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Vol 13 N o. 04<br />
SEPTEMBER <strong>2017</strong><br />
ART<br />
ARCHITECTURE<br />
INTERIOR<br />
THE ECOCITY<br />
WORLD SUMMIT <strong>2017</strong>: MELBOURNE<br />
AUSTRALIA AND THE CONCEPT OF ECOCITY<br />
The Fruition of Heritage<br />
Karkhana<br />
Reclaiming<br />
streets<br />
as public space<br />
Eternal Visions<br />
and Contemporary<br />
Forms<br />
NRS. 100/-<br />
facebook.com/spacesnepal twitter.com/spacesnepal<br />
EL MUSEO PRADO<br />
en FILIPINAS del
2 / <strong>SPACES</strong> SEPTEMBER <strong>2017</strong>
SEPTEMBER <strong>2017</strong> <strong>SPACES</strong> / 3
4 / <strong>SPACES</strong> SEPTEMBER <strong>2017</strong>
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Contents<br />
Volume 13 N O. 04 | SEPTEMBER<br />
S P A C E S N E P A L . C O M<br />
22 ARCHITECTURE 36 ARCHITECTURE 62 ARCHITECTURE<br />
Kaleidoscope:<br />
Reclaiming streets as public space The Ecocity World Summit <strong>2017</strong>:<br />
Heroes of Future <strong>2017</strong><br />
Melbourne Australia and the concept<br />
28 ARCHITECTURE<br />
The Fruition of Heritage<br />
Karkhana <strong>2017</strong><br />
44 INTERNATIONAL FEATURE<br />
El Museo Prado en Filipinas del<br />
50 INTERIOR<br />
Manbhawan Project<br />
54 INTERIOR<br />
Geological impact of Color<br />
Combination<strong>2017</strong><br />
76 FROM THE SHELF<br />
Art and Culture of Nepal<br />
78 ARTSPACE<br />
E-arts<br />
8 / <strong>SPACES</strong> SEPTEMBER <strong>2017</strong>
and floating 3:1 right shares of the<br />
paid-up capital maintained after<br />
distributing the bonus shares to<br />
its existing shareholders. Both the<br />
proposals are subjected to approval<br />
from the central bank the upcoming<br />
AGM of the bank.<br />
Presently, the bank has a paid-up of Rs<br />
2.75 billion. After the distribution of the<br />
bonus shares, the paid-up capital of the<br />
bank will reach Rs 4.67 billion. The bank<br />
said if it <strong>issue</strong>s the 3:1 right shares, the<br />
paid-up capital of the bank will reach Rs<br />
6.24 billion.<br />
Everest Bank<br />
Support for<br />
Manakamana Temple<br />
Everest Bank has provided its support to<br />
Mata Manakamana Temple. As part of<br />
its CSR activity, the bank provided<br />
incense stick stands and dust bins to the<br />
temple during a programme held at the<br />
temple premises.<br />
Dr Ram S Sangapure, Executive Director<br />
of Punjab National Bank and Someshwar<br />
Seth, CEO of Everest Bank handed<br />
over the items to Garidhari Sapkota,<br />
Executive Director of Temple Area<br />
Development Committee.<br />
Money transfer company MoneyGram<br />
has distributed prizes to the winners<br />
of its scheme launched during<br />
the festive season. The company<br />
distributed 10 motorcycles, 10<br />
refrigerators and 10 mobile phones to<br />
the winners. Julius, Senior Director<br />
of South Asian and JCC Countries of<br />
MoneyGram handed over the prizes<br />
to the winners with a promise of<br />
providing more services beyond the<br />
customer's expectation.<br />
Muktinath to Distribute 34% Bonus Shares<br />
The 10th annual general meeting (AGM)<br />
of Muktinath Bikash Bank has approved<br />
the proposal of distributing bonus<br />
shares at 34 percent to its shareholders.<br />
The AGM also approved the proposal<br />
of distributing 50 percent right shares<br />
of the paid-up capital maintained after<br />
distributing the bonus shares and right<br />
shares. Moreover, the bank has also<br />
approved relocating its central ofce at<br />
Kamaladi, Kathmandu and providing<br />
authorisation to the board of directors to<br />
initiate merger or acquisition processes<br />
with other BFIs.<br />
Nepal Gramin Bikash Bank Net prot<br />
Increases Two Folds<br />
The net prot of Nepal Gramin Bikash<br />
Bank has increased by two folds during<br />
the rst quarter of the current FY.<br />
During the review period, the bank<br />
earned a net prot of Rs 30 million. The<br />
bank said the increase has been<br />
attributed to the increase in operating<br />
prot and net interest income. Similarly,<br />
the operating prot of the bank<br />
increased to Rs 45.5 million in the rst<br />
quarter of the current FY, a three-fold<br />
increase compared to the same period<br />
last year. Moreover, the loan extension<br />
of the bank has increased by 21.31<br />
percent to Rs 6.85 billion. However, the<br />
reserve fund of the bank has decreased<br />
by 80.21 percent to Rs 45.8 million<br />
during the review period.<br />
Insight Spaces Private limited ,Tara Bhawan, 1st Floor (Near Prakash Pharmacy), Teku, Kathmandu, Nepal<br />
Landline: 01-4100235, 01-4100236 Mobile no.+977-9801900099, E-mail: marketing@insightspaces.com<br />
NEW BUSINESS AGE DECEMBER / 2016
Volume 13 N O. 03 | AUGUST<br />
Contributors<br />
CEO<br />
Ashesh Rajbansh<br />
Editor-in-Chief<br />
Ar. Sarosh Pradhan<br />
Director- Products and Materials<br />
Ar. Pravita Shrestha<br />
Contributing Art Editor<br />
Madan Chitrakar<br />
Kasthamandap Art Studio<br />
Junior Editor<br />
Shreya Amatya<br />
Sristi Pradhan<br />
Pratap Jung Khadka<br />
Advisor<br />
Ar. Pawan Kumar Shrestha<br />
Subscription and Administrative Officer<br />
Riki Shrestha<br />
Contributing Editor<br />
President - Society of Nepalese Architects<br />
Ar. Jinisha Jain (Delhi)<br />
Ar. Chetan Raj Shrestha (Sikkim)<br />
Barun Roy (Darjeeling Hills)<br />
Photographers<br />
Pradip Ratna Tuladhar<br />
Intl. Correspondent<br />
Bansri Panday<br />
Samir Dahal<br />
Intern<br />
Soyana Nyachhon<br />
Director- Operation & Public Relation<br />
Anu Rajbansh<br />
SR. Business Development Officer<br />
Debbie Rana Dangol<br />
Marketing Officer<br />
Ruby Shrestha<br />
Legal Advisor<br />
Yogendra Bhattarai<br />
Financial Advisor<br />
Kiran Rajbhandary<br />
Published by<br />
IMPRESSIONS Publishing Pvt.Ltd.<br />
Kopundole, Lalitpur,<br />
GPO Box No. 7048, Kathmandu, Nepal.<br />
Phone: 5181125, 5180132<br />
info@spacesnepal.com<br />
Design/Layout & Processed at DigiScan Pre-press<br />
Printed at Wordscape The Printer, 9851037750<br />
Distribution<br />
Kasthamandap Distributors, Ph: 4247241<br />
Advertising and Subscriptions<br />
IMPRESSIONS Publishing Pvt.Ltd.<br />
Ph: 5181125, 5180132, market@spacesnepal.com<br />
Shreesha Nankhwa<br />
Sangeeta Singh<br />
Regd. No 30657/061-62 CDO No. 41<br />
Kirti Kusum Joshi<br />
Asha Dangol<br />
Shweta Shakya<br />
Chhavi Vashist<br />
Shweta Shakya is 4th year Architecture student in Khwopa Engineering College.<br />
Travels, takes photographs and writes to keep her sanity.<br />
Rajina Shrestha<br />
Maureen Drdak<br />
Shreesha Nankhwa is an aspiring environmentalist with a penchant for writing. She is interested in<br />
sustainable living, alternative energy and creating a better future for the planet. Her works have been<br />
published in a number of magazines and publications in Nepal. She currently writes and edits blogs for<br />
IT companies while dreaming of trekking across the Himalayas.<br />
Kirti K. Joshi received Ph.D. in urban and regional planning from Tohoku University, Japan in 2007, and<br />
has been a Fulbright postdoctoral scholar at Harvard University, USA, and a postdoctoral visiting scholar<br />
at University of Indonesia. Besides urban research, his other interests include psychology and philosophy.<br />
Sangeeta Singh is an Associate Professor at the Department of Architecture and Urban planning at the<br />
Institute of Engineering and has been teaching there since almost 20 years. She holds a master’s degree in<br />
infrastructure planning from the University of Stuttgart, Germany and is currently undertaking PhD research<br />
at the department where she teaches. She is also a practicing engineer/ planner and has a keen interest<br />
in research. Her research interest includes urban ecological planning, sustainable development, eco cities,<br />
housing among others and she has published her research articles in national and internal journals.<br />
Asha Dangol is a contemporary Nepali visual artist. He is co-founder of the Kasthamandap Art Studio and<br />
E-Arts Nepal. He holds Master’s Degree in Fine Arts from Tribhuvan University, and has been creating and<br />
exhibiting his art since 1992. He has 10 solo art exhibitions to his credit. Dangol has participated in numerous<br />
group shows in Nepal and his work has been exhibited in different countries outside Nepal. The artist<br />
experiments with painting, mixed media, ceramics, installation, performance and video.<br />
Chhavi Vashist is a Delhi- based Architect. She enjoys reading blogs & posts at blogger, WordPress, and<br />
some social networking sites too, which inspires her to write blogs. In past she had worked for a website:<br />
www.ebuild.in as an Interior Designing - content writer. She is also skilled in blogging, photography, travelling,<br />
event coordination, drafting, rendering, art & craft and model making.<br />
Rajina Shrestha is currently working full time for Marketing and Operations at Threadpaints Store, a moderated<br />
online selling platform. She is a also co-founder at Women Leaders in Technology (WLiT) and Vice-President at<br />
Women LEAD. She is a freelance writer and asks too many questions.<br />
Maureen Drdak is a graduate of the both the Pennsylvania Academy of Fine Arts and the University of the Arts in<br />
Philadelphia. She travels widely in pursuit of her visions. Her research has taken her to Europe, North Africa, the<br />
Middle East, India, Nepal and the Himalayas. She is the recipient of numerous honors, including the 2011-2012<br />
U.S. Fulbright Senior Scholar Award for Nepal. Her work is found in numerous public, private, and university<br />
collections within the US and abroad.<br />
<strong>SPACES</strong> is published twelve times a year at the address above. All rights are reserved in respect of articles,<br />
illustrations, photographs, etc. published in <strong>SPACES</strong>. The contents of this publication may not be reproduced in whole<br />
or in part in any form without the written consent of the publisher. The opinions expressed by contributors are not<br />
necessarily those of the publisher and the publisher cannot accept responsiblility for any errors or omissions.<br />
Those submitting manuscripts, photographs, artwork or other materials to <strong>SPACES</strong> for consideration should not send<br />
originals unless specifically requested to do so by <strong>SPACES</strong> in writing. Unsolicited manuscripts, photographs and other<br />
submitted material must be accompanied by a self addressed return envelope, postage prepaid. However, <strong>SPACES</strong> is<br />
not responsible for unsolicited submissions. All editorial inquiries and submissions to <strong>SPACES</strong> must be addressed to<br />
editor@spacesnepal.com or sent to the address mentioned above.<br />
10 / <strong>SPACES</strong> SEPTEMBER <strong>2017</strong>
SEPTEMBER <strong>2017</strong> <strong>SPACES</strong> / 11
Editorial<br />
Karkhana is revolutionizing the education sector of Nepal as we know it, and the premises that houses the<br />
company is making a statement in the Kathmandu architectural and interior design scene as well. The building<br />
has a rich history, from being the residence of the Pudasaini family to the former International school. After the<br />
2015 earthquake, the building needed urgent renovations, which has been carried out now in spectacular fashion.<br />
Spaces features Karkhana and Galli Galli’s offices in Gyaneshwor, providing anecdotal accounts of the building’s<br />
history as well as the earthquake resistant retrofit and redesign process.<br />
Art, architecture, and interior design competitions and conferences have always been a great way of promoting<br />
the field, and the past month has been full of very exciting events. Spaces believes that it is critical to report<br />
about the winners, sponsors and the operations of these events to spread awareness within the art community<br />
and beyond. Started as an attempt to provide a platform for fourth year architecture students to expand their<br />
theoretical knowledge base and utilize it in the practical field, the winning entries of the Kaleidoscope are much<br />
appreciated evidence of wonderful vision of the students. Shrawan Thakuri’s concept of Dasharath stadium<br />
could be next functional beauty that Nepalese will truly aspire.<br />
As the author Kirati Kusum Joshi well reflected that ‘What connects, can also divide’ regarding the usage of roads<br />
as ‘we’ do. He amalgamated so many seen and unseen habits of reclaiming our streets that it simply incites<br />
us not just to think but act right away. What simply has been the practice since ages has grown into chaotic<br />
confusion of who or what exactly is the priority now. A spectacular piece, discussing the significance and history<br />
of the streets in Kathmandu also provides some wonderful ideas for our beloved city to be more eco-friendly.<br />
Bringing vitality to the public space it inhibits, a delightfully new concept of travelling exhibition takes the<br />
museum experience into the public spaces providing more than a frame for the museum’s art prints, it brings a<br />
spatial and visual experience through a replication of architectural expressions in both form and program. The<br />
taste for interior décor and lighting is becoming a substance of style from designer as well as the owner. The<br />
everlasting color of stone has been of deep influence and inspiration since ages. Application of the natural stone<br />
in their varying color and contents in interior designing and architecture, the combinations makes us feel close to<br />
mother earth.<br />
The universally celebrated mastery of Nepalese art on metal for their eternal beauty and spiritual relevance is<br />
eminent all over. The Newar master artisans are giving shape and life to the not so fortunate real substance of<br />
Nepalese heritage which suffered multitude of damages on 2015 earthquake. The technicality and sensory ability<br />
of these craftsmen is well cherished for ably restructuring the missing to bring back the esteem that was lost for<br />
a while. With innovative participation of these master visionaries, the legacy of Newar art is here to endure.<br />
Wishing all readers and well wishes a peacefully joyous festive season,<br />
Ashesh Rajbansh / CEO<br />
12 / <strong>SPACES</strong> SEPTEMBER <strong>2017</strong>
SEPTEMBER <strong>2017</strong> <strong>SPACES</strong> / 13
NEWS<br />
PRASHANTA SCHOLARSHIP<br />
AWARD <strong>2017</strong><br />
Prashanta Memorial Society was established with an aim<br />
to promote upcoming new young artists from the Fine Arts<br />
Colleges in the name of “Prashanta Scholarship Award”. It was<br />
initiated in the name of late artist Prashanta Shrestha in 2003.<br />
Since then the Society is giving Scholarship Awards for three<br />
young artists from the Fine Arts Colleges in Kathmandu.<br />
On the 4th August Friday, the Society felicitated the three<br />
recipients of this year’s Prashanta Scholarship Award at Nepal<br />
Art Council and the recipients are: Pradip Pal Saud (Lalit Kala<br />
Campus), Tshering Chhambel Sherpa (Sirjana College of Fine<br />
Arts) and Shushank Kalapremi Shrestha (KU Center for Fine Arts<br />
and Design). The program was inaugurated by Mrs. Greta Rana<br />
and the program was also featuring the paintings exhibition of<br />
late artist Prashanta Shrestha till 6th August <strong>2017</strong>. •<br />
DARLING MATTRESS<br />
Darling Mattress Co. Ltd. is a mattress manufacturer<br />
and wholesaler in Thailand, and a subsidiary of Darling<br />
