SPACES feb issue 2017

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Vol 12 N o. 09 February 2017 

A R T A R C H I T E C T U R E I N T E R I O R 

Nepa Beanz: Creating 

possitive ambience 

Children’s Ziggurat: 

Lali Gurans Orphanage 

and Library 

Mana Hotels: 

Ranakpur, 

Rajasthan, 

India 

Tarhibabu 

A Lucky Artist in Metalcraft

2 / SPACES February 2017

February 2017 SPACES / 3



Contents 

Volume 12 N O. 08 | February 

S P A C E S N E P A L . C O M 

38 Architecture 

Children’s Ziggurat: Lali Gurans 

Orphanage and Library 

32 Interior 

Nepa Beanz: Creating possitive 

ambience 


Mana Hotels: 

Ranakpur, Rajasthan, India 


Tarhibabu: A Lucky Artist in 

Metalcraft 

66 Interior 

Colors in an Educational 

Environment for the Learning Mind 

74 From the Shelf 

Treasures of Nepal 

77 Artscape 

Animals Incarnation 


Volume 12 N O. 08 | February 

Contributors 

CEO 

Ashesh Rajbansh 

Editor-in-Chief 

Ar. Sarosh Pradhan 

Director- Products and Materials 

Ar. Pravita Shrestha 

Contributing Art Editor 

Madan Chitrakar 

Kasthamandap Art Studio 

Junior Editor 

Shreya Amatya 

Sristi Pradhan 

Advisor 

Ar. Pawan Kumar Shrestha 

Intern 

Riki Shrestha 

Contributing Editor 

President - Society of Nepalese Architects 

Ar. Jinisha Jain (Delhi) 

Ar. Chetan Raj Shrestha (Sikkim) 

Barun Roy (Darjeeling Hills) 

Photographers 

Pradip Ratna Tuladhar 

Intl. Correspondent 

Bansri Panday 

Director- Operation & Public Relation 

Anu Rajbansh 

SR. Business Development Officer 

Debbie Rana Dangol 

Legal Advisor 

Yogendra Bhattarai 

Published by 

IMPRESSIONS Publishing Pvt.Ltd. 

Kopundole, Lalitpur, 

GPO Box No. 7048, Kathmandu, Nepal. 

Phone: 5181125, 5180132, info@spacesnepal.com 

Design/Layout & Processed at DigiScan Pre-press 

Printed at Wordscape The Printer, 9851037750 

Distribution 

Kasthamandap Distributors, Ph: 4247241 

Samir Dahal 

Sukrasagar 

Shweta Shakya 

Kritika Rana 

Asha Dangol 

Sukrasagar, is an archaeologist and a specialist in Nepali culture and history. 

He, co-authored Street Shrines of Kirtipur: As long as the Sun and Moon Endure 

(2014), with Mehrdad Shokoohy and Natalie H Shokoohy. The book focuses on 

the shrines’ chronology from the earliest specimens to the end of the twentieth 

century, the reasons for their erection, their typology and their iconography with 

the aim of providing a broad understanding of such features in a wider perspective 

for all Newar settlements. He is also the co-author of Jarunhiti (2013). 

Kritika Rana is a graduate from IOE Pulchowk Campus. She is currently practicing 

architecture at Prabal Thapa Architects. She is keen on research- based writings 

about architecture and the sensation of spaces. She believes in understanding the 

essence of space and its influence in human behavior. She is also interested in 

energy efficient and sustainable design in contemporary scenarios. 

Samir Dahal Awards Ambassador (AA) in Nepal for the LafargeHolcim Foundation, has 

been actively creating awareness about the 5th International LafargeHolcim Awards 

among students, academic fraternity and practicing professionals in the field relating 

to construction. As the AA, he has been helping to widen the reach of the Awards 

promotion; targeting high quality projects from the field of sustainable construction to 

be entered in the 5thInternational LafargeHolcim Awards competition. 

Shweta Shakya is 4th year Architecture student in Khwopa Engineering College. 

Travels, takes photographs and writes to keep her sanity. 

Asha Dangol is a contemporary Nepali visual artist. He is co-founder of the 

Kasthamandap Art Studio and E-Arts Nepal. He holds Master’s Degree in Fine Arts 

from Tribhuvan University, and has been creating and exhibiting his art since 1992. 

He has 10 solo art exhibitions to his credit. Dangol has participated in numerous 

group shows in Nepal and his work has been exhibited in different countries 

outside Nepal. The artist experiments with painting, mixed media, ceramics, 

installation, performance and video. 

Advertising and Subscriptions 

IMPRESSIONS Publishing Pvt.Ltd. 

