Spaces Issue 7

SPACES NOV-DEC 2005 1

2 NOV-DEC 2005 SPACES


NOV-DEC 2005 VOLUME 2 ISSUE 1 

40 VALLEY TERRACES 

Up on a height in Sunakothi, 3 km from 

Satdobato, is being built a community 

that is destined to hold a special place 

in the annals of housing development. 

This is Terraces-and the developers are, 

Valley Homes Pvt. Ltd. 

ARCHITECTURE 

INTERIOR 

20 SPIRIT OF AN ICON 

It is indeed fortunate that Hotel Yak & Yeti 

is so centrally located for it can be seen 

and admired by all. Not only is this hotel 

one of the biggest foreign currency earners 

in the country, it is also an architecturally 

important icon. 

58 SOOTHING SENSUALITY 

If no ruffled feathers are seen here, give 

credit to the soothing and relaxed 

decor.This office is one in which employees 

would love to spend more time-such is the 

environment. 

DESIGNER 

PROFILE 

ART 

CRAFT 

62 SEEKING BEAUTY IN 

SIMPLICITY 

Simply put, she is the eternal seeker in 

search of the beauty in even the simplest 

of forms. Yet her designs are sensuous 

and sophisticated. 

50 TOUCHING NEW HEIGHTS 

The firm of Mr. and Mrs. M.L.Kayastha 

and Associates is a name to reckon with 

in the field of Nepalese architecture. It 

has a history replete with numerous 

important works of high calibre. 

14 THE PERFECTIONIST 

He is into the specially fine art of Pauwa 

painting. The artist cannot afford to be 

less than a perfectionist, for this art style 

is ruthlessly demanding. 

35 MONI’S CREATION 

If there was but one word to describe 

creations emanating from this 

establishment, it would have to be 

‘elegant’. Beautiful by any standards, the 

finishing is also something to be 

particularly noted. 

REPORT PRODUCTS 

TIPS 

TRENDS 

64 U’LL LIKE THIS 

Modular kitchens have become an integral 

part of any well designed home. With 

increased supply keeping up with rising 

demand, there is now more to choose 

from in the market. 

70 LIVING THE ELECTRONIC LIFE 

The buzz word nowadays is Home 

Entertainment. Proper design and correct 

planning will ensure hours of exciting 

pleasure right in your living room. 

68 AMAZING WONDERS FROM 

BERRY FLOOR 

It claims to be the world’s leading 

laminated flooring brand and its latest 

offering should make the finickiest 

customer happy. 

72 FLIRTING WITH CONVENTION 

The controversial aspect of contemporary 

architecture process through relative 

analysis with art context makes for an 

interesting study. 



EDITORIAL 

“a study of evolution of architecture of 

the Valley over the last 35 years” 

CONTRIBUTORS 

PRADEEP K UPADHAYA 

is a Sound Engineer with a wealth 

of experience behind him. He is 

an expert on audio, acoustics and 

recording and his expertise has 

been used often in films and 

television. Further, Upadhyay is a 

free lance film maker and a trainer 

in the audio visual studies. 

SPACES has completed one year of publication and would 

like to thank all its well-wishers. 

‘Design sensibilities of an architect are to a great extent 

influenced by the lifestyle, culture and politico-economic 

structures of a society.’ This first issue of the second year 

starts with ‘Spirit of an Icon’ – a landmark of Kathmandu 

Valley, which as Arun Saraf rightly describes, is “a study of 

evolution of architecture of the Valley over the last 35 years”. 

This issue also features Valley Homes, where Siddharth 

Gopalan, Chief Architect of the housing project, as usual, 

has left no stones unturned while designing. Although the 

effort and creativity put in by Siddharth in this upscale 

housing complex needs to be appreciated, time will only tell 

whether it becomes a trendsetter or just another housing 

company in the long list. 

In the past year, SPACES has seen a lot of good designs, 

which we hope has brought some improvement in readers’ 

lifestyle. However, incorporating a good design is not the 

end in itself. Implementing the design, manufacture of its 

parts, construction quality, supervision and constant 

maintenance is its life. SPACES hopes that the unfortunate 

incident of the roof collapse of Manipal Medical College, 

which claimed ten lives, will become an eye-opener to all. 

SIDDHARTH GOPALAN 

is well known for his many works 

around the Capital, including 

interiors of restaurants like the 

Roadhouse Café and Jalan Jalan 

which have been the subject of 

much appreciation. Similarly his 

work in the Country Villa in 

Nagarkot also stands out as a fine 

example of his abilities. At 

present, he is busy as Chief 

Architect for a housing development project. 

SHRIJAN JOSHI 

graduated from the School of 

Planning and Architecture (SPA), 

Delhi. He is currently working with 

the architectural firm, Creative 

Builders Collaborative. He has a 

flair for writing and has written on 

architectural subjects for several 

leading magazines of the country. 

KAMINI DHAKWA & SWASTI BHATTARAI 

are final year students at the 

Department of Architecture, IOE, 

Pulchowk. They were the second 

prize winners in Berkeley Essay 

Competition 2005. They like to 

call themselves ‘Almost 

Architects’, claim to be 

captivated by architecture, and 

find their creative outlet not only in designing but writing 

about it. A favorite quotation of the pair is - “Give your life 

to work and only then expect it to come to life” 



LETTERS 

VERNACULAR ARCHITECTURE 

I completed my B.Arch in 2003 and am presently working as a lecturer in 

IOE, Pulchowk. I am a regular reader of ‘Spaces’ and find that you 

regularly feature young designers who are selected on the basis of his/ 

her academic achievement. I did my thesis based on the vernacular 

architecture of far western terai of Nepal which was recognized as one 

of the best among the thesis entries in IOE in 2003. My project was 

about a cultural centre in Mahendranagar and the design concept was 

derived from a strong contextual study and the climatic aspects of far 

western terai region. In addition, some of my other projects like the designs 

for a museum at Hanuman Dhoka, a residence, a garment factory at 

Gwarko and housing at Thecho have also ranked first in my class. After 

completing B. Arch I chose teaching as a career besides doing free lance 

work as an architect. I have particular interest in vernacular architecture 

and one article related to the subject has been published in Vastu. I would 

welcome your interest in my projects. 

Kishan Datta Bhatta 

Lecturer (IOE)/ Consulting Architect 

Lalitpur 

HOUSING 

Here we were hearing more on fault and fears about housing companies. 

It was really nice to read your issue on Comfort Housing. After reading 

your article we even went to survey and I must say the housing really lived 

up to your writer’s descriptions. It is really nice to see such projects coming 

up in the country. Hope they come up with many more. Thanks to your 

article I have been able to convince my parents to get a house at Comfort 

Housing. Thank you for such a nice article. 

Suman Shrestha 

Bagbazaar 

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 

MARKETING / SUBSCRIPTIONS EXECUTIVE 

Wimmy Kaur 

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) 

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Scan Pro, Pulchowk, Lalitpur 

PRINTED AT 

Variety Press, Kuleswor, Kathmandu 

DISTRIBUTED BY 

bitarak.com 

Ph: 5529726 / 5522472 

email: info@bitarak.com 

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

at the address above. All rights are reserved in respect of 

articles, illustrations, photographs, etc. published in 

SPACES. The contents of this publication may not be 

reproduced in whole or in part in any form without the written 

consent of the publisher. The opinions expressed by 

contributors are not necessarily those of the publisher and 

the publisher cannot accept responsiblility for any errors 

or omissions. 

Those submitting manuscripts, photographs, artwork or 

other materials to SPACES for consideration should not 

send originals unless specifically requested to do so by 

SPACES in writing. Unsolicited manuscripts, photographs 

and other submitted material must be accompanied by a 

self addressed return envelope, postage prepaid. However, 

SPACES is not responsible for unsolicited submissions. All 

editorial inquiries and submissions to SPACES must be 

addressed to editor@spacesnepal.com or sent to the 

address mentioned above. 

COVER 

The lobby of Hotel Yak & Yeti has a Newari 

theme that runs subtly throughout and this 

is appropriately reflected in the flooring 

pattern, the ceiling, the wooden details as 

well as in metal artifacts strewn about in a 

most tasteful manner. 

Photograph by Ashesh Rajbansh 

Canon EOS 10D SLR 

16 - 35 mm/f2.8 L USM lens 1sec@f5.0 

ADVERTISING & SUBSCRIPTIONS 

Kathmandu: IMPRESSIONS Publishing Pvt.Ltd., 

Ph: 5544606, 5526040. 

email: market@spacesnepal.com 

Pokhara: Sachin Udas, Maadhyam, New Road. 

Ph: 521851. email: maadhyam@vnet.net.np 

Chitwan: Rajendra Kumar Shrestha, Saraswoti Book 

Store, Balkumari Kanya Chowk, Narayanghat Ph: 

526031 

Birgunj: Kishore Shrestha, Hotel Kailash, Adarsha 

Nagar. Ph: 522384, 529984. 

email: hotelkailash@wlink.com.np 

India: Deepak Sunder Shrestha, Nepal Curio House, 

16 Nehru Road, Darjeeling-WB . Ph:54973 

United Kingdom: Rajiv Pradhan,South Harrow, 

Middlesex Haz 8HA, London. 

Ph: 85373674. email: rajivpradhan@hotmail.com 

Australia: Leela Krishna Manandhar, Kogarah, 

Sydney, NSW. Ph: 422811704 

email: 

nimadidi@hotmail.com 

USA: Subarna Joshi, West Palm Beach, Florida 

Ph: 3836207, Email: subarnaj@aol.com 



NEWS & HAPPENINGS 

Wipro Lighting, in conjunction with their authorized distributor 

for Nepal, Multitec Trade Circle, hosted a Seminar on Modern 

Office Lighting, Lighting Controls and Cleanroom Lighting on 

5 th October 2005 at Hotel Radisson. Chief Guest for the function 

was Ar. Binod Neupane, President of 

SONA, who complimented the company 

on its range of efficient and high quality 

products. Arun Jalan, Director of Multitec 

Trade Circle, thanked the professionals 

present at the function. Anoop Baokar, 

Manager-Lighting Controls & Exports and 

Yogendra Joshi, Sr. Marketing Executive, 

Wipro, gave an enlightening audio visual 

talk on recent lighting developments in 

modern offices as well as in institutions 

requiring specialized lighting, such as 

pharmaceutical production facilities. On the occasion, Wipro 

introduced their new launches, namely, the Indoor Decorative 

Range promising elegant and energy efficient luminaries for shops, 

LIGHTING SEMINAR 

offices and homes, as well as the designer luminaire ‘Crescent’, 

which claims to meet the aesthetic and functional qualities desired 

for modern workspaces. The Indoor Decorative Range asserts 

savings of up to 30% energy besides provision of non-yellowing 

diffuser and a two year warranty. The 

range includes a host of products such 

as ‘coral’, ‘red dot’, ‘jewel’, ‘decora’, 

‘diva’ and ‘duolite’. Wipro’s new 

designer brand, ‘Crescent’, is said to 

have a unique soft edge glow further 

adding beauty to interiors, and is 

described as recess mounted mirror 

optics luminaires. ‘Crescent’ is available 

in different models, all with definite 

smooth contours and designer frame 

locks. Additionally, powder coated 

housing and frames ensure respite from corrosion. Use of 

dynamic lighting controls with the ‘Crescent’ range is claimed to 

result in up to 75% energy savings. 

VC Shield and Durastone 

from Somany 

SPL Limited, makers of Somany 

Floor and Wall Tiles, organized a 

meet for architects and builders on 

September 17th. According to 

Sanjeev Ranjan, Sr. Marketing 

Manager, the meet was held not 

only to launch Somany’s new 

innovations in tile technology but 

also as a renewed effort towards 

regaining its leadership in the field. 

Somany, with more than 35 years of experience, is a leader in 

the Indian tile industry. Somany is an ISO 9001:2000 and 14001 

certified company and manufactures about 37500 square meters 

per day in two factories at Kassar and Kadi in India. In Nepal, 

Somany has seven authorized dealers in Kathmandu and one in 

Birganj, the representatives of whom were honoured with 

bouquets at the function held at Hotel Soaltee. The function was 

also availed of by Vineet Maitin, GM, and Anil K. Beejawat, 

President (Marketing), to introduce Somany’s new floor tiles with 

Veilcraft Technology as well as its new brand, Durastone-Heavy 

Duty Vitrified Tiles. According to the company, Veilcraft 

technology renders a specially treated coating that protects each 

tile against abrasion, scratches and stain. VC shield protection is 

said to provide anti ageing protection. In the case of Durastone, 

high load bearing capacity, acid and alkali resistance and low water 

absorption is claimed to make these tiles ideal for heavy duty 

usage. Available in 322x322mm and 318x318mm sizes, Durastone 

tiles have a rough surface made with projected textures thus giving 

a good grip. 

Press Conference on 

MMC Roof Collapse 

On October 29, a 

press conference 

was organized 

within the NEA 

premises, where a 

field visit report was 

presented on the 

collapse of the roof 

structure of the 

Manipal Medical 

College at Pokhara. 

