4. July-Aug 2010

JULY - AUGUST 2010
ART - ARCHITECTURE - DESIGN
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TALE OF A TALLEST TOWER
KU, BFA ART EXHIBITON
URBAN OPEN SPACES
A Gesture to the
Himalayas
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CONTENTS
38 47
ARCHITECTURE
TALE OF A
TALLEST TOWER
The Burj Khalifa at Dubai,
piercing the sky at 828
m, has won the title
of 'the world's tallest
architectural top' by
being 320m taller than
the former winner 'Taipei
101' at Taiwan.
– Ar. Bansri Pandey
30
ARCHITECTURE
A GESTURE TO THE
HIMALAYAS
Only at one specific point on
the site of the Royal Norwegian
Embassy at Lalitpur, can one
actually see the Himalayas.
Hence to capture this view,
one part in the building rises
to a second floor and this
highlighting change in building
level, needing a face became ‘a
gesture to the Himalayas’
– Ar. Swati Pujari
ARCHITECTURE
ARCHITECTURAL THESIS
WORKS 2009, KEC
The 'Architectural Thesis Project',
as prescribed in the Bachelor
Degree of Architecture at Tribhuvan
University, provides an excellent
opportunity to students to
demonstrate their research and
analysis. The following designs
presented here were chosen as the
top eight theses in ranking for the
B.Arch. program 2066 B.S. from
Kathmandu Engineering College.
– Compiled by Amir Maharjan
10
Cover Photo
Photographs: Ashesh Rajbansh
Canon EOS 5D Mark II
Av 6.3 ISO 800
July-August 2010
60
ANALYSIS
THE FADING IMAGE OF
PUBLIC OPEN SPACES OF
KATHMANDU
The squares and streets of Kathmandu
core are the foremost in advocating that
public open spaces are where people
discover the value and benefits of
public life. However, with the rapid pace
of development, the image of these
places is being lost into a characterless
chaos. – Ar. Shailita Manandhar Joshi
80 88
SOLUTIONS
OPINION
26
ART
KU, BACHELOR IN FINE ART SOLO EXHIBITION
The BFA curriculum comprises of intensive studio practices, which provides
foundation courses in the first two years, followed by an elective in the third
year. The final year ends with solo exhibitions by the students, and this year,
seven students have accomplished their final solo exhibition in the month
of June 2010. – Ar. Kalpana Bhandari
66
ANALYSIS
RETHINKING THE IDENTITY
OF URBAN OPEN SPACES
With increase in population, urban
open spaces are the first to be the
victims of encroachment. As much
of the open spaces in Kathmandu
are either congested or are
inaccessible, places of retreat for
Kathmandu urbanites are becoming
a thing of the past.– Ar. Swati Pujari
with Ar. P. Marhatta
70
ANALYSIS
FAST DISAPPEARING OPEN
SPACES (DEFACTO LUNGS)
OF KATHMANDU VALLEY
It is very disheartening to note that
the rapacious land grabbing of the
meagre open spaces of the past
heritage is still going on unabated.
With the uncontrolled urbanization
going around Kathmandu and the
fast deterioration of open space
system, one wonders where we are
heading to. – Prof. Bharat Sharma
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VOLUME 6 ISSUE 5
July-August 2010
Regd. No 30657/061-62
Temporary CDO No. 41
Uday Sunder Shrestha, B.E, B.Sc.
Ashesh Rajbansh
Krishna Shrestha
Nijima Shrestha
Anish Shrestha, Bina Bhattarai
Prakash Bahadur Amatya
Swati Pujari, B. Arch.
Kasthamandap Art Studio
Contributing Editor - Darjeeling Hills Barun Roy
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- Sikkim Ar. Chetan Raj Shrestha
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EDITORIAL
CONTRIBUTORS
Prof. Bharat Sharma graduated from Harvard
in 1980 with a Masters in Landscape
architecture. After 35 years of service at
the Department of Urban Development and
Building Construction, he retired in 2001 and
is now a Professor at Faculty of Architecture
of Nepal Engineering College, Kathmandu.
One of his greatest achievements has been
the conceptual master plan for the Pashupati
Area Development Trust and his work in
environment enhancement and design of
Bhrikutimandap gardens in context of the
SAARC Summit in Kathmandu. (dhabauli@
yahoo.com)
Sandeep Giri is the President of Gham Power,
the first company to bring #1-ranked American
solar PV technology to Nepal. Mr. Giri,
who has lived in San Francisco, USA, since
1998, helped to launch several technology
companies, including an off-shore software
company in Kathmandu. Mr. Giri holds a
Master’s degree in Computer Science and a
certificate in Solar Energy from University of
California at Berkeley.
Ar. Shailita Mananadhar Joshi is a Lecturer
and Thesis Co-ordinator at Kathmandu
Engineering College, Kathmandu. A
researcher by nature, she has completed
Bachelors in Architecture from Tribhuvan
University and Masters in Urban Design from
University of Hong Kong. She has presented
multiple study reports on subjects such as
Socio-Cultural Influence in Architecture,
Waterfront Development and Street Markets.
She completed her MUD as an ADB (Asian
Development Bank) Scholar, and her thesis
dissertation was titled "Redefining the Image
of the Streets of the Historic City Cores: A
Case of Kathmandu". During her stay at Hong Kong she has worked
with the Urban Renewal Authority of Hong Kong and is currently
practicing architecture at READ Consult Pvt. Ltd, Kathmandu.
(shaili78@hotmail.com)
Ar. Kalpana Bhandari is a fresh graduate from
Kathmandu Engineering College. She fosters
special interest in Architectural Journalism,
and aspires to design energy efficient
buildings especially for rural sectors. (kalpana.
bhandari1@gmail.com)
Amir Maharjan is a final year architecture
student at Kathmandu Engineering College,
Kalimati. Currently he is dedicated to
his Bachelor's Degree thesis. He is also
interested in creative designing and is a
volunteer for a building design through the
Kirtipur Engineering Society.
(ameer_mahar@hotmail.com)
“With the uncontrolled
urbanization going around
Kathmandu and the fast
deterioration of its open
space system, one wonders
where we are heading to.
Furthermore, by the time
the concerned institution
wakes up from hibernation
and makes an effort to
publish an ‘inventory’ of
the open space system
in the Valley in order to
manage it, all that will
probably be left will be the
book only.”
– Prof. Bharat Sharma,
Landscape Architect
The facts page in the official web site of
Kathmandu Metropolitan City puts the
population density of the city as 13,225 per
sq. km. Scroll a little above and you will find
that the population of Kathmandu city is
stated as 671,846 with CBS2001 written in
brackets – meaning that the figure is based
on the last census taken in the year 2001,
i.e., almost 10 years ago! The census also
specifies that of the three municipalities
within the Valley, Lalitpur had an urban
population of 162,991, while Bhaktapur
had 72,543. What the figures are today can
only be guessed at and most researches
and planning papers project the figure to
be between 1.5 to 2.5 million collectively
within the Valley. This alarming jump within
a decade is no doubt disturbing and fuelled
by the political upheaval and instability in
the country, the trend shows no signs of
abating within the near future. So what
holds in store for us urban frogs basking in
its past glory leads to the above statement
by Prof. Bharat Sharma and to our focus in
this issue – Urban Open Spaces. Nevertheless, it is not that we
are not aware of what is happening around us, and at times,
concerted and combined efforts of professionals and concerned
citizens have been made to put things right (the Ganatantra
Stambha proposed at the Ratna Park being one prominent
example). However, one can find that such priorities are still
obscured by short-sighted decision makers and unless political
commitment is ensured, plans, however feasible and lucrative
they may be, will simply remain on paper, collecting dust.
The cover feature this time is the Royal Norwegian Embassy
at Lalitpur designed by architect Kristin Jarmund of Norway. As
with the American Embassy at Kathmandu (SPACES -Sept/Oct
2007), embassies reflect the psychology of the people of the
country it represents and as we found out, their designs portray
the culture and beliefs of the people of that country. While the
American Embassy was completely designed and constructed
with international input, the Royal Norwegian Embassy used
local expertise for both its design details and construction, and
as Kristin’s Nepalese counterpart, architect Biresh Shah puts it,
‘was a huge leap in time and space!’
The Burj Khalifa – the tallest structure in the world – is the latest
in man’s relentless effort to surpass his limits. This building,
standing at 828 metres, is an extra ordinary feat, which for us
in this part of the world, is something we can only look at and
wonder.....
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July-August 2010
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LETTERS
Thank you for your support.
I have just gone through the March -April issue
of SPACES and am thankful to you for providing
so much of precious space by publishing articles
by students of Pulchowk campus related to the
12th Annual ASA Architectural Exhibition. This will
surely inspire students to write for SPACES and
conduct programs like the Architectural exhibition.
I am personally thankful for your support during
12th ASA Exhibition and hope for your continued
support in the days to come.
Projwol R. Bajracharya, Chief Co-ordinator, 12th
ASA exhibition,
projwol11@hotmail.com
Need magazines for Library
As you are covering a lot on what is
happening on art in Nepal, would it be
possible for us to avail the earlier issues
for our library collection? I hope you will
be positive towards my request.
Ramesh Khanal, Arupan artist,
khanal_ramesh@hotmail.com
How do I subscribe to SPACES?
I would like to subscribe to SPACES. What
procedure should I follow? Also, could you
direct me to your office?
Gyanendra, gyanendra_m@hotmail.com
(Please call Pratima or Anish @ 01-5544606
/ 5526040)
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July-August 2010
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News and Happenings
© Kasthamandap Art Studio
Ramesh’s 25th
ARUPAN Composition
30TH APRIL 2010, LALITPUR
Continuing with his earlier ‘Arupan’ series, Ramesh Khanal’s
foray into abstract forms art works this time round was on one
inch square canvases. Exhibited at the R N Joshi Center for
Fine Art, in Pulchowk, these formless abstracts according to art
critic Mukesh Malla, were a fine and unique presentation of a
combination of miniature and minimal art. According to the artist,
these works, which took more than three years of dedication,
were inspired by earlier international miniature art works.
A tribute to the
great artists
14TH MAY 2010, LALITPUR
“Kapil is a figurative artist,” says Chirag Bangdel,
a figurative artist himself, and goes on to add,
“There is nothing more gratifying than creating
artistic nudes.” And that is how Kapil Mani
Dixit chose to glorify some of the great artists
in his exhibition at the Yala Maya Kendra at
Lalitpur. Kapil’s red and black art works were
re-compositions of masterpieces, incorporating
human nude forms into the individual styles.
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July-August 2010
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Living with Contextual Modernism
16-18 MAY 2010, LALITPUR
A two-day seminar followed by an
extended exhibition was organized by the
Royal Norwegian Embassy, Kathmandu,
in co-operation with the Institute of
Engineering (IOE) at the Pulchowk
Campus, Lalitpur. The seminars, aptly
titled ‘Living with Contextual Modernism’,
were held on the 16th and 18th of May,
followed by the exhibition “Contemporary
Norwegian Architecture 2000-2005” on
19th May which concluded on 7th June
2010.
The first day of the seminar was divided
into two sessions, both titled ‘Contextual
Modernism in Architecture: Norwegian
and Nepalese experiences’. The first
session saw some insights regarding
context and modernism as defined by
Architect Kristin Jarmund (practicing
architect from Norway and the architect
for the Royal Norwegian Embassy
in Kathmandu) and by Prof. Jiba Raj
Pokharel from NTNU and Ar. Biresh Shah
of Archiplan. This day shed some light on
the architectural history and practices of
Norway and that of Nepal, from where
the discussion moved on to the roots of
modernism in art and finally concluded
with a heavy discussion on the current
scenario of Modern Architecture in
Nepal.
The second day of the seminar, on the
other hand, was more of a technical
session with papers presented by the
PhD candidates of IOE as well as two
Norwegian students of architecture doing
their research in Nepal. The technical
sessions were divided into three parts. The
first part had ‘Living in Safety: Addressing
Disaster Issues with Appropriate
Technology’, presented by Ar. Punya
Sagar Marahatta (PhD candidate, IOE),
Ar. Inu Pradhan Salike ( Asst. Professor,
IOE), Dr. Jishnu Subedi (IOE) and Ar.
Sushil Bajracharya (PhD candidate, IOE).
This session highlighted the issues of risk
and vulnerability in the present context of
Nepal and also presented some useful
tools which are being practiced in order to
assist the vulnerability evaluation.
The second session titled ‘Sukumbasi:
The informal settlements and squatter
settlements of the Kathmandu Valley’
was presented by Dr. Mahendra Subba
(DUDBC / MoPP&W), Prof. Mahesh
Shrestha (Professor from IOE), and Prafulla
Man Singh Pradhan (UN-HABITAT). In this
session the ongoing research by DUDBC
on the different squatter settlements of
the Valley was presented along with a
discussion on the possible solutions for
this problem.
The third and final session was titled
‘Bazaar Future: What is the future of
the history?’ and the presenters for this
session were Ar. Deepak Pant (PhD
candidate, IOE), Ms Linn Skjold (NTNU)
and Ar. Benjamin Haffner (NTNU). The
sessions mostly featured talks about
the urban life of traditional Kathmandu,
especially focusing on its urban spaces.
The two day seminar also became
a platform to unleash many buried
sentiments regarding the architectural
development of Kathmandu, especially
when referred to the current context and
to modernism. Many questions ranging
from the definition of ‘modern Nepali
architecture’ to the ideas of ‘conservation
in a tourist’s point of view’ were raised in
the seminar.
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NEWS & HAPPENINGS
Contemporary Norwegian
Architecture 2000-2005
19 MAY -7 JUNE 2010, LALITPUR
On 19th May the exhibition titled “Contemporary Norwegian
Architecture 2000-2005” was inaugurated by H.E. Thor Gislesen,
the Ambassador of Norway to Nepal. The exhibition produced by
the National Museum of Art, Architecture and Design in Norway,
presented fifty buildings that had been selected by a jury as the
best examples of Norwegian architecture from the period of
2000 to 2005. Using drawings, pictures, models and video for
the showcase, the exhibition was thematically divided into five
categories viz., Transformation, Form and function, Symbol and
identity, Materials and Constructions, Contrast and Proximity.
The exhibition has been touring around the world since 2005
and was brought to Nepal from Abu Dhabi from where the
exhibition moved to Singapore as its final destination.
© Sagar Chitrakar
DOWNTOWN
21- 23 MAY 2010
The perfect
place to be
With a catch phrase of ‘The Perfect Place to be” Downtown Apartments
was recently launched and opened for booking at an interactive event
organized at their corporate office in Ekantakuna, Lalitpur. The project, a
product of Downtown Housing Company Pvt. Ltd., primarily targets families,
professionals, business owners, executives, business travellers, expatriate
community, guests on longer holidays and corporate guests. The 192
apartments in the two fourteen storied blocks are also as varied as the target
group ranging from studio apartments to 2/ 3/ 4 bedroom apartments, to pent
houses. The prices too are in a spectrum between Rs. 2.685 million for a
496.95 sq ft studio apartment at the lowest and Rs. 14 million for a 2,592.96
sq ft (+ 234.8 sq ft balcony area) 4 bedrooms pent house at the highest.
Located at Khumaltar, just 0.7 Kms from Satdobato Chowk, the project
provides three attractive payment plans for its potential buyers: Down
Payment plan, Construction Linked Plan and Bank Finance Plan, satisfying the
different needs of its varied targets.
The launch cum booking for the apartments was attended by a surprisingly
substantial number of prospective buyers in spite of the recent slump in
the real estate market. Contrary to the usual trend of showcasing mock-up
apartments, all the aspects of the project were presented and explained,
accompanied by computer generated animations of the complex as well as 3
dimensional models of both exterior as well as interior space.
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NEWS & HAPPENINGS
Figurative
Transitions
Gaurav’s
14 JUNE 2010, KATHMANDUOmkarnations
Gaurav Shrestha, known for his rich mystical collages, has moved out from
his forte to experiment into the vibrations generated by incantations of the
eternal word ‘OM’. As the artist commented at the launch, it was refreshing
positive change - something one needs at times to reflect and review to
be more creative as it develops. The 28 mix media art pieces on display
at the Gallery32@Dent Inn were a one year journey of experimentations,
gradually progressing from the Om implanted on a chromatic metal blue
and then gradually breaking away to fine geometric coloured progressions
vibrating from the central Om theme.
22 MAY 2010, KATHMANDU
After his first solo exhibition in 2000,
Chirag Bangdel exhibited his 16th set of
paintings consisting of fresh works as well
as some works from earlier series at the
Nepal Art Council in Kathmandu. “The
world is a she, nature is a she, my country
is a she and my mother is a she,” says
Kushboo Agrawal quoting the artist in the
launch of the exhibition, which is probably
why he prefers to paint feminine forms in
most of his works. Chirag’s works, as his
statement, are beautifully soft despite the
bold outlines of his creations.
CEEA opens
18TH JUNE 2010
display centre
Cosmic Electrical Engineering Associates Pvt. Ltd (CEEA), the
distributors and channel partners of ABB, Delta Technology and
Carrier, launched a display outlet at the Bluebird Mall, Thapathali.
The display centre mostly showcases the products of ABB
and Delta Technology. The ABB products displayed a range of
varieties of Switches and Sockets to Circuit Breakers, Manual
Motor Starters etc., in low voltage to Outdoor Live Tank Circuit
Breakers, Vacuum Circuit Breakers, Insulated Ring Main Units
and Compact Switchgear in medium voltage. The products
of Delta Technology included Lighting Conductors and Surge
Arresters.
