slowly the 

young generations of artists who are infl uenced by the popular Western street 

art culture have brought the culture to the walls of the city. The purpose of 

creating the street art is no different to the mural artists. They have been 

working on the same concept of bringing art outside the gallery. The artists 

however claim that though they have been following the trend of street art, 

their aim is not rebel against the politicians or the advertisement culture. Street 

art to them is just another way of following art for art sake. 

“We are defi nitely infl uenced by the street artists, graffi ti around the world 

but at the same time have tried to give a Nepali touch”, says Aditya Aryal one 

of the artists following the trend of street art,who has been actively involved in 

this form of art for almost a year. 

ART ON SOCIAL CAUSE 

The artists have certainly broken the boundaries of the traditional ways of 

following art and brought art to the public places through various medium. 

Public places give an opportunity to the artist to interact to the general public 

and receive their views towards art. However, the purpose behind bringing art 

to the public spaces is not limited to bringing art works outside galleries. When 

artists come on streets they have a common voice to share. The artists are 


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ART 

paining the walls replacing the visual 

pollution with something innovative, 

but at the same time their works 

have refl ected the contemporary 

socio-political issues. From the 

health issues of washing hands to 

the much hyped issues of women 

violence and many other social 

issues, the artists displaying their 

work on public walls have tried to 

reach to the public by supporting 

their cause and problems. The 

artists have tried to contribute to the 

society by spreading awareness on 

related topics through art in public. 

In a way they are creating art in 

public for the public, and the artists 

are working as a catalyst to spread 

awareness regarding social and 

political issues. 

“The artists are not only 

trying to reclaim the misused 

public spaces but at same time 

our collaborative works are also a 

medium to raise voice on the social 

issues”, Kailash K Shrestha, a visual 

artists shares his experience of 

working on the streets. He has been 

initiating the collaborative projects 

of street art for almost two years 

and most of the works are on the 

social issues. For him bringing art 

to the public spaces is a medium 

to vandalize the wrong culture of 

advertisements and political parties. 

General public are fooled by these 

slogans and the artists have put 

their efforts to support a cause and 

contribute to the society. 

The artists are undoubtly 

following a commendable works 

by replacing the dominant 

advertisement culture and the antigovernment 

slogans, by something 

new, creative, and refreshing to 

the general public. To some artists 

working in public places is just a 

matter of another practice of art 

Mural “Sindhuli “ by Kolor 




ART 

Street art by Art 

Lab spreading the 

message of unity 


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ART 

Mural on the 

process by Kolor 




ART 

Street art done with school children on the theme of 

Handwashing on the walls of Trichandra College 

and experiment. In a view of few 

street artists, street art can be boring 

but must refl ect some contemporary 

issues. While to some it is just an 

initiation towards replacement of 

negativities by positivity spread 

through various medium of art. 

The artist are reclaiming the public 

spaces to spread happiness to 

public through the arts at the same 

they are contributing their efforts to 

the society. 

PHOTO/REFERENCE: 

Artlab,Artudio,Satya Media Arts Collective 

For more on murals and street art: 

kolorkathmandu.sattya.org, 

www.artudio.org,artlablife.com 

Street art by Art Lab 


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FROM THE SHELF 

NEPAL 

A Guide to the 

ART & ARCHITECTURE 

of the Kathmandu Valley 

This book is the result of an 

initiative taken by Paul Strachan 

of Kiscadale Publications. who 11 

rst approached the editor in 1990. 

It aims to provide the curious 

traveller with an introduction to 

the art and architecture of what 

has been termed the ‘heart of 

Nepal’—die Kathmandu Valley. 

It will not tell you where to stay, 

what to eat or what to wear. 

Instead, it aims to explain and 

describe the extraordinary cultural efflorescence that took 

place in Nepal over many centuries, and to direct the visitor to 

some of the most important sites and monuments. Although 

it is not a large county, Nepal contains a number of different 

cultures and traditions. No one book could describe all of 

this variegated heritage in any measure of detail. Therefore, 

this book focuses on specifi c aspects of the culture of the 

Kathmandu Valley, and on selected sites within it, without 

pretending in any way to present a comprehensive treatment 

of the subject. Nonetheless, these descriptions of palaces, 

temples and stupas in the Kathmandu Valley are rather more 

detailed than those that appear in any tourist guide. 

THE KATHMANDU VALLEY 

The ancient history of the Valley begins 

with a myth - or rather, with a number 

of myths among which one particular 

account has gained the widest acceptance. 