The collapse on October 20 claimed 10 lives besides injuring 

many others. The report was based on a one-day site visit by 

members of Nepal Engineers Association (NEA) and Structural 

Engineers’ Association Nepal (SEANep). 

According to the report, the space frame truss structure, which 

spanned approximately 100 ft by 70 ft, supported a 75 mm 

thick RCC slab and was finished with slate tiles. The truss was 

fixed at one end with a sliding support at the other end. 

Although the report could not come up with any conclusive 

answers, possible reasons for the tragedy were blamed on either 

design deficiency, faulty construction, use of improper material, 

workmanship, supervision quality, or ad hoc design alteration. 

NEA with SEANep however plans to further conduct a 

thorough investigation so that such incidents are not repeated 

in the future. 



NEWS & HAPPENINGS 

Creations in Glass 

Folk Fusion -2005 

Moni’s Creation held a three day exhibition of their fine glass and bead works at the 

Hotel De l’Annapurna from 23-25 September. On display in the Sunken Lobby were 

various stained glass and glass paintings, sequin and beadworks as well as decorative 

candles in aromatic and gel varieties. Glass work included bookends, dividers, firescreens, 

lamps and napkin holders. Also available were mirrors, panels, tables and 

windows as well as a variety of other knick knacks like sun-catchers, wind chimes, 

clocks and frames. Sequin and beadworks included anklets, candleholders, glass and 

mobile covers, necklaces, specs holders, bracelets, coasters, placemats and tissue covers. 

This was the third such exhibition by Moni’s Creations which has its offices in Maligaon. 

‘LOKTA’ EXHIBITION 

Handicraft Association of Nepal and 

Nepal Handmade Paper 

Association(HANDPASS) in cooperation 

with GTZ/PSP-RUFIN 

organized an Exhibition cum Buyer- 

Seller Meet on 26 and 27 September. 

The event, which had 26 participating 

companies, was supported by Crafted 

in Kathmandu and Hotel Yak & Yeti. 

Realizing the lack of awareness about 

product range, market demand, 

marketing channels and market trends even in the face of a potentially burgeoning 

local and international market, the event was organized with a view to bridge the gap 

between buyer and seller. The principal objective was to bring them together under 

one roof for business promotion and opportunity expansion. Nepali handmade paper 

is produced from the inner bark of a shrub called ‘lokta’ (Daphne Cannabina or 

Daphne Papyracea). The ‘lokta’ paper, also called ‘rice paper’, has an attractive texture, 

durable character and is immune to pests. The participants were from Kathmandu, 

Bhaktapur and Lalitpur. 

Folk Fusion-2005 by Asha Dangol at the 

Siddartha Art Gallery in September was 

the artist’s third solo exhibition. The artist 

has described his works as semi-abstract, 

compact and figurative and has tried to 

‘explore several dimensions of folk art 

and its mythological aspects’. The 

inspiration has been Newari and Mithila 

folk art which the artist has attempted to 

blend in with his own feelings to ‘create 

an altered pastoral realism’. Describing his 

15 year journey through the art world as a 

period in which he has given shape to his 

dreams through his spirituality, ‘Folk 

Fusion-2005’ could be said to be the 

physical manifestation of the same. Asha 

has made use of deep blues and blacks as 

a backdrop in many of the works and the 

paintings convey a vibrancy that is 

concurrent with the spirit of folk art. 

LANDSCAPE EXPRESSION 

The Art Shop was host to ‘Landscape 

Expression’ by Pramila Bajracharya from 7 th 

September onwards. 

Inaugurated by the 

Japanese Ambassador 

this was the third solo 

exhibition by Pramila. 

The exhibit displayed 

twenty nine works most 

of which were oil on 

canvas and all were 

untitled. Ranging from 

10"x18" to 60"x24" in 

size, the prices varied from Rs.4000 to 

Rs.36000. As is evident from the name of the 

exhibition, all the canvases featured abstract 

works depicting landscapes in different hues 

and painted in a style that is now increasingly 

being familiar to art lovers as being identifiable 

with Pramila’s approach. It is also evident that 

the artist has tried her hand in the usage of 

lighter shades with very positive and eye 

soothing results. 



art 

“He has a shocked expression because of 

the blue flowers he is holding. My painting 

will have him holding white coloured flowers 

and so he will have a calmer expression. 

This is all according to the texts.” 

Text: A.B. Shrestha 

THE PERFECTIONIST 

A Japanese lady sits in his studio, engrossed totally in painting 

a Paubha depicting the Rimpoche, Padma Sambhava (The 

Lotus Born). From time to time she studies a similar but 

finished Pauwa hanging on the wall. The Rimpoche in this 

painting has startled eyes that express shock and outrage. I 

point out the eyes to Lasta, the Japanese lady, and she explains, 

“He has a shocked expression because of the blue flowers he 

is holding. My painting will have him holding white coloured 

flowers and so he will have a calmer expression. This is all 

according to the texts.” 

Lasta , who has been in Nepal for the last seven years is only 

one of the many students, local and foreign, who study the 

art of Pauwa painting under Lok Chitrakar at Simrik Atelier 

in Patan Dhoka, Lalitpur. As is evident from the above, Pauwa 

painting requires some knowledge about religious shastras 

(sutras), or texts. All Pauwa paintings are religious in nature 

but not necessarily based only on Buddhism according to the 

self taught master, Lok Chitrakar. 


However, if one were to look 

around his studio, one would 

see mostly Buddhism inspired 

Pauwa paintings. Such as the 

68x68 cm Garbadhatu 

Mandala, the 65x65 cm 

Vajrabhairaba Mandala and 

the 68x68cm Chakra 

Sambhava Mandala: all of 

which according to Lok 

Chitrakar were painted by 

students. A strikingly elegant 

Pauwa, the 39x34 cm 

Samantha Bhadra-Samantha 

Bhadri (Yam-Yum) hangs in 

one corner and was painted 

by the master himself as were 

the 33x47.5 cm Nilotpala, the 

21x24cm Mahakala and the 

27x87 cm White Tara. 

However, it is not 

uncommon, and indeed, the 

norm, for many artists to 

work on the same canvas- so 

intricate are the details, and so 

long is the time taken. 

In fact, Lok Chitrakar is 

currently at work on a massive 

5 ft x 7 ft Amitabha which still 

remains unfinished three 

years down the line. “It might 

be another year before this is 

finished,” say Chitrakar. The 

painting, although large, does 

not have as many intricate 

details as is present in many 

of the smaller Pauwas, but 

Above: A strikingly elegant Pauwa, the 39x34 cm Samantha 

Bhadra-Samantha Bhadri (Yam-Yum). 

Below: Lok with a Japanese student, an art teacher himself. 

“Pauwa actually comes from two words, ‘Pau’ and 

‘Wa’ derived from the Newari term Patra Bhattarak, 

which means, ‘depiction of god in flat form’”. 

this is explained easily enough by the artist, 

“ Since it is so big, I want the painting to 

draw people’s attention like a magnet and 

so I would like to make the details large 

enough for long distance viewing”. In 

addition, he confides, “Many of the finer 

detailing has yet to be done.” Because of 

the time consuming nature of Pauwa 

painting, it is understandable that Lok 

Chitrakar manages to finish but four or 

five Pauwas a year. 

And one of the reasons for the paucity of 

his own works in the gallery is simply 

because most of what he paints is sold as 

quickly as they are finished. In fact the 

artist reveals that on more than 

one occasion he has had to 

request buyers to lend him 

their collections for exhibiting. 

To a question about the time 

factor in the art, this is what 

Lok says, “There are no time 

limits whatsoever.” He points 

out a large (about 3.5ftx4ft ) 

HeVajra Manadala which still 

has a lot of work left to be 

done and a Vasundhara in 

which only the ink sketching 

has been finished. “At any time 

you will find me working on a 

number of pieces. As soon as 

I get tired of working on one 

piece and monotony sets in, I 

start work on another. When I 

get in the mood again, I go 

back to the previous unfinished 

piece. That is why I cannot say 

with certainty when a work will 

be finished.” 

Explaining his craft, Chitrakar 

says, “Pauwa actually comes 

from two words, ‘Pau’ and ‘Wa’ 

derived from the Newari term 

Patra Bhattarak, which means, 

‘depiction of god in flat 

form’”. He adds, “Pauwa 

painting is an ancient art form 

and the oldest one ever found, 

a Ratna Sambhav, is lodged in 

Los Angeles County Museum 

in the United States. I believe 

it is either from late 12 th 

century or early 13 th century.” 

Lok Chitrakar is disappointed that this art 

form has not been given much importance 

within the country itself and rues, “ There 

are no grants and no research done on this 

traditional art form in Nepal.” Most of his 

customers are from abroad and his largest 

works, a set of 2 m by 1.5 m Garbadhatu 

and Vajradhatu Mandalas is housed in a 

temple in Saitama Perfecture in Japan. 

“It took me four years to finish “ he 

informs. But it seems the time taken was 

worth it as it fetched him a whopping Rs.25 

lakhs. It is true that many of his Pauwa 

paintings have earned him a pretty penny 


art 

Some examples of Lok Chitrakar’s beautiful paintings. Each work is finished to the minutest detail and the care 

taken is really extraordinary besides being time consuming. 


ut of course this is only one of the 

reasons for his satisfaction at taking to 

the art at the early age of twelve. As 

he says, “When I started, Pauwa was 

not valued as an art and the work was 

more of a chore but nowadays there 

is greater appreciation of Pauwa 

painting as an art form and this makes 

me happy.” His happiness is all the 

greater because he was able to carry 

on even through those hard times, 

times in which many others became 

frustrated and left the vocation. 

Lok Chitrakar has a ten year old son 

and a daughter who is 15 years old. 

His own father passed away when he 

was still very young. An only son, 

Chitrakar was born in 1961. He has 

two elder and two younger sisters. Lok 

has participated in numerous 

exhibitions here and abroad and has 

won a number of awards including 

Best Artist Award in 1993 presented 

by Handicraft Association of Nepal. 

And even if self taught, he has taken 

short courses in Finland and 

participated in workshops in Japan, 

Finland and the United States. Lok 

Chitrakar’s works can be seen in the 

Mohatta Palace Museum in Karachi; 

the Kemi Museum of Arts in Kemi, 

Finland; the Shouji Temple in Saitama, 

Japan; the Museum Kanzouin in 

Tokyo and the Fukuoka Asian Art 

Museum in Japan. His works also have 

been collected by various private 

collectors all over the globe. 

The starting point of Pauwa painting 

is the making of the canvas which is 

referred to as ‘Patbhumibandhan’. The 

white canvas is stretched on a wooden 

frame and rubbed with ‘kamaro’ 

(white clay) and ‘saras’ (buffalo hide 

glue). ‘Kamaro’ provides the colour 

that covers all the minute pores while 

‘saras’ acts as the binding medium. 

Next come the colours. There are five basic 

colours: red, blue, yellow, white and black 

and all are mineral and vegetable based, 

Above: The beginning of the art itself is 

the fine free hand sketching by pencil. 

Each drawing is based on particular 

themes based on the religious texts. 


art 

produced in the workshop itself. Lapis 

Lazuli, costing about Rs.18000/kg, comes 

from Afghanistan and is the source of 

blue colour. The minerals Orpiment 

(costing about Rs.9000/kg) and Cinnabar 

(Rs.8000/kg) are available in the 

Solukhumbu mountains of Nepal and are 

sources for yellow and red respectively. 

Conch Shell Powder from Japan provides 

the pure white colour while black colour 

is derived from the soot of burning pine 

wood. The colour gold , much used in 

Pauwa paintings, is produced from gold 

dust while additionally, the Indigo Plant 

from South India is the source of rich 

indigo colour. 

The beginning of the art itself is the fine 

free hand sketching by pencil. Each 

drawing is based on particular themes 

based on the religious texts. In most 

Buddhism based Pauwas, the central 

figure is usually of the icon which 

normally is not portrayed as a singular 

identity. Rather, the central figure sits on 

a pedestal and figuratively speaking, is the 

central point of a figurative temple. Thus 

there will be a canopy above, and cornices 

Above: Lok Chitrakar is currently also at 

work on a large 5 ft x 7 ft Amitabha which 

still remains unfinished three years down 

the line. 

at the four corners with various associated 

figures (Buddhas, Boddhistavas, Monks, 

Disciples, Yakshas, Apsaras, etc.) at 

particular points around the central figure. 

The second stage involves permanent ink 

sketching, after which the painter gets 

down to the long and tedious task of 

putting colour to the work. And the 

colours used in Pauwa paintings are truly 

a sight for sore eyes, so varied are the hues. 

However, as Chitrakar says, “Some of the 

details have to be painted a certain tint 

according to what texts prescribe. One 

cannot deviate from that. But for others, 

we can use our own sense of aesthetics in 

choice of colours.” 