While ABB is a global company which operates in around 100
countries the world over, Delta Technology, France, is a company
that specializes in Lightning Protection and Earthing System, and
Carrier is a part of United Technologies Corporation, USA.
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ART
Art and Design
KU, Centre for
Bachelor of Fine Art Solo Exhibition
Text: Ar. Kalpana Bhandari
Kathmandu University’s Bachelor of Fine Art, with two successful graduate batches, has
introduced Graphic Communication in its four year program, and is the first institution to
do so in Nepal. With an intake of 24 students per year, the institution aims to introduce the
students to different disciplines of Fine Arts as a professional, service and career oriented
genre or to assist them in their further pursuit in Art.
The BFA curriculum comprises of intensive studio practices, which provides foundation
courses in the first two years, followed by an elective in the third year. The final year has
various professional skills added to the curriculum of the first three years and ends with
solo exhibitions by the students majoring in Painting, Sculpture or Graphic Designing.
It is well known that art has different meanings to different people, and its beauty varies
whatsoever. However, the students are required to produce a minimum marginal number
of art pieces for the exhibition and the standards for marking is categorised accordingly.
This year, seven students have accomplished their final solo exhibition in the month of June
2010, with four majoring in Sculpture, two in Graphic Communication and one in Painting.
Gaurav Tripathi
Major in Sculpture
SEARCHING FOR UTILITY
6-10th June, Nepal Art Council
“Oh! That’s a beautiful piece of art for my home,” is what a layman
would say at a glance of an object of interest. Gaurav Tripathi adds more
to the statement. His search for the ‘utility in art’ reflects in his chosen
project, blending aesthetics with function. Gaurav’s projects ranged
from ambient showpieces to sculptures of daily use like furniture.
Gaurav’s designs are brief compilations of a search of functions,
sculpturing anthropometry with elements, which could be used at
leisure times as well as most busy hours. Materials used were wood,
metal and mud as well as varied uses of ceramics and galvanized iron
sheets. Gaurav’s pieces left the viewers gaze and wonder about the
use that each individual could imply.
Suman Thapa
Major in Sculpture
REPETITION OF DIFFERENT OBJECTS
11th -14th June, Nepal Art Council
Art and architecture is never stagnant, developing into
contemporary and post-modernism that we call today.
One common factor amongst the respective designs,
designers and artists remain their inspiration, and Suman,
a major in Sculpture, is no different in his inspiration from
‘patterns’ or ‘repetition of objects’.
Suman uses less-valued objects, as we term ‘junk’ that
are readily disposed, to enliven his inspiration. His varied
collection of wastes are beautifully patterned into forms
of art, combining aesthetics and junk together – no doubt,
a challenging venture. Suman not only uses these waste
materials artistically, but also manages them technically.
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ART
Amit Raj Shilakar
Major in Sculpture
QUIET CROWD
8th – 12th June, Park Gallery
Amit Raj Shilakar's art works consists of forms created out
of coins. Simple? Not at all!
Just as the famous French/American artist Marcel Duchamp
had said that ‘the medium is the messenger,’ Amit has given
a new perspective to the use of coins. It is not that coins
have not been used for other purposes besides trade in our
culture, for example, who would believe that nailing a coin
onto a wall will relieve toothache? But Amit’s translation to
the coin’s different and contemporary use surely speaks of
vision, diligence and of course a lot of expenditure. And that
is just to speak of the background behind his creations.
Just as countless grains of sand build up to become a
mountain, or bricks stacked together become a piece of
architecture, Amit’s concept bases itself on building up on
an a single unit to form something substantial, something
contemporary – a piece of art.
Sheelasha Rajbhandari
Major in Sculpture
IN BETWEEN UNCOMMON FACTORS
10th -14th June, Nepal Art Council
Sheelasha Rajbhandari believes in sculpturing
intangible emotions into tangible elements.
Working with materials like ceramics, papiermache
and wastes like jute, cotton, etc., she
attempts to bring forth a concept of bringing
together uncommon factors, basing them
on a 400 year old Japanese art form.
Ant - the one considered as most inferior and
the most almighty one - God, were brought
together, conceptualizing them ‘in between
uncommon factors’. The ever mobile ants
were stationed in places and in the form
of sculptures of gods - totally controlling
nature. God’s vision, as we perceive, is
abstract, and like ants, there are many other
things that we ignore in our daily lives, but
are equally important - where Sheelasha
attempts to find common in between two
these uncommon factors.
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ART
Dipesh Ranjit
Major: Graphic Communication
STREET CHILDREN
18th June, KU Centre for Art and Design
We cannot ignore what we see, but what stays in mind requires
visual strengthening of the image seen. And one of the best
ways to do so is to communicate through graphics, as graphics
attracts both the alert as well as the ignorant ones.
Dipesh Ranjit, a Graphic Communication major, enlightened a
topic that could not leave anyone ignorant. The street children
captivated by poverty, hunger and deprived of basic rights was
Dipesh’s inspiration. Through the project, their yearning for
change was clearly reflected which tried to bring into fold those
who can make changes to their plight. The graphic mediums of public attention
were in the form of posters, hoarding boards, pamphlets and magazine and
newspaper advertisements. And as it goes, a picture speaks for itself; Dipesh
had words as his slogan, ‘Be their Inspiration.’
Roseling Shakya
Major in Painting
SILENT SWAYS OF SELF DISINTEGRATION
!7th- 21st June, Nepal Art Council
‘The temporary drift gives rise to a
schism, creating a sense of stun and
apathy,’ states Roseling Shakya.
Art communicates to its viewers.
You can describe your insight like no
other can.
Roseling Shakya has done this beautifully by portraying herself to
exemplify her ‘self disintegration.’ While her chosen colours and
strokes do justice to her theme, the scale of images enhances her
depiction. The paintings are about time - before, within and after it.
Rose has canvassed emotions, from vividness to perplexity, joyous
to solitude, agony to calmness. Her paintings are mirror images to
the states of mind that each individual experiences - a reflection of
the phase that one passes once in a while or throughout lifetime.
‘Silent Sways of Self Disintegration’ is what it is - just and vivid.
Sandeep Thapa
Major: Graphic Communication
NEPAL HANDICRAFT
18th June, KU Centre for Art and Design
Nepalese have always welcomed
the non-nepali people from all over
the world, priding on their exquisite
forms of art and architecture.
Handicraft, or handmade products
are those elements that truly
demonstrate the originality of
vernacular architecture.
Sandeep Thapa, with the aim ‘Get Handmade, Be Stylish’,
graphically portrayed the traditional Nepali vernacular art with
a western touch. The wind of fusion worked, contrasting
the background and foreground at the same time taking it
simultaneously forward. Sandeep’s replication of the art with
graphics was through the mediums of posters, pamphlets,
visiting cards and newspaper advertisements.
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ARCHITECTURE
A Gesture to the
Himalayas
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Text: Ar. Swati Pujari
www.spacesnepal.com

ARCHITECTURE
ARCHITECTURAL REFLECTION
OF A SOCIAL DEMOCRACY
The first impression of the Royal Norwegian
Embassy in Kathmandu is that of its openness.
It is rather surprising to see such an open and
inviting character at a diplomatic complex,
especially in a foreign land, where security is
always a major concern. The architect, Kristin
Jarmund, explains that the Royal Norwegian
Embassy building tries to portray the social
democracy of Norway and of Scandinavia,
which is quite an open democracy.
But as is the case of all embassies, security is
definitely a major concern. So how does the
design tackle this issue while still reflecting
the openness of its origin? According to the
architect, the site played a very important
role. Although situated within a dense urban
fabric, it is fortunate that the area is not too
exposed to the outer environment. There is
only one tight location at the site where the
boundary opens out; all the other edges are
blocked by the neighbouring sites.
The land slopes towards the north with multiple
terraces, and the walls of the terraces work
themselves into the boundary. All vertical levels
merge into the boundary walls and then become
a part of the building design. So one cannot
actually differentiate between the boundary,
the terraces and the building, thus making the
complex transparent, open and inviting.
The other major element highlighting this
openness is the generous use of glass. Norway
being a cold country, it seems only obvious
that there would be limited use of glass in
their buildings. Instead the factors that define
glass use in Norway are light and views. Kristin
herself is very concerned about "where to
bring in the light and where the views are," -
concerns that are very well addressed in the
embassy building.
THE HIMALAYAN WINDOW
On entering through the security gates of
the embassy at Pulchowk, one is confronted
by the embassy building, which has a strong
impact in its proximity and yet manages
to be modest in its form. The horizontally
elongated building with generous use of
wood and glass has only a part of it rising
two floors. One can be amazed by the
beauty of this simplicity at first. But a second
and deeper look into the building brings
about the appreciation of the complexity in
achieving this simplicity. The overall form,
at a quick glance, seems very simple.
But it was achieved through an idealistic
thinking process. The building is modest in
its size as the architect was very concerned
regarding its merger with the urban fabric of
Kathmandu.
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ARCHITECTURE
On a clear day, the Himalayan Window
reflects the Himalayas that it is based on
“IN MY VIEW MAKING ARCHITECTURE IS NOT
WORKING WITH PRE FIXED SOLUTIONS, IT SHOULD
NOT BE, IT IS KIND OF AN ARTISTIC, DYNAMIC
EXPERIENCE.” – KRISTIN JARMUND
Only at one specific point on the site, can one actually see the
Himalayas. This view was an aspect that the architect wanted to
capture, and so the only part in the building that rises to the top
floor is from where one can see the Himalayas. This highlighting
change in building level had to be presented as the entrance to the
building. The entrance thus needed to have a face, and the face -
‘the Himalayan Window’ became a gesture to the Himalayas.
So what is this 'Himalayan Window' indeed? The Himalayan
Window at the first floor level of the building is in fact a floor to
ceiling window made of structural glass, presented in a zig-zag
fashion, or rather according to the 'Footprints of the Himalayas'.
This window, facing towards the cool north represents a
Himalayan footprint, both on the floor as well as the ceiling. On
a clear day, the Himalayan Window reflects the Himalayas that it
is based on.
Kristin remembers a special moment on the day of the opening of
the embassy. A construction worker, who had been engaged for
the nearly one and a half years of its construction time, came up to
her and pointing to the Himalayan Windows, commented, "Very
nice idea, very nice idea,” perhaps after seeing the reflection
of the Himalayas on the Himalayan Windows. This incident has
somehow re-strengthened her concept of architecture being
universal.
THE NARRATION AND THE METHOD
The story of the building tries to represent Norway and connect
it with Nepal; hence it is not surprising that the architect tries
to go after pictures in a narrative manner. Thus, before entering
the building, one would cross a water pool with a small wooden
bridge and a water fall to its left. Water, an element found in
abundance in Nepal as in Norway, acts as a central element to
segregate and at the same time binds the exterior to the interior,
through the wooden bridge into the building. The stone walls
represent the mountains and have flat surfaces or plateaus at
certain intervals with greenery. The entire complex, including
the Himalayan Window, tells a story of the mountains, their
plateaus, the rivers, lakes and bridges, in Nepal and at the same
time showcases its similarities to Norway.
Towards the back of the building is what can only be described
as an inner chowk (courtyard), somewhat similar to the traditional
planning pattern of Nepal. In fact some features of traditional
Nepali architecture have been used in this building, but with
a slight twist. The floor to ceiling folding doors separating the
chowk and the meeting room gives an option of bringing the
outside in and vice versa. These two areas combined can seat
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ONE CANNOT ACTUALLY DIFFERENTIATE
BETWEEN THE BOUNDARY, THE
TERRACES AND THE BUILDING, THUS
MAKING THE COMPLEX TRANSPARENT,
OPEN AND INVITING.
© Kristin Jarmund Arkitekter
as many as 120 people at a time. The chowk is bound on one
side by the stairwell which leads to the double-storied part of the
complex. Another feature of Nepali architecture used, and with
modifications again, is the wooden louvers and frames which
make up for many portions of the wall. All of the wooden details,
including the louvers, the door and window frames, and the wall
panelling are done using locally available wood.
In fact almost all the construction materials, fixtures and labour
used were locally sourced. The only supplies that were specifically
brought in were the communications and security equipments
from Norway and special light fixtures from India.
The construction details of the project were executed by the
local consultant, Archiplan, who according to Kristin, “did a huge
job,” specifically regarding the details and the workability in the
local context, which the foreign consultants were not particularly
familiar with. One of such slight modifications was the change
in the roof structure. With the heavy monsoons in Nepal, the
roof structure and its maintenance had to be thought over in a
more detailed manner, thus deciding to maintain an inclination of
14 degrees in the roofline. When asked if she was satisfied with
such changes, Kristin answers that she is not unfamiliar with such
a situation. Coming from a country of extreme climate, she often
finds herself thinking about the 'lucky architects' of southern
Europe “who can make such thin walls and with single glazing".
But in a country like Norway or Nepal, detailing and specifications
are important to make the building survive its extreme weather.
THE ROLE OF ARCHIPLAN
The local consultants, Archiplan, can only be described as the
intermediate force behind the whole process. After being
approached by the designing firm, Kristin Jarmund Arkitekter,
Archiplan’s initial involvement was to make a detailed survey of
the campus, which included everything from existing buildings
to drains, vertical land profile, position of trees and electric poles,
and a compilation of all the relevant bye-laws.
The process adopted for this project was probably rather unique,
since both the firms were new to such collaborations. It became
more of a learning experience for both. While the Norwegian firm
was familiarized with the local context, its Nepalese counterpart
learnt what precisely was expected of them in terms of the
European aesthetic values.
The collaboration was initiated in January 2006 thereafter which
the conceptual designs were formulated by April/ May of the
same year. The next stage of involvement for the local consultants
was to convert this initial concept into formatted drawings to be
presented to the municipality for approval, where again the byelaws
for embassy buildings were not clearly defined. Sometime
in July 2006 the detailed design started, where the 9000 sq ft
building was featured in every aspect of its construction. Since
the foreign architects were not familiar with the contemporary
materials and construction technology in Nepal, it is quite safe
to say that the Norwegian firm had to depend a lot on the local
consultant in this regard.
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ARCHITECTURE
‘I was so proud on behalf of the Nepalese builders, as they are in
lack of so much – electricity, fuel, the environment, but despite that,
the detailing are so neatly done. I don’t think I would ever manage
to get such a nice detailing on a Norwegian building site.’
– Kristin Jarmund
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"Present architecture should represent now, link to history
and should search for the future. History of architecture is a
wonderful novel consisting of a lot of chapters and
today is another chapter. Each period has its characteristics,
but the best examples are the ones where you can
read the history of where it comes from and can
also see some sight of the future. And you
can't do that if you make copies
of Bhaktapur."
– Kirstin Jarmund
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ARCHITECTURE
“IN A COUNTRY OF 27 MILLION PEOPLE, WHERE
95% OF THEM ARE MAKING THEIR OWN HOUSES,
AND FOREIGN COMMERCIAL BUSINESSES ARE
BRINGING IN THEIR OWN CONSULTANTS, WHAT
IS THE ARENA THAT IS LEFT FOR NEPALESE
PROFESSIONALS? I DON’T KNOW, BUT I
FEEL THAT IT MUST BE QUITE LIMITED.”
Architect Kristin Jarmund established her firm, Kristin Jarmund Arkitekter
in 1985, and kicked off her architectural career by winning commissions
through competitions and awards. Her website lists at-least 42 awards
and competitions, won between 1985 to 2009. These competitions are
an excellent practice in the architectural history of Norway, as Kristin points
out that though Norway is a democratic society, the building sector is a
predominantly male branch. She is one of the very few female architects
in Scandinavia, having her own firm. Initially, when she did not have a
network, competitions were the best ways for her to get commissions.
The architectural scene in Norway has several competitions every year,
open and invited, where young and talented architects find their opportunities. Most
competitions are for public buildings, schools and some offices.
The Royal Norwegian Embassy in Kathmandu, Nepal, is Kristin’s first project outside Norway
and was fittingly awarded to her after winning an invited competition. But the competition
procedure for the embassy was much different than that for most other competitions. She
had not visited the site before the competition, nor was she required to present any specific
design, but rather, the competition was awarded based on written essays dealing with
answers to analysis of handling the job in different conditions.
Some of the renowned projects by Kristin Jarmund Arkitekter are:
• The Justervesenet Laboratory and Office Building, which received the Houens Fond Award
• Nydalen Metro Station, Oslo, awarded the Norwegian Lighting Award in 2005 for the
‘Tunnel of Light’ – with 1800 inbuilt neon lights and 44 loudspeakers around the escalator,
and also nominated for the Mies van der Rohe award in 2006.
• The Raholt School set in a rural agricultural landscape.
• The New Café at the French Hall of the National Gallery, Oslo.
Details were prepared and sent to Norway for
approval with suggested changes if any. The
Norwegian firm would then discuss the proposed
changes and send in their decision, which would
again be worked on in terms of constructability.
One can see that the entire process was rather
tedious.
Architect Biresh Shah of Archiplan mentions that
this project was a huge leap in space and time.
The way one would think about a building in
Norway and in Nepal were drastically different.
Nonetheless the essence of the original design
was never changed. Even with all the minor
changes, the building’s original character and
design, especially in terms of its form and
aesthetics were maintained. This was the aim and
also a major part of local consultant’s contribution
towards the project.
Another aspect of Archiplan’s involvement was
to provide estimates, and also to design the
building services. In November 2006 the first
set of working drawings and estimates were
completed and were put to table for discussion,
where the contractors were also selected. The
construction contract was thereby awarded to
Sharma and Company and by December 2006,
the construction was well on its way.
In many projects Kristin is concerned with the classic modern icons like contrast, using the
feeling of closed and openness, which is a very important part of her design conception.
