Spaces Vol 1 Is 6
time assessment of the site definitely posed some obstacles. At that moment, it was immediately decided that these inherent negative points of the site must be turned into its positive features for the design to be effective. The remedy started with designing the false ceiling in such a way that it would hide all the harsh structural elements yet make it aesthetically pleasing. Since the existing ceiling was very low and adding a false ceiling would make it even lower, it was decided to highlight it with carefully placed light fixtures for ornamentation as well as for general lighting. This approach to the lighting in J Bar made it pleasingly aesthetic as well as efficiently functional. The other main issue that had to be dealt with was the shaft. By turning it into the liquor display unit, highlighted with more recessed lighting, it has become the main focus of the bar. BEING SPECIAL Certain unique features have been adopted in J Bar: the lighting effects, the ‘rat eaten marble’ and the extensive use of glass. Like a painting, the marble on the wall tells a story and needs to be perceived in that way. The many shades of ochre, the grains and the unfinished rawness of the marble becomes a centrestage in J Bar. The mood lights used enhances a personal theory of bar design being akin to setting up of a theatre. It has been used here to make drama, to set a stage, to create an atmosphere, to make people happy with this riot of Above: Like a painting, the marble on the wall tells a story. The many shades of ochre, the grains and the unfinished rawness of the marble becomes a centre-stage. Left: The low false ceiling, with carefully placed light fixtures, hides all the harsh structural elements, making it aesthetically pleasing and functional. 64 SEP-OCT 2005 SPACES
colour all around. These lights are programmed on timers and can play with the colour of the season. They can be programmed and controlled to whatever colour required, thus setting the mood for the evening. IMPLEMENTATION The construction took approximately 2 ½ months for which local contractors were employed to do the job. A major problem encountered during construction was the unavailability of proposed construction materials. Quite a number of days were spent in trying to source out materials locally. There were instances when the required material was found but not in enough quantities. Eventually it was decided to bring everything in from India as the bar was scheduled to open soon. Although each and everything was brought in from India, including the furniture, marble, tiles, glass, chillers, the bar backup equipment, as well as all the serving dishes, the sound equipment as well as the mood lights were imported from UK. Sound and light engineers were specially brought in from Delhi to install the systems. AND AT THE END J Bar is simple in its design. It is an uncomplicated ambience created to soothe the nerves and yet be able to play up the emotions - whichever way one wants to look at it. Paintings as artworks have intentionally not been used. Rather the natural marble and prolific use of glass has been incorporated as the medium. The walls are bare, completely stark, and as darkness sets in, the riotous lighting plays havoc. The hall with its beams, shaft and columns, perceived initially as design constraints, is in fact the canvas on which colour has been filled. The bar is also a play of light and shadow. The lines are clean, crisp, minimalist and almost clinical in approach. J Bar is one place where no compromise was made in terms of quality and where it was very clear to all concerned as to what the end product had to be – a place to unwind, to relax and to be anywhere in the world that they wanted to be. J Bar truly reflects the personalities of its owners, Anand Gurung, Cabinet Shrestha and Gagan Pradhan, trendy, happening and with the times!! It could not have been accomplished without the immense faith they had in my design ability. S Above & below: The mood lights make drama, sets a stage, creates an atmosphere, makes people happy with the riot of colour all around. SPACES SEP-OCT 2005 65
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- Page 15 and 16: MASS HOUSING Thank you for a very i
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- Page 23 and 24: “When I was a kid, elders would a
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- Page 27 and 28: Emerald Pools SPACES SEP-OCT 2005 2
- Page 29 and 30: figurines in a spiral arrangement (
- Page 31 and 32: Text: Kathmandu Valley Preservation
- Page 33 and 34: The restoration of Kal Bhairav was
- Page 35 and 36: mortar. On removal of this cladding
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- Page 39 and 40: This view is in fact one of the key
- Page 41 and 42: Traditionally, hotels and resorts h
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- Page 45 and 46: axis’s - rather, structures occur
- Page 47 and 48: unavoidable in most Pokhara images.
- Page 49 and 50: Resort has 61 standard rooms, all o
- Page 51 and 52: CRAFTS DRIFTING T O W A R D S FAME
- Page 53 and 54: is?” No need to guess, it clearly
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- Page 57 and 58: HOTEL WITH A HISTORY Nov/Dec 2004 T
- Page 59 and 60: JOURNEY THROUGH S P A C E S FLAUNTI
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- Page 63: INTERIOR Text: Sonia Gupta The wall
- Page 67 and 68: Sonia Text: A.B. Shrestha Sonia’s
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- Page 71 and 72: ARCHITECT ROBERT WEISE: Text: Kai W
- Page 73 and 74: PROFILE§ Above: Royal Palace propo
- Page 75 and 76: palace and framed it with a ‘Nepa
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- Page 79 and 80: About one and a half kilometres fro
- Page 81 and 82: Above: One is treated to such a sig
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- Page 85 and 86: - all with attached bathrooms - con
- Page 87 and 88: a bypass road for Greater Kathmandu
- Page 89 and 90: SPACES SEP-OCT 2005 89
- Page 91 and 92: Kathmandu Patan Bhaktapur ZONE A: S
- Page 93 and 94: Quality output calls for quality in
- Page 95 and 96: ACCESS BOON FOR HOUSING COLONIES Ma
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- Page 99 and 100: Picture framing is an art by itself
- Page 101 and 102: SURFACE PREPARATION 7. Newly plaste
- Page 103 and 104: complementary of the background col
- Page 105 and 106: TRANSITIONAL HICCUPS Courtesy: Dr.
- Page 107 and 108: Oak Tree Celebrating The Grand open
time assessment of the site definitely<br />
posed some obstacles. At that moment,<br />
it was immediately decided that these<br />
inherent negative points of the site must<br />
be turned into its positive features for<br />
the design to be effective.<br />
The remedy started with designing the<br />
false ceiling in such a way that it would<br />
hide all the harsh structural elements yet<br />
make it aesthetically pleasing. Since the<br />
existing ceiling was very low and adding<br />
a false ceiling would make it even lower,<br />
it was decided to highlight it with<br />
carefully placed light fixtures for<br />
ornamentation as well as for general<br />
lighting. This approach to the lighting in<br />
J Bar made it pleasingly aesthetic as well<br />
as efficiently functional.<br />
The other main issue that had to be dealt<br />
with was the shaft. By turning it into the<br />
liquor display unit, highlighted with more<br />
recessed lighting, it has become the main<br />
focus of the bar.<br />
BEING SPECIAL<br />
Certain unique features have been<br />
adopted in J Bar: the lighting effects, the<br />
‘rat eaten marble’ and the extensive use<br />
of glass. Like a painting, the marble on<br />
the wall tells a story and needs to be<br />
perceived in that way. The many shades<br />
of ochre, the grains and the unfinished<br />
rawness of the marble becomes a centrestage<br />
in J Bar. The mood lights used<br />
enhances a personal theory of bar design<br />
being akin to setting up of a theatre. It<br />
has been used here to make drama, to<br />
set a stage, to create an atmosphere, to<br />
make people happy with this riot of<br />
Above: Like a painting, the marble on the<br />
wall tells a story. The many shades of ochre,<br />
the grains and the unfinished rawness of<br />
the marble becomes a centre-stage.<br />
Left: The low false ceiling, with carefully<br />
placed light fixtures, hides all the harsh<br />
structural elements, making it aesthetically<br />
pleasing and functional.<br />
64 SEP-OCT 2005 SPACES
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