And there is no doubting the fine aesthetic 

sense of Lok Chitrakar. Nor his strong 

sense of discipline and his power of deep 

concentration. “Oh yes, one has to be very 

very disciplined in order to be a success in 

this field. Concentration is a given 

otherwise one cannot achieve the high 

levels of perfection required in Pauwa art,” 

he says. This discipline and concentration, 

combined with his immense talent, has 

made Lok Chitrakar into one of the finest 

of Pauwa artists in the country, if not in 

the world. S 



‘Location, Location, Location’, so said Conrad Hilton, wunderkind of the modern hotel 

industry. Situated in Durbar Marg, the heart of Kathmandu, Yak & Yeti hotel is a name that reflects both the 

enigma and opulence of a bygone era and has been over the years an avid spectator of events in the 

country. Entwined with its rich architectural heritage, the hotel is an amalgam of anecdotes from the snow 

capped Himalayas to the extravagance of the Rana heydays. 


SPIRIT OF AN 

ICONText: Shrijan Joshi 


ARCHITECTURE 

Prime Minister of Nepal for over fifteen 

years, Bir Shumsher was the one who 

started some ambitious public works and 

several palaces like the Fohora Durbar, 

Seto Durbar, Lal Durbar and the Toran 

Bhawan of Singh Durbar. Of all these, 

the most noted is Lal Durbar built in the 

1890’s. Unlike most of the other palaces 

of that period with the much popular 

stucco with Corinthian columns, the Lal 

Durbar with its Palladian arches and 

pedestals and exposed brick façade was the 

pride of its original owner. Now it is the 

splendorous mascot of one of Nepal’s 

finest hotels. It was the Ranas with their 

fascination for the neo-classic architecture 

stamped all over the Indian sub-continent 

population. If the external façade was 

inspiring, the lavish interiors done up so 

opulently were just magnificent - a fantasy 

of Himalayan proportions.The Lal durbar 

with its magnificent courtyard and staircase 

and wonderful baroque ballrooms with 

gilded Belgian mirrors and Italian marbles 

imported and transported on porter’s back 

boasts of Nepal’s first theatre, the Naach 

The memory of Yak and Yeti is synonymous with the Naach 

Ghar and with the six convention spaces. Originally the living 

rooms of Bir Shumsher, the halls today have been converted 

for convention and reception purposes. 

by the East-India Company, which 

popularized European-style architecture. 

This entrance of European neoclassical 

structures in the 19 th century Nepal can 

be looked as just another example of the 

cultural exchanges between the East and 

the West. 

An early instance of globalization of 

architecture, it indeed must have been a 

wonderful shock to the cloistered local 

Top: The atrium with its grand staircase 

and corridors looking down, doubles as 

a special event venue. 

Left: One of the chandeliers acquired and 

restored from various palaces around the 

Kathmandu valley. 

Right: The Regal Hall which at full 

capacity can accommodate up to a 

thousand people. 



ARCHITECTURE 

Ghar with its resplendent sunburst 

chandeliers so pleasing to the eye. 

In the early 70’s, Boris Lissanevitch, a most 

colourful character with a fascinating 

background, was invited to Nepal by King 

Tribhuvan. Boris was from Russia and for 

sometime an officer in the Russian Army. 

After stints as a ballerina in Monte Carlo 

and Shanghai, he arrived in Calcutta, where 

he opened the much-acclaimed nightclub 

called ‘The 300’. A popular watering hole 

for the Allied forces during the Second 

World War, the club was famous for its 

royal patronage. With even an in-house pet, 

a full-grown leopard named Puss Puss, 

many extraordinary and colourful stories 

originated here. Boris ran Nepal’s first 

hotel, which was called the Royal Hotel, 

and with its establishment, Nepal was 

popularised as an international tourist 

destination - a Shangri-La. Popularly called 

Nepal’s father of tourism, this 

unforgettable personality, who always 

sounds larger than life, set up the Yak and 

Yeti bar with its huge central copper 

chimney. It is from this very restaurant that 

the hotel got its name, whereas the 

restaurant today is the famous ‘The 

Chimney’, with its exquisite Russian cuisine 

and its own Boris menu. 

It was with this pedigree beginning that in 

1973, Mr. R.S. Saraf set up the hotel. The 

hotel later assumed the name of Yak & 

Yeti. With growing tourism, the hotel was 

expanded to 150 rooms with 5-star 

amenities, and its design was under taken 

by Gherzi Eastern Ltd. Bombay, India. 

This central wing popularly called the 

Newari wing was built in modern 

international style with the present day lobby 

and atrium. The six storied structure with its 

top two floors cantilevering out and heavy red 

roof band and white plastered external surface 

was a marked offshoot from the neoclassic Lal 

Durbar. The new contemporary look definitely 

gave a fresh and modern feel to the 

establishment as a whole. 

Top & Left: The majestic drawing rooms of 

Regency & Regal are indeed treasures. 

Facing page top: A part of the new entrance 

lobby linking the courtyard to the old palace. 


In a world that is moving increasingly 

towards conformity, it is design that makes 

the difference to the enjoyment of hotels. 

In the design, a smooth continuity from 

the old to the new is established; the new 

structure was linked to the courtyard of 

the old palace with the new entrance lobby. 

It was the concept of architect Ramesh 

Khosla of ARCOP to arrange the 

alignment of the public areas of the hotel. 

A strong axis was established and to 

reiterate this connection, a folly was 

created at the entry with a structure 

housing an ancient copper bell over a 

cascading fountain welcoming all visitors. 

With the brief for the extension, the image 

the architects worked on was that of the 

Tibeto-Newari culture. The total overall 

design environment was taken into 

account. It was not only the overall space, 

but also every detail, such as a signage, the 

pattern outside a door where the room 

number stays, the fabric design and the 

paint that is taken into account. 

In a world that is moving increasingly towards 

conformity, it is design that makes the difference to 

the enjoyment of hotels. 

Master plan 

Of the three main areas that are common 

to all hotels, the public area, the guest 

rooms and the invisible service areas 

running vertically and horizontally all 


ARCHITECTURE 

around the guest but ever cleverly hidden, 

the entrance or the lobby is the one which 

is to be the most striking. It is where you 

walk in and the place creates a distinct 

impression - one whose impact should 

linger in your memory. It must be a space 

for a unique experience. The entry lobby 

is a welcome relief with its huge intricately 

hand carved Newari door and houses the 

waiting lounge with its glazed roof and 

polished red-granite floor with Buddhist 

motifs running on it. The tantalizing aroma 

from the ‘The Sunrise Café’, with its 

wooden ceiling done in a south-east Asian 

style overlooking the pool and garden, or 

relaxing over a drink and listening to the 

sweet melodies at the Piano lounge is just 

another way the lobby at Yak and Yeti 

creates an ambience which matters. If that 

was not all ‘The Pub’, with its red leather 

bar stools and copper lamps is another 


treat waiting besides the lounge. The 

Newari theme runs subtly all over the 

lobby - may it be in the flooring pattern, 

the ceiling or in the intricate wooden 

details. Most of the rooms in this section 

of the hotel, called Superior, have a Nepali 

décor prepared in the backdrop of the rich 

hues of the terracotta. Touches of local 

flavour have been introduced subtly with 

traditional carvings and mouldings placed 

here and there. 

In the early nineties, an additional 150 

rooms were added with the introduction 

of the Durbar wing. This extension was 

Facing page top: The folly created at 

the entry with a structure housing an 

ancient copper bell over a cascading 

fountain welcomes all visitors. 

Facing page bottom: The Newari theme 

runs subtly all over the lobby. 

Top: Boris’s famous Copper Chimney. 

Bottom: Relaxing over a drink and 

listening to sweet melodies at the Piano 

Lounge is just another way the Yak & Yeti 

creates an ambience that matters. 

Top left: Even the lift reflects a Tibeto- 

Newari culture. 


ARCHITECTURE 

designed by Gherzi, Hongkong, and Arcop 

of Delhi, India, did the interior designing 

of Club Shangri-La. Here the designers 

used interplay of brick and plaster and the 

façade was designed to complement the 

Lal Durbar and the extension. The 

interiors too have a marked difference with 

a more Tibetan theme. With each floor 

having its own exclusive lounge, the rooms 

are done in a light yellow tone. Furnished 

along the line of the Tibetan theme, the 

rooms have an Eastern touch without the 

more unfortunate excesses. With this 

cultured form of aesthetics, the designers 

have sensitized themselves to the nuances 

of the culture. The theme further runs in 

brass from the cupboard handle, onto the 

lamp stand, and the TV cabinet. A mirror 

frame with Buddhist motifs reflects the 

beautiful black and white photographs by 

Thomas Kelly portraying life in the 

mountains, which adorn most walls. 

Sprinkled here and there are small local 

artefacts, which give life to the spaces. 

Throughout the hotel, one can see 

paintings of Buddhist calligraphy and 

manuscripts; interpretations of eastern 

theology in art painted by the German 

artist Rolf A. Kluenter. These are all from 

the owner’s private collections and are a 

Left: The Sunrise Café with its wooden 

ceiling done in a South-East Asian style 

overlooks the pool and garden. 

Below: An imprint of a giant footprintsurely 

not of the Yeti. 

Facing page: The exquisite stucco and 

glass decoration and friezes enhance the 

beauty of the Dynasty Hall. 

Although the addition of the 

international style of the late 

seventies is distinctly of a 

contrasting design, it has 

managed to honestly establish 

what is old and what is new. 



ARCHITECTURE 

treat for all guests. Imbibed with local 

flavours, the various Suites of the new 

Durbar Wing prepared in peach and pale 

yellow and furnished in contemporary style 

evokes a subtle Asian mysticism, which 

lingers in the guest’s memory. Vis-à-vis, 

Club Shangri-La truly has the warmth of 

an autumn sunrise in the Himalayas. 

Most of the 270 rooms have views that 

look out into the beautiful Madhuban 

Garden - named after the legendary 

gardens in Vrindhavan where Lord 

Krishna played with his gopinis. Designed 

by Bill Bensley of Arcop, Canada, the 

landscaped garden is a hidden gem with 

its weeping willow, curving water body, and 


Facing page top: Each floor of the 

Durbar Wing has its own exclusive 

lounge furnished along the lines of 

the Tibetan theme. 

Facing page below: Most of the 

rooms in this section of the hotel, 

called Superior, have Nepali decor. 

Left and below: A suité in the 

Durbar Wing having a marked 

difference and with a more Tibetan 

theme. 

Below: Intricate wall-mounted 

wood carving in a suité. 

As Arun Saraf says, “Every stage was designed in a 

context, and the hotel is a study of the evolution of 

architecture of Kathmandu Valley over the last 35 years.” 

how these various parts were acquired and 

restored to their original glory with new 

functions. The first part was where the 

Chimney restaurant is situated, and from 

where the hotel began. Another phase of 

the evolution of the hotel is the conversion 

of the central courtyard into a huge atrium 

by providing a roof to cover it as well as 

bubble elevators. Of late, the hotel has 

been seeing further new additions and 

restoration of the Lal Durbar. The design 

was given to Spazzio Architecture Design, 

a Delhi based firm. The brief included a 

new convention, a casino, and a business 

centre of the hotel to be adjusted into the 

old structure. The overall façade of the 

Lal Durbar that we view today was restored 

recently by architect Eric Theophile and 

now stands as it looked before the 1934 

earthquake destroyed it. It is this façade 

a jogger’s track running all around 

including an ancient Kumari temple. The 

most alluring part here is a series of steps 

leading to a pati made in traditional Newari 

style with carved wooden posts and a 

statue of Garuda. From here, a wonderful 

view of the hotel, the gardens in full bloom 

and the crystal blue swimming pools can 

be viewed. A place for quiet reflection, 

the Madhuban Garden binds the entire 

hotel together. In one corner there is even 

an imprint of a giant footprint - surely not 

of the Yeti! 

The original Lal Durbar over time had 

been separated into four parts. The story 

of Yak &Yeti is actually the evolution of 


ARCHITECTURE 

that binds all the various phases of 

evolution of Lal Durbar into one single 

structure. The interiors of this phase was 

undertaken by Interior Design Network 

International Pvt. Ltd., and great care was 

taken to retain the original atmosphere and 

old-world charm. With the addition of a 

casino and club, a 300 car underground 

parking was also built. The Bangkok based 

Thai firm of Bensely Design Studio were 

given the task of doing the landscaping 

with the underground parking taking the 

entry open space. The latest extension of 

the complex has been occupied by various 

businesses and international organizations. 

The hotel has indeed come a long way. 

With history always around the corner, the 

hotel’s pride still rests with the royal halls 

of Bir Shumsher. The memory of Yak and 

Yeti is synonymous with the Naach Ghar 

(currently under restoration for a new 

restaurant), and with the six convention 

spaces for a variety of needs; Yak Yeti has 

truly met the requirements of an 

international hotel. The largest of them 

being Regal, which at full capacity can 

accommodate up to a thousand people. 

The majestic drawing rooms of Regency 

and Dynasty are indeed a treasure. The 

exquisite stucco and glass decorations and 

friezes enhance the beauty of the halls. 