Another important aspect is the use of light and colours, in a way that is both original and
distinct.
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ARCHITECTURE
When we asked Ar. Biresh Shah as to what
was his reaction to the design, he answers that
the building is a very important addition to the
contemporary architectural scene of Kathmandu.
But if he were to have designed it, he would
have probably designed a slightly more vertically
stacked form instead of a horizontal one, since
the land is a limited resource in the city and a
smaller footprint on the available Site would
have been a natural response.
The building itself has been termed “craft,
expressed in a different way”, by Architect
Sarosh Pradhan of Sarosh Pradhan and
Associates, where one can see beautiful
expressions within the material, and without the
more common styles of ornamentation. This is
defined by Kristin as an attempt to refine and
detail the wood and stone works with “precision
and skill” - a kind of craft where the refining is
done within the materials as far as possible in
their aesthetic vocabulary. The materials and
the context play an important role in any design
process as they certainly have at the Royal
Norwegian Embassy, and to quote the architect
herself, “It is a professional responsibility to
understand the local context.”
THE ESSENCE OF THE ORIGINAL
DESIGN WAS NEVER CHANGED. EVEN
WITH ALL THE MINOR CHANGES, THE
BUILDING’S ORIGINAL CHARACTER
AND DESIGN, ESPECIALLY IN TERMS
OF ITS FORM AND AESTHETICS WERE
MAINTAINED.
LOCAL PLAYERS INVOLVED IN THE PROCESS:
Local A/E Consultant: Archiplan Pvt. Ltd., www.archiplan.com.np
Contractor: Sharma and Company Pvt. Ltd., www.sharmanco.com
Aluminium doors and windows: Skylight P. Ltd., www.skylight.com.np
General Lighting: Wipro/Decon/North West; Rep: Multitec Trade Circle, Kathmandu
Travertine (Egyptian Marble): New Marble Plaza, Kathmandu
CREDITS:
Interview with Ar. Kristin Jarmund, Kristin Jarmund Arkitekter, Oslo, Norway
Interview with Ar. Biresh Shah, Archiplan, Kathmandu, Nepal
ACKNOWLEDGEMENTS:
Royal Norwegian Embassy, Kathmandu, Nepal
Ar. Sarosh Pradhan, Sarosh Pradhan and Associates, Kathmandu, Nepal
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ARCHITECTURE
FACING THE HARSH SUN...
HARSH WIND...
& HARSH ECONOMY...
THERE STANDS
A TALLEST ICON OF
AMBITION, INNOVATION
& DETERMINATION.
TALE OF A
Tallest Tower
Text: Ar. Bansri Pandey
Images: Skidmore, Owings & Merrill LLP
Tallest buildings - how they stack up
Architectural monuments are the backbone of Dubai’s success in
transiting from depleting oil-based economy to a flourishing marketbased
economy. Now once again, with Burj Khalifa piercing the sky
at 828m, Dubai has proven its urge for architectural & engineering
excellence.
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July-August 2010
Aspired by His Highness, Sheikh Mohammed Bin Rashid Al Maktoum,
supported by Khalifa bin Zayed Al Nahyan, designed by SOM (Skidmore,
Ownings & Merril LLP), developed by Emaar Properties and constructed
by Samsung C&T, Besix, Turner and Arbatec, Burj Khalifa breaks all
existing records of skyscrapers.
It has won the title of ‘the world’s tallest architectural top’ by being 320m
taller than the former winner ‘Taipei 101’ at Taiwan. It has also achieved
the distinction of being ‘the world’s tallest structure’ by surpassing the
KVLY-TV mast which is at 628.8m. The tower has beaten the 31-year
old record of ‘the world’s tallest free-standing structure’ held by C. N.
Tower which is at 533.33m.
Burj Khalifa is of no exception too. It has overcome tremendous
challenges technically, socially and economically to reach where it
stands tall today. While the height may be the obvious reason for the
tower to attract the attention of the world, it is its unique design that
truly sets it apart. This ambitious scheme attracted the world’s most
esteemed designers to an invited design competition. Ultimately, the
honour of designing the world’s tallest tower was awarded to the
Chicago office of Skidmore, Owings & Merril LLP (SOM).
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© burjdubaiskyscraper.com
‘The buttressed core’ Y-shaped plan,
where each of the three wings support
the other two.
THE SHAPE
Most residential towers are typically designed on a
rectangular plan, so that two rows of apartments can
have windows and a corridor in the middle. Analysis
shows that these types of buildings are very strong in
the long direction but not so strong in the short direction.
There is a limit to how high that kind of building could
go.
The shape of the tower and the patterning of
its floor plates is inspired by the desert flower
Hymenocallis' spidery layered form.
40
Thus, SOM adopted an innovative structural system
called 'the buttressed core'. Burj Khalifa has three wings
arranged in a Y-shape. This way, one wing buttresses the
other two wings. In the very centre, there’s a hexagonal
concrete core that acts as a giant axle and houses all
elevators. The setbacks occur at the end bay of each
‘wing’ in an upward-spiralling pattern, decreasing the
mass of the tower as it reaches towards the sky. Rising
strong from the flat desert base, the Y-shape of the
building also maximizes views of the Arabian Gulf.
Influence of Islamic arches and shapes can be observed
in the design. The shape of the tower and the patterning
of its floor plates refer its inspiration to the desert flower
Hymenocallis' spidery layered form. This concept is
narrated to the visitors by the beautiful landscape around
the tower garnished with Hymenocallis flowers.
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ARCHITECTURE
THE SHAPE OF THE TOWER
IS INSPIRED BY THE DESERT
FLOWER HYMENOCALLIS,
WHICH IS ALSO NARRATED
BY THE LANDSCAPE AROUND
THE TOWER.
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ARCHITECTURE
THE SPIRALLING SETBACKS OF THE TOWER NOT ONLY PROVIDE A
SMOOTH LOAD PATH, BUT THE ‘Y’ SHAPED PLAN ALSO HELPS TO
‘CONFUSE THE WIND’, THEREBY HELPING TO REDUCE THE WIND
FORCES ON THE TOWER.
STRUCTURE
The tower utilizes high performance concrete as its primary
material. The superstructure is supported by a large reinforced
concrete mat, which is in turn supported by bored reinforced
concrete piles. The 1.5m diameter x 43m long piles represent
the largest and longest piles conventionally executed in the
region.
The spiralling setbacks of the tower are organized with the
tower’s grids, such that the building's stepping is accomplished
by aligning columns above with walls below to provide a smooth
load path. In addition to its aesthetic and functional advantages,
the spiralling ‘Y’ shaped plan helps to reduce the wind forces
on the tower, as well as to keep the structure simple for easy
construction. During the design process, engineers rotated the
building 120 degrees from its original layout to reduce stress
from prevailing winds. Now, wind never gets organized over
the height of the building because at each new tier the wind
encounters a different building shape. This way, the stepping
and shaping of the tower also has the effect of ‘confusing the
wind’.
Since people cannot be expected to walk down 2909 stairs from
the 160th floor to the ground level in an emergency, the tower is
highly compartmentalized for fire safety and evacuation needs.
There are pressurized, air-conditioned refuge floors located
approximately at every 35 floors, where people can shelter on
their long walk down to safety in case of an emergency or fire.
One of the building’s service/fireman’s elevators has a capacity
of 5500 kg and will be the world’s tallest elevator of any type.
Double deck cabs have a capacity for 21 persons on each deck.
A total of 57 elevators and 8 escalators are installed for the
efficiency of vertical transportation.
A large reinforced concrete mat supports the superstructure which in
turn is supported by 1.5m dia x 43 m long piles
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The tower has exclusive sky
lobbies with breathtaking views.
INTERNAL PLANNING
Burj Khalifa – a 50,00,000 sqft mixed-use development is designed
to hold up to 35,000 people at any one time. Concourse level to level
8, level 38 and 39 will feature the Armani Hotel. Levels 9 to 16 will
exclusively house luxurious one and two bedroom Armani Residences.
Floors 45 through 108 are private ultra-luxury residences. The corporate
suites occupy most of the remaining floors, except for level 122 which
houses a restaurant and level 124, the tower's public observatory.
To enhance community living in the sky, the tower has exclusive sky
lobbies on levels 43, 76 and 123 that feature state-of-the-art fitness
facilities. The sky lobbies on level 43 and 76 additionally house jacuzzi,
swimming pools and recreational rooms. Both pools open to the outside,
offering residents an unparalleled experience of swimming from inside
to the outside balcony.
The interior design of public areas in Burj Khalifa was led by awardwinning
designer Nada Andric from SOM. It elegantly blends Islamic
traditions while glorifying the building's status as a global icon. The design
features glass, stainless steel, polished dark stones, silver travertine
flooring, venetian stucco walls, handmade rugs and stone flooring. Over
1,000 pieces of art by prominent Middle Eastern and international artists
will add charm in the interiors.
FLOOR – USE
160 upwards – Mechanical; 156-159 – Communication & Broadcasting; 155 – Mechanical;
139-154 – Corporate Suites; 136-138 – Mechanical; 125-135 – Corporate Suites;
124 – At the top, Burj Dubai, 123 – Sky lobby; 122 – Atmosphere, Burj Dubai;
111-121 – Corporate Suites; 109-110 – Mechanical; 77-108 – Residential; 76 – Sky lobby;
73-75 – Mechanical; 44-72 – Residential; 43 – Sky lobby; 40-42 – Mechanical;
38-39 – Armani Hotel Suites; 19-37 – Residences; 17-18 – Mechanical; 9-16 – Armani
Residences; 1-8 – Armani Hotel; Concourse – Armani Hotel; B1-B2 – Parking, Mechanical
CONSTRUCTION
Any tall building is put to a practical test when its construction
breaks the ground. Over 45,000m3 of concrete, weighing more
than 110,000 tonnes were used to construct the concrete and
steel foundation. Designing the consistency of concrete that could
withstand the extreme pressures of the massive building as well
as Persian Gulf temperatures that can reach 50 °C in day time
was a difficult task. To combat this problem, the concrete was not
poured during the day. Instead, during the summer months, ice
was added to the mixture and it was poured at night when the air
was cooler with high humidity.
Executed with 22 million man hours by workers representing more
than 100 different nationalities, Burj Khalifa became a symbol of
international collaboration.
To achieve the efficiencies in the mechanical, electrical and
plumbing services, they were developed in coordination with the
architect, structural engineer and other consultants. The tower's
peak electrical demand is 36mW, equal to about 360,000, 100
Watt bulbs operating simultaneously. The tower's water system
supplies an average of 946,000 liters of water daily. At peak
cooling, Burj Khalifa will require about 10,000 tons of cooling in a
day, equal to the cooling capacity provided by about 10,000 tons
of melting ice.
Dubai's hot, humid climate combined with the building's cooling
requirements create a significant amount of condensation. This
water is collected and drained in a separate piping system to a
holding tank in the basement car park. The condensate collection
system provides about 15 million gallons of supplement water per
year, equal to about 20 Olympic-sized swimming pools.
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ECLIPSING THE DESERT...INJECTING THE SKY...AND GIFTING A
HOPE TO DUBAI'S ECONOMY...BURJ KHALIFA HAS SET NEW LIMITS
TO MAN’S GREED FOR EXCELLENCE
THE GLASS FACADE
The tower accomplished a world record for the highest
installation of an aluminium and glass façade at a height of
512 meters. The exterior cladding consists of 26,000 panels
of reflective glazing with aluminium and textured stainless
steel panels with vertical tubular fins. Because of these
reflective glass panels, the building changes its colour in
different times of the day, capturing the stunning moments
of the sky.
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LONG CONSIDERED AS THE UNDISPUTED INDUSTRY
LEADER OF SUPER TALL BUILDINGS, SOM (SKIDMORE,
OWNINGS & MERRIL LLP) HAS DESIGNED AND
ENGINEERED FIVE OF THE TOP 10 WORLD’S TALLEST
BUILDINGS INCLUDING BURJ KHALIFA, NANJING
GREENLAND FINANCIAL CENTER, TRUMP INTERNATIONAL
HOTEL & TOWER - CHICAGO JIN MAO AND WILLIS
TOWER (FORMERLY SEARS TOWER).
In an interview with the writer, George J. Efstathiou, Managing Partner
of SOM said, “Skyscrapers are getting higher, better and faster.
All of our designs of tall buildings are in different locations and with
different cultural context. Each of them has given us immense scope
to experiment and explore new ideas. Seven years ago when we won
the design competition and received the commission for the Burj
Khalifa, it was one of our most exciting moments. And then, to see
seven years of hard work and efforts of the 90 people at our Chicago
office being celebrated on 4th January, 2010 with a grand inauguration
of Burj Khalifa, gave us one of the most moving experiences. It was a
feeling of accomplishment.”
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ARCHITECTURAL
THESIS WORKS – 2009, KEC
Text and Compilation: Amir Maharjan, KEC
The 'Architectural Thesis Project', as prescribed in the Bachelor Degree of Architecture at Tribhuvan
University, can be considered to be an interesting academic project for the tenth semester of the 'Bachelors
in Architecture' Program. It provides an excellent opportunity to the students to demonstrate their research
and analysis in combination with their design. The deep study in the different topics according to the interest
of the student and their design regarding the same can be regarded as the best platform for them to
present their skills, concepts and design theories. Though the project is fully academic, they can prove
their capabilities in professional works by demonstrating skills, including modelling works and analytical
investigation.
The thesis topics are chosen by the students themselves and professional architects are assigned to them as
supervisors so that they can be directed properly to research, analyze and produce their design concepts.
As we know, the design and concepts are not comparable. But several criteria are maintained to categorize
the standards of the concepts and designs, so that by fulfilling these criteria, the following eight designs
are chosen as top 8 theses in ranking for B.Arch. program 2066 B.S. from KEC (Kathmandu Engineering
College).
Center for Fine Arts
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Center for Fine Arts
CONCEPT: Art enables us to experience the past, see the present
and anticipate the future. This project attempts to capture the
essence of pattern of addition and transformation. It will become
a point for place for artists, artisans, art lovers, crafters, creators,
browsers, sellers and buyers to come together, to share their work,
to stay in touch.
Niraj Dhoj Joshi secured the
title of College Thesis Topper.
He completed his internship
from Sewa’s Consortium (P)
Ltd., Jhochey, Kathmandu and
is currently involved in Astra
Development Network Pvt. Ltd.,
Tripureswor, Kathmandu.
nirajdhoj@hotmail.com
To bring a sense of community to the local area and within the Art
Centre, the design uses different aspects of social interaction and
services that will cater to the public and the artists' needs. An art
exhibition area and park are provided for displaying art. A cafe is
yet another ideal place for lunch breaks and social meetings, and
the artists can use the cafe for prospective client interaction. An
art supply and a copy centre are provided to help with the artist’s
needs for materials and self-promotion, as well as any needs of
the public.
Kirtipur Hall
Semi Public
Areas
Public
Areas
COMPOSITION
Supporting
Areas
Site Slop
Chobar Hill
MASTER PLAN
SOUTH ELEVATION OF SITE
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ARCHITECTURE
Space Museum,
Sainbu, Lalitpur
CONCEPT: The design was literally initiated by the stars! By
studying the positions of the stars (represented by monthly sky
maps), over a period of one year, a flow chart of their movement
was derived. This study was further simplified by representing this
flow chart in four geometric shapes (and not using the position
and movement of all the stars!). These four shapes, marked by
the brightest stars in the sky, represent the respective seasons;
hence called the Summer Triangle, the Autumn Square, the Winter
Triangle and the Spring Curve. This flowchart then serves as a
basis for the planning of the ‘Space Museum’, where some forms
of the seasonal shapes create the mass or the blocks while some
create plazas and platforms.
Swati Pujari graduated from
Kathmandu Engineering College,
Tribhuvan University, in 2009.
She was awarded the title of
‘Faculty Topper’ in her batch of
Architecture – 2003, KEC. She has
completed her internship from
Sarosh Pradhan and Associates,
Kathmandu and is currently
involved in Spatial Design
Company, Kupondole. She is also
the Editorial Assistant of SPACES,
Art Architecture Design.
jhuna85@hotmail.com
Another important aspect of the design is the circulation, which is
in a sequential order. The visitors are directed in a designed pattern
guiding them through different aspects of Astrology and Space
Science as well as that of fantasy and fiction.
The form of the complex is derived from the imagination of a
crashing flying saucer. The crash is divided into frames, as if
reviewing it in a video, and three individual frames are conceived as
the three individual blocks of the complex, connected by a tubular
gallery. This tubular gallery represents not only the motion curve of
the crash but that of the initially explained flow chart. These flying
saucers make the three highlighting metallic parts of the blocks
and the rest of the walls are used to support the ‘saucers’ and to
complete the structure.
MASTER PLAN
LEGEND
1 Main Entrance
2 Drop-Off Point
3 Entrance to Underground
Parking
4 Underground Parking
5 Entrance to the Museum
6 Block 1
(Auditorium & Galleries)
7 Linear Gallery
8 Block 2
(Galleries/Thematic Hall)
9 Plaza 1
10 Decks
11 Ramps Leading to
Planetarium
12 Sunden Deck - Entrance to
Planetarium
13 Block 3 (Planetarium)
14 Service Entrance
15 Entrance to Office Block
16 Block 4
(Offices/dormitory/
Restaurant)
17 Plaza 2
SECTION
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49

ARCHITECTURE
Green Bank
CONCEPT: ‘GREEN BANK’, sited at Rotary Club, Thapathali,
Kathmandu, is a building complex that is designed to function as
a bank’s headquarter which also has a banking branch office in
its complex. At the same time, the design also tries to address
the burning issues of energy-efficiency and sustainability. In this
aspect, Green Bank strives to balance Design and Responsibility.
