Spaces_is 9

SPACES MAR-APR 2006 1

2 MAR-APR 2006 SPACES


MAR-APR 2006 VOLUME 2 ISSUE 3 

ARCHITECTURE 

32 AGE-OLD AMBIENCE FOR THE AGED 

It can be said to be a paradise of sorts for 

the old and the aged. Located among 

verdant surroundings, this home for the 

elderly has incorporated many thoughtful 

details to make sure that the aged residents 

have a home they can call their own. 

INTERIOR 

56 COMFY COTTAGE 

The environment begs for more respect, 

however, one can expect such things to 

become better with time. This house is an 

example of how even middle class 

limitations are not a hurdle for a fine 

standard of living - all it needs is a sense of 

purposeful intent. 

ART REPORT 

ARCHITECTURE 

PROFILE 

60 WISE WORDS & WORLDLY WOES 

He is one of the most respected 

professionals in the country and, as an 

academician, his words carry a lot of weight. 

He is also a writer with some exemplary 

books to his credit. His ‘Bricks and the Bull’ 

has been specially acclaimed as an 

important documentation of archaeologiical 

history. He also has some unique opinions. 

42 SOUTHERN HEIGHTS 

A few kilometres from Satdobato, on 

Harisiddhi Heights, stands a housing 

colony that has pioneered the making of 

‘Ready To Move-in Homes’. Forty-one lovely 

houses are up and ready for lucky owners 

to move in. And lucky will be the ones to 

own such fine homes - homes that promise 

refined living. 

66 CONSERVATION & KATHMANDU 

There are very few examples in the world 

to compare with the high density of 

monument zones within such a limited 

space as in the Kathmandu Valley. Any 

country would be honoured to have even 

one monument zone featured as a 

UNESCO Heritage Site. Kathmandu Valley 

has seven. 

24 MASTERFUL STROKES 

His canvases are easily distinguishable - 

the distinction primarily due to the broad 

strokes that are masterfully executed. And 

a master is what he is - yet, unlike in the 

case of quite a few masters, his paintings 

have a universal appeal. 

CRAFT 

48 TRAILBLAZER 

This organization is one of the most 

successful social development 

entrepreneurships in the country and its 

success has spawned many other 

similar ventures. Much of the credit goes 

to the honest diligence of a lady who 

knows how to motivate others. 

77 ON THE ANVIL 

From this issue we feature on-going 

projects by different firms in the country 

with a view to making ‘Spaces’ more 

informative. This section should also lay 

to rest fears that nothing good is 

happening in these troubled times. 

Endangered Culture - Pg. 66 

74 TRANSITIONAL HICCUPS 

Tansen, Palpa, has suffered a loss of 

great magnitude recently. The burning 

down of a site of much historical 

importance may not have been as high 

a loss as the tragic death of many lives 

but, surely, residents will mourn deeply 

the destruction of one of Palpa’s 

precious heritage sites. 





EDITORIAL 

[ ] 

“In recent times, the Nepalese architectural movement - if you would like to call 

it that - has seen a revival of neo-classical styles …… which shows just how 

bankrupt we have become! Architects are culture-building professionals and 

are socially responsible. And some time in the future, people will say that in the 

20 th . century, the Nepalese were so fond of this neo-classical architecture. This 

is not our cultural statement! This is not our economic statement! This is not 

saying something of insight!” 

– Professor Sudarshan Raj Tiwari 

This issue focuses primarily on our cultural heritage. The need to preserve 

something identified globally as of outstanding universal value is no doubt important 

and should be given prime priority. Most of us take things for granted, not realizing 

its worth, until you lose it or else someone drills it into your head or makes you 

aware of its uniqueness, beauty and value. One must consider himself fortunate 

if the realization comes in time and it is given due attention. 

Words of Wisdom 

See page 42 

The identification by the World Heritage Convention to inscribe the seven 

monument ensembles of the Kathmandu Valley as a World Heritage Site in 1979 

and again to put them in the endangered list in 2003 has done just that - globally. 

They must be given due credit, whatever the mistakes made by whichever party 

during its restoration and preservation, since making mistakes is a process of 

learning and realization. Although some may still argue on the issue of who 

should be given authority to make that mistake, or what should be the process, 

this again is debatable and priorities as well as authority may overrule normal 

common sense. Take for example the historical buildings destroyed recently in 

Palpa. They may not be heritage, but they were certainly historical and people of 

Palpa identified themselves with it. 

However, everything is not lost. Realization will come sooner or later. People are 

more aware of this reality than they were before, added to the fact that architects 

and engineers are being produced here in Nepal who are taught to appreciate our 

cultural background. And there are people already campaigning for this universal 

cause who must be encouraged howsoever we can. At the same time, it would 

seem to be a vital need of the times for students of architecture and engineering 

to be exposed to much more regarding the importance of preservation. The 

concerned centres of learning will need to improve their curriculum and teaching 

methods substantially so that the concerned professionals of tomorrow become 

leaders in the constant battle to save heritage. 

Although the sun will still rise from the east and we will continue to worship it 

since our culture is our characteristic and uniqueness, hopefully the coming 

generation will learn from the mistakes we all have made and we shall remain as 

we were – a rich and distinct culture. 

Endangered Heritage 

See page 66 

Masterful Strokes 

See page 24 



CONTRIBUTORS 

MELISSA JENKINS 

studied Art and Architectural History in Scotland and 

previously worked for Sotheby’s Auction House in London 

and the World Monument’s Fund in Cambodia. At present, 

Melissa works in the Culture Unit of the UNESCO Office in 

Kathmandu and feels strongly about the need to conserve 

the stunning architectural heritage of the Kathmandu Valley. 

ELKE SELTER 

is a Belgian graduate of Art 

History and Architectural 

Conservation. She came to 

Nepal from the UNESCO 

World Heritage Centre in 

Paris and currently works in 

the Culture Unit in the 

UNESCO Office in 

Kathmandu. Elke has a 

deep affinity towards the 

priceless architectural 

heritage of the Kathmandu 

Valley and feels an urgent need to increase awareness about 

conservation. 

MANAGING EDITOR 

Uday Sunder Shrestha, B.E 

PUBLIC RELATIONS 

Prakash Bahadur Amatya 

ASSOCIATE EDITOR / MARKETING MANAGER 

Amar B. Shrestha 

PHOTOGRAPHY / PRODUCTION CONTROL 

Ashesh Rajbansh 

LAYOUT DESIGN 

Pavitra D. Tuladhar 

ADMINISTRATION / ACCOUNTS 

Sanjay Shrestha 

PUBLISHED BY 

IMPRESSIONS Publishing Pvt.Ltd., 

Kupondole, Lalitpur, P.B. 227, DPO Lalitpur 

Ph: 5544606. 5526040 

(Regd. No 30657/061-62) 

COLOR SEPARATION 

Scan Pro, Pulchowk, Lalitpur 

PRINTED AT 

Variety Press, Kuleswor, Kathmandu 

DISTRIBUTED BY 

bitarak.com 

Ph: 5529726 / 5522472 

email: info@bitarak.com 

SAAKAR SHRESTHA 

M. Arch, established Reverie 

Designs in 2002 which has 

completed 40+ projects including 

Master Designs of College of 

Journalism and Mass 

Communications in Kapone and 

Hyonjan Electricals, BID for 

SASCON Pvt. Ltd as well as the 

Interior Design of Air Hostess 

Training Institute in Baneswor. He 

is a Member of Nepal Engineering Council and the Nepal 

Engineering Association. 

COVER 

Southern Heights could well have started 

a new trend of offering ‘Ready To Move-In 

Homes’. It is a blessing for prospective 

owners who will be actually able to see and 

feel their future abodes before deciding 

to buy. Designed by Design Cell, the 

houses are worth a second look. 

Photographs Ashesh Rajbansh 

Canon EOS 10D SLR 

16 - 35 mm/f2.8 L USM lens 1/1600 @ f6.3 

SPACES - guide to good living is published six times a year 

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the publisher cannot accept responsiblility for any errors 

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Ph: 3836207, Email: subarnaj@aol.com 



LETTERS 

PRE-EMINENT PUBLICATION CONCERNING 

ARCHITECTURE AND CULTURE IN NEPAL 

I understand that you have been informed of a new initiative 

being launched by the UNESCO office in Kathmandu to 

raise awareness of the cultural heritage in the Valley. The 

project will run until July this year, when we will be publishing 

a series of heritage booklets (one for each of the seven World 

Heritage Monument Zones) with information on the 

historical and cultural significance of the main monuments, 

and the more esoteric sites in each area. 

A variety of articles in international and national press, 

television and radio presentations and events over the next 

seven months will boost the understanding of the rich 

heritage of the Kathmandu Valley. As the pre-eminent publication 

concerning architecture and culture in Nepal we very much hope to 

collaborate with you during this time. 

Melissa Jenkins 

Culture Unit 

UNESCO Kathmandu 

SUBSCRIPTION ENQUIRY 

Mr. Om Prakash Sikaria, Secretary General, 

has advised me to subscribe to SPACES-6 

issues for RS. 500. Please inform me as how 

we can send the subscription charges. We 

would feel comfort if you please tell us the 

person or agent in Birgunj for the payment 

of regular subscription charges. 

Chissuapani Timilsina 

Birta, Birganj-4, Nepal. 

TIME-ARCHITECTURE 

I had recently visited India upon the 

invitation of Indian Institute of Architects, 

to attend a conference titled Place -Time- 

Architecture, and I would like to contribute 

an article on the subject to ‘SPACES’. Can 

you please let me know when you will be 

closing for your upcoming issue? 

Susan Vaidya 

Association of KEC Architecture, (AKAR) 

FIRST PROFESSIONALLY QUALIFIED NEPALI 

ARCHITECT - MR. GANAGDHAR BHATTA 

It was really sad and a pity to learn about the demise of Mr. 

Ganagdhar Bhatta, along with the very poor turnout at his 

funeral. I wish someone had informed me...(anyway next time 

if there is something that is relevant regarding our profession 

- please do call or email me, and you can bank on my support). 

I did read the article in the July issue of SPACES on him 

once again this morning...and I must say we owe a lot of 

respect to him for all his work besides also being the first 

professionally qualified architect of the country. But as is 

true for all pioneers in any creative pursuit - we find their 

true worth only when their chapter of life closes. 

Going through his body of work, I think he led a wholesome 

professional life; but then as in most cases of creative people 

living at the edge,....they also somehow lead difficult personal 

lives and forget to balance it...or is it destiny...sometimes a 

price we all pay in our own way, when we strike real creativity. 

Van Gogh would have agreed with me !! 

Sarosh Pradhan 

Architect 

PROFESSIONALLY VERY 

ENLIGHTENING BUT WHY HAS 

SPACES SLIMMED DOWN?? 

I am an avid reader of SPACES magazine 

and your cache of informative and diverse 

article is truly impressive. It is truly one of a 

kind magazine for homemakers, artists, 

designers and architects like me. 

The Jan-Feb 2006 issue was interesting and I 

enjoyed reading all the articles especially the 

article on Ar. Bhibhutiman Singh’s abode by 

Niranjan Lal Shrestha, and Ar. Sarosh 

Pradhan’s walk down memory lane of his 

school. In future I look forward to seeing 

more work of young and upcoming 

Architects and Interior Designers. 

And last but not the least ..... why has 

“SPACES” slimmed down? (Joined the 

GYM??)—I noticed 76 pages in this issue as 

compared to the 104 pages in the first issue. 

Arpana Shrestha 

Architect 



OBITUARY 

Nepal’s s First Architect Passes Away 

Ar. Gangadhar Bhatta Halbe 

Architect Gangadhar Bhatta a Halbe passed away 

on 27 th Poush 2062.(January 11 th 2006) at the age 

of 72 years. He was Nepal’s first architect and 

received his B.Arch degree from Calcutta 

University in 1961. During his nine and a half year 

tenure at the Bhavan Bibhag, Halbe initiated the 

idea of open design competitions for government 

buildings, and fittingly, in 1968, won one himself 

for the Rastriya Panchayat Bhavan. 

Halbe was also responsible for the master plan of 

Dashrath Ranga Shala and the designs of the Royal 

Palace Secretariat, the City Hall, the Police Club, Hotel Soaltee and the glasshouses in Godavari 

Gardens. Gangadhar Bhatt Halbe was proficient in interiors as well and did the interiors of 

City Hall, Casino Nepal and Jivan Kunj. His advice to engineers was, “First see the structure 

in its totality and then only start estimating the parts.” 