Originally the living rooms of Bir 

Shumsher, the halls today have been 

converted for convention and reception 

purposes. Even the atrium with its grand 

staircase and corridors looking down 

doubles as a special event venue. An 

interesting anecdote of this grand staircase 

of the Lal Durbar is that the originally 

installed marble was used to build the 

Shahid Gate. R. S. Saraf tells of how most 

of the chandeliers and artefacts were 

acquired and restored from various palaces 

around the Valley. He also tells of how 

some of the carving and wood work were 

restored from old dilapidated buildings in 

Dhalko Chowk of Durbar Square. All 

these today have found a restored life in 

the wonderful collections of Yak & Yeti. 

As the hotel brochure reads, ‘Kathmandu’s 

Historic Wonder’, with all its grandeur, Yak 

&Yeti lives up to its claim. The Lal Durbar 

takes pride in its rebirth. The hotel has 

shown the potential of historic structures 

which have been adapted for reuse, fitting 

their original glory appropriately. A 

sensitive approach and care ought to be 

spared to all of the components, may it be 

the Naach Ghar or the Ballrooms. One 

current restoration, which is going on, is 

of the sunken floor of Naach Ghar to its 

original proportions. An example of 

building in historic context, one sees 

various concepts implemented over the 

Above: The overall facade of the neoclassic 

Lal Durbar was restored 

recently by architect Eric Theophile 

and now looks as it did before the 1934 

earthquake. 

years by various designers. Although, the 

addition of the international style of the 

late seventies is distinctly of a contrasting 

design, it has managed to honestly establish 

what is old and what is new. Similarly, the 

other additions have tried to create their 

own relationships between the various 

forms and the historic structure. What one 

finds is that design with the restrictions 

and constraints provided by the existing 

fabric, overlaid with the richness of social 

and cultural preconceptions and desires 

does not have to be something which limits 

the creativity of the architect. As Arun 

Saraf has put it, “Every stage was designed 

in a context, and the hotel is a study of 

evolution of architecture of Kathmandu 

Valley over the last 35 years.” It has been 

shown how with some ingenuity, it can in 

turn be a liberating force. With all its 

interventions, the hotel has given new life 

to the old structures; a vitality in design 

and interior that would make any Maharaja 

proud. It is no surprise that the ambience, 

which has been created here, has made this 

hotel an icon of the Kathmandu Valley. S 




CRAFT 

moni’s 

creation 

‘A hobby turned 

into an entrepreneurship’ 

may be a 

cliché often used 

for such endeavors 

but nonetheless, 

one that still holds 

true in Sristi’s case. 

The Naradevi Laxmi Award presented in 

March 2005 by Creative Statements during 

‘Celebrating Womanhood 2005’ couldn’t 

have come at a better time. “It was a big 

morale booster for me,” admits Sristi Joshi Malla. A 

short while ago, in January, her ambitions had led the 

proprietor/designer of Moni’s Creation to set up a stall 

at the International Exhibition in Dubai. “There was a 

fire on February 1 st or 2 nd , and three stalls were 

completely burned down. One was mine, the other 

two were of Jordan and China. I lost thirty four 

containers worth of my creations.” In fact, such was 

the magnitude of the loss that Sristi had already started 

to have second thoughts about continuing to run her 

establishment. It would have been painful to say the 

least, since it was established as a way to keep alive 

memories of her elder sister, Moni, who, along with her 

father, perished in the Thai Airlines crash some years ago. 

The timely recognition paved the way for renewed 

efforts and such is her enthusiasm today, that she has 

already started a new line of business, that of supplying 

chocolates as gift items for corporate houses. She was 

also the recipient of the Woman Achiever Award 2004 

presented by Consortium of Women Entrepreneurs 

of India (CWEI) during the International Women 

Entrepreneurs Meet and Conference in New Delhi. 

Sristi won these awards not due to anything associated 

to work related to her academic background, but rather 

due to her artisanship in the art of sequins and 

beadwork as well as stained glass and glass painting. 

And so, today, she is the Proprietor and Designer of 

Moni’s Creation, a firm that is as much an outlet for 


her artistic flair as it is an outlet for an 

exclusive and exquisite display of 

beautiful works that seem at first sight, 

precious and fragile. 

After finishing school from St. Mary’s High 

School, Kathmandu (1990), and high 

school graduation from International 

School of Islamabad, Pakistan (1992), she 

majored in International Business from 

Ithaca College, USA in 1997. She then 

went on to do a stint as a management 

trainee at the Nepal Association of Craft 

Producers (Apr-Sept 1998), followed by a 

spell as the external collaborator at the 

International Labour Office in 

Kathmandu. She has tried her hand at 

many things, including designing 

brochures and catalogues and is skilled in 

the use of multimedia, but it was when 

she found herself excelling in courses on 

stained glass, candle making and glass 

painting (2001-2003, New Delhi), that 

Sristi could be said to have found her niche. 

‘A hobby turned into an entrepreneurship’ 

may be a cliché often used for such 

endeavors but nonetheless, one that still 

holds true in Sristi’s case. Started in 

October 1998, Moni’s Creation was 

established as a small scale company 


dealing with handcrafted innovative gift 

items and home décor in stained glass, 

glass painting, candles and beadwork. In 

the years since, Sristi has trained many 

others in the craft, not least of all, her 

brother, Pranaya, who is currently the 

General Manager as well as Glass 

Designer. The company, located at 171 

Char Narayan Marg in Maligaon, has on 

display, a veritable collection of fine 

artwork that can only be described in the 

most extravagant terms. Yet cost-wise, 

they seem to be reasonably priced. 

Segregated primarily into three divisions, 

‘Glass Painting’, ‘Stained Glass’ and 

‘Beadwork’, the largest collection is that 

Facing page & above: Moni’s Creation 

has on display, a lovely collection of fine 

artwork that can only be described in the 

most extravagant and flattering terms. 


CRAFT 

of Glass Painting. Trays, small, medium 

and big, cost from Rs.1200 to Rs.2000 

each, and tables - wooden, round and 

square - from Rs.2500 to Rs.8000. A 

lovely Tiffany Border Mirror is 

priced at Rs.4000 while 

bookends cost Rs.1950 and 

napkin holders, Rs.600 each. 

Larger works like glass dividers 

and bigger glass paintings cost 

more, but the beauty they 

promise to add to a room, 

makes prices quite irrelevant. 

And similar is the case for 

stained glass work such as the 

Rose and the Mini Lamp, the 

Blue Hanging Lamp, the Flower 

Hanging Lamp, and the Brown 

Hanging Lamp. Beadwork 

come in various designs. Beaded 

placemats (plain and twisted) 

cost about Rs.500 per piece. 

Dainty beaded flowers cost 

Rs.150 a stem. Moni’s also 

specializes in attractive candle 

holders. Beaded candle holders 

(plain and twisted) are 

economical. And who can resist 

the attention-grabbing Candle Beer Stands 

? Beaded Fish and Beaded Rose (15”x17”) 

and a Lotus Ganesh (12”x12”) cost a little 

more but are really beautiful. 

Prices aside, Moni’s Creation is already a 

brand name to be acknowledged, and its 

products, possessions to be treasured. Sristi 

credits much of her inspiration to her 

mother, Chandni Joshi, presently Regional 

Director of UNIFEM for South Asia. She 

says, “My life has been guided by values 

instilled in me by my Mom.” These values 

have led Sristi to be active in the social 

sector and hold posts in many bodies 

including that of founder treasurer of 

HomeNet Nepal and Country 

Representative for SAWE (South Asia 

Women Entrepreneurs). 

She adds, “I consider innovativeness to be 

my driving factor and I have learnt much 

from travels around the world.” In recent 

days she has also learnt that people are 

willing to listen to new ideas and if 

convinced, help. Her experience in a highly 

creative enterprise surely should enthuse 

other entrepreneurs as well. The company, 

although having a substantial number of 

items in its collection, nevertheless prefers 

customized business and continues to 

delight customers with designs that 

enchant and finishing that fulfills. S 



V T 

ALLEY 

ERRACES 

Text: Siddharth Gopalan 


A concept of architectural zoning was born with a unique sloped 

roof streetscape with rich greenery. 


prospective buyers to evolve a dream 

home. A concept of architectural zoning 

was born with a unique sloped roof 

streetscape with rich greenery. The wide 

well lit roads were planned for tree 

plantation in the style of French 

Boulevards. About 38% of the entire area 

was dedicated for open areas, which 

included fountains and green parks giving 

the ambience of a garden city. Tree 

plantation was taken up seriously, choosing 

some species blossoming in certain part 

of the year and others in the balance part, 

giving an evergreen and lush look. In all, 

more than 300 trees are to be planted at 

site and this is very relevant as it is 

happening at a time when there is merciless 

uprooting of trees in the Valley on the 

pretext of urban pressures. 

The layout of the houses is in a terraced 

format, giving every occupant a height 

advantage for a clear view of the valley 

and mountainscape. Houses are planned 

in plot sizes of 10, 9, 8, 6 and 5 annas (1 

anna = 342.25 sft.), with varied options 

of covered area, ranging from 

approximately 2000 sq ft to 3500 sq ft. The 

Left: Two gates, specially made of cast 

ornamental steel , are on either side of the 

guardhouse which also houses a useful 

clock tower. 

Below: About 38% of the entire area is 

dedicated to open spaces which include 

fountains and green parks. 

The site measures 78 ropanis and is on a 

frustum of a hillock with its periphery 

dropping by as much as 9 metres at certain 

places. The major area is however 

reasonably plain and at a commanding 

height overlooking the valley and also 

lending a kaleidoscopic view of the entire 

Himalayan range. This kind of a large 

magnitude of area suggested a unique 

housing development and with such a 

difference in level between the low and the 

high point, a terraced kind of disposition 

was considered a good option, which is 

also in keeping with the valley terrain. 

An exhaustive study was made on the 

contemporary developments in Thailand, 

Malaysia, Singapore, Vietnam and USA. 

Series of interactions were held with 




is a spacious hall with a fireplace. The 

living/dining opens out to the front lawn 

through a veranda vestibule and will be a 

great asset during gatherings or even a 

family dinner. 

At the ground level, the kitchen adjoins 

the dining part of the living/dining hall. 

The kitchen is well sized for modern style 

usage and has an attached store. A covered 

washing area for utensils is located 

immediately outside through a side entry 

door, which also leads to a domestic help 

room and toilet to enable the domestic 

help to independently access the kitchen 

without interfering with the inside of the 

house. The bedrooms and a study are 

placed on the first floor with a spacious 

family room at its centre. The master 

bedroom is the largest and has an 

adequately sized closet vestibule to the 

bathroom. A spacious balcony adjoining 

the master bedroom is a unique feature in 

the design and has lent a veiled openness 

to the privacy of the bedroom. 

The other bedroom at the same front face 

of the house on the opposite side is the 

gate complex is approximately 120 ft. wide 

with traditional stone spouts and cascading 

water bodies enriched with floral planting 

on either side of the gate complex. 

There are two gates - one for incoming 

and the other for outgoing traffic. The 

gates are specially made of cast ornamental 

steel and are on either side of the security 

guard room, which also houses a clock 

tower. A monitor in the guardroom gives 

information on security of 16 strategic 

locations by means of video cameras fixed 

at these places. A green area with a fountain 

seen immediately on entry gives a pleasant 

ambience at the entrance area, which is 

continued throughout the complex. The 

greenery was accomplished by enriching 

the topsoil with sweet earth, as the existing 

land was barren due to gravel formations 

at the surface. 

The entry to the house is through a sliding 

steel gate with a car porch and driveway 

long enough to accommodate two cars, as 

is the demand of modern day families. 

At the ground level, there is an 

entrance foyer - convenient for leaving 

hats, umbrellas and the like - before 

entering the living/dining room, which 

Facing Page: The living-dining room is 

a spacious hall with a fireplace. 

Above: The sloped tile roof, typical of a 

traditional home with exposed tile facade 

and certain classical embellishments. 

Below: The car porch and driveway is 

spacious enough for two cars. 


children’s bedroom, which also has a 

balcony and walk in closet vestibule to a 

well planned toilet. At the rear side is the 

fourth bedroom, which can either be used 

by guests or a grown up child and is 

equipped with a walk in wardrobe/dressing 

and a toilet. There is a study at the other 

side of this bedroom, which has the 

ambience for concentration of mind. The 

last floor contains a prayer room and an 

enclosed clothes washing and pressing 

room. Designed with flexibility in mind, 

the roof of the houses is partially sloped 

and the rest flat to accommodate any later 

day expansion of spaces. The front-sloped 

roof will give definitiveness to the 

streetscape architecture. 

APART from the sloped tiled roof, which 

is typical of a traditional home, other 

elements like exposed brick tile façade and 

certain classical structural embellishments 

have been incorporated to emphasize the 

timelessness of such architectural 

innovations during the course of 

multihued architectural history of homes. 