Preetesh Karki, graduated from
Kathmandu Engineering College
(2009), completed his internship at
Sewas Consortium Pvt. Ltd. and
is now working as an architect at
Clean Developers Private Limited,
Naxal. He also teaches as an
assistant lecturer at Kathmandu
Engineering College.
preetesh_1@hotmail.com
Bank branches are normally service oriented; welcoming a lot of
customers every day akin to the movable money shops in ancient
days, whereas a headquarter tries to establish itself as a landmark
to gain a high corporate image comparable to the banks housed in
ancient fortified palaces. Since the "GREEN BANK" consists both
of these archetypes, the tactful synchronization between these
two forces was a challenge in the
design.
Buildings for banks in today’s context,
with its changing functions need
not be a fortified and impenetrable
structure as in the past, barring a few
sensitive areas of the bank, the rest
function as normal offices. Hence
the design attempts to cope up with
this change with the concept of:
'In Search of Transparency’, where
Transparency can be functional,
physical as well as visual.
MASTER PLAN
SECTION OF EXECUTIVES' TOWER
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ARCHITECTURE
Greensblog
NAC Complex
CONCEPT: Greensblog – NAC Complex is a live project for
the Nepal Airlines Corporation (NAC), sited at Sinamangal,
Kathmandu.
Sweta Amatya has
completed her Bachelors of
Architecture from Kathmandu
Engineering College in 2009.
She had worked as trainee
architect at Mr. and Mrs.
Kayastha and Associates
Pvt. Ltd., Kupondole, Lalitpur.
Currently, she is working at
C.E. Construction Pvt. Ltd.,
Tripureshwor, Kathmandu.
swetaamatya@gmail.com
The Complex comprises of the headquarters of NAC, rentable
office building, recreational building and a hall, all as per the
requirements of NAC. The concept of the design has been
influenced by the following three aspects derived from the
preliminary studies and site references:
Interactive Interface or a responsive interface reflecting to
buildings and spaces while responsive towards the social and
environment entities. Here; Interface + Response = Interactive
Interface
Conscious creation of spaces for social milieu
Dialogue between building and environment.
Reflection of the concept can be felt in the design through plaza
spaces, building orientation and the curvilinear landscaping
bonding the different entities. Further, consideration of certain
green elements has facilitated the design to pace in environment
responsiveness.
The green concepts incorporated are - Site sustainability, Water
efficiency, Energy efficiency, Indoor environment quality,
The principals and elements used in considering the form of the
building are –Transparency, Mass and void, Greenery within, Roof
garden etc.
In conclusion, this design has envisioned to create office complex
that respond well with social enhancement and to some extend
with environment too.
NAC OFFICE
BUILDING
RECREATIONAL
BUILDING
RENTABLE OFFICE
BUILDING
HALL
SECTION
MASTER PLAN
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ARCHITECTURE
School of Dance and
Research Center
CONCEPT: The concept for the design of 'School of Dance and
Research Center' is the 'Expression' to understand ‘Dance’
and ‘Architecture’. As a performing art, dance is as a form of
expression. The major factors to understand dance is music and
body gesture, expressed through rhythm, harmony, composition,
balance, etc. Similarly, architecture, a creative art, is understood
through design principles like rhythm, balance, harmony, etc.
Hence, the common principles form 'expressions', a reflection of
social, cultural, aesthetic, artistic and functional movement. The
design is primarily guided by this 'expression' as the resultant of
these principles.
Pramila Madhikarmi is a
graduate from Kathmandu
Engineering College, Tribhuvan
University (2009). As a student,
she completed her internship at
Development E-ffort Pvt. Ltd.,
Kupondol and after study she
was engaged in Geometrix Pvt.
Ltd., Baghbazar. She is currently
employed at Sunrise Apartment,
Nakhkhu.
arprami@gmail.com
The site is divided into two parts, with an intention of dividing it
in the aspects of Music and Body Gesture. The left part consists
of performing areas like performing theatre, open air theatre and
recreational areas like canteen, gallery, etc. – representatives
for music. Similarly, the right part consists of official buildings
like administration, academic, research blocks, etc. which are
arranged in rhythmic pattern with reference to the dividing axis
to represent body gestures.
When one enters the site, one is faced by the abstract form
of Natyashwor, a sculpture composed of lines which with its
revolving mechanism enhances the sense of motion present in
the buildings around it.
The form of every individual building in the complex is an
“expression” based on the common principles of Dance and
Architecture. They are composed together to create balance,
rhythm and harmony for visual pleasantness.
LEGEND
1. Parking
2. Administration
3. Academic Block
4. Dance Studio
5. Research Block
6. Researchers' Quarters
MASTER PLAN
7. Open Air Theatre
8. Gallery
9. Canteen
10. Performing Theatre
11. Guard House
12. Sculpture of Natyashwor
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SITE SECTION
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ARCHITECTURE
HIV/AIDS
Center
CONCEPT: The project is generated due
to needs of the HIV infected people, and
the main objective is to full fill those needs,
identified as awareness, treatment and
rehabilitation facilities.
Anisha Rajbhandari
residence of Pyaphal,
completed her Bachelors
in Architecture from
Kathmandu Engineering
College, Tribhuvan University
in 2009 and is currently
practicing architecture
at CE Services P. Ltd.,
Tripureshwor, Kathmandu.
sha_ani@hotmail.com
Though many organizations are working
towards treatment and prevention, the care
and support provided to the people living with
HIV/ AIDS (PLWHA) is limited. Hence this
project is designed with the intent of helping
them become physically, psychologically and
socially capable.
All the aspects of treatment and living with HIV/
AIDS are defined by the Red Ribbon which is
also the symbol for solidarity and awareness.
This positive symbol serves as the basis for
planning. The symbol has two parts, the V
facing outwards is taken as the extrovert part,
serving as the public area of the complex, the
loop on the other hand introvert forming the
enclosed main interacting space and lined by
vocational blocks, nursery and living quarters.
The intersection of the two is identified as the
'Common Interest' and the area is occupied
by the medical block. Another important
aspect in the design is the use of Sun as a
healing element, by including sunlight as far
as possible in the lives of PLWHA.
The prime concern of
this scheme is to provide
a secure environment
for the infected using
architecture as a means
to enable them and to
motivate them to think
out of the box.
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53

ARCHITECTURE
School of
Newari Music
CONCEPT: Newars are a linguistic community with multiple
ethnicity/race and faith, bound together by a common language
– Nepal Bhasa. Their rich tradition comprises of classical and
folk music and dance which are important aspects of festivals in
Newari life. It is believed that there were once 400 types of original
music, but today only 260 instruments are found, amongst which
75 instruments are exclusively related to Newar religion.
Manoj Shrestha residence
of Lazimpat, completed his
Bachelors in Architecture
from Kathmandu Engineering
College and is currently
practicing architecture at Pumori
Engineering Services P. Ltd.,
handling projects such as office
building, commercial complex etc.
shresthamanoj02@yahoo.com
These instruments can be classified into 4 classes according to
Sangeet Sastra.
Membranophone - Dhimay, Dhah, Paschima, Naya Khin
Idiophone - Bhussya, Chhusya, TainNain
Chordophone - Piwancha
Aerophone - Muhali, Neeko, Bwa:
Dhoka Tole, ward no. 19 is located in a core area surrounded
by Nyetepacho, Damai Tole, Dhoka Tole and Dallu; it is also an
intersection for various festival routes, making this a profound and
appropriate location for 'School of Newari Music'
54
The facility comprises of three major sections:
• The Collection Sector collects musical
instruments, audio visual records, photographs
etc, and is also a base for communities playing
such music etc. Any student is free to observe
the instruments or people playing them in this
sector.
• The Interpretation Sector comprises of the
classrooms, rehearsal rooms, practice rooms,
recording rooms and library. The teaching and
studying systems reflects the traditional style of
living and learning where the guru disseminates
the education to the students.
• The Dissemination Sector consists of the
research unit, auditorium and open air theatre.
The research unit is an important part of the
sector as it not only creates the study course
for the school but also tries to research and reestablish
the lost traditional music.
July-August 2010
MASTER PLAN
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ARCHITECTURE
Centre for the
Moving Image
CONCEPT: 'Centre for the Moving Image' is a museum for motion
picture, proposed at Balaju Industrial District, Ward No. 16, 5 km
north-west of Kathmandu.
Gauri Prajapati graduated
in architecture in 2009 from
Kathmandu Engineering
College, Tribhuvan University
and is currently involved in
CEDA Consultant, and RBR
Consultant.
gauriprajapati@hotmail.com
The visions for the complex are identified as follows:
• To identify the strength and weakness of the existing equipment
in Nepali cinema
• To foster the image of the country and city by providing all
information regarding Nepali film industry
• To preserve Nepali cinema in a properly managed and technical
form
The concept of ‘Imagebility’ is used in the design. Imagebility is
defined as ‘the ability for the physical objects of our environment
to evoke an image that is recognizable and meaningful to a general
population of an area.’ This concept is guided by the following two
principles:
FUSION: Bringing different activities in a single platform
RHYTHM: Symbolised through existing contour lines and the
curved walls
The buildings themselves reflect the meaning and give identity.
So, the guiding principles: fusion of activities and rhythm of form
and material gives the image and meaning.
The supporting elements, like the curve walls are like the cinema
screen enveloping the visitors as they enter the museum, whereas
the facade of liquid crystal display panels with moving images
gives an identity to the building.
LEGEND
1. International Film Block
2. Entertainment Block
3. Nepali Film Block
4. Custom Display, Library Block
5. Documentary Display, Canteen Block
6. Life Musem, Admin. Block
7. Multi Purpose Hall
8. Parking
9. Ticket Counter
10. Open Plaza
11. Sculpture Garden
12. Guard House
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ANALYSIS
Kathmandu Valley, an overview of the urban fabric
Source: Kathmandu Metropolitan City
Public Open Spaces
of Kathmandu
Text: Ar. Shailita Manandhar Joshi
Public Open spaces are where people discover the value and benefits of public life. These
actually authenticate the city’s image and identity. The squares and streets of Kathmandu core
are the foremost in advocating this reality. These are actually the places for social activities
and maturing of culture itself. As such, these are the testimony to the city’s evolution, glory
and also its decline. These are not only the breathing spaces of the city but are the places
for interplay between people, activities, movement and urban forms. Moreover, these are the
open air theatres for an array of displays: from the complex festivals, to the expertise of trade,
to the frozen artistry of the astounding monuments that quietly shape these premier urban
open spaces.
However, with the rapid pace of development, social shifting and subsequent commercialization,
the image of these places is being lost into a characterless chaos. There seems a need of
a Vision for the whole city reinforced by comprehensive strategies and measures that can
be dealt at local level which will help in bringing these places back to the people. Moreover,
the remarkable design philosophies of these spaces confirming to the visual and functional
principles could actually be the logical paradigm for future urban design of the city.
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ANALYSIS
THE ORIGINAL SOCIO-
SPATIAL CONCEPTION
The traditional public spaces of Kathmandu
confer a sense of place and were
designed with Urban Design perfection
to allow perceptual patterning for the
common people. The dominant surviving
city form and architectural elements of
today actually represents the legacy of
the Newars which matured in the Malla
period. The city was characterized by
the hierarchical layout of neighborhoods
arranged with the palace as the centre
and river as the edge. The other edge of
course was the Tundikhel, which for a long
time had been saved from development
perhaps by the fear of fabled Gurumapa.
However, the need for defense and saving
the precious fertile land for agriculture
actually resulted in a compact courtyard
oriented settlement. The urban fabric was
shaped by the squares and streets, the
major concentration of public life:
THE STREETS
A hierarchical system of streets ran along
the city core. The streets were non axial but
also not curved as in most historical cities;
these were a series of short straights.
The reason behind their geometry was
their originality as Trans-Himalayan trade
routes along with the uneven topography
and their alignment to major shrines.
The streets were not just mere conduits
but were the vibrant public places with
activities like continuous social exchanges,
festivals, rituals and commerce. The
scale of the incessant edge of the lining
buildings with ornamental semi permeable
fenestrations and permeable shop fronts
actually accentuated and evoked the safe
pedestrian environment at the street
level.
THE HIERARCHY OF SPATIAL
SYSTEM
The major streets (i.e. the festival/ chariot
routes) ran across the heart of the core,
intersecting at the palace square. Other
streets intersected these streets to
bulge into human scaled public squares,
like the Asan and Indra Chowk Squares.
The squares functioned as major urban
centres and were marked with many
urban elements acting as the guiding
landmarks:
i.The Palace Square
This was the major public square shaped
by the edges of the palace complex
along with a flaunt of temples, raised
performance platforms and speckled by
elements like statued pillars. This square
confirmed to the viable image of a public
open space by the virtue of concentration
of an array of activities in the form of
major cultural proceedings like festivals
and socio-political gatherings.
The palace square actually acted as an
open air theatre, uniquely achieved by
the demarcation, hierarchy and vertical
flow of spaces within spaces. This was
achieved by:
A typical Malla Period Street
and Space System
Source: Author
Primary Street from Indrachowk to Asan
Source: Author
Basantapur – an example of the Urban
Design of the place in accordance with
its socio cultural needs:
1. Open Plat forms for performance,
2. High plinths for vertical space flow
of audience’s realm
- Raising the plinths of the temples to
multi-levels for vertical space flow:
the street seating and audience’s
realm during festivals.
- Provision of raised platforms (dabu:) for
performances and also as a transition
between street level and temples.
- Provision of various grades of intimate
squares within the larger square,
aiming for variety of choices for the
users by maintaining the human
scale.
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61

ANALYSIS
Makhan, adjacent to the hanumandhokha
palace complex is a market space with
changing geometry due to its recent
encroachment
Source: Author
1 2
3 4
1. Yatkha Bahal now
2. Yatkha Bahal during an annual feast
Source - GTZ and UDLE, 1995
3. A Normal day in Ta Bahal
4. Activities at Itum Bahal
ii. The Market / Civic Squares
These were the major Market nodes
for mercantile exchanges. Moreover,
these were the public places for daily
socializing, foyer for squares beyond
and collection space during earthquakes,
often marked by temples and structures
of religious and landmark values. The
visual anticipation is often provoked by a
decent architectural element at the mouth
of the square leading to the dynamism of
a major monument of high architectural
value land marking the square.
iii. The Neighborhood Squares or
Community Courtyards
People lived in communities, both socially
and physically. A system of neighborhoods
radiated from the palace nucleus, laid out
in a hierarchy of blocks, often maintained
with prescriptions determined by
occupation and often confused with caste
hierarchy. From the streets, the alleyways,
often through the buildings, lead to the
inner neighborhood courtyards. These
were either the community courtyards of
certain occupation groups or the Baha:s
and Bahi:s of Buddhist Monastic genre.
These courtyards provided the types
of infrastructure corresponding to the
needs of those in the neighborhood.
These functioned for multi-activities like
the feasts, drying of grains, play area for
children, specific religious and communal
proceedings, collection during hazards
and even for washing clothes, sun bathing
and mere gossiping. Most suitably, tu:nthi
(community well), jaroo (water tank),
orchestra pavilion, Buddhist Votive stupas
and shrines marked these spaces.
More often, a variety of more private
family courtyards called the nani,
chuka: and ke:ba in local language were
located deeper inter-connected with the
neighbourhood squares. Also, some
private courtyards with arcane shrines
were also there.
iv. The Transitional Spaces
Added to the Public and Community
spaces, there were also transitional semi
private/public spaces, sometimes called
the lacchi. These spaces were formed by
setting back of buildings along the street
at certain strategic points. These spaces
were for making offerings to the chariot
during the festivals. Sometimes some
public rest house, water spouts or wells
were placed at these spaces.
ESTABLISHING THE
SQUARES AND STREETS
OF CORE KATHMANDU
AS VIABLE PUBLIC OPEN
SPACES
Public open spaces are all places which
have easy access to the abstract entity
called the “people” and not just to an
individual person. So, a public open space
is not just a green void but an active and
responsive place stimulating interactions
and activities. Many books and writers
have concluded that the success of
a Public Open Space is determined
by proper accessibility, ascertained
activities and suitable amenities along
with other qualities like variety, richness
etc.. Originally, the squares and streets
of Kathmandu had certain qualities,
functions and characteristics that bestow
upon them the Image of Successful
Public Open Spaces:
Accesibility: Unobstructed easy access
from, to and through the spaces:
- Number of entry points linking the square
to important streets and other squares.
- Visual and physical access from and to
adjacent buildings
Activities: Active users give life to the
spaces making them proper places:
- The squares bring diverse people
together for the overall participation.
- Activities range from that of specific
times like festivals and day to day
socializing, worshipping, marketing,
just walking or browsing.
Amenitities: Various elements of
the squares and streets make them
successful public spaces:
- Temple plinths and public rest houses
as street seating.
- Public water spouts for collection of
water and even for bathing (privacy
maintained as are below pedestrian
level).
- The oil lamps hanging from the second
floor eaves acted as street lighting.
- Galleries around the temple for refuge
during sudden rainfall.
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Activities of Streets and Edges in the social
context of then and now
ANALYSIS
- Proper pavements for ease of walking.
- Landmark elements for legibility of the
place.
- Squares for escape during hazards like
earthquakes.
QUALITY AND VITALITY OF
THE EDGE:
- Scale and proportion of the edging
buildings and monuments in harmony
with that of the street and square.
- Continuous coherent adorned edge
with adequate visual and physical
permeability.
- Activities at the ground floor in dialogue
with that of the corresponding square.