In the earlier years, Halbe’s firm was known as Himalayan Architects and Engineers which 

was responsible for designing many residential buildings in Kathmandu. The creative architect 

liked to call himself ‘modern’ and used to remark, “The day I stop being modern, I will have 

stopped being an architect”. Halbe is survived by his wife, Shailaja, sons Udaya, Vijaya and 

Vinaya and their wives, as well as four grand-daughters. 

“The day I stop being modern, I will 

have stopped being an architect”. 

The Society of Nepalese Architects 

(SONA) organized a condolence 

meeting on 27 th January 2006 to mourn 

the untimely demise of Nepal’s first professionally qualified architect, 

Gangadhar Bhatta Halbe, who passed away on 11 th January 2006 at 

the age of 72 years. 



NEWS & HAPPENINGS 

RAINWATER HARVESTING PROMOTION PROGRAM 

The NGO Forum for 

Urban Water and Sanitation 

(NGOFUWS), supported 

by UN HABITAT, held a 

two day National Workshop on 

‘Rainwater Friendly Cities: Capacity 

Building on Rainwater Harvesting in 

Nepal, Preparatory Phase’, on 16th and 

17th January 2006. The workshop was 

inaugurated by Dr. Rajendra Suwal, 

Member of National Planning 

Commission and the launch of Call to 

Action was delivered by Lajana 

Manandhar, President, NGOFUWS. 

The occasion was well attended and the 

inaugural session was addressed by, 

among others, Guest of Honour Janak 

Raj Joshi, Secretary, MPPW, Lava K. 

Thapa, GM, NWSC, Hari Ram Koirala, 

Director General, DWSS, as well as by 

Kulwant Singh, CTA, WAC, UN- 

HABITAT , Han Heijnen, Regional 

Advisor, WHO and Sanjaya Adhikary, 

Country Representative, WAN. The 

keynote address was delivered by 

Margerita Pacheco, IHRA while Bidur 

Mainali, General Secretary, MuAN 

provided the vote of thanks and 

Chairperson Purna Kadariya, Director 

General, DUDBC, closed the session. S 

CAPACITY BUILDING & ENTREPRENEURSHIP 

•Tailormade RWH training programmes for 

disfferent target groups: practising architects 

& engineers, civil society & house/structure 

owners architect & engineering students & skill 

training for plumbers. 

•Counseling prospective clients and help to 

generate employment opportunities. 

DEMONSTRATION SITES: 

•Installation of rainwater harvesting 

components at popular historical/public 

structures to serve as demonstration sites. 

PRIVATE SECTOR ENGAGEMENT: 

•Promotion of the private sector for easy 

accessibility of RWH components & materials 

at competitive price. 




COMBINATION 3 BY PETALS 

From January 12 to 

January 18, 2006, the 

Nepal Art Council played 

host to the 3 rd exhibition 

of paintings and sculpture 

by four young girls who 

call themselves the ‘Petals’. 

Chandani Bajracharya’s 

sculptures were small in 

stature but creative in content. Although 

all of her works were done with terracotta, 

most of them, to a 

viewer, resembled 

works of marble. As is 

true for most works said 

to be ‘contemporary’, 

her dancing figurines 

too were of unusual and 

intriguing contours. 

Menuka Shrestha too is 

a sculptor, and her 

works, again using terracotta, were rather 

more earthly in hue and 

spirit, and many of them 

had an easy resemblance 

to worldly human shapes. 

Painters Renuka Maharjan 

and Arya Rajbhandari 

exhibited their series of 

works based on vastly 

different themes. Renuka’s waterfall 

compositions were refreshingly executed. 

Still, considering her subject - invigorating 

waterfalls, where invigoration is directly 

proportion to size - perhaps larger canvases 

would have had greater impact. Arya’s 

theme was of a 

religious nature and 

on exhibit were a 

score and more 

skillfully portrayed 

depictions of various 

gods, the stone images 

of which were the 

artist’s source of 

inspiration. It was nice 

to observe that the 

artists seemed to be specially delighted by 

the purchase of some of their works by 

well-known Architects Rajesh Shrestha and 

Sailesh Gorkhali of Vastukala Paramharsh. 

Art is, after all, the foundation of 

Architecture! S 

METAMORPHOSIS-Perceptive variation 

Friday the 13 th is a day to be wary according 

to the wisdom of the ages, but this did not 

deter Siddhartha Art Gallery from 

inaugurating an exhibition called 

‘Metamorphosis’ on the dreaded day. Held 

from the 13 th to 31 st January 2006, the 

collection included nine sculptures by Gopal 

Kalapremi, ten canvases by Saroj 

Bajracharya and eleven by Sunil Sigdel. 

Kalapremi’s sculptures 

included the ‘Untitled’ 

series, of which ‘Untitled I’ 

was interesting, and a 

collection of masks called 

‘Today’s Nepali Faces’. 

Although any of his works 

would make for an 

appealing centerpiece, one comes away 

with the feeling that Kalapremi’s best works 

are yet to come. 

Bajracharya’s canvases had 

the touch of one looking to 

establish his own identity and 

create something 

meaningful. ‘Hide and Seek’ 

and ‘Here and Gone’ were 

noteworthy and could show 

the way in the future to immediately 

recognizing his particular style and thus 

succeeding in reaching self made goals. 

Sigdel’s ‘Metamorphosis’, a 

large sized rendering of the 

artist’s conception of the title 

is stark in its statement but 

thoughtfully eye catching all 

the same. His ‘Conversation 

Through Silence’ series also made for 

intriguing exhibits. However, ‘Time Hole’, a 

clever art work on half of an old door, was 

one of his more alluring works on display. S 

TIBETAN 

CONTEMPORARY 

PAINTING 

From 5 th to 11 th January, Siddhartha Art 

Gallery was the venue for ‘Contemporary 

Paintings from Tibet’. On display were 

handiworks of Awang Zaba, Bama Haxi, 

Lup Lun Zhang, Han Shuli, Dezheng and 

Gade. On entering the gallery doors, 

visitors were aptly treated to a 90 x 135 

cm canvas of ‘Zhou En Lai and Nepali 

Dancer’ by Awang Zaba. The ground 

floor of the gallery had exhibits of mostly 

sedately coloured canvases while the first 

floor had on display more vibrantly 

conceived paintings. 

Nevertheless, the almost pastel hued 91.5 

x 64 cm canvas titled, ‘Himalayas’, by Han 

Shuli, was the centre of attraction for 

many of the almost hundred strong 

throng that had come to attend the 

inauguration. The nicely curved peaks 

flowing onto one another made one 

wonder, ‘perhaps the Himalayas are 

meant to impart a loving message of 

harmony instead of being a prize to be 

won.’ 

Also on the ground floor, a 94.5 x 69.5cm 

canvas, ‘Blank Door’, was just what it 

claimed to be-a blank rectangular opening 

surrounded by the faintest of motifs. 

Many of the paintings had religious 

themes and perhaps it is true that even 

simply titled ones, including those on the 

first floor, like, ‘Rooster at Dawn’ , ‘Bull 

King’, ‘Love Song’, ‘Shepherd’ and ‘Bird 

Festival’ could have some underlying 

mysticisms. A vivid series, variously titled, 

‘Tibetan Customs’, ‘Young Shepherd’, 

‘Girl from Linzhi’, ‘Mother and Child’, 

‘Girl’, and ‘Family’ displayed a profusion 

of startling red pigmentation while the 

ones featuring women proudly 

highlighted amply endowed assets of the 

female form. Prices of the paintings 

varied from US$ 650 to US$ 5480. S 




36TH NATIONAL ART & CRAFT EXHIBITION 2062 

The 36 th National Arts and Craft 

Exhibition organized by the Nepal 

Association of Fine Arts (NAFA) was 

participated in by 161 artists in 

Contemporary Painting, 23 sculptors in 

Contemporary Sculpture, 48 artists in 

Traditional Arts and 44 craftsmen and 

women in Craft division. Besides this, 

works of 43 artists were exhibited in the 

Non-Competing department. 

In Contemporary Painting, 

Asha Dangol’s ‘Tantrik 

Prem’ won first prize with 

And while Kirti’s work is to be appreciated 

for clean paraphrasing of complex forms, 

Jasmin’s work displays a definite maturity 

and style. Gautam R Tuladhar’s ‘Everyday 

Prayer’ and Roshan 

Pradhan’s ‘Feelings of 2005 

second, to Sundar Sinkhwal’s ’21 Tara’, and 

third to Devendra Sinkhwal’s ‘Bajra Jogini’. 

Special prizes went to Bijaya S Jyapoo’s 

‘Buddha’ and Kunchhang Lama’s 

‘Buddha Jivani’. 

Kriti Chand’s ‘Rachana’ and Jasmin 

Bhandari’s ‘The Street’, coming in second 

and third respectively. In keeping with the 

profound nature of his prize winning 

work, Asha has added a tense grip to the 

subject by using very few basic colours. 

Hanger’ were recipients of special prizes. 

In Contemporary Sculpture, Sudarshan 

B Rana’s ‘Paribesh’, a two piece mixed 

medium exhibit connected by space and 

expression, won the first prize, while 

Bhuwan Thapa’s woodcraft, ‘Current 

Situation’, was placed second and Bijaya 

Maharjan’s Opexci medium ‘Desire’ 

received the third prize. Special prizes went 

to Narendra P Bhandari’s ‘Passing’ and 

Roshan Marjan’s ‘Family’. In the 

Traditional department, first prize went to 

Ram P Shrestha’s ‘Ghammapal Mahankal’, 

Bibhusan N Tamrakar’s ‘Mahisashur 

Mardini’, Binod Shakya’s ‘Mahankal’ and 

Shyam KC’S ‘Hanuman Dhoka’ won first, 

second and third prizes respectively in the 

Craft division while Shyam S Yadav’s ‘Ram 

Mala’ and Thirtha M Sthapit’s 

‘Swaymbhunath’ received special prizes. 

Regional award winners were Chhetra L 

Kayastha (West Region), Uttam Shakya 

(Middle Region) and Tirtha Niraula (East 

Region) for ‘Dui Thopa Aansu’, 

‘Akshobhya Mandal’ and ‘Ganesh’ 

respectively. S 

FRAGMENTS OF A JOURNEY 

Aditi Sadhu Chakraborty’s 2 nd solo 

exhibition titled ‘Fragments of a Journey’ 

was held at the Park Gallery from 18 th to 

31 st January 2006. The artist has described 

her works as responses to her experiences 

in her life’s journey. Intelligent colour 

schemes are a particularly attractive element 

of her paintings and enliven the various 

different fragments in her canvases. Although Aditi claims to 

have responded spontaneously while bestowing the fragments 

with form and colour, the neat symmetry in all her canvases 

forces one to think that perhaps the artist could not have escaped 

a very conscious move towards creating a basic harmony. 

Which is not a bad thing really, since the results have turned out 

to be very pleasing to the eye as well as to the senses. .The 

discerning viewer will surely appreciate the artist’s originality 

even if shades of cubism do seem to have a role to play in 

defining her style. S 

CULTURAL STUDIES GROUP OF NEPAL 

The Cultural Studies Group of Nepal (CSGN) was set up in 

2000 to learn more about the arts and cultures of Nepal in a 

setting where Nepalis and expatriates could share their common 

interests in such matters. To achieve this aim, CSGN organizes 

a monthly lecture series on the last Friday of every month at 

9:30 AM at the Shanker Hotel. CSGN also has a schedule of 

mid-monthly studio visits to learn about historic and religious 

sites, local arts, crafts and antiques. 

Some lectures held in 2005 were on ‘Nepali Resilience’ by Kunda 

Dixit, ‘Life Behind the Camera’ by Dianne Summers, ‘The Plight 

of Widows in Nepal’ by Lily Thapa and ‘Lain Singh Bangdel- 

Writer, Painter and Art Historian of Nepal’ by Don 

Messerschmidt. On Friday, 27 th January 2006, ‘The New Realities 

of Nepalese Art’ was presented by Art Curator Sangeeta Thapa. 

Her 40 minutes audio-visual presentation included a brief history 

of Nepalese art as well as the effects of conflict and 

contemporary concerns on the same. S 




REFLECTIONS OF REALITY 

Department of Architecture of Kathmandu Engineering 

College and Association of KEC Architecture (AKAR) 

organized a two day workshop on ‘Vaastu’, an ancient science 

of architecture, on 2 nd and 3 rd January 2006. The workshop 

was conducted by Prof. Bharat Bhushan Puri, a Vaastu scholar 

of more then 35 years who has published several books and 

has delivered lectures on the subject all over the world. 