However for longevity of such elements, 

manufacturers from across the world have 

been resourced like the roof tiles, which 

are autoclaved with German technology 

and imported from Thailand. Similarly, the 

brick tiles are from special exclusive natural 

materials from India. The architectural 

elements have been carefully designed not 

to become outlandish and veering towards 

ornamentation. 

The ceramic tiles used are of exquisite 

quality carefully chosen from Brazil, Spain 

and Thailand. Sanitary wares are of top 

end line of Cotto sanitarywares of 

Thailand. All CP fittings are of the best 

make and from internationally reputed 

manufacturers. The usual architectural 

embellishments like wood in staircase, 

Above: A good sized kitchen for modern 

style usage adjoins the dining part of the 

living-dining hall. 

Left: The entrance foyer serves as a 

convenient corner for leaving hats, 

umbrellas etc. 



Infrastructure facilities include a club, a medical 

inspection unit and a convenient shopping centre, 

to make the complex a self contained mini-city. 

special cast iron stair case railing, 

architraves at the doorways of rooms, 

cornices inside and outside the houses are 

specially designed and uniquely crafted by 

the best of skills available within the 

country and in India. The houses are well 

ventilated and window glazing are UV 

protected by the latest Rebofin technology. 

Infrastructure facilities include a club, a 

medical inspection unit and a convenient 

shopping centre, to make the complex a 

Top: A fine example of the detailing is 

in the solid stairs. 

Above & Left: A spacious family room 

at the centre of the bedroom and 

study on the first floor. 

self contained mini-city. Take out restaurants, 

childcare centre, swimming pool and jogging 

path are also envisaged in the future. As for 

water supply, the source is an underground 

tube well up to a depth of 306 metres (1004 

ft) and two tube wells each with yield of 

90,000 litres/day have been planned. The 

requirement has been calculated as 140,000 

litres/day including requirement for internal 

house use, horticulture, fire hydrant system 

and general amenities. A water treatment 

system has been developed to ensure potable 

water. Water from tube wells is pumped into 

a 150,000 litre tank where it undergoes 

treatment and then pumped to the central 

overhead 100,000 litre capacity tank. From 

here, water is supplied to individual 

underground house tanks, each having 3000 

litre capacity. Then, water is pumped up to 



Right: The study next to the bedrooms has an ambience 

for concentration of mind. 

Below: The bedrooms have adequate sized closets and 

vestibules that lead into bathrooms. The master bedroom 

opens out into a spacious balcony, lending a veiled 

openess to the privacy of the bedroom. 

overhead tanks of 1000 litre capacity each. The water 

quality is of WHO standards. 

A 500 KVA transformer is to be installed at the site and 

an underground cable system has been planned. Further, 

a power back up of 200 KVA generator capacity is also 

under installation for emergency usage. As far as security 

is concerned, quite an elaborate system has been designed, 

with video cameras at strategic locations, as well as a 

centralized relay monitor scheme. There are of course 

trained security personnel round the clock around the 

premises, including the gate. 

With so many facilities to avail of, in addition to a location 

promising a munificient view throughout the year, 

Terraces could be said to be one housing complex that 

fufils the deepest desire of any man or woman-that is, 

the desire to live life to the fullest. Which of course begins 

with the posession of one’s own space within 

surroundings that beguile and enchant the soul. Terraces 

promises all these and more. S 



§ P R O F I L E 

Touching New 

HE IGHTS 

take on very little work nowadays although my wife, 

Chandralekha, is as busy as ever,” says Matsyendra 

Lal Kayastha, Principal Architect of Mr. and Mrs. 

M..L.Kayastha & Associates. Sixty-one years old now, 

he doesn’t sound particularly tired when he says this, 

but possibly, M.L.Kayastha could be more than a little 

tired after completing almost 75 large scale projects 

during the period 1976 to date. This, of course, in 

addition to numerous private works including 

residences completed during the same time. The 

projects have been of diverse nature to say the least, 

as have been the clients. Projects have included 

hospitals, health centres, banks, government buildings, 

hotels, colleges, industries and commercial complexes. 

Clients have included international aid agencies, the 

United Nations, the World Bank, the Asian 

Development Bank, embassies, metropolises, INGOs, 

industrialists, businessmen, doctors and educationists 

as well as various corporations and government 

ministries. “We were tremendously busy till around 

1997,” states Chandralekha Kayastha, Co-Principal 

at the firm. 

The husband/wife team’s latest achievement has been 

the Rs. 22 crore Karmachari Sanchaya Kosh 

commercial complex next to the RNAC building in 

Sundhara. A joint venture with MEH Consultants, 

this project has been in the limelight in recent days. 

The firm’s brief included survey, architectural, 

structural, electrical and sanitary design besides overall 

construction supervision. Started in February 1999, 

it was finished in September of this year. “It took us 

an inordinately long time to complete this project,” 

admits Chandralekha. Matsyendra adds, “This was 

by far our most challenging project. There were so 

many hassles along the way.” 

So, after all said and done, are they satisfied with the 

result? Chandralekha smiles ruefully and reveals, “I 

went there recently to have a look. I returned 

completely disappointed with what the promoters 

have done to the inside.” Supposedly, the architects 

had been briefed initially that the complex would be 

leased only to offices and the design was done 

accordingly, but later on, giving first priority to 

economical viability, the promoters went about 

52 NOV-DEC 2005 SPACES§“I 

Text: Amar B Shrestha 

Clients have included international aid agencies, 

the United Nations, the World Bank, the Asian 

Development Bank, embassies, metropolises, 

INGOs, industrialists, businessmen, doctors and 

educationists as well as various corporations and 

government ministries.

PROFILE§ 

merrily leasing out the premises to all and 

sundry. With the result that a lot of 

aesthetically ugly and structurally unwise 

constructions have been allowed to be 

done inside the building. 

“We won this project through a design 

competition,” says Matsyendra. In fact, 

he is proud to declare that in the course 

of their career, the firm has competed 

in, and won, many projects this way. So 

what has been the reason for their 

astounding success? Chandralekha has a 

succinct answer, “Sincerity”. Her smiling 

husband adds, “Right from the beginning 

we have confined ourselves to design and 

consultancy. We have never ventured into 

construction. Maybe this was one reason 

for our success.” Elaborating further he 

says, “We have done a lot of projects 

involving USAID and other international 

organizations, and there are clauses in 

their contract that forbid consultants from 

being in direct contact with suppliers. 

Perhaps this is their way of making sure 

that project costs don’t become inflated.” 

The husband/wife team’s latest achievement has been the Rs. 22 

crore Karmachari Sanchaya Kosh commercial complex next to 

the RNAC building in Sundhara. 

At the moment, the firm is busy with a Rs. 

14 crore project, that of a commercial 

complex in Teku which is in the 

construction stage as is an OPD Service 

Area Extension at the Maternity Hospital 

in Thapathali. A Rs. 12 crore project, the 

Nepal Bharat Maitri Lalit Sabha Griha in 

Pulchowk, is under tendering stage as is a 

Rs 5 crore office building block of the 

Lalitpur Sub-Metroploitan City. If one 

were to only consider the above, it would 

seem that having their residence cum office 

in Kandevtasthan, Kupondole, must be a 

blessing. However, one will have to 

conclude that it really doesn’t matter if one 

realizes that the couple have done 

numerous works in places ranging from 

Mahendranagar in the far west to Ilam in 

the east. In fact the HMG/UNFPA/ 

District Level Training Building Project 

during the period March 1998 to October 

1999, involved work in twenty five towns 

all over the country. “I think that was the 

time when we used to joke that we were 

going on a ‘Nepal Darshan’,” laughs 

Chandralekha. Oh yes, the couple laugh a 

lot and the reason is obvious. “We are really 

very satisfied with our careers,” concedes 

the ever smiling Matsyendra. 

Another reason for their satisfaction could 

be the way their personal lives have turned 

out. Matsyendra and Chandralekha 

married in 1973 while they were both 

studying at M.S.University in Baroda. They 

passed out in 1975, the better half passing 

out as the topper among girls. Indeed, 

Chandralekha has always done well in 

studies. Sister of renowned neuro surgeon, 

Dr. Dinesh Nath Dongol, she did her SLC 


PROFILE§ 

from Kanya Mandir in 1965, and B.Sc from 

Trichandra Campus in 1969. She won a 

scholarship under the Colombo Plan and 

went on to Bengal Engineering College in 

Kolkata. However, due to the prevailing 

Naxalite problem, she shifted to Baroda a 

year later and joined ranks with her yetto-be 

husband as well as with Jyoti 

Sherchan, along with whom she jointly 

became the first lady architect of Nepal. 

Matsyendra, on the other hand, has always 

had some engineering influences in the 

family. His elder brother Kanhaiya is not 

only structural engineer but also, an 

architect. Another elder brother, Sambhu, 

is a structural engineer as well and holds 

the singular honour of being the first to 

receive the Mahendra Vidya Bhusan in the 

country. A younger brother, Narendra, is 

Kayastha Residence, Kupondole. 

an agroeconomist and is an associate 

professor in CEDA. Matsyendra himself 

studied in J.P. High School and passed his 

SLC in grand fashion, becoming Board 5 th . 

In college too, he continued with his 

winning streak and became Board 3 rd in 

I.Sc. Matsyendra credits his father for the 

academic vein in the family, “He was an 

administrative officer in the irrigation 

department and used to be in close 

proximity with engineers which could have 

made him push us in that direction.” 

After returning to Kathmandu the couple 

started teaching at the Institute of 

Engineering while at the same time, 

working in KUBA Associates, a joint 

venture firm of K.L.Kayastha Associates, 

United Builders and BDA that had come 

into existence for the 

USAID funded 

Rampur Campus 

project in Chitwan. 

During the 2 nd phase 

of the project, the 

Matsyendra / 

Chandralekha team 

c o m p e t e d 

independently in the 

design contest. They 

won, and the rest is 

history. From then 

on there was no 

looking back. The 

couple went on to 

win many more design contests and landed 

such prized projects as the AHW campuses 

in Birgunj, Lamjung and Pakhlihawa; the 

NTC projects in Naxal, Sundhara, 

Tripureshwor, Pokhara, Hetauda, 

Bhairawa, Nepalganj, Janakpur and 

Dharan. Matsyendra remembers, “During 

the great earthquake of 1988 the Nepal 

Telecommunication building in Dharan 

was used as a temporary shelter- such was 

its structural strength.” 

Other milestones included B&B Hospital 

including its extension, Nabil Bank 

Corporate Headquarters, Harisiddhi Brick 

and Tile Factory, Vaijaydeep Laboratories, 

Nepal Bayern Electric Building Complex, 

Kathmandu Plaza, UNFPA/Training 

Health Post Project, Kathmandu Tourism 

B & B Hospital, Lalitpur 

Service Centre, HMG/UNFPA National 

Health Training Centre Project and TU/ 

USAID/World Bank IAAS Development 

II Phase-Agricultural Manpower 

Development Project besides a host of 

other similarly large facilities like the Nepal 

Electricity Authority Complex at Durbar 

Marg, Municipal Infrastructure 

Improvement Project, Rigpe Dorje 

Institute in Phullahari, ‘Abenteuer Land’ 

Senior Citizen Home Project in Lalitpur 

and Maternity Hospital Development 

Project as well as the USAID/ Integrated 

Rural Health and HMG/UNFPA/ 

Integrated Community Health Services 

Development Projects. 

Among their largest projects have been the 

Sanchaya Kosh Building (1,80,000 sq. ft.) 

and the Agricultural Development Bank 

Centre in Thimi (1,00,000 sq. ft.) Although 

the former is in continuous limelight 

because of its location, the latter is not so 

much in the public eye even if it is an 

architectural achievement any architect 

would be proud of. Testimony to this effect 

has come from political leaders who have 

been housed there from time to time. As 

Chandralekha says humorously, “ Many of 

them have admitted that they didn’t want 

to come out. So pleasant was the 

environment and so convenient the 

facilities!” The couple’s own house in 

Kandevtasthan, Kupondole, is 

marvelously designed and has a solid 



PROFILE§ 

structure. In effect, Matsyendra is very 

particular about making sure that their 

projects are earthquake resistant. 

Chandralekha adds, “Even though we 

consult structural engineers we make all 

efforts to ensure correct supervision so 

that there are no discrepancies.” 

There can be no doubt whatsoever that 

Matsyendra and Chandralekha Kayastha, 

the first ‘architect couple’ in the country, 

have reached heights in their profession 

others can only dream about. Perhaps it 

was not only their self proclaimed 

‘sincerity’ or their professionalism that 

made such a success possible, one could 

also infer that perhaps the times were right 

for such a couple who were totally 

dedicated to their vocation. Perhaps the 

momentum of progressive works in the 

country was itself reaching new heights 

and perhaps it could have been a case of 

being in the right profession at the right 

time. Of course, even if so, one cannot 

but admire the professional skills and the 

earnest hard work the couple must have 

put in to go so far in their careers. One is 

also forced to wonder, ‘Could their success 

be attributed to the fact that each of the 

pair maybe was an inspiration to the other?’ 

Because everybody knows, inspiration 

breeds motivation and motivation, success. 