Comfort and Safety: Following characters
impart the sense of security and ease for
the users:
- Legible structures and spaces to give
a sense of place and direction for
movement.
- Pleasant streetscape with adequate
permeability for psychological comfort.
- Compatible activities to discourage too
little and too much crowd.
- Cultural and civic association of
individual with the place.
Variety and Choice:
- Squares of differing hierarchy for
different degree of activities.
- Cozy human scaled nooks within the
large palatial squares.
- Horizontal and vertical flow of choice of
spaces along temple galleries, Dabalis
and temple plinths.
RICHNESS THROUGH
URBAN DIVERSITY:
- Landmark elements of differing
architectural quality aid in visual
respite.
- The artistry and aesthetic details of the
buildings and sculptures add variety.
- Diverse functions all year and all
day long: festivals, dances, morning
markets, celebrations, strolling and
basking.
- The sights, sounds and smells of the
active daily life.
THE CHANGE AND
THE PROBLEM
The idea of public open space almost
vanished in the next phases of chronology.
The Rana system of open spaces was in
the form of gardens behind the high walls
of Private Palaces. Also, some parks with
limited public use were provided further
away from traditional settlement. This
trend actually reflects the dissuasion for
commoners to gather and socialize in the
public spaces.
The further developments and haste of
urbanization actually saw a discreditable
amount of thought for public open
spaces. The issue of lack of identity,
visual pleasantness and social importance
is severe in the newly developing/
developed urban areas. Open spaces, if
present cover only 2-5% of the developed
area whereas traditionally 10% of open
space was dedicated within the city core.
As a result, people tend to rely on the
already overburdened traditional urban
spaces converting them into scarred and
saturated pockets. The city that is today is
actually forcing people to lock themselves
up in the private houses as the outdoors
is either unsafe or too crowded. Children,
mostly, are depending on passive
entertainment than active activities. This
can actually lead to type II diabetes and
premature obesity.
The most visible issues regarding the
public open spaces can be summarized
as follows:
• Discontinuation of the historic approach
of provision of open spaces, new open
spaces not responding to the culture
and society, hence are rendered
useless.
• Population hike, influx of migrants,
overburdening of the already heaving
public spaces.
• Character destruction and misuse of
neighborhood open spaces.
• Vehicular flow: Unmanaged,
mismatching scale, loss of pedestrian
quality of spaces.
• Traditional public open spaces not
adequate to cater the trend of
extended outdoor lives of today’s
generation.
• Overlapping stakeholders and
inadequate public participation for
management of these spaces.
• Reprehensible use of buildings edging
these spaces, unmanaged sprawl of
hawkers, encroachment.
The concept of Public Open Space today
is actually divided into “Public Space”
and “Open Space”. Many commercially
oriented buildings are built for
controlled public use, but the foremost
Asan Square in 1920s: Coherent Asan Square in 1990s: Building heights dominating the
Roofline and Streetscape landmark temple, non-uniform heights and Architectural
concentration is on commercial returns
Source: GTZ and UDLE, 1995 styles of the buildings, losing quality of the Streetscape
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Source: en.wikipedia.org
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63

ANALYSIS
Crowds and Vehicle Flow at Indrachowk a
Traditional Open Space
Source: Author
1. Kasthamandap, the ultimate landmark
Source: Mahima Shrestha
2. The Gardens at Kaishar Mahal – A
Typical Rana Garden
Source: Source: GTZ and UDLE, 1995
than public interest. Also, open spaces
in the form of parks and green patches
are being built scarcely. Parks function
importantly for the ecological balance of
the city. Functionally, these do much for
the interest of an individual but are far
from meeting the needs of the public in
general.
DISCUSSION AND
CONCLUSION
Public Open Spaces are actually very
important for the well being of the city
along with of those using these spaces.
The issue of public places is an important
socio spatial issue influencing the day to
day lives of common people. A public
place with a positive image actually helps
to impart the civic sense, sagacity and
responsibility in an individual.
Today, each and every part of the city is
hastily growing with blind independence
and without response to one other. There
seems a dire need of an overall Vision for
the whole city accentuated by an Urban
Design Vision at micro level. The next step
is setting of Urban Design Guidelines for
regeneration, design and management of
Public Open Spaces.
The mentioned approach is actually based
on the premise that the guidelines should
maintain the historic integrity of the place
while allowing for change with contextual
suitability.
The envisaged guidelines shall actually
work in a fourfold approach for the Public
Open Spaces:
i. Strategies and guidelines to replace
plain conservation by informed
innovation for regeneration of the
mentioned historic urban spaces.
Key Issues:
- Periodic Pedestrianization of squares
and streets.
- Preserving the architectural and spatial
character.
- Development control, encouraging
compatible activities, management of
hawkers.
ii. Guidelines and Design
recommendations for provision
of active/ passive open spaces in
proposed new developments.
Key Issues:
- Provision of 15-20% of open spaces.
- Open spaces in the form of Green Parks
along with active Public Places.
iii. Identification of open spaces that
can be, as per their scale, reclaimed
into public places/ spaces.
Key Issues:
– Reviving places like: Pipalbot – Bhugol
Park, the river corridors, squares like
Bhimsenthan, Thahiti, Mahabouddha.
– Rethinking for places like Sundhara,
Ratna Park, Ranipokhari periphery.
– Pedestrianizing the streets and
pockets like that of Thamel to address
the extended outdoor lives of people.
– Revitalization and management of
religious
– quarters like Bhadrakali, Sankata -
Te:baha.
iv. Protection of the scarce Open
spaces
Key Issues:
- Protection of scale, ascertaining of
functions and activities of Open
spaces like Tundikhel, Tinkune, pocket
Gaucharans.
- Safeguarding from encroachment and
character improvement of chaurs (like
Sifal, Lainchaur).
- Management of parks and green
pockets.
- Protection and enrichment of the green
belts (play strips, urban farming??)
REFERENCES:
• Manandhar, Shailita. Redefining the Image
of the Streets of the Historic City Cores: A
Case of Kathmandu, MUD Dissertation, The
University of Hong Kong, 2005.
IMAGE SOURCES:
• Bentley, et. all. Responsive Environments: A
Manual for Designers. Architectural Press,
Oxford, 2003.
• GTZ and UDLE, Images of Century- Changing
Townscape of the Kathmandu Valley,
Kathmandu, 1995
• Hosken, F. P. The Kathmandu Valley Towns.
Weather hill, New York. Tokyo, 1974.
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65

ANALYSIS
© Mahima Shrestha
Like the recently restored Garden of
Dreams, much of the open spaces
are hidden behind huge walls.
Tundikhel and its enclosure – some parts
are inaccessible to the public
Rethinking
the Identity of Urban Open Spaces
Text: Ar. Swati Pujari with Ar. P. Marhatta
EVERY CITY NEEDS TO BREATHE - THE OPEN SPACES IN THE CITY
SERVING AS ITS LUNGS.
With increase in population, these open spaces are the first to be the victims of encroachment.
Due to the scarcity of space and the ever increasing value for land, the open spaces, especially
the prime spaces in the city, take the fancy of builders, developers and investors alike. Besides
these groups, the vendors infiltrate and encroach much of these already scarce spaces. Hence we
can see that much of the open spaces in Kathmandu are either packed with vendors, both inside
the space and on its edges, rendering the place congested (case in point – Ratna Park and the
walkway surrounding it) or these spaces are hidden behind huge walls, with either no or charged
entry to the public (green gardens like Garden of Dreams, the Central Zoo etc.)
So, where should the dwellers of the urban Kathmandu find
the retreat in their daily lives - whether it be to get away from
their mundane schedule, for social gatherings or in case of an
emergency?
It is not very difficult to see that these urban open spaces provide us
with a much needed refuge in more ways than one, but unfortunately
that potential is often neither understood nor utilized, and sadly the
urban spaces of Kathmandu provide us with a very good example
of this. If we just take the example of perhaps the most prominent
open space in Kathmandu, the Tundikhel, it is indeed unfortunate
to see that the entire 'khel' is fenced and has limited entry points
and to make matters worse, a huge chunk of it is inaccessible to
the general public. Another public space adjacent to Tundikhel is
the Ratna Park, a beautiful but un-maintained park, fenced but with
free entrance, and cluttered with vendors,
both inside the park and in the pathway
surrounding it.
If we move a little further from this area
we can find many green community
parks or children's playground in the
mixed residential cum commercial parts
of the city. Parks like the green garden at
Bhatbhateni or the children's playground
at Gyaneshwor are all examples of public
open spaces converted into community
spaces and then fenced using high metal
fences, with gates locked with huge and
heavy metal locks. The community then
finds it easy to discard the gated and
locked enclosure which eventually serves
neither the particular community nor the
general public.
THE NEED FOR A PUBLIC
PLACE
When we talk about the encroachment of
public spaces, we oftentimes forget the
very core essence of the space; that is the
activity. It is important to note that it is the
activity/ies that give meaning to the space
and convert it from a public space to a
public place. It is hence important to note
that when a public space is encroached
the public place is also destroyed.
Looking back at the historic settlement
of Kathmandu Valley, we can particularly
justify the relation between the space and
its activities, rendering it an active urban
‘place’. From Chowks to Bahals to Khels,
the open spaces of the valley had specific
purposes, identifying with individuals as
well as communities and the public as a
whole.
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ANALYSIS
Today, as the communities are much
diverse in nature and have increased not
only in size but also in requirement, the
need for such ‘public places’ is more
than before. An urban public place can
correspond to various needs and activities.
The importance of open spaces in any city
can be highlighted by the following:
An enclosed ‘Community
Park’ near Gyaneshwor
Vendors along the edges
of Ratna Park
• Active urban spaces give a much
needed recreational luxury to all the
city dwellers
• Open spaces play an important role in
the development of children growing
up in a city
• Active urban spaces provide aesthetic
and psychological relief from the urban
development
• The soft paved open spaces account
for providing control in surface run off
• Local flora and fauna can be preserved
amidst the urban growth
• Community rehabilitation in case of
disasters, such as the much anticipated
earthquake
OPENING UP CLOSED OPEN
SPACES
Some time back, during an informal
talk with Mrs. Tirtha Maya Manandhar,
a 98 year old resident of Layekusal,
Kathmandu, she happened to mention
the devastating earthquake of 1934. After
the settlement of the initial distress of the
earthquake, individuals in their respective
communities came together in their
communal chowks (in her case the open
space next to their community ‘sal’ or oil
mill). Many of the houses were in ruins
and the ones that weren’t, were vacant as
people were still afraid to move in them
for fear of aftershocks. They collected
food from their houses or the ruins and
lived in the chowks as a large family until
they felt secure enough to get back with
their lives.
Another such memory is shared by Mr.
Satya Mohan Joshi at an interaction
program organized by National Society for
Earthquake Technology (NSET) last year.
Returning home with his father, after the
earthquake, they were devastated at
finding their home crumbled down and
his mother and new born sibling missing.
They were then reunited at an open land
where all the neighbouring survivors had
gathered. They brought some essentials
and spent the next five to seven days
there. Only then were they collected
enough to return to the ruins of their
homes where they cleaned as much as
they could and lived. He also recalls how
Patan School was completely destroyed
and the classes were conducted nearby,
in a tent.
Anticipating a similar situation, the
Lalitpur Municipality has identified ten
evacuation sites within the boundaries
of the municipality’s governance, as
refuges, in case of an earthquake. These
areas include the UN Park at Jwagal,
Kupondole, the Nepal Academy of Science
and Technology (NAST) headquarters at
Khumaltar, and the Patan Industrial Estate
at Lagankhel, amongst others.
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ANALYSIS
The requirements for any space to be
referred as a possible refuge can be
identified as:
1. Access, both for people as well as
emergency vehicles like fire brigades,
ambulances etc.
2. Availability of Water
3. Government or community land with no
possibility of being built over
4. Presence of some covered spaces
which can be used for shelter
Certainly the spaces allocated by
the municipality correspond to these
requirements; they are accessed by
roads; have deep bore wells for water; are
government or community or unclaimed
lands which have almost no possibility of
being built over and almost always have
some covered space within them. But a
major drawback most of these spaces
face is in their accessibility - not physically
but psychologically. All these spaces
are at the periphery of the core city and
away from the congestion. They provide
easy access only to a limited number of
Map of Core City, Patan showing the open
spaces available within the core city
Base Map Source: Kathmandu Valley
Preservation Trust (KVPT)
people in Lalitpur. In the quest of finding
these evacuation sites, the municipality
seems to have neglected the possibility
of finding optimum spaces within the city
core, even though the city core of Patan is
planned with multiple and hierarchal open
spaces.
The availability of useable open spaces
in nearer proximity and the possibility
of converting them into a refuge will
discourage people from moving into
these pre-planned evacuation sites. The
problem lies not only in the physical
accessibility of these sites but more so on
the willingness of people to access them,
away from their homes or the ruins of
their homes, where they would one day
wish to restart their normal life.
As we study the character of some of
the larger open spaces in the core city of
Patan, it becomes clearer that many of
the community chowks and bahals are
preferred by the local communities for
evacuation and possible shelter during
such disasters- and with good reasons
too.
As we inspect some of these bahals,
like the Nagbahal, Binche Bahal and Su
Bahal, we find the open spaces are not
only large enough to accommodate
the surrounding community, but these
spaces also fulfil all the requirements,
making them a possible evacuation site.
These bahals are easily accessible not
just by the local community but they have
vehicular access, at least adjacent to their
outer ring at the farthest and these areas
always have stone water conduits which
in most cases are running. In case of Su-
Bahal the water conduit has dried out and
ground water is drawn at the location
which ensures the availability of water for
the community, in general as well as in
case of an emergency.
These bahals are always community
spaces which have no possibility of being
built over and are always accompanied
by patis, phalechas, or similar roofed
structures dedicated to the community or
to a nearby shrine. In such a case, it is too
narrow a vision to expect the residents
of these areas to seek shelter at any of
the municipality’s pre-defined evacuation
sites.
But that is not to say that these areas are
already completely apt to serve as refuges.
Minor infrastructure development is
required to make them even stronger
especially in their access. As mentioned
earlier, although road access is present in
many cases to the outer ring of the bahals,
it is important to strengthen these roads
and in some areas, like the road to the
north of Su-Bahal, they should be made
more comfortable at the turns, especially
for access of fire brigades. Many of the
entrances into these bahals are from 'laba
chen' or houses that provide a section
of their ground floor as ways into these
bahals. It is important to strengthen these
entrances by retrofitting the entrances if
not the entire houses.
Another huge open space in Patan
with an equally huge potential is the
Bhandarkhal Garden of the ancient
Malla Palace. The flower garden that
was used for recreation and for growing
flowers to offer to their deities is now in
a state of ruin. Although the entire palace
complex is slowly being conserved and
the Bhandarkhal garden is also a part of
this conservation effort, nevertheless this
large chunk of open space lying at the
heart of Patan is not open to public. The
garden can easily be a part of the current
Patan Museum, or even a separate entity
as a public garden. A remarkable example
of such a trend was demonstrated by the
Royal Parks of England in the nineteenth
century when these private parks were
opened to the public as a response to the
pressing social need owing to extensive
and unexpected movement of population
from the countryside to the city.
The matters of disaster management
and urban need for open spaces cannot
always be fulfilled by creating new
spaces in the periphery of a city. These
new spaces are not only separated from
the old sentiments of public connection,
but are also more consuming in matters
of time and resources. The municipality
proposed spaces like the Institute of
Engineering, Pulchowk Campus or
the football grounds of Lagankhel can
and perhaps will be used in case of an
earthquake, but these spaces are not
'urban places' in normal circumstances.
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ANALYSIS
© Mahima Shrestha
1
2
MAP: Evacuation Sites and Deep Tube Wells identified
by the Lalitpur Sub Metropolitan City
Source: Lalitpur Sub-Metropolitan City
1. Su-Bahal, the courtyards, water supply and access
2. Nag Bahal - The large open space and the running
stone water conduit
3. Binche Bahal - The large open courtyard and its
accesses
Hence it is important to create not only urban places
within the existing community but these spaces should
also be strong enough to adapt into an evacuation site in
case of a disaster.
The open spaces in the core cities are losing their
magnetism, and are in fact closing up into an emptiness
that locks the people out of these spaces. The fact that
the space and the people have almost no interaction
decreases the interdependency between these two
entities. Developing an urban place in today's complex
situation cannot be achieved by the same methods that
were useful previously. The spaces have to interact with
people and should be flexible enough to accommodate
multiple activities. Hence an important step in bringing
back a breath of fresh air to Kathmandu is in fact by
opening up the 'closed open spaces' of the valley to
their users.
3
© Mahima Shrestha
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ANALYSIS
Open space is very scarce and precious
natural endowment. Factually our living
environment very much depends on it.
Any increment of this resource contributes
to healthy settlement and decline is very
detrimental. Open space system at right
scale and in proportion with population
size helps to safeguard living environment
of a human settlement. In fact it is a defacto
lifeline and not something cosmetic
to be appreciated visually.
FAST DISAPPEARING
Open Spaces
(DEFACTO LUNGS) OF KATHMANDU VALLEY
Text: Prof. Bharat Sharma
Quite often when some resource is
depleted it is taken for granted that the
latest magic technology will surely replace
it. However, this kind of optimism cannot
be applied for pristine land resource
as it is very much limited on our planet
Earth, and which once exhausted, has no
substitute at all.
Hence, with increased pace of
urbanization, as is the case of Kathmandu,
conservation of land resource deserves
and demands serious consideration.