Deluxe Group established in 1961. They produce quality<br />
mattresses such as pocket spring mattress, latex foam<br />
mattress and as well as mattresses for hospitality industry<br />
or hotels. The Sole Agent in Nepal for Darling Mattress is<br />
Fashion Furnishing Pvt. Ltd. located in Kathmandu. The<br />
company has been importing Darling Mattress to fulfill<br />
the needs of hospitality industry or hotels and also to<br />
consumers importing who emphasize on quality. Some of<br />
their customers in Nepal are Hyatt Regency, Hotel Ambassador, Soaltee Crowne<br />
Plaza, Hotel Radisson, Fishtail Lodge, Hotel Mount View, Temple Tree Inn etc.<br />
Darling Mattress Co. Ltd. won the PRIME MINISTER’S (PM) EXPORT AWARD<br />
<strong>2017</strong> in Product Category: Hospitality, which is the prestigious award of<br />
Thailand given by the Ministry of Commerce, Royal Thai Government as the<br />
highest official tribute to the country’s foremost exporters. Even in Nepal Darling<br />
Mattress has succeed to create the market in Hospitality Industry as well as win<br />
the trust of general customers. •<br />
14 / <strong>SPACES</strong> SEPTEMBER <strong>2017</strong>
NEWS<br />
MONSOON PRINTMAKING<br />
WORKSHOP <strong>2017</strong><br />
Bindu Space for Artists has been organizing many art<br />
activities over the years providing artists an opportunity to<br />
work together. This Monsoon Printmaking workshop marks<br />
the sixth printmaking workshop organized by Bindu. The<br />
mission of this workshop was to develop and share the<br />
new techniques in printmaking, especially in etching and<br />
aquatint, for enhancing the local printmaking scene. Korean<br />
Printmaker Mr. Hyun Ju Kim had conducted the Monsoon<br />
Printmaking Workshop <strong>2017</strong> for six days (three days for<br />
etching process and 3 days for aquatint process). Each<br />
artist had created two works through those two processes.<br />
The exhibition was inaugurated by eminent artist Mr.<br />
Birendra Pratap Singh. Twelve artists from multi-disciplinary<br />
art background were selected to join the workshop<br />
which was held in Bindu’s premises. The participant<br />
artists had shown their own creation at Siddartha Art<br />
Gallery, Babarmahal,Kathmandu. The participating artists<br />
were Aman Maharjan, Anil Prajapati, Bijendra Shrestha,<br />
Bidyaman Tamang, Jenney Ghale, Pawan Sunuwar, Pramila<br />
Lama, Prithvi Shrestha, Ritu Thapa, Sarad Darshandhari,<br />
Saurganga Darshandhari and Subash Tamang. •<br />
SEPTEMBER <strong>2017</strong> <strong>SPACES</strong> / 15
NEWS<br />
7TH SAARC ARTIST<br />
CAMP <strong>2017</strong><br />
SAARC Cultural Centre, which is<br />
based in Sri Lanka was established by<br />
the Governments and Heads of State<br />
of the SAARC Countries to promote<br />
cultural cooperation within the Region,<br />
to enhance cultural understanding and<br />
harmony amongst the people of South<br />
Asia and to share the distinct cultural<br />
identity of South Asia with the world.<br />
The 7th SAARC Artists Camp was held<br />
from 28th to 31st July, <strong>2017</strong> at the<br />
Gokarna Forest Resort in Kathmandu,<br />
Nepal. The Camp was organized by<br />
The SAARC Cultural Center, Sri Lanka<br />
in collaboration with The Ministry<br />
of Culture, Tourism & Civil Aviation,<br />
Federal Democratic Republic of Nepal.<br />
There were 40 artists from 7 Member<br />
States participating in this camp<br />
including known artist from Nepal,<br />
namely: Lok Chitrakar, Udaya Charan<br />
Shrestha, Erina Tamrakar, SC Suman,<br />
Sunita Rana, Jasmine Rajbhandari,<br />
Jyoti Prakash BK, Namrata Singh,<br />
Anita Khanal Bhattarai and Subha<br />
Joshi. Participating artists had to<br />
create two paintings on the given<br />
themes “Sacred Sites” and “The<br />
Beauty of Nature”. For the first time<br />
traditional and folk arts were included<br />
in this event. Lok Chitrakar and Uday<br />
Charan Shrestha were participated<br />
from traditional art and SC Suman<br />
and Namrata Singh were participated<br />
from folk art.<br />
The SAARC Cultural Centre Artists<br />
Camp created space for artists from<br />
the Member States to gather together<br />
and put forward their creative<br />
expressions on canvass and share<br />
techniques and knowledge through<br />
the language of art. The atmosphere<br />
of interaction and friendship, cultural<br />
connectivity and cultural exchange<br />
during the Camp contributed towards<br />
establishing long lasting partnerships<br />
in art. The cache of being recognized<br />
within the region will increase as<br />
these paintings will be exhibited at<br />
various events. •<br />
16 / <strong>SPACES</strong> SEPTEMBER <strong>2017</strong>
NEWS<br />
SAMAAHIT<br />
The second solo exhibition of Mr.<br />
Nabendra Limbu focuses more on<br />
the dissection of feelings that are<br />
pure abstract works created from<br />
2004 till <strong>2017</strong>. The artist has tried to<br />
strike a balance between subjective<br />
and objective values on to the canvas<br />
carrying a moral dimension, in that it<br />
can be seen to stand for virtues such<br />
as order, purity and simplicity.<br />
Various artists have expressed the<br />
beauty of abstract art through spiritual<br />
and visual attributes, power, and<br />
psychoanalysis. But Limbu has given<br />
a different perspective to abstract,<br />
believing that the abstract connects a<br />
human being to the society as society<br />
itself is a combination of abstract things<br />
that makes a perfect whole. He focuses<br />
more on the dissection of feeling that a<br />
human face in day to day life.<br />
His painting had similar pattern which<br />
reminded people of jigsaw puzzles<br />
and clothing designs, but on close<br />
observation the painting had different<br />
meaning to it. He says that the painting<br />
itself is a medium of how people feel<br />
while they observe it.<br />
The curator of the exhibition Mr. Sujan<br />
Chitrakar says that Limbu's paintings<br />
are infused with the passion of the<br />
person himself with rough surfaces<br />
and jagged edges. He recalls that the<br />
artist would disappear for a long time<br />
and reappears eventually bringing<br />
stories of faraway lands on his new<br />
sketches.<br />
The color combination appears<br />
prominent where harmony and<br />
blunt emotional forms expresses<br />
abstractionism. The use of white is a<br />
prominent attribute of his paintings.<br />
When not applied as background,<br />
white comes mixed with background<br />
colors making the hue seem more<br />
pastel-like. With the help of white, the<br />
colors lose their original intensity to sit<br />
better with the complimentary hues<br />
that they are applied alongside.<br />
Judging by his way of artistic<br />
approach, he is still exploring the<br />
theme ‘Relationship’ as he mentions<br />
“Everything in the world relates to one<br />
another. Just like how this exhibition<br />
has created a connection between<br />
you and me.” •<br />
SEPTEMBER <strong>2017</strong> <strong>SPACES</strong> / 17
NEWS<br />
FURNEX NEPAL <strong>2017</strong><br />
F<br />
urnex Nepal <strong>2017</strong> was<br />
organized by Nepal Furniture<br />
and Furnishing Association<br />
(NFFA) from 19th to 23rd August<br />
at Bhrikutimandap Exhibition Hall,<br />
in Kathmandu. Total 66 stalls (47<br />
big and 19 small) showcased their<br />
latest furniture, home furnishings,<br />
appliances, wood works, floorings,<br />
carpets, and other designs to the<br />
eager customers. Honorable Minister<br />
of Commerce, Mr. Meen Bahadur<br />
Bishwakarma inaugurated the event in<br />
presence of special guests, Mr. Umesh<br />
Shrestha (Vice-President of Federation<br />
of Nepalese Chambers of Commerce<br />
and Industry), Mr. Rajesh Shrestha<br />
(President, Nepalese Chambers of<br />
Commerce), Mr. Surendra Kumar<br />
Sarda (President, Federation of<br />
Nepal Furniture and Furnishing<br />
Entrepreneurs Association) and Mr.<br />
Hem Raj Dhakal (BOD Federation of<br />
Nepalese Chambers of Commerce<br />
and Industry). The opening ceremony<br />
also witnessed the launch of Souvenir,<br />
which celebrates the hard work of<br />
the jointly collaboration of <strong>SPACES</strong><br />
magazine and NFFA. Heritage Carpet<br />
announced to donate goods worth<br />
Rs. 50,000 whereas Valley Furnishing<br />
announced to donate Rs. 51,000 for<br />
the flood victim during the opening<br />
ceremony of FURNEX Nepal <strong>2017</strong>.<br />
The title sponsor for the event was<br />
Gem Flooring and main sponsors<br />
were Heritage Flooring Carpet, Yeti<br />
Flooring and Shree MD Furniture.<br />
Extra activities were held during the<br />
event such as blood donation program,<br />
checkup for diabetic patients, dental<br />
checkup and daily lucky draw from<br />
18 / <strong>SPACES</strong> SEPTEMBER <strong>2017</strong><br />
the visitors’ tickets. Blood donation<br />
program which was held in association<br />
with Lions Club of Kathmandu Central<br />
collected 87 pints of blood, similarly<br />
350 diabetes patients were took the<br />
facility of diabetes checkup program.<br />
Around hundred people took part in<br />
dental checkup which was organized<br />
by Gem Flooring in its stall, who is<br />
the title sponsor of the event. The<br />
expo was visited by Honorable Mayor<br />
of Kathmandu Metropolitan Mr.<br />
Bidyasundar Shakya and Honorable<br />
Deputy Mayor of Kathmandu<br />
Metropolitan Ms. Hariprabha Khadgi<br />
Shrestha which made the exhibition<br />
even more attractive. They visited<br />
each and every stalls and made<br />
queries about the product which were<br />
displayed in the exhibition. Lucky<br />
winners from the visitors were selected<br />
from the tickets each day and the<br />
winners were awarded with the gift<br />
hampers which made the event more<br />
interesting.<br />
All the funds collected from the sale<br />
of the tickets were donated to the<br />
flood victim in Terai. The closing<br />
ceremony was held on 25th August,<br />
<strong>2017</strong> at Anupam Foodland in<br />
Battisputali, in presence of Honorable<br />
Mayor of Kathmandu Metropolitan<br />
Mr. Bidyasundar Shakya as a Chief<br />
Guest, Honorable Deputy Mayor of<br />
Kathmandu Metropolitan President<br />
of Federation of Nepal Furniture and<br />
Furnishing Entrepreneurs Association<br />
Mr. Surendra Kumar Sarada as<br />
Special Guests. Token of appreciation<br />
and Certificate of Participation were<br />
distributed at the event to all the<br />
exhibitors and supporters. Best three<br />
stalls during FURNEX Nepal <strong>2017</strong><br />
were also awarded during the closing<br />
ceremony as Best Interior, Classic<br />
Mattress and Yeti Flooring ranked<br />
first, second and third respectively.<br />
Gem Flooring was awarded for Most<br />
Crowded Stall whereas Pashupati<br />
Traders won Innovative Product<br />
award. FURNEX Nepal 2018 was also<br />
announced during the event.<br />
FURNEX Nepal <strong>2017</strong> concluded<br />
successfully. It is yet another attempt<br />
by NFFA to keep the furniture and<br />
furnishing trade in touch with each<br />
other and stay updated on the news and<br />
happenings. The five days event was<br />
filled with fanfare as eager customers<br />
from all walks of life came to absorb<br />
themselves in the newest materials<br />
while also getting a rare opportunity of<br />
mingling with the various exhibitors, all<br />
at the same venue. The exhibition was<br />
indeed a hot pot for the dealers to outdo<br />
each other and woo the customers<br />
as much as they could. This event<br />
was visited by around 50,000 visitors.<br />
Despite of many challenges, NFFA is<br />
able to organize the only event related<br />
to furniture and furnishing in Nepal<br />
every year. •
SEPTEMBER <strong>2017</strong> <strong>SPACES</strong> / 19
NEWS<br />
ART WITHOUT<br />
BORDERES<br />
The third edition of the painting exhibition Art without Borders<br />
was held at the Newa Chen Art Gallery in Patan from 12th<br />
-16th August, <strong>2017</strong>, featuring works by aspiring artist such<br />
as Pramila Bajracharya, Nar Bahadur BK, Namrata Singh,<br />
Krishna Dangol, Sarita Dangol and Tanaka Akiko.<br />
Since Buddha’s teaching and the value of selflessness<br />
seems to disappear in the modern era, the paintings at the<br />
exhibition worked as a medium to remind visitors about<br />
the principles of oneness. All paintings showcased at the<br />
exhibition were related to Buddhism and the teachings of<br />
Siddhartha Gautam in one way or other. The exhibition<br />
celebrated the core values of Buddhist philosophy.<br />
“Art is a medium that allows us to surpass all limits,<br />
regulations and obligations and transcends eras. This<br />
exhibition evidently has shared a platform to commemorate<br />
the great teachings of Buddha,” said Ms. Astha Prabha<br />
Tuladhar, proprietor of Women for Women Nepal. The<br />
coordinator of Newa Chen Art Gallery, Sarita Dongol<br />
mentioned the exhibition also ensures cultural exchange<br />
through amalgamation of national as well as international<br />
artists. •<br />
20 / <strong>SPACES</strong> SEPTEMBER <strong>2017</strong>
SEPTEMBER <strong>2017</strong> <strong>SPACES</strong> / 21
REVIEWS<br />
Kaleidoscope<br />
Heroes of Future <strong>2017</strong><br />
F<br />
or the third year running,<br />
Asian Paints has successfully<br />
organized the Kaleidoscope<br />
“Heroes of Future” All Nepal<br />
Architecture Student Design<br />
Competition 2016-17. This competition<br />
began as an attempt to provide a<br />
platform for fourth year Architecture<br />
students to expand their theoretical<br />
knowledge base and utilize it in the<br />
practical field. Although, it first started<br />
on a college level at the Institute of<br />
Engineering Pulchowk Campus, it<br />
22 / <strong>SPACES</strong> SEPTEMBER <strong>2017</strong><br />
soon spread to three different colleges<br />
before turning into a national level<br />
competition. Since 2014, students<br />
from different engineering colleges<br />
across Kathmandu valley have been<br />
competing to win the top prize.<br />
This year, thirty four students<br />
participated in this competition<br />
with twenty nine of them making<br />
it into the submissions. The seven<br />
participating colleges were Institute<br />
of Engineering Pulchowk Campus,<br />
Kathmandu Engineering College,<br />
Nepal Engineering College, ACME<br />
Engineering College, Himalaya<br />
Engineering College, Khwopa<br />
Engineering College and Kantipur<br />
International College. The participants<br />
from Institute of Engineering Pulchowk<br />
Campus, Kathmandu Engineering<br />
Campus and Nepal Engineering<br />
Campus were chosen based on a<br />
college level design competition, also<br />
organized by Asian Paints Nepal, and<br />
while the rest of the participants were<br />
nominated based on the criteria set by<br />
their college.<br />
The competition this year was<br />
launched on Baiaskh 23rd at Sauraha,<br />
Chitwan where all the participants and<br />
college coordinators were briefed<br />
about the competition. The objective<br />
of the competition this year was to<br />
design the International Covered Hall<br />
at Dasarath Stadium in Tripureshwor.<br />
Two architects from the National<br />
Sports council, Ar. Tillotama Bashyal<br />
and Er. Sabin Maharjan explained the<br />
criteria and requirements. They were<br />
given a little less than two month to<br />
perfect their designs and were asked<br />
to submit their designs by 11th of<br />
Asar.