The couple have also successfully bred 

three children, two daughters and a son. 

And it is no surprise to know that Megha, 

the eldest daughter is doing her Masters 

in Interior Design in Singapore; Mausam, 

the other daughter is practicing and 

teaching in the USA having completed her 

C.E, Masters in Fine Arts as well as in 

Architecture, and the son, 

Manish, is doing his 

Masters in Architecture in 

Singapore. Behind their 

house in Kandevtasthan is 

a vacant plot that is fairly 

large and presently awash 

with greenery. 

Chandralekha reveals, “I 

think my son’s first project 

when he comes back will be 

to design and construct an 

apartment complex on this 

site.” One expects Manish 

to be as environment 

conscious as his mother 

when designing, and one 

supposes that the son will 

follow Matsyendra L. 

Kayastha’s axiom of 

architecture as ‘art to live in’. 

At the same time one does 

hope that the son will be as 

innovative as the parents, 

Above: Agricultural Development Bank, 

Thimi. 

Left: Boudhabari Complex, Kalimati 

Below: Nepal-Bharat Maitri Lalit Sabha 

Griha, Pulchowk. 

innovativeness which is all too apparent 

in the design of their own house which 

was built in 1979. A house that is 

conspicuous because of the semi circular 

aspects starting from the entrance itself 

and highlighted by the tall tusk like 

concrete structures enveloping the 

exteriors. One does hear about how the 

Kayastha House had become a topic of 

discussion back then. The founder/past 

president of SONA and one time jurist 

of JK Awards for Architectural Excellence, 

Rotarian Matsyendra, smiles, “Yes, it is also 

earthquake resistant”. During his tenure as 

the president of SONA M.L.Kayestha was 

instrumental in filing a court case against 

haphazard roofing plans on the Louis 

Kahn designed Health Ministry building 

in Thapathali. “Imagine, this is the only 

example of the great Kahn’s works in 

Nepal. Surely, it must be preserved well, 

but the government was bent on 

constructing self designed roofs on the 

edifice,” says Kayastha. So how did the 

case turn out? “While the case was still 

being filed, the government went ahead 

anyway and built the roof!” informs 

Chandralekha ruefully. S 



S oothing 

sensuality 


interior 

“The employees of the FMCG office on the floor above us often 

remark that they would love to work in our office below,” says an Alitalia staffmember. 

The offices of Alitalia is located on the third floor of Situ Plaza in Narayanchaur in Naxal and the soothing environment 

of the premises perhaps is the reason for such envy. Such words must be music to the ears of Interior Designer Bineeta Gurung 

Ghimire who was responsible for the 

making of an office anybody would love 

to work in. The Managing Director of 

Alitalia, Rajiv Malla, is a cultured man and 

it was but natural that he would be all for 

an interior designer who knew her mind. 

Bineeta, although shy and unassuming in 

nature, nevertheless, seemed to have some 

pretty strong ideas on what she was looking 

for when assigned the job. 

Facing Page: Well, yes, the reception 

does have an international feel as befitting 

an international airline. 

Above: Visitors would not mind waiting in 

such a relaxing environment. 

Left: Note the pillar-no small amount of 

ingenuity was needed to make it an 

integral part of the conference room. 


interior 

Although the plaza has solid structures and 

a fine looking exterior, circular concrete 

pillars through some of the rooms did 

make the project a bit more difficult. For 

example, the conference room in one 

corner of the Alitalia office premises was 

not large by any means, and this was 

further compounded by two substantial 

pillars running through it. One saving 

grace was the expansive windows lining 

the walls. 

Given the constraints, Bineeta went about 

making the room as spacious as possible 

and much was achieved by putting up 

Not much hype, true, but 

soothing and sensual 

nonetheless - an office that 

succeeds in creating a 

stylish impression. 

almost transparent blinds on the windows 

through which plenty of daylight could be 

available. An oval table with leather chairs 

around it was of course a required 

perquisite. But then, what to do about the 

pillars? One couldn’t wish them away, much 

as Bineeta would have liked to. She however 

added a touch of aesthetics by planking 

the unwanted pillars and coloring them a 

deep mahogany. In the process, adding a 

stylish touch to the room. 

Above: The reception in the bigger hall 

is no less eye catching. 

Left:: Frosted glass, low ceiling, 

embedded lights and marble floors result 

in a most soothing atmosphere. 

The lobby too had a similar problem which 

was dealt likewise. However, in this case 

since the space was much larger, Bineeta 

had much more room to play with. Marble 

floors and a false ceiling with strategically 

placed lights within, made for fertile 

ground in which to design the reception 

desk and seating arrangements. The 


Left: The MD’s office-simple but 

sober and dignified. 

reception on the far corner is a boat shaped 

structure painted a dark brown, and deep 

black leather sofas line two walls. Simple 

in arrangement - but sophisticatedly 

welcoming in outlook. Adjoining the lobby 

are frosted glass doors, one of which leads 

to the afore-mentioned conference room, 

and one to the MD’s office. Frosted glass 

has been used extensively, and rightly so, 

because they do enliven the surroundings. 

The MD’s room is small in size, and here 

too, Bineeta has followed a similar strategy 

regarding wise use of expansive windows. 

Minimalism reigns here as well, with just 

the right amount of furniture and 

furnishings. Indeed, the designer seems to 

be true to her words, “I don’t believe in 

unnecessary hype, I like simplicity”. The 

door next to the MD’s links this part of 

the office premises to the larger hall that 

is actually accessible through a main entry 

outside the lobby. This hall has a larger 

reception desk as well, and half a dozen 

or so working spaces, each segregated by 

glass dividers. Again, there is plenty of 

light. False ceilings give the hall a 

comfortable ambience and one can see that 

some thought has been applied to ensure 

smooth traffic. 

Not much hype, true, but soothingly 

sensual nonetheless - and an office that 

succeeds in creating a stylish impression. 

The Alitalia office premises is certainly a 

feather in Bineeta Gurung Ghimire’s cap. S 


S 

designer 

EEKING 

BEAUTY IN SIMPLICITY 

Text: G. Shrestha 

Simple in her manners, simple in her style, and simple in 

her approach to life, she asserts, “I stress simplicity in my 

designs and I like my works to be soothing and elegant.” 

“There’s enough work here for everybody,” 

opines Interior Designer Bineeta Gurung 

Ghimire. She passed out in 1993 with a 

Diploma in Interior Design from South 

Delhi Polytechnic for Women and plunged 

into the profession immediately, working 

alongside the gifted designer Tom Crees 

for about one year. “He is an immensely 

talented interior designer as well as an 

architect,” says Bineeta. “Oh yes, I 

definitely learnt a lot by working with him. 

In fact whatever success I am enjoying 

today has a lot to do with the year I spent 

under his wings.” The pert designer 

appears to be shy and introvert in nature 

but at the same time, is strong and 

unflinching in speaking out her mind. 

Perhaps this trait of hers has led to the 

success that has made her a very busy 

person today. Being born on the 27 th of 

August is maybe another reason according 

to the unassuming, but spirited, designer. 

Half jokingly, she says, “Being a fastidious 

Virgo makes me suitable for this vocation.” 

But is a match between a Virgo and a 

Scorpio as well suited? Bineeta got married 

in 1999 to Scorpion Prakash Ghimire and 

it seems the match is after all well made 

since Prakash himself runs a business, 

Exterior Interior, a supplier of 

construction material including paints and 

flooring. The firm in Hattisar is also where 

Bineeta has her offices and so, is aptly 

called, ‘The Designer & Flooring 

Specialist’. The ‘D & F’ couple have a 5 

year old son, Prakritiartha. 

“After my one year stint with Tom Crees, 

I started freelancing,” recounts the 

designer. “And I think I am blessed because 

even without approaching anybody for 

work, I began to get assignments.” Her first 

work was a Rs. 25 lakh turnkey project 

involving the interiors of an office on the 

4 th floor of Radha Bhawan in Tripureswor. 

Co-incidentally, one of her current 

ongoing projects involves the interiors of 

a show room in the very same building. In 

between then and now, Bineeta has 

completed a host of projects that include 

10 out of 30 Fitrite Shoe showrooms in 

Kathmandu, Biratnagar and Pokhara. “All 

the show rooms have a basic standard 

design,” she reveals. “Perhaps that is why 

I could finish the Biratnagar and Pokhara 

outlets in just 15 days.” No doubt she 

seems to be a fast worker and surely this is 

another trait that must go down well with 

her many clients. 

And, yes, one must also mention that 

Bineeta has worked independently all this 

while without even the aid of an assistant. 

However, as expected, the day has already 

come when she is starting to feel the pinch. 

“I had to refuse a couple of projects 

recently because of the lack of time,” she 

says. “I really feel bad because refusing one 

client is akin to refusing ten others. Word 

spreads.” That is why she is now thinking 

seriously of appointing another designer 

to assist her. However, it must also be 

mentioned that Bineeta is as finicky as she 

is pretty. Blame it on her star sign. And 

while perfectionism is certainly a priceless 

quality to have in this profession, it could 

be a little tricky as far as being satisfied 

with the work of others is concerned. 

Bineeta does admit to this lurking risk but 

seeing that there is no other way out, is 

pragmatic, and is already planning to 

concentrate on giving ample training to 

those who will work with her. 

Two of her works are quite conspicuously 

located-Woodland and Reebok 

showrooms in Durbar Marg. “The Reebok 

showroom was completed only very 

recently.” Seeing her portfolio of the large 

number of showrooms (including the 

remaining 20 Fitrite outlets yet to be done 

which she calls ‘projects in hand’), Bineeta 

could well be said to be a specialist in the 

field. This does not mean that she is not 

equally experienced in other areas. In fact, 

the project that is presently topping her 

list of ‘most satisfied works’ is the Alitalia 

office in Narayanchour, Naxal. The Fitrite 

office in Baluatar, the Vasulinga Sugar Mills 

office in Naxal, and the BASE 


International office in 

Baneswar were also designed 

by Bineeta. So too was the 22 

room Hotel Panorama in 

Lakeside, Pokhara, and the 

DG’s office at the Health 

Department, Teku, besides 

many, many residential 

interiors. Bineeta has worked 

in many cities including 

Bhairawa, where she has had 

the pleasant experience of a 

client involving her right from 

the beginning stage of 

construction. “The client sent 

me the drawings even before 

start of construction,” she 

reveals. “I could thus offer my 

suggestions which were 

incorporated accordingly in 

the original plans.” Her one fervent wish 

is that more clients would become as aware 

because involvement of the interior 

designer at a latter stage could require 

constructional changes thus incurring extra 

costs. “I believe this particular client had 

faced a similar problem when work was 

being done on his business premises.” Well, 

as they say, experience is the best teacher. 

Her own experience has shown that there 

is growing awareness about the need for 

specialists when doing interiors, but she 

does feel, as others surely do, that there 

are many architects who, besides exteriors, 

prefer to do the interiors as well. “It would 

be really nice if interior designers were 

consulted because interior designing is a 

specialized field,” she says. Bineeta does 

admire the work of many young architects 

including Sarosh Pradhan, who she thinks 

is creative, and Siddartha Gopalan, who 

she says, has a good eye for detail. Her own 

one year apprenticeship with Tom Crees 

taught her the value of doing detailed work 

and this is evident in her style of working. 

“I draw the plans keeping every minute 

detail in mind, down to the choice of 

furniture and furnishings-right at the 

drawing stage itself.” This could be why 

she does not have a particular time frame 

when working. “Conceptualisation takes 

time and the time taken can depend on 

the mood,” she says candidly. “After all, 

interior designing is a highly creative 

process and creativity can be stifled by 

rushing too fast.” At the same time, 

“Conceptualisation takes time and the time 

taken can depend on the mood,” she says 

candidly. “After all, interior designing is a highly 

creative process and creativity can be stifled 

by rushing too fast.” 

Bineeta does take care to stifle the costs 

so that she stays within budgetary limits. 

While doing so, she is of the opinion that, 

“Just because the budget is small does not 

mean that the design cannot be done to 

the client’s satisfaction. Most costs can be 

controlled by the discretionary use of 

materials and time. The visualized concept 

is not compromised.” According to her 

husband, Bineeta makes wonderful shoe 

racks! “Yes, of course, shoe racks are 

important,” laughs the lady. “You know 

how untidy it looks to see shoes lying 

around outside rooms and in the lobby.” 

But she makes many more things other 

than shoe racks. “You should see a staircase 

I have designed for a residence in Chabahil. 

It is all carved wood without handrails, and 

there are a lot of pedestals. I think it is 

one of the finest of any of my works.” 

Nevertheless, the lady is not very satisfied 

with what she has done till now and her 

logic is simplicity itself, “If I become 

satisfied then will that not make me 

complacent and less creative?” 

Verily, Bineeta is simplicity itself. Simple 

in her manners, simple in her style, and 

simple in her approach to life, she asserts, 

“I stress simplicity in my designs and I like 

my works to be soothing and elegant.” 