This concern for conservation applies
to both protection of open spaces and
preservation of urban centres. We have
to be vividly clear that this conservational
effort is not only meaningful to wilderness
areas but is equally valid for protection of
our urban environment too.
THE PAST
The evolution and development of
open spaces of urban Kathmandu has a
historic logic and firm background in the
distant past. The psychological needs
of individuals, families and social groups
encompassing the society as a whole
were all catered to. Thus, the physical
urban form well reflected the social
needs and hierarchy of the values of
the inhabitants. The open space system
in the past was more of a socio-cultural
product, and hence was deeply rooted in
the social-system itself.
Throughout the world, open spaces for
parks, playgrounds and other amenities
are mostly acquired with public funds by
the city authority and the Government
as per requirements, but in Kathmandu
the case was quite unique in the past.
Most of the open spaces were created
through endowments by individuals or
the Guthis. These open spaces in the
past were in comfortable proportion
with the population. However, over the
past three decades, the scenario has
dramatically changed and the absorption
of open spaces for various trivial and
self-centered reasons has been the
major accelerating factor to create urban
blight.
Through the world, open spaces are
acquired by the city authority, but in
Kathmandu, the absorption of open
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The historic Rani Pokhari and its surrounding
areas has been ruined by the actions of the public
sector with utter disregard for its social well being.
© Mahima Shrestha
ANALYSIS
As each ropani of our
urban open spaces
is encroached upon,
filled out, levelled
and finally built
over, we are forced
into an even more
arbitrary, artificial
and precarious
relationship with
resources upon
which we survive.
spaces for various trivial and self-centered
reasons has been the primary cause of
urban blight.
It is very disheartening to note that the
rapacious land grabbing of the meagre open
spaces of the past heritage is still going
on unabated. It is even more agonizing
to note that this reckless action is being
pursued by the public sectors, specifically
by the government itself; perhaps
inadvertently with no knowledge of its
disastrous consequences. The examples
are numerous, such as the Tundikhel,
Rani Pokhari, Kamal Pokhari, Sanogauchar,
frontal open space around the zoo, spaces
around stupas in Patan, Lagankhel and
Kathmandu, Chhauni Chaur,etc., all of
which are very glaring cases.
THE ‘PUBLIC PURPOSE’
DECEPTION
The government in particular and the
public in general has to realize that
the spread and distribution of open
spaces across our urban as well as
rural landscape is very essential for the
healthy performance dynamics of the
Kathmandu Valley. Hence, adequate
standards of open spaces are necessary.
These spaces act as an antidote for
healthy living.
On the global scene it has been generally
noticed that spaces devoted for urban
recreational purposes range from 3 acres
per 1000 population to 10 acres. On top
of that, 10% of the gross city area is
reserved in the land use to meet future
needs. Quite often it is analyzed that the
components of open spaces including wet
lands should be within the range of 20 to
25 percent of urban ‘area’ to make living
condition comfortable and conducive.
In our case, nothing of the sort as stated
above has been initiated and, in fact, quite
often things have gone to contrary. To
convey the message loud and clear let
us take an example of our historic Rani
Pokhari and the surrounding areas. The
pristine and very fragile environment has
been ruined by the actions of the public
sector with utter disregard for its social
well being. For example, in the distant
past the government intended to build the
C.D.O’s office complex in the very location
where earlier the office of Anchaladhish was
gutted down by fire in the sensitive Rani
Pokhari bank. This proposal was not only a
short-sighted step but a self inflicted wound.
In the naïve name of ‘Public Purpose’,
the government was on the verge of
implementing an action without any future
rationale or justification - a very strong legal
tool which clearly lacks social dimension and
perception. Such change in land use is often
enforced deceptively, in the name of noble
intention and good cause. Hence, it is high
time that the ‘Public Purpose’ clause be
redefined in the broader context. This is to
protect the people and justify the inherent
purpose of an action.
RECREATION –
REFRESHMENT OF MIND
AND BODY
While talking about open spaces it is very
pertinent to highlight its various roles
which we may or may not be aware of.
Until and unless we become conscious
of its multifaceted qualities, it does not
get its due appreciation and realization
from the people, government, planners,
professionals, politicians and above all
the national watch dogs - the media.
Kathmandu’s open spaces serve more
than just the most commonly associated
needs since our rapidly disappearing
open spaces function as complex, but
undeniably basic foundations to our own
existence. As each ropani of our urban
open spaces is encroached upon, filled
out, levelled and finally built over, we are
forced into an even more arbitrary, artificial
and precarious relationship with resources
upon which we survive.
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ANALYSIS
This absolute need could be generally
called ‘Recreational’ where ‘Recreation’
is defined as ‘refreshment of mind and
body’ by any standard dictionary.
There could be the following distinct and
vivid interpretations of ‘Open Space’:
a) Exclusively and explicitly set aside for
specifi c type of recreational purposes,
such as playgrounds, zoos, picnic
spots, gardens, etc., or for religious
social actions.
b) As planning tool (planned restriction
in development intended to
accomplish certain objectives in
urban development).
c) As an effective measure to soften the
effects of tall buildings and their deeply
shaded canyons, which demand the
contrast of tree lined plazas, miniparks,
roof-top gardens, etc.
d) Created by default because prevailing
land development practices of the
place does not play coherent and
cohesive role.
e) Can be used to preserve existing
conservation or agricultural uses or
urban design measure or for stock
of future urban land. In brief, it could
play a vital role to regulate urban
growth pattern.
In urban context, an open space in
the form of parks (for example, the
various Chaurs, Ratna Park, Bhugol
Park, etc.) is best conceived as an
environment in which human life
patterns may be ideally related to
natural and man made elements
within its confi nes.
f) As safe havens in times of unforeseen
calamities, e.g., during earthquake,
fi re, etc.
g) As centre of socio-cultural activities
highlighting social texture.
If we flip through the history of ‘open
space’ heritage of Kathmandu or listen
to some respected elderly people, it will
not be difficult for us to know that the
valley was very lucky to have a lot of
open spaces of various sizes and form
(in terms of land stretch or water body)
dotting its urban texture. It hardly matters
whether we call it Gauchar, Tundikhel, or
Chaur. It is undeniable that even before
our first academically trained urban
planner was born, people here were
sensitive enough and perhaps believed
that man and nature are indivisible and
that survival and health are contingent
upon an understanding of nature
and her processes. The open space
system in Kathmandu in the past not
only catered to the multi-fold needs of
human beings, but simultaneously took
care of pasture land for the livestock. Of
equal significance are the wet-lands in
the form of Dahas or Pokharis that are
fast disappearing because of land fill
and consequential land-grab for built-up
purpose (change of sensitive land use).
By doing so we have not only diminished
the open space but have impacted the
very urban eco-system which sustains
us.
THE PLIGHT NOW
Clearly, we have two very distinct
‘scenarios’ of our open space systems
–the past in which we cared a lot for,
and another which has been usheredin
during the last there decades with
heavy pressure from ever increasing
encroachment and unabated expansion.
With the uncontrolled urbanization
going around Kathmandu and the fast
deterioration of open space system,
one wonders where we are heading
to. Looking at the accelerated and
alarming rate of disappearance of open
spaces, one is compelled to admit that
practically nothing will be left by the turn
of the century. The very thought of our
plight is extremely frightening. By the
time the concerned institution wakes up
from hibernation and makes an effort to
publish an ‘inventory’ of the open space
system in Kathmandu in order to manage
it, all that will probably be left will be the
book only. It is not only a matter of great
loss of physical amenity and aesthetic
entity but rather an environmental
disaster with break down in natural cycle
as nature is beleaguered day by day.
To quote a few but glaring instances
of our ruthless treatment of inherited
open spaces would be the plight of the
whole stretch of Tundikhel right from the
northern bank of Rani Pokhari to Dasrath
Rangasala, including the ever expanding
army complex and depletion of Sano
gaucharan at Gyaneshwor and scores
more which we are aware of. Words
cannot describe the molestation of
Kamal Pokhari. If things are permitted to
be straightened out, the recently forcibly
built, ugly and incompatible institutional
structure on the south bank of Rani
Pokhari would have to be dismantled to
make the whole spatial relation fluid and
congenial. Equally harsh action is needed
in and around Kamal Pokhari too.
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ANALYSIS
© Mahima Shrestha
To quote a few but glaring instances of our ruthless
treatment of inherited open spaces would be the
plight of the whole stretch of Tundikhel.
KMC’s Urban Spaces and
Environment Planning
Text: Anand Gupta, Images: KMC
Nepal, whose urban population accounts for about 14 % of the total
population (2001 census), is one of the least urbanized countries in the
World as well as in South Asia. Almost one-third (30.9 percent) of the
country's total urban population is concentrated in the five municipalities
located in the Kathmandu Valley. Furthermore, in terms of ecological or
geographical regions, Kathmandu Valley alone accommodates almost 61
% of the total urban population of Nepal. Moreover, rapid urbanisation is
increasing in such a tremendous pace that large open spaces of the valley
are continuously being lost, resulting in an unconventional city living style,
traffic congestion and environmental pollution.
This alarming state no doubt demonstrates loopholes in the management
of local authorities. Nevertheless, Kathmandu Metropolitan City (KMC)
does have plans to address the issue of the importance of open spaces
and thereby improve the livelihood, as well as maintain and enhance the
quality of life of urban residents.
CITY CORE
KMC emphasizes Ratnapark, Tundikhel, Lainchour and its surrounding
areas as important open spaces of the city core. As these places are prone
to heavy pedestrian and vehicular traffic flow, KMC has plans to develop
pedestrian zones at the old city areas to control traffic congestion and
pollution besides maintenance, development and reconstruction of existing
side-walks of the city core areas; linking roads to inner city and Bishnumati
river corridor; environmental developments along Bagmati, Bishnumati
and Dhobikhola river corridors; management and improvement of traffic
junction at Sorahkhutte, in front of Paropkar School, Teku, etc.
Some of the plans considered by KMC are:
• Restructuring the existing parking facility at Mahankalsthan strip.
• Providing surface and underground parking, stretching it along Tundikhel
linearly.
• Re-development of Old Bus Park in assistance with Asian Development
Bank (ADB)
• Construction of parking facility to the north of Social Welfare Council, at
Lainchour.
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ANALYSIS
• Traffic congestion management & removal of on street parking at
Sundhara, Khichapokhari, Dharmapath, New Road, Jamal and Durbar
Marg.
• Prohibition of vehicular entry in World Heritage Zones, areas of
tourism and cultural and historical importance to encourage heritage
walk and pedestrianization.
• Analyzing the current trend of urban development & Plan for digital
mapping of Land use.
• Zoning and updated urban information.
PUBLIC PRIVATE PARTNERSHIP
Management and planning for on street parking facilities are planned
by the implementation of Public Private Partnership (PPP), with an
agreement between government and the private sector regarding
the provision of public services or infrastructure. PPP is purportedly a
means of bringing together social priorities with the managerial skills of
the private sector, relieving government of the burden of large capital
expenditure, and transferring the risk of cost overruns to the private
sector. In this system, rather than completely transferring public assets
to the private sector, as with privatization, government and business
work together to provide services and the process is monitored by the
local authority.
As a part of PPP implementation, reconstruction of Kamalpokhari,
Balaju Park, Tinkune, Old Bus Park are also included in the KMC Plan on
open spaces for the year 2010 targeting “Nepal Tourism Year 2011”.
ACKNOWLEDGEMENT
1. Ar.Debendra Dangol ( Department Head,Urban Development, KMC)
2. Ar.Archana Shrestha(Urban Development Dept,KMC)
3. Mr. Noor Nidhi Neupane( Department Head, Revenue Dept,KMC)
LEGEND
1. Bus Drop-off Point (4)
2. Bus Pick-up Bays (12)
3. Safa Tempo Bay
4. Retail Shops/Stalls
5. Open Air Market
6. Ramp to Basement Car Park
7. Ground Level Car Park
8. Ramp/Stair to Pedestrian Overpass/Upper Concourse
9. Pedestrian Concourse
10. Pedestrian Overpass
LEGEND
1. Retail shops, Offices, Hotels
2. Restaurant
3. Pedestrain Gallery
4. Overhead Pedestrain Bridge
5. Ramp for Pedestrain
6. Lower Level Bus Station
7. Lower Level Pedestrain Concourse
Redevelopment of Old Buspark
(Source: Kathmandu Metropolitan City)
Proposed Bus Facility with Basement Parking
(Source: Kathmandu Metropolitan City)
THE BALANCE
Let us not forget that social health and
scenic costs far outweigh the so-called
revenue generated by these rental
structures which have been recently
torn down due to some sane thinking.
They are too trivial to match the visual as
well as health qualities of open spaces.
Even government institution in need of
land should refrain from indiscriminate
land grab of open spaces. There is no
justification in this whatsoever and this
tendency has to be curbed and deterred.
‘Tongue in cheek’ kind of approach will
lead us to chaos and disaster. It is no
intention of this author to undermine any
government institution but let us be firm
that the so-called saviour should not be a
spoiler, and future generations should not
inherit liabilities of the past. Let us feel
and realize that the ecological dynamics
of biota and biosphere have to be taken
in all seriousness. Are we really futuristic
when it comes to thinking about the
welfare of our children and generation
to follow? As of now, one is forced to
be very sceptical. Let us vow to defend
the last frontiers of our urban and rural
landscape by our determined attitudinal
values and deeds. To quote Mumford, “If
society is paralyzed today, it is not for lack
of means and for lack of purpose.” Let
the concerned Government institutions
and various interested groups, CBOs and
NGOs give a serious thought on it.
We ought to realize that planning, designing
and managing our delicate and intricate
environmental system does not imply that
we make use of a fixed set of aesthetics
only, but in fact embodies a continuous
inner growth, a strong conviction which
generates mechanisms to serve and
alleviate the plight of city dwellers by
pollution free air, and our eyes feel buoyant
with perceptions of intrinsic qualities of
open space. Today every bit of open space
is vulnerable and prone to intrusion.
LUNG OF OUR LUNGS
It is thus high time that the inhabitants
of Kathmandu no longer remain silent
spectators but behave like custodians.
Let there be a new value system and
new social dimension of responsibility
and we all together should prove that
there are oasis of our concerns and
creation for this beleaguered capital
city. Let us not forget that open space
like Tundikhel of Kathmandu is like our
LUNG of lungs. Any encroachment of it
for other functional use is a crime. It is
public DOMAIN and in no way should it
be used otherwise. The whole stretch of
Tundikhel is just one ENTITY and should
be restored to that status.
If we take stock of the past endowment
of open spaces, it becomes apparent
that these acts were very religious in
intention but were so much secular in
their fulfilment of our varied activities, day
in and day out. This kind of endowment is
perhaps unheard of in western society.
Obviously we have become reckless and
indifferent as not to care about our own
life-line. Without resorting to rhetoric or
slogan, we must prove that our collective
concern is springing out of our conviction
and matching action, not only to protect
the frontiers of open space but also to
expand them in an appropriate scale to
keep Kathmandu alive in a healthy way. In
fact, protection of open space is just our
won protection because this safeguards,
a healthy, scenic and pristine valley.
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75

ANALYSIS
A REBEL
with a CAUSE
Text: Richa Bhattarai
Former mayor Keshav Sthapit has a new love in his life - and it shows. The fierce visionary, who was once synonymous with the
revamping of the Kathmandu Valley, has moved on to the mellower realms of spiritualism. His countenance is all aglow with
pride as he exhibits the facilities offered in his yoga centre. Beginning with the domed structure in the rooftop, where clients
will be offered a peaceful meditation session complete with music therapy emanating from singing bowls, he moves on to the
exclusively heated yoga room, and then to the collection of his precious and semi-precious stones. His tone is indulgent, and
there is almost no trace of the piercing glance that shook his detractors just a couple of years ago.
But that is only until he begins to talk
about the state of the capital. Immediately
after this topic is opened, his passion
for development comes to the fore.
Not satisfied with merely describing his
ideas, he begins to explain them with
detailed sketches and diagrams. It is easy
to comprehend why he is known as the
man who has 'plans for every inch of
the Kathmandu Valley.' One of the major
reasons for this love of the valley, as he
himself admits, is that he was born and
brought up in its heart. Born in 1959 A.D.
in Pako, arguably the nexus of New Road,
which is in turn the acknowledged hub of
the capital, Sthapit was a rebel even in his
earliest years.
A FAILURE OR A LEADER
"My grandfather was the royal architect,"
he confides, "and I ought to have been a
royalist. But I was told by my grand uncle
of how, on being unable to complete a
palace in fifteen days, as per the whimsical
demand of a queen, my grandfather
was publicly humiliated. I think this was
what aroused the revolutionary streak
in me." His need to assert his identity
led him towards the physical arena of
gymnastics, martial arts and swimming.
"I was the youngest child of my family,
and was rather notorious too. I preferred
plucking berries to staying in the class."
He adds, "Instead of a formal, rigorous
education, I was more attracted towards
books. I would collect a lot of library cards
from my friends, and bring home books
loaded in a pram from the Indian, Chinese,
Korean and American library." The young
Sthapit bunked so many classes that
the headmaster of his school, Adarsha
Vidhya Mandir (AVM), proclaimed, "You
will either be a failure or a leader." Sthapit
believes that it is easy for him to take a
stand against his detractors even today
due to the confidence he gained from
that statement.
After completing his school level
certificate from AVM, Sthapit joined the
Institute of Engineering and attended
two semesters. But after that, with the
emergence of the political upheavals,
he became disillusioned with the formal
education system and plunged right
into politics. Peepalbot, the place of
his birth, was the centre of Nepalese
politics and this further increased his
political fervour. Tired of having to
wait for entry into a political party, he
formulated the DNYF (Democratic Nepal
Youth Federation) as a Founder member.
