1. Jan-Feb 2011

JANUARY - FEBRUARY 2011
ART - ARCHITECTURE - INTERIORS - ACCESSORIES
www.spacesnepal.com
Heaven Here On Earth
Lodge Thasang Village
Resorts World Sentosa
Where Context Meets Context
The Courtyard Houses of
Upper Mustang
Price NRs. 100/- IRs. 65/-
HOW TO
Sustainability of
Changing Times
Kathmandu Dubar Square
WAYS TO REDUCE RISKS IN HOUSE INVESTMENT
WAYS TO REDUCE RISKS IN HOUSE INVESTMENT
SECRETS TO SUSTAINABLE ARCHITECTURE
7SECRETS TO SUSTAINABLE ARCHITECTURE
OWN A SOLAR WATER HEATER FOR RS. 12,000
SAVE ON YOUR BUILDING COST
'Kathmandu Sustainable Urban Transport Project'
January-February 2011
1
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CONTENTS
Vol 7 Issue 2 / January - February 2011
38
Cover Story:
ARCHITECTURE
Heaven Here On Earth - Lodge Thasang Village
by Ar. Swati Pujari
In the valleys of the Kaligandaki River live the ethnic group called Thakalis. Lodge
Thasang Village, built by A.S. Tulachan, a local resident of the nearby Tukche Village,
portrays their culture in all its uniqueness, both in terms of the place and the
experience.
48 ARCHITECTURE
The Courtyard Houses Of Upper Mustang
by Ar. Kai Weise
Upper Mustang is one of those fascinating places where the traces of the evolution
of human civilization are presented through the diverse forms of shelter that have
developed over the centuries. However, the essence of dwelling is expressed through
its simple but effective courtyard houses.
56 INTERNATIONAL
Resorts World Sentosa
by Ar. Bansri Pandey
Resorts World Sentosa (RWS) , designed by Michael Graves and Associates is one
of the world's most extensive and expensive multi-recreational luxury park at
Singapore.
COVER PHOTO :
A view of the Dhaulagiri range from
the entrance Lodge Thasang Village
PHOTOGRAPH: Ashesh Rajbansh
24 IN FOCUS - CIVIL GROUP
7 ways to reduce RISKs in
House Investment
28 SOLUTIONS
• 7 Secrets to Sustainable Architecture
• Save on your Building Cost
• Build Your Own Solar Water Heater
for Rs. 12,000
62 INTERIOR
Where Context Meets Context
by Ar. Kalpana Bhandari
A civilization like ours serves as an arboretum
of architectural styles. It is interesting to
observe how different styles blend under the
same hood expressing their own story.
70 HERITAGE
Changing Times
The Kathmandu Durbar Square
by Ar. Swati Pujari
The Kathmandu Dubar Square has been built,
destroyed and rebuilt through centuries to get to its
present situation. In its grandest form, approximately
150 years ago, the Hanumandhokha Palace Complex
had 35 Chowks; now only 12 remain.
79 ANALYSIS/OPINION
Sustainability of “Kathmandu
Sustainable Urban Transport Project”
by Ar. Yatra Sharma
Much has been about the condition of our roads
and traffic, but very little has been done to
improve its condition. Amidst this dire situation,
a proposal from ADB called “Kathmandu
Sustainable Urban Transport Project” comes as a
beacon of hope. Or is it?
86 ART
Syed Iqbal Geoffrey: artist with a double life
by Madan Chitrakar
Barrister Paris Biennale laureate Syyed Iqbal Geoffrey,
who recently held his first exhibition of collages in
Kathmandu, leads a double life -an artist with unusual
thoughts and expression, and the other, a fearless
and highly sensitive barrister.

INBOX
C
ongratulations on a wonderful issue. The
additions on ‘Solutions’ and ‘Accessories’
were very informative.
Ar. Smita Shrestha
( syangboshrestha@yahoo.com)
I
finally had some free time to catch up with
past Spaces issues. Congratulations on
another great year of Spaces. I really enjoyed the
articles on foreign architects, the Vastu essays,
and the new focus on interior design. I agree that
interior design has exploded in the last few years
in the Valley and is in need of critical attention.
Andrew Nelson
(asn8p@virginia.edu)
Regd. No 30657/061-62 CDO No. 41
Managing Editor / Editor
Photography / Production Control
Assistant-Marketing & Sales
Public Relations
Editorial Assistant
Contributing Art Editor
VOLUME 7 ISSUE 2
January-February 2011
Uday Sunder Shrestha, B.E, B.Sc.
Ashesh Rajbansh
Pratima Bhandari
Prakash Bahadur Amatya
Swati Pujari, B. Arch.
- Madan Chitrakar
- Kasthamandap Art Studio
Contributing Editor - Darjeeling Hills Barun Roy
- Delhi Ar. Jinisha Jain
- Sikkim Ar. Chetan Raj Shrestha
Accounts / Admin
Correspondents
Design / Colour Separation
Printed at
Rajesh Dali
Ar. Bansri Pandey
Ar. Kalpana Bhandari
Digiscan Pre-Press
Naxal, Kathmandu. Phone: 4436817
Format Printing Press
Hadigaon, Kathmandu, Phone: 4010160
M
any congratulations on both articles – and
a very good issue of Spaces – you have a
great magazine. Lovely stuff! Many thanks.
Marcus Cotton
(marcus.cotton@tigermountain.com)
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www.spacesnepal.com 12
January-February 2011

EDITORIAL
L
ast year in December 2010, a photo
competition was organized on the
theme ‘Photos of Risk’ by the Nepal
Risk Reduction Consortium at Kathmandu – a
commendable effort towards getting photo
enthusiasts to think and advocate about the need
to address disaster risk. Yes, all and especially
us Kathmanduites, must realise the gravity of
the situation. It is a known fact that Kathmandu
sits on a veritable time bomb. And going by
what experts have to say, we do not have more
than three years before the next big earthquake
brings down hell on us! Besides, this, another
disaster we are inviting upon us city dwellers is
the mad rush to build taller and taller. No doubt,
each developer/designer has his logic for such
enterprises, both technical and commercial, but
what we must be able to question is the status
of the safety infrastructure available in case of a
disaster – especially earthquake and fire! We also
need to take into account the cold facts that the
earthquake is imminent; that most of Kathmandu
lies on sand which will liquefy in case of an
earthquake; that the earthquake preparedness is
flimsy if not superficial; the fire brigades are very poorly equipped and have practically no control
over 30 metres height (they are so helpless that they need to look for donations to improve their
infrastructure!). The situation no doubt is grim......
On a more positive note, the Nepal Tourism Year is finally on us and everyone has their
fingers crossed. As for us, we travelled up to ‘Lodge Thasang Village’- a wonderful hotel with a
magnificent view of the Dhaulagiri range right in front of your nose. Lovingly developed by a local,
Arjun Tulachan, a man so infectious with his positive attitude towards life and the country, the
hotel, coupled with the ambience of the surroundings, truly makes it a ‘Heaven, here on Earth’.
Students practicing an earthquake drill in Lalitpur
(Photo: Kiran Panday)
But speaking about Lodge Thasang Village was not enough information on Mustang, which
brought us to Kai Weise, who has managed to rummage through his travel diaries and speaks
here about the Courtyard Houses of Upper Mustang. And combined with our photographer,
Ashesh’s magnificent photos, the article will surely give you a taste of what nature has in store
for you in this wilderness.
And finally, to add (or compare) to the resort theme, The Resort World Sentosa at Singapore will
give you a taste of what indulgence in luxury would mean – not doubt, a far cry from what we
have, but nonetheless the natural luxury factor up our sleeve will surely tip the scale.
However as we come back to reality, and in spite of the happy endings and happy new year
greetings, the ground reality, as stated above still remains grim...
Until the next resort....
House set ablaze by leaking cooking gas in a crowed
area of Kathmandu. (Photo: Nipendra Pradhananga)
Editor's Note :
Looking For A Platform?
• To publish your Architectural / Interior Design / Research Works.
• To explore your writing abilities on Architecture and Interior Design.
• To voice your opinion on Planning, Environment and Design Issues.
Write to editor@spacesnepal.com

CONTRIBUTORS
Ar. Kai Weise
Ar. Yatra Sharma
Ar. Sachin Baral
Ar. Kai Weise is a Nepali national
of Swiss origin. He completed
his Masters in Architecture from
the Swiss Federal Institute of
Technology, Zurich in 1992 and
has been working as a Planner and
Architect in the Himalayan Region.
Ar. Weise has been working in various
capacities as a UNESCO consultant
and advisor to the UNESCO office in
Kathmandu since 2004. He has been
involved in preparing Management
Plans for various World Heritage
properties; Kathmandu Valley,
Lumbini and the Mountain Railways
of India. (paharnepal@gmail.com)
Ar. Yatra Sharma is a post
graduate in Urban Management
and Development studies from
the Netherlands, Institute of
Housing Studies. After graduating
in Architecture from Pulchowk
Engineering College, she was
involved in various architectural
projects in both government and
private sector. Currently, she is
teaching at Khwopa Engineering
College and is involved in a range of
architectural and urban research
works.
(yatrasharma@gmail.com)
Ar. Sachin Baral obtained his
Bachelor’s degree from Shivaji
University, Maharashtra, India
and Master’s in Urban Design
from University of Hong Kong.
He has been associated with the
Kathmandu Engineering College
since 2002 in different capacities
and also practices through his
architectural firm Neo-Praxis Consult
(P). Ltd. Ar. Baral plans to further his
professional practice in Australia in
the near future.
(sachinbaral@hotmail.com)
MESSAGE
FROM SONA
It was on a good sunny day, Dec 23th , that we
all in the executive committee of SONA decided
to head towards Bhaktapur Durbar Square from
our usual place at De Valley Restaurant in search
for a venue. As the head count increases beyond
a dozen it has been a usual ritual in the Society
to hunt for a table for meeting as we are mired
by lack of space since the beginning. The dire
situation of the Society may be better explained
by the small den we occupy at Kalmochan Ghat,
Tripuresor, although we ought to be thankful to
Guthi Sansthan. Nevertheless, we ardent fans
of the architectural community in the executive
committee are always in the mercy of the monkeys
who aimlessly loiter around the premises.
The last few meetings of the Society has been
very peculiar as we decided to embark on a
momentous journey to find our own space in spite
of limited means. Our predecessor must have tried
umpteen number of times to get solace from the
government for the basic dwelling rights of SONA, which could be a discarded plot - a space which
could possibly fit a few tables and chairs - but only in vain, always finding cover in the shadow of
Narayan Mandir at Kalmochan Ghat. With the resources that we have, owning a footprint for the
building is beyond imagination, but possibly we can buy a space in an Apartment or Commercial
building or develop some land on lease on charitable basis. Now the biggest concern has been that
are these available spaces governed by the legislation for commercial office setup?
Going back to the venue of the meeting at Bhaktapur Durbar Square, I was rather amazed to see
some instances where small traders operate in the plaza of Taumadhi around the majestic fivetiered
Nayatapol and Sidhi-Laxmi Temple. The fortress built during Malla Dynasty still glorifies the
richness of Nepalese traditional architecture. Presumably we should be borrowing the essence of our
mindset by the virtue of our heritage and culture. The traders operating there since generations have
been enjoying equal rights and commands on business as the shared owner of the property. Their
business running through centuries must have been pivotal for the economy and a predominant
factor defining courtyard architecture of the old cities. Unfortunately these days the primary owners
of the dwellings in many part of the city are lost into oblivion by limitation of the law. Alas! They
were the ones to imbibe ’Athiti Devo Bhava’ by subletting the space to traders on lease, literally
succumbing to the cruelty of legislation with the limited option
The usual slim dwellings we bump around in many areas of the city are the byproduct of ownership
act. The properties are divided and subdivided ending to a situation which merely fits the stair lobby
as if people are never meant to lose their building foot-print by the interpretation of the existing law.
Here I shall quote a fable where a king tells his peasant that he shall own the entire stretch of land
he fathoms in a single day; the desperate man covered such a large distance, ultimately leading
to heart failure by exertion and gained nothing. The sporadic emergence of commercial activities
around the nooks and corner of the valley is one of the biggest culprits for outward migration of true
dwellers of the core area. The basic problem at this juncture is our legislation which rarely allows
vertical ownership of the land. The sentimental value of the owner never allows people to leave their
property if their rights are protected by law, irrespective of the price it can fetch. In earlier times, the
dwellers and the traders used to coexist and own it jointly as in Taumadhi, Bhaktapur. Albeit things
are changing slowly with the emergence of Nepal Apartment and Housing Act which allows owning
and sharing common facilities in multiple levels. But can it be applied to commercial setup is a big
question to be answered.
But surprisingly, the limitation on the legislation for the ownership of vertical space for different use
has created smart ways to float building as transactional shares. There are numerous examples of
property being owned in that fashion. The repercussions are yet to be seen for nuisance reasons if
people are not allowed to own spaces vertically as evident from existing property ownership laws.
The government shall have to act swiftly to revive the existing building ownership act for commercial
property for better reasons - the very fundamental aspect hindering the growth of good urban
spaces in Kathmandu valley.
With this note, as the Society is embarking on an ownership spree, I shall advise the authorities to act
judiciously to protect the rights of so many buyers and the investors, who have started enjoying the
benefit of coexistence in the commercial setup before it is too late! And lastly let me conclude this as
a food for thought that the society has envisaged for a better Kathmandu.
Debesh Raj Bhattarai, General Secretary, Society of Nepalese Architects
www.spacesnepal.com 16
January-February 2011

January-February 2011
17
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www.spacesnepal.com 18
January-February 2011

NEWS AND HAPPENINGS
14 th ARCASIA STUDENT’S
JAMBOREE
25 th – 30 th October, Lahore, Pakistan
The 14 th ARCASIA Student’s Jamboree with
the theme ‘Dynamism in Architecture –The
Asian Spirit’, was held at the University of
Engineering & Technology, Lahore, Pakistan.
At the same time, the 14th Asian Congress
of Architects (ACA-14), with the theme “GO
GREEN – The Architecture of the New Order”,
was hosted at Lahore by the Institute of
Architects, Pakistan (IAP), organized by its
Lahore Chapter, from October 25-30, 2010.
The ARCASIA Architectural Students’ Jamboree
was held concurrently.
In connection with the Jamboree, IAP also
organized the ARCASIA Students’ Architectural
Design Competition for “Student’s Resource
Centre” 2010 in conjunction with ACAE.
The competition was open to the third and
fourth year students of all the architecture
schools that are recognized by the respective
Institutes of Architects in the ARCASIA
countries.
Nepal was represented by the student body
Presidents from Acme Engineering College,
Sitapaila and Nepal Engineering College,
Bhaktapur respectively, along with the Society
of Nepalese Architect’s (SONA). Getting an
exposure to the regional architecture and
culture of Pakistan, the students from India,
Sri Lanka, Singapore and Nepal, visited
different architecture schools and shared
their ideas and experiences. The students
from Nepal gave a presentation titled
‘Overview of Nepal & Traditional Architecture of
Tiered Temples of Nepal, Architecture, Culture,
Naturescapes & Tourism for 2011’.
Apart from ARCASIA members, Architects from
UK, Austria and other countries were also
invited for this event .
The Architects’ Regional Council Asia (ARCASIA)
is a Council of the Presidents of the National
Institutes of Architects of 17 Asian countries
that are members of ARCASIA. Every alternate
year, an Asian Congress of Architects (ACA)
is hosted by one of the member countries
of ARCASIA. Parallel to the ACA is the ARCASIA
Architectural Students’ Jamboree at which
student representatives from the seventeen
countries meet to exchange ideas, discuss,
debate and celebrate. They also get to attend
the Congress sessions and official dinners,
and have the opportunity to mingle with the
region’s leading architects. The Jamboree
is organized by the host Institute under
the aegis of the ARCASIA Committee for
Architectural Education (ACAE).
The 15 th ARCASIA Students Jamboree will
be held in Japan after two years, which will
unite the National Institutes of Architects
& Students throughout the Asian region
to foster friendly, intellectual, artistic,
educational and scientific ties, research and
technical advancement in the field of the built
environment & society. - Anand Gupta
January-February 2011
19
www.spacesnepal.com

NEWS and HAPPENINGS
Chagall in Nepal
THE MAGIC OF COLOUR
Yala Maya Kendra, Patan Dhoka,
12-21 November, 2010
On the 12 November, 2010, a three part
exhibition of a few of Marc Chagall’s works
were showcased at the Yala Maya Kendra in
Lalitpur. The exhibition, organized by Spinal
Injury Rehabilitation Centre (SIRC), Kavre,
included his original posters besides copies of
his prints and his life story.
Marc Chagall ( 7 July 1887 – 28 March 1985)
was a Belarusian French artist, who was
associated with several key art movements and
was one of the most successful artists of the
20 th century. Although he created in virtually
every artistic medium, including painting,
book illustrations, stained glass, stage
sets, ceramic, tapestries and fine art
prints, his dedication to the art of making
posters is unique and inspiring.
Before the formal opening of the
exhibition on 12 November, 2010, an
informal preview and workshop was
organized on 11 November, attended by
Nepali artists and media persons. At the
workshop, Chagall was introduced by
Mr. Madan Chitrakar, a well known name
in the Nepali art society, and the first
tour of the exhibition was guided by Ms.
Meyer, the curator of the exhibition who
incidentally is also the granddaughter of
Marc Chagall. The workshop ended with
the screening of a documentary - 'The Gift:
Four Seasons Mosaic of Marc Chagall',
showcasing the design and installation
of the mosaic 'Four Seasons' at the Chase
Tower Plaza, Chicago.
Meret Meyer shared at the preview
that she was interested in bringing this
exhibition to Nepal after a patient at
Spinal Injury Rehabilitation Centre painted a
flying figure during an occupational therapy
session. She was reminded of a similar flying
figure of a man created by her grandfather and
was hence interested in bringing the exhibition
to Nepal. After Yala Maya Kendra, the exhibition
was carried on for yet another week at the
Spinal Injury Rehabilitation Centre, Kavre.
– Swati Pujari
www.spacesnepal.com 20
January-February 2011