ALL NEPAL ASIAN PAINTS DESIGN COMPETITION <strong>2017</strong><br />
5/5<br />
REVIEWS<br />
CONCOURSE<br />
PRIMARY<br />
MULTI-SPORTS COURT<br />
SECONDARY<br />
MULTI-SPORTS<br />
COURT<br />
SECTION AT A-A<br />
B<br />
A<br />
A<br />
VIP/VVIP LOUNGE<br />
B<br />
CONCOURSE<br />
LOBBY<br />
SECTION AT B-B<br />
WINNER<br />
SOUTH ELEVATION<br />
The main facade of the<br />
complex is composed with<br />
different volumetric<br />
composition inorder to<br />
correspond the function it<br />
encloses and also to break the<br />
volumes.<br />
WEST ELEVATION<br />
The western facade is<br />
provided with less voids<br />
inorder to restrict the western<br />
glare into the arena.<br />
A jury panel of five judges consisted of<br />
Ar. Suman Nanda Vaidya, Ar. Sarosh<br />
Pradhan, Ar. Sahidi Joshi, Ar. Tilottama<br />
Bashyal and Er. Arun Upadhyaya. Ar.<br />
Arun Dev Pant joined the existing 5<br />
jurors as an external jury member<br />
in order to judge the top 15 designs<br />
presented by the students on 27th of<br />
Asar. The top 5 winners were selected<br />
by the jury panel on the same day.<br />
The Awards ceremony for the<br />
competition was held on 24th of<br />
Shrawan at Hotel Yak and Yeti, where<br />
the students finally found out who won<br />
the top prizes this year. The Chief Guest<br />
for the ceremony was Rt. Hon’ble<br />
Vice president of Nepal Mr. Nanda<br />
Bahadur Pun. The other guests on<br />
the dais included Presidents of Nepal<br />
NORTH FACADE<br />
Inorder to get maximum<br />
northern diffused light into the<br />
arena northern facade is<br />
provided with clerestory<br />
openings.<br />
EAST FACADE<br />
Since the eastern part<br />
encloses the secondary court<br />
it is provided with large<br />
openings inorder to get<br />
optimum natural daylight.<br />
Engineering Association, Er. Hare<br />
Ram Shrestha; Society of Nepalese<br />
Architects, Ar. Suman Nanda Vaidhya;<br />
Federation of Contractors Association<br />
of Nepal, Mr. Sarad Kumar Gauchan;<br />
Society of Consulting Architectural &<br />
Engineering Firms, Ar. Rajesh Thapa,<br />
Ar. Anil Sharma, Special Guest from<br />
Delhi and Mr. Budhaditya Mukherjee,<br />
Country Director of Asian Paints Nepal.<br />
During the ceremony, Mr. Pun thanked<br />
Asian Paints Nepal for organizing this<br />
competition to encourage budding<br />
architects and fulfilling their social<br />
responsibility. He also reminded all<br />
the students, that as an architect,<br />
they must shoulder the burden for the<br />
prosperity of this country.<br />
Finally the time for reckoning<br />
came when the top five winners<br />
MR. SHRAWAN THAKURI<br />
My major design approach was to<br />
create a space that stands with its<br />
surrounding rather than standing out<br />
from it. The main point of departure<br />
for my whole design approach was to<br />
create an open public space that can be<br />
shared by the users of both the sports<br />
arena solving the problem of entrance<br />
at Dasarath Rangashala .Since the<br />
requirement was to build a covered hall<br />
that in houses two multi-sports court,<br />
the secondary axis was developed<br />
perpendicular to the datum line dividing<br />
the whole buildable area into two<br />
halves providing the space required.<br />
The secondary axis is later developed<br />
as the main service spine catering both<br />
the courts and optimizing the whole<br />
buildable space at the same time.<br />
SEPTEMBER <strong>2017</strong> <strong>SPACES</strong> / 23
REVIEWS<br />
1 st<br />
runner up<br />
ALL NEPAL ASIAN PAINTS DESIGN COMPETITION <strong>2017</strong><br />
MS. SHRINKHALA KHATIWADA<br />
The design of this building is highly<br />
inspired by the works of Louis. I Kahn,<br />
Marina Tabassum, Tadao Ando and<br />
Charles Correa in terms of contextual<br />
design, play with light and shadow and<br />
transformation of simple geometric<br />
forms into extraordinary spaces.<br />
COMMERCIAL ZONE<br />
POLICE/MILITARY ZONE<br />
The building is designed along the<br />
movement of the user, creating beautiful<br />
spaces around the visual axis. The<br />
play with light and shadow is repeated<br />
throughout the building with the use of<br />
slits, pergolas, punctures and lattice<br />
pattern covers. The building moves with<br />
the shadow and no single point looks the<br />
same when observed at different points<br />
in time. It creates a sort of dynamism to<br />
the otherwise geometric shapes<br />
CONTEXT<br />
The main site is located within the core<br />
commercial hub of the Kathmandu<br />
city, as a sports and recreational zone.<br />
The site is surrended by the commercial<br />
zone on its south and north frontage,<br />
whereas its proximity to the Army areas<br />
on its north and east frontage creates<br />
its limitation to build a structure.<br />
THE SITE<br />
ACCESS<br />
ARCHITECTURAL CONTEXT<br />
The main site is located within the<br />
DASARATH STADIUM, an international<br />
sports arena of Nepal.<br />
The project is to redesign the Multisports<br />
Covered Hall, that is on the eastern part<br />
of the main stadium.<br />
Since the site is located within the core<br />
commercial hub of the capital, it is<br />
easily accessible from different city<br />
cores.<br />
The surroundings of the site is highly<br />
affected by the buildings that<br />
showcases the characteristics of<br />
modern architectural approach.<br />
Present Multisports Covered Hall - interior<br />
Present Multisports Covered Hall - exterior<br />
24 / <strong>SPACES</strong> SEPTEMBER <strong>2017</strong>
REVIEWS<br />
were announced. The winner of<br />
Kaleidoscope “Heroes of Future”<br />
2016-17 was Mr. Shrawan Thakuri from<br />
Kathmandu Engineering College. Mr.<br />
Thakuri was awarded with Rs. 70,000<br />
cash prize. His design was inspired<br />
from one of the philosophies of<br />
Tadao Ando, a celebrated self-taught<br />
Japanese architect, who believed that<br />
architecture should be influenced by<br />
the context of the site and that both<br />
should exist as a single entity together<br />
in harmony. “Besides fulfilling all the<br />
given requirements of the project, I<br />
was more concerned in developing the<br />
project as a part of the whole Dasarath<br />
Rangashala Sports Complex. I wanted<br />
it to fit into the site like it was meant<br />
to be rather than developing it as<br />
segregated individual entities”, he<br />
explained.<br />
Ms. Shrinkhala Khatiwada of Institute<br />
of Engineering Pulchowk Campus<br />
was the first runner up and she won a<br />
cash prize of Rs. 40,000.“I’m a strong<br />
believer that architecture should<br />
represent its place, especially when it<br />
is a National level project”, she said.<br />
Hence, it was only natural that her<br />
design incorporated the identity of the<br />
architecture of Kathmandu valley. “I<br />
tried to narrow it down to materiality,<br />
feeling of a space through light and<br />
shadow and use of local architectural<br />
elements like dhungedhaaras and<br />
wooden jali work, to create an overall<br />
character of experiencing the spaces”,<br />
she added.<br />
The second runner up was Mr.<br />
Govinda Prasad Mainali from Institute<br />
of Engineering Pulchowk Campus<br />
winning a cash prize of Rs 30,000.<br />
His design was inspired by the natural<br />
postures of a bird, to be more precise.<br />
“The urges of the functionality of the<br />
design was fulfilled by the inspirational<br />
concept from the natural postures of<br />
the birds. The idea lies in the posture<br />
of the bird at its stationary position. The<br />
skeleton of the bird that allows its body<br />
to counter act the external stimulus<br />
was taken as the core idea to develop<br />
the structural grid of the building. To<br />
make the body stable, birds inclines its<br />
limbs towards shorter rear bone sides<br />
so that it counter balances the longer<br />
fore side of the body. This feature has<br />
been developed to create the structure<br />
of the building as well as technique<br />
that lets the northern diffused light<br />
inside the indoor hall. This gives us<br />
the powerful technique to achieve the<br />
spatial need of the building; structural<br />
need as well as add the value to the<br />
functionality”, he explained.<br />
Mr. Pradeep Maharjan of Kathmandu<br />
Engineering College and Mr. Rustam<br />
Lama of Nepal Engineering College<br />
took home consolation prizes worth<br />
Rs. 10,000 each. The award ceremony<br />
also included recognition to the<br />
students of B.E. 2068 Batch as Thesis<br />
Winners, Mr. Sanjeev Shrestha, Mr.<br />
Achyut Paudel, Mr. Jenish Maharjan,<br />
2 nd<br />
runner up<br />
MR. GOVINDA PRASAD MAINALI<br />
Inspiration derived from the form of the<br />
natural entity: nature, the sole muse<br />
from the form of the natural posture of<br />
the avian counterparts. The functionality<br />
urges fulfilled by stationary position of<br />
the birds; the skeleton that allows to<br />
countermeasure the external stimuli<br />
was the core idea for the structural<br />
concept for the building form. The design<br />
successfully incorporates the powerful<br />
technique to fulfil the spatial need of the<br />
building along with the structural, adding<br />
core value to the functionality of the<br />
design approach.<br />
SEPTEMBER <strong>2017</strong> <strong>SPACES</strong> / 25
REVIEWS<br />
Ms. Ashmita Sigdel and Mr. Satish<br />
Manandhar & Dibash Adhikari (tied<br />
up), with cash prize of Rs. 50,000.00<br />
to each from Institute of Engineering<br />
Pulchowk Campus, Nepal Engineering<br />
College, ACME Engineering College,<br />
Himalaya Engineering College and<br />
Kathmandu Engineering College<br />
respectively.<br />
The competition has been not only<br />
provided a platform for the students<br />
to showcase their abilities, it has also<br />
proven to be a learning opportunity.<br />
Shrawan mentioned that it is the kind<br />
of competitions that teaches you the<br />
architecture demands and teamwork,<br />
whereas Shrinkhala learnt to be efficient<br />
with her time as she did the project<br />
alongside her final year thesis. For<br />
Govinda, this competition was not with<br />
others, rather it was with himself. For<br />
both Shrinkhala and Govinda, juggling<br />
their thesis and the competition was<br />
proved to be rather challenging.<br />
The winners all had many memorable<br />
times during the competition. Shrawan<br />
fondly remembered his visit to Asian<br />
Paints Nepal factory in Hetauda and<br />
as well going for safari in Chitwan. For<br />
Shrinkala, the most striking memory was<br />
of the harsh comments she received<br />
from the juror, which only motivated her<br />
to work harder. Govinda remembered<br />
the disappointment of being denied<br />
more time to work on his thesis so that<br />
he could focus on the competition for<br />
the time being. The top three designs<br />
and their respective designers will be<br />
in consultation with the sports council<br />
for revisions and implementation of the<br />
design they created for the covered hall<br />
at Dasarath Stadium. •<br />
26 / <strong>SPACES</strong> SEPTEMBER <strong>2017</strong>
SEPTEMBER <strong>2017</strong> <strong>SPACES</strong> / 27
ARCHITECTURE<br />
The Fruition of Heritage<br />
Karkhana<br />
photos : Pradid Ratna Tuladhar and Karkhana<br />
THE BUILDING NOW HOSTS SEVERAL OFFICES AND AN EVENT SPACE. THE<br />
EDUCATIONAL INNOVATION HUB KARKHANA AND CIVIL TECHNOLOGY NON-<br />
PROFIT GALLIGALLI SHARE THE BOTTOM TWO FLOORS. THE THIRD FLOOR<br />
HOSTS MATHI KO HALL, AN EVENT SPACE AND GALLERY THAT CAN HOST UP<br />
TO 150 PEOPLE FOR CONFERENCES AND TALK PROGRAMS.<br />
28 / <strong>SPACES</strong> SEPTEMBER <strong>2017</strong>
ARCHITECTURE<br />
SOME GUIDING PHILOSOPHIES<br />
• Embrace the flaws: Three generations<br />
of the family have left their mark on<br />
the house by doing additions and<br />
modifications. The siblings and their<br />
architect made a design choice to<br />
show and celebrate these ‘flaws’<br />
rather than try to hide them. This led<br />
to the decision to strip and expose all<br />
the bricks and the wood.<br />
• Build a personal tribute to the<br />
earthquake: The April 2015 quake<br />
was and will remain a big part<br />
of the psyche of a generation of<br />
Nepalis, including the Pudasaini<br />
family. One design decision was<br />
to accentuate all the retrofitting<br />
elements as a tribute to this<br />
powerful event. The tie-beams<br />
around the window sills were<br />
turned into molding and the corner<br />
stitching was made to protrude in<br />
a repeating stripe pattern.<br />
• Make it a functional modern<br />
space: Though the preference was<br />
to not impact old material when<br />
possible there was also a strong<br />
design commitment to making a<br />
functional modern space. Thus,<br />
incisions in the walls and floors,<br />
to embed electronic and internet<br />
writes, were approved. Similarly,<br />
the small older windows were<br />
upcycled to create the 6 x 10 feet<br />
south facing windows in the 3rd<br />
floor gallery space.<br />
SEPTEMBER <strong>2017</strong> <strong>SPACES</strong> / 29
ARCHITECTURE<br />
“HAVING BUILT A FEW HOUSES<br />
IN MY LIFETIME I KNEW WHAT A<br />
BIG CHALLENGE IT WOULD BE TO<br />
REPAIR AND RETROFIT AN OLD<br />
HOUSE. WE HAD ALL THE USUAL<br />
TROUBLES - WITH CONTRACTORS,<br />
WITH TIME DELAYS, WITH COST<br />
OVERRUNS - AND ALSO ONE<br />
UNUSUAL TROUBLE WITH THE<br />
BORDER BLOCKADE MAKING<br />
EVERYTHING HARDER. STILL THE<br />
PROCESS OF WORKING WITH MY<br />
CHILDREN, OUR ARCHITECT MIKU<br />
AND THE ENGINEER TIWARI JI WAS<br />
NEW AND INTERESTING FOR ME.<br />
THEIR RESEARCH PROCESS, WHICH<br />
INVOLVED LOOKING AT HOUSES AND<br />
BUILDINGS RANGING FROM EUROPE<br />
TO JAPAN FOR INSPIRATION AND<br />
ALSO USING DIGITAL MODELS TO<br />
VISUALIZE NEW IDEAS, WAS NEW<br />
FOR ME AND THUS INTERESTING TO<br />
BE A PART OF. I AM HAPPY AT THE<br />
FINAL RESULTS. WHEN YOU LOOK<br />
AT THE HOUSE YOU CAN CLEARLY<br />
SEE IT RESPECTS OUR TRADITIONAL<br />
STYLES AS YOU SEE IN TEMPLES<br />
AND HOMES, BUT ALSO THAT IS<br />
SOMETHING NEW AND MODERN AT<br />
THE SAME TIME.”<br />
- SOM PUDASAINI: THE FATHER,<br />
WHO GUIDED THE PROJECT AND<br />
FINANCED IT.<br />
30 / <strong>SPACES</strong> SEPTEMBER <strong>2017</strong>
ARCHITECTURE<br />
SEPTEMBER <strong>2017</strong> <strong>SPACES</strong> / 31
ARCHITECTURE<br />
“SO MANY OF THE FONDEST<br />
MEMORIES OF MY LIFE ARE<br />
ATTACHED TO THIS HOUSE. I<br />
WAS BORN AND GREW UP HERE.<br />
EACH OF MY 7 SISTERS WERE<br />
MARRIED IN THE COURTYARD<br />
OF THIS HOUSE AND SO MANY<br />
OF MY NEPHEWS HAD THEIR<br />
BARTAMAN THERE. FOR ME IT IS<br />
NOT JUST PERSONAL BUT ALSO<br />
A PROFESSIONAL ATTACHMENT.<br />
INTERNATIONAL SCHOOL, WHICH<br />
I STARTED WITH MY SISTERS,<br />
WAS IN THIS HOUSE FOR<br />
DECADES AND I SPENT MOST OF<br />
MY CAREER TEACHING YOUNG<br />
CHILDREN TO READ AND LEARN<br />
HERE. I WAS SAD TO SEE THE<br />
COLORS, CEILINGS AND OTHER<br />
DESIGNS THAT I GREW UP WITH<br />
BEING CHANGED. BUT I AM ALSO<br />
HAPPY THAT MY CHILDREN HAVE<br />
GIVEN THIS HOUSE A NEW LIFE. I<br />
UNDERSTAND THAT WITH ME THE<br />
HOUSE HAS A HISTORY BUT WITH<br />
THEM IT ALSO HAS A FUTURE.”<br />
- PRAFULLA PUDASAINI: THE<br />
MOTHER, WHO WAS BORN IN<br />