VAASTU INSIGHT 

Jasutara Art Foundation, a social service organization 

under the auspices of VOITH Group, organized an 

exhibition of paintings by the talented seven artists of 

Kasthamandap Art Studio in New Delhi from December 

10-14, 2005. Held at the India Habitat Center, the show 

was sponsored by APCA Group and inaugurated by H.H 

Maharani Yasho Raje Laxmi of Jammu and Kashmir. 

On display were Asha Dangol’s bold but meditative works 

inspired from folk art, Erina Tamrakar’s hauntingly 

beautiful depictions of feminine expressions, Pradip 

Bajracharya’s rich canvases based on traditional sources, 

Bhairaj Maharjan’s warmly portrayed paintings focusing 

on the hidden mystique of 

womanhood, Binod Pradhan’s 

intriguing works conveying an 

intense search for spirituality, and 

Pramila Bajracharya’s lovingly 

rendered landscapes brought to 

life by the subtle play of colour 

and light. An exhibition such as 

this is a fine medium to showcase 

Nepal’s rich culture of art and 

crafts and the organizers need to 

be complimented. S 

To a question regarding elevation development through 

Vaastupurusha Mandala, Prof. Puri informed that the Vaastu 

applied in Nepalese Malla architecture is more precise and 

advanced than that practiced in India. In Malla architecture, 

elevation is developed with respect to the plan based on 

Vaastupurusha Mandal, while there is very little discussion on 

this subject in Vaastu practiced in India. He added that despite 

Vaastu Shastra having originated in India, its practise could 

not continue during the Muslim era and this gap of hundreds 

of years hindered the progress of Vaastushastra, while in the 

case of Nepal, such was not the case. 

Prof. Puri emphasized that Vaastu is a complete science - one 

that deals with terrestrial and bio magnetology, climatology 

and stability of forms. He pointed out similarities of Vaastu 

with modern building technology as, for example, both of these 

sciences recommend square plans. Inaugurated by chairman of 

Kathmandu Engineering College, Prof. Hirendra Man Pradhan, 

the workshop was attended by 132 participants, among whom, 

27 were practicing architects and engineers, while the rest were 

students of architecture and interior design from different 

universities. S 



‘ONCE A POWERFUL AND SUCCESSFUL WATER COLOUR ARTIST…HE EXHIBITED HIS 

WATER COLOURS WITH A MASTERY OF FLOW, STROKES, TECHNIQUE AND CHARM’ 

MASTERFUL 

STROKES 


“SHADES OF CUBISM – YES - THAT 

IS WHAT SOME PEOPLE HAVE 

OBSERVED IN MY WORKS,” admits the 

self effacing artist, Shyam Lal Shrestha. It 

is obvious that Shrestha’s canvases - 

canvases with pleasingly modulated brush 

strokes - contain an unambiguous 

geometry. His works are easily 

distinguishable; the distinction due 

primarily to the endowment of concise 

broad strokes throughout his paintings. 

But this major distinctive factor could be 

short lived, for, as the artist says with a 

smile, “I have noticed that nowadays some 

young painters have started to imitate my 

style.” Well, this can only be regarded as 

one more indicator to emphasize his 

stature, for imitation is said to be the best 

form of flattery. 

Now, at the beginning of the sixth decade 

in his life’s journey, Shyam Lal has become 

a contemplative man, or rather, more 

contemplative than in his younger years. 

One can discern a definite air of far 

reaching wisdom in his silences. He does 

not speak much it seems, perhaps it is the 

artist in him that makes him so miserly in 

personal expression, for it could be that 

as an artist of long standing, he would 

prefer his standing among the human race 

to be defined by his many creative works. 

And rightly so, we must agree, because 

Shyam Lal Shrestha’s artistic talent is 

something that deserves bountiful 

accolades. It is not only his talent that has 

to be appreciated, his dedicated pursuit in 

the honing of the same has to be also 

recognized. 

Above: A work such as this confirms the 

artist’s mastery over his medium. Rich 

hues of yellow on Lokta paper canvas 

brings to light a beautiful texture. 

Left: Simple in concept, but imaginative 

in execution- that is what Shyam Lal’s 

paintings are all about. 

Shyam Lal still has a head full of flourishing 

hair and as well, a home full of happy 

family members. Two sons, Uttam and 

Rustom, a wife, and a mother live with him 

in his large modern mansion in a corner 

of the Baber Mahal area. His gallery, ‘Image 

Art Gallery’ is on the ground floor and has 

been designed internally in a neo classical 

hue. Hung on the walls are some of the 


art 

artist’s paintings, some in his newer mode, 

and some remnants of his older avatar. 

Looking at one such of the latter style - a 

large rectangular painting depicting 

Buddha surrounded by tempestuous 

women, in which the artist displays 

an inborn talent doubtless, but in 

which there seems to be no 

particularly individual approach 

whereby one can identify it as a 

‘Shyam Lal’, and then comparing it 

with a new canvas on the easel, in 

which the now familiar strokes and 

more sophisticated colours are 

evident, one can derive that Shyam 

Lal has gone through a long journey 

in search of artistic originality. 

lands. Thus, he, along with Gautam Ratna 

Tuladhar, Hari Bahadur Khadka and 

Shanker Nath Rimal, have had a joint 

exhibition recently this year in Dhaka, 

Top: Note the interesting texture which 

complements perfectly with the sombre 

expressions and the dark tint. 

Above: Predominance of green and 

yellow impart a rustic flavour. 

Right: Warm hues and robust forms give 

this work a maternal glow. 

Unfortunately, while the travails have 

happily resulted in a style that 

captivates, the journey seems to have 

been arduous as well; for Shyam Lal 

does not sound too captivated by 

journey’s end for the Nepalese artist. 

And seemingly, many artists are 

finding greener pastures in foreign 


Above: The geometrical proportions in 

this painting is a sight for sore eyes. 

Right: The closeness of a mother and 

her child is emphasized by the sheltered 

repose beneath the falling rain. 

Bangladesh, where, in addition to the 

exhibition becoming a success, one of 

Shyam Lal’s canvases fetched a sum of 

Rs.45000.00. “The art scene in Bangladesh 

is remarkably well organized,” he says. 

“Here, even if there has been an upsurge, 

we still have to go a long way.” He adds, 

“And although there are many art galleries, 

very few really are able and have similar 

capacity. In fact Siddhartha Art Gallery, I 

would say, is one of the few that is well 

managed. Park Gallery is another.” 

Born in 1946 in Bhotahity, Kathmandu, 

Shyam Lal received his Diploma in Fine 

Arts in 1969 from Lalit Kala Campus and 

went on to have a string of successful (solo 

and group) exhibitions from 1965 

onwards. Besides Nepal, his works have 

been displayed in many foreign shores 

including India, Bangladesh, USA, Italy, 

Japan, Russia and Turkey. The artist takes 

pride in the fact that he has had the 

opportunity to learn under the late Lain 

Singh Bangdel and is specially fond of 

recollecting what the former Chancellor 

of the Royal Nepal Academy had to say 

about one exhibition, ‘Expression’, in 2000, 

‘…Once a powerful and successful water 

colour artist…he exhibited his water 

colours with a mastery of flow, strokes, 


art 

technique and charm…he has changed his style 

since and has now developed more on his semi 

abstract figurative works.’ The late Lain Singh 

Bangdel had also commented, ‘He (Shyam Lal) 

also projects his own vision as a versatile artist 

and creates a very familiar world which he finds 

around him… Thus Shyam Lal has so much 

changed his style since I saw him painting a flower 

as my young art student many years ago…’. 

Shyam Lal first won a competition in the 

Landscape Painting Competition during the 

Youth Festival in 1974, then won Gold Medals 

in Poster Competitions in 1982 and 1983 

organized by the World Hindu Organization. In 

1984, he won first prizes in Zone of Peace and 

Paintings of Lord Buddha competitions in 

Kathmandu. The artist was recipient of runnerup 

prizes in a contest for Children’s Picture Book 

Illustration (ACCU), Japan, and the 3 rd Seoul 

International Illustration Contest in Korea. In 

1997, Shyam Lal won the First Prize for 

contemporary painting during the National Art 

Exhibition in Kathmandu, a prestigious 

competition in which the artist had won a third 

prize in 1971. 

Top: Shyam Lal’s portraiture of street children 

- the muted colours are indicative of their 

plight. 

Above: Buddha and the Apsaras. 

Right: A white bearded sage comes to life with 

swift strokes of the brush - perhaps the 

heavenly colours reflect a high awareness. 



art 

Above: Women and Expressions - lovingly 

portrayed females are regular features of the artist’s 

works. 

Left: Lord Ganesha - a favourite subject with artists 

- here with a Shyam Lal twist. 

Shyam Lal Shrestha is now a name regarded with high respect 

in the art fraternity of Nepal. He has waded deep into the 

depths of artistic waters, and has swum with and against his 

own artistic capabilities as well as limitations. Initially a watercolourist, 

he has experimented, or rather, explored, more 

creative possibilities, with a certain amount of wise discretion, 

and come out the better for it. Better in the sense that his 

works are now quite easily identifiable as his own, and in 

doing so, he has achieved a feat that most artists strive for. 

His canvases, though oriented towards the abstract, are still 

to a layman, comparatively easy to fathom, and so, appreciate 

although he does admit, “I have still some way to travel before 

I can claim to be proficient in abstract art”. This, perhaps, is 

a knowledgeable artist’s refrain against painters jumping 

towards the abstract and claiming to be adept in the same 

before even the having enough knowledge about the basics. 

Yet, it is true that Shyam Lal, even though so greatly talented 

and so highly experienced, believes himself not yet ready to 

delve into this final aspect of a well traveled artistic soul. 

This gives conviction to the belief that art lovers can look 

forward to the day this artist reaches his creative life’s 

journey’s end and presents to the world, abstract canvases 

that are truly so and not mere fragments of hurried hands 

and more so, hasty ambitions as are evident in many artists’ 

works today. S 



ARCHITECTURE 

IN LINE WITH BHAKTAPUR’S 

RENOWNED TRADITIONAL 

ARCHITECTURE, THE ARCHITECT, 

WHILE DESIGNING THE 

BRIDYASHRAM, HAS TRIED TO 

COMPOSE A TRADITIONAL LOOK 

REFLECTING THE CITY’S NATURAL 

ENVIRONMENT. 

Text: Sakar Shrestha, Architect 

AGE-OLD 

AMBIENCE FOR THE AGED 

SIDDHI SHALIGRAM BRIDYASHRAM, 

a senior citizen home, is located on the 

peaceful banks of Hanumante River, away 

from Bhaktapur, in a quiet and pollution 

free area of Bhimsensthan. A community 

development welfare work funded by 

German citizen Karl Reblee, chairman of 

Nepal Hilfe Organization, it is also a 

dream-come-true effort for the founder of 

Siddhi Memorial Foundation, Shyam 

Sundar Dhaubadel. In line with 

Bhaktapur’s renowned traditional 

architecture, the architect, while designing 

the Bridyashram, has tried to compose a 

traditional look reflecting the city’s natural 

environment. He has accomplished the 

design according to the norms and 

standards of Bhaktapur Municipality 

regulations such as odd numbers of 

window panels and the use of traditional 

materials in the building façade. 

To meet senior citizens’ needs, the building 

has been planned for multipurpose 

activities. The total built up area of the 

building is 21,774 sq ft. The ground floor 

occupies approximately 8,130 sq ft, while 

the first floor and the cellar occupy 6,822 

sq ft of the built up area. The planning 

and designing shows a great approach 

based on good teamwork between client 

and architect. The architect has tried to 

fulfill all the needed conditions and tried 

to understand the theme of the project 

given by the client. The architect and the 

client went through as many ideas and 

options as possible before reaching an 

agreement. Thought has also been given 

to the making of a paying ward section 

which would help raise money to develop 

the foundation fund for further 

requirements but this idea, although in the 

drawing plan, has not been implemented 

for the time being. 

Entrances and exits on all four sides of 

the building ensure good circulation and 

this is all the more to be appreciated 


keeping in view the large area of the 

building. An outstanding aspect is the use 

of traditional carved wood work for pillars, 

purlins, beams, handrails, doors and 

windows (tiki jhyals) and jhingate tiles used 

for the slopes. The main entrance at the 

front is designed with carved wooden 

columns, beams, traditional floor tiles, 

carved railings and jhingate tiles on slope 

porch roof giving a magnificent look to 

the façade. 