Later, he was even the president of the
federation which believed in utilizing
politics for development through youth
mobilization. Within seven months, he
had assembled three lakh youths in the
group, who excelled in activities ranging
from blood donation and tree plantation
to mountaineering.
STUNNING VISIONS
Soon after, Sthapit was appointed the
member secretary of the Nepal Sports
Council, and then the president of the
Olympic Committee. After holding these
two important posts in the sports sector,
Keshav Sthapit was finally elected the
mayor of KMC - and his regime catapulted
him to the fame and visibility that he
still thrives on. Immediately after joining
office, Keshav proposed a lot of plans
that left everyone else flabbergasted:
that of glorifying Asan and turning it into
an IT center, turning Bagbazar into a high
rise commercial area, relocating the bus
park, building a fifty km park along the
ring road, building a mega mall in Tinkune,
turning the limestone pit in Chobhar into
a compost heap and cleaning the Bagmati
river. Chiefly remembered as the tasks of
his administration are the widening of the
Kalanki roads and the extravagant Maitighar
Mandala built within fourteen days, now in
a state of disrepair and best recognized
as a glorified traffic island that assembles
those rebelling for some cause.
Reminded of all of these amazing
proposals, most of which failed to bear
fruit, he concedes, "Perhaps my approach
was immature at that time." He does
have interesting explanations about the
non-workability of these plans. "We had
surveyed the Asan area and had even
begun convincing the natives but our
labour brought no fruit." As for the park
along the ring road, it cannot be built
now, for no one, least of all the sweepers
whom Sthapit had in mind, are interested
in creating and maintaining them. Even
the green belt on the roadside is slowly
being eroded." And although JICA's report
has stated that the bus park, currently
near Ratnapark, ought to be shifted near
Jadibuti, the squatters residing there
oppose this step.
He also has an ingenious idea of cleaning
the incredibly filthy Bagmati - that of
building dams and drainage along the
banks deepened due to sand excavation.
According to his logic, the water level
will gradually rise, further abetted by
the sand that he plans to deliver from
the Guheswori area, and gradually, as
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ANALYSIS
the flow increases, so will the impurities
be washed away. Exciting, though this
sounds, there seem to be no takers for it.
Neither are there any initiations of his plan
of turning Bagbazar into a mini-Asan. And
so things remain in their status quo.
Issues, Not Problems
Sthapit's formal education may also have
remained status quo, had not architecture
and designing been in his veins (his father
was also a furniture maker). He has never
stopped learning and accumulating his
vast treasury of knowledge till date.
“Now, experts are ready to award me
a Ph.D. degree considering my ideas as
the thesis," he smiles in satisfaction. And
indeed, what ideas these are! He has
amazing solutions for every conceivable
problem. "The first step," he says, "is
that we must think of them as issues,
not problems. Take, for example, the
traffic jams, which are proving to be
such big headaches. The way to tackle
it is by applying a holistic approach, not
just searching for a temporary remedy.
We need to open all the dead-end roads,
perform guided land developments, road
widening, and river corridor and introduce
ELTS (Elevated Land Travel System).
The reality is that our transportation can
be better than European standards. In
London, for example, we have to park
the vehicle and walk for fifteen minutes
to our destination. But in such a tiny place
like the Kathmandu Valley, we have fiftyeight
parking spots. This is the height of
convenience and management." ELTS,
a unique air-conditioned transportation
technology seems to excite Shrestha's
imagination. This system, still present
only in his imagination, will enable
passengers to travel from Tripureshwor
to Maharajgunj in a span of nine minutes
and the cost of fifteen rupees.
Even as our minds reel at the dream-like
plan, he continues, "It might sound overambitious
but the truth is that anything is
possible if we put our minds to it. When
Queen Elizabeth was to visit Nepal,
Tundikhel was revamped in two days by
people working all day. We Nepalese have
this quality and unmatched enthusiasm. If
we get the feeling that Nepal is changing
and being rebuilt, then all of us - the
general citizens, NGOs, INGOs, political
parties - will jump wholeheartedly in the
nation building process. Kathmandu is the
most beautiful city in terms of climate,
location and resources. It is god-gifted. It
can win the whole world."
"THE FIRST STEP IS THAT WE
MUST THINK OF THEM AS
ISSUES, NOT PROBLEMS."
- KESHAV STHAPIT
SOLUTION FOR EVERY
PROBLEM
Recalling him from his fantasies, we
query about his ambitious plan to resettle
the squatters of Kathmandu and the longterm
solution for that issue. He waves his
palm in a dismissive manner, "The issue of
illegal squatters will be solved if we utilize
an area of 2,000 ropanis, which may be
available in the Panga side of Kirtipur. There
is simply a lack of initiation. We must first
make the squatters sign an agreement
that they own no land anywhere in Nepal.
This is necessary because I personally
know of people who own acres of land
outside the valley but obtain land illegally
here. If they really do not own land, then it
is the state's responsibility to rehabilitate
them and even offer them assistance
for residence and occupation. But the
catch phrase is that they must return this
loaned amount with interest. I had even
thought of building two high-rise towers
in Shankhamul where the squatters
would reside in the upper stories. But this
is almost impossible due to the extreme
caste restrictions that they follow."
This issue seems to be resolved in his
mind, so we remind him of another
responsibility that he had undertaken
about two years ago. He was assigned
the task of identifying street vendors
and relocating them appropriately by the
then Ministry of Home Affairs. But as
the government changed, so did their
priorities. This issue may have been
disregarded, but is it clear that Sthapit
has a soft corner for the street vendors.
"I consider them to be entrepreneurs," he
clarifies, “They are utilizing their individual
skill to earn their livelihood. They should
be encouraged to set up organized stalls
in a certain place, perhaps even Tundikhel,
and we can revolutionize the whole
shopping culture. We can even treat it as
a special haat (market) on a particular day
of the week. Music, lights, the works... it
would be so festive."
Breaking into his reverie again, we
ask him to clarify his bold statement,
“Garbage is not a problem." He nods his
head enthusiastically. "Indeed, it is not. I
have a compost bin where I deposit all
of my decomposing waste. The papers
and plastics are pinned at a place, and my
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ANALYSIS
helper earns two hundred rupees a month
by selling that. If we were to make such
a bin compulsory for every household and
ban them from obtaining any other facility
until they purchased this bin, then the
problem would be automatically solved." If
the garbage issue has such a deceptively
easy solution, why is there a hue and
cry about it every few weeks? "It is just
due to the corruption and bureaucracy
involved everywhere. The policy level
people are used to complicating simple
issues and earning money by introducing
donor projects. Then why would they give
precedence to such a profitless scheme?"
His point does make sense. More so, as
his ingenious ideas are the epitome of
simplicity and straight forwardness. Like
his concept of 'zero cost development',
where he proposes that the cost of the
project need only be shown in paper.
After its completion, the invested cost
will automatically return to you. “Take, for
example, the concept of land pooling,” he
clarifies, “After land is pooled together,
divided into roads and systematized,
there will be up to a five-fold appreciation
in value. This is the reward. In fact, the
project that has satisfied me the most is
the land pooling of Naya Bazar (Mhempi),
where the value of land has risen so much
that people who earlier opposed my plans
now come to salute me.” Another idea
of his is to mobilize local people to plant
gardens in waste lands and help them
generate income through its sale.
THE CONSTRUCTION MAN
While he may be revered for his
determined implementations, it is
common knowledge that he was almost
hated by some during his tenure as a
mayor, and infamous as the 'demolition
man.' Sthapit, however, has a completely
different outlook, and considers himself
to be the ‘construction man’. “If I had not
worked, I would have garnered neither
praise nor criticism,” he justifies, “It is
just because I am so active that I have
to endure criticism. And if it is valid, I
do accept it. Having said that, I have no
regrets for whatever I did and am just
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epentant that I could not do more when in
power.” Sthapit is well-known to despise
the politics that shrouds every project in
Nepal, and to crush them in his attempt
to reach the destination, even under the
most painful circumstances. He recalls the
incident that still strikes him, “My father
had passed away the day earlier, but I was
determined to bulldoze the Ratnapark
area that day. In that confused state, my
mother blessed me to fulfill my duty, and
even though ministers were threatening
me, I carried on with the demolition.
Meanwhile, a businessman was dancing
around, not recognizing me and saying
"The mayor's father is dead." You can
imagine my trauma at the moment.”
While Sthapit persevered in his vision
of clearing up the Ratnapark area, he is
dissatisfied with the state of open spaces
in the valley. "The open spaces are rapidly
shrinking," he voices his displeasure, "There
are a lot of monuments and buildings
belonging to the government which need
to be renovated and maintained. It should
be handed over to the local citizens." He
cites the example of a spot in Maharajgunj
which has been taken over by the exarmymen
and is beautifully maintained as
a park. "We should not expect parks within
the valley now," he emphasizes, "We need
to look beyond. For example, there are vast
open spaces available in Lakuri Bhanjyang.
If we only create a reliable transportation
system to, say, Kulekhani or Sisneri, people
will be tempted to visit it and even shift
there. The idea is to create urban centers
outside the valley."
His plans of building facilitated urban
centers outside Kathmandu turn even
grander. "If we give people the same
privileges that they are obtaining here,
and offer proper bridging transportation,
we can easily set up such cities. The
only requisite is that there should be
sufficient water." He stresses that these
decentralized cities are the need of the
day, as Kathmandu is getting hopelessly
overpopulated and even the soil here
spongy and liquefied, making it a
dangerous base to build upon. "A single
earthquake would cause devastation," he
states somberly. Perhaps to prove that his
wild-sounding ideas are plausible in real
life, Sthapit is now making preparations
to build a self-sufficient model city based
in Palpa and has already obtained some
land for that, besides building a Ganesh
statue there. His grandiose plans for this
independent centre include a Gurukul
ANALYSIS
styled university where students will
learn life skills under discipline and
emerge as 'true human beings.'
Perhaps Sthapit is himself striving to be a
true human being through his spirituality
and healing. Added to his entrepreneurship
that includes a restaurant, an art gallery, a
travel agency and a bio-diesel enterprise,
he has taken upon himself the task of
cleansing people's hearts and souls. Yet
it is evident that this new love does not
eradicate his passion for the welfare of
his country and fellow country people.
"Nation-building gives me immense
satisfaction," he elucidates, "There are
bound to be disagreements initially but
once people realize your worth, they will
join in wholeheartedly. It is my passion
which has made people from all strata and
sectors respect and love me. I myself have
no hesitations in praising a committed
individual having any political inclination,
be it the intelligent economist Prakash
Chandra Lohani or leaders Bamdev
Gautam and Sharad Singh Bhandari. What
I have learnt from these people, and from
life, is to be satisfied with what you have,
but never to hesitate in striving for the
best and follow what you believe in."
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SOLUTIONS
Figure 1
Double-Lamp Solar Street Light
SOLAR
SOLAR Streetlights
Green and Economic Way to
Brighten and Secure Community
Text & Imges: Sandeep Giri
Streetlights evoke romance and drama. Old black and white movies had everyone from Gene Kelly
to Raj Kapoor sing and dance around ornate streetlight poles. Even modern cinema dramatized
images of poor kids having to study under the streetlight, and rock music told stories of street
Romeos serenading under streetlights. Well, cut to reality (Nepali style) – our streets have no
shortages of poles and have even more wires swaying in between, but alas, well-lit street lights
themselves are seldom to be found, making our cities a land of dark streets. The reasons are many
– first, there is load-shedding, then the utter disregard on the government’s part for any public
infrastructure, the list goes on.
HOWEVER, THERE IS AN ALTERNATIVE – SOLAR STREET LIGHTS!
With the recent advances in solar photovoltaic (PV) technology and the dropping prices of solar
panels and LED lights, solar streetlights have become a practical, economic, and a very green option
for street lighting. Solar street lights are completely autonomous, i.e., we basically stick a pole in the
ground, it has everything it needs to power itself, can turn itself on and off automatically, and more
importantly, there is no need to install any wiring between the poles. Very much like point-and-click,
we can choose any lighting location to our liking and install a solar street light pole instantly.
Case Study:
Druk Amitabha Mountain Monastery in Sitapaila, Kathmandu
Druk Amitabha Mountain monastery
is located atop Sitapaila hill, about 4 km
northwest of Swayambhunath. You can
only get there using 4-wheel vehicles that
take you up the bumpy, dusty (and steep)
gravel road. Once there, the monastery is
a 200-ropani (25 acre) span with some of
the most majestic structures ever seen.
In March 2010, the monastery hired
Gham Power to install solar PV-powered
outdoor security street lights to light up the
compound (which used to be completely
dark during nights, a concerning security
issue).
The system installed by Gham Power
is a hybrid solar PV system to provide
outdoor security street lighting from dusk
till dawn at the monastery compounds.
Each streetlight operates independently
and lights up automatically from dusk till
dawn. The street lighting system has 4
Kilowatt of solar PV generating ~30 units
(kilowatt-hours) of electricity per day. This
system powers up 25 security streetlights
using 65 watt CFL bulbs each. In terms of
carbon footprint, this system will prevent
11 tons of carbon emissions per year.
In total, the PV system uses 20, 185-
watt solar panels from Solar Power Inc,
3 Steca Tarom 245 charge controllers, 3
Steca XPC 2-kilowatt inverters, and 22
Exide 200-Ah deep cycle tubular solar
batteries. The lighting system consists of
10 lamps (65-watt CFL) installed along the
top of the monastery’s Naro conference
hall, and 15 lamps mounted on eight 20-
foot poles. There is approximately 800
meters of 4-core armoured cable (16
sq.mm.) that connects the street light
poles together, and each pole is equipped
with photo-cell device that manages the
automatic switching on the lights during
dusk to dawn. The solar panels carry a 25-
year warranty, and the rest of the system
carry a 5-year warranty, except the CFL
light bulbs which carry a 1-year warranty.
Gham Power began work at site on
March 9, 2010 and completed its work in
less than a month on April 7, 2010, just
in time for the Annual Drukpa Council
conference, where visitors from all
across the world saw (and praised) how
the monastery practices what it preaches
about being environmentally responsible.
HOW DOES IT WORK?
Although Druk Amitabha monastery chose
to install the solar panels centrally and
ran wires along their compound, a more
economic way of installing solar street
lights is to have all system components
within the pole itself so that there is no
need to run wires between the poles.
As in Figure 3, a solar street light has
the solar panel installed on top of the
pole, with a battery box installed right
underneath the panel (and close to the
lamp). This way, the system minimizes
the length of cables between panel,
battery, and the load, which in turn greatly
minimizes electricity loss, a common
Figure 3
Solar Street Light Component
Configuration
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SOLUTIONS
Figure 2
4 KW Solar Street Light System at Druk
Amitabha Monastery
problem in DC-based solar PV systems.
This compact design also helps to install
solar street light atop existing unlit poles.
The street light lamp itself is an LED lamp,
which is the most energy efficient lighting
source on the planet today. For example,
a 30-watt LED street light provides the
equivalent light of a 300-watt halogen
street light. Also, LED lights usually
provide a warranty of 50,000 hours, the
longest lifetime in lighting solutions.
Furthermore, the battery used in these
systems is a 3-year maintenance-free
Gel or VRLA battery, which makes it
relatively lightweight and easy to hoist up
the pole. Also, the system automatically
turns the light on and off at dusk and
dawn (you can also optionally put a timer
if you only want the street lights to be on
during certain night hours). So essentially,
the beauty of these systems is that you
stick the pole in the ground, and there is
literally no maintenance to be done for at
least 3 years (except for occasional panel
cleanup).
PARTING THOUGHTS
There is no reason our street lights
should abandon any hopes of romance.
A financial analysis of installing solar
street light versus regular utility-powered
streetlight shows that the advantages
of solar are quite obvious. First, solar
street light will reliably light up each night,
utility-powered will not because of loadshedding.
Second, you save quite a bit by
not having to install any cabling between
the light poles. The payback period for the
solar street light is 5 years, whereas the
warranty on the solar panel is 25 years.
So, you pay for the light in 5 years, and
then get your street lights more or less for
free for the next 20 years.
This is a perfect solution for housing
complexes, and any building with large
parking lots and compounds such as
banks, hospitals, shopping malls, etc.
And we hope that as architects, builders
and developers adopt this practice and
start lighting up our streets wherever
we can, perhaps our government will
learn something from the people it
is supposedly representing and start
implementing similar solar street lights
for our public roads. After all, it is the right
thing to do.
Figure 4
Panel on top of LED Street Lamp
Figure 5
20-Foot Solar Street Lights approx. 100 ft. Apart
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SOLUTIONS
Cracks on floor finish due to settlement of
filled up soil - note the split between the
floor and the wall skirting
HOME
Cause: Improper consolidation of the
filled up soil.
In normal circumstances, the ground floor
(plinth) level is usually higher than the
external ground level. Hence area bounded
by the plinth walls need to be raised to the
required level. This is accomplished by
filling it up with soil (earth) to the required
level - the normal practice usually adopted
and the cause of the problem.
The Trap:
• To make life easier (or work faster),
workers tend to fill up the space with
soil in large quantities and then ram it.
This leaves voids at lower levels of the
filled up soil, resulting in its settlement
at a later stage (irrespective of whether
the ramming is done manually or
mechanically).
• Areas adjacent to the plinth walls
are relatively inaccessible for proper
ramming, making them vulnerable
areas for future settlement.
• Levelled plots sell at a higher price. Your
site could be a recently filled plot!
Cracks
on floor finish of ground floor
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SOLUTIONS
Solution:
1. Proper consolidation of the filled up
soil:
• Fill up soil not more than 6
inches (12 inches when using a
mechanical rammer).