NEWS and HAPPENINGS
“I will never stop creating art because this
is the responsibility God has given me.
And duty is God.” - D. B. Chitrakar
(SPACES -Jul/Aug 2008).
PASSING OF A LEGEND
D. B. Chitrakar, 1929 - 2010
An important chapter of modern Nepali Painting
came to a sad end with the demise of the
legendary DB on 22th Dec.’10 evening. It was
a sudden mild respiratory complication which
took away the great master from us. Dil Bahadur
Chitrakar - popularly known simply as DB to
many of his fans and the entire art fraternity,
and lovingly addressed as dear ‘Dil Dai’ (dear
brother) to many of his juniors including truly
yours - remains one of the last great painters
who ushered in and consolidated Nepali Painting
to a modern era. Born in 1927 to a traditional
artist family from Patan as the second son of
Jagat Bahadur Chitrakar, the life and art journey
of DB Chitrakar resembles an exciting fairy tale
with many interesting twists and turns.
A strange but remarkable beginning was made
when his mentor since his early days, the
legendary Tej Bahadur Chitrakar ( founder of
Western Realism in Nepal and also the then
head of Nepal Art School - the predecessor
of the present day Fine Art Campus), highly
impressed of DB’s early talents, decided to
make this young protégée appear straight
in the fifth year final exams of the six year
Fine Arts course! To Tej Bahadur it was for two
valid reasons. For one, he was sure that DB
had already possessed more skills and ability
than what was needed for the said exams.
And secondly, he wanted DB to possess an
academic credential so that he was well armed
to fight social battles in the days to come or
when needed. But not all were happy with the
decision then. And coincidently, during the
same period when the mentor christened his
favourite young pupil with the initials ‘DB’ so
as to make him distinct from other students
with the same name, little may he have
guessed that this short name would remain
immortal as one of the greatest artists of
Nepal.
DB did not disappoint his mentor. During
the exams, DB almost created a kind of
panic amongst the regular students while
doing a life study of a Buddhist monk as
an exam paper. His work, a water colour
painting, shined so bright and displayed
such an impressive strength, that the regular
students were confounded into jealously,
and stooped so low as to resort to damage his
exam work after the office hours – simply to
vent their anger.
Thus began the art journey of DB. The rest is
history. As the days passed, DB continued
to shine regardless of all the adversities and
hardships he had to face in pursuit to become
a dedicated painter. Initially he outpaced all
his contemporaries as an excellent magician
in water colours and then, he began to create
series of equally strong works in oil too. And
his subject matter always revolved around
what he loved the most - the life, people,
culture and the natural scenic grandeurs
of his country and the city he lived in. And
throughout, he was true to the core of what
he learnt from his mentor – the exquisite
display of consummated understanding of
academic fundamentals in forms and colours
– and a magnificent panorama of works all
based in Western style Realism. Although
he was within the realms of realistic forms
and colours, his works began to redefine the
meaning of figurative forms and an individual
affinity of colours – an obvious love for warm
colours specially ochre and brownish tints.
A real breakthrough and a visible shift of his
perception of art is seen after his three month
long stint in Paris and London during the late
sixties under a UNESCO grant. Highly inspired
and bombarded with the diverse images of
great masterpieces of the Western masters,
DB began to explore wider within his own
earlier forms and style – a strange panorama
where one can see the influences of many
of the important phases of Western Art like –
traces of Impressionism, Post impressionism,
Expressionism and so on. And he always liked
January-February 2011
to describe all the works within these thoughts
as ‘Semi-abstracts’.
But the truth is that DB in his heart always
remained fascinated and a true master of
academic forms to the core. This is probably
the reason that even after he remained well
celebrated for his ‘Semi-Abstracts’, he is found
to be coming back with strong works based
on Realism. Here he reminds one of a free bird
who is capable of soaring well high on the sky
but in the long run finds more comfort in his
own nest. DB‘s saga reads exactly the same.
And many of the naïve observers mistakenly
began to interpret this transformation and his
return to nature and people in his powerful
figurative as waning of his creative strength
in later times. But the irrefutable truth is that
DB remains in the art history of Nepal as one
of the most versatile and true artist who has a
unique understanding of art in thoughts as well
as in his expressions. Moreover, DB presents
a unique example of skills of an artist - equally
comfortable and consummated in any medium
he chooses to dabble –oil, water, pastel, crayon
or a simple piece of charcoal.
Conclusively speaking, the most striking and
the important facet of DB’s persona which
makes his head high in the crowd is his sense
of pride and dignity as needed in a creative
person. Today, when many so called new
generation modern painters have shown how
they can switch their political allegiances
and transforms themselves into common
sycophants, DB has left us some meaningful
examples on how to remain a true example.
An episode which occurred in the late sixties
during the final phase of Narayanhiti Palace
construction, describes how DB displayed a
courage and strength of an artist when he was
denied a promised task. He then and there
flatly refused to paint any more for the Palace
and the Royalty – and instead asked to return
to a humble job back in the Education Ministry.
But another artist who was also with him during
the period – later ended as an honourable
member of the then Royal Nepal Academy.
DB could have also chosen to capitalize his
royal connections to serve his interests, but
his sense of dignity and pride prevented him
from stooping so low. It is really hard to imagine
anyone with such a sense of self-confidence
and dignity. Salute to the great artist and a
great human being.
Alvida dear brother! - Madan Chitrakar
21
www.spacesnepal.com

NEWS and HAPPENINGS
Upcoming Exhibition of
‘Paubha Art’ in Japan
BALGO – Contemporary
Australian Art from the
Balgo Hills
21 November – 5 December, Kathmandu
On the 21 st of November, an indigenous art exhibition,
Balgo-Contemporary Art from the Balgo Hills, was held
at the Siddhartha Art Gallery in Kathmandu, as part of
a series of events to celebrate 50 years of diplomatic
relations between Australia and Nepal.
While the exhibition, featuring artists from the remote
Balgo Hills region in Western Australia, was intended
to promote greater understanding and awareness of
Australia’s indigenous cultures, the artworks consisted
of paintings and etchings, besides presenting a range
of stories demonstrating the strong connection that
the Aborginal people have with their traditions. - USS
2nd January – 22 March, 2011
Fukuoka Asian Art Museum in Japan –
the Museum well known for its unique
Art collections from all over Asia and
its active efforts to promote Asian Art
tradition and the contemporary Asian
Art, is organizing a special exhibition
of ‘Paubha Art’ of Nepal, between Jan
02 through March 22, 2011 in the Asia
Gallery B of the Museum. This exhibition,
the fifth in the series of the exhibition
“Contemporary Asian Artist”, is seeking
to showcase how this unique medieval art tradition has developed with new
materials and methods such as oil and chiaroscuro of Western Paintings,
while being traditional and religious paintings. The exhibition will feature
about fifty paintings including 15 paintings from the collections of the
Museum itself painted by the some of the eminent Paubha painters of
Nepal today, namely, Uday Charan Shrestha, Dinesh Charan Shrestha, Lok
Chitrakar, Deepak Kumar Joshi and Prem Man Chitrakar among others.
To coincide with the occasion, Fukuoka Asian Art Museum is also making a
special publication on the ‘Paubha Art’, which will include an analytical essay
on the Paubha tradition and its current nuances written by Madan Chitrakar
– artist and art writer of Nepal, in addition to the descriptions of the exhibits.
It is widely believed that the exhibition will remain a unique opportunity to
showcase this rich artistic tradition of Kathmandu Valley in Japan and would
greatly help understand the Nepalese culture. – Madan Chitrakar
Let’s talk
about ART baby!
www.spacesnepal.com 22
17 th . December, 2011, Kathmandu
A work of art, as Madan Chitrakar rightly
puts it, is merely a physical object created
by an artist as a product of his or her natural
instinct, which, in the long run, and in the
absence of its creator, would be left to make
dialogues with the viewer irrespective of the
time it is viewed and judged. And to this date,
these lifeless, yet timeless works, continue to
be glorified and debated upon.
“So why do we need to talk about ART?”
further writes Madan Chitrakar, an artist and
an art critique, in his opening lines as he
introduces Sujan Chitrakar, the
artist advocating the statement –
“Let’s talk about ART baby!”
The answer is simple Sujan says,
and explains thus: “...I believe art
to be the output of a fundamental
human characteristic. The
appreciation of art and the
production of art are both
essentially human, but art suffers
from a misunderstood elitism...
what I want to do is bring out the
fact that art is all around us and
January-February 2011
we should talk about art. As an artist, I think it
is my responsibility to bring this out into the
public and show that art could be accessible
and should be everywhere. Thus ‘Let’s talk
about Art, baby’.”
Sujan Chitrakar is an artist, an educator, a
thinker and above all a staunch ART – activist.
His solo exhibition, which he prefers to refer
to as ‘Collaborative Solo’, took off at the
Siddartha Art Gallery, amidst a very large
audience - probably the highest number ever
seen in an art exhibition! - USS

INFOCUS
CIVIL GROUP
7 WAYS
to reduce RISKs in House Investment
Text: Ar. Bansri Pandey
“N
. B
,
, ,
. T,
N
.”
– E. I R T,
E C,
C H
Buying or selling a house is one of the largest financial
transactions in most people’s lives. Hence, the impact of a bad
decision could turn out to be very costly. Buying a house is not a
simple task, but it need not be very difficult either. The key is to
know what to do, what to look out for and what questions to ask.
Knowledge is the best way to reduce the risks involved in a house
investment. Thus, today, we bring to you 7 ways to reduce risks
while investing in a house:
1. Know the purpose of your Investment
Good preparation is the most crucial aspect whether it is a war, a
job interview, a football final or a Real Estate investment. The first
thing to understand is your needs, whether you are investing in a
house for your own use, for your future generation, for a long-term
investment or for lease purpose.
The second thing to clarify is the kind of house you are looking for.
How many rooms will you require? Will you consider Vaastu? What
kind of neighborhood and location will you prefer? What is the range
of your budget? Try to answer as many questions as possible. This
will save you a lot of time, money, energy as well as risk of falling into
lucrative offers and traps of the real estate market.
2. What to look for?
Little conveniences make significant differences to the level of
comfort and utility in a house. Though everyone has different
preferences, listed below are some of the common things to check
out before investing in the house:
• The layout
• The location
• Quality of Construction
• The builder's reputation and his financial status
• Finishes and specifications
• Possession time
• The current market rates
• Maintenance cost
• Taxation and other hidden costs
3. The Transaction
Now, you have selected a suitable home and have agreed on the
terms with the seller. But before you start celebrating, check your
documents once more. Make photocopies of everything and store
them carefully as these documents can be very difficult to replace.
Following is a checklist of a few important documents that are
required during the purchase of a house:
• Lal purja (Land-ownership certificate)
• Char killa (Four boundary certificate)
• Blueprint
• Planning permit from concerned Town Development
Committee
• Approval from IEE or EIA or Ministry of Environment
• Approval from concerned division office
www.spacesnepal.com 24
January-February 2011

INFOCUS
• Required certificates and Drawing approval from the local
authority (VDC/Municipality)
• Sale agreement
• Rajinama
• Construction drawings of the building
• Receipts of payments made like Property Tax, Electricity,
Maintenance payments and registration fees.
You may check the originality of the above documents in the official
records at the respective authorities/government offices.
4. Understand your finance schemes
The dream of the older generation was to pay off a mortgage.
The dream of today’s young families is to get one.
Loans come in plenty of different packages these days. It is like a
supermarket, where you can examine, evaluate and then choose
what to buy. To safeguard your decisions, you should not only look at
the low interest rates but also study the features and the flexibility
offered by the loan. Following is a small checklist for things to look
out for while choosing your home loan:
• Rate of Interest
• Calculation of Interest (whether the interest is calculated as
per reducing balance method or flat interest basis; whether the
interest is calculated annually, quarterly or monthly)
• Processing and administrative charges
• Commitment charges (It is levied when the loan is sanctioned,
but you don’t withdraw the loan amount for an extended period.)
• Penalty for early repayment
• Add-on Facilities (such as discounts, free property insurance,
waiving of pre-payment penalty or the processing fee, etc)
Most financial advisers warn against spending more than 30%
of a household’s income on housing costs as it can crimp other
expenditures and savings. It also leaves little room for unexpected
shocks to income such as illness or unemployment.
About Civil Homes: A city with the city
Civil Group is one of Nepal’s rapidly growing business companies.
The Civil Group, an ISO 9001:2000 organization, has seen a
decade long success. The group currently operates into Real
Estate, Housing, Finance and Trading.
Civil Homes was one of the first in Nepal to commercialize the
idea of owning a well-serviced house within a gated community.
After completion of Civil Homes Phase I in Bhainsepati, Phase II in
Tinthana, Phase III in Sunakothi, they are now ready with phase
IV in Dhapakhel. These projects undertaken by Nepalese for the
Nepalese people show a conscious effort made to provide good
infrastructure, healthy community living and state-of-the-art
lifestyle.
Located at Dhapakhel, Civil Homes Phase IV project is a two in one
project, consisting of Civil Homes Phase IV and Civil Apartments,
in an area of about 135 ropanis. It comprises of 90 individual
bungalows, four 17-storied and two 13-storied apartments, along
with a community centre, club house, swimming pool and also a
day care center. The project is designed to accommodate about
394 families. The complex also has large common parking areas
and play areas. As urban planning is a beauty of any city, Civil
Homes is a conscious effort of improving this urban landscape of
Kathmandu valley with its planned development.
Civil Homes - Phase IV at Dhapakhel, Kathmandu
5. Amenities and Location
As it is popularly known, “There are three most important aspects of
Real Estate – Location, Location and Location.”
Location plays a major role in deciding the price of the house.
Builders sometimes charge a premium for the location of the
property which is at a junction of two roads, conveniently close
to a bus stop or a shopping area. On the other hand, houses
close to sewage plants, railway lines, chemical factories has low
rates. Every building may have a different view or a different look.
The differences in flooring, fittings and amenities like children’s
playground, swimming pool, gymnasium, parking spaces and
other infrastructure developments also demand a premium. Thus,
it is advisable to take help from an approved valuator to receive an
indication of the price of the house.
6. Selling decision
The selling process is a mirror image of the buying process. This
means that there is an equal amount of risk in selling a property as
in buying. If you are still paying back mortgage on the property that
you are selling, you will need to pay off the outstanding amount. The
seller also needs to be conscious of the many expenses required
during the sale process such as broker’s fee, advertising, pre-sale
repairs in the building, taxation, etc.
Before you start the process of transferring your property in the
buyer’s name, it is important to verify the financial capacity of the
purchaser, particularly if the transaction is going to take place through
installments. Also, no original documents like Lalpurja and Blueprint
shall be transferred to the purchaser till the sale is complete.
7. Cautions during Leasing/renting
Renting out your house is one of the most common methods of earning
a little extra money from your vacant property. But the main fear is that
tenants may not vacate the premises at the end of the agreed period.
Thus, to safeguard your investment, the owner should ensure that
required precautions have been taken, such as:
• Ensure that the agreement contains a clause forbidding subletting.
• Shorter term agreements are safer. A 11-month leave and license
agreement is considered safer and is more popular amongst house
owners.
• Notice period for either side must be specified.
• Before renting out your property, you must do a background check
of the occupant.
• When you take back the possession of your house at the end of
tenancy period, you should return the deposit only after you have
checked that everything is in order and no damage has been done.
Buying, selling and renting a house not only involves a lot of money,
but one also has to deal with series of rules and regulations. Even
worse, one has to deal with various entities like registration office, tax
department, banks, lawyers, valuators, real estate agents, builders,
municipalities, housing finance companies, etc. The only factor which
can reduce our stress while dealing with a house investment, is the
correct knowledge. If we are more informed, we can take decisions that
will reduce risks in one of the most important transaction of our lives.
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January-February 2011

SOLUTIONS
A synopsis on
Sustainable Architecture
Text: Ar. Sachin Baral,
Images: Google
Map showing Contributions to Global Warming
Credit: World Resources Institute
W
.
Sustainability
There is this long running belief amongst many naturalists that the
carrying capacity of the world’s ecosystem can sustain indefinitely
through what is known as regulating factor, which takes into
account the reciprocity of abundance and population growth to
achieving equilibrium. It was questioned time and again as we
moved across the 20th century. The changes in lifestyle leading
to higher consumption of resources per capita, mainly by the
urbanites of the world, have had severe impact on the otherwise
assumed abundant resources, leaving behind a huge ecological
footprint. In other words, the rate of consumption has been
significantly higher than the earth’s capacity to regenerate and the
process to neutralize the corresponding wastes.
The result is Global Warming and the consequential climate
change, which we, no matter where we live, are observing each
passing day. The unusual variations in temperatures, the depleting
icebergs, the melting glaciers, the drying springs, the unseasonal flooding and the acid rains are just some of
its exponents. The irony is that, the rapid growth in global economy and subsequent rise in Gross Domestic
Product (GDP) is a direct indicator of rise in Green House Gas (GHG) emission. GHG mainly constitutes of
Water Vapour, Carbon dioxide, Methane, Nitrous oxide and Chlorofluorocarbon (CFC) and its cumulative
emission is the cause of global warming. Reducing GHG emission substantially is the only way out.
The solution is sustainable development. It is about strictly following a development strategy that ensures
continuity and maintenance of resources, while we continue to avail the comforts we desire. This invariably
requires us to be environmentally aware and product conscious. We need to understand that the total
environmental impact on our planet is a sum of the impact of each one of us. Ethically, it is our responsibility;
while meeting our needs, we do not compromise the ability of the future generation of meeting theirs. And
this obligation of ours extends to the non-human world as well. To prolong the support of nature as a resource
and to reduce impact of the adversities on human as well as non-human existence, our time and concerted
efforts have been drawn in search of renewable alternative energy sources (sun, wind, water, geo-thermal)
with the purpose of minimizing if not completely stopping our reliance on non-renewable fossil fuels
(petroleum, coal, natural gas), which one estimate suggests has been steadily over 85%. There no doubt is
a lot more that can be achieved if we care to manage our workplace and home sustainably; when we care
to pick efficient appliances and other products we use. Today’s need is to adhere to Green Design, which is
based on the principles of economic, social and ecological sustainability and Green Building, which intends to
reduce the impact of the built environment on health and natural environment.
Effect of Global warming - Muir Glacier, Alaska
Global Commitments
Agenda 21 of United Nations (US) at
Earth Summit 1992 in Rio de jeneiro,
Brazil with the goal, ‘Halt and reverse the
environmental damage to our planet and
to promote environmentally sound and
sustainable development in all countries
on earth’, paved the way for a global
commitment. In June 1993, Union of
International architects World Congress
of Architects (UIA) followed the lead.
Later, in 1997 an international
environmental treaty was adopted,
popularly known as ‘Kyoto protocol’ which
came into effect in 2005. Its primary
goal is to stabilizate greenhouse gas
concentrations in the atmosphere. More
governments around the world have
set their own development regulations
in line with these goals. Besides, there
are other independent bodies who have
established global standards, which are
more of a voluntary in nature.
Leadership in Energy & Environmental
Design (LEED) Certification is an initiative
of USGBC formed in United States, while
BRE Environmental Assessment Method
(BREEM) is setup in the UK by Building
Research Establishment. There are others
like; Haute Qualité Environnementale
(HQE) based in France, Green Star rating
by The Green Building Council of Australia
(GBCA), BASIX (Building Sustainability
Index) for Residential buildings in New
South Wales, Australia.
www.spacesnepal.com 28
January-February 2011