The workmanship of Ratna Shilpakar, a 

resident of Bhaktapur, is certainly of high 

quality. The traditional tiles were bought 

locally, and the tiles, which could be seventy 

to hundred years old, were washed and 

cleaned before compiling and putting to 

construction. The entrance leads to the 

reception area with a waiting lounge 

Top: An exterior view of the Siddhi 

Shaligram Bridyashram with its 

expansive green front. 

Above: The neatly lined beds in the 

dormitories ensure a comfortable 

ambience. 

connecting the central courtyard, rooms 

and other premises. Rooms, of various 

sizes with attached toilets, accommodate 

altogether 30 beds. 

The courtyard in the centre of the building 

is open - designed for the purpose of 

allowing natural light and so as to follow 

traditional architecture. The open 

courtyard in the drawing was planned with 

a purpose, consisting of a quiet resting area 

with flower beds and a fountain to provide 

a peaceful and natural environment in tune 

with the project theme. Presently, the 

courtyard is used as a multifunctional area 

for sitting and gathering as well as for 

cultural functions. Recognizing an 

important human need, a library cum 

newspaper room has been built next to the 

courtyard to keep Bridhyashram residents 

informed and up-to-date with current 

news and happenings. Bhajan Mandal, a 


ARCHITECTURE 

hall of 36’9” X 20’4”, with a capacity for eighty persons, has entrances 

from both the front porch area as well as the courtyard, thus giving 

easy access for both the Bridyashram residents and visitors wanting to 

join in the various religious activities. The hall has an elevated stage in 

Top: The hall is where, besides 

other things, the boarders can sit 

down for hours listening to religious 

sermons. 

Left: The corridors are lined with 

brick exposed walls and wide 

windows facilitating good 

circulation and plenty of light. 

Above: The dining hall is at all 

times squeaky clean- after all good 

hygiene is everything. 



ARCHITECTURE 

THE ARCHITEACT HAS TRIED TO PROVIDE 

A PEACEFUL AND NATURAL ENVIRONMENT 

IN TUNE WITH THE PROJECT THEME. 

kitchenette gives easy and quick service to the rooms away 

from the main kitchen. 

Two separate staircases, located on the east and west sides, 

lead to the first floor for short and easy movement. The 

west staircase conveniently connects the other blocks 

including the administration block of Siddhi Memorial 

Foundation. Both these staircases lands on to an open 

corridor with a view of the courtyard below, leading to rooms 

and other premises. 

the front of the room where the lead person and the Guru are 

seated during religious functions. Common toilets are provided 

both inside and outside the building. A kitchen, with a dining hall 

providing full time service, has one 

additional access on the east side of the 

building. This access serves to transfer 

garbage without disrupting the clean 

environment and activities of other areas 

as well as to move foods and beverages, 

etc. Similarly, for exit to the back lawns, 

one access has been provided for near a 

separate kitchenette planned on the 

northern part of the building. This 

The first floor consists of a Medical Hall, a Meditation Hall, 

and toilets for both men and women, (a children’s day care 

centre is planned in the future).The other facilities on the 

Above: This entrance provides a 

convenient means of passage for 

ambulatory residents. 

Top: An ankhe jhyal provides a homely 

touch. 

Right: A wide portico in front provides a 

relaxing sun-drenched sit out. 



ARCHITECTURE 

first floor are a Seminar Hall with a 

capacity for more than 150 people, a 

stage, and an access to the terrace on the 

front of the building overlooking the 

garden. The garden created by Ram 

Govinda Shrestha incorporating the 

script SSB designed from plants on the 

slope of the garden, and the statue of 

Late Siddhi Sundar Dhaubadel facing the 

Bridyashram building, are examples of 

good workmanship which has to be 

appreciated. The carved windows of the 

front façade gives a traditional look to 

this hall’s interior. Considering the size 

of the hall, the architect has thoughtfully 

given two separate entrances, one 

accessing to the front of the hall and one 

to the back. The same staircases 

Above: A large inner courtyard ensures a spacious 

environment conducive to healthy living. 

Left: A Site Plan of the Siddhi Shaligram 

Bridyashram. 

continuing from the ground floor to the first floor 

goes to the cellar which will be used mainly for 

storage. 

The roof was originally designed to be covered with 

traditional tiles but for some reason the client later 

settled for C.G.I sheet. The truss design and the 

fabrication work were done by Balaju Yantra Shala. 

Transparent corrugated fibre glass sheets have been 

used on the cellar roof so as to absorb natural light. 

All exterior walls are constructed of machine made 

bricks, a very smooth and sharp edged brick used 

on more elaborate buildings, and interior walls are 

of plastered local brickwork. Due consideration has 

been given to the seismic factor while constructing. 

The structure design was accomplished by a team 

of experienced engineers with a big helping hand 

from renowned structural engineer N.N. Maharjan. 

The building consists of three structure blocks with 

construction joints and the design has incorporated 

different combinations of footings such as matt, 

raft and isolated footings. Stone boulders have been 

also been used, considering the land condition. 

According to project supervisor Jaya Gopal Lakol, 

there were no obstacles during the construction 

period and the only minor difficulty they faced was 

in pumping out three to four hundred litres of 



ARCHITECTURE 

Above: A place to keep mental faculties 

in tune with changing times - the library. 

Left: Weekly visits by a doctor is surely a 

boon for the elderly residents. 

ground water every day during the 

foundation works. Overseer Lakol has 

done a great job in supervising the 

construction work and giving a good 

finishing touch. 

Overall, the completion of the building 

was achieved with good results. The 

traditional look design has made the 

building a one-of-its-kind. However, it 

would have been better if the roof was 

covered with traditional jhingate tiles. And 

although it is hard to follow the rules of 

traditional architecture, the contractor, 

Tyata Nirman Sewa, must be commended 

for doing a splendid construction artwork. 

Started in 2003, the completion year was 

targeted as end of 2005 but steady work is 

still going on. Till now, the cost has reach 

approximately NRs 1 crore 15 lakhs. 

Adapting traditional designs definitely help 

in preserving heritage and also facilitates 

the showcasing of Nepali architecture 

globally. There is an important lesson to 

be learnt from this project. Due 

acknowledgement goes to Karl Reblee and 

Shyam Sundar Dhaubadel, founder of 

Siddhi Memorial Foundation, for making 

a fine example for others to emulate and 

follow. S 



ARCHITECTURE 

SOUTHERNHEIGHTS 

ACCORDING TO PROJECT ARCHITECT, ARUN DEV PANT, OF DESIGN CELL, “THIS HOUSING COLONY 

IS THE RESULT OF LESSONS LEARNT FROM PAST EXPERIENCES. INSTEAD OF EMPHASIZING ON UNDUE 

FRILLS THAT WILL ONLY INCREASE COST TO THE CUSTOMER, WE HAVE MADE EXTRA EFFORTS TO 

MAKE SURE THAT THE ACTUAL LIVING SPACE WITHIN EACH UNIT IS MORE THAN ENOUGH TO 

SATISFY EVERY HOME-OWNER.” 


There is no reason to doubt his words as 

will be evident from a visit to Southern 

Heights, a recently developed housing 

colony located at Harisiddhi Heights, 

which is but a few kilometres from 

Satdobato in Lalitpur. 

The most conspicuous part of this project 

is that all the 41 houses have already been 

built. In fact according to Suhrid Ghimire, 

President/CEO of Continental Trading 

Enterprises - the firm behind the venture 

- it is probably the first project offering 

‘Ready to Move-In Homes’. However, this 

is not the only attraction of Southern 

Heights. The houses themselves are very 

appealingly designed – which is as expected 

of an architect like Arun– whose calibre 

can be judged from the many new and 

upcoming buildings in the Capital that bear 

his signature. 

The location is of course another plus 

point and the designer has made full use 

of this fact to the full benefit of the home 

owner. Not only is the all around view nice 

Above: Different views of one of the bedrooms 

(with its personal veranda) on the first floor . 

Note the beautiful use of subtle and 

sophisticated colour schemes used for the 

room and furnishings. 

Right: The comfortable lounge on the first 

floor landing. A wide balcony adjoins it. 


ecause of the height, but equally 

agreeable is the fact that all the houses 

seem to be guaranteed fresh air and plenty 

of sunlight at all times. No wonder the 

architect has included quite a few balconies, 

and a good amount of space for terraces 

on each house. One really enchanting 

aspect is that many of the bedrooms have 

their own private balconies. The small 

gardens at the front along with the roomy 

porches, ensure a green ambience as well 

as adequate parking space. 

All the houses have welcoming looks from 

the outside - this probably due to the 


ARCHITECTURE 

aforementioned gardens, roomy porches, 

as well as the use of sophisticated colours 

that are at once soothing and pleasant. 

Once inside one of the houses, one will 

Above: Who wouldn’t fall in love with such 

well designed and well executed homes? 

Above right: A view of the master 

bedroom. The bathroom and the inbuilt 

cabinets are next to each other. 

Left: The kitchen is designed for 

efficiency. 

Right: The first floor has two more 

bedrooms besides the master bedroom. 

A lounge connects the three rooms. 


notice immediately that the designer has 

tried to provide for a continuation of the 

welcoming look and one must admit, 

succeeded admirably in doing so. The 

living and dining rooms are on split levels, 

the former on the lower level while the 

latter is right next to the well planned 

kitchen. On the opposite side is a guest 

room with inbuilt wall cabinets. Here it 

must be mentioned that all the bedrooms 

have inbuilt cabinets, which some would 

say is quite the norm nowadays. But hold 

on, in the case of Southern Height homes, 

thought has been given to make them 

reassuringly capacious. Consideration has 

also been given to making them into special 

features of the rooms, this being assured 

by use of refined materials. When talking about refinement 

(and in fact one word to describe these houses could well 

be - ‘refined’) the architect has given much attention to 

the use of elegant but sturdy fittings 

throughout. For instance, the doors are 

something that are to be admired, made 

as they are of polished timber; the 

windows have been made all the more 

graceful due to use of glossy aluminium 

fittings. The windows are also provided 

with mesh shutters thus ensuring anti-fly 

screen provision. The main gate is of metal 

and 10 feet wide while the boundary wall 

is a combination of masonry wall and 

decorative plaster and metallic fence. As 

far as flooring is concerned, the living and 

dining rooms have wooden parquet floors 

while the bedrooms have IPS flooring 

(with the option of extra flooring left to 

the owner’s choice). It should be noted that 

the model home interiors have been done 


Facing page top and bottom: Two 

different views of Southern Heights. 

Facing page middle: An expanse of 

wide open spaces greets one on entering 

the doors. 

Above: The living and dining areas are 

on split levels and open. 

by Designer Siddharth Gopalan who has 

used ‘Berry Floor’ laminated flooring in 

the master bed room. The veranda floors 

are done with marble and ceramic while 

the staircase and lobby have marble floors. 

Naturally, the toilets are ceramic tiled, as 

are the kitchens, and while the kitchens are 

efficiently conceived and have doors 

opening out into the rear alley, the toilets 

have top quality ‘American Standard’ 

fittings. Undoubtedly, living in a housing 

colony comes with its intrinsic benefits. 

Benefits such as its own transformer, good 

street lighting, sufficient water supply 

provisions, a water treatment plant, 5.5 

metre wide paved roads in addition to the 

health facilities and convenience store 

planned for. These are of course besides 

the usual accessories of regular houses, 

such as independent septic tank and soak 

pits, storm water drains, a 2000 litre 

capacity RCC underground tank as well as 

voluminous overhead tanks. 

All in all, Southern Heights has homes that 

seem to be worth every paisa of the Rs. 

45 to Rs 70 lakhs that they are priced at, 

according to size and design. For the 

prospective homeowner’s information, 

sizes vary from 5 anna to 8 anna plots and 

four different designs are available, none 

less than the other. It is to the credit of 

the developers who have staked a fortune 

in the making of such ‘Ready to move-in 

Homes’ thus making it really convenient 

for buyers to actually see the house they 

will be making into a home and to feel the 

warmth of the home they will be spending 

their lives in. 

It is equally, if not more so, to the credit 

of the architects involved for designing 

houses based not only on fulfilling most 

needs of the home owner, but also towards 

the finer aspects of home building. Aspects 

that include comfort, aesthetics and 

convenience. In the process, promising a 

life of refinement within the conclaves of 

Southern Heights. S 


CRAFTS 

ACP 

Text: A B Shrestha 

TRAILBLAZER 

DHUKUTI 

IN BETWEEN, ACP PRODUCERS ARE ACTIVE IN NEPALGANJ, BAGLUNG, PALPA, POKHARA, 

KATHMANDU, LALITPUR, BHAKTAPUR, SINDHULPALCHOK, BARAHBISE, JANAKPUR, 

TEHRATHUM AND DHANKUTA. 