• Consolidate by ramming and
sprinkling water.
• Fill up next 6 inches and repeat
process upto the desired level.
2. Partially reinforcing the concrete
floor slab:
• Reinforce the edges of the
concrete floor and connect
them to the plinth beam.
PARTIALLY REINFORCED CONCRETE FLOOR SLAB TO CHECK
SETTLEMENT CRACKS AT EDGES OF GROUND FLOOR
The Home article will be a regular feature in this
Solutions section. If you have any queries regarding
your home, do write to us at: spacesnepal@gmail.com
3. Reinforcing the whole concrete
floor slab
• Reinforce the whole concrete
floor slab using nominal
reinforcement (8mm Torsteel @
10 inches c/c).
• Use this method if consolidation
has not been done as desired.
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SOLUTIONS
PHOTOGRAPHY
Lets get creative
Text & Images: Ashesh Rajbansh
hotography is all about capturing
Plight on to a medium, be it film or
digital. The better the light is captured,
it’ll look more beautiful. All colors
reflect light differently, some are more
reflective, some are less reflective and
some are neutral. It is literally impossible
to record all hues of color of nature on
any medium mankind has created so
far. Also there is no such camera to
accurately measure the colors of nature
and record on a medium. Technically,
this is the trickiest part of photography,
but not so difficult to conquer once
you’re after it.
This is exactly the reason behind camera
manufacturers for creating different
types of light measuring meters on all
types of cameras. Even small compact
or pocket cameras have different types
of light meters built in it.
Except some professional cameras
which has RGB sensor for light metering,
all camera meters are calibrated for
18% gray. Consider a grayscale bar
which gradually goes from pure white
to dark black, around middle there
is 18% gray. The camera meters are
calibrated for this region. The result, if
you maintain the light meter at neutral
and shoot very white subject like snow,
pure white shirt etc. it won’t be pure
white. Same for the dark black subjects.
The trick is to increase exposure for
white subjects and decrease exposure
for dark subjects. using the feature
called ‘Exposure Compensation’
available on camera. To do so, first the
understanding of light meters build on
your camera is crucial.
We’ve already agreed that a photograph
is light captured on a medium. Then
it is easily understood that the most
important aspect of photography,
technically, is measuring the light.
Always the biggest amount of effort
goes on reading and managing the light
for any photographer and for every type
of subject.
The technology has created some
wonderful tools to measure light, some
are build on camera and others has to
be purchased separately.
Basically light can be measured with
two types of light meters :
1
2
INCIDENT LIGHT METERS
These are hand-held external light meters, not found on camera.
Expensive but highly accurate, easy but with expertise only. These
meters read the light available at the scene, not the light refl ected by
the subject. For faithful exposure, no adjustment is required, simply
follow the exposure derived by the meter. Sekonic and Minolta are the
expert manufactures favored around the world.
REFLECTED LIGHT METERS
Found built in on every camera these days, the meter reads the light
refl ected by the subject not the light available on scene. The more
refl ective subjects like mirror, snow, light bulbs on work, white wall
etc. and less refl ective subjects like dark wall, black objects and
dark backgrounds can easily fool the meter. This is where we need
to intervene and get creative in order to get the optimum exposure to
portray the subject as we imagine.
Various modes of refl ected light meters are present even in small
compact cameras, number and type differs from models and makes of
the camera. Commons types are :
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SOLUTIONS
1. EVALUATIVE METERING/ MATRIX
METERING
This type of meter analyses the entire frame.
The meter divides the frame into certain number
of segments or zones, depending up on
models and makes of the camera. The zones
vary somewhere form 8 zones to 63 zones
from amateur camera towards professional
cameras.
Then the camera will to try to ‘identify’ the
subject, these days it will look for faces in the
frame, and prevents the main subject from over
or under exposing. The rest of the zones are
also evaluated for the amount of light each
zone is receiving.
All data is fed to the processor of the camera and
then it calculates the ’appropriate’ exposure, a
combination of shutter speed and aperture, for
that scene. Finally the camera takes the photo
based on that exposure.
This is fully automated process, never possible
to repeat as numerous calculations are going in
the processor of the camera. But on the other
hand, this is the most accurate ,in general,
and the easiest type of light meter the camera
manufacturers have created for amateurs so
far. Since the entire frame is evaluated and
subject is ‘looked’, this type metering yields
most number of successful pictures for a
hobbyist. Not a type of light meter for any
kind of specialized shooting, this one is purely
addressed for the needs of amateurs and
general masses only.
2. CENTER- WEIGHTED AVERAGE
METERING
This type of light meter started very early in
analogue cameras which use fi lms as the
medium to record light. Still continued in digital
cameras, it is going strong as favorites of many
photographers who started with analogue
cameras.
The meter is strongest at the center, covering
around 20% of frame, gradually getting weaker
towards edges. This type of light meter does
not read light falling edges of the frame.
3. PARTIAL METERING
Now the metering mode is getting more
advanced. This type of metering mode covers
roughly 9% of frame at center only, discarding
the rest of the area in frame. It can read light
form specifi c area, though bigger than spot
metering, the photographer can have creative
control over exposure.
This is very effective when the background
is much brighter or darker than the subject
due to backlighting. For example, trying to
photograph a person in font of a mirror will
normally yield an under exposed photo.
Reason : mirror is brighter than the subject, it
will refl ect more light. When we take a photo
of a person against dark background, in front
of a dark wall, the photo will be over exposed.
Because the wall is darker than the subject and
will refl ect less light.
There are many tricky situations in nature when
programmed actions built on camera gets
fooled very easily. By over-riding the automated
features with creative control or going totally on
manual mode using these type of specialized
modes available on camera, we can actually
‘create’ the picture exactly as we wanted.
4. SPOT METERING
This is the ultimate light metering mode
available on camera for the most creative
photographers. Around 3% of the frame at
center is all that is covered, rest of the area is
completely discarded. It can read light from
very specifi c and small area, got the highest
level of accuracy for exposure, helps most to
the creativity of a photographer in terms of
brightness desired.
Using spot meter requires high level of
knowledge and experience. Used properly,
this is a jewel. On the other hand, using without
knowledge can easily break the exposure
beyond repair. Success rate is highly dependent
up on the knowledge of the photographer. No
matter what the lighting is, where the subject
is, whether the background is much lighter or
darker than the subject or any scene that you
can imagine this metering mode will help you
take the exposure exactly as the photographer
wanted.
Now that we understand the metering modes
available on camera, its time to understand the
refl ective nature of various type of subjects,
colors in fact, and practice taking a lot of
photographs increasing or decreasing the
exposure using exposure compensation. It is
also suggested to try and practice different type
of metering modes available on your camera.
Almost all cameras have this feature called
Exposure Compensation. By default, it
remains neutral at 0, but you can increase up
to +2 or decrease up to -2 at 1/3 level on most
cameras. What it does is, it adjust the exposure
by the amount that you’ve dialed on Exposure
Compensation on the main exposure setting
derived by the processor of the camera after
analyzing the scene, depends up on the type
of meter that you’ve chosen.
What about the fl ash exposures? Well it’s the
same. Just go to Flash Exposure Compensation
and try dialing some towards + (increase) and
- (decrease) to alter the exposure.
Finally I must say, the more time you spend
behind the camera more successful you’ll be.
Ashesh Rajbansh is a professional
photographer specializes on documentary
and nature photography. Expertise on digital
photography was utilized by Canon on various
workshops conducted on behalf.
The Photography article is a regular feature in this Solutions
section. If you have any queries regarding photography, do
write to us at: spacesnepal@gmail.com
This type of meter is also not for highly
specialized work, since it can not read light
from small specifi c area, still remains favorite
for starting very early in photography. Portrait
photography is one area where we can get
most out of this metering mode.
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87

OPINION
with the trend of building tall buildings within
the core city area too. This makes courtyards,
shaded all the time with little or no ventilation,
creating an unhygienic environment.
Urban Open Spaces
1. SPACES: What is the importance of open
spaces in urban environment?
BS: Open Spaces are a highly significant aspect
of Cites and have been critically instrumental
in defining the character of cities and their
definitive urban culture. Every memorable city
has a great park or urban square or specific
quality of neighbourhood spaces associated
with it. The traditional historic cities of the
Kathmandu Valley possess a strong system
of urban spaces encompassing a spectrum of
scales and quality, which form a complex matrix
of interrelationship producing memorable
landscapes and have supported an advanced
urban culture for centuries. Unfortunately, in
the contemporary metropolis, any established
system of urban spaces is missing. Urban
spaces not only provide the common space for
a plethora of urban activities, they also foster
healthy urban communities and give legibility
to urban landscapes.
ARB: Open space forms a key component of
urban landscape in creating a healthy urban
environment to the city dwellers. Open
spaces, whether public or private, has lot of
importance in providing outdoor recreation,
providing greeneries, social interaction for
community, as a playground for the people and
other activities.
2. How do you perceive the availability and
use of open spaces in Nepal, specifically in
the urban areas?
BS: If we view Kathmandu City on Google
Earth today, the large new developments
stand out as large swathes of grey with almost
no green reliefs. All you see are inadequate
roads and properties (plots/building); quality
public spaces are non-existent. Compare this
with the Google Earth view of other cities and
there is a healthy mix of green and the greys,
Ar. Biresh Shah (BS)
Exe. Dir., Archiplan, Kathmandu, Nepal
(biresh.shah@gmail.com)
Ar. Ashim Bajracharya (ARB)
HOD, Arch. Dept., Kathmandu Engineering College,
Kathmandu, Nepal. (ashimratna@hotmail.com)
although the mosaic is always specific to the
particular city, which imparts each city with its
definitive character. In Kathmandu, the only
public spaces are the large preserved areas
around traditional, cultural and religious sites,
or other leftover ‘Parti’ plots in the emerging
neighbourhoods. Unfortunately, a lot these
‘Parti’ plots in the new neighbourhoods are
being taken over by local ‘social organizations’
in the name of beautification and maintenance
or some ‘public service work’ with the tacit
approval of authorities. The public quality of
such spaces is mostly lost in such ventures.
The planning and building bye-laws also reduce
public space to a quantifiable figure, therefore
whatever public space emerges in new
development is mostly unusable and lacks any
character
ARB: When talking in context of Kathmandu,
with rapid urbanization, and rapid settlement
growth, open spaces are depleting quickly.
This has a direct correlation with the rapid
urban population growth and increment in the
built-up areas accordingly. The main reason is
the shortage of land to meet the demand for
accommodation of the fast growing population.
Land is becoming very precious and its price is
steeply on the rise. As a result, every bit of land
is being used for built-up area and accordingly,
the share of land for open space is getting a
lesser priority. This is resulting in a dense urban
area with less or no open space, narrow roads
and lack of adequate greeneries. All these are
hampering Urban Climate and Environment
severely. The problem is even more evident
in recently developed urban settlement. In
contrast, our traditional settlement has well
balanced mix of built-up and open spaces with
even distribution of courtyards, bahals and
chowks. But even there, the open spaces are
gradually becoming unsuitable for habitation
3. What measures can be adopted to ensure
the balance of open and built up spaces in
the urban environment?
BS: Measures need to be taken at the level
of design, planning regulations and guidelines
which define the quality to be achieved rather
than the quantity. Planning and building design
needs to be oriented towards creation of
functional usable open space rather than just
concentrate on infrastructure provisions and
square footage of land provisions. Authorities,
both elected and permanent also need to focus
on retaining the public nature of open spaces for
a sustainable healthy city and lead in the creation
of new public space hierarchy (for eg. riverfronts,
large regional parks), more in keeping with the
new metropolitan nature of the City.
ARB: The problem should first be addressed
at the level of city planning. Proper land-use
planning should be formulated that defines a
parameter for usage of space as per the urban
activity. Current Building Byelaws are to be
updated for establishing regulations to have
more open space in any building complex
and they should be strictly enforced. More of
the public open spaces with greeneries are
required to maintain suitable urban climate.
Encroachment of the public open spaces by
street vendors and squatter settlement should
be controlled. For that, government should
devise alternative solutions for such groups.
4. What is the role of the architect and urban
designer/ planner in ensuring this balance?
BS: Architects must learn to optimize the use
of land available on the site creatively. The byelaws
mostly define setbacks and percentages.
The design challenge today is how we establish
a form on the site which seeks to maximize the
usability of the land on the site. In this regard,
the architects have much to learn from the
urban form of the older cities in the Valley. It
is a common practice in architectural schools
to take up unnecessarily large sites for project
designs, and then there is a tendency to fill up
every corner available, rather indifferently. Land
is a very limited vital resource and we must be
very careful how we build on it and optimise
its usability. Planners need to revisit the byelaws
and see how useful open spaces can be
created by modifying bye-laws. In Planning
guidelines (for eg. Land-pooling projects), the
criteria for open spaces must go beyond just
road widths and percentage of open spaces,
and rather to the quality of urban spaces and
conditions that the various elements of the
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OPINION
Plan needs to achieve. As the city grows
into a large sprawling metropolis, there are
various scales and types of open spaces that
are needed and these must be stipulated by
the planners. The regulatory authorities have
a vital role in establishing the vision and the
environment for planners and architects to
make that extra effort for open spaces. The
current trend of usurping public land by ‘social
organizations’ should be reversed and the public
nature of all public land should be conserved.
Needless to say that these open spaces also
require large investments to develop them
for a variety of contemporary necessities and
maintain them, which can be undertaken only
with the leadership and commitment of the
elected officials. Lastly, and most importantly,
Communities who use these spaces must be
consulted by All in determining the course/
nature of their actions.
ARB: From individual point of view, as an
architect, while designing a building, a designer
should not only look at a building alone in
isolation, but should look at much wider
perspective considering urban environment in
general. Rather than focusing only on a built
environment, an architect should also look on
to the external environment in any design task,
considering outdoor climate.
An 'Open Space' is a very critical component of
the urban form of a city. Greenery by definition is
an important element in terms of human health,
city's beautification or recreation. Such spaces
are being massively encroached in Kathmandu.
To add to that, the private land markets are
not being able to produce open spaces for
the larger public benefit. One might find open
spaces produced in organized housing facilities
but they are limited to the use of site owners,
rather than the general public. To add to this we
have not been able to conserve many existing
spaces as well. In fact not only the formal open
spaces but also un-institutionalized spaces like
river banks are not being protected.
In my opinion this situation is caused by
multiple factors such as institutional weakness,
lack of timely monitoring and also due to lack
of awareness amongst the citizens. Space
protection and management is not a unilateral
or individual problem. There are several other
issues cross cutting in this scene.
It is also important to note that these open
spaces are very crucial in terms of disaster
management. Come some kind of disaster,
these are the spaces we need to use for quick
rehabilitation. I think there is a lesson to be
learnt from the Koshi flood where many people
had to be rehabilitated in schools. Hence
open spaces also play a crucial role in this
perspective. But I think the current land market
trends can neither preserve nor create open
spaces, hence strong regulatory processes are
a must in this sector .
An open space can range from a small scale
site space to the peripheral agricultural land or
community forests. But if we plan to preserve
them the regulatory policies have to be
controlled. For example, in case of preserving
agricultural land the land sub-division policy
is very crucial and hence its mechanism has
to be considered. Also to be considered are
Cross cutting of multiple factors
the factors of public facility development
which needs to be properly guided. In order
to preserve such spaces, infrastructure
development should not be largely promote,
policies should suppress private land market
and institutional mechanism has to be clearly
defined with proper responsibility, something
we don’t see as of yet.
The responsibility of a city open space is that
of the municipality, the Nagar Bikas Samiti and
Jilla Prasasan Karyalaya as well. This kind of
duplication brings about a situation of 'nobody's
responsibility', where if a space is encroached
the current institutional design does not clearly
define which institution shall be approached or
who is responsible. Such confusing institutional
mechanism hinders enforcement immensely;
the already weak enforcement of our laws is
further weakened by such ambiguities.
Such institutional weakness is also visible in the
sector of Urban Growth Management. A major
authority in the matter of Land Use Control is the
Nagar Bikas Samiti, which is currently working
with the human resource components and
organizational structure designed to cater the
1970's. Such organizations need to understand
that a complex city has developed in these past
years and there are wide spread differences in
the Kathmandu Valley of 1970's and hence, an
organization designed for the 1970's cannot
cater to the Kathmandu of today.
The major problem I see is in the institutional
arrangement. Unless we revamp these
institutions I don’t think the problems can be
resolved nor can we get the kind of preservation
and management or enjoyment of these spaces
that we desire. I am not trying to be pessimistic,
but without proper institutional provision it
would be very difficult. The Nagar Bikas Samiti
is acting all barks and no bite. On one hand
there is no production of open spaces and on
the other the present open spaces are not
being preserved. If future space management
is our priority we need to start by reforming
the Kathmandu Valley Town Development.
Today, if Kathmandu Valley Town Development
Committee (KVTDC) makes a plan, but if the
local bodies don’t implement them, it is of
no use. Even if the local bodies discard the
plans of KVTDC, there is no institutional way
to follow up on the same. The buildings that
are constructed with the permit from the
municipality are directly discharging waste
into the river, and there is no monitoring, but
the municipality is still issuing such permits.
Similar problems are present in management
and preservation of open spaces and built
environment as well. We have to understand
that all our correctional efforts in this field,
unless they include institutional reform, are
like treating the symptoms instead of the root
cause itself.
Dr. Mahendra Subba is the Deputy Director General at the Urban Development Department of the Department of
Urban Development and Building Construction (DUDBC), Kathmandu
msubba@wlink.com.np
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