THE HOUSE AND RAN A SCHOOL<br />
THERE FOR 46 YEARS.<br />
32 / <strong>SPACES</strong> SEPTEMBER <strong>2017</strong>
ARCHITECTURE<br />
“OUR HERITAGE AND CULTURAL INHERITANCE IS A PLATFORM ON WHICH WE<br />
SHOULD BUILD. THIS POINT-OF-VIEW DEFINITELY GUIDED OUR COMMITMENT TO<br />
THIS RESTORATION PROJECT. BUT WE WERE ALSO CLEAR THAT THE PAST SHOULD<br />
NOT BE A PRISON THAT CONSTRAINS US. WE WERE NOT INTERESTED IN BUILDING A<br />
MUSEUM TO THE WAY OUR GRANDFATHER DID THINGS. WE HAVE BETTER MATERIALS,<br />
NEW AESTHETICS AND DIFFERENT FUNCTIONAL NEEDS TODAY. WE WANTED TO<br />
ACKNOWLEDGE THE HISTORY OF THIS BUILDING WHILE HAVING IT MAKE SENSE<br />
FOR YOUNG NEPALIS, WHO HAVE 21ST CENTURY ASPIRATIONS AND TASTES, TO<br />
USE AS AN OFFICE SPACE. IT IS APPROPRIATE TO SAY THAT OUR DESIRE WAS NOT<br />
PRESERVATION BUT REBIRTH.”<br />
- SAKAR & SURABHI PUDASAINI: THE BROTHER SISTER TEAM THAT SUPERVISED AND<br />
LED THE RETROFIT.<br />
SEPTEMBER <strong>2017</strong> <strong>SPACES</strong> / 33
MIKU DIXIT, ARCHITECT<br />
After the 2015 earthquake left parts of<br />
this mid-century former schoolhouse<br />
unsafe, the third story had to be<br />
demolished. This project combines<br />
a proposal for a new upper level and<br />
rear “annex” space, with a renovation<br />
to interiors of the floors below, it also<br />
had a specific approach to both interior<br />
and exterior. For the exterior facade,<br />
we wanted to preserve the proportions<br />
of the original elevation while stripping<br />
away plaster, exposing brickwork,<br />
and making south-facing windows<br />
as large as possible. The interior<br />
renovation of the lower floors followed<br />
a similar approach, where plaster that<br />
was used to cover the brickwork was<br />
stripped away and seismic retrofitting<br />
was expressed both inside and out.<br />
All evidence of seismic reinforcements<br />
including steel dowels, molding around<br />
the mesh reinforcement of portals,<br />
injection grouting, post-tensioning<br />
and the addition of steel wide-flange<br />
beams were all expressed as yet only<br />
another addition to generations of<br />
alterations to the original structure.<br />
A clear spanning hall was created<br />
at the top floor using steelwork and<br />
the spanning capabilities of the truss<br />
create an open interior space with<br />
narrow skylights and a combination<br />
of plaster and exposed brickwork<br />
finishes. The use of modern materials<br />
was used for the annex structure<br />
which was hidden away behind the<br />
hall. Lightweight steel and translucent<br />
polycarbonate was used to create a<br />
well-lit and ventilated space.<br />
34 / <strong>SPACES</strong> SEPTEMBER <strong>2017</strong>
BASU BABU TIWARI, CONSULTING ENGINEER<br />
After doing multiple visits to the project site to assess seismic damage a retrofit plan<br />
was developed. Some key components of the plan were:<br />
• Corner Strengthening with Helifix: From the exterior, 16 mm reinforced bars were<br />
inserted in a 20 mm diameter hole, diagonally created with rotary drill, at 2’ c/ c<br />
spacing. With the bar in place, the hole filled with polymer non-shrink mortar and<br />
both ends plugged with high strength mortar.<br />
• Junction Strengthening: From the interior, a 12 mm diameter bar was inserted at<br />
every 2’ spacing in a L-Shape. To accommodate the bar one course of brick was<br />
removed each side of the wall, bars inserted and gap filled with micro concrete.<br />
• Bands: At three levels - Lintel, around Jambs and at the Sill - bands were run<br />
around the entire perimeter. A 250 mm width MS mesh fabric of 2 mm diameter<br />
and having a mesh size of 25 mm from both faces of wall around opening was run<br />
around sill and lintel level wherever possible. A 40 mm thick application of micro<br />
concrete across the mesh was cured for 7 days.<br />
• Soil Cement Grouts: For existing walls and cracks, a soil cement grout was injected<br />
at low pressure (.1 to .025 MPa). After using an initial injection of water to clean the<br />
insides and improve cohesion, the grouting mix (cement water 1:1) was added. •<br />
SEPTEMBER <strong>2017</strong> <strong>SPACES</strong> / 35
URBAN PLANNING<br />
W<br />
hat connects, can also divide; and roads probably<br />
exemplify this the best. Many streets in the old<br />
neighborhoods of Kathmandu Valley, where locals<br />
used to socialize or children used to play, have changed to<br />
become roads that divide neighborhoods like a knife cutting<br />
a cake into pieces. The two sides of the road are no longer<br />
the same single neighborhood that locals have known for<br />
generations. Roads have partitioned communities with<br />
vehicles dominating every possible inch of the space.<br />
Our cities have been losing open spaces. Public lands have<br />
been encroached – even by public authorities at times.<br />
Buildings and shopping malls are dominating the urban<br />
landscape in every imaginable way, creating their own traffic<br />
and putting pressure on government to make space for more<br />
vehicles by building roads or widening streets. And unlike<br />
in old days, roads are not public space any more – they are<br />
“exclusive” space for vehicles, whether moving or parked.<br />
Pedestrians have been reduced to secondary users of roads<br />
– a minority vulnerable to the verbal abuse from motorists.<br />
STREETS AS PUBLIC SPACE<br />
Old streets and pathways in the Valley served many functions<br />
besides the obvious use of walking. Streets acted as an<br />
extension of residential space where locals could socialize,<br />
children could play, elders could sunbathe or farmers could<br />
sun-dry grains. Houses were built without compound walls<br />
– a rarity these days – and streets formed part of the built<br />
environment linking houses with temples, bahabahi (Buddhist<br />
monastries), chowk (courtyards), paati (resthouse), dhwakha<br />
(town gates), ponds, and dhunge dhara (stone spouts). The<br />
place belonged to everyone, and everyone belonged to the<br />
place.<br />
Streets also connected communities by providing space for<br />
or rather by taking part in jatra (festivals), ritual processions,<br />
and other socio-cultural and religious functions. Each of these<br />
functions would have historically defined routes and thereby<br />
streets or pathways.<br />
36 / <strong>SPACES</strong> SEPTEMBER <strong>2017</strong>
URBAN PLANNING<br />
TEXT : Kirti Kusum Joshi<br />
Photos : Naresh Shrestha<br />
Reclaiming<br />
streets<br />
as public space<br />
SEPTEMBER <strong>2017</strong> <strong>SPACES</strong> / 37
URBAN PLANNING<br />
For instance, in the ancient town of<br />
Sankhu where only five out of the<br />
original eight dhwakha exists, there<br />
are specific routes to welcome new<br />
brides, marry off daughters, perform<br />
ritual processions during Vajrayogini<br />
festival, and separately, during<br />
Shalinadi festival and even to take<br />
out funeral procession. Likewise,<br />
Rato Machindranath jatra in Lalitpur,<br />
Seto Machindranath jatra and Indra<br />
jatra in Kathmandu and Biska jatra<br />
in Bhaktapur, among others are wellknown<br />
festivals of the Valley where<br />
streets bring people together.<br />
Besides religious or cultural uses,<br />
streets are also places where trades<br />
occur in formal or informal way. Shops<br />
that line up along either side of a<br />
street are there for obvious reasons.<br />
Even today people, locals or not,<br />
enjoy walking and shopping along<br />
the streets of old neighborhoods<br />
although passing vehicles can spoil<br />
the pleasure at any time.<br />
THE HEGEMONY OF<br />
VEHICLES<br />
During transport strikes when roads<br />
have no vehicles, people are seen<br />
enjoying the roads in every possible<br />
way. Children and youth are seen<br />
playing or cycling. Adults are seen<br />
enjoying chitchatting with old<br />
acquaintances who are also walking<br />
on the road after a long time. Strikes<br />
are of course, not a legit way to<br />
tackle vehicular dominance on roads<br />
but they do provide the pleasure of<br />
winning back the roads.<br />
38 / <strong>SPACES</strong> SEPTEMBER <strong>2017</strong>
URBAN PLANNING<br />
SEPTEMBER <strong>2017</strong> <strong>SPACES</strong> / 39
URBAN PLANNING<br />
When roads are designed and<br />
constructed explicitly for vehicles, such<br />
as in the case of highways or some<br />
urban roads, vehicles are a priority by<br />
default because no one is supposed to<br />
walk along an expressway. But when a<br />
pedestrian street is turned into a caroverfriendly<br />
road, to whom should it<br />
first belong – to people who walk or to<br />
them who drive?<br />
Many developing countries, particularly<br />
in Europe, are known for good public<br />
transportation system including<br />
pedestrianization, and it is not<br />
uncommon to see high-ranking<br />
officials or politicians walking, using<br />
public transportation or even cycling.<br />
In contrast, our bureaucrats and<br />
politicos prefer to bask in the glory of<br />
gaadi suwidha.<br />
Walking is vehemently discouraged in<br />
our cities, to say the least. Pedestrians<br />
are seen as lesser beings. Walking has<br />
become a serious “urban crime” for<br />
which punishment could sometimes<br />
be as severe as “death by accident”.<br />
In cities, people are busy. Communication<br />
(with fellow citizens) may not<br />
be a priority but commuting (to jobs<br />
in particular) is important. Private cars<br />
have become a “necessity” now, and<br />
in case one forgets just how necessary<br />
car, auto dealers and bankers are there<br />
to remind with offers of budget-friendly<br />
cars and budget-friendlier auto loans.<br />
Moreover, cars are seen as a “savior”<br />
– they protect from dust and air<br />
pollution, enhance social status, and<br />
save from the humiliation of travelling<br />
in a crowded, stinky public bus with a<br />
foul-mouthed conductor.<br />
If we keep on adding vehicles and<br />
building more roads or destroying<br />
more streets for them, where would<br />
we arrive?<br />
40 / <strong>SPACES</strong> SEPTEMBER <strong>2017</strong>
URBAN PLANNING<br />
RECLAIMING STREETS<br />
The street networks in the old<br />
settlements of our cities were built for<br />
navigation on foot. In the course of<br />
time, some streets were widened and<br />
some not, but they somehow became<br />
“motorable” roads. Two-wheelers first<br />
laid claims on the roads, followed next<br />
by four-wheelers, and then by vehicles<br />
of any size technically possible. The<br />
sharp turns and numerous junctions<br />
and paths that crisscross these streets<br />
were not meant to facilitate vehicular<br />
traffic – not even two-wheelers. As a<br />
result, these streets are often always<br />
choked with vehicles. The vehicular<br />
abuse of streets has continued but it is<br />
time to correct the mistakes.<br />
In many countries, particularly in Europe,<br />
cities are transforming car-friendly areas<br />
into car-claimed, pedestrian-friendly<br />
zones. Barcelona is transforming nearly<br />
60 percent of streets currently used by<br />
cars into public spaces. Paris is also<br />
slashing the number of lanes on major<br />
axes and redesigning seven major<br />
squares to reduce vehicle lanes and<br />
parking. Seoul’s Cheonggyecheon<br />
Restoration Project is legendary<br />
in urban planning circles: the city<br />
replaced a major highway with smaller<br />
roads and green infrastructure without<br />
deteriorating traffic situation in the city.<br />
If the city planners of Barcelona, Paris<br />
or Seoul have done the “unthinkable”<br />
and yet emerged victorious, what is<br />
holding us back?<br />
Past efforts to pedestrianize old<br />
neighborhoods in Kathmandu have<br />
met with little success. The benefits<br />
of pedestrianization might not have<br />
been clear to the skeptics. Studies on<br />
pedestrianization and traffic-calming<br />
schemes in Germany and United<br />
Kingdom over years have shown that<br />
shops inside pedestrian areas benefit<br />
more than those outside, and parts of<br />
the increased turnover is transferred<br />
to landowners (or locals). Likewise,<br />
a recent study by EMBARQ on the<br />
pedestrianization of Istanbul’s historic<br />
peninsula has found that locals were<br />
largely happy with the results that<br />
included decreased noise levels and<br />
improved air quality.<br />
Studies around the world show that on<br />
an average, cars are parked 95 percent<br />
of the time or more which implies that<br />
most of the time, cars just occupy scarce<br />
urban space. Land is a scarce resource,<br />
and should not be wasted on roads and<br />
vehicles at the expense of better use of<br />
land. It is not enough to build pedestrianfriendly<br />
roads but to build more<br />
compact, walkable neighborhoods that<br />
require less commuting and have more<br />
public space.<br />
Humans first learn to walk, then run<br />
and then to drive. This is how the<br />
priority for using urban space should<br />
be set. •<br />
SEPTEMBER <strong>2017</strong> <strong>SPACES</strong> / 41
42 / <strong>SPACES</strong> SEPTEMBER <strong>2017</strong>
SEPTEMBER <strong>2017</strong> <strong>SPACES</strong> / 43
ARCHITECTURE<br />
EL MUSEO PRADO<br />
en FILIPINAS del<br />
Correspondence : Samir Dahal<br />
44 / <strong>SPACES</strong> SEPTEMBER <strong>2017</strong>
ARCHITECTURE<br />
El<br />
Museo del Prado en<br />
Filipinas Travelling<br />
Exhibition takes the<br />
museum experience of one of the<br />
most important national museums<br />
of Spain into the public spaces of<br />
the Philippines. More than a frame<br />
for the museum’s art prints, it brings<br />
to the country a spatial experience<br />
of El Museo del Prado through an<br />
implied formation of its arches and<br />
vaults – walking through the series<br />
of the travelling exhibit modules is an<br />
interpretation of wandering through<br />
the vaulted galleries of El Museo del<br />
Prado. Moreover, as it provides shade<br />
and visual interest through its sail-like<br />
canopies positively reminiscent of<br />
familiar umbrellas, it appeals to the<br />
sensibilities of the Filipino people. It<br />
is elegant yet approachable; fresh yet<br />
familiar. It brings the institution closer<br />
to the public.<br />
The concept of this travelling exhibit<br />
takes the basic elements of a museum<br />
SEPTEMBER <strong>2017</strong> <strong>SPACES</strong> / 45
ARCHITECTURE<br />
46 / <strong>SPACES</strong> SEPTEMBER <strong>2017</strong>
ARCHITECTURE<br />
and creates a module adaptive to the<br />
streetscape. Through a modular design that<br />
is both visually and functionally derivative of<br />
the El Museo Del Prado, the project achieves<br />
its goal of giving the public access to the<br />
museum’s rich collection of art. The basis<br />
of the design comes from simplifying the<br />
museum experience into 3 parts (the art<br />
itself, the structure that houses the art, and<br />
ample viewing areas for visitors). From there,<br />
a module resembling El Museo Del Prado’s<br />
form and function in a micro scale is created.<br />
The modules, which follow the form of an<br />
arch, combine to form a visual representation<br />
of El Museo del Prado through its defining<br />