Well, seeing that she has so much work on 

hand and so much more up her sleeves, 

simplicity seems to be maybe a wee bit too 

simple an answer for her success. One has 

to presuppose that the lady is modest to a 

great degree. S 

S 


TRENDS 

U ’ll 

Like This! 

According to Architect Roma Amatya, the 

entrance and the living room are usually taken as 

the starting points while designing homes. 

Architect Archana Rajbhandari agrees that this is 

the normal modus operandi. However, Binod 

Koirala, MD of U-Like Homes Pvt Ltd., has a 

suggestion to make, “ Wouldn’t it be nice to plan 

a house with the kitchen and the bathroom as 

focal points?” He adds, “After all, these are the 

rooms where most time is spent.” Well, keeping 

in mind the fact that homeowners are preferring 

more convenient and contemporary designs, and 

that modern customized kitchens are now 


available in a diverse range of styles, there 

is logic in what Koirala says. Besides, 

according to him, “Since modular kitchens 

come in attractive colours and materials, 

even other décor in the house can be 

planned accordingly.” 

“Since modular kitchens come in attractive 

colours and materials, even other décor in the 

house can be planned accordingly.” 

This would of course imply that 

homeowners will have to make a selection 

of their preferred modular kitchen right 

at the beginning. Similarly, architects will 

have to accommodate and give first priority 

to the particular characteristics of the same 

when planning the kitchen. How far this 

is practical is for architects and interior 

designers to decide, but seeing that 

modular kitchens have become almost an 

integral part of any well designed home, 

and also realizing that such kitchens are a 

substantial investment, perhaps the 

argument holds water. According to 

Koirala, “Customized kitchens definitely 

could be the highlight of a home and if 


TRENDS 

selected early, people like us would have 

adequate time for installation to the 

homeowner’s satisfaction.” Binod Koirala 

has been in this business for the last five 

years. In 2003, he established U-Like 

Home Pvt. Ltd. in New Baneswar with the 

aim of supplying world class home 

appliances. By the end of 2004, the firm 

had started to design kitchens, introducing 

several innovative concepts in kitchen 

decoration using the latest 

Italian designs and the latest 

German technology. The firm 

claims that unlike most 

kitchens in the market which 

are readymade, its kitchens are 

custom made to exact 

requirements and taste. 

According to Koirala, 

standardized modular kitchens 

come in limited designs 

whereas U-Like Kitchens can 

be created within any area, in 

any size, offering a large 

selection of unique designs 

and finishes. 

He adds, “A twelve by fifteen 

feet area would be ideal for 

installing modular kitchens. 

And in fact, such kitchens are 

more cost effective than in 

those cases where kitchen costs are 

estimated on a per square feet basis.” This 

is seemingly because even unused area is 

taken into account when doing so whereas 

in the case of custom designed kitchens, 


this is not the case. Also, according to 

Koirala, since modular kitchens come in 

separate units, customers can even plan on 

a piecemeal basis if there are budget 

constraints, and can add-on later when 

conditions are more favorable. Which 

means that practically anyone can plan to 

have modular kitchens in their homes. This 

should come as good news to many 

homeowners who think that their budgets 

don’t allow them immediate access to such 

wonderful kitchens. 

“We also provide free of cost designing 

and cost estimation to all customers,” 

informs Binod. This is possible because of 

the firm’s production team of highly skilled 

personnel including engineers, project 

supervisors, interior designers and skilled 

and semi-skilled workers. 

U-Like Kitchens are claimed to be weather 

proof and suited for any climate. This is 

due to the use of Marine Plywood 

conforming to British quality specifications 

(BS476). The advantages delivered by 

Marine Ply are innumerable, especially in 

U-Like Kitchens are claimed to be weather proof 

and suited for any climate. This is due to the use of 

Marine Plywood conforming to British quality 

specifications (BS476). 

kitchens. It is fire retardant, boiling water 

resistant and termite proof, and makes a 

sturdy, durable framework for the most 

demanding kitchen. Membrane and post 

form shutters come in a wide range of 

sophisticated finishes to cater to just about 

any styling specification. 

The shutters are said to be the same as 

those used in Italy’s connoisseur kitchens 

and are available in different categories: 

solid wood shutters comprising the best 

and most beautiful in Oak, Cherry, Red 

Alder, Beech and others. U-Like’s technical 

team - all trained in CAD and well tuned 

to customers’ design requirements - assist 

with conceptualizing and designing. The 

firm’s efficient Kitchen Task Force also 

carries out stringent quality checks at every 

stage and executes on-site assembly, taking 

care to comply with the minutest detail. 

Customers are encouraged to place orders, 

make enquiries and check job status online. 

All in all, the firm asserts professional 

service and its U-Like Kitchens assure 

provision of world-class design, material 

and installation- custom-built to suit 

individual lifestyles, space and budgetary 

requirements. S 


PRODUCTS 

AMAZING WONDERS FROM 

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BerryLOC –Glueless Installation: 

Berry Floors of Belgium is a leading 

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and the Berry Group claims to have 

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The company has introduced a host of 

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advantages include unique precision fit, no 

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Besides, the BerryLOC profile highlights 

its capacity of supporting a load of 550kg 

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The Systems: All Berry Floor laminated 

flooring have a choice of different systems. 

WoodStructure system conveys 

structurally, real wood; WoodStructure+ 

creates a structure on each board that 

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WoodView allows for standard chamfer, 

again ensuring a V-groove; WoodView4 

facilitates all four sides to be chamfered 

resulting in an attractive V-groove; Contour 

allows various edges to be contour 

enhanced so that one gets the illusion of 

a multitude of boards assembled with 

precision; and with WoodSound the 

acoustic properties become identical to 

those of parquet. Similarly, with 

SoundAbsorb, there is significant noise 

reduction while with StoneStructure, the 

structure is identical to that of natural 

stone for engineered tiles. StoneStructure+ 

ensures faithful fit into the décor. 

The Collection: The newest range 

includes Chateau, Residence, Hacienda, Regency, 

Cottage, Loft Select, Loft Project, Casa for Kids, 

Casa and Tiles. Chateau is available in 

WoodStructure, WoodStructure+, 

SoundAbsorb and Micro WoodView 

systems and the patterns follow a ship deck 

layout. Chateau is designed as long boards 

for easy installation and for an 

intensification of the visual effect. Residence 

is a laminate flooring with extra wide 

boards (24.1 cm) that ideally replicates true 

solid parquet. Incorporating the 

WoodStructure and 

WoodView systems, 

Residence offers a 

structure identical to 

real wood and exhibits 

an attractive V-groove 

after assembly. 

Hacienda is ideal for 

covering long rooms 

because it comes in 

lengths not less than 2 

meters long. Using the WoodView4 and 

WoodStructure systems, the boards are 

chamfered on all sides, and due to their 

length, combined with the BerryLOC 

system, can be installed very quickly. Regency 

is asserted to be the first floating 

engineered flooring in the world available 

in two different widths-12 and 17 cm. 

Equipped with either WoodView or 

WoodView4 as well as with WoodStructure 

and WoodStructure+ systems, Regency 

provides for a wide creativeness in 

designing. Cottage assures a wide range of 

rustic or authentic decors and because of 

the WoodStructure and WoodView 

systems, displays real characteristics of 

wood besides creating a V-groove. 

Loft Select is available in different systems. 

Micro WoodView presents a subtle V- 

groove between boards; Matlook gives the 

boards a matt finish; WoodSound provides 

for the same sound as solid parquet 

flooring and WoodStructure+ creates a 

structure identical to real wood. Loft Project 

has outstanding resistance, durability, and 

good water resistance, thereby making it 

ideal for heavy traffic areas and bathrooms. 

Casa for Kids come in trendy colours: mouse 

grey, dolphin blue, frog green and canary 

yellow. Casa has the WoodStructure and 

Contour systems, making it suitable for 

bedrooms, living rooms, hallways and small 

offices. Ceramic Tiles have the 

StoneStructure and StoneStructure+ 

systems affording the warmth of wood 

along with the beauty of tiled floor. Natural 

Tiles impart an aura of the nobility of 

natural stone thanks to the unique 

StoneStructure system. 

All of the above are available in various 

different colours and come with a 25 year 

guarantee period. S 



TIPS 

LIVING THE ELECTRONIC LIFE 

HOME ENTERTAINMENT 

Time is short and the search for easier and 

faster methods of accomplishing things 

related to daily chores has opened up vast 

choices. Entertainment being one of the 

major parts of daily life, it plays a very 

important role with respect to balancing 

one’s state of mind - more so with the ever 

increasing pace of living. As the saying 

goes ‘All work, no play, makes Jack a dull 

boy’-a certain amount of entertainment is 

paramount to the conduct of a perfect 

and healthy life. With the advent of 

television, watching movies has never been 

easier. The hassle of queuing up in long 

lines for tickets to watch your favourite 

movie, or the pain of having to cough up 

more than you can afford when having to 

buy tickets in the black-market (specially 

on a date), is a thing of the past. One may 

argue of course that there is nothing like 

watching a movie full screen in a public 

theatre. True, but this section of 

entertainment is developing so fast that the 

cinema hall will one day surely be a very 

expensive and time consuming luxury that 

few can afford. 

The Home Theatre: A true Home 

Theatre is a custom designed room with 

projector, large screen and surround sound 

system (usually built in and hidden). This 

dedicated environment is a mini movie 

theatre complete with serious theatre seats, 

climate control, noise control, and remote 

control. Here we apply the term loosely 

to any system that integrates TV, video 

sources, and surround sound. 

Surround Sound: is basically a collection 

of speakers placed in such a way that a 

sound field is created that totally envelops 

the listeners. Typically, five speakers are 

used but more may be used in difficult 

environments. Besides the usual left and 

right front speakers, left and right 

surrounds are added to create the sound 

field. A fifth speaker called a centre channel 

is placed near the television and used when 

you watch a movie. This speaker helps to 

make movie dialogue clearer and locks the 

voices to where you see the mouths move. 

Normal speakers have limitations in terms 

of how low a frequency they can 

reproduce and so, nowadays, an additional 

speaker (called a subwoofer) is added to 

cater for the low bass that normal speakers 

just can’t play. Movie soundtracks especially 

contain a rich low bass content that adds a 

tremendous amount of atmosphere if you 

can hear it. 

Processors: in home theatre amplifiers 

decide which sound must be heard where, 

to create a coherent, believable sound field. 

Essentially, the processor contains 

computer code which tells it how to 

interpret the signals from your DVD, video 

or whatever. What it doesn’t know 

however, are things like speaker placement, 

room size, how loud they play and the 

location of the listeners. So to get your 

system working properly you need to tell 

the processor these and a few other things. 

Text: Pradeep K Upadhyay 

Changing a few parameters in the set-up 

is a far from daunting task if you can read, 

but it is amazing how many quality systems 

out there disappoint for lack of proper setup. 

Besides quality of components and 

proper set-up there are a number of factors 

that influence the quality of sound field a 

system can create. Often overlooked is the 

room, and the need to match components 

to the environment. You don’t go to sea 

in a dinghy and conversely you don’t float 

an ocean liner in a pond. 

Setting up a Home Theatre: If you have 

invested in some home theatre kit, then 

no doubt the question of where to put all 

this stuff has arisen. Correct placement of 

speakers and screens relative to the room 

and the audience makes a huge difference 

to the performance and enjoyment of the 

system. Wiring the system and calibration 

of the set-up parameters is the next step. 

If you are planning to build a house and 

want to incorporate a home theatre, then 


your designer should address the following 

factors in the design: 

1. If the room is used for other activities 

besides the home theatre, then obviously 

these have to be catered for. 

2. Big openings towards sources of noise 

(road with traffic) should be avoided. 

3. Excessive noise from HVAC (heating, 

ventilation and air-conditioning) system 

must be addressed in the design phase 

itself, since rectifying procedures after 

construction is done will be expensive and 

quite difficult. 

4. Wherever practical, choose a rectangular 

room and place the screen and front 

speakers along one of the short walls (the 

length of the room helps the low 

frequencies develop). 

5. A ratio of 1:1.4:2.1 (H:W:L) in the room 

dimensions should be maintained to avoid 

unwanted standing wave problems. Skewed 

walls will definitely also help in minimizing 

standing waves.s 

6. Walls, except the sidewalls close to the 

screen, should be absorptive. However, 

care must be taken to balance both 

absorption and diffusion of sound. Too 

much absorption will result in a ‘dead 

environment’. There are several 

commercially manufactured products for 

both absorption and diffusion of sound. 

7. A nice thick carpet and use of curtains 

and soft furnishings can absorb some of 

the echo and reverberation. 

8. A point of concern in home 

theatre owners can be 

transmission of sound (noise) 

either from other activities in the 

home into the theatre or from 

the theatre to other parts of the 

home. This noise is usually 

transmitted through the weaker 

points like doorways, windows 

and other openings. Hence, 

before improving the isolation 

quality of the wall, noise path 

through these weaker points 

needs to be addressed first. A 

weather strip or a drop seal on 

the doors and windows can be 

some of the options to control 

unwanted transmissions. 