SOLUTIONS
Despite a high level of general awareness and quite a few measures being put in place,
our efforts towards sustainability so far, have been desperately short. It is loud & clear
that things need to move in a different pace to bring about a lasting impact. Since energy
consumption is part of the way we live, work and travel today, changes we adapt to in our
energy use pattern can make a huge difference. And architecture we practice today has
the potential to make a greater contribution. To begin with we need to reconfigure our
existing planning methodologies and values while managing the spatial, socio-cultural,
ethical and technological intricacies. The other challenge is to address core issues to
architecture which are seldom compromised: economy, utility, durability and comfort.
A sustainable architecture would ideally incorporate the revised processes or modify the
current practices all the way from Design, Construction, Operation and Maintenance to
Demolition phase - the latter, considering that each building has a fixed life-span. These
aspects can be divided into the following seven folds:
Secrets to
7Sustainable Architecture
S
,
,
.
A
.
1. Policy & Planning
Sustainable development initiatives ideally begin at the policy
making level. Planning strategies under the Land-use plan,
like identifying and using recycled land for new development,
i.e. abandoned industrial areas, desolated urban pockets and
urban infill, taking measures to preserve wetlands, incorporating
gardens & greenbelts under neighbourhood planning are some
good policies.
Planning of more compact cities and efficient public
transportation system leads to lesser overall commuting time,
resulting in huge overall savings on fuel.
Policy of certain leverages by the Municipalities/ Councils
on Building FAR (Floor Area Ratio) and tax rebates for Green
buildings and other green initiatives are winning strategies.
2. Design/ Innovation
Building efficiency starts on the drawing board. Design decision
based on ethics and true understanding of objectives and
procedures involved results in a complete ecological solution.
An efficient building design comes in 3-folds;
• Incorporating Passive design
• Building resistant envelope
• Using renewable energy source
Passive Solar Design is a natural process of collecting, storing
and distributing solar energy without the use of mechanical or
electrical devices. The idea is to maintain thermal comfort inside
the building; keeping the rooms cool in summers and warm in
winters. Building orientation, fenestration (windows/ openings)
sizes & locations and strategic placement of shading devices are
keys to achieving efficiency through design. It basically takes
into consideration; the local climate, the summer and winter
solar paths, the prevalent wind directions, the existing site forces
and site surroundings. It also involves selection of appropriate
insulated wall sections, roofing material and type of glazing such
as tinted-glass, low-e glass or double glazing.
Following are 5 Elements considered for Passive Design, which
though each function individually, all must work together for the
design to be successful:
• Aperture (Collector): Large glass (window) area through which
sunlight enters the building. Typically, the aperture(s) should
face within 30 degrees of true south and should not be shaded
by other buildings or trees from 9 a.m. to 3 p.m. each day
during the heating season.
• Absorber: Hard, darkened surface of the storage element,
which could be a masonry wall, floor, or partition, or that of a
water container, and which sits in the direct path of sunlight.
Sunlight hits the surface and is absorbed as heat.
• Thermal mass: Materials that retain or store the heat produced
by sunlight. The difference between the absorber and thermal
mass, although they often form the same wall or floor, is that
the absorber is an exposed surface whereas thermal mass is
the material below or behind that surface.
• Distribution: Method by which solar heat circulates from the
collection and storage points to different areas of the house.
A strictly passive design uses the three natural heat transfer
modes—conduction, convection, and radiation—exclusively.
In some applications, however, fans, ducts, and blowers may
help with the distribution of heat through the house.
• Control: Roof overhangs used to shade the aperture area
during summer months. Other elements that control heat
include fans, vents and dampers that allow or restrict heat
flow; low-emissivity blinds; and awnings.
To support the above five elements, few methods are as follows:
Stack effect a ventilation system that takes advantage of the fact
that warmer air is lighter than the coller air. When the indoor warm
(lighter) air is let out from the roof the negative pressure created
in the room draws in the cooler air from the outdoor through wall
openings. Eco-powered roof vents which are popular in factories as
well as residences are based on the same principle. A commercial
building with atrium can readily benefit from adopting the system.
Terrace gardens and Green walls/ Living walls as part of
landscaping are fast becoming popular in the urban areas.
Selected plants/ vegetations are literally grown along the wall face
January-February 2011
29
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SOLUTIONS
or flat terraces of a building on a layer of soil and fertilizers. While
a water tight roof is desired and some added cost is involved, it
is a new found way to giving back the otherwise vegetative land,
occupied by the building.
Achieving an airtight indoor environment with minimum heat
loss or heat gain to the outdoors through conduction, covection
or radiation is a priority. Proper insulation of the external walls &
roofs, use of gasket and sealants along window frames and floor
finished with soft materials are important ways to conserving
energy.
Summer Sun
Winter Sun
Control
Aperture
Distribution
Absorber
Thermal
Mass
3. Energy management
The main energy usage in a building is for heating / cooling,
lighting and ventilation. Activities like, cooking, washing &
ironing require steady flow of energy in the house. Entertainment
gadgets and electrical appliances consume some more.
The most popular energy source for household usage is
electricity and LP Gas. Besides, sun and wind also substitute
as alternative sources but in negligible amounts. Electricity
produced using water (hydro), wind and sun (solar) is considered
renewable while that produced from coal, natural gases, diesel
and even nuclear are considered non-renewable. Nuclear
power though does not contribute directly to Greenhouse Gas
emission, disposing off the harmful radioactive by-products is
a big problem. Hydro power produces electricity through the
force of moving water. The other is Tidal/ wave power at the sea,
which is recently being explored more seriously. While there are
some socio-ecological issues related to hydro power plants with
reservoir location, sedimentation, erosion and drying river beds, it
is still considered a greener option.
Air Extractor on roof to draw out warm air in
building - works on wind energy
In the context of Nepal,
the numerous rivers that
run across the country
carry huge potentials for
generating green electricity
to the extent of not only
fulfilling our local needs but
also exporting the surplus.
Though today’s reality of
hours of loadshedding does
not reflect it, the prospects are still enormous. At the minimum,
it could potentially replace all LP Gas widely used in our kitchens.
Yet the best form of renewable energy source available to
us is the sun. Basically, it comes in two forms; Solar Panel –
Photovoltaic (PV) Cell and Solar Heater. Solar Cells come in solar
modules, fabricated in different sizes to suit the purpose and
the requirement. Solar heater on the other hand is a system of
trapping heat from the sun onto a panel which is then transferred
through a piping San Francisco system Bus to Transit be used with for Konarka heating, Power mainly Plastic® water by Ryan and Hughe
rooms.With the advancement in the tecnology of PV cells, today it
has become possible to imagine a house with no connection with
the national/ regional grid.
When it comes to energy efficiency the key is reduce and recycle.
Reducing energy consumption at each household contributes to
a large amount of energy saving. Measures like using compact
fluorescent lamp (CFL), light-emitting-diode (LED) lamp in place
of incandescent lamps and energy efficient appliances not only
save on energy but also the incurring costs.
There is plenty of energy saved simply by minimizing the use
of artificial lighting during day-time through design as well as
developing habits to switch off lights and appliances afteruse
and during off periods.
4. Water Management
Freshwater used for residential, agricultural, industrial and
recreational purposes, is normally a renewable resource.
However, this natural supply source is unable to keep up with the
present excessive demand. And unfortunately, the abundance of
salinated water in the oceans cannot be a direct substitute. The
process of desalination, i.e. converting it into fresh water, which is
being tried, at best is cumbersome. While water rationing is being
adopted in many parts of the world, recycling water is being seen
as a promising method to overcoming the shortage.
Water harvesting is a process of recycling rain water. Collected
water in the roof is taken through a pipe/ filteration system into
a tank for storage and used for taking shower, dishwashing,
laundry and cooking. Collecting rainwater through this process
alone saves thousands of litres a year per household that is
otherwise extracted from ground/ rivers.
Besides, the wastewater that come out of the basin, shower and
WC are retreated to remove contaminants through a series of
physical, chemical, and biological processes, where the effluent
can re-enter the household water system. Advanced filtration
systems are available to even recycle wastewater that come out
of the toilets and make them drink worthy. While the difficulty
to get our heads around it is understandable, it is safely being
practiced in some parts of the world.
Ground water recharge is a natural process of deep percolation
of surface water through the top soil reaching the ground water.
Ground water which breaks into natural springs and wells has
www.spacesnepal.com 30
January-February 2011