CRAFT 

MY AMBITION WAS TO MAKE ACP INTO A SELF SUSTAINING AND 

SELF DRIVEN UNIT WHICH WOULD PLAY A ROLE OF SIGNIFICANT 

IMPORTANCE IN PROVIDING LIVELIHOOD TO A LARGE NUMBER 

OF LOW INCOME (PRIMARILY FEMALE) GROUP OF PEOPLE.” 

IN DECEMBER 1992 SHE WAS AWARDED THE ASHOKA 

FELLOWSHIP. This was a gratifying moment in the life of 

Meera Bhattarai, Executive Secretary, Founder Member and 

Executive Director of Association for Craft Producers (ACP) 

whose retail outlet, Dhukuti, is famous as the premier 

showroom for local handicrafts. “It was very satisfying to be 

recognized by this international organization, and gave added 

impetus to my drive.” Of course, Meera Bhattarai’s zeal and 

determination, as well as her boundless energy, need not be 

credited to just this award. The dynamism of this diminutive 

lady had already been well proven much before then. 

In fact, one can credit her success to her motivation to be 

much more than just another NGO in the country. “My 

ambition was to make ACP into a self sustaining and self 

driven unit which would play a role of 

significant importance in providing 

livelihood to a large number of low 

income (primarily female) group of 

people.” Well, going by statistics it 

managed to do just that barely three 

years down the line since its 

establishment in 1984. As she says, “We 

broke even in 1987 and after that there 

has been no looking back.” 

ACP was registered as a private limited 

company in 1987, “to make it eligible 

for loans,” according to the powerhouse 

lady, and in 1990, the NGO bought a 

five ropani property in Rabi Bhawan, 

Kathmandu. “But even then, somehow 

we found it extremely difficult to be get 

bank financing,” she remembers. “Since 

ACP was registered as a social service 

organization, banks refused to consider 

our property for mortgage purposes.” 

However, the company managed to get 

patronage from some well wishers and 

continued to grow and grow. Besides 


CRAFT 

private individual patronage, the company 

has been assisted by World Neighbours 

(1984-1989), ATI (1984-65), PACT (1984- 

85), Ford Foundation (1990), Asia 

Foundation (1992) and Bread for the 

World (1990, 1993). 

Today ACP has about 160 employees in 

its head office in Rabi Bhawan, of which 

around 60 are in management positions 

while 90 are producers. Including this, the 

company provides employment to about 

1200 people nationwide and when we say 

nationwide we mean nationwide. The 

geographical distribution of ACP 

production areas in Nepal stretches from 

Kailali in the far west to Sankhuwasabha 

in the far east. In between, ACP producers 

are active in Nepalganj, Baglung, Palpa, 

Pokhara, Kathmandu, Lalitpur, Bhaktapur, 

Sindhulpalchok, Barahbise, Janakpur, 

Tehrathum amd Dhankuta. 

Meera Bhattarai sounds really proud when 

declaring, “We are a socially oriented, 

commercially viable enterprise.” She 

credits much of the company’s success to 

the establishment of an excellent 

WITH SO MUCH ON ITS PLATE, AND WITH ITS 

EXCELLENT TECHNICAL AND MARKETING NETWORK, 

ACP CAN RIGHTLY CLAIM TO BE THE PREMIER CRAFT 

ASSOCIATION IN THE COUNTRY. 

Top: Jute and clay complement each 

other marvellously. 

Above: These sturdy wooden sanduks are 

as useful as they are good to look at. 

organization where different departments 

have been endowed with a good degree 

of autonomy and where management is 

well trained and experienced. As for her 

own role she informs, “My role is that of 

a liaison between the board and the 

management.” One of ACP’s main goals 

is to develop producers’ skills so that more 

income is assured. Besides skill 

enhancement, ACP provides financial 

support, raw materials and of course, a 

worldwide market for its producers. 

Today, the ACP headquarters in Rabi 

Bhawan is being rapidly expanded, with the 

addition of many more workshops and 

packing halls. A lot of new and still 

unpacked machinery can be seen lying 

around on its grounds, waiting to be 

installed. As Meera says, “You can say that 

ACP is still in the growing phase. In fact, 

the company has gone through different 

phases since its inception. For instance, 

after the turning point phase in 1987, we 

have passed the management and 


organization augmentation as well as the 

infrastructure creation phases, and are now 

unto technical up-gradation.” She adds, 

“Our major objective is to achieve 

consistence in quality for which 

standardization is essential.” 

ACP’s products include handloom textiles 

(tableware, cushion covers, clothing, 

bedcovers, kitchen textiles), toys, paper 

crafts, leather goods, jewellery, floor mats, 

pillows, bags, ceramics, wood items, felt 

items, pashmina, knitwear, copperware, 

baskets, and various decoratives. Quite a 

Top: This kids’ chair and table set has a 

Mithila motif as does the baghchall board 

Above: Carved table, lokta lampshade 

and a perfectly matched painting give this 

corner an alluring look. 

Right: A plethora of copper ware - 

certainly a wide range to choose from. 


CRAFT 

range, it must be said, and to ensure regular 

and quality supply, the company provides 

producers with services (financial, 

technical and marketing) in weaving, 

felting, dyeing, knitting, leather, carpentry, 

ceramics, sewing, painting, block and 

screen printing, wool spinning, paper 

crafts, embroidery, quilting and metalwork. 

With so much on its plate, and with its 

excellent technical and marketing network, 

ACP can rightly claim to be the premier 

craft association in the country. And, of 

course, the company’s well thought out 

Producers’ Benefit Program assures ACP 

a steady supply from its large group of 

loyal producers. Meera explains, “Besides 

other benefits, we also provide three 

months maternity and Dashain allowance 

as well as education allowance for 

producers’ children”. While almost eighty 

percent of ACP’s products come from 

individual or group producers the 

headquarter itself has the facility for raw 

material preparation, prototype 

development and finishing. Two retail 

outlets, Dhukuti in Kupondole, 

Kathmandu, and another in Pokhara, cater 

to the domestic demand while the 

company’s other arm, Nepali Craft Trading 

Pvt. Ltd., looks after the import and export 

trading business. 

Above: This is a fine example to 

demonstrate the beauty of handloom - can 

make any room look ethnically 

sophisticated. 

Above left: Copper utensils will always 

impart an exotic touch to decor. 

Right: Hey, these are really cute Nepali 

dolls - you will love them. 


Above: A thousand clay windbells. 

Right: Colourful puppets come in all 

shapes and sizes at the Dhukuti. 

Below: Tanned hides designed into 

great carry-alls and trendy bags. 

The company has seen good growth in 

turnover in the last few years and Meera is 

happy to inform that there is a growing 

awareness within the country about the 

aesthetics of ethnic craft. A very successful 

company by any yardstick, ACP owes much 

of its rise to Meera Adhikari’s diligence and 

determination coupled with her experience. 

A graduate of psychology, Adhikari has had 

the experience of having worked in the 

Women’s Skill Department of the Nepal 

Women’s Organization for almost nine 

years although the experience was not really 

a happy one. “Most work done then was 

of a superficial nature, and you could say I 

learnt more of what not to do than what 

needed to be done,” she says. 

Anyway, at the present moment, Meera and 

ACP are basking in their success and the 

lady has been recognized as a women 

entrepreneur of substance. Evidence of 

this is of course the organization as it is 

now - busy and fruitful - and awards like 

the Ashoka Fellowship, Best Manager 

Award by Management Association of 

Nepal (2000), the Schwab Foundation of 

Switzerland Award in 2004, Gorkha 

Dakshin Bahu in 1998 and the Japan based 

Asian Productive Organization National 

Level Award for efficiency in production 

further emphasize the fact. As for deciding 

for oneself about how far it is true that 

ACP’s products are of top quality, 

innovative designs and exquisite 


CRAFT 

ACP’S PRODUCTS ARE OF TOP QUALITY, INNOVATIVE 

DESIGNS AND EXQUISITE WORKMANSHIP, ONE NEEDS 

ONLY TO VISIT DHUKUTI TO REALIZE THAT INDEED 

workmanship, one needs only to visit 

Dhukuti to realize that indeed, ACP is a 

name to reckon with in the world of crafts. 

Above: Buddha heads and other 

statuettes of black clay could be 

delightful centrepieces. 

Right: These long sticks hold naughty 

finger puppets- a joy for young and old. 

Below: Papercraft is also an integral 

part of traditional craft. 

Facing page above: The dinner mat 

is as ethnic as are the vessels. 

Dhukuti has four treasure filled floors in 

Kupondole. The top floor has mostly 

children items including bed covers, 

blankets, pillow covers, kids’ chairs and 

recliners, puppets, dolls, masks, 

schoolbags, and so on, while the next floor 

down has an array of wonderful items 

consisting of a collection of copperware 

from Palpa, a wide range of handloom 

textiles among which, the beautiful bed 

sheets are really something else, bamboo 

objects as well as various Maithili 

handicrafts. The second floor houses 

woolens, ceramics, felt and leather goods, 

batiks, handlooms and candles. Almost 

all items in Dhukuti are outstanding in 


EARTHQUAKE AKE KIT 

Crowbar, Shovel, Nylon Rope ½ inch 

(15meter), Nylon Rope ¼ inch 

(15meter), Plastic Sheet, Plastic Bags, 

Basin, Rubber Gloves (2 pairs), Axe, 

Dish Soap, Dustpan and Broom, 

Plastic Glasses, Flash Light (torch), 

Batteries (4), Candles and Matches, 

Notebook and Pens, Water (12 

Bottles), Medical Kit: Bandages, 

Antiseptic, Lugol’s, Iodine, Ibuprofen, 

Paracetamol, Isopgol (for diarrhoea 

and constipation). 

(To this has to be added: food and 

cooking gear, clothing, personal 

hygiene supply and so on). 

concept, design and workmanship. 

Examples are the wonderful clay bird 

houses (Rs.295 each), stylish copper 

cabinets (Rs.2649), polished copper tables 

(Rs.4061-7861), intricate copper kettles 

(Rs.1215-1400), warm woolen pullovers 

(around Rs.2000 each), innovatively 

patterned bed sheets (about Rs.1200 

each), the really local look dolls (Rs.154 

for the smaller ones and Rs.397 for those 

bigger), felt shoes (large size: Rs.641, 

small size: Rs.378), felt hats (Rs.351-448), 

as well as the beautiful cushion covers 

(Rs.168-218). 

And, oh yes, while the ground floor contains 

a collection of all items, there is one 

particular item that is prominently displayed 

next to the entrance: an aluminium trunk 

containing a paraphernalia of objects that 

together make up an ‘Earthquake Kit’ 

(Rs.4100 per set). S 


INTERIOR 

COMFY 

Text: Amar B Shrestha 

COTTAGE 

From here, the view is at most 

times, quite splendid. 

However, the most 

spectacular view nowadays, 

in fact on most days, is that 

of long queues of stalled vehicles on their 

way towards Kalanki. That aside, Kiran 

Singh Adhikari is satisfied with his home, 

the home that he built on Tyanglaphat 

above Khasi Bazar, some four years ago. 

“Really, I am very happy living here,” he 

says. “ This house is exactly as I wished it 

to be. Don’t you think it is different from 

others around here?” he asks. Well yes, it 

is obvious that Adhikari’s house, built on 

LOCATED ON A HILLSIDE, THE HOUSE HAS BEEN PLANNED 

TO INCORPORATE INNOVATIVELY, THE STEEP ANGLE THAT 

MEASURES TWENTYONE FEET FROM TOP TO BOTTOM. 

Top: The kitchen has been designed for 

efficiency and function. 

Above: The dining room and kitchen have 

a partition to ensure privacy while dining. 

Right: The partition serves its purpose 

without disturbing flow. 


2500 sq ft of land, is one that probably 

needed some conviction on his as well as 

the designer’s part, before it could be built. 

Located on a hillside, the house has been 

planned to incorporate innovatively, the 

steep angle that measures twentyone feet 

from top to bottom. The entrance, with a 

car porch, is at the highest point. From 

here, a flight of stone steps goes down to 

a portico made more welcoming by rows 

of clay pots holding all manner of flowers. 