vaults and arcade. This brings the spatial<br />
and visual experience of El Museo del<br />
Prado through a replication of architectural<br />
expressions in both form and program.<br />
Since it is a travelling exhibit that must adapt<br />
to various site conditions and parameters,<br />
the modules offer flexibility through the<br />
variations of layouts these modules can<br />
SEPTEMBER <strong>2017</strong> <strong>SPACES</strong> / 47
ARCHITECTURE<br />
be arranged in. By using its visual<br />
character and its ability to portray<br />
various architectural forms, it brings<br />
vitality to the public space it inhibits.<br />
The modules can also be configured<br />
to define functional spaces, such<br />
as courtyards, event grounds, or<br />
community centers. Designed to be<br />
placed outdoors, it is provided with<br />
equipment necessary to withstand the<br />
elements and function even during<br />
nighttime augmenting its ability to<br />
integrate itself into the streetscapes.<br />
Translucent canopy roofing, energy<br />
saving lighting fixtures, and added<br />
stability all help in resisting the<br />
natural elements. Ease of transport<br />
and storage is also addressed in<br />
the design as the modules can be<br />
dismantled in sections.<br />
Urban lifestyles are made richer by<br />
bringing our institutions to the people,<br />
making culture part of our everyday<br />
lives, and engaing more with the<br />
public. El Museo del Prado en Filipinas<br />
Travelling Exhibit disseminates the<br />
museum experience to the streetlevel<br />
community. It makes prized art<br />
accessible to the general public. •<br />
48 / <strong>SPACES</strong> SEPTEMBER <strong>2017</strong>
ARCHITECTURE<br />
SEPTEMBER <strong>2017</strong> <strong>SPACES</strong> / 49
INTERIOR<br />
Animated Interiors<br />
A RESIDENCE<br />
AT MANBHAWAN<br />
TEXT : Shweta Shakya<br />
photos: Pradip Ratna Tuladhar<br />
T<br />
he interior design picture in Nepal has drastically<br />
changed over the past few years with development<br />
of understanding the experience of a building. The<br />
image of our dream house has changed synchronously. This<br />
house at Manbhawan is an embodiment of a modern day<br />
dream house which portrays the fullness of its inhabitant’s<br />
personality and philosophy.<br />
Rashmi Chitrakar, Absolute Interiors, understood the narrative<br />
weaves of owner’s needs. Taking a minimalistic approach<br />
with a tinge of tradition, a design process was initiated that<br />
suits the needs and lifestyle of the family. The vibrant social<br />
life of the homeowners unfolds a capacious and free flowing<br />
living area. Tailored living rooms were split into formal and<br />
more informal spaces emphasizing a spatial journey by a<br />
progression of the floor surface selection like marble, parquet<br />
to soft carpeting. The ceiling design commands every space<br />
balancing with the furniture and the textures. Working with a<br />
reduced palette of materials and colors has been the part of<br />
the process of creating timeless design while embracing the<br />
subtleness of the family.<br />
Lighting is detailed to heighten the experience of the spaces.<br />
Recessed lights have not been used but the reflected light of<br />
the chandeliers gives it a floating effect. All the possibilities<br />
were taken into account including chandeliers, LED lighting,<br />
spot lights, pendant lamps, and sconces have been used<br />
smartly balancing between ambiance and function.<br />
50 / <strong>SPACES</strong> SEPTEMBER <strong>2017</strong>
INTERIOR<br />
SEPTEMBER <strong>2017</strong> <strong>SPACES</strong> / 51
INTERIOR<br />
The sequence of kitchen, dining and<br />
living room is maintained tunefully. In<br />
the contrary to the contemporary open<br />
kitchen concept, enclosed kitchen was<br />
embraced in the context of Nepal since our<br />
food habits demand tempering of spices<br />
(tadka) which can be peculiar. A breakfast<br />
table is placed beside the preparation<br />
table while the adjacent elaborate dining<br />
room is used only for dinner as it is the<br />
only time when all the family members<br />
52 / <strong>SPACES</strong> SEPTEMBER <strong>2017</strong>
INTERIOR<br />
are together after a day’s toil. Etched<br />
glass partition door and a pair of<br />
curio shelves separate the dining area<br />
from the living rooms maintaining<br />
the balance between openness and<br />
enclosure when needed.<br />
The spiral staircase emphasized<br />
by the textured tile cladding as<br />
the backdrop and a magnificent,<br />
cascading chandelier enhances as<br />
a focal point. A big painting of white<br />
horses galloping with rising sun in the<br />
background has a greater significance<br />
in Vaastu as they represent the<br />
success and power while intensifying<br />
good luck and energy in the home.<br />
It is believed that there are scientific<br />
reasons of orienting certain rooms<br />
and positioning certain objects that<br />
can make a greater impact in the lives<br />
of the occupants. The basement can<br />
be accessed through the entry foyer.<br />
It consists of a gym, a lavish home<br />
theatre cum bar and a playroom which<br />
can be transformed into a dining area<br />
during gatherings with relatives and<br />
friends.<br />
The designer takes her cues from<br />
the traditional wooden dalins used<br />
on the ceilings of traditional Newari<br />
homes. This concept is recurring in<br />
all the bedrooms except for the son’s<br />
bedroom which has a modern wavy<br />
design on the ceiling that represents his<br />
swaying nature. The master bedroom<br />
with a color scheme of red and<br />
white highlights the bedroom with its<br />
boldness and vigor. The headboard is<br />
elaborated and velvet-textured, adding<br />
softness in the room, visually and<br />
physically. The walk-through wardrobe<br />
leads to en suite bathroom where there<br />
are two sinks for the husband and wife.<br />
This was personalized because of the<br />
clients’ morning rush to their offices.<br />
The house is the outcome of an honest<br />
and open communication between the<br />
client and the designer. Fortunately,<br />
the taste and philosophy of the two<br />
concurred in terms of design. It is<br />
evident in the meticulous and plentiful<br />
detailing. The overall design is a quiet<br />
and unfussy but nevertheless, adds<br />
some drama while also making sense<br />
of the changes that have occurred in<br />
modern day lifestyles.<br />
SEPTEMBER <strong>2017</strong> <strong>SPACES</strong> / 53
INTERIOR<br />
GEOLOGICAL IMPACT OF<br />
Color Combination<br />
TEXT : Ar. CHHAVI VASHIST<br />
‘GEOLOGY’ IS ANCIENT GREEK WORD,<br />
WHERE ‘GEO’ MEANS “EARTH” AND ‘LOGY’<br />
MEANS “STUDY OF DISCOURSE”. THIS<br />
BRANCH OF SCIENCE DEALS WITH THE<br />
PHYSICAL STRUCTURE AND SUBSTANCE<br />
OF THE EARTH, AND THEIR HISTORY.<br />
HERE, WE WILL BE HIGHLIGHTING<br />
NATURAL STONE, SOIL COLOR, THEIR<br />
CONTENTS, PROPERTIES, APPLICATION OF<br />
THE ABOVE SAID IN INTERIOR DESIGNING<br />
AND ARCHITECTURE. THE NATURAL<br />
OCCURRING COLOR COMBINATIONS OF<br />
THESE BUILDING MATERIALS GIVE THEM A<br />
UNIQUE IDENTITY, WHICH MAKES THE END<br />
USER FEEL CLOSE TO MOTHER EARTH.<br />
54 / <strong>SPACES</strong> SEPTEMBER <strong>2017</strong>
INTERIOR<br />
Majority of us are familiar with the<br />
three main classifications of rocks<br />
which are igneous, sedimentary, and<br />
metamorphic. Stone occupies its own<br />
importance in interior designing and<br />
architecture. This gift of nature is used<br />
by designers in designing elegant<br />
facades, floorings, paving, stone<br />
cladding, kitchen slabs, landscaping<br />
etc. Besides this technical information,<br />
color combinations can also be<br />
enjoyed in form of corals, gems, and<br />
contour in hilly and valley areas.<br />
IGNEOUS ROCKS<br />
Igneous rocks are formed when<br />
magma that is the molten rock deep<br />
within the earth cools and hardens<br />
with due course of time. Sometimes,<br />
the magma cools inside the earth or<br />
the lava erupts onto the surface from<br />
volcanoes, when lava cools very<br />
quickly, no crystals are form and the<br />
rock looks shiny and glasslike. But, if<br />
gas bubbles are trapped in the rock<br />
during the cooling process, it leaves<br />
tiny holes and spaces in the rock.<br />
Examples of this rock type include<br />
basalt, granite and obsidian.<br />
SEDIMENTARY ROCKS<br />
Sedimentary rocks are formed from<br />
particles of sand, shells, pebbles, and<br />
other fragments of material. Together,<br />
all these particles are called sediments.<br />
Gradually, the sediment accumulates<br />
in layers and over a long period of<br />
time hardens into a rock. Generally,<br />
sedimentary rock is fairly soft and may<br />
break apart or crumble easily. You can<br />
often see sand, pebbles, or stones<br />
in the rock and it are usually the only<br />
type that contains fossils. Examples of<br />
this rock type include conglomerate<br />
and limestone.<br />
SEPTEMBER <strong>2017</strong> <strong>SPACES</strong> / 55
INTERIOR<br />
METAMORPHIC ROCKS<br />
Metamorphic rocks are formed under<br />
the surface of the earth from the<br />
metamorphosis (change) that occurs<br />
due to intense heat and pressure<br />
(squeezing). The rocks that result from<br />
these processes often have ribbon like<br />
layers and may have shiny crystals,<br />
formed by minerals growing slowly<br />
over time, on their surface. Examples<br />
of this rock type include gneiss and<br />
marble.<br />
SOIL AND ITS COMPOSITION<br />
Soil can exhibit a wide range of<br />
colors; gray, black, white, red, brown,<br />
yellow and sometimes green too.<br />
This distribution and development<br />
of color is a result of chemical and<br />
biological weathering. Redox reaction<br />
plays an important role here. The<br />
color concentration, mottled patterns<br />
etc. Is produced from environmental<br />
conditions and weathering effects<br />
which results in gradual uniform color<br />
changes. Moreover the presence of<br />
water also affects soil color by affecting<br />
the oxidation rate. Yellow or red soil<br />
indicated the presence of oxidized<br />
ferric iron oxides. Dark brown or black<br />
color soils indicate that the soil has high<br />
organic matter content. Manganese<br />
oxide causes a black color, glauconite<br />
makes the soil look green, and calcite<br />
makes the soil appear white.<br />
MARBLE<br />
Prized for its classic elegance, marble<br />
flooring has been around since ancient<br />
times. It’s instantly recognizable for its<br />
soft grain patterns and creamy colors<br />
that range from white to red, green,<br />
and black. It’s often polished to a<br />
high sheen that shows off its subtle<br />
beauty. Polished marble is slippery<br />
when wet and isn’t the best choice<br />
for kitchens and baths. Honed marble<br />
has more surface texture and is a<br />
good alternative, but doesn’t have the<br />
dynamic color of polished marble.<br />
Marble is one of nature’s softer rocks<br />
and prone to scratching and staining,<br />
so professional sealing after installation<br />
is recommended.<br />
56 / <strong>SPACES</strong> SEPTEMBER <strong>2017</strong>
INTERIOR<br />
When it comes for home improvement most of us prefer the<br />
stone which require less maintenance and easy cleaning.<br />
Galaxy black granite stone is another option. As per present<br />
market situation, there is high demand for granite stones as it<br />
is used for all kinds of constructing purpose both for exterior<br />
and interior designing and decorations, granite stones are an<br />
apt choice. Readily available tiles and pre-processed slabs<br />
can be purchased at affordable rate. Out of the varieties of<br />
natural colors and designs, you can make a choice which<br />
attracts you utmost. By choosing absolute black granite tiles,<br />
you can have sophisticated flooring for your kitchen, living<br />
rooms, and bathrooms and even for entire space. This type<br />
of floor treatment are available in black, crystal white, blue<br />
pearl, golden garnet, tropical brown and many more colors.<br />
By opting for the primary compositions of this kind of tile are<br />
potassium, quartz, mica and feldspar. It can be used both for<br />
houses and commercial buildings. As constructing a house<br />
or commercial space is meant for years to go, the stones<br />
used for flooring must be durable. In modern days, such<br />
durable flooring chosen by most of the people is absolute<br />
black granite tiles.<br />
Makrana marble or white marble is mined in the town of<br />
Makrana in Rajasthan, India. It is popular and considered<br />
best in world because of its smooth and pure white milky<br />
appearance. Basically its a calcite stone, Makrana Marble<br />
is durable and becomes more shinier with time and usage.<br />
doongri marble is used in carving sculpture and building<br />
décor, his is mostly used in divine rooms, and decorating<br />
walls, windows, jali, pillars, idols, floors etc. in pooja rooms<br />
or holy spaces.<br />
GRANITE<br />
Granite is an igneous rock formed under extreme pressure,<br />
making it one of the hardest flooring materials. It’s virtually<br />
impervious to staining and scratching. It comes in many<br />
colors and is found throughout the country — local varieties<br />
of granite flooring may be less expensive due to lower<br />
shipping costs.<br />
SEPTEMBER <strong>2017</strong> <strong>SPACES</strong> / 57
INTERIOR<br />
TRAVERTINE<br />
Travertine is a sedimentary rock and is<br />
one of the softer varieties of stone flooring.<br />
That means over time, travertine will<br />
develop a soft, mellow patina. It comes<br />
in a wide range of shades and hues,<br />
from light cream to dark rust. Polished<br />
travertine resembles marble; tumbled<br />
travertine is characterized by pits, holes,<br />
and rounded edges that give it an antique<br />
look. Travertine flooring is porous and<br />
reacts quickly to acidic substances, so<br />
even spilled orange juice may cause a<br />
stain. Regular application of a stone sealer<br />
helps protect travertine flooring. Here, in<br />
t his image traditional Kitchen Style with<br />
Wooden Cabinets and Neutral wall Colors<br />
with Travertine Flooring is designed.<br />
SLATE<br />
Slate is a metamorphic rock that was<br />
formed in layers, so it easily splits into thin<br />
sheets that are cut into tiles. Slate floor<br />
tiles can be left with their naturally rough<br />
surfaces or honed smooth. The rougher<br />
surfaces offer good traction for entryways,<br />
balconies, sunrooms, compound walls,<br />
bathrooms, patios and kitchens. Color-wise, slate tends<br />
toward blends of dark green, gray and brown. Slate comes<br />
in various densities. The denser the slate, the less likely it<br />
is to chip or flake in a process called “spalling.” A bit of<br />
spalling is common in un-honed slate. Slate is mostly found<br />
in the Western Hemisphere. It is used for both decorative<br />
and utilitarian purposes. Slate comes in a wide range of<br />
colors that are determined by the minerals found within<br />
the stone. The minerals it contains determine the color of<br />
slate. Red slate is caused by hematite, green by chlorite,<br />
blue-gray by sericite, black by carbonaceous materials and<br />