SOLUTIONS
Hand pump
Gutter
Down Pipe
Foul fl ush
reservoir with
screen
Sustainable building materials which are low-technology materials
like stone, brick, tile and aggregate, are inert & non-toxic and
preferred over synthetic materials like plastic, acrylic, fibreglass,
etc. Use of recycled materials, lower volatile organic compounds and
Low-emissivity (Low-E) glazing are recomemded.
Overfl ow
Below-ground
reservoir
Screen
Drain tap
A schematic
diagram of
a rooftop
rainwater
harvesting
system
been the major source of fresh water and has supported many
civilizations. Today, it is also being tapped artificially for household as
well as industrial usages through well, hand pumps, bore pumps and
jet pumps. The excessive extraction of ground water has resulted
in receding water table, drying wells and springs. Increased paved
surfaces in the urban areas and high surface run-off have greatly
reduced the opportunity to refill the subsurface aquifer. Increased
garden areas over paved surfaces and surface/ waste water let
onto the gardens rather than connected to municipal drains, not
only saves on water for gardening but also assists in ground water
recharge. Moreover, strategic placement of recharge pits can help
excel the process further.
Adopting new technology, installing low-flow plumbing system/ half
flushing system, front loading washing machine & waterless urinal
and sun-drying laundries are some other examples of water saving
practices. Xeriscaping, which is a landscaping method of using
drought resistant plants, is another excellent way to maintaining a
low water utility garden. It uses techniques to minimize loss of water
through evaporation and run off. Rock garden, for example, which has
low consumption of water, is fast becoming popular.
5. Waste Management
There is a range of solid wastes that come out of a house. They
are usually garbage, paper, plastic and glass. A simple practice of
seggregating those into separate bins can help to manage wastes
effectively. It means lesser time & effort spent for seggregation
at the treatment plants. The garbage goes to the treatment yard
and the rest are taken to respective recycle plants and processed
for direct or indirect reuse. Garbage along with sewage can also be
subjected to domestic waste treatment procedures producing solid
wastes which are inturn recovered as farm fertilizers. The treated
effluent is let into a soakpit. A practice of Septic system which is stll
prevalent in many parts of our country, mainly in the rural areas, is
an effective way to assure that no sewage leaves the site.
6. Material Management
Green building materials are evaluated for life-cycle impact;
energy consumed & GHG emmitted during extraction, fabrication/
manufacturing, transportation, installation and the effects of the
by-products. The idea is to use products/ material fabricated/
manufactured through green processes. The selection is mainly
based on the principle of closed-loop material cycle (CLMC), which is
a construction constituting of materials and building elements that
can be recovered and infinitely recycled through natural or industrial
processes.
It is also a good practice to meet the material needs of a building
from the resources at and around the site. Use of locally available
products including construction materials means less energy
& cost spent on transport and saved time. Aparently, these are
natually occuring materials as well. Bamboo for example is a popular
scafolding material.
Use of natural materials that come from plants/ animals and
minerals/ metals extracted from the ground for construction
is common. It is adivisable that they be grown purposefully or
extraxted in controlled amounts without costing the environment.
Biotic materials include soil, wood, bamboo, porcelain and
natural metalic fibers (copper, bronze, iron, gold, silver, steel).
Use of plantation timber or Composite wood (Engineered wood),
manufactured by binding the strands/ fibers/ veneers of wood/
sawmill scraps together with adhesives, is the way ahead. Other
similar engineered cellulosic products/ vegetable fibers composed
of straw of rye, wheat & rice and sugar cane residue are equally
preferred. It is critical that we avoid rainforest timber. Deforestration
has brought about a major setback to our natural environment.
7. Building Management
An efficiently managed building follows a set of building regulations
throughout its entire life, including the period of its construction.
Managing construction site efficiently deals with:
• Avoiding material wastage through proper storage, handling and
calculations,
• Avoiding wastage of energy for lighting, heating, fabricating and
transporting and
• Using natural & recyclable materials for temorary constructions
(underpinning, scafolds, formworks, shuttering/ centering)
Running a building efficiently means:
• Avoiding wastage of energy; lighting, heating and air
conditioning
• Maintaining services; plumbing, wiring and ducting
• Maintaining machineries and fixtures
• Adopting sustainable technologies
WEBSITES WORTH VISITING:
www.greehomebuilding.com
www.inhabitat.com
www.greenbuilder.com
www.sustdev.org
www.wbdg.org
www.treehugger.com
January-February 2011
www.sustainableabc.com
www.sustainablebuild.co.uk
www.naturalspace.com
www.sustainablebuilding.com
www.sustainablesources.com
www.greenchoices.org
REFERENCE BOOKS
Sustainable architecture: principles, paradigms, and case studies - James Steele – 1997
Big & green: toward sustainable architecture in the 21st century - David Gissen, National
Building Museum (U.S.) - 2002
Understanding Sustainable Architecture – Terry J. Williamson, Antony Radford, Helen
Bennetts - 2003 Sustainable Building Design Manual: Sustainable building design
practices, Vol 02- Energy and Resources Institute, Institut Catalá d'Energia, Asia Urbs
Programme – 2004
The green house: new directions in sustainable architecture: Part 3 - Alanna Stang,
Christopher Hawthorne – 2005
Strategies for Sustainable Architecture – Paolo Sassi - 2006
The Green house: new direction in Sustainable Architecture – Alanna Stang, Chistopher
Hawthrone
Sustainable Construction - Charles J. Kibert, 2008
Living Homes: Sustainable Architecture and Design - Suzi Moore McGregor, Nora Burba,
Trulsson, Terrence Moore – 2008
Green Building: Guidebook for Sustainable Architecture - Michael Bauer, Peter Mösle,
Michael Schwarz - 2009
31
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SOLUTIONS
Build It Yourself
SOLAR
WATER HEATER
Text: Ar. Kalpana Bhandari
The present scene of global energy crisis has successfully drawn
the attention of the people surviving on it - and affecting it directly
and indirectly. The hurdle for adaptations of innovative green
technologies and to preserve the non-renewable resources, has
become essential, especially in the urban cities. A green set-up with
minimal interventions on natural cycle - the passive solar heater - is
easy to understand and build. The following is a simple working
model of a solar water heater developed by Ar. Debesh Bhattarai.
WORKING METHOD:
The working model is based on thermosyphon - a method of passive heat
exchange based on natural convection which circulates liquid without the
necessity of a mechanical pump. Its intended purpose is to simplify the
pumping of liquid and/or heat transfer, by avoiding the cost and complexity of
a conventional liquid pump – as simple as joining two ends in a pipe.
WORKING MATERIALS:
• High Density Polyethylene (HDPE), PVC or regular black pipe
• A non-insulated water tank,
• EPS Styrofoam board,
• Base of bamboo base / brickwork / mild steel angle,
• Plastic.
WORKING MODEL
CONSTRUCTION METHOD:
The PVC pipes’ ends are used as cold water inlet and
hot water outlet. The concentric pipes are tied as a
helical spring to shape it like a saucer, with the outer
fringe raised and the inner fringe lowered at an angle
of 25 degrees, elevated at certain height from base
on a stand made of bamboo, brick work or mild steel
angle. The storage tank is insulated and the absorber
has EPS Styrofoam insulation and plastic heavy
gauge cover with a drain outlet in the middle.
ANALYSIS AND COMPARISON
The following table (observations taken in
September, 2010) demonstrates the performance of
this innovative solar water heater against the normal
plated solar water heater:
(A) Incomplete solar, without bottom insulation, and black Japan paint on pipes and top glazed cover
Day Sky Condition Ambient water
temp (~6-7pm)
Solar Hot water
reading
Thermal gain
in Celsius
Minimum
temp
Maximum temp
1 Partly sunny 23.89 40.56 16.67 18.40 31.00 22.16
2 Cloudy 24.44 34.44 10.00 19.70 29.60 14.74
3 Partly sunny 23.33 41.11 17.78 19.50 31.40 21.61
4 Cloudy throughout 21.67 31.11 9.44 19.70 27.00 11.41
6 Sunshine 21.67 38.89 17.22 20.00 29.50 18.89
Thermal gain wrt
minimum temp
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SOLUTIONS
(B) Complete solar, with insulation, black Japan paint on insulation top and pipes with top glazed cover of heavy gauge plastic sheet:
Day Sky Condition Ambient water
temp (~6-7pm)
Solar Hot water
reading
Thermal gain
in Celsius
Minimum
temp
Maximum
temp
14 Cloudy throughout 21.39 32.78 11.39 19.90 25.70 12.88
15 Cloudy throughout 20.00 27.50 7.50 19.50 23.50 8.00
partly rain
16 Intermittent sunshine 22.22 41.11 18.89 18.40 29.40 22.71
after 12:45 pm
17 Good Sunshine 23.33 46.67 23.33 18.00 29.20 28.67
Thermal gain wrt
minimum temp
COSTING:
• The cost of the solar is Rs. 16,500. Its
breakdown is as follows:
o Mild steel tank 12 gauge 200 liter capacity
= Rs. 7200,
o Glass wool insulation with aluminum sheet
o
cover = Rs. 4100,
Solar heat absorber panel with plastic
sheet cover and styrofoam insulation = Rs
4100,
o 1/2"stop cock 3 nos = 1100.
approximately,
• Replacing MS tank with 200 litre plastic drum,
the cost of the solar shall be around Rs.12000.
• For a solar water heater of 200 litres capacity,
the vacuum tube solar water heater costs
almost 8 times and normal plate solar water
heater costs almost 5 times more than this
innovative passive solar water heater.
Innovative solar water heater is
simplified and has an easy-to-install
mechanism to host the necessity of
hot water, especially in areas where
there persists difficulty in sustaining
low temperature, and also for prolonged
usage of renewable energy and to
conserve the non renewable energy.
Similar simple mechanisms have been
practiced all over the world, and most
of them are practical in places where
development and infrastructures are
either limited, or haven’t been ever
implemented.
(Reference: study and experiments carried
out by Architect Debesh Raj Bhattarai for GE
Ecomagination Challenge,
You Tube link http://www.youtube.com/
watch?v=EYytBzfrrw4)
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SOLUTIONS
How to Save on your building cost
Building a house?
Welcome to the Club! You are now among those fortunate few who have
had the luxury to dream of a ‘dream house’. Unfortunately by the time
you finish the building, your happiness level may begin to dwindle and
may even crash down, as the house may not look like what you had
dreamed of – simply because you ran out of funds.
With the ever increasing cost of building construction materials,
constructing a house could become a financial nightmare, especially
for those with a limited budget. Within the last decade, the cost of
construction for a normal residence has literally doubled to more than
3000 rupees per square foot! And as there are no signs of this trend
abating, exploring alternatives to reduce building cost could bring you
closer to realizing your ‘dream home’.
Penny-wise Pound foolish
First and foremost, choose a good architect. By good, I mean someone
who has the time for you, is a creative designer and yet practical.
Some people are also of the opinion that hiring an architect would
be expensive. But then, think about the amount of money, which is
your life’s savings, that you are going to pour into your dream house,
irrespective of whether you employ an architect or not. Wouldn’t it be
wise to spend a little more and have a professional to channelize this
investment rather than to regret later?
Don’t build castles in the air
Bringing down your building cost starts from the plan of your house. As
you spin off your dreams to your architect, he/she will interpret them
into spaces, linking them with a flow as you want them to be. But hold
on – remember that the larger the house, the costlier it becomes. The
following are a few pointers on squeezing your total floor area without
compromising on its comfort:
• Locate the common areas (living / dining / family room / staircase)
at the central portion so that the private areas around it do not
require a separate corridor (see plan).
• Cut out the frills as much as possible. It is good to take ideas from
your friend’s home, but do you really require a 18 x 25 feet living
room?
Text: Er. Uday Sunder Shrestha
• See if you can cross-utilize spaces. Maybe the family room can
double as a guest room if your guests come once in a blue moon.
Or maybe an attached bathroom can also be accessed from the
common area, doubling as a common bathroom when required
(see plan). A standard bathroom/toilet can cost a minimum of
one lakh rupees!
• Try to minimize the floor area at the ground floor. As the ground
floor area increases, your foundation cost increases.
• Once the concept plan is finalized, and before your architect
starts with the construction details, multiply the total floor area
with 3000 to get an approximate estimate of your house. If your
are happy with the figure, go ahead, but keep 10% as extra for
unforeseen costs that may arise during the construction period.
• Ask for a detailed estimate from your architect to confirm on the
final cost, as well as to weigh your options regarding materials
during the finishing stage.
Small drops do make an ocean
• Stick to the original design. If changes are to be made, consult
your architect as it could have an impact not only on the cost,
but also disturb the use of the room or the circulation flow. For
example a simple addition of a window on a wall could mean
losing out on a planned cupboard or a closet.
• Use windows as they are meant to be for – natural light and
ventilation; not simply because it looks good. Larger the window,
higher its cost as more quantity is required for the frame, shutter,
glass, hardware, mosquito net and yes, the curtain.
• Review your detailed estimate as work progress, especially in
the finishing stages. Changing the plaster punning finished floor
to a marble floor can incur an additional cost of more than 100
rupees per square foot.
Choose the correct building system
The structural cost of a building is about 60% of its total cost. The
structure would include the reinforced cement concrete (RCC)
frame (foundation pads, columns, beams and slabs) and the infill /
curtain brick walls bonded with cement mortar. As the frame takes
up the load of the building, it is but natural that the lighter the load,
the lower the cost of the structure – which means that by using a
bonding system which can reduce the quantity of bricks used for
constructing the same wall, without compromising on its stability
and strength would logically lead to a reduction in its structural cost.
The Rat Trap bond is one such system. (Find more information on the
following pages)
On a final note - dreams do
not cost money; in fact the
happiness generated probably
will add to a healthier life – until
the bubble bursts.
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SOLUTIONS
Reduce your
by30%
Building Cost
The Children’s Home designed by Design Cell at Tathali
and constructed using the Rat Trap Bond
Upto the turn of the 20th century, the Rat Trap Bond (RTB) was commonly used in England for building houses lower than 3 stories. However, as
the system was inadequate due to it being non-load bearing for multiple stories, the traditional English and Flemish bonds gained popularity (and
is still the most common bonding system used today). After decades, late British architect Laurie Baker, reintroduced the system towards cost
effective housing in India proving it to be an economic walling technology with good insulation properties. The origin of the peculiar RTB name is not
known, but is probably due to the 'trap' formed inside the wall by brick arrangement.
The Rat Trap Bond is a brick wall construction technique in which bricks are laid on edge such that the shiner (S) and rowlock (R) are visible on the
face of the masonry (brick cross) creating an internal cavity bridged by the rowlock.
Advantages over other bonds
• Environmental
• Uses 130 MJ/m2 less energy than English Bond
• Saves 30 kg/m2 CO2 than English Bond
• Reduces the green house gases
• A normal two and half story house with total floor area 150 m2
has approx. 241m2 wall area. Using VSBK brick in Rat Trap Bond
masonry, it saves 1.56 Ton CO2 compared to English Bond
Technical
• I.O.E Pulchowk Campus lab test report confirms the load bearing
capacity of Rat Trap Bond for H2 mortar is 10.52 kg/cm2
• Cavity provides good thermal and sound insulation
• Modular masonry reduces wastage of bricks
• Cavity can be filled with steel bars and concrete for earthquake
resistance
• Reduces approx. 40% dead weight of wall as compared to
English Bond, hence the building can be designed to save steel
and concrete
Economical
• Cost of masonry is reduced by 25-30% as this technique
uses approximately 35% less bricks and 50% less
cement mortar as compared to English Bond
• Construction speed of Rat Trap Bond masonry is equal
to that of English Bond
• Concealed concreting, bands or beams for earthquake
resistance is possible in the Rat Trap bond masonry
without shuttering
• Concealed plumbing and electrical layout is possible
through the cavities, thus avoiding and reducing the
cost of masonry cutting
For Earthquake resistance
• Reinforced concrete bands are to be provided at sill,
lintel and roof levels.
• Corners, sides of openings, T- junctions of load bearing
masonry are to be reinforced with 12mm steel bars
grouted in M20 concrete filled in the cavity
• Vertical mortar joints must be applied directly to the
brick before placing it
• “Brick Cross” pattern must be maintained at all times for
a proper Rat Trap Bond masonry
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SOLUTIONS
Construction Detail
Mortar (Cement: Sand)
• For single story building – 1:6
• For double story building – 1:4 for ground floor; 1:6 for the
upper floor
Limits of application
• Load bearing structure up to 2 stories is possible with RTB
masonry. There is no limitation if used as in-fill masonry in
framed structures
• Thickness of the wall is approximately 9”. Half brick (4”) or one
and half brick (14”) thick wall is not possible in RTB masonry
• Skilled mason required
• Architects / Engineers have to calculate the modular length
and height of the wall
• Requires exact planning: Size (length, breadth, height) of a
room, and even the size and position of the opening has to be
according to the RTB module size
Corner
Cross- Junction
T-Junction
Reinforced corner
Reinforced Cross- Junction
Reinforced Sill or Lintel Band
Achievements
This technology has been adopted in a wide variety of building
uses. Forty-three houses have been completed in different parts
of Nepal within the last two years (2008-2009), some of which are
as follows:
• Mid Point Community Hospital (Kawaswoti, Nawalparasi)
• School building (Room to Read)
• Community Building (Practical Action, Rupandehi)
• Children's Home (Tathali, Bhaktapur, designed by Design Cell)
• Hotel Building (Birtamod, Jhapa)
• Canteen Unit (Illam Hospital)
• Panchakanya Housing, Kathmandu
• Bajeko Sekuwa, Kathmandu
Data source:
VSBK/CESEF Project Nepal is a bilateral technology transfer project between the
Government of Nepal and Switzerland, implemented by skat_Swiss Resource
Centre and Consultancies for Development and funded by the Swiss Agency for
Development Cooperation. (www.vsbknepal.com)
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The sun does not just rise here, instead it raises
the curtains for a play. Before the first light of
the day hits the peak of Dhaulagiri, the clouds
above it hover in gold.
Lodge Thasang Village
E
arly in the morning as you get off the bed, you feel a sudden chill in
the air. You rub your eyes still half asleep and walk over to open the
windows. As you breathe in a deep fresh breath of pure mountain
air, you open your eyes, and what you see can make your heart skip a beat
- behold the mighty Dhaulagiri range right in front of you, so close; you feel
you can almost touch it if you extend your arms.
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Heaven
Here on Earth
Text: Ar. Swati Pujari
Then appears the first sign of daybreak, long before you can see the sun in the sky or even before it peeps
out from the mountains in the east. The peak of Dhaulagiri receives the first light of the day. The snow
slowly turns into fiery red, and as the sun rises, the fire in the peak flows down towards the snow below.
These first few magical moments can only be described as a blessing from nature, an indescribable
feeling of having seen heaven, here on earth!
This is a typical clear morning at ‘Lodge Thasang Village’, a short hike (or drive) off the trekking route in
the Annapurna Region. Located in the vicinity of Naurikot village, Lodge Thasang Village takes its name
from the local name of the area comprising of Naurikot along with the neighbouring Tukche, Kobang
and Larjung villages. With Dhaulagiri in the West and Nilgiri in the East, along with the vast flood plains
of Kaligandaki, Lodge Thasang sits comfortably in the crown of a hill, enjoying the magnificent views of
the stunning vicinity.
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From the flood plains of Kali
Gandaki to the peaks of the Nilgiri
range - a serene backdrop to Lodge
Thasang Village
The Local Effect:
In the valleys of the Kaligandaki River live the ethnic
group called Thakalis. The area, also called Thak
Khola region, has a rich history in trade with Tibet,
enriching the cultural and historic significance of
the Thakali clan. Lodge Thasang Village portrays
this culture in all its uniqueness, both in terms of
the place and the experience.
The rough roads of the Kaligandaki
plains that lead to the Lodge
Thasang Village (circled) at the
overlooking hillock.
The owner, Mr. A.S. Tulachan, is a local resident of
the nearby Tukche Village, who started the lodge as
he simply wanted to stay close to his origins. As a
person who believes that the only viable economy
in Nepal is through tourism, he is interested in
helping visitors explore his unique home and in
turn, help this unique home too.
Designed by a Japanese Architect, Nariya
Kurmizawa, Lodge Thasang is a blend between
Thakali and Japanese architectural expressions
that merge in perfect harmony with the
surrounding landscape. Although the building
framework is constructed using reinforced
concrete, the materials transported all the way
from Beni on mules, the expressions are created
using the local stones and wood. Some parts of
the building have exposed concrete portraying a
modern Japanese architectural sense.
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ARCHITECTURE
Mr. Tulachan recalls one of the many co-incidental incidences
that have lead the lodge to be what it is today. "The initial site for
the project was not here; from the initial site we could only see
Dhaulagiri but not Nilgiri. One day, I along with Mr. Kurmizawa and
some other friends, were hiking to this part of the village - a site I
had never been to before. The local villagers were having a feast
and we were invited to join in. Eventually everything worked out
and we ended up building the lodge here."
The central theme in the design of this lodge, according to the
architect, is the life and culture of the Thakali people. The architect
emphasizes 'conventional culture of Nepal' to be an important
concept. He remembers trekking around the Kaligandaki area
together with Mr. Tulachan, taking food in Nepali style and making
friends. His experiences of the culture, history and people of the
Kaligandaki area have given him the needed insight for designing
in such a conventional and cultural theme.
The entrance lobby to the lodge has a fireplace that burns local
firewood; adjacent to the lobby in the ground floor are three
dining areas, kitchen and other utilities. The three dining areas
are presented in a Japanese fashion, an authentic Thakali kitchen
concept and in a European arrangement respectively. Each
dining room provides magnificent views of the Himalayas and the
Kaligandaki flood plains. Tables in the Japanese dining hall are
equipped with local coal burning oven beneath them, which heats
the table to the comfort of the users. An L-Shaped stone staircase
leads from the lobby to the first floor where the rooms are
arranged around a corridor overlooking the ground floor lobby. All
rooms provide views of either Dhaulagiri or Nilgiri or the river valley
below, but the most splendid views are perhaps experienced
form the terrace above. A timber staircase leads to the flat terrace
which serves as a viewing deck, from which the Dhaulagiri range
stretches from North-West to South-West, and directly opposite
it, the Nilgiri. Sunrises and sunsets are best experienced from this
platform.
The entrance to the lodge frames the
Dhaulagiri range and the Dhaulagiri Ice Falls
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ARCHITECTURE
The warmth at the
entrance lobby of the
lodge is obtained by
careful use of mud, stone
and wood
Procurement:
Lodge Thasang Village (at 2650 m above sea level) has
been running for almost ten years now, and it has only been
a year and a half since the gravel road from Beni (at 799 m
above sea level) has reached the village. During construction,
transportation of 'modern' materials was a challenge in itself.
From cement to reinforcement bars, all were carried on mule
backs - all the way up to the site. But in the years between
procurement of land and the actual construction, all necessary
local materials like stones and wood were collected, thanks to a
massive avalanche.
A few years after the land was purchased a massive avalanche
from the Dhaulagiri range hit the area felling a large number of
trees. The required wood was procured from these trees and
a couple of years later, when all the snow melted, unwanted
amounts of stones and rocks were present in the locality. This
too was purchased for construction. All the processing done to
these materials, like cutting the stone or making wooden planks,
were done using simple hand tools, hence each piece is different
from the other. Other little details, from the furniture to the lamp
post, were constructed on-site.
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ARCHITECTURE
D J A,
N K, L T
T
J
.
LOCATION MAP
© Lodge Thasang Village Kagbeni
TO MUSTANG
Dhampus Peak
6012m
Eklai Bhatti
Jharkot
Shyang
Jomsom
Tukuche Peak
6920m
Marpha
Dhaulagiri
8167m
LODGE
THASANG
VILLAGE
Tukche
Kobang
Larjung
Nilgiri
6740m
Nilgiri North
7061m
Tilicho Peak
7134m
Kalopani
Nilgiri South
6839m
TO POKHARA
Ghasa
Roc Noir
7585m
Annapurna I
8091m
Fang
7647m
The European style
dining hall, with full
height glazing and
a spread out deck,
overlooking the
Nilgiri range and the
Kaligandaki plains.
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ARCHITECTURE
The panorama of Thasang,
the river plains, villages
and the mountains, seen
from the terrace of Lodge
Thasang Village
Other Services:
Experiencing the Himalayas is the
highlight of the Lodge Thasang
Village experience, and for that there
are several different ways. Visitors
are encouraged to take hikes in
the afternoon, to experience any
of the multiple natural and cultural
experiences the locality has to offer.
Guided tours of the nearby villages
as well as hikes to the nearby lakes
and caves can be arranged. Some of
the holy lakes of the Thakali clan are
located a few hours walk from the
lodge. These hikes not only provide
newer experiences to the visitors but
also allows for the experience of the
Himalayas from different locations.
The Sekong Lake, one of the holy lakes
of the area, which is only an hour and
a half's walk from the lodge, provides
The suite room at the lodge - the
rooms provide magnificent views
of the Dhaulagiri, Nilgiri or the
plains of Kali Gandaki
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ARCHITECTURE
magnificent views of Dhaulagiri, Nilgiri
and behind Nilgiri, the Annapurna
range. For visitors who wish to get
closer to the Himalayas, a 2-3 days
trek to the Dhaulagiri Base Camp,
which also allows one to get close to
a massive glacier - the Dhaulagiri Ice
Falls, can also be arranged.
The heated Japanese
style restaurant, and
the Thakali dining room
(below)
In all its essence, Lodge Thasang
provides its guests with an up close
and personal experience with the
Himalayas, a connection one may not
find anywhere else in the world. With
an aim to experience and understand
the sanctity of the place, Lodge
Thasang plans to include meditation
camps in its programs in the near
future.
Contact: www.lodgethasangvillage.com
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THE COURTYARD HOUSES
OF
UPPER MUSTANG
Text: Ar. Kai Weise
U
pper Mustang is one of those fascinating places
where it is possible to witness the results of
the impressive geological process that created
the Himalayas. In this barren but expressive landscape,
the traces of the evolution of human civilization are
presented through the diverse forms of shelter that
have developed over the centuries. There are abandoned
cave settlements which have been exposed through
erosion of the cliff faces. In the higher pastures the
nomadic tribes live in yak-wool tents (drop-pa) which
they dismantle when moving on with the seasons. The
ancient route along the Kali Gandaki is lined with the
ruins of great earthen fortresses (dzongs) that were
once used to control the lucrative trade but have long
since succumbed to the harsh winds.
People have lived here for centuries, adapting to
the harsh topography and climate. The compact
settlements with their narrow winding paths between
the massive earthen walls were strategically located
near sources of water. There are traces of many
settlements that were abandoned due to springs
drying up, leaving only the chhortens and mani-walls as
testimony of their existence.
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View of Lo Manthang
looking north with the
ruins of Ketzu Dzong in
the background
The Monastery at Tsarang
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In the ancient kingdom of Lo, gigantic earthen
palaces (phodrang) and monasteries (lakhang)
were constructed. The exquisite walled city of Lo
Manthang was built in the 15th century. These are
all the superlatives of Upper Mustang. However,
the essence of dwelling is expressed through the
simple but effective courtyard houses.
PLACE
Upper Mustang district lies on the southern edge
of the Tibetan Plateau. From here the Kali Gandaki
River flows south, cutting through the Himalayan
range. The river flows through the world’s deepest
gorge, flanked on either side by mountain massifs
rising over 8000 meters. The gorge functions as a
wind tunnel and the barren cliffs are eroded by the
strong winds. This region north of the Himalayas,
lies in the rain shadow of the summer Monsoons
and the average annual rainfall is only around 150
mm. The settlements of Upper Mustang lie at an
altitude between 3500 and 4000 meters. The solar
radiation in summer is intense and temperatures
can rise above 20 C. In winter, temperatures can
drop below -20 C with relative humidity dropping
below 50%. In January it often snows. Settlements
depend on water, which is scarce and when
sources dry up, settlements are moved to a more
advantageous location. The eroded remains of
the earthen walls of old settlements can be seen
throughout Upper Mustang, blending in with the
wind-beaten cliffs.
© Kai Weise
© Kai Weise
The sketch plan prepared by pacing around the settlement during
the visits in 1991, 1993 and 1997
Upper Mustang
Lo-Manthang
View of Lo Manthang from the flanks of the Ketzu Dzong hillock looking south
© Google
© Kai Weise
CHINA
LO MANTHANG
JOMSOM
MUSTANG DISTRICT
POKHARA
NEPAL
KATHMANDU
INDIA
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The southern wall of Lo Manthang in December 1991 with the winter gate
- at that time, the only other opening in the wall other than the main gate
in the north