A carved wooden door leads into the 

sitting room, which is connected to the 

open dining and kitchen areas by a large 

sliding latticed door (ankhi jhyal pattern) 

“I WAS VERY DEFINITE IN MY VISION OF WHAT 

I WANTED MY HOUSE TO LOOK LIKE.” 

to allow for light even when closed. A short 

flight of stairs goes down to the basement 

with a small guest room on the right side. 

Actually this cannot really be said to be the 

basement as another flight of stairs leads 

down to the servant’s room. This is the 

lowest point of the house and a backdoor 

is situated here leading conveniently to an 

alleyway that is often used when walking 

down to the main road. 

The floor above the living room has 

another smallish room on the right side 

which is cozy enough for Kiran’s mother 

who lives here. The master bedroom is 

reached by one more short flight of stairs 

and here one finds an attached bathroom 

as well as a verandah. Another room on 

this floor serves as Kiran’s daughter’s 

room. The top floor has the Puja room as 

well as the terrace. 

Short flight of stairs, smallish rooms, and 

small landings are the hallmarks of this 

house. Another hallmark is utilization of 

much used furniture collected over the 

years which have been used to furnish the 

Top: The living room is furnished with 

home-worn familiar furniture. 

Above: Exterior view from front. 

Left: A typical teenager’s room - full of 

comforting objects. 


INTERIOR 

rooms. Perhaps these are the reasons for 

reinforcing the at-home feeling that seems 

to make Kiran and his wife, Sarita, as well 

as the other members of the family, so 

satisfied with their house. 

Of course, the designing of this particular 

house entailed no small efforts on the part 

of the consultants, Designer Prakash B 

Amatya and Engineer Uday S Shrestha of 

Above left: Stairs play their part in making 

the house interesting. 

Above: The first floor landing - also used 

as a a cozy lounge. 

Left: The master bedroom. 

Below: This room has bright colours and 

colourful decor. 

Spatial Design Company. But the 

client’s clarity of vision helped. 

According to Kiran, “I was very 

definite in my vision of what I 

wanted my house to look like.” 

This, more than anything else, was 

of paramount importance to the 

consultants and although, 

conceptualizing and building such 

a house did come with its inbuilt 

limitations and difficulties, the 

client brief, translated clearly, 

helped to a great degree towards 

the success of the project. “Our 

major focus was on aligning the 

house with the hill slopes because 

we wanted the house to merge 

with the landscape,” informs 

Shrestha. Obviously, this was a 

challenging task since such a 

design would mean utilization of 

available land to a lesser degree, and 

naturally, the room sizes would have to be 

compromised as well. 

Designer Amatya agrees, “Some thought 

had to be applied to make the concept 

design agreeable to the special structural 

requirements inherent in this house’s 

construction. And yes, this is why more 

use of space for making rooms could not 

be utilized.” The plinth built up area of 

Kiran’s home is 848 ft. 

Still, in spite of the difficulties, Uday and 

Prakash are happy to be have acquired a 

satisfied client. After all this is what Sarita 

and Kiran have to say, “We wouldn’t like 

to live anywhere else.” And, in parting, raise 

a query, “We haven’t named our home as 

yet. Do you have any suggestions?” 

“Comfy Cottage” perhaps? S 



§ 

PROFILE 

“When God was creating the universe 

(everything)- there were some left-overs. 

Architects can only use such left-overs to 

create newer things.” 

WISE WORDS 

WORLDLY WOES 

s 

Text: Amar B Shrestha 

o says Professor Sudarshan Raj addition to the usual physical dimensions warns, “But it would be foolish to follow 

Tiwari, quoting from the of spatial environment, there are some such dictums without more exploration, 

Vaastu Shastras and, “To who also take into consideration the because when such Shastras were being 

perform some function, a man psychic environment as an added element. written, the body of interpretive basics 

needs a certain physical Perhaps the ancient sciences do just that.” (people had limited sources of 

environment. The making of this 

physical environment is architecture.” 

This, of course, is his own opinion. 

Additionally, the professor has much to 

say about many things, and in all this, his 

views are quite original and revealing. 

And often, quite thought provoking. For 

instance, about the ancient science of 

Vaastu Shastra, this is what he says, “In 

THE ACADEMIC 

In Professor Tiwari’s opinion, different 

societies have differing cultural ideas and 

so while creating a physical environment, 

it would not be a bad idea to also take 

into consideration the comfort aspect visà-vis 

the psychic factor as an additional 

part of designing. At the same time he 

knowledge) were sourced differently and 

we have to keep this in mind. For 

example, it is not necessary that 

directions as prescribed in the Shastras 

are universally true for all parts of the 

world.” Explaining further, he adds, 

“And many of the references to 

direction have a religious aspect - for 

instance, the north-east presumably 


PROFILE§ 

“ONE REASON COULD BE THAT WE HAVE TRIED TO INCLUDE TOO 

WIDE AN AREA WHEN ZONING HERITAGE SITES. LONG TIME 

RESIDENTS LIVING WITHIN THE ZONES CANNOT BE EXPECTED TO 

ADHERE TO STANDARDS WHICH WILL KEEP THEM APACE FROM 

MODERN DEVELOPMENT.” 

pointing towards the region where God 

Shiva resides, at least as seen from the place 

where the Shastra was written, and 

pertaining to abundant flow of water. This 

direction of course cannot be said to be 

commonly true for other parts of the 

world. Or that it is in line with other 

societies’ beliefs.” 

As an academic who also teaches in affiliate 

colleges besides the Institute of 

Engineering in Pulchowk, the professor 

admits that when such topics come up, he 

has a difficult time clarifying matters. “Well, 

you see, the main point is that one cannot 

explain much when things are not all that 

clearly stated. And more so, when the 

interpretations marketed by the priesthood 

tends to make one confused.” No doubt 

the professor is right in saying so because 

the Shastras are after all quite mystifying 

and full of obscure philosophy. 

Nevertheless, Professor Tiwari is quite 

unambiguous on most other matters. 

About the reason for the IOE being 

ranked by AIT (Bangkok) as one of the 

top three engineering colleges in South 

Asia, the professor credits it to the fact 

that IOE has a long history, and its faculty 

have been well trained abroad. Besides this, 

and because of its reputation, IOE has 

always attracted the brightest in the 

country. 

“You must remember that in the 70’s and 

the 80’s engineering was considered to be 

a prime vocation and so IOE received 

many bright minds. Our admission ratio 

was, and still is, one out of ten applicants, 

so you can imagine that the college had 

some of the best students in the country. 

In addition, many of them went on to do 

their masters abroad and when they came 

back, taught here, bringing with them new 

ideas and novel thoughts. This is one of 

the main reasons for IOE’s success. And 

since success breeds success, IOE gained 

such a reputation that the brightest 

continue to flock here.” 

WRITER, PRESERVER, & HISTORIAN 

It is obvious that the professor must be an 

exceptionally erudite teacher. It is also true 

that he is an extremely knowledgeable one. 

Some idea of this can be discerned from 

the fact that he has written three books 

titled respectively, ‘Tiered Temples of 

Nepal’, ‘Ancient Settlements of 

Kathmandu Valley’ and the famous ‘The 

Brick and the Bull’. “I wish the publishing 

houses would have given more importance 

to marketing my books,” laments the 

writer. “I would be happy if at least my 

books had been made available in major 

libraries worldwide.” Right now he is in 

the final stages of completing a 300-page 

tome to be called, ‘Temples of Nepal’. 

“Most experts think that Nepalese culture 

originated with the Licchavi period,” he 

says. “This book tries to tell you that there 

is something before the Licchavi period 

because there are such characters in 

Nepalese architecture which is not there 

in Licchavi vocabulary. The Licchavi was 

not the beginning but mixed with 

something so strong that even the Indo– 

Gangetic culture could not supercede it.” 

It is apparent that the professor must be 

really adept on information regarding 

traditional architecture, history and 

heritage. “Well, you could say that,” he 

concedes modestly. “As a Consultant for 

the Department of Archaeology I have 

been part of the Maya Devi Temple and 

55 Window Palace Conservation Teams in 

Lumbini and Kathmandu respectively.” 

But again, like in many other things, the 

professor has his own unique views on the 

subject of conservation as well. 


PROFILE§ 

PROFESSOR SUDARSHAN RAJ TIWARI was born on Asar 

18, 2007 (2 nd July 1951) to Late Tej Raj and Premi Devi Tiwari. 

His wife, Sunita, is a Lecturer at Padmakanya Campus and 

their daughter, 22 year old Subhikshya, a third year medical 

student in Manipal Campus, Pokhara. Professor Tiwari 

received his Doctorate of Philosophy (Nepali Culture) from 

Tribhuvan University in 1995. He was recipient of the Best 

Student Medal and Citation from the School of Planning and 

Architecture, Delhi, from where he did his B. Arch in 1973. In 

1977, he received his Masters in Architecture from East West 

Centre (University of Hawaii). He was awarded the Prince 

Dipendra Award for Science and Technology (1989) and the 

Mahendra Vidya Bhusan Medal and Citation, 1 st Class, in 

1995. 

His working experience has included tenures as Lecturer 

(1974-1985), Associate Professor (1985-1993) and Professor 

of Architecture (1993 to date) at the Institute of Engineering 

(IOE), Department of Architecture, Kathmandu. From 1988 

to 1992, Professor Tiwari was Dean of the IOE. In 2002, he 

was Opponent / Ph D Examiner at the Norwegian Institute 

of Technology, and Member, Expert Committee of Council 

of Architecture for review of B Arch course at IIT, Kharagpur, 

India. From 2004 onwards he has been a Visiting Professor 

at the Tibet University in Lhasa. From 1988 to 1992, as the 

Director, he managed the successful implementation of two 

large internationally funded projects, the Engineering 

Education Project and the Second Engineering Project. From 

1977 to 1985, he was the Architect for the Institute of 

Engineering Development Project. 

He has been a 

Member of 

Development 

Projects Review 

Commission 

(1992), Regional 

Consultant Architect of Education Quality Improvement 

Program, Afghanistan (2004) and Procurement Consultant 

for Nepal Health Sector Program (2005). In 2000–2001, 

Professor Tiwari was appointed Heritage Specialist 

Consultant for the Kathmandu City Development Strategy 

Preparation Team. He has been the National Consultant 

Architect for Basic and Primary Education Project (1994- 

1999), Earthquake Emergency Schools Rehabilitation Project 

(1994-1997), Population and Family Health Project (1995- 

2000), Basic and Primary Education Project II (1997-2004), 

and the Education for All Program (2004). 

As a Consultant for UNDP Nepal, he has been the 

Environment Improvement Advisor for Quality Partnerships 

in Quality Tourism Projects (Nov 94-Feb 98), and National 

Team Leader for Urban Environment Management Program 

Preparation (1994). He has been also been Advisor for 

Preparation of Conservation Plan and Implementation of 55 

Window Palace (2003-2005) and in 1999-2000 was Team 

Leader for preparing a policy document on ‘Strategic Plan 

for Institute of Engineering-2000-2020 AD’. He has prepared 

study reports on various subjects for different agencies 

including Academy for Educational Development, AED, 

(Washington DC), UNESCO and UDLE/GTZ. In 1985 and 

1988, he was Expert Committee Member and Architect of 

National Fairs Committee for Expo ’85 and Expo ’88 

respectively and was involved in design conceptualization 

and detailing of the National Pavilions in Tsukuba, Japan, 

and Brisbane, Australia. 

Professor Tiwari has presented many papers at numerous 

seminars worldwide. Many of his articles have been 

published in national and international journals. He has 

written three books, ‘The Brick and the Bull’, ‘The Settlements 

of Ancient Nepal’, ‘Tiered Temples of Nepal’ and a booklet, 

‘A Monograph on Marfa’. His next book, ‘Temples of Nepal’ 

is in the final stages of completion. 

“IS IT THAT THE BY LAWS ARE NOT BEING FOLLOWED? OR IS IT THAT THE 

BY LAWS ARE IMPRACTICAL? IS IT THAT THE LAWS ARE GOOD FROM A 

WESTERN POINT OF VIEW BUT NOT SO FROM THE RESIDENTS’ 

PERSPECTIVE?” 

Professor Tiwari confesses that he has 

always been advising organizations like 

UNESCO to use a different approach 

towards preservation activities in Nepal. 

“For instance, here many of the 

traditional heritage sites are ’seasonrelated’. 

Most of them are focal points 

during festivals which are almost all 

seasonal in occurrence. So it would not 

be a good idea to approach restoration 

and other activities from a purely 

‘historical-year’ angle.” 

Well, this should give an indication as to 

the workings of the professor’s mind. 