yellowish-brown by limonite. Some types of slate are also<br />
mottled, streaked or spotted because of its mineral content.<br />
The cleavage surface of slate may have either a shiny or dull<br />
luster. Slate is an opaque material that does not transmit<br />
any light. Cross fractures are typically dull. Denser slates<br />
cost more. Here, a wall cladding of black slate is designed<br />
with a uniform, symmetrical and rough look.<br />
LIMESTONE<br />
Limestone is a bit harder and over time will stand up better<br />
to everyday use. It has striking grain patterns that, when<br />
cut into long, narrow tiles, resemble wood planks. It’s a<br />
porous stone and should be protected with a quality stone<br />
sealer to prevent stains. Here, bedroom wall is designed<br />
with limestone.<br />
58 / <strong>SPACES</strong> SEPTEMBER <strong>2017</strong>
INTERIOR<br />
SAPPHIRE BLUE GRANITE<br />
Sapphire Blue Granite, English Brown<br />
granite, Brown Sapphire Granite,<br />
Sapphire Brown granite, Sapphire<br />
Blue Granite are other names of the<br />
blue sapphire stone. Sapphire Blue<br />
granite is an extremely hard igneous<br />
stone. Sapphire Blue granite is one of<br />
the known building materials and well<br />
finished granite, manufactured with<br />
fine texture to give a unique looks. It<br />
has been used for many years in both<br />
interior and exterior applications.<br />
Sapphire Blue granite is durable,<br />
weather resistant and beautiful. One<br />
of the hardest of stones, Sapphire<br />
Blue granite is excellent for stone<br />
cladding, curtain walls, water features,<br />
counter tops, furniture, elevator panels<br />
and wherever a long lasting, naturally<br />
beautiful stone is needed.<br />
FEROZA TURKISH STONE<br />
His stone is more used in astrology but<br />
certainly can be used as a decorative<br />
element in interior designing and<br />
furniture. For example, a glass table<br />
top can be paired up with feroza<br />
turkish stone to add elegancy and<br />
natural feel to the space.<br />
FOSSIL MARBLE<br />
The distinctive marble is characterized<br />
by the clearly evident presence of<br />
the fossilized prehistoric marine life<br />
forms of orthoceras and ammonites,<br />
which lived between the Silurian,<br />
Jurassic and Cretaceous periods<br />
(65 and 435 million years ago), and<br />
are visible throughout the marble. As<br />
the orthoceras and ammonites died,<br />
their shells accumulated in great<br />
numbers on the sea floor, where they<br />
were aligned by currents, buried by<br />
sediments, and transformed over the<br />
ages into stone by various physical<br />
and chemical processes. Fossil Marble<br />
exits in five hues -- Kajal Fossil (black),<br />
Bordeaux Fossil (red), Chocolat<br />
Fossil (dark brown), Sijilmassa Fossil<br />
(brown), and Hezhra Small Fossil<br />
(medium gray). Within each color, the<br />
figures of orthoceras appear as rocket<br />
or spaceship-like, elongated cylindrical<br />
shapes. Ammonites can be identified<br />
by their rounded, nautilus-shaped,<br />
spiral-esque forms. The animals have<br />
been preserved in their entirety and<br />
can be seen throughout the marble.<br />
The beauty of life has literally been<br />
suspended in time, proving a oneof-a-kind<br />
visual adventure. Physical<br />
and mechanical properties of Fossil<br />
Marble make it a premium selection for<br />
interior and exterior design, building,<br />
remodeling and renovation project.<br />
The natural stone have here own<br />
charm and bring everlasting aesthetic<br />
look to the spaces. It is expensive but<br />
durable too. •<br />
SEPTEMBER <strong>2017</strong> <strong>SPACES</strong> / 59
60 / <strong>SPACES</strong> SEPTEMBER <strong>2017</strong>
SEPTEMBER <strong>2017</strong> <strong>SPACES</strong> / 61
ARCHITECTURE<br />
have ever since been held in various<br />
countries: 1992 Adelaide, Australia,<br />
1996 Yoff, Senegal, 2000 Curitiba,<br />
Brazil, 2002 Shenzhen, China, 2006<br />
Bangalore, India, 2008 San francisco,<br />
USA, 2009 Istanbul, Turkey, 2011<br />
Montreal, Canada, 2013 Nantes,<br />
France; 2015 Abu Dhabi, UAE; <strong>2017</strong><br />
Melbourne, Australia.<br />
THE ECOCITY<br />
WORLD SUMMIT <strong>2017</strong>: MELBOURNE<br />
AUSTRALIA AND THE CONCEPT OF ECOCITY<br />
TEXT : Sangeeta Singh<br />
The ecocity world summit <strong>2017</strong> which<br />
took place in Melbourne, Australia<br />
from 11-14 July <strong>2017</strong>, provided Ms.<br />
Sangeeta Singh, associate professor<br />
at the Department of Architecture<br />
and Urban Planning at the Institute<br />
of Engineering, a unique platform<br />
not only in presenting a paper on the<br />
“Challenges and opportunities in urban<br />
ecological planning in the context of<br />
Nepal” but also in understanding the<br />
world views on building sustainable<br />
cities.The Economist’s annual<br />
global liveability survey has declared<br />
Melbourne as the most liveable city in<br />
the world for the seventh year running.<br />
During the three days of the summit it<br />
was an overwhelming and a difficult task<br />
to choose from the 300 sessions from<br />
the three tracks on Urban Leadership,<br />
Academic Research, and City Practices<br />
which was participated by more than<br />
900 delegates from 30 countries.<br />
Although all the plenary sessions were<br />
interesting, the one that garnered a lot<br />
of attention was the plenary session<br />
where Al Gore was the keynote<br />
speaker. Discussing the dimensions of<br />
sustainable cities with Richard Register<br />
during the summit was indeed a totally<br />
enriching experience.<br />
Eco city as a concept for planning cities<br />
is seen to have been popularized by<br />
Richard Register with the establishment<br />
of non- profit organization Urban<br />
Ecology in 1975 and Eco city Builders<br />
in 1992 which urged discussions on<br />
ecological aspects in urban planning<br />
and also with the publication of a book<br />
Eco-city Berkeley (1987), the journal<br />
“urban ecologist” and later some other<br />
books on the subject matter. Register<br />
envisions rebuilding cities “in balance<br />
with nature”, and he stresses on “as we<br />
build, so shall we live”. He further raises<br />
concern on the impact of “peak oil”<br />
situation where practically everything<br />
from transportation, indoor climate,<br />
food, clothing, shelter depends on oil.<br />
“Given the crisis state of life systems<br />
on earth, the collapse of whole habitats<br />
and the increasing rates of extinction<br />
of species, it follows that cities need<br />
to be radically reshaped; they need<br />
to be reorganized and rebuilt upon<br />
ecological principles. “When we build<br />
the automobile sprawl infrastructure,<br />
we create a radically different social<br />
and ecological reality than if we<br />
build closely knit communities for<br />
pedestrians” .<br />
Richard Register has been tracking<br />
many of the dilemmas cities face and<br />
has written extensively on the ecocity<br />
building approach. Register’s<br />
organization the Urban ecology (later<br />
Eco city Builders) have organized<br />
eleven world eco city summits across<br />
the globe which has been effective<br />
in advocating the eco city principles,<br />
formulating the policies frameworks<br />
and standards and identifying the<br />
elements of eco city. The summit<br />
started in 1990 Berkeley, USA and<br />
Human settlements from the ancient<br />
times in history have emerged as a<br />
response of mankind to fulfilling its<br />
basic requirements and adapting to<br />
nature and its diversity. Starting from<br />
the Paleolithic (stone age) ages human<br />
beings have gradually advanced<br />
changing not only the surrounding<br />
in which they provided themselves<br />
with shelter and comfort but also<br />
in the livelihood and consumption<br />
patterns using the great potential of<br />
the human mind which differentiated<br />
them from the other species on earth.<br />
With the industrial development and<br />
technological advancement creating<br />
unlimited possibilities there has<br />
been a further shift in the livelihood<br />
and consumption pattern leading<br />
to societies largely depending on<br />
mechanized systems. In the process<br />
there has been a rapidly accelerating<br />
gap between the nature and man, and<br />
more and more exploitation of natural<br />
resources. The air and water pollution<br />
is increasing, waste assimilation<br />
is becoming more and more<br />
complex and burden some with the<br />
consumption pattern becoming more<br />
and more sophisticated and advanced.<br />
With the increasing population, the<br />
land is increasingly being occupied<br />
by the human species, expanding in<br />
all directions of the globe, driving all<br />
the other species to extinction in the<br />
process of exploiting the forests and<br />
agricultural land and disturbing the<br />
other natural ecosystems of the earth<br />
creating increasing number of urban<br />
ecosystems instead.<br />
With increasing globalization through<br />
improved technology, the impact of<br />
development on ecological systems<br />
have shifted from local to regional to<br />
global level threatening the survival of<br />
human beings. With growing realization<br />
of this increasing impact on a global<br />
scale there has been yet another<br />
62 / <strong>SPACES</strong> SEPTEMBER <strong>2017</strong>
ARCHITECTURE<br />
paradigm shift in the recent years, in<br />
planning sustainable settlements and<br />
various approaches like the eco city,<br />
low carbon city, green city, smart city<br />
have been gaining global significance.<br />
It is obvious that urbanization cannot<br />
be curbed and cities are bound to<br />
grow in numbers and sizes. How we<br />
plan our cities and how we manage<br />
our urban ecosystems in relation to<br />
other natural ecosystems of the world<br />
will largely determine the survival or<br />
extinction of the human species.<br />
During 19 th century, the city planning<br />
principles have been guided by<br />
abundant use of nonrenewable<br />
energy (fossil fuel) combined with new<br />
technologies leading to improvement<br />
in the quality of life. Access to clean<br />
water, centralized sewage treatment,<br />
vehicular oriented streets promoting<br />
higher and higher speed, increased<br />
comfort levels with lighting and<br />
heating technologies and increased<br />
consumerism, and improved<br />
communication technology have been<br />
achieved as the society made speedy<br />
progress to modernism. The societies<br />
became developed leading to the<br />
so called developed nations and the<br />
developing nations aspiring to become<br />
developed nations. However the 19th<br />
century models of city planning have<br />
in retrospect been very unsustainable<br />
models, with over exploitation of<br />
natural resources and this realization<br />
have brought forward the paradigm<br />
shifts in the planning principles in the<br />
twentieth and the twenty first centuries<br />
focusing more on sustainability <strong>issue</strong>s.<br />
“Sustainable development” has<br />
become the new paradigm in<br />
global efforts towards economic<br />
development since the Brundtland<br />
commission published a report<br />
“our common future” in 1987 which<br />
defined it as “development that meets<br />
the needs of the present, without<br />
compromising the ability of future<br />
generations to meet their own needs”.<br />
The United Nations conference on<br />
human development in 1972 leading<br />
to the Stockholm declaration on<br />
human environment was the first<br />
major international gathering that<br />
discussed on sustainability <strong>issue</strong>s on<br />
a global scale. Since then there has<br />
been a number of efforts on a global<br />
scale focusing on sustainability and<br />
climate change and there has been<br />
more concerns on considering the<br />
ecological approaches in human<br />
settlement planning.<br />
The Melbourne Principles for<br />
Sustainable Cities is one of the product<br />
of the United Nations Environmental<br />
Programme International Workshop<br />
on Building Urban Ecosystems held in<br />
Melbourne in 2002 which were adopted<br />
at the Local Government Session of the<br />
Earth Summit 2002 in Johannesburg,<br />
and known as Local Action 21 or<br />
the Johannesburg Call. The vision<br />
promoted by the ten Melbourne<br />
Principles is to create environmentally<br />
healthy, vibrant and sustainable cities<br />
where people respect one another and<br />
nature, to the benefit of all. Resolution<br />
on Sustainable Development Goals<br />
adopted by the General Assembly on<br />
25th <strong>Sept</strong>ember, 2015 includes 17 goals<br />
which has included all the key elements<br />
of sustainable development including<br />
fostering inclusive, safe, resilient and<br />
sustainable human settlements (goal<br />
11: Sustainable cities and communities).<br />
Since the earth summit sustainable<br />
development has gained recognition<br />
and been adopted by many prominent<br />
international organizations like the<br />
world bank, monetary fund, world<br />
trade organisation including the private<br />
sectors. The private sector has adopted<br />
it in the form of corporate social<br />
responsibility and several voluntary<br />
initiatives have been directed towards<br />
sustainable development including<br />
World Business Council on Sustainable<br />
Development (WBCSD), Global<br />
Compact, Equator Principles, Global<br />
Reporting Initiatives, and Extractive<br />
Transparency Initiative including<br />
international NGOs like WWF, Oxfam<br />
International and Friends of Earth.<br />
Since Register several others have<br />
propagated the concept of Eco city,<br />
David Engwicht being one of them<br />
who published Towards an Eco-City<br />
(1992), (later as Reclaiming our cites<br />
and towns, 1993) in which he talks<br />
about how building more roads,<br />
shopping malls, gutting communities<br />
and increasing dense traffic, the city<br />
planners and engineers have greatly<br />
reduced effective human interaction.<br />
A city is “an invention for maximising<br />
exchange and minimising travel”. He<br />
advocates ‘eco-cities’ where people<br />
can move via foot, bicycles and mass<br />
transit and interact freely without fear<br />
of traffic and toxins . The five principles<br />
of an eco city according to Prof.<br />
Sudarshan Raj Tiwari are a) green city,<br />
b) wet city, c) cool city, d) disposability<br />
and e) living with other beings.<br />
“Greening a city is about maintaining<br />
harmony with nature and its air, water<br />
and land cycles while at the same<br />
time using materials and methods<br />
that respect and work with nature. The<br />
other indicators of a green city are cool<br />
and processes that keep things moist,<br />
cool and green are natural ways to<br />
deal with present urban state which is<br />
dry, hot and grey. Thus humans can<br />
live in harmony with other life forms.”<br />
Several new paradigms in city planning<br />
have been propagated in achieving<br />
sustainable development on a global<br />
scale all of which having similar objectives<br />
such as eco cities, sustainable cities,<br />