ARCHITECTURE
Villagers dancing during the Tiji festival
© Kai Weise
PEOPLE
Upper Mustang is closely linked with Tibet, both
culturally and historically. The Kingdom of Lo
was under the domination of West Tibet, Ladakh
and Jumla in turn. It was only in 1795 when the
Gurkhas took control of Jumla, that Lo became a
part of Nepal. The inhabitants of Upper Mustang,
the Lobas and the Baragaonlis are of Tibetan origin.
They practice Tibetan Buddhism and the ancient
Bon religion. The economy of the region was based
on the trade route between Tibet and India, which
wound up the Kali Gandaki valley. Trade died down
to a trickle when the border to Tibet was closed
in 1950. Agriculture is restricted to the summer
months and only to the places where artificial
irrigation is possible. Most people move down
to the cities in the south to find jobs during the
winter months. Since 1992, a restricted number of
tourists have been allowed to visit Upper Mustang.
Wooden ladder made of steps cut
into a log
© Kai Weise
SHELTER
Upper Mustang has a rich culture of courtyard
dwellings. Adapted to the harsh climate, the
courtyard houses give protection and security.
Numerous variations of this building typology can
be seen throughout Mustang. The ground floor is
generally used for storage and stables. One enters
the courtyard through the main gate, where the
ponies are tethered and unloaded. The kitchen, the
living room, the prayer room, the bedrooms and
the toilet are on the first floor. The flat roof is used
for household functions including the storage of
fuel wood. The windows of the rooms open out onto
the courtyard. There are only few openings on the
external walls. Steps are carved into a single log,
which is generally used as a ladder.
View of Tsarang looking west over the settlement from the Monastery
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VARIATIONS IN LAYOUTS
There are variations in the layout of the courtyard
houses. These often depend on the size of the
houses and the number of rooms that need to be
linked directly from the balcony around the central
courtyard. The main components of these houses
are the courtyard, the balcony, the staircase, the
kitchen and the prayer room. Additional rooms are
used as bedrooms. Many of the houses have toilets
that have usually been added later. One can also
note that the staircase going up to the roof is very
often next to the toilet.
One side balcony courtyard in Lo Manthang
Building extensions to house in Tsarang
Three side balcony courtyard in Dhi
The sketches show various examples of these
layouts. The example from Lo Manthang shows a
balcony only on one side of the courtyard which
links to rooms on either end as well as the toilet
block which was added later. This requires one
to pass through one room to get to the next. The
courtyard house in Tsarang has balconies on two
sides of the courtyard which connect to four rooms
and the toilet block. Here the staircase is located
within the balcony and not in the central courtyard.
The example from Yara is similar, however only
connects to three rooms and the room used for the
staircase to the roof is linked to the toilet extension.
The example in Dhi has balconies on three sides
which connect to all the rooms. However, this
house did not have an attached toilet. In Samar the
balcony has been widened by a grid to allow for a
covered sitting area.
Two side balcony courtyard in Yara
© Kai Weise
Extended balcony in Samar
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ARCHITECTURE
© Kai Weise
Constructing an earthern wall
T
U M.
S
,
U M
.
© Kai Weise © Kai Weise
Chaile
Interiors of the main dining/living room
TRADITIONAL CONSTRUCTION
The main construction material in Upper Mustang is earth. The earth walls that are 45 cm thick
are constructed either of sun dried earth blocks (pop) or rammed earth (gyanka tha). The
sun-dried blocks are often strengthened by mixing cut wheat or barley stalks and husk. The
walls are then constructed using mud mortar with the vertical joints being filled with small stone
pieces. Only few stone rubble masonry buildings can be seen, which is more predominant in
lower Mustang. Earth construction is preferred wherever the soil quality allows. Rubble stone
masonry, when used is of low quality. The foundations and plinth are nevertheless always of
stone rubble masonry. The foundation depth is a maximum of 60 cm. The rubble masonry is
often raised up to one meter above the plinth level.
The flat roofs give the freedom to construct irregular shaped rooms and add extension.
Each room is enclosed with earthen walls, the roof or next floor being supported by central
wooden posts. Wooden brackets on the posts give better support to the main beam, which are
supported on the ends by additional posts or stone wall-plates. The joists are usually round
sections of 15 cm diameter, placed 45 cm apart. The joists are covered with planks or split wood,
a layer of wheat stalks and twigs covered with approximately 10 cm of packed white clay. The
side walls are raised slightly above the level of the roof to clamp down the beams and joists.
These parapets are often covered with stone slabs and are used to dry firewood for the winter.
The openings along the external walls are usually small. In some cases a double frame is used
to support the thick rammed earth walls. Nevertheless, the larger windows that open onto the
courtyard use the traditional Tibetan design. A single frame is used, often carved and painted.
Wooden blocks that span the width of the wall are fixed perpendicular to the top member of the
frame, which is then covered with wooden planks to hold the earthen wall.
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ARCHITECTURE
First concrete building in Jomsom in 1995
© Kai Weise
The palace at Lo Manthang
The wood used is most often pine, though in the older buildings
the main structural elements were constructed of juniper. The
forests that supposedly covered certain parts of the slopes of
Upper Mustang are no more, and wood has to be carried up from
the community forests of Lower Mustang.
Metal bridge over the Mustang Khola
CHANGE
Upper Mustang is accessed easier from the Tibetan Plateau than
from the rugged terrain to the south. A road is being constructed
along the Kali Gandaki River, to connect the road-head at Beni
with the Tibetan border. In the meantime a road has been built
from the border in the north up to the walls of Lo Manthang
and on towards Tsarang. From the south, the road has been
built practically to Kagbeni with various bridges missing along
the way. Motorcycles and tractors are being used for local
transportation. Transportation used to be restricted to pack
mules or porters taking 7 to 10 days from Pokhara, the nearest
city. Transportation was expensive and prices of materials
brought in from Pokhara become 3 to 4 times more expensive.
The closest airport is in Jomsom with regular flights to Pokhara.
The main impact on the region is caused by tourism. In Jomsom,
luxury resorts have already been constructed using reinforced
concrete. Nevertheless, the local people are only able to upgrade
their traditional buildings to cater to the tourists. The main
reason for rooms to be added to the courtyard houses seems to
be for tourist accommodations. These extensions were either as
an additional block added to the building (such as the example
in Tsarang) or an additional floor (such as the example in Gemi).
These new additions are constructed in similar construction
techniques and materials. However the major change seems
to be that the openings are larger. This is of course possible
since the windows can be glazed, in contrast to the traditional
openings. The greatest developments to the courtyard houses
are found in Jomsom which has been a tourist area for several
decades. In an example from Jomsom, one can see the stages
in the evolution of the building. First the courtyard was covered
for it to be used as a hall. Further extensions were constructed
towards the front and back.
Phase-wise expansion of a courtyard building in Jomsom
IMPROVEMENTS
The traditional buildings of Upper Mustang are ideal for the place.
The materials are locally available, and are cheap. Construction
can be done without very skilled labour. The thick earthen walls
and the packed earth on the roofs are good for insulation.
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ARCHITECTURE
These same buildings can be adapted for the accommodation of tourists,
especially the beautiful courtyard houses.
There are nevertheless various points that would need to be looked into. Wood
needs to be used efficiently and the wooden elements need to be minimised.
Community forestry geared for the building sector needs to be supported. It
would be possible to look into improving the earth used for construction. The
harnessing of passive solar energy needs to be studied. Solutions are needed
for the appropriate installation of sanitary facilities and disposal systems.
When seismic forces act on rammed earth walls, one usually finds the
formation of cracks and separation along construction joints. All wall joints
need to be reinforced. The flat roofs, which are covered with earth, are heavy,
and the wooden structural elements need to be securely anchored into the
walls. The posts should have proper foundations with spread footings. Flat
roofed buildings give the freedom for irregular shaped buildings and easy
extension. The various parts of the buildings should be separated using crush
joints.
CONCLUSION
The rough, rugged landscape of Upper Mustang cradles a very delicate
environment and an even more fragile culture. It was preserved over decades
due to the restrictions set on foreigners to visit the area due to the political
sensitivity during and after the Kampa resistance skirmishes. This however
also led to the neglect of numerous monuments. People started moving away
as the cross-border trade dwindled. Restricted numbers of tourists were
allowed to enter Upper Mustang from 1991 onwards with the objective of
ensuring a minimum impact on the area. At the same time roads were
being planned up the Kali Gandaki River to Jomsom and from the border
through Lo Manthang on down the valley. These conflicted approaches
for the planning of Upper Mustang have not allowed an appropriate
development strategy to take root.
Upper Mustang has a lot to offer to tourism. It is clear that there is also
a need to develop the area to allow for better living standards and to
ensure that the villages are not left to those that are too old or too young
to migrate away from the hardships of living in this forgotten area.
Considering the importance of a long-term sustainable strategy for the
development of this region, the various sectors of the government need
to coordinate their visions and find an approach which is appropriate for
the inherent identity and characteristics of the place.
Till now, focus has been given to restoring the major monuments in and
around Lo Manthang. The wall around Lo Manthang was overlooked
until it was too late to preserve. Even till 1993 there were only two
entrances to the city: the main gate to the north and a winter gate
to the south. Today the wall has been poker-marked with openings,
losing the very identity of the walled settlement. It must be clearly
stated that even less efforts have been undertaken to preserve the
traditional dwellings. The earthen courtyard houses are the very fabric
of the settlements in Upper Mustang. Should these be replaced by
the concrete frame structures that have multiplied wherever there
are roads, Upper Mustang will have lost its most treasured and unique
quality.
View up the Kali Gandaki with Kagbeni in the foreground
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INTERNATIONAL
Resort
World Sentosa
Text: Ar. Bansri Pandey
Images: Michael Graves and Associates
O
nce
upon a time, luxuries were what the kings and the rich consumed: houses in the
country, staff to serve, big cars, weekends in foreign lands, lavish delicacies to eat
and drink, etc.
But today, we live in a world where luxury experiences come in all sizes - small, medium, large
and extra large. Today, an average person can walk down a road listening to better quality
music than a king could have enjoyed centuries ago.
Luxury is common.
And thus, market for luxury goods have increased manifolds. This falls true for luxury resorts
too. People travel abroad more than they travel in their own countries these days. Their
definitions of luxury are being stretched higher and higher every day. But architects all over
the world take this as a challenge and fulfil their expectations to the maxim.
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INTERNATIONAL
“S
—
-
,
,
’
.”
- M G, F
M G A
This grand resort landscape housing 1800 guest accommodations,
along with conference rooms and ballrooms, are divided among six
hotels, each with a unique personality and function.
Resorts World Sentosa (RWS) is one such example of the luxury one can dream of.
It is one of the world's most extensive and expensive multi-recreational luxury park
at Singapore. This 3.5 million sqft of new global vacation destination has Southeast
Asia's only Universal Studios theme park, six hotels, casino, spa, 1600 seat theatre,
outdoor performance venues, retail, food & beverage outlets, convention centre,
one of world's largest marine life park and the maritime xperiential museum.
Designed by Michael Graves and Associates, the Resorts World Sentosa is one of the
first two projects to be certified with GoldPlus award from Singapore's Building and
Construction Authority's Green mark program.
The US$4.32 billion project was conceived in two parts: first, in the north-eastern
corner of Sentosa island, a Universal Studios theme park designed by others, which
finished construction earlier this year; then, just west of that,
Michael Graves & Associates(MGA) has been in the forefront
of architecture and design since AIA Gold Medallist, Michael
Graves, founded his practice in 1964. MGA has designed
many master plans and the architecture and interiors of
over 350 buildings worldwide, including hotels and resorts,
restaurants, retail stores, civic and cultural projects, office
buildings, healthcare, residences and a wide variety of
academic facilities. Resorts World Sentosa is a major
accomplishment for MGA - the largest project in the firm’s 46
year history, and the best example of its unique integrated
design practice, with master planning, architecture, interior
design, furniture, products and graphics all from the minds
of acclaimed designer Michael Graves and Principal-in-
Charge Patrick Burke.
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INTERNATIONAL
Resorts World TM Sentosa Overview
building design. Preservation of an existing jungle within the west
zone allowed the existing habitat to flourish. RWS buildings reduces
their reliance on air-conditioning with the usage of ETFE canopies
and the eco-coolers. The complex also includes the largest solar
panel array in Singapore, within Universal Studios that can generate
500,000kwh of energy annually.
Inside this grand resort landscape, the buildings that stand out are
the signature Graves buildings housing the guest accommodations.
About 1800 rooms, along with conference rooms and ballrooms,
are divided among six hotels, each with a unique personality and
function.
a resort with a mixed program of leisure and hospitality facilities
including a casino, a museum, high-end retail and more, all aimed
at attracting a diverse clientele from around the world. The MGA
submission was selected from among contributions by some of
the world’s most prominent architects in a competition sponsored
by the government of Singapore. Rather than creating a resort
that looks as if it could be anywhere in the world, MGA emphasized
the local tropical character and created an evocative context
where buildings and landscape are integrated into a warm, familyoriented
resort.
From the green domes to the green design, RWS has incorporated
environment-friendly concepts into both the master plan and
Hotel Michael
Hotel Michael is a unique example of how best an architect can be
given recognition for his works. The 350,000 sqft hotel is named
after the architect Michael Graves, giving tribute to his design
journey. Located on the north side of Sentosa island, it comprises
nine stories of guestrooms above two levels of public spaces. The
facade has a regular rhythm of elements whereas the signature roof
is a series of vaults of various heights inspired by the undulating
hills of the tropical island. Hotel Michael is fully outfitted with Graves
furniture and furnishings, including artwork in the public spaces and
guestrooms that he created for the hotel, and an original typeface
for the signage and graphics. The hotel also includes the first-ever
Michael Graves Gallery, an emporium where guests can purchase
a wide assortment of Graves products. From the planning to the
painting – the hotel demonstrates an engrossing experience and
celebrates the journey of MGA with rich and welcoming environment
for people of all ages.
Crockfords Tower
Extending the harmony of Hotel Michael and framing the view of
Sentosa's iconic Merlion statue, the cylindrical Crockfords Tower
While Hotel Michael (building at left), named after the architect, is outfitted with his
signature designs from furniture to art to the cutlery, the Crockfords Tower (building at
right) framing the iconic Merlion statue, extends the harmony of Hotel Michael
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INTERNATIONAL
The interiors of Hotel Michael and the Crockfords tower
display a level of personalized luxury.
features a hill-like green dome roof. 213,500 sqft
of hotel is designed as a nine-storey building with
120 suites and mansions on the penthouse level.
It also consists of the hotel restaurant and bar, the
casino and numerous restaurants located below
the hotel.
To enhance the experience of luxury, each suite at
the Crockfords is lavishly furnished and dressed
in rich intense reds and gold fabrics with the finest
materials and comes with 24-hr personalized
butler service. The interiors display a level of
personalized luxury that reflects both power
and pampering, reinforced by features such as
adjustable lighting that allows a variety of moods
and sensuous experiences.
Festive Hotel
The L-shaped 360,000sqft Festive Hotel creates
a large courtyard to the west of the Crockfords
Tower. The 390-room hotel includes deluxe rooms,
super deluxe rooms and suites designed to appeal
to families. Its pitched roofs, terraces, awnings
and the use of lattice and other small scaled
wooden elements reinforce the building's tropical
character.
Like its name, the hotel interiors are vibrant and
colourful, reminding of a carnival. With many
design surprises and delights, the hotel restaurant,
guest rooms as well as the lobby leaves a lasting
playful mark on the visitor. Associated with the
hotel are a high-end retail arcade and the 1600
seat Festive Grand Theatre, which doubles as
a theatre for the resort’s resident show and a
convention hall.
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INTERNATIONAL
The interiors of the Festive Hotel are vibrant and colourful
Hard Rock Hotel
The 270,000 sqft Hard Rock hotel has a rock and roll attitude and
personality. With 360 guest rooms, 26 meeting rooms and one of
Asia's largest ballroom with seating 7300 visitors, the Hotel is a
breathtaking experience located adjacent to the RWS ballroom and
convention centre. In this hotel, the tropical character of the resort’s
architecture combines with dramatic light features that suit the
glamorous, entertainment-based Hard Rock brand.
The RWS Ballroom and Convention Centre below the Hard Rock adjoin
the Festive Grand Theatre and share pre-function space. The 65,000
sqft ballroom seats 7300 visitors and 5500 for banquets. Its gridded
ceiling with custom-designed star light fixtures, organizes the space,
even when subdivided. The associated 30,000 sqft meeting complex
has a bright and airy interior open to private terraces and gardens.
Equarius Hotel and WaterPark
The West Zone of the Resorts World Sentosa, beyond the Marine Life
Park, is a landscaped development, quieter and smaller in scale than
the central zone. The West Zone will be a more exclusive setting for
visitors to Sentosa looking to escape the hustle and bustle of daily life
and enjoy the landscape or the beach. Here one finds the Equarius
Hotel, the exclusive ESPA Spa and Spa Village, and the luxury Spa Villas
guest quarters. The Equarius hotel, with 360 keys, is located at the edge
of the Marine Life Park and very much part of the landscape experience.
The adjacent Equarius Water Park merges with the rising terrain of
an existing park with its beautiful trails and heritage trees. Located
between the main hotel building and the rising slope of the hillside
are two tree house suites, elevated on stilts and featuring rustic wood
construction. The rustic architectural character of the Equarius property
thus reinforces the experience of its tropical forest setting.
The Hard Rock Hotel with its rock and roll attitude
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INTERNATIONAL
ESPASpa and Beach Hotel
An extensive ultra-luxury spa operated by
internationally acclaimed ESPA is located
in the southwest corner of Resorts World
Sentosa, nestled against the hillside and
facing the beach. The spa’s main building
of rough stone and wood continues the
association with the natural environment
seen in the Equarius Hotel. The adjacent
Spa Village of freestanding structures, with
deluxe treatment suites, palace suites, and a
wellness centre redefine luxury. An exclusive
beachfront hotel contains 40 guestrooms
either constructed on the beach or standing
above the water on stilts. The villas are
constructed of natural materials and designed
to be as open as possible, with wooden
louvered sliding walls. Their architectural
character and informal lifestyle reflects the
relaxing atmosphere of beachfront living.
When your future dreams are made a reality
into present, and the past memories are
woven around you in every moment, you will
know you are in the Resorts world Sentosa.
Making the kings and the rich of the past
envy the luxury we shall enjoy in this new
destination, Michael Graves and his team has
made a new mark of excellence in hospitality
designs.
The Spa Village with deluxe treatment suites, palace suites,
and a wellness centre redefine luxury
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INTERIOR
Where Context
Meets Context
Text: Ar. Kalpana Bhandari
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INTERIOR
A
civilization like ours serves as an arboretum of
architectural styles. With irregular patterns in
settlement and planning, buildings do not share
a similar kind of envelope and neither do their interiors. It is
interesting to observe how different styles blend, how an
expressionists’ artwork meets a vernacular artefact under the
same hood; each residence expresses its own story, as if they
were a museum housing more than one asset to comfortably
accommodate the inhabitants, or be it the visitors.
At Chabahil downhill, approximately 200 meters from the
approach road of Gaurighat, the architect stands as an
opportunist in the design of an abode. Initially designed by
Ar. Binayandra Shrestha, the interior design was further taken
forward by Ar. Siddartha Gopalan, introducing his creativity to
what it has become now.
As one enters into the telia tile finished lobby, it
bifurcates to a well furnished living room to the left and
a floating waiting space to the right
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INTERIOR
The staircase, guided by
foot-lit steps and wall
niches, is an interesting
alternative to the
intimidating structural
slabs and acts as
transition spaces between
the split areas.
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INTERIOR
The traditionally set eating area
and the formal dining acts as a
transitional space between the
waiting area at the ground floor and
family room at the first floor.
Splitting Spaces
The planning, done in split levels,
suits the profile of the plot,
and division of spaces is done
accordingly - for parking, lawn,
and the building. Stretched in an
area of 1695.6 square feet, the
architect has held the exterior
of the building different than
its surrounding, and yet not
deceitful. The plot is planned in
four levels: level one is for the
parking, two for lawn, three for the
detached kitchen and fourth in
the sit-out from the dining area.
As the entrance of residence is
approached from the east, it has a
screening wall with punctures that
separates as well as connects the
private and semi-private essence
of the dwelling.
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INTERIOR
Details and details
The identities of the spaces are made
transparent to idealize them to their
particular usage, yet separation to their
architectural demonstration has been
wisely planned. As one steps on the
telia finished lobby, to the left is a well
furnished room furnished with custommade
furniture. This living room, with three
walls having textured paint, the fourth
wall is finished with rough textured tiles.
The ceiling has horizontal rafters running
longitudinally through the room, like the
support members that gives impressions
of traditional Nepali homes. The furniture
and furnishings fill up the empty spaces
between the traditional and contemporary
entities. The architect has been precise on
detailing, avoiding any kind of constraint
in identity, which otherwise would
deteriorate the intangible value. To the
right of the lobby is a slightly elevated
waiting space that is visually connected to
the living as well as the dining area at the
first landing level.
The building design in chore of
complimenting the land profile has been
planned in a split level. The first landing,
at 4’-8” is the dining area, the dry kitchen
and the wet kitchen (the detached wet
kitchen is connected to the dry one and is
also approachable from the outer lawn).
The traditionally set eating area between
the dining and the kitchen is as justified
as the contemporary dining hall with
furniture appearing as wooden planks, and
a chandelier elevated parallel to the table.
The dining is merged with the ambience of
a garden to the east, - a multi-functional
space that can also host as an eat-out
area.
The staircase, guided by a wall with niches,
is an interesting alter to the intimidating
structural slabs and acts as transition
between the split areas, as well as
recesses to plan for. As the foot-lit timber
finished stairway leads to the first floor
level at 9’4”, at the second landing, beyond
the partition wall with niches, it opens out
to a family room. This intermittent landing
lobby space, acts as transition space as
well as a barrier, in between the semiprivate
ground floor to the private upper
floors. From this space, the visibility to the
master bedroom and the upper gym area
is enhanced with a chandelier hung in the
open well staircase.
The guest washroom at the
ground floor in a polygonal
shape compliments the
planned spaces.
This three storey building envelope has
pergolas, recesses and projections, with
the play of mass and void and the detailing
in and out.
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INTERIOR
The stairway opens out to a family
room, in transition as well as a
separation of the semi-private ground
floor and private upper floors
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The three storey building
envelope with a play
of pergolas, recesses,
projections.
INTERIOR
Details and details - designed aluminium
door sections with painted wrought iron
bars for security purposes.
The landscape has freestanding retaining
walls that harmonize with those of the
building. The openings of the residence are
braced by aluminium doors and windows.
The sections are designed wider, with