Tangential, no doubt. And maybe, this is 

as it should be, considering that he is after 

all, before all else, an architect. And as 

everybody knows, architects have to have 

equal measures of the philosophic and the 

practical in their systems in order to answer 

to the call of high creativity that this noble 

profession requires. 

To a question as to how monument zones 

here have managed to get themselves into 

the ‘Endangered List’, this is what he 

thinks, “One reason could be that we have 

tried to include too wide an area when 

zoning heritage sites. Long time residents 

living within the zones cannot be expected 

to adhere to standards which will keep 

them apace from modern development.” 

But then again, the professor does 

concede, “However, since the surrounding 

environment is vital when talking heritage 

sites, perhaps it is also right that a wider 

area has been considered. Still, if so, we 

have to explore the causes of failure. Is it 


that the by laws are not being followed? 

Or is it that the by laws are impractical? Is 

it that the laws are good from a western 

point of view but not so from the 

residents’ perspective?” 

everything down, so what? Vernacular 

architecture has been proven to be highly 

resilient and possible to be rebuilt again 

valuable experience.” This will be in 

striking contrast to the time when foreign 

consultants, even those with no experience 

DEFENDING TRADITION 

Oh yes, Professor Sudarshan Tiwari is just 

the sort of authority who can start the ball 

rolling as far as important debates are 

concerned. It is also a fact that some of 

his opinions appear to be rather simplistic 

at first sight. 

For instance, he says, “I don‘t agree that 

we have to take into consideration the idea 

of ‘permanence’ when doing restoration 

works.” Elaborating further, he explains, 

“I mean our traditional architecture has 

been leveled before in times of great 

calamities, but the same has managed to 

be rebuilt in surprisingly short times. So 

even if a big earthquake were to bring 

“A TIME COULD COME WHEN CONSERVATION ACTIVITIES IN SOUTH ASIA 

WILL BE HANDLED BY NEPALESE ARCHITECTS. WE HAVE GARNERED 

SO MUCH VALUABLE EXPERIENCE.” 

soon. Therefore, spending too much time 

and resources on such things are not that 

important. And you can imagine, after a 

disaster, just the question of clearing up a 

steel and concrete mess would be 

impossible, leave alone the question of 

rebuilding.” The professor has an 

optimistic prophesy as well, “A time could 

come when conservation activities in 

South Asia will be handled by Nepalese 

architects. We have garnered so much 

whatsoever, were appointed for restoration 

projects in the country. “For the 

Hanumandhoka Conservation Project, 

John Sanday had been appointed by 

UNESCO to oversee the work. You can 

imagine, this was the first such work for 

Sanday. He had no experience at all then!” 

he exclaims. 

The Patan Museum Project is another sore 

point with the professor. In his view, 



PROFILE§ 

“What the architect did cannot be said to 

be restoration. Conservation sites are 

supposed to be conserved by restoring 

authentically. What he has done is that he 

has laid most of the emphasis on designing 

rather than on restoring.” He asserts, “As 

far as the designing of a museum is 

concerned, no doubt it has been done well 

but from a conservation point of view, the 

Patan Museum is a disaster. It is specially 

tragic because such a grievous mistake has 

been done in one of the most important 

heritage sites in the country –the one and 

only royal palace of Lalitpur.” 

Professor Tiwari is also quite distressed at 

the so-called post modern architecture 

being practiced today, and mourns, “This 

Architecture is culture forming and 

architects have no choice on cultured 

behavior.” 

PROVOKING THOUGHTS 

Professor Sudarshan Tiwari can go on and 

on when talking about a subject that 

interests him, but surprisingly, and perhaps 

because of the sparks of wisdom that seem 

to accompany his words, most listeners 

come away with the feeling of having spent 

the time well. And of having learnt much 

in the way of history, culture, preservation, 

and of course, architecture. 

Consider this, “Our traditional architecture 

was all inclusive. For example, even if 

roofing tiles could have been made 

“HAVE YOU EVER SEEN YOUR OWN FACE? IT IS ONLY BECAUSE OF THE 

MIRROR THAT YOU THINK YOU HAVE. YOU WILL NEVER REALLY BE ABLE TO 

SEE YOUR OWN FACE. ALL YOU WILL EVER SEE IS A REFLECTION. BUT WHAT 

IF THE MIRROR IS MISCHIEVOUS? IN THE REALM OF KNOWLEDGE, THE 

KNOWER HAS NO SPACE FOR DOUBT TOO.” 

only shows how culturally deranged we 

are.” He is also not too enthusiastic about 

the Rana palaces in the Valley, “Yes, they 

may be opulent, but they are certainly not 

great. There are much more important sites 

that deserve to be conserved. And anyway, 

we mustn’t give undue weightage to size. 

Good architecture includes so many other 

things besides size. Nepali traditional 

architecture is something that is as great 

as it is humble.” 

About the recently observed neo-classical 

revival in the city, Professor Tiwari declares 

contemptuously, “This illustrates 

architectural bankruptcy.” He adds, “At 

least in the 70’s and 80’s when brick 

exposed buildings were being built, one 

could relate them to our traditional style.” 

Much of the blame for architectural 

derangement he lays on the shoulders of 

architects and states emphatically, “It is the 

architects’ responsibility to give a conscious 

choice to their clients. And one must 

always remember that ‘modern’ does not 

necessarily have to mean ‘western’. 

impervious, we let them be because we 

wished the rains to soak into our roofs and 

let nature prevail. We built systems, such 

as a layer of mud over the timbers, to 

prevent seeping water from rotting the 

wood. Modern architecture is totally water 

exclusive and we are now making 

environments that are desert-like.” 

Consider also this, “We all know that stone 

is harder and better for flooring than are 

bricks. But we built brick courtyards 

because we wanted to ensure that water 

was retained in our soil and so that our 

underground reservoirs were replenished 

continuously.” 

The listener also comes out a lot wiser on 

the philosophical aspects of much that 

concerns our everyday lives. Consider this 

for instance, “Have you ever seen your own 

face? It is only because of the mirror that 

you think you have. You will never really 

be able to see your own face. All you will 

ever see is a reflection. But what if the 

mirror is mischievous? In the realm of 

knowledge, the knower has no space for 

doubt too.” S 


REPORT 


Text: Melissa Jenkins and Elke Selter 

CONSERVATION AND KATHMANDU 

CONSERVATION 

is often considered a 

‘Western’ concept. Since the 19 th century 

Europeans have been working towards the 

preservation of cultural heritage inherited 

from past generations. In 1931 a group of 

experts met in Athens to prepare the first 

International Charter for the Restoration 

of Historic Monuments (Athens Charter) 

and in 1964 a second major document was 

prepared: The Venice Charter for the 

Conservation and Restoration of 

Monuments and Sites. Both were 

prepared by Western experts, clearly 

displaying a western bias, and have been 

treated as seminal texts for conservation 

since their publication. Non-Western 

societies, however, have always had their 

own method to care for heritage, a 

phenomenon that has long been 

overlooked by western conservation 

specialists. In many cultures, conservation 

has traditionally been dealt with at a 

community level. 

In the Kathmandu Valley the ‘guthis’, 

socio-religious groups that advise on 

religious and development oriented social 

issues, assumed the responsibility for the 

maintenance of religious monuments. 

This community-based system organised 

community participation and has enabled 

generation after generation to enjoy the 

Newar architecture and cultural traditons. 

The guthi have their own concepts of 

conservation, linked to local ideas, 

geographical and technical constraints and 

this system is still in use today. Additionally, 

because of earthquakes in the region, 

people from the Kathmandu Valley have 

long been forced to renew their heritage. 

After the 1934 earthquake, New Road was 

fully rebuilt in Rana style, the most 

fashionable at the time, whilst the original 

buildings had been Malla style. These 

traditional systems have gradually been 

challenged by international concepts of 

conservation, which are reflected in the 

national policy (Ancient Monuments 

Preservation Act of Nepal- 1956). On an 

international level, ideas have progressed 

and are more open towards multicultural 

systems. The Nara Document on 

Authenticity builds on the precepts of the 

Venice Charter, but essentially recognizes 


REPORT 

the importance of preserving cultural and 

heritage diversity. 

The initial focus of the international preservation 

movement concentrated on major monuments and 

emerged after World War I. A key event in the 

development of this concept was the 1959 campaign to 

save the Abu Simbel temples in Egypt, located in a valley 

that would be flooded once the Aswan Dam was 

constructed. There was worldwide concern for the 

preservation of these monuments, which were considered 

universally important. The campaign led to their 

successful relocation and to UNESCO establishing the 

World Heritage Convention (concerning the Protection 

of the World Cultural and Natural Heritage- 1972). 

Internationally the attention of conservators moved from 

major monuments to urban sites and vernacular 

architecture, on the basis that monuments derive a large 

part of their value from the context in which they are 

situated. In this way the traditional fabric of the Newar 

towns and private houses became incorporated into 

heritage preservation programmes for the 

Kathmandu Valley. 

The idea behind the World Heritage Convention is the 

protection of cultural and natural properties worldwide. 

The World Heritage List is only a small part of the 

convention, but has become the most widely recognised 


component. Together the Convention 

and the List form an effective tool for the 

identification, protection, conservation, 

presentation and transmission to future 

generations of the cultural and natural 

hertiage of outstanding universal value. 

The annually updated World Heritage List 

was first compiled in 1978 and now 

features 812 sites. In 1979, only seven 

years after the establishment of the World 

Heritage Convention, and during the 

second year of listing, the seven 

monument ensembles of the Kathmandu 

Valley were inscribed as a single site. 

Naturally the host country (called the State 

Party by UNESCO) is the fundamental 

component in this collaboration. A site 

THE TREND FOR OUT-OF-PROPORTION, INDECOROUS RE- 

INFORCED CONCRETE STRUCTURES CLAD WITH DACHI- 

APA PREVAILS IN THE MONUMENT ZONES, RANGING FROM 

PATAN TO SWYAMBHUNATH. 

Image: UNESCO 

needs to be inscribed by the State Party 

and they remain fully responsible for its 

conservation. When Nepal ratified the 

World Heritage Convention the State party 

pledged to protect the World Heritage 

values of the properties inscribed and was 

asked to report periodically on their 

condition. The only way to fulfill these 

aims is for the many different concerned 

parties to work together towards the 

common goal of conservation. However, 

these bodies receive assistance from 

UNESCO, and the two ‘advisory bodies’, 

ICOMOS and ICCROM. The 

International Council on Monuments and 

Sites (ICOMOS) is an international, nongovernmental 

organization founded in 

1965, with an international secretariat in 

Paris. ICOMOS provides the World 

Heritage Committee with evaluations of 

proposed new nominations and of the 

state of conservation of the inscribed 

cultural and mixed properties. ICOMOS 

Facing page above: Bhaktapur Durbar 

Square on a misty morning. 

Facing page below: The famous 

Nyatapole Temple in Bhaktapur. 

Top: Patan Durbar Square - athrong with 

people as usual. 

Above: An elaborate gilded door of the 

Patan Museum. 

Right: The sun shines bright on Patan 

Durbar Square. 

Image: UNESCO 


REPORT 

sites on the list. Its very composition, as a 

site with seven different monument zones, 

distinguishes it from most others. Not only 

does it include the historic centers of 

Nepal’s three largest cities, it is also a multifaith 

amalgamation of living Hindu and 

Buddhist monuments: Hanuman Dhoka 

Durbar Square, Bhaktapur Durbar Square, 

Patan Durbar Square, Swayambhu, 

Bauddhanath, Changu Narayan, Pashupati. 

The World Heritage Committee added the 

Kathmandu Valley property to the World 

Heritage in Danger List (WHDL) in 2003 

due to the rapid and often uncontrolled 

urban development in and immediately 

around the World Heritage Site. The 

WHDL currently features 34 sites and aims 

to emphasise the difficulties of preserving 

the site and to help the State Party in its 

search for international assistance. If a 

works in tandem with the International 

Centre for the Study of the Preservation 

and Restoration of Cultural Property 

(ICCROM), an intergovernmental body 

which was set up in 1956 and is based in 

Rome. They provide expert advice on how 

to conserve listed properties, as well as 

training in restoration and conservation. 