healthy cities, safer cities, cities without<br />
slums, smart cities, energy conscious<br />
cities, clean cities, and green cities, healthy<br />
communities, appropriate technology,<br />
community economic development,<br />
social ecology, the green movement,<br />
bioregionalism, native world views, low<br />
carbon city, zero carbon city, zero energy<br />
city, zero net energy city green capitalism,<br />
slim city, compact city, solar city etc.<br />
With commitments on global agenda on<br />
sustainability like the SDG goals, Habitat<br />
III agenda etc. the government of Nepal<br />
has shown a keen interest in the <strong>issue</strong>s<br />
of sustainable development which is<br />
commendable. In the recent years<br />
planning initiatives in the context of Nepal<br />
is also seen to be guided to some extent<br />
by the principles of sustainability and<br />
concepts like food green cities and smart<br />
cities have been propagated. However<br />
there is a need to formulate proper<br />
guidelines as to how these concepts are<br />
implemented in the years to come. •<br />
SEPTEMBER <strong>2017</strong> <strong>SPACES</strong> / 63
ART<br />
Eternal Visions and<br />
Contemporary Forms<br />
NEWAR REPOUSSÉ INSPIRES A NEW MATERIAL SYNTHESIS<br />
sufficient to deter contemporary artists<br />
from consideration of the potential<br />
of these practices for applications in<br />
their own work by their own hand.<br />
And though commissioning traditional<br />
artisans is always a possibility, here<br />
considerations of cost act as a<br />
deterrent. To the extent this is true,<br />
it is also lamentable, as the living soul<br />
of any culture can most immediately<br />
and viscerally be experienced through<br />
its unique cultural approach and<br />
interpretation of material culture.<br />
TEXT & photos : Maureen Drdak<br />
T<br />
oday the traditional material<br />
arts of Nepal are universally<br />
celebrated for their beauty,<br />
technical mastery, and spiritual<br />
relevance. This is especially true<br />
following the wake of the 2015<br />
earthquake when surviving Newar<br />
master artisans were recognized<br />
as indispensable for the rebuilding<br />
and repair of Nepal’s temples and<br />
related art, and re-established their<br />
critical importance as custodians<br />
of Nepal’s patrimony. Today these<br />
master artisans share the spaces<br />
of cultural production and with a<br />
dynamic Nepali contemporary arts<br />
64 / <strong>SPACES</strong> SEPTEMBER <strong>2017</strong><br />
scene, one which freely references<br />
both East and Western paradigms<br />
and concerns. Yet, in my experience,<br />
this conversation concerns itself<br />
primarily with <strong>issue</strong>s of concept, social<br />
relevance and politically informed<br />
criticism, often overlooking the<br />
protean potential for contemporary<br />
application inherent in the material<br />
aspects of traditional practices, and<br />
how deeper study of these techniques<br />
might benefit the contemporary artist.<br />
Warranted, the technical disciplines<br />
of these traditional arts present the<br />
demands of long apprenticeships—<br />
the maddening dedication alone is<br />
Among these endangered art practices<br />
of Nepal, Newar repoussé metalwork<br />
(thwojya-majya) deservedly holds a<br />
special place. Repoussé, as it is called<br />
in the West, is the art of producing three<br />
dimensional form from sheet metal<br />
through the use of anvils, hammers<br />
and chisels. No less than Nepal arts<br />
scholar Dr. Mary Slusser describes<br />
Newar repoussé as an “art of the<br />
cognoscenti,” i alluding to the uniquely<br />
challenging and formidable aspects<br />
of this material practice. Existence of<br />
the global practice of repoussé dates<br />
from the third millennium B.C.—in<br />
Nepal evidence of the earliest work is<br />
generally dated from the 11th century.<br />
Repoussé experienced periodic bursts<br />
of flowering in the West, but is rarely<br />
practiced today. Though its tools and<br />
techniques are disarmingly simple, one<br />
is quickly apprised of the level of skill<br />
and talent required to raise the Beautiful<br />
Form. The unfortunate evidence of the<br />
elite technical demands of repoussé<br />
is today’s ever-dwindling numbers of<br />
practitioners—of even middling stature.<br />
The sole remaining epicenter of its<br />
contemporary practice lies within the<br />
city of Patan in Nepal’s Katmandu Valley,<br />
and its most celebrated practitioners are<br />
undeniably the grandsons of Nepal’s<br />
historic master, the Newar Kuber Singh<br />
Shakya of Okubahal in Patan.
ART<br />
When in 2005 I first beheld the opulent<br />
forms of repoussé that grace the<br />
high architecture of the Valley, they<br />
immediately evoked associations with<br />
painting, an impression that remains<br />
with me today; the passing of the<br />
light over their sumptuous surfaces<br />
reveals opulent patinas, highlighting<br />
the golden t<strong>issue</strong>s of what was<br />
once heavy fire-gilding. It was this<br />
sensorial illusion, together with my<br />
astonishment at the transformative<br />
ferocity of modernity on Nepal’s<br />
culture and environment, which led to<br />
my envisioned synthesis of repoussé<br />
and contemporary painting and<br />
The Prakriti Project, my 2011-2012<br />
Fulbright work in Nepal. Realizing I<br />
would need to apprentice myself to<br />
a master, my subsequent research<br />
inexorably led me to the home of<br />
Rudra Raj Shakya and his three sons,<br />
Raj Kumar, Rabindra and Rajendra.<br />
To connoisseurs of Newar metalwork,<br />
the family of Rudra Raj Shakya of<br />
Okubahal needs little introduction.<br />
Yet at the time of my first visit to<br />
Rabindra’s atelier in 2009, it was my<br />
curious experience that a significant<br />
number within Nepal’s cultural<br />
community were still largely unaware<br />
of the historic significance and<br />
venerable legacy of this family—and<br />
its protean capabilities. Today the<br />
family’s eminence and reputation<br />
precedes it, amplified as it is by<br />
their recent achievement of their<br />
repoussé colossus of the Buddhist<br />
saint Padmasambhava in Bhutan.<br />
Spearheaded by Raj Kumar Shakya,<br />
who designed and directed its<br />
creation, this achievement arguably<br />
rivals that of the American Statue of<br />
Liberty. Following the completion of<br />
this project in 2014, two new larger<br />
ateliers have been added to the<br />
original family atelier in Imodol, which<br />
is now operated by Rabindra as Image<br />
Atelier; they are the On Metal Atelier,<br />
operated by Raj Kumar, and Creative<br />
Atelier, operated by Rajendra. The<br />
three Shakya brothers maintain a<br />
growing international clientele, and<br />
though each atelier has its specialty,<br />
they collaborate as commissions<br />
necessitate, making them today’s<br />
undisputed premier force in this elite<br />
material practice, and a national living<br />
treasure for Nepal.<br />
As my Fulbright work in The Prakriti<br />
Project evidenced the potential of<br />
repoussé for dynamic new expressive<br />
applications, it also illuminated these<br />
master practitioners. As a result of<br />
Nepal’s historic seclusion the unique<br />
traditions and practices of this elite<br />
art have been available for study by<br />
foreigners for less than seventy years.<br />
The lineage of my guru Rabindra<br />
Shakya includes artists and scholars<br />
patronized and decorated by the<br />
Malla and Shah Kings, commissioned<br />
by Buddhist leaders, and traceable<br />
back to Abhaya Raj Shakya, founder<br />
of the Mahabouddha Temple in 1564;<br />
members of my teacher’s family still<br />
serve as priests to this temple. As<br />
scions of the famed repoussé master<br />
Kuber Singh Shakya the family<br />
continues the legacy of their illustrious<br />
ancestry; their creation of the repoussé<br />
colossus of Padmasambhava, also<br />
known as Guru Rimpoche, in remote<br />
Takela, Bhutan is undoubtedly the<br />
family’s greatest achievement to date.<br />
With a total height of one hundred<br />
fifty seven feet, the copper colossus<br />
itself measures one hundred and<br />
fifteen feet in height, it easily hold with<br />
comparison to Frederic Bartholdi’s<br />
Statue of Liberty. The project was<br />
designed and directed by Raj Kumar<br />
Shakya, eldest of the three brothers,<br />
with the entire family’s participation.<br />
Surmounting formidable logistical<br />
challenges and made entirely without<br />
the aid of computer input, it was<br />
completed and consecrated in 2014.<br />
Yet in the face of continued success,<br />
Raj Kumar Shakya expresses concern<br />
for the future of the practice; the<br />
demanding nature of repoussé, the<br />
diminished interest of the younger<br />
generation in this practice; growing<br />
Western influences and social change<br />
are all challenges to its survival. By<br />
Rabindra’s recollection, their family<br />
atelier has seen only four foreign<br />
SEPTEMBER <strong>2017</strong> <strong>SPACES</strong> / 65
ART<br />
students; I am the only one (and only<br />
woman) to have extended my study<br />
and successfully attained technical<br />
proficiency.<br />
Artists carry within us our society’s<br />
assumed priorities and cultural<br />
expectations. We may hesitate in our<br />
departure from these expectations—<br />
especially if our path travels into the<br />
territory of other cultures and <strong>issue</strong>s<br />
of cultural appropriation may arise,<br />
leading to further hesitation—but we<br />
are impelled to expand our imaginative<br />
vision. Ways of knowing, seeing and<br />
making are universal in their variability,<br />
and are in perpetual dialogue. This<br />
has historically always been the case,<br />
and today this conversation is truly<br />
global. And while we must honor our<br />
cultural references, we paradoxically<br />
preserve them through extending their<br />
reach, and in the process, ensure their<br />
relevance for the future. My envisaged<br />
union of repoussé and painting was<br />
inspired by the flickering light-play<br />
on the undulating forms, eroding<br />
gilding, and changing patination of the<br />
magnificent toranas of the Kathmandu<br />
Valley. The opulent layered t<strong>issue</strong>s of<br />
gold, reds, greens, browns, and blacks<br />
on worn metal surfaces, created by<br />
the hand of elemental forces and the<br />
passage of time, spoke powerfully to<br />
me of the surface abrasion techniques<br />
I employ in my painting. I experience<br />
the plasticity of copper sheet as<br />
seductive; in its substance and<br />
weight, its malleable response to fire<br />
and manual force, it feels alive in the<br />
hands of the artist. Under the blows<br />
of the hammer its voice steadily rises<br />
ever higher until it almost cries out<br />
to be softened by the annealing fire.<br />
It swiftly changes color, darkening in<br />
response to the air around it, yet after<br />
annealing and its acid bath it throws<br />
off blackened fire scale shroud, and<br />
reveals itself newly born as softly<br />
pink as an infant’s skin. The repetition<br />
of this process—necessitated<br />
many times during the formation of<br />
each copper element—becomes a<br />
metaphor for the life cycle itself. I<br />
work the metal in the biomorphic, or<br />
auricular, style; its treatment of form is<br />
indeterminate, suggestive of natural<br />
forms. The process of allowing the<br />
unforeseen to emerge alongside the<br />
intended form and immersing yourself<br />
in its investigation is one of the most<br />
profound pleasures of my work.<br />
Dr. Mary Slusser, distinguished<br />
scholar of Nepali art, described<br />
my work with Rabindra Shakya as<br />
a “fecund collaboration” and “an<br />
inspired coupling apparently without<br />
antecedents” ii . Describing my resulting<br />
work as “astonishing paintings”, she<br />
writes appreciatively of my study<br />
with Rabindra, expressing her hope<br />
that further creative dialogue will be<br />
pursued between contemporary and<br />
traditional arts. I’ve been privileged<br />
to study with Rabindra Shakya, and<br />
to work alongside the artisans of<br />
his atelier. I’ve come to intimately<br />
experience and know firsthand the<br />
immense dedication to practice and<br />
devotion to technique that is required<br />
of any artist aspiring to practice<br />
repoussé. When deeply engaged in<br />
working the metal, the spirit of these<br />
artists is always with me. •<br />
i<br />
Slusser, Dr. Mary. “The Art of Rabindra Shakya and<br />
Maureen Drdak: An Appreciation”, The Prakriti Project:<br />
Eternal Visions—Contemporary Forms, Siddhartha Art<br />
Gallery, Baber Mahal Revisited, Kathmandu, Nepal,<br />
February 2012.<br />
ii<br />
Slusser, Dr. Mary. “The Art of Rabindra Shakya and<br />
Maureen Drdak: An Appreciation”, The Prakriti Project:<br />
Eternal Visions—Contemporary Forms, Siddhartha Art<br />
Gallery, Baber Mahal Revisited, Kathmandu, Nepal,<br />
February 2012.<br />
66 / <strong>SPACES</strong> SEPTEMBER <strong>2017</strong>
ART<br />
SEPTEMBER <strong>2017</strong> <strong>SPACES</strong> / 67
ART<br />
hxf“ gful/s<br />
Toxf“ gful/s<br />
nagariknews.com<br />
myrepublica.com<br />
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SEPTEMBER <strong>2017</strong> <strong>SPACES</strong> / 69
70 / <strong>SPACES</strong> SEPTEMBER <strong>2017</strong>
SEPTEMBER <strong>2017</strong> <strong>SPACES</strong> / 71
YOUR HOUSE’S FLOORING IS THE<br />
FOUNDATION OF YOUR DESIGN<br />
AND THE FIRST THING PEOPLE<br />
SEE WHEN THEY WALK IN. IT ALSO<br />
GETS THE MOST TOLLS OUT OF<br />
YOUR EVERYDAY ACTIVITIES AND<br />
THUS REFLECTS FIRST OF ALL<br />
THE WEAR AND TEAR. SO IT’S<br />
ESSENTIAL TO INVEST IN QUALITY<br />
FLOORING THAT ALSO ADDS ON<br />
TO STYLE AND CLASS OF YOUR<br />
HOME. AT RIGHT MOVES- SMART<br />
CHOICE, WE TAKE CARE OF ALL<br />
THE MUMBLE JUMBLE RESEARCH<br />
TO HELP YOU MAKE A SMART<br />
CHOICE.<br />
RIGHT MOVES SMART<br />
CHOICE FOR<br />
Flooring<br />
EVEN THOUGH THEY ARE THE<br />
LAST THINGS TO BE INSTALLED,<br />
THERE SHOULD BE SELECTION<br />
AREA FOR ANY REMODELING OR<br />
NEW CONSTRUCTION PLANNING.<br />
REPLACING FLOORING CAN BE<br />
VERY EXPENSIVE. THE REST OF<br />
THE DESIGN SHOULD GO WITH<br />
YOUR FLOORING AND NOT THE<br />
OTHER WAY AROUND.<br />
HARDWOOD FLOORS<br />
Hardwood floors come as parquets,<br />
wooden planks, or prefinished boards.<br />
They could be installed by nailing or<br />
stapled down. While they look and feel<br />
the classy, and are extremely durable<br />
and warm, they are expensive and<br />
require high maintenance. Another<br />
reason why people are moving on<br />
to other options is because of the<br />
fear of termite attacks. Nonetheless,<br />
FEW COMMON TYPES<br />
AND CHOICES<br />
they have a great resale value and<br />
have been a very popular choice in<br />
staircases in the past as well for the<br />
fancy touch.<br />
LAMINATE FLOORING<br />
They are composed of wood based<br />
materials and come in all shades<br />
of wood. Made of High Density<br />
Fibreboard, they come in thickness of<br />
8mm, 10mm, and 12mm. It’s important<br />
to understand that higher density<br />