painted wrought iron bars in the inner
part and glass panels on the outer, as a
functional intervention induced to meet
security concerns.
The context meets the context as the
topography of site fits its planning, and
unifies the splits in the interiors. The
residence has been designed, with the
imagination of the architect led to take off,
adding much more essence, optimized
towards a better living, opt that every
designer should provide to their client. The
interior spaces and their ornate decoration,
an exclusive travel gifts and souvenir
collection, bond with each other to create a
cozy living, the technicalities remaining yet
precise. The function demands and form
follows to embrace it aesthetically.
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HERITAGE
Changing
Times
Text: Ar. Swati Pujari
K
athmandu Valley has been a densely
inhabited urban centre through history.
There have been at least four major
independent dynasties to rule the Valley, and
although the accounts of the Kirat and pre-Kirat
times are shrouded in mystery, the essence of
the Licchavi times can still be seen in records.
The Malla times however are well preserved in the
historic centres of the three ancient kingdoms.
The three major Malla cities Bhaktapur, Patan
and Kathmandu, acted as three independent
fortified kingdoms, mutually competitive in
terms of art and development. Each kingdom
witnessed its times of peace and war, including
attacks from each other as well as outer invasions
by dynasties from northern India. The political
and consequently the economic situation of the
kingdoms have shaped the lives of the rulers and
hence also the development of their kingdoms
and palaces.
The central core of each of the ancient kingdom is
comprised of the royal palace; it is interesting to
note that ancient inscriptions of Vaastu Shastra
recommend the Rajkul or the royal palace to
cover either one-third or one-fourth of the area
of the city, which perhaps justifies their spread
and grandeur. Interestingly both the city and
the palace are constructed in the form of a fort;
the cities were walled with moats and specific
entrances. In times of peace, the entrances
were kept open but during attack, the heavy
gates of the city were closed, blocking out the
attacking force. Similarly even the royal palace
was constructed as a fort, with interconnected
squares and towers. Although the city walls
have not survived through time, the presence of
fortification and tower like structures in the three
Malla palaces of the valley can still be seen.
The circular platform in the top of the
Pratap Dhowj has images of different
animal heads protruding out and the
golden images of Pratap Malla, his
four sons and his two wives, sitting on
a golden throne carried by images of
lions and elephants.
It is difficult to find any architectural entities that
date to a pre-Malla era, yet many records, mostly
stone inscription of the Licchavi times have
helped envision the character of the city and the
palace during the pre-Malla era. It is interesting
to note that all the three major kingdoms of the
Malla dynasties were densely populated cities
even in the Licchavi times, with Patan being
the most populated and Kathmandu being the
administrative centre. Bhaktapur, however, had
not developed to such extents.
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HERITAGE
The Area of Maru, with Marusatal, Kavindrapur and the
temple of Maru Ganesh marks the current extend of the
Hanumandhokha Palace Complex
Kathmandu in Licchavi Times:
Today the term Kathmandu may encompass the vast spread from
Budanilkantha to Kalanki and to the Bagmati River, or may also refer to
the entire Valley. But the historic city of Kathmandu covered only the
current core of Lagan, Bhimsenthan, Hanumandhokha, Indrachowk,
Itum Bahal etc. Even the Bishnumati River to the west and Tundikhel to
the east were in the outskirts.
In the Licchavi era, the city of Kathmandu was divided into two parts,
viz. Koligram and Dakshin-Koligram. Dakshin-Koligram comprised of
the present areas of Lagan, Yangal Tole, Brahma Tole etc., whereas the
areas of Itum Bahal, Machindranath Bahal etc. made up the Koligram
area. It is interesting to note that the two divisions of the ancient city
are visible even today in the festival routes, like the chariot route of
Kumari during the Indra Jatra Festival. Here the two directional routes
of Kwone and Thane comprise mostly of the parts of Dakshin Koligram
and Koligram respectively, with the Hanumandhokha Royal Palace
area acting as the centre.
the gate of the palace. This image was placed in B.S. 1729, by King
Pratap Malla, one of the most influential rulers in shaping the palace
complex.
The Hanumandhokha palace became the official residence of
royalty from B.S. 1541, when King Ratna Malla, separated from his
brother Raya Malla, defeated the Mahapatras of Kathmandu and
started his own regime.
It remained a royal residence until the reign of King Prithivi Bir
Bikram Shah (1938-1968 B.S.), who later moved to the royal palace
at Narayanhiti.
The image of
Hanuman at the
‘Dhokha’ of the Palace
Interestingly a stone inscription dated B.S. 670, mentions the
presence of a Rajkul or Royal Palace in the Dakshin Koligram area
which was popularly known as the Dakshin-Rajkul. Another Licchavi
inscription found below the Degutale Temple at Hanumandhokha
mentions the renovation of an ancient Licchavi Palace by the Licchavi
King Amshuvarma. If all these records are inferred, one can come to
the conclusion that the Dakshin-Rajkul was in fact the palace that was
renovated by Amshuvarma and that the palace extended from the
present day Jaisidewal to Hanumandhokha. Another interesting fact
is that during the Licchavi rule, people living in Thankot were required
to pay taxes at Dakshin Koligram, which only proves its administrative
power and hence the presence of a palace at the area is quite palpable.
Hanumandhokha - The Post-Licchavi Palace:
Although the presence of a palace at the current Hanumandhokha area
and beyond during Licchavi rule, is recorded in history, it is difficult to
confer if the Malla palace was built in any co-relation to the Licchavi
Palace or if it was only co-incidentally placed at the same location. But
clearly what we see today has no architectural entity from the Licchavi
time, and is a result of contributions by multiple rulers during the Malla,
Shah and the Rana regimes. The name, Hanumandhokha, itself comes
from the image of the monkey god 'Hanuman' placed at the 'Dhokha' or
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HERITAGE
Image of Narsimha, an important element of Malla
palace which was established by Pratap Malla
The Octagonal Krishna Temple built by Pratap
Malla, in the memory of his two deceased queens.
Before Ratna Malla, the entire valley was ruled by his father
Yaksha Malla from Bhaktapur. The administration of Patan and
Kathmandu was under the Mahapatras, who, in Kathmandu, were
defeated by Ratna Malla and he started his reign from Hiti Chowk.
Today, the Hiti Chowk and even the small temple of goddess
Taleju, built by Ratna Malla near Tanadewal are nonexistent. As
Ratna Malla's reign was shadowed by his quest in conquering
Kathmandu and defeating the Mahapatras, the minimalism in
construction was only to be expected. But it is notable that the
very first structure constructed by the king was the temple of
the goddess Taleju, the royal goddess or the 'clan goddess' of the
Malla Kings.
After Ratna Malla, his next two successors were either not active
in building or any structures they built have been lost in time;
either way there are no monuments reminding of either Surya
Malla or Amar Malla at the Hanumandhokha area. One of the first
influential kings in building the palace complex is the successor of
Amar Malla, Mahendra Malla. Mahendra Malla is credited to be the
first Malla king to have successful trade relations with Tibet, and
hence ruling in an economically prosperous environment. This
prosperity is clearly visible in the structural contributions made
to the palace complex.
In B.S. 1618 the Mahendreshwor Mahadev Temple was
established followed by the temple of ‘Chaturmukh Vishnu’
popularly known as Jaggannath Temple in 1619. The following
year, that is B.S. 1620, the extensive temple of Taleju was
constructed. The Kotilingeshwor temple to the northeast of
the current police station was also constructed by Mahendra
Malla and the Tanadewal temple, to the northeast of Taleju was
renovated by him as well. Except for the Taleju and Jagannath
Temple, none of the other structures built by Mahnedra Malla
are in their original form now. The temple of Degutaleju was
built by Shivsingh, the successor and the younger brother of
Mahendra Malla's successor Sadashiv Malla. Shivsingh was
succeeded by his grandson Laxmi Narsimha Malla, whose reign
saw attacks from Patan and Bhaktapur. His own son Pratap
Malla was against him, hence it is not surprising to see a decline
in building trends during his reign. It is, however very interesting
The temple of Mahendreshwor Mahadev, which
has developed considerably through time
The Palace complex developed by multiple rulers. In this image the three towering
structures, Taleju temple, Temple of Panchamukhi Hanuman and the Bengal tower
were built by Mahendra Malla, Pratap malla and Pratp Singh respectively.
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HERITAGE
SITE PLAN:
Kathmandu Darbar World Heritage Site
© KVPT
The temple of Taleju,
built by Mahendra
Malla in B.S. 1620.
LEGEND
Sr. No. Element/ Building Built By Year of Construction
1 Kumari Chowk Jayaprakash Malla B.S. 1813
2 Trailokyamohan Temple Parthivendra Malla B.S. 1737
3 Maru Satal - c. 14th century B.S.
4 Kabindrapur Pratap Malla -
5 Singha Satal - -
6 Laxminarayan Temple - -
7 Majudeval Queen Mother Riddhilaxmi
during reign of
Bhupalendra Malla B.S. 1747
8 Shiva Parvati Temple Bahadur Shah During the reign of Ranabahadur Shah
(B.S. 1834-1855)
9 Bhagwati Temple - -
10 Big Bell Ranabahadur Shah B.S. 1854
11 Stone temple of Vishnu - -
12 Temple of Saraswoti - -
13 Krishna Temple Pratap Malla B.S. 1705
14 Jaggannath Temple Mahendra Malla B.S. 1619
15 Pratap Dhwoj (Stone Pillar) Pratap Malla B.S. 1727
16 Degutaleju Shiva Singh -
17 Kal Bhairav Established at
Hanumandokha by
Pratap Malla -
18 Indrapur Pratap Malla -
19 Temple of Kotilingeshwor
Mahadev Mahendra Malla c. 16th/ 17th cent. B.S.
20 Temple of Maha Vishnu Jagajaya Malla 18th cent. B.S.
21 Mahendreswor Mahadev's
Temple Mahendra Malla B.S. 1618
22 Majak Deval Bhim Malla -
23 Kageshowr Temple Queen Mother
Bhuwana Laxmi B.S. 1768
24 Vishnu Temple - -
25 Image of Hanuman Pratap Malla B.S. 1729
26 Agamchen Perhaps Pratap Malla -
27 Nasal Chowk Pratap Malla Developed through Malla and Shah Times
28 Temple of Panchamukhi
Hanuman
Pratap Malla
29 Mohan Chowk Pratap Malla B.S. 1705
30 Sundar Chowk Pratap Malla B.S. 1707
31 Mul Chowk Mahendra Malla Before B.S. 1685
32 Trishul Chowk
33 Taleju Temple Mahendra Malla B.S. 1620
34 Dashin Ghar During Shah Time
35 Nag Pokhari During Malla Time
36 Bhandar Khal Pratap Malla
37 Basantapur Chowk Prithivi Narayan Shah and
Pratap Singh Started in 1826
38 Dakh Chowk During Shah Time
39 Lam Chowk
40 Kanehol Chowk During Malla Time
41 Nhu Chen Chowk Developed through Malla and Shah Times
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HERITAGE
Nasal Chowk, currently housing the royal Museum, with the
towering temple of Panchamukhi Hanuman
to note the effect of social, political and economic situations on the
inclination towards construction as revealed by the construction
trends during the rule of Mahendra Malla, Shiva Singh and finally
the decline during Laxmi Narsimha Malla's reign.
The outer square of Hanumandhokha showcases the
contributions of many rulers, including the Jaggannath
temple by Mahendra Malla and the magnificent image of
Kal Bhairav installed here by Pratap Malla.
Laxmi Narsimha Malla was succeeded by Pratap Malla, a very
influential ruler, not only in terms of administration but also as a
patron of the arts. His interest in literature, music, dance, art and
architecture has not only helped him craft his popularity but has
also secured him an important place in history. Most of the Malla
monuments present in the Hanumandhokha Palace area were
created by Pratap Malla, including the statue of Hanuman from
which the entire complex gets its name. During the Malla rule the
trade route from India to Tibet passed through the Valley, and tax
collected from the traders was a major source of income. Pratap
Malla captured most of the trade junctions and hence his rule was
an economic success. Some monuments established by Pratap
Malla were in fact looted by him during his attacks on Bhaktapur
or collected from other different parts of the valley. Clearly, his
economic and political influence played a major role in his quest
towards building the palace complex.
The first monument established by Pratap Malla is the stone
pillar with metal lion in front of the Taleju Temple. The pillar was
constructed in B.S. 1699; in 1701 he placed a metal image of
himself at the temple of Taleju. The image shows the young king
folding his hands in respect towards the goddess. In B.S. 1705
he constructed the octagonal Krishna Temple, in the memory
of his two demised queens, Rupmatidevi, the princess of Bihar
Desh and Rajmati, the princess of Karnat Desh. This temple was
constructed in competition to the famous Krishna Temple at
Patan constructed by Siddhinarsimha Malla in B.S. 1693. Along
with the Krishna Temple the construction of Mohan Chowk was
also on way. After completion of Mohan Chowk in 1705, Sundari
Chowk was also constructed by 1707. Other important elements
like the Nasal Chowk, Bhandarkhal, Statue of Hanuman, Temple
of Panchamukhi Hanuman (inside Nasal Chowk) and Sundhara
(in Mohan Chowk) were also built by Pratap Malla. Kavindrapur,
the grandest temple of Nasal Dev (Natyeshwor Mahadev) and an
image of Narasimha at Nasal Chowk was established by Pratap
Maju Degal, commissioned by
Queen Mother Riddhilaxmi is
the highest temple in the
complex after Taleju and Degu Taleju
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HERITAGE
The Kumari Bahal built in the style of a Buddhist Bahal, was built by
the last Malla ruler of Kathmandu, Jayaprakash Malla
The towers of Basantapur Chowk (Lohan Chowk)
as seen from Nasal Chowk. The Stone Dabali at
the centre was used for Royal Coronations during
Shah times.
Malla in the memory of his stage performance as Narasimha. An interesting element at the palace
complex is the structure used for water supply, on which are engraved words in multiple languages
including Arabic, Persian and French. Another stone pillar was installed in B.S. 1720, in front of the
Taleju Temple with the images of Pratap Malla, his mother and his two sons, Nipendra Malla and
Chandravartendra Malla.
Besides building, Pratap Malla was also a fond collector of antiquities. The snake image at the pond
inside Bhandarkhal and the stone lions in front of Taleju and at the palace gate were all brought
from Bhaktapur during his attacks. Similarly, the images of sleeping Vishnu at Bhandarkhal,
Kaliya-Daman at Sundar Chowk and Kal-Bhairav were all collected from different parts of the Valley.
Clearly the reign of Pratap Malla has been one of the most prominent times in the construction of
the Hanumabdhokha palace.
Pratap Malla was succeeded by his son Nipendra Malla, but in his short and unstable term as
king, he was unable to make any architectural contribution. After his demise his younger brother
Parthivendra Malla rose to the throne. In his term, King Parthivendra constructed the temple of
Trailokyamohan Narayan in the memory of his brother Nipendra Malla; his only other contribution
to the expansion of the palace was a stone pillar in front of Taleju with his self image along with the
images of his son Bhupalendra, mother Indramati and two queens Rajyalaxmi and Riddhilaxmi.
After Nipendra Malla the next two rulers of Kathmandu started their rule in infancy. Both
Bhupalendra Malla and Bhaskar Malla were very young when they ascended to the throne.
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HERITAGE
The Temple of Shiv Parvati commissioned by
Bahadur Shah. This temple is built in traditional
Newari style and the first plinth acts as a dabali
used for cultural performances.
T P S
K,
P S
P B
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M . I ,
M
400
.
Incidentally the monuments erected during their reign were all
commissioned by their mothers, queen regents, Riddhilaxmi and
Bhuvanlaxmi respectively. During the reign of Bhupalendra Malla an
image of Garuda was placed in front of the Trailokyamohan Narayan
Temple by Queen Mother Riddhilaxmi (B.S. 1746). In the same year
the huge temple of Lord Shiva, popularly known as Maju Degal was
also constructed. Maju Degal is named so as it was commissioned
by the Queen Mother and is the highest temple in the palace
complex after Taleju and Degutale, both of which are the shrines
of the Mother Goddesses. Bhupalendra Malla was succeeded by
his four year old son, Bhaskar Malla. In his reign, Queen Mother
Bhuvanalaxmi established the gold images of Ananda Bhairav
and Ananda Bhairavi in the memory of her late husband; these
images are displayed during Indra Jatra. The images of Ganga and
Jamuna at the door of Taleju were also established by her. In B.S.
1765 the Queen Mother also commissioned the construction of
a temple dedicated to Lord Shiva which is now popularly known
as Kageshwor Temple. Although this temple was initially built in
traditional Malla style, after the earthquake of B.S. 1990, it has been
reconstructed in a hybrid fashion, merging the traditional Malla
style with Shikhara Style.
Bhaskar Malla, being childless, appointed Jagajaya Malla as his
successor. His reign saw the death of his eldest son and he erected
a temple of Laxmi and Vishnu. In the earthquake of B.S. 1990, the
temple was destroyed and the golden image was moved to the
eastern wing of Nasal Chowk. Jagajaya Malla was succeeded by
his son Jayaprakash Malla, the last Malla king to rule the Valley. As
his reign was filled with both internal conflicts as well as attacks by
the forces from Gorkha, there was neither economic prosperity nor
patronizing of arts and architecture. The only architectural entity
created by Jayaprakash Malla is the Kumari Chowk, the residence
of the living goddess Kumari. The Kumari Chowk built in B.S. 1813,
is constructed in the form of a Buddhist Bahal.
When Prithivi Narayan Shah captured Kathmandu, he devised the
policy to promote Nepali artists; his policy encouraged building in
traditional styles as well as encouraged the promotion of local arts
and crafts. Within this policy he commissioned the construction
of Basantapur and Vilas Mandir within the existing palace complex
in B.S. 1826. Following the policy of Prithivi Narayan Shah, his
successors Pratap Singh Shah and Rana Bahadur Shah also
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HERITAGE
The royal thrones used for coronation of Shah Kings,
displayed at the Hanumandhokha Palace Museum
continued construction in traditional Nepali style. Pratap Singh
extended Pritivi Narayan Shah's Basantapur and Vilas Mandir into
a large Chowk and Rana Bahadur Shah established the image of
Swet Bhairav and the huge Bell in the complex. During the reign of
Rana Bahadur, the temple of Shiv Parvati, with the wooden images
of the two deities looking out the window, was commissioned by
Bahadur Shah.
Foreign Influence:
In the southern wing of Mohan Chowk, established by Pratap Malla
in B.S. 1705, is a room where an inscription, also by Pratap Malla,
exemplifies the stone imagery of Nepali artisans. An interesting
observation in the inscription is the fact that although the upper
parts of the inscription portray images of Vishnu's ten incarnations
and the life of Lord Krishna, the lower part of the inscription depicts
images that could be of daily life. In these images a lady in western
appearance is casted repeatedly and in multiple facets of life. In
some images she is playing musical instruments, in some she
is smoking, or weighing fruits. A male figure in royal Malla attire
is also present in some of the images, and another male figure in
western attire is found in the final image.
It is not clear what exactly these images portray, but the subject of
the art as well as its style, which has a slight influence of western
character, hints to the possibility of foreign correspondence in the
court of King Pratap Malla.
Yet the authenticity of Nepali architecture has been maintained
throughout the Malla reign, with no external influence in the
development of their architecture. It was not until the Rana
Regime, that European influence is prominently seen in the
architectural characters of Nepali Palaces. The most interesting
hybrid can perhaps be seen at the Hanumandhokha Palace where
many of the later built monuments were constructed with the
attempt of presenting popular European styles.
One of the first buildings in a semi-European style was built in
1881 B.S. during the reign of Rajendra Bikram Shah. The renovation
of Bhandarkhal, Mul Chowk, Sundar Chowk and Mohan Chowk was
also carried out during the same time. The building called 'Sish
Mahal', literally meaning Mirror Palace, was built using specially
imported mirrors. The building was built at the 'Kot' and was the
site of the infamous 'Kot-Parva' that started the Rana Reign in
Nepal. The Sish Mahal is now nonexistent.
The European style gained popularity once Jung Bahadur Rana
and the other Rana Prime Ministers started visiting Europe. During
the reign of Surendra Bikram Shah, Prime Minister Jung Bahadur
Rana commissioned the northern wing of Dakh Chowk, the
northern wing and eventually all the wings of Dakh Chowk were
built with European influence. In B.S. 1965, during the reign of
Pritivi Bikram Shah, Chandra Sumsher commissioned the Gaddhi
Baithak to be built in a Neo-Classical style.
Unlike the Patan and Bhaktapur Durbar Squares, the
Hanumandhokha palace remained the residence of royalty even
after the capture by Prithivi Narayan Shah in B.S. 1825 and hence
the development of the complex continued even further, including
not just traditional Newari art and architecture but also prominent
European influence.
The palace complex has been built, destroyed and rebuilt
through centuries to get to its present situation. It is said
that in its grandest form, approximately 150 years ago, the
Hanumandhokha Palace Complex had 35 Chowks, now only 12 of
them remain. Although many rulers and other politically powerful
personalities have contributed to the form of the complex, the
most influential personalities to be recognized in its development
are perhaps the Malla kings, Mahendra Malla and Pratap Malla
and the Shah King Prithivi Narayan Shah. The credit of maximum
destruction to the old grandeur of the palace should perhaps be
given to the massive earthquake of B.S. 1990, after which many
of the buildings were destroyed and much of the palace area was
lost. The present New Road and Bhugol Park etc., which were once
a part of the palace, are now replaced by the urban wilderness.
Many chowks and buildings recorded from the Malla times
like Chaukwatha, Bhutali Chowk, Dugucha Chowk, Tau Chowk,
Vaidyakhana Chowk etc. have been lost in time.
Reference: Hanumandhokha Rajdurbar, Gautam Bajra Bajracharya, CNAS,
T.U., B.S. 2033, Jestha
Credit: Interview with Mr. Shyam S. Rajbanshi, Museum Chief,
Hanumandhokha Palace Museum
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ANALYSIS
Sustainability of
“Kathmandu Sustainable
Urban Transport Project”
Text: Ar. Yatra Sharma
Images: KSUTP report
M
,
, ,
. B
. A
, ADB
“K S U T
P” .
The Project
More people inevitably mean more movement and the striking
increase in number of vehicles in Kathmandu Valley along with its
soaring population is a live example before us. According to a survey
by ADB, there are almost 444,000 registered vehicles in Bagmati
zone, most of which are concentrated in the Valley. It is estimated
that the number of vehicles in the Valley has increased 13 times
(from over 34,000 in 1991 to 450,000 in 2010) in the last decade
and this rate is most likely to accelerate in the coming years!
Issues related to this dramatic growth in vehicular movement have
had much negative effect on the residents of the capital city. Stories
of struggling through the chaos in traffic have become something
of a cliché. Much has been said and heard about the narrowness of
roads, roughness of drivers, greyness of air, carelessness of traffic
control and passiveness of policy makers. But very little has been
done to improve the condition. Amidst this dire situation, a proposal
from ADB called “Kathmandu Sustainable Urban Transport Project”
comes as a beacon of hope.
The proposal holds vision of efficiency in transportation system
which is primarily focused in the central area of Kathmandu.
Boundaries of the central area is considered as Bishnumati and
Bagmati rivers to the west and south, the Dhobi Khola river to the
east and northern perimeter of the former palace to the north.
The scheme of actions incorporates four interrelated aspects whose
expected outcomes are:
• preference of public transportation over private mode,
• improvement on traffic management in central area of
Kathmandu,
• promotion of pedestrian within the central area, and,
• improvement in air quality within the urban area of Kathmandu
and consequently throughout the Valley.
Part of a residential building designed by Prakash. B. Amatya (of SPADECO,
a local architectural firm)
General city routes– Congestion
is worst in the city area of
Kathmandu. Many journeys
across the city are compelled to
use the central area.
Technical assistance for this study was provided by Asian Development
Bank’s Sustainable Transport Initiative (STI) which focuses in
making positive interventions in transport sector by enhancing
energy efficiency, improving transport infrastructure and reducing
Green House Gas emissions. Out of the five pilot cities studied by
this initiative, Kathmandu was one on which this proposal is based.
Formulation of the proposal began on the 5th of October 2009 under
coordination of the Ministry of Physical Planning and Works and ended
in mid- April 2010. The project is intended for four years to begin in
February 2010. Financial support for implementation amounts to US$
30.7 Million, out of which ADB shall provide US$ 10 Million as Grant and
a further US$ 10 Million as Loan. Global Environment Facility (GEF) shall
provide a grant of US$ 2.8 Million for environmental aspects and the
rest shall be borne by the government itself. The proposal ensures a
well-coordinated involvement of five related government organizations,
namely Department of Roads (for main roads), Department of
Transport Management (for public transport), Traffic Police (for traffic
control and enforcement), Kathmandu Metropolitan City (for local
roads and footpath) and Ministry of Environment (for air quality).
An Implementation/Steering Committee, chaired by the Secretary
of Ministry of Physical Planning and Works has been established
for initiating the execution and the process of hiring international
consultants is currently underway.
Capacity Building Vs Infrastructure Development
The proposal appears to present a big shift in transportation planning
in Kathmandu by directly gripping on to the root problem of transport
mismanagement and focusing more on capacity building rather than
infrastructure development.
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ANALYSIS
This time around the proposal attempts to tackle the issue of
congestion not by widening roads or constructing overheads but
by enhancing public mode of transport.
Public vehicle vs private vehicle in relation to congestion
Such an approach has been influenced by the fact that widening of
roads is not just unsustainable but also unaffordable (estimated to