The Kathmandu Valley World Heritage site 

is considered one of the most complex 


site loses the characteristics described in its inscription on 

the World Heritage List, the Committee may decide to delete 

the property from both the List of World Heritage in 

Danger and the World Heritage List. However, this provision 

has never yet been applied. Indeed, the mere prospect of 

inscribing a site on this WHDL often proves to be effective, 

and can incite rapid conservation action. In an ideal world, 

serious threats to the universal values of a site would be 

kept in check before reaching a critical level. Nepal’s own 

Royal Chitwan National Park was at risk from a large scale 

river diversion programme in the early 1990’s. The World 

Heritage Committee was able to intervene after the threat 

to the bio-diversity of this World Heritage Site was proved, 

resulting in the abandonment of the project. Even when a 

site reaches the WHDL, and there are serious obstacles to 

its conservation, it is possible to successfully return to World 

Heritage Status. Angkor archaeological park in Cambodia 

is home to the remains of the magnificent Khmer capital 

cities dating from the 9 th to the 15 th century. It is considered 

one of the most important sites in South East Asia and 

was placed directly on the WHDL after years of looting 

PERHAPS THE HARDEST PEOPLE TO 

CONVINCE ABOUT THE NEED FOR A 

RESPONSIBLE ATTITUDE TO CULTURAL/ 

ARCHITECTURAL HERITAGE ARE THOSE 

PROFESSIONALS WITHIN THE BUILDING 

AND RECONSTRUCTION FIELD. 

and neglect. The listing provoked an overwhelming response 

from native conservators and international donors who 

offered assistance to the Cambodian government. A 

thorough review of the development plans and proposals 

to safeguard Angkor was coordinated by UNESCO and as 

a result the Angkor park achieved full World Heritage Status 

in 2004. 

Facing page above: The Changu Narayan Temple. 

Facing page middle: An ancient stone sculpture in 

Changu Narayan premises. 

Facing page below: Elaborate gilt work attests to 

Changu Narayan as a important religious site. 

Top: Reaching to the skies - Swayambhunath Temple. 

Above: Prayer flags flutter in the breeze atop 

Boudhanath. 

Left: Devotees are never-ending in Swayambhunath. 


REPORT 

Image: UNESCO 

prompted an energetic response from 

those dedicated to the preservation of the 

site. The Department of Archaeology is 

rising to the challenge of coordinating all 

concerned parties and is addressing the 

problems afflicting the zones. They are 

launching an initiative to synchronize the 

UNESCO’S WORLD HERITAGE 

MISSION IS TO 

· Encourage countries to sign the World 

Heritage Convention and to ensure the 

protection of their natural and cultural 

heritage; 

· Encourage States Parties to the 

Convention to nominate sites within their 

national territory for inclusion on the 

World Heritage List; 

· Encourage States Parties to establish 

management plans and set up reporting 

systems on the state of conservation of 

their World Heritage sites; 

· Help States Parties safeguard World 

Heritage properties by providing 

technical assistance and professional 

training; 

· Provide emergency assistance for 

World Heritage sites in immediate danger; 

· Support States Parties’ public 

awareness-building activities for World 

Heritage conservation; 

· Encourage participation of the local 

population in the preservation of their 

cultural and natural heritage; 

· Encourage international cooperation in 

the conservation of our world’s cultural 

and natural heritage. 

Image: UNESCO 

Above: Rear view of Pashupatinath. 

Left: Entrance to Pashupatinath. 

Below: The Bagmati River flows serenly 

in Pashupatinath. 

Facing page above left: The restored Kal 

Bhairav in Hanuman Dhoka Square. 

Facing page above right: Neo-classical 

influence is obvious in the architecture of 

Hanuman Dhoka Durbar. 

Facing page below: Festivals are many 

and all year round in Basantpur Square. 

In the context of the Kathmandu Valley a 

number of initiatives have already been 

launched to reverse the in danger listing. 

Naturally such a diverse site means that 

the number of stakeholders, government 

bodies, municipalities and official bodies 

with an important responsibility far 

exceeds the usual quota for a World 

Heritage Site. In addition the Monument 

Zones are not isolated archeological 

ensembles like the Pyramids, or the Mayan 

temples of Mexico. They are inextricably 

interwoven with the fast-developing capital 

city that is changing daily. This fusion of 

old and new is crucial to the vitality of the 

Monument Zones, but equally can be 

blamed for much of the damage caused 

to them. Happily the dramatic step has 


existing legal policies and the different 

building codes to promote best practice 

conservation and safe-building techniques. 

Simultaneously they are working with a 

team of UNESCO consultants to develop 

an Integrated Management Plan for the 

whole site. This ambitious project has 

recently redefined the core and buffer zone 

boundaries of all Monument Zones, and 

is designing management mechanisms to 

adequately conserve the remaining value 

of the property in the long-term. 

However, the hard work is far from over. 

The next step on the agenda is a thorough 

overhaul of existing bylaws and the 

development of a clear mechanism for 

their enforcement. Until this time there 

have been few examples of illegal 

construction being stopped, those 

responsible are rarely penalized and 

ultimately a penalty system may be 

required. These advances will only 

prolong the existence of the site’s value if 

forces working against them re-evaluate 

their approach. Perhaps the hardest people 

to convince about the need for a 

responsible attitude to cultural/ 

architectural heritage are those 

professionals within the building and 

reconstruction field. The trend for outof-proportion, 

indecorous reinforced 

concrete structures clad with dachi-apa 

AFTER THE 1934 EARTHQUAKE, NEW ROAD WAS FULLY RE- 

BUILT IN RANA STYLE, THE MOST FASHIONABLE AT THE TIME, 

WHILST THE ORIGINAL BUILDINGS HAD BEEN MALLA STYLE. 

prevails in the monument zones, ranging 

from Patan to Swyambhunath. Instances 

of unsafe concrete towers dwarfing the 

human scale of traditional vernacular 

structures can be seen in every zone. 

Architects, and in many cases Engineers, 

who are responsible for such creations 

should think twice about what it is they 

are trying to practise, and the debt they 

owe to the original. The key to this may 

be introducing a more heritage aware 

conservation component into the 

curriculum of key institutions, as has been 

the case at Kwopha Engineering College. 

This will certainly be a major undertaking, 

but the wheels are already turning, and the 

continued dedication of those involved 

will greatly help the cause. S 

The current Awareness Raising Campaign is 

generously sponsored by NFUAJ (National 

Federation of UNESCO Associations in Japan). 


TRANSITIONAL HICCUPS 

A QUESTION OF 

PRIORITIES 

Text: Uday Sunder Shrestha. Images: Courtesy: Shyam S.L. Kakshapati 

Tansen, often referred to as Palpa, is one 

of the few towns outside Kathmandu that 

bears a rich legacy of traditional art and 

architecture. Situated on the southern slope 

of a hill at an elevation of about 1350 

metres, Tansen overlooks the Madi Valley 

and the terai, and on clear days, offers a 

magnificent view of the Himalayas from 

Dhaulagiri in the west to Gaurishankar in 

the northeast. Although this quiet and 

pollution free town is 300 kilometres west 

from Kathmandu, its character and 

architecture seem strongly influenced by 

Newari migrants from the Kathmandu 

Valley with Newari style houses, cobbled 

streets, Rana (neo-classical) style buildings, 

pagoda temples, shrines and stupas. As 

history has it, when Muslims invaded India 

during the 15th century, many kings and 

clans fled to the northern Himalayan 

region, some of whom conquered the local 

kings and established their own states. The 

former Sen Dynasty of Palpa, founded by 

Rudra Sen, has its roots in those days, and 

under the reign of his son Mukunda Sen 

(1518-1553), the kingdom of Palpa, with 

Tansen as its capital, spread as far as 

modern India to the south and 

Kathmandu to the east. Mukunda Sen even 

invaded Kathmandu but was unsuccessful. 

In the late eighteenth century, Palpa 

TANSEN DURBAR 

Built in 1927 AD by General Pratap 

Shamsher J B Rana, the durbar with its 

neo-classical touches, was an imposing 

palace in the heart of the town. Once the 

seat of the Rana governors, the Durbar 

was the district secretariat of Palpa district 

before it was burnt down recently on 

January 31, 2006. It was a four-storied 

building with sixty-three rooms, two 

meeting halls and two towers at the two 

front corners. 

SHITALPATI & THE BAGGI DHOKA 

The Shitalpati built by Khadga Shamsher 

was of octagonal shape and was a 

popular meeting place for the locals. 

Adjacent to the Shitalpati was the Baggi 

Dhoka, reflecting the style of the Mughals 

from India and was said to be the biggest 

gate in Nepal. 


formed an alliance with Gorkha to the east-northeast, which under Prithvi Narayan 

Shah, conquered most of the country and roughly established the boundaries of 

modern Nepal. Due to this alliance, Palpa escaped Shah rule until 1806 when it 

became the last region in Nepal to be annexed. Tansen today is still the capital of 

Palpa district, one of the 75 districts of Nepal, and retains much of its past 

importance in west central Nepal with a university, one of the finest hospitals in 

Nepal, and spectacular architecture dating back to the eighteenth century. It is indeed 

a great tragedy that the country, and more so, Palpa, has lost one of its most precious 

heritage recently. January 31, 2006 will henceforth be remembered as a black day in 

Palpa’s history. It is also extremely ironic that a movement of which one of the top 

leaders himself is an architect, should be so disregardful of the importance of 

preserving the country’s noble heritage. One recollects that even during the bombings 

of Europe during the Great Wars, commanders were mindful to make sure that 

precious monuments were spared the wrath of war. We hope people here will do 

likewise and keep the safety of such zones uppermost in their minds even while 

planning wars. 

It is also a matter of concern that many government offices are located within 

heritage sites in Nepal. It would be right to point out the need for governments to 

take into account the vital importance of ensuring their protection when doing so. 

It would be much better to assure the same by making proper adaptive use of such 

sites and refrain from turning them into targets of war. S 


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Tel: 977-1-4278869, 4284265. Fax: 977-1-4278050. email: variety@wlink.com.np 


CE CONSTRUCTIONS PVT. LTD. 

TRIPURESWOR, KATHMANDU 

PHONE: 4243120, 4252124 

ON THE ANVIL 

Name of Project : ACE Finance Company Office 

Nature of Project : Structural & Finishing Works 

Present Status: Finishing Works ongoing 

Estimated Date of Completion: End of May, 2006 

Special Features: Earthquake resistant structure, Basement parking. 

Name of Project : Water Treatment Plant for Bottler’s Nepal, Balaju 

Nature of Project : RCC Water Tanks 

Present Status: Structural Works ongoing 

Estimated Date of Completion: Mid April, 2006 

Special Features: A Turnkey Project (RCC Water tanks - seven with 85,000 ltr and one with 

350,000 ltr capacity , with special finishing of Epoxy coating for food grade quality and a buil in 

laboratory for testing) 

SAROSH PRADHAN & ASSOCIATES (SPA) 

KRISHNA KUNJ, CHAUNI, KATHMANDU 

PHONE: 4270260 

Interesting Tower in Nepal’s skyline : Worldlink has finalized the design for its corporate office building 

in Sanepa. The design integrates the company’s requirement for a unique corporate identity and explores 

ways of experimenting with a vocabulary for high rise buildings in Nepal. 

Silver Jubilee Memorial of World Hindu Federation - The 

‘World Hindu Federation - Memorial Tower’ is currently under 

construction in Piparamath, Birgunj, to commemorate the first 

World Hindu Federation Conference held in Pipra 25 years ago 

and to mark its Silver Jubilee. The monument is scheduled to 

be completed and inaugurated on Ram Navami in April, 2006. 

TECHNICAL INTERFACE 

17/65 GA CHAKSIBARI MARG, KATHMANDU 

PHONE: 4222408, 4268994 

Name of Project : Apartment Building, Pulchowk, Kathmandu 

Present Status : Under Construction 

Estimated Date of Completion: December 2006 

Special Features: Multi use development with commercial/residential rentals, 

Ro of Top Health Club 

Name of Project :St Xavier’s School Main Building, 

Jawalakhel,, Kathmandu 

Nature of Project : New building proposed in place of old 

one already dismantled. 

Present Status : Working Drawings completed. 

Estimated Date of Completion: December 2007 

Special Features: 18 classrooms and related facilities. 


DIRECTORY 

ADVERTISERS 

AVAILABLE AT 

A listing of professionals 

featured 

Sudarshan Raj Tiwari Ph D 

Architect / Academic 

588, Bishal Nagar Marg 

KMC (North) 

Kathmandu 

Phone: 5543079 (0) 4418692 (R) 

e mail : srtiwari@ioe.edu.np 

Shyam Lal Shrestha 

Artist 

Image Art Gallery 

Babarmahal 

Kathmandu 

Phone: 4227827 

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If you have any constructed property waiting to be disposed, we will 

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