9. Sound isolation can be 

achieved either by massive 

construction, an airspace in 

between of the elimination of 

any structural connections that may 

transmit sound. However, due to the low 

frequency of bass music, proper isolation 

can be difficult to achieve. 

10. In a larger room with floor standing 

front speakers it sometimes helps to hang 

curtains directly behind the speakers. 

Additionally, for a good audio image, try 

to keep the area between the front speakers 

as clear as possible. 

11. If your floor is of a hard material like 

ceramic tile, and for aesthetic reasons the 

décor is minimal, then from a sonic 

viewpoint you have a problem. In such 

cases, select some form of satellite (small 

wall mounted) speakers and over-engineer 

the subwoofer. In a larger room it is wise 

to use two subs. Alternatively call in a 

sound engineer who may be able to 

recommend a way to control the echo and 

reverberation that typically plays havoc in 

such an environment. 

Gone are the days of ‘Sholay’ and ‘Enter 

The Dragon’ when the craze for the silver 

screen made people travel even up to Patna 

from Kathmandu just to hear Gabbar 

Singh roar “Arey oh Samba” and Bruce 

Lee dish out kicks and chops with his 

famous screech and scowls. Clearly, these 

are exciting times for entertainment lovers 

with a high-tech bent and a passion for 

music and cinema. S 


REPORT 

Flirting 

Text: Kamana Dhakhwa, Swasti Bhattarai 

culture of opposition 

with convention through ‘ 

THE OUTRAGEOUS CONCERT OF OZZY OSBORNE, WHO EATS A BAT THROWN OVER THE STAGE 

LEAVING THE AUDIENCE SHOCKED, OFFENDED AND FASCINATED! WHY IS THE SCENE 

SHOCKING? BECAUSE IT IS UNEXPECTED AND WHY IS IT UNEXPECTED? BECAUSE IT IS OPPOSING 

THE THEORY OF WHAT IS ACCEPTABLE. 

Breaking the shell 

When one form reaches unprecedented 

heights, another invariably seeks to 

challenge it! Let us begin with the end of 

Classicism. Renaissance, Gothic or 

Baroque which used ‘complexity of details’ 

as the element of attraction were so 

famous and loved, that it became beautiful 

convention and then invincible. But times 

change and along came new ideas and 

technology that became an impetus to 

oppose convention that was too complete 

beyond tolerance. Hence, the culture of 

opposition began, marking the end of 

classicism and the beginning of 

modernism- a culture of today that 

attempts to rephrase the idea of beauty in 

resisting history and pre-self. 

Culture of opposition and architecture 

of controversy 

To understand the culture of opposition, 

let us refer to the simple example of 

fashion shows. We often notice anorexic 

models on the ramp, and we question their 

presence. The fact is we notice. And for 

the culture of opposition, ‘noticing’ means 

‘everything’. A fact musicians are all too 

aware of, apparent in the apparels and 

The Ronchamp Chapel 

mannerisms with which they ornate 

themselves and their acts in. The 

outrageous concert of Ozzy Osborne, 

who eats a bat thrown over the stage! 

Leaving the audience shocked, offended 

and fascinated! Why is the scene shocking? 

Because it is unexpected and why is it 

unexpected? Because it is opposing the 

theory of what is acceptable. 

Hence, the culture of opposition is a 

characteristic perception of modernism 

with persistent tendency to provoke 

controversy, questioning the accepted 

convention on demanding attention! 

According to Lebbeus Woods, 

‘Architecture of Controversy’ is one such 

culture of opposition where the architect 

is at war with time, with its history and 

with all authority that resides in fixed and 

frightened forms. However, it is not the 

war of violence or destruction but of 

competition and construction. On 

opposing time, history and authority, art 

and architecture has roared such 

controversy and such amazing output of 

new vision that its popularity has grown 

many folds. 

The Ronchamp Chapel, an icon of 

postmodernism that Le Corbusier built in 

the mountain village of Ronchamp, 

France, is one of his most talked about 

projects. Critiques often argue that 

planning a church has proven an involved 

problem for contemporary architects. The 

general tendency is to go back to the old, 

well-worn forms, because of some strange 


inhibition created by the subject itself. But 

when some one attempts to shed the 

norms, he is looking for trouble. The 

Ronchamp was so controversial that a 

petition against Le Corbusier’s chapel went 

all the way to the Vatican! But today it 

stands as an icon of transition in church 

architecture. 

Form follows function. Or does it? 

Eisenmann’s ‘form follows form’ and 

Calatrava’s ‘function follows form’ like 

celebrated dictums are getting famous 

adding fascination to this wave of 

opposing culture and architecture of 

controversies. Controversy is such a stage 

of distraction that actually gifts the 

controversial object, a central stage which 

makes everyone aware of its existence. 

This phenomenon actually 

works for the fame. In the 

art world, endless 

controversy was aroused 

around the Sarcastic 

Olympia. 

Understanding 

Controversies of Sarcastic 

Olympia 

Manet’s Olympia was a 

shocking subject matter 

when it was painted in 

1863, exhibited in the 

Salon of 1865. Here, the artist’s source was 

exemplary: titan’s Venus of Urbino. 

Nudity was accepted in paintings when 

they were portrayed as goddesses in 

Renaissance art and Manet’s depiction of 

nudity was a model or even a 

prostitute and by doing so he 

deliberately flouted accepted 

social conventions. 

Then there is Yasumasa 

Morimura’s Commentary on 

Olympia (1988). He 

constructed an elaborate set of 

Olympia’s boudoir in which he 

posed both as the infamous 

courtesan and as her maid. In 

apparently gleeful 

modifications to the Manet 

painting, one can see serious 

intrusions into modern art 

history. And now on searching 

the net we can even find the 

George Bush version of 

Olympia sending diverse 

controversial messages. 

Much captivating than George 

Bush as Olympia are the 

numerous architecture of 

controversy, which took bold 

and dangerous steps, yet 

succeeded in coming out as 

winners. Below are a few 

examples, which not only 

caused extreme furore when 

they were built but are still 

debated upon. 

Architecture of Controversy 

At the heart of Paris, amongst 

the historically valued 

Pompidou Center, Paris, France 

monumental buildings, stands the machine 

like Pompidou Center designed by Renzo 

Piano and Richard Rogers. It not only 

contrasts tradition but its style opposes the 

very convention of hiding structural and 

technical parts of the building like trusses, 

marine funnel, vents, pipelines and ducts 

and imaginatively flaunts it. The design 

gives the open-space flexibility because the 

structure and service facilities were 

channelled along the outer walls, leaving 

the interior open to be freely subdivided, 

and suitable for the multitude of 

changeable institutional and public uses. 

But many Parisians perceived the centre 

as offensive, and thus expected it to be 

embraced only temporarily. 

The building duly caused unimaginable 

uproar with the overwhelming majority 

rejecting the rebellious form as an anarchic 

addition upsetting the tranquillity of the 

traditional setting. Little were people aware 

that this controversy would ultimately lead 

to the building’s popularity and eventual 

acceptance. Of course the success owes 

much to controversy as it does to the 

imaginative and flexible interior spaces. 

The very fact that the most high tech 

architects of the time, Renzo Piano and 

Richard Rogers were awarded to design a 

cultural centre within the historical city 

fabric, was to uproar controversy. The 

architects were actually encouraged to take 

on industrial expression. 

Early criticism aside, the fact that the 

Pompidou is one of the most frequently 

visited facilities in Paris speaks volumes of 

its success today. The building has become 

an icon to Parisian popular culture, housing 


REPORT 

France’s National Museum of Modern Art, 

a public library, an audiovisual center, a 

rooftop restaurant and Internet café. 

Needless to say it has succeeded in gaining 

high social acceptance. 

Pompidou Centre stands as a peculiar 

example of an architecture that is aimed 

for establishing new trends rather than 

following the current mode. People often 

change their acceptance once they start to 

use the building. This is because true 

architecture value is in the quality of space 

rather than exterior appearance alone! 

‘The magician of light’, Ieoh 

Ming Pei’s design for the 

new entrance to the Paris 

Louvre is as famous as the 

museum itself. In designing 

this new entrance to the 

Louvre Museum that 

houses Leonardo’s famous 

“Mona Lisa”, he 

constructed the neomodern 

glass pyramid 

famous as the Grand 

Louvre Pyramid in the 

courtyard of the Louvre. 

While the traditionalists argued that it 

destroyed the dignity of the Renaissance 

courtyard, the progressive admirers hailed 

Pei’s seventy-one-foot tall transparent 

pyramid as a dazzling synergy of ancient 

structure and modern method- a symbolic 

link between the old and new- helping 

usher the Louvre into the next millennium, 

thus making its existence controversial. The 

Pyramid deliberately turns the tradition and 

concept of pyramid inside out. A pyramid 

is supposed to be solid, dark and solitarya 

mesmerizing symbol of the exotic world 

beyond the streets and cultures of Europe. 

In contrast, Pei’s version consists of clear 

glass, almost immaterial, a vast skylight 

hovering over streams of museum visitors 

as they are channelled into the Louvre 

galleries through the below-ground 

Grand Louvre Pyramid, Paris, France 

entrance corridors. (H. H. Arnason, Peter 

Kalb (Revising Author), History of 

Modern Art). Besides its association of 

timelessness and brilliant ingenuity in 

lighting an underground space, the 

ensemble is a superb example of how new 

buildings in old settings do not always have 

to accommodate themselves to the style 

of their ‘found’ surrounding. 

The above examples justify the appetite for 

breaking conventions, resulting in a more 

fascinating architecture. But these 

architectures often stand exuding Salome’s 

mysterious beauty. 

Salome was a young princess, enchanting 

and beautiful. Once, she danced at the 

Royal court for her stepfather, King Herod. 

Delighted by her performance, he granted 

her a wish. Salome demanded for the head 


SALOME in symbolist art an analogy: ‘Beauty mocks Intellect’ 

of Saint John the Baptist, a brilliant and 

intellectual advisor to the king. Her wish 

was granted. Thus, Saint John’s intellect was 

defeated to Salome’s beauty. Salome thus 

stands as symbolism exemplifying beauty 

that mocks intellect. 

Analogous to Salome’s beauty, there is the 

architecture of fascination such as John 

Utzon’s Sydney Opera house which was so 

complicated a design mimicking the sea 

shells, that it took many years to configure 

its structural aesthetic. 

Santiago Calatrava, the architect, structural 

engineer and an artist, made quite good 

use of his artistic idea of architecture into 

structural wonder in the fascinating leaf 

like wing, sweeping upward in a curve, 

reaching a height of 197 feet at the 

Auditorio de Tenerife. This wing 

construction cost almost half the project 

cost and when Calatrava was queried 

regarding its function, he simply replied 

by saying that it had a purely aesthetic 

purpose. Designed in obvious violation of 

Berlin height restrictions, Peter 

Eisenmann’s Max Reinhardt Haus has not 

yet been built. But Eisenmann still states 

“it will become a truly prophetic 

building…” 

Just like Salome’s beauty mocks intellect 

the progressive acceptance and fascination 

of such architecture mocks rationality in 

preaching extravagant beauty. S 

References: Books 

1. H. H. Arnason, Peter Kalb (Revising Author), 

History of Modern Art: Painting, Sculpture, 

Architecture, Photography: Fifth Edition, Prentice 

Hall, Inc, 2004 

2. Monica Bohm-Duchen and Janet Cook, An Usborne 

Introduction: Understanding Modern Art, 

3. Michael Rush, New Media in Late 20th-Century Art, 

Thames and Hudson ltd, London, 1999 

4. Matthew Collings, This is Modern Art, Weildenfeld & 

Nicolson, London, 1999 

5. Architectural Design: New Age = New Architecture, 

Academy Group Ltd, 1997 

6. Selected by Bill Lacy, 100 Contemporary Architects: 

References: Drawings and Sketches, Websites 

www.galinsky.com 

www.archspace.com 

www.greatbuildingsonline.com 

http://www.eyeconart.net/history/19th%20c./ 

http://www.victorianstation.com/palace.html 

http://cs.clark.edu/~hum101/Humanities_101/ 

http://ah.bfn.org/a/church/28/source/2.html 

http://galleryofart.wustl.edu/art/imgLarge/30lg.html 

http://www.artchive.com 

http://www.defensiblespace.com/book/ 

http://www.defensiblespace.com/book/ 

http://www.bluffton.edu/~sullivanm/gehryloyola/ 

http://ana.makeupyourmind.nu/trigs.html 

http://www.artnet.com/magazine_pre2000/ 

http://www.buecher.de/verteiler.asp 


Perfecting the art of printing 

VARIETY PRINTERS Pvt. Ltd 

P.O.Box. 9240, T.U. Road, Kuleshwor, Kathmandu, Nepal. 

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



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Patan Dhoka 

Lalitpur 

Phone: 5528810 

Matsyendra Lal & Chandralekha Kayastha 

Architects 

MLK Building 

Kandevtasthan 

Kupondole 

Lalitpur 

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