be 14,152,612,336 NRs) due to increased land prices. According
to a study by Institute for Global Environmental Strategies (IGES),
private vehicles constitute 71% of the operational vehicles and
consume 53% of total energy but cater to only 41% of total travel
demand in the Valley; whereas public transport comprise only 1.4%
of the total vehicles, consume 13% of total energy and contribute
to 37% travel demand . Hence public transport undeniably seems
to be a better choice of transport in terms of energy consumption,
traffic reduction and meeting travel demand.
public to favour public vehicles. Although the report presents
ideas of subsidy for extending operating hours and cross subsidy
to maintain fares, enhanced interchange ticketing system,
improved service standards and route management, it all seems
a bit ambitious with regard to the current capacity of government
bodies. In such a scenario the task of creating a convincing public
vehicle alternative still remains challenging.
The idea of operating trolley- bus within a larger part of
Kathmandu is appreciable since it can facilitate mass –transit
along pilot routes in an energy efficient manner. However, the
issue of electrical supply and debate between public or private
ownership of trolley bus is still unresolved. Similarly, the project
emphasises on use of energy efficient electrical vehicles and
also on improving traffic junction management by use of CCTV
and traffic signals. Once again, the availability of electricity (be it
solar or hydro) makes this proposal questionable. For instance
the traffic signals installed at seven different junctions of the city
with assistance from JICA in 2003 are today showpieces unable
to function due to electric outage. Perhaps the government
could think of introducing a micro hydropower supply, solely
for the running of the proposed electrical vehicles and traffic
management in the Kathmandu Valley. Another obstacle is the
heavy tax ( over 130 % custom duty besides other taxes and VAT)
levied on electric motor vehicles - an absurdity in itself despite
the current energy consciousness due to its crisis
Another essential aspect of sustainable transport is
The project attempts to make public transport a credible
alternative by rationalising the fleet of public transport, i.e.,
creating pilot routes for cross city service, introducing regulatory
system for fewer bus routes, fewer vehicles with larger operator,
bringing public vehicle owners under one regulatory umbrella
and upgrading the condition of the public transport. It also
plans to make public vehicles accessible to poor and mobility
impaired, reintroduce trolley-bus lines and improve the capacity
of Department of Transport Management (DoTM). Second set
of proposals related to traffic management include plans for
discouraging private vehicles in central area through taxation,
public vehicle parking facilities, improvement of junctions and
traffic signals, training and scientific licensing to drivers, increasing
traffic police efficiency, extension of Bishnumati Link road by
Department of Roads (DOR) (as per inner ring road proposal by JICA
in 1993) for traffic flow around central area.
Where the challenge lies
By advocating such measures for encouraging public mode
of transport, the project has taken a positive step towards
sustainability. However, the challenge lies in actualising this
advocacy. In the context of Kathmandu the physical condition of
public transport (bus, minibus, microbus, safa tempo) is extremely
poor due to mishandling and lack of maintenance. Most drivers are
not adequately trained and lack discipline, especially in terms of
stopping to pick up travellers at road segments other than actual
stops. There is no proper calculation for travel fares as per distance
and often fluctuate at different routes making it expensive to
commute by interchanging vehicles. As such, public vehicles have
a low status appeal among the general public, who on the other
hand, yearn of owning a car and travelling in their own terms. So,
a mere creation of public awareness will not provoke the general
Pedestrianisation proposal in Historic core
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ANALYSIS
pedestrianisation. A sustainable city has the highest number of
pedestrians, slightly lower bicycle users, then public vehicle users and
finally the least number of private car owners. However in the Valley,
there are estimated to be only 19% regular walkers .
There is no doubt that this number needs to be increased for
Kathmandu to sustain itself. The project does propose improvement
of pedestrian movement in the centre area by restricting vehicle entry
in major routes along historic core area (permitted entry to certain
vehicles), creating pedestrian linkages, improving pavements and
sidewalks and creating pedestrian bridge along Bishnumati River with
support from Kathmandu Metropolitan City (KMC). The approach is
certainly appreciable but it fails to address the congestion created by
street vendors. Informal economy is a major source of livelihood for
urban poor and without creating better alternatives, the government
cannot simply stop them from continuing their informal way of
income generation. But on the other hand, informal means such as
street vending, which relies on peak pedestrian flow hours, creating
severe congestion on pedestrian movement. The government can
perhaps strategise some traffic diversion or distribute pedestrian
flow or create rotational street vending system to tackle this issue.
Pavements are also encroached by motor bike parking and extended
activities of adjacent shops which need to be forbidden to allow
walkability. Further on, civic sense towards prioritising pedestrian
movement more than vehicular ones in crossing and junctions seems
to be a fundamental necessity in contest of Kathmandu where all
modes of commuters seem to be rushing at a rapid pace; and this can
only be generated through moral education and understanding.
core but Tundikhel as well needs to be considered a heritage (given that
it existed since medieval times) and preserved likewise.
Another important component of urban sustainability is environmental
quality, which must be incorporated in urban transport system as
well. The project takes this initiative with support from Ministry of
Environment (MOE) by proposing to improve emission and mechanical
testing, fuel quality, air quality monitoring and reduction in the number
of vehicles. Although these approaches are of utmost necessity, their
implementation once again is doubtful. For instance, six air pollution
measuring stations installed in various parts of the Kathmandu Valley,
under the assistance of DANIDA are defunct for the last two years. The
Ministry of Environment was unable to supply constant energy to
operate the stations due to extended load shedding hours and lack of
proper maintenance. As such, proper functioning of testing equipments
this time around still remains debatable.
Conclusion
The Kathmandu Sustainable Urban Transport Project comes as a true
effort towards creating sustainability. It does not try and create the
concrete highway jungle of China or the US, but rather it abstracts from
the pedestrian friendly policy of European countries. However, the
approach is more curative than preventive. It focuses on solving the
immediate problems of the central area and almost ignores the rest of
the city and in that sense it is not truly sustainable. One can argue that
a good initiation from the city core can trigger further developments
outwards. But considering the implementation standards and
almost non-existent monitoring process of the past, any resident of
Kathmandu would be dubious about its implementation as proposed.
In fact, the design and monitoring framework of the report itself makes
several assumptions of successful implementation based on political
commitment, authorities support, effective law enforcement and
transport entrepreneur’s cooperation which unfortunately are the
downside of the country. Hopefully, the report draws an anti-corruption
policy and implementation to be monitored by the international ADB
consultants which can ensure a better performance. Nonetheless, the
project is a positive initiative for the city and its implementation shall be
the yard stick for judgement.e
Historic core saturated with heavy pedestrian flow
Furthermore in order to restrict the vehicles inside the city core it
has allocated four car parking areas in the outskirts - Social Welfare
Council, Old Bus Park, Surface parking off street along Bishnumati Link
Road and west side of Tundikhel (surface and basement parking for
401 vehicles)
The design of Tundikhel parking shows a portion of Westside setback
of the current area near New Road entry with ramps for basement
entry and shops along it. Such a design of a car park in the only
breathing space in the city, could be a controversial one. History
is evident that Tundikhel has been defragmented and reduced
over the years. Now a construction of car park can perhaps initiate
further encroachment of the ground considering the hopelessness
of law enforcement in the country. Arguable but most likely is that
construction of shops along the ramps can attract more informal
activities and congestion along the area. Perhaps not just the historic
References:
MPPW and ADB 2010, “Kathmandu Sustainable Urban Transport Project”, Draft Final Report
Pant Basanta (DSP), 2010, “Traffic Management of Kathmandu Valley and Present
Challenges of Management”, presentation at Urban Dabali, CIUD
Dhakal Shobhakar 2006, “Urban Transportation and the Environment in Kathmandu Valley,
Nepal”, Institute of Global Environmental Strategies
Adhikari Sharad, “Managing Urban Transportation in Kathmandu valley: Challenges,
Constrains and Opportunities”, Workshop strategies, IGES, MOPE
Acknowledgements:
• Mr. Kamal Raj Pandey, Joint Secretary at MPPW and Project Coordinator for KSUTP
• Mr. David Irwin, ADB Consultant and Team Leader for KSUTP
• Mr. Prafulla Pradhan, Regional Capacity Development Advisor, UN Habitat Nepal
• Dr. Jib Raj Pokharel, Heritage Specialist for KSUTP
• Mr. Sudarshan Ram Bhandari, Project Director for KSUTP
• Mrs. Archana Shakya, Kathmandu Metropolitan City
End Notes:
1. KSUTP report, pp 2, section 1.2.3
2. KSUTP annex 2.1, pp.2 shows valley’s vehicular population in 1991 as 34600 and in 2010 as 450,000.
3. Five pilot cities are: Harbin (China), Changzhou (China), Dhaka, Colombo and Kathmandu
4. GEF has been supporting sustainable urban transport projects since 1999 mostly in developing
countries.
5. MPPW and ADB 2010, pp 2 “Kathmandu Sustainable Urban Transport Project”, Draft Final Report
Annexes
6. Dhakal Shobhakar 2006, pp xii, “Urban Transportation and the Environment in Kathmandu Valley,
Nepal”, IGES
7. Adhikari Sharad (Technical Director at DOTM) 2004, pp10 “Managing Urban Transportation in
Kathmandu valley: Challenges, Constrains and Opportunities”, Workshop strategies, IGES, MOPE
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OPINION
Kathmandu Sustainable Urban Transport Project
Sustainable Transport Initiative (STI) is an assistance program launched by Asian Development
Bank (ADB) in 2006. This initiative aims to enhance interventions in transportation sector and
incorporate issues such as infrastructure, services, energy efficiency and pollution reduction
as well. Five pilot cities were examined under the STI, and Kathmandu was one of them.
Consulting with the relevant departments, the assistance, coordinated by the Ministry of
Physical Planning and Works, began on 5th October 2009 and was completed mid-April 2010.
The Bank support for the project, which shall initiate in 2011, will be spread over four years time.
The support shall be forthcoming in the form of a US$ 10 Million Grant and a US$ 10 Million Loan.
An additional grant of US$ 2.8 Million shall be contributed by the Global Environment Facility.
The project, along with the contribution by the government, amounts to US$ 30.7 Million.
While an analysis on the project has been presented earlier in this issue, find here,
comments and views on the project, of members of three important professional
bodies of the country – Nepal Engineers Association (NEA), Society of Nepalese
Architects (SONA) and Regional and Urban Planners Society of Nepal (RUPSON):
Kathmandu Sustainable Urban Transport Project –
How Sustainable is it?
Implementation may be challenging - NEA
First of all, I would like to extend my sincere thanks to David Irwin
and his team for their arduous efforts in preparing this report. The
report basically comprises the vision of sustainable urban transport
in Kathmandu, focusing mainly on operations of public transport,
traffic management plan, introducing pedestrian areas as well as
improvement of air quality of the city. The report also attempts to
reveal the present situation of traffic congestion of Kathmandu and
its implications. Moreover, the report blames the managerial aspect
for this result, which to a large extent is acceptable.
Regarding urban transport vision, the report suggests a model of
public private partnership which may encourage all the stakeholders
for their contribution and participation resulting in the system to
be more sustainable. To improve public transportation system in
Kathmandu, the report envisages promoting electric and trolley bus
with conditions of scrapping existing buses or sending them out of
the Valley. But, based on experiences as well as the electric power
scenario of the country, its implementation may be challenging.
Er. Mukesh R Kafle
(mrkafle@yahoo.com)
Dy. General Secretary,
Nepal Engineers' Association.
In addition, in component A: public transport section, a new bus terminal on the west side
of Tundikhel and the plan for redevelopment of the old Bus Park for the Valley service is
proposed as a part of Kathmandu Metropolitan City (KMC) in partnership with the private
sector. The existing institutional capacity of KMC puts the implementation in doubt.
In essence, the proposed plan definitely helps to improve the traffic management system
in Kathmandu Valley thus helping to ease the daily life. It may really contribute to improve
the aesthetics of the city, thus converting the will of the Nepali people to see the capital as a
"dream city". But, there are many constraints to achieve this goal. The Government of Nepal
and all its stakeholders should have very strong commitments on it. Nevertheless, let us try
to live in optimism.
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Kathmandu Sustainable Urban Transport Project
OPINION
Pain killer rather than diagnosis of the disease - RUPSON
In the present sorry state of urban transport in the capital Kathmandu and
its numerous negative consequences, the Asian Development Bank’s (ADB)
‘Kathmandu Sustainable Urban Transport’ Project (KSUTP) makes a lot of
sense. In fact, streets and sidewalks covering about one third of a city area
and having multiple functions of both path (access and movement) and place
(social setting) is the most important singular urban design element that
shapes the built environment, gives neighbourhood character and regulates
the people's daily activity. Urban streets in the historic core of Kathmandu
were developed as ‘shared community spaces’ for performing multiple socioreligious
activities, whereas other streets in the peripheral neighbourhoods
were basically the ‘residual spaces’ left over after construction of individual
buildings. Though they were historically planned for pedestrians, nonetheless,
rapid urbanisation of the valley coupled with gradual shifting of economic Dr. Bijaya K. Shrestha
(bkshrestha@hotmail.com)
base from agriculture to service and commerce including changing lifestyles
Member,
of city dwellers have also transformed those streets with domination of Regional and Urban Planners
vehicular movement. Its negative consequences are numerous. The recently Society of Nepal
completed KSUTP has made a comprehensive study and recommended
various measures. However, its study methodology and the suggestions are not convincing in many ways.
A
-
,
‘
’
,
.
Firstly, sustainable urban transport for Kathmandu can never be achieved by limiting the study within
Kathmandu only with a focus on vehicular traffic with little consideration on the street’s function from sociocultural
aspect and pedestrian movement perspective. Despite ADB’s requirement of urban designer’s input,
none of the professional urban designer nor planners were involved in this project. As a result, the study has
not only failed to see the urban transport from border-land use and density change within the context of whole
of Kathmandu Valley, but also lost the opportunity to incorporate the pedestrian’s diverse needs. Failure to
respect ‘professional expertise’ has derailed this project in understanding the essence of the program and
thus took the wrong direction right from the beginning.
Secondly , this approach of facilitating vehicular movement through widening of streets, shifting the public
vehicular stops, making vehicular traffic one way, constructing pedestrian overhead bridges, replacing the
old three-wheeler tempos by micro-bus was also implemented in the Valley in the past, which provided some
relief for a short time at the cost of the pedestrians’ comfort, convenience and safety. The past experience
reveals that such myopic approach, on the one hand, and little control on buildings construction and their
uses, on the other hand, had invited more vehicular movement, thereby creating traffic jams, noise and air
pollution and more accidents in the long run. As less than 10% of the population own vehicles in the Valley, a
majority of the population walk for short trips. Pedestrian’s activities at street level increases vitality, safety
and enhances commercial sustainability. Hence, designing of footpaths and their smooth transition towards
the ground floor activities of buildings (of both sides of the streets) is essential. Even in a car oriented society
like the USA, many neighbourhoods are being redesigned by diminishing the width and making the street
irregular to discourage vehicular movement. However, the case of Kathmandu is just opposite. Repetition
of such failed model both in local context and international market means nothing more than making
Kathmanduites a ‘guinea pig.’
Thirdly, proposals such as bus station and car park on the west side of Tundikhel, redevelopment of the old
Bus Park along with the City Hall, underground car parking and multiple commercial complexes on the Social
Welfare Council and along the riverfronts, might be feasible from a highway engineering perspective but they
are a disaster from urban design point of view. Such acts will invite more vehicles, discourage pedestrian
movement, destroy the existing social fabrics and above all they are not preferred options for the earthquake
prone Valley.
Fourthly, urban transport is more like ‘social and cultural issues’ when it comes to implementation. Replacing
the microbus and three wheelers by a single big bus, shifting of bus stops and transport route and encouraging
the use of public transportation against the motorbike and private car have academic merit with little scope
of practice due to lack of survey to check the trip generated in those routes (function of locational activities
and density), people’s willingness to use public transportation and their eagerness to pay an extra fare for
the improved services. Most of the public transportation routes of the Valley cannot accommodate large
buses due to their narrow width and haphazard ‘transitional spaces’ between the foot path (if there is one)
and the activities on the ground floor of the buildings along both sides of the streets. The social perception
of considering higher status for car ownership and lower status for bicycle users has discouraged many
from using bicycles on the streets. As the urban streets and vehicular population have already been overloaded
by more than two times in the last few years, numerous proposed ‘technically sound and feasible’
recommendations cannot yield any tangible and significant result unless they are linked with the ever
increasing population density, land use reconfiguration and urban design.
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OPINION
Kathmandu Sustainable Urban Transport Project
Fifth, this study has shed little light on various ‘non-technical’ factors that are responsible for not
implementing many past proposals having similar recommendations. Some of the ‘non-technical’ factors
such as lack of political willingness, duplication of duties and responsibilities among different agencies and
different acts and culture of ignoring traffic rules and encroachment of streets and footpaths in different
ways are all to be primarily addressed first for smooth implementation of those recommendations.
A threefold urban design strategy of decentralisation of business activities from urban centres,
improvement of transitional spaces between streets (footpaths) and ground floor activities of buildings
on both sides of the streets, and strict enforcement of traffic management, all supported by flexible
design guidelines, incentives and consensus (involving different stakeholders) can reverse the present
situation of traffic chaos in Kathmandu, thereby leading to sustainable urban transport.
Validity needs to be clearly chalked out - SONA
T
,
.
First of all the Society of Nepalese architects is highly indebted to
SPACES for providing a platform for its members to voice their opinion
on the contemporary issues on architecture, urbanism, interior design
and many others, as the situation demands. We have been updating
our members, readers, students and many other enthusiasts through
the last two issues on the development in the architectural front
related to society activities. But this issue has a little more dimension
added to it, whereby we are allowed to add our concern on the issue
of the Kathmandu Sustainable Urban Transport improvement project
conducted jointly by MOPPW and ADB, which must have been an arduous
effort to plan and project a workable proposition to mitigate the present
urban chaos, as the entire city through the jumble of concrete, brick,
hawkers, and narrow network of roads, bottle necks and many other
pile-ons has become a real mess.
Ar. Debesh Bhattari
(debesh.bhattarai@gmail.com)
General Secretary,
Society of Nepalese Architects
The task is very difficult and maybe it is more like pointing a telescope to
the moon and wondering where it hits. The clutter has already reached a threshold and the solution might
require an investment reaching up to trillions of Rupees. I can imagine limiting the central core of the city
to certain limits as envisaged in the report, but the validity of the boundaries to seek a sustainable urban
transport for years to come in a country in dire straits like ours, has to be clearly chalked out.
The precious investment we make does matter a lot, which is evident with the recent foundation laying of
the overhead bridge in the New Baneswor junction by the PM of Nepal. It sounds like the overhead bridge
meant for pedestrians had more room for shop-keepers than the pedestrians and consequently, the
pivotal issue of security breach with respect to the Assembly Hall (earlier Conference Hall) across the
road and the limitation of the six lane highway arose. We do require a safer passage for pedestrians in the
crossing but the mere placement above or below the ground may limit the very essence of urban road
planning.
The nodal points across the city, segregation of vehicular movement in and around the core area, creating
pedestrian only area in the urban centre, running smaller vehicles for transiting and maintaining air
quality within the city are few of the commendable starters. But limiting the ownership of private modes
of transport can be very difficult unless some serious effort is made to create a reliable transport network.
The very idea of bringing the big sized bus to the core by limiting the smaller mode of transport may fireback
as the present road condition has hardly any room for the same unless it is widened. In addition,
creating a parking facility on the western side of Tundikhel may create one more bottle neck in the already
congested section of the city and shall snatch the only remaining public breathing space of the urban
core, thereby inviting a disastrous response from the civil society.
Finally, a city like Kathmandu, where new boundaries are built every other day by endless acquisition of
the arable land for housing development, can only have reactive planning efforts. The proactive approach
can only happen if the urban road networks are guided by Kathmandu Valley Urban Planning parameters,
where the Society of Nepalese Architects can take a leading role. In fact, a section of the Society’s experts
are already doing a serious homework to understand the present urban mess and the Society is very
eager to get a larger participation to formulate the basic guidelines for the urban framework.
The Kathmandu Valley urbanscape, which did not falter till the mid-fifties of this century, lost its true
glory in a mere three decades. Now there is an even bigger responsibility to all the sections of society
to act judiciously. The present effort to improve the transport system in the core should definitely be a
milestone to understand at least the chaos, if not solve it completely. We have to do a lot of home work in
the years to come.
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ART
© Siddhartha Art Gallery
Syed Iqbal Geoffrey:
artist with a double life
Text: Madan Chitrakar
A
. T
,
.
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During the last week of last October,
Siddhartha Art Gallery treated Kathmandu
art lovers with an art of a different kind – a
collection of works entitled ‘Supra Collages’ by
the internationally known Pakistani artist - Syed
Iqbal Geoffrey. The collection, mostly collage
works, is Geoffrey’s strange way of looking at
art as an expression and his thoughts in art has
earned him a charismatic reputation as an artist
making strong waves in many parts of the world.
This is his first exhibition here in Kathmandu.
However a solo exhibition had been planned for
way back in 1960; in of all the places - within the
premises of Narayanhiti Palace Complex as an
invitee of late King Mahendra! And it is a pity that
although we talk so much of a global village and
globalization, most of us remained unaware of
this name – a near phenomenon, and that too
from as close as Pakistan - till the moment his
show was inaugurated and the local media also
began to get drawn to him. But here too it is likely
that the media expressed its sensitivity towards
him not because of an understanding of his art,
but rather because of the internationally known
January-February 2011
issues and debates he had generated one time
or the other as an internationally known figure
with a distinct but strange double life – an artist
with unusual thoughts and expression, and
the other, instead of a soft and delicate artist,
a fearless and a highly sensitive barrister –
ready to defend even the individual accused of
terrorism in a court of law as far as in the U.S.!
So then let’s see who artist Syed Iqbal Geoffrey
is. Born on the 1st of January 1939, in Chiniot,
Pakistan (then in India), he first and foremost
remains one of the very few non-European
artists to be honoured with the coveted Paris
Biennale laureate way back in 1965. The honour,
bestowed upon him at the tender age of 25,
remained so deeply ingrained in him that till
today he never fails to mention it with respect,
irrespective of the context he is in. Even when he
needs to present his legal persona, he proudly
presents himself as ‘Barrister Paris Biennale
laureate Syyed Iqbal Geoffrey', which probably
explains his honesty to the creative instincts
inside him.