boards make the best choices. Their<br />
surface is usually printed with different<br />
shades of wood and can be chosen<br />
as per preference. While the Chinese<br />
brand of these kinds of flooring cost<br />
from NRs. 80 to NRs. 150 per sq ft, the<br />
Swiss brands will cost you anywhere<br />
between NRs. 120 to NRs. 170 per sq<br />
ft. They can last anywhere from 5-15<br />
years on average.<br />
Engineered floorings are basically<br />
Laminated Flooring where the wooden<br />
texture doesn’t reflect from print but<br />
rather a layer of wood on top. They<br />
cost around NRs. 600 per sq ft.<br />
72 / <strong>SPACES</strong> SEPTEMBER <strong>2017</strong>
VINYL PLANKS<br />
They are PVC planks that are much<br />
thicker and are found in width of 6 to<br />
8 inches and length of 3 ft. While they<br />
are waterproof, their installation is glue<br />
based and thus shouldn’t be used for<br />
places that use water - like the kitchen<br />
or the bathroom. They can be 2-3<br />
mms in height and cost about NRs.<br />
130 to NRs. 150 per sq ft. You can<br />
also choose from the various wooden<br />
textures they come in for style. They<br />
last you around 10 years on average.<br />
LUXURY VINYL TILES<br />
These are PVC planks that are installed<br />
with a lock in system and are thicker<br />
than Vinyl planks (4.2 to 4.5mms).<br />
Their installation system makes them<br />
easy to install, suitable for places that<br />
use water, and easy to dismantle and<br />
reuse at another place. They also<br />
come in all wooden textures to choose<br />
from. They cost around NRs. 250 per<br />
sq ft and can last up to 10 years.<br />
MARBLES<br />
Marbles are usually preferred for their<br />
waterproof nature, easy to clean and<br />
elegant look. It’s however easy to scratch,<br />
reacts with acidic substances in your<br />
food or cleaner, and can chip off creating<br />
possibility of need for replacement.<br />
Still, they’re a popular choice not just for<br />
bathrooms and kitchen but also hallways<br />
and even living and bedrooms. They’re<br />
available in different styles and textures<br />
giving you different decorative schemes.<br />
Especially because it’s natural produce,<br />
your marble floor will stand out from<br />
others easily. Light color marbles also<br />
reflect light, making the space brighter.<br />
They can be Indian or Italian and cost<br />
around NRs. 120-200 per sq ft. and will<br />
last you anywhere from 10 to 30 years.<br />
TILES<br />
Tiles available in the market are usually<br />
Vinyl, Ceramic, or Vitrified.<br />
Hospitals use Vinyl tiles for a more<br />
serious purpose of maintenance as they<br />
don’t have edge depressions that are<br />
difficult to clean and might carry germs.<br />
They are also the quieter of the tiles.<br />
Ceramic tiles are made of clay and have<br />
a glazed material on the surface making<br />
it waterproof. They are fairly easy to<br />
wipe and clean and thus a popular<br />
choice for bathrooms. Most tiles come<br />
in various designs and patterns to<br />
choose from and a glossy finish. They<br />
come in various sizes and shapes and<br />
cost around NRs. 100-NRs. 200 per<br />
sq ft. Without Physical damage, they’ll<br />
easy last from 10 to 25 years.<br />
Vitrified tiles are made with a process<br />
that keep them colored throughout<br />
their body making it an increasingly<br />
preferred choice. This means even<br />
if your tiles chip off, they look the<br />
same color as the tile rather than clay.<br />
They are scratch and stain resistant<br />
and easier to maintain. They are<br />
also stronger than their counterparts<br />
making it a better choice for high traffic<br />
areas and also commercial buildings.<br />
They cost from NRs. 150 to NRs. 350<br />
per sq ft and last from 10 to 25 years.<br />
PVC FLOOR SHEETS<br />
They are the cheapest form of flooring<br />
and come in rolls of Printed Sheet,<br />
similar to carpets. Easy to wipe clean or<br />
sweep, they are ideal for bedrooms and<br />
living rooms. A wide range of selection<br />
of designs and quality are available in<br />
the market and can be purchased from<br />
as low as NRs. 150 per meter to NRs.<br />
1500 per meter. However, the cheaper<br />
sheets have life of as low as 3-4 months<br />
as they are susceptible to tearing and<br />
wearing off. Good quality sheets can<br />
however, last you from 4-5 years.<br />
CARPETS<br />
Going back to basics, Carpets are cozy,<br />
and are pleasant to step on. They’re also<br />
easy to sit on and is easy to blend with<br />
the curtains in the room. There are wide<br />
ranges of price, quality, and design you<br />
can choose from as per your comfort.<br />
They’re also quieter, save energy and<br />
keep the room warmer. Slip accidents<br />
are much rarer in carpeted floors and<br />
act as sound barriers. However, they<br />
need more time and vacuums to clean.<br />
If you’re using carpets in high traffic<br />
areas, use darker colors to save yourself<br />
from needing to wash them too often.<br />
Nepali Carpets (Galaicha) have<br />
their own charm and are popular in<br />
Nepali household as well as in the<br />
international market. To maintain them<br />
better, don’t place them at floors that<br />
receive direct sunlight.<br />
Futsal grounds, cafes, and stores<br />
also use grass carpets as flooring for<br />
preferred business brands.<br />
Sprinkling salt on the carpet is an<br />
effective way to get rid of mud prints.<br />
Keep it on for an hour and then<br />
vacuum it up.<br />
SEPTEMBER <strong>2017</strong> <strong>SPACES</strong> / 73
SPORTS AND GYM FLOORING<br />
You also find special flooring for Sports<br />
and Gym which usually come in<br />
interlocking mats and can be around<br />
25 mm thick. Basketball courts, TT<br />
halls, and badminton courts usually<br />
use these to resist the force and<br />
tension created during matches.<br />
WHAT DO I CHOOSE?<br />
Flooring has been slowly moving<br />
from luxury to basic of interiors. While<br />
most flooring in the past decade<br />
was parquet or marbles, there are<br />
a lot more options today. When you<br />
consider your choice, you might have<br />
to factor in a few conditions.<br />
FUNCTIONALITY<br />
Consider what you would need the<br />
flooring for and where. Your living<br />
room might look better with chic<br />
flooring, but your bathroom would<br />
need waterproof floor. Wooden<br />
flooring for example, would lighten up<br />
the homeliness of your living room but<br />
will warp with moisture content in your<br />
bathroom.<br />
Consider the amount of human<br />
and animal traffic a floor will have to<br />
endure. For a high traffic area like<br />
the entrance, passages, and kitchen,<br />
choose flooring that is durable,<br />
resistant to water, and easy to<br />
maintain. Even better if it is resistant<br />
to stains, scratches, and scuff marks.<br />
If the space is a high moisture<br />
area such as the bathroom, go for<br />
waterproof materials such as PVC,<br />
marble or ceramics<br />
MOOD, SPACE, AND STYLE<br />
Once you know your choices serve<br />
to the function of the space, select<br />
materials with colors that match your<br />
style and mood you’re trying to create.<br />
There can be color options even in the<br />
type of flooring you’ve chosen- such<br />
as wooden flooring. Light and neutral<br />
colors create a calm ambience while<br />
dark wood colors create a warm and<br />
cozy aura. Solid wood flooring looks<br />
authentic and premium. Light colors<br />
also brighten up dark rooms and can<br />
make your room look more spacious.<br />
Moreover, if your material’s color is<br />
natural, it’s easier to blend it in with the<br />
furniture and rest of the decor.<br />
SIZE<br />
Size (sort of) matters! According to<br />
your material, you’ll most likely have<br />
an option between skinny, wide,<br />
square, or large rectangular tile/plank<br />
sizes. The shapes and sizes can be<br />
used to trick your eye to see the space<br />
that is larger or smaller. Horizontal tiles<br />
for instance, can make your space<br />
look longer. Larger and wider planks<br />
and tiles can make a smaller space<br />
look larger.<br />
SOUND<br />
Since your floor has the most interaction<br />
with people and surroundings, it also<br />
produces most noise. If you want<br />
minimal noise, vinyl tiles and carpets<br />
are your friends.<br />
GO GREEN!<br />
If you want to be more eco-friendly,<br />
go for choices such as bamboo. Apart<br />
from being super nice for Mother<br />
Nature, they’re also extremely durable<br />
and aesthetically pleasing. Even when<br />
making other choices, think about how<br />
they’re made and how much harm they<br />
cause to the environment.<br />
Don’t make a decision before bringing<br />
a couple of samples home to try them<br />
out at your houses’ light and your<br />
vision for the home. Try the sample at<br />
different times of the day.<br />
MAINTENANCE<br />
Laminate, marble floors and tiles are<br />
extremely easy to clean with a damp<br />
cloth and don’t need huge amount of<br />
efforts in making them look attractive<br />
and pleasing.<br />
Using a doormat on the outside of your<br />
entrance can really prevent a lot of dirt<br />
from making its way into the house.<br />
FUTURE REPLACEMENT<br />
You might want to change the decor of<br />
your space in passing of certain time<br />
or need to because of the condition<br />
of it. Make sure you understand what<br />
process you might have to follow if<br />
you had to replace your choice of<br />
flooring. This means understanding<br />
the installation process and cost of it<br />
first! •<br />
74 / <strong>SPACES</strong> SEPTEMBER <strong>2017</strong>
ARCHITECTURAL ART DIGEST<br />
SEPTEMBER <strong>2017</strong> <strong>SPACES</strong> / 75
FROM THE SHELF<br />
ART AND<br />
CULTURE<br />
OF NEPAL<br />
SELECTED PAPERS<br />
Mary Shepherd Slusser with contribution by Gautama V.<br />
Vajracharya and Manuela Fuller<br />
This volume brings together in<br />
one convenient format a selection<br />
of papers devoted to Nepalese<br />
culture published over several<br />
years in a variety of places. In<br />
one of them, for example, jointly<br />
authored and published in Artibus<br />
Asiae in 1973, the authors make<br />
one exiting discovery after another<br />
as they unravel various facets of<br />
Nepalese history.<br />
The so-called “Sleeping Vishnu” at Balaju turns out to<br />
be actually part Shiva and to be a thousand years older<br />
than previously thought. In an astonishing reversal of the<br />
accepted relationship, it is shown actually predate the<br />
image of which it was supposed to be a copy.<br />
and the interested public they have been brought<br />
together in this single volume. The chronological order<br />
of publication has been ignored in favour of grouping<br />
them under specific headings such as painting,<br />
sculpture and architecture.<br />
No changes have been made in the original texts but<br />
some articles are followed by a short commentary to<br />
include new information pertinent to that paper. One<br />
commentary, for example, takes into account the critical<br />
Jayadeva sculpture whose discovery postdated the<br />
planned 1997 publication of this volume. The present<br />
work is also fully illustrated with all the photographs<br />
included in the original publications. •<br />
With few exceptions, the papers have appeared in<br />
Western scholarly journals not readily available in Nepal.<br />
To make them easily accessible to Nepalese scholars<br />
This is not a Book Review; this is just an effort to conveying information to the<br />
readers on rare and valuable books on art and architecture. This column aims<br />
to give a helicopter view on such books and thus presents the excerpts and<br />
illustrations either from the preface, introduction, jacket or main contents of the<br />
book from the shelf. This book was kindly provided by Mandala Book Point,<br />
Kantipath, Kathmandu (Tel. 4227711).<br />
76 / <strong>SPACES</strong> SEPTEMBER <strong>2017</strong>
SEPTEMBER <strong>2017</strong> <strong>SPACES</strong> / 77
ARTSCAPE<br />
TAKEN 2015<br />
Her performance said about the cruel and insecure moments for the women in the society that<br />
has been taken place in their living areas. After the earthquake, people are living in tents and are<br />
suffering and even in such problematic situations there were being raped and hassled.<br />
In this performance, she used various materials indicating various meanings such as red flower<br />
symbolized innocent and purity. Red tomato symbolized as the fertilizer of nature. And similarly<br />
she used hammer as the society. The mirror on the head symbolized the perception of the society.<br />
ASHA DANGOL<br />
SAURGANGA DARSHANDHARI<br />
Born in 1980, she did her B.F.A. from Lalit Kala Campus and M.F.A. in Print Making from University of<br />
Development Alternative, Dhaka, Bangladesh. She is a lecturer at Fine Art Campus and Sirjana College<br />
of Fine Art. One of the founding member of Bindu, a space for artists, Saur has participated in various<br />
art workshops and residencies in Nepal, Sri Lanka, Japan, Korea and Bangladesh. She works on various<br />
medium such as performance art, print making, painting and installation art.<br />
78 / <strong>SPACES</strong> SEPTEMBER <strong>2017</strong>
SEPTEMBER <strong>2017</strong> <strong>SPACES</strong> / 79
80 / <strong>SPACES</strong> SEPTEMBER <strong>2017</strong>
SEPTEMBER <strong>2017</strong> <strong>SPACES</strong> / 81
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82 / <strong>SPACES</strong> SEPTEMBER <strong>2017</strong><br />
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Ph: 977-1-4420661, 4420647<br />
07 Technical Associates Services P. Ltd.<br />
1st Floor, Abhiyan Building, Panchayan Marg<br />
Thapathali, Kathmandu, Nepal<br />
Tel: 977-1-4219999<br />
E-mail: sktulshyan@gmail.com<br />
49 The Carpenter Hardware Center<br />
Pashupati Sadak, Gyaneshwor<br />
Ph: 977-1-4420202, 4417684, 4420234<br />
04 Worldlink Communication Pvt. Ltd.<br />
Jawalakhel, Lalitpur<br />
Ph: 977-1-5523050<br />
E-mail: enterprise.support@worldlink.com.np<br />
Website: www.worldlink.com.np<br />
ITEMS<br />
PURPOSE<br />
D3 General woodworking Adhesive<br />
110.40 Laminate / Wood to wood joint<br />
Finger Joint (Food Grade Certified)<br />
D4 (PUR) Outdoor Furniture<br />
687.40 100% Water Proof Adhesive<br />
Hot Melt For Panel Processing<br />
282.30 Manual Machine Hot Melt<br />
280.50 Thru Feed Machine Hot Melt (unfilled glue)<br />
Manual Edge Banding Glue<br />
148.20 On Site PVC Edge Banding Glue (water based)<br />
(PUD) Membrane Door Making Adhesive<br />
152.25 Membrane Kitchen Shutter Making Adhesive<br />
(Complete water based adhesive)<br />
Sofa and Mattress spray adhesive<br />
Shoe industry adhesive pur waterproof<br />
Complete Green Product<br />
Sole Distributor for Nepal<br />
No Hazardous Chemical<br />
B r i d g i n g T e c h n o l o g i c a l G a p<br />
Bridge Tech International Pvt, Ltd.<br />
Satdobato, Chapagaun Road/ Tutepani, Lalitpur, Nepal<br />
Tel: +977-1-5151171 / 5151822 Cell +977-9851213044/9851057950<br />
info@bridgetechintl.com/ sales@bridgetechintl.com
SEPTEMBER <strong>2017</strong> <strong>SPACES</strong> / 83
84 / <strong>SPACES</strong> SEPTEMBER <strong>2017</strong>