This is preserved in a Buddhist text, the 

Swayambhu Purana. The earliest known 

copy of this text dates from 1558, but it 

may recycle a much older myth of lakedrainage 

that originates ultimately from 

Khotan in central Asia. Each myth describes 

the draining from the Valley of a huge lake, 

often called the Naga-vasa-hrada (lake of 

the Nagas’ abode). The geological record 

confi rms the existence of this lake during 

the Pleistocene era: subsequent erosion 

by rivers and streams has removed the top 

layers of sediment (tar) to increase the area 

of fertile plains (dol) of lacustrine soils. Most 

of the Valley’s settlements were built on the 

higher tar plateaux. 

According to the Swayambhu Purana, 

the lake was inhabited by a large number 

of Nagas—serpentine creatures closely 

associated with water, rain and agricultural 

fertility which are ubiquitous in the art 



FROM THE SHELF 

of the Valley. Prompted by the 

miraculous appearance of a lotusborne 

fl ame upon the waters of 

the lake, the Bodhisattva Manjushri 

came down from the north to cleave 

the southern rim of the Valley with 

his sword and release the waters, 

thus rendering the Valley habitable 

and suitable for the propagation 

of religion. Nowadays the gorge at 

Chobhar, to the west of Lalitpur, is 

identifi ed as this cleft, though the 

Bagmati river actually leaves the 

Valley through the Kotwal (‘swordcut’) 

gorge a few miles downstream. 

The foundation of a shrine to protect 

the fl ame (called Swayambhu: 

‘self-existent’, ‘self-manifest’) on 

a hill called Singum (cowtail) or 

Goshringa (cowhorn) is dated to 

prehistoric times by the myth. A 

Hindu (Vaishnav) account of the 

draining of the Valley gives credit for 

the action to Pradyumna, the son of 

Krishna, who thus released the rivergoddess 

Vagvati (the Bagmati) from 

the demon who had imprisoned her. 

This version of the myth was given 

greater credence during the late 

Malla period than it is today. 

Essential for both the traveller 

and scholar alike, Nepal fi lls a long 

dormant gap in the literature of this 

spectacular region and Is a product 

of many years of individual research 

by scholars of Nepal’s history, 

religion, art and sociology. It draws 

on a variety of authoritative studies 

of Nepal’s cultural history that have 

been published in European and 

Nepalese languages. 

The guide begins with 

an overview of the history of 

Nepal. This focuses on the 

Kathmandu Valley, with its rich 

and sophisticated culture, but also 

outlines developments of historical 

importance outside the valley. This is 

followed by a detailed introduction 

to religion as it is practised in Nepal: 

here, the. focus is on Hinduism and 

Buddhism, and on the major deities 

of each tradition, their relationship to 

one another, and their representation 

in art and sculpture. 

There are also introductory 

chapters on the main forms of 

architecture and the principal art 

forms: painting, stone sculpture, 

metalcasting and woodcarving. 

The second part of the book 

consists of in-depth descriptions 

of specifi c sites within the 

Kathmandu Valley, each written 

by a scholar who has a long and 

intimate acquaintance with the 

temples, palaces, stupas and other 

monuments he or she describes. 

The book is copiously illustrated with 

photographs in monochrome and 

colour,, and contains maps and linedrawings. 

There is a chronology and 

a full glossary of Nepali, Newari and 

Sanskrit terms. 

Although written mainly by 

academics, the book is intended 

for a general readership. Easily 

portable in format, Nepal does not 

tell the reader where to stay, what 

to eat or what to wear. It will though 

help those who wish to appreciate 

the cultural splendours of Nepal in 

their historical and religious context 

and require more information than 

is imparted by the average tourist 

guidebook. 


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COLUMN 

OPEN SPACES 

Saturday is an official holiday across the country. Generally women in the family spend the day 

washing the weeklong used garments. A house owner in western part of Kathmandu hangs 

laundry that will be used in the following week. 

ABOUT THE 

PHOTOGRAPHER 

Kapil Raj Khadgi, is a part time 

photographer who was trained in 

SCC. His work has been exhibited 

in Kathmandu. He is an active 

volunteer at SCC. 

Open Spaces is dedicated column at SPACES, 

where School of Creative Communication (SCC) will 

contribute photographs related to art, culture and 

many more. SCC, is open platform for the creative 

beings, it is located at Kupondol, Lalitpur. 


March 2013 

Web: www.scc.org.np 

Facebook: http://www.facebook.com/scc.kathmandu


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