ART
Geoffrey’s artistic journey began in 1960 after his arrival in London, following
which he chose to move to the US and remained there till 1985 – a long
stretch of time, which he cleverly made use of to acquire a prestigious Law
Degree from Harvard, and as an ambitious artist – to explore free expressions
to the limit.
As a means of expression, ‘Collages’ have all along remained his forte and
the mainstay. But what made and led him to earn a celebrity artist status
are his convictions in art - the supremacy of thoughts over execution. He
strongly opines, "An artist must essentially think and not merely create. The
medium thus, is secondary." A short speech made during the inauguration
of his exhibition at the Siddhartha Art Gallery reconfirmed what has been
described in many of the writings as well as in a book published by National
Book Foundation, Islamabad, Pakistan - that Geoffrey is a strong believer
of Dadaism. In his very opening lines he spelled the ephemeral character of
our life and so is the real essence of art - indicating his strong disdain for the
conventional notion of art. No wonder his art journey is known to characterize
bizarre forms and expressions. Unusual it may
sound and look – in his early days in an exhibition,
it is reported that he framed a piece of brick with
an abrasive surface used for scrubbing during
bathing, and titled it, ‘Portrait of an Art Critic”. In
another exhibit, he caused an uproar which turned
into praises when he put up a tattered old bag with
a bold caption, ‘Anything you put in becomes an
art! ’. This kind of artistic antics naturally remind
one of anti–rational philosophy called Dadaism,
propounded by the legendary French artist, Marcel
Duchamp, who made an upheaval for about six
years (1916- 1922) with his unusual display of
mundane objects of daily use as a work of art in
the French capital Paris as a display of protest
against War and the futility of all established values
then. And Mr. Geoffrey, some forty years later has
sought to resurrect similar ideas with similar bizarre
exhibits. In 1963, Duchamp himself is said to have
visited his show and in a lighter view, was known
to have remarked that “..compared to Geoffrey, I
am a conventional artist ..” The comment made
by the guru of Dadaism himself, speaks volumes
of the extent of rebellious thoughts of Geoffrey.
Mercifully, the show in the Siddhartha Art Gallery
was far more conventional. And during the show,
many viewers as well as the reporters were seen
to be seeking the meaning of the random pieces
of pictures and text torn from magazines, the core
elements of his expression, little knowing that he
is an artist with an attitude of anything goes; one
does not need to always draw or paint to create so
long as the artist thinks it ticks and conveys what is
intended. No wonder, anyone who approached him
for explanations came back with his answer, “Art is
meant to be imbued not to be described!”
But what makes Syed Iqbal Geoffrey more
interesting is his facet of a barrister, which earned
him more screaming headlines in the West than
as an artist. Out of many, two events reveal his
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ART
personal guts and attitudes towards the life in the West
where he spent a reasonable span of time. During his stay
in London, he managed to drag a reputed art gallery in
London, The Hayward Gallery, to the court of law, suing
it under the Human Rights Act on the grounds that he
had been racially discriminated when the gallery failed
to return some of his paintings. Goeffrey claimed a
whopping amount of some 65 million Sterling Pounds as
compensation for his lost paintings. In another instance,
Syed Iqbal Geoffrey- an artist with avant guarde thoughts
- came forward to defend a certain Mir Aimal Kasi - a
Pakistani national accused of shooting two CIA officials
- in a court of Law in New York, a place where no reputed
lawyer dared to take up the defence case because of
the existing public sentiments then. It does make a rare
example of an artist defending a criminal case in a court of
law – in of all the places - the United States of America !
So what Siddhartha Art Gallery offered in its gallery should
not be treated simply as a row of paintings hung up on its
walls, but rather a virtual panorama of vivid reflections of
a mind simultaneously living as an artist and a barrister,
always preoccupied with a multiple spectrum of thoughts
on issues of social injustice, to gather courage to face the
mighty and the powerful so as to defend the helpless.
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