Ph: 5181125, 5180132, market@spacesnepal.com 

Regd. No 30657/061-62 CDO No. 41 

SPACES is published twelve times a year at the address above. All rights are reserved in respect of articles, 

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not necessarily those of the publisher and the publisher cannot accept responsiblility for any errors or omissions. 

Those submitting manuscripts, photographs, artwork or other materials to SPACES for consideration should not 

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Editorial 

This issue kickstarts with caffeine boost at NepaBeanz, a coffee shop that was inspired by the feel good 

ambiance of Starbucks. The trendy minimalist setting combined with the fresh aroma is designed to refresh 

the body and hopefully inspire peaceful revolutions in minds; as its believed most revolutions were created in 

tea and coffee places. Do they serve home grown good teas as well? I intend to go check out the place soon 

and calm down with a good cuppa. 

The taste bud appeasement is followed by a heartfelt contribution to our society. The creative and well 

intentioned minds succeeded in establishing Lali Gurans orphanage and library situated at Gagalphedi that 

lies 10 km away from the outskirts of Kathmandu valley. This article talks about diverse ways and means 

of tapping into and using local resources and working with nature. Water recycling, water harvesting, solar 

energy, local food production and earthquake resistant features are integrated seamlessly with online 

learning to educate the children who live with nature and learn from it consistently on a daily basis. The 

young ones are inspired to return to their communities and share their knowledge and skills. This Ziggurat 

project won the LafargeHolcim Awards Silver 2014 for its contribution to local sustainability, creativity and 

service to the people. An award truly deserved and hopefully, they will get help from other philanthropists too 

as they they still need funds to complete the project. 

The interview with Edward Schwarz, head of LafargeHolcim Foundation for Sustainable Construction 

in Zurich, provides us with much needed education. He talks about the importance of contribution of 

construction industry to local and global sustainability and long term impacts of commercial centric 

construction on ecology, environment and social fabric. This awareness is lacking sorely our country. Its not 

too late to learn and change our ways surely. 

We conclude with the unique presentation of Mana Hotels in Ranakpur, Rajasthan, India. Moving away from 

traditional ornate filigree decoration prevalent in the traditional buildings in the area, this hotel is a reflection 

of time today. Standing securely on local materials and workmanship, it combines modern technology that 

makes it possible to lie on a comfortable bed in a cool environment and gaze at the sky and stars above 

and the river below. Truly, as the writer states that architectural experience is all about creating memories. 

Udaipur beckons to create my own! 

Enjoy. 

Ashesh Rajbansh / CEO 





Event 

Nepal Buildcon International Expo 2017 

and Nepal Wood International Expo 2017 

Media Space Solutions Pvt. Ltd. 

in association with Futurex 

Trade Fair and Events from India, is 

organizing the 3rd Nepal Buildcon and 

3rd Nepal Wood International Expo 

2017 from 10th – 12th Feb. 2017. 

The exhibition is supported by 

Society of Consulting Architectural 

& Engineering Firm(SCAEF), Nepal, 

Society Of Nepalese Architects 

(SONA), Nepal Engineering 

Association (NEA), Furniture 

and Furnishing Association of 

Nepal (FURNEX) and Plywood 

Manufacturers Association of Nepal. 

Also, the expo is supported by PHD 

Chamber of Commerce, India. 

The organizers of this exhibition 

are coming up with the third 

edition with the focused vision of 

contributing towards the infrastructure 

development of Nepal. This exhibition 

promises to set the standards in the 

Nepal industry for both exhibitors 

and visitors serving the architecture 

industry, building material sector, 

latest construction techniques and 

engineering services in all respect. 

The exhibitor profile comprises of 

Local and International players in 

Machinery Sector - Construction 

Heavy Equipment, Concrete Block , 

Crushers, Batching Plant, Doors & 

Windows, Wood & Wood Working, 

Tyres and in Finished Products – 

Cement, Prefab, Bathroom Fittings, 

Roofing, Wires & Cables, Paints, 

Switches, Air Condition, Italian 

Tiles & Sanitary ware, Plywood, 

Laminates, Designer Veneers, Wood 

Polymer Composite, UPVC Profile, 

Architectural Hardware, Sinks, 

Kitchen Fittings, Aluminium Windows, 


Event 

UPVC Windows and Doors, Pipes 

and Fittings, Coatings, Adhesives, 

Sealants, Tapes, Interior Products, 

Solar products & many more. 

More than 200 Companies from more 

than 10 countries are participating 

in the expo which includes Nepal, 

India, Bangladesh, UAE, Taiwan, 

China, Turkey, Vietnam, Italy & 

Austria. Special attraction of the 

show is Heavy Equipment Pavilion, 

Prefab Pavilion, Live demonstration 

of Woodworking Machinery, latest 

and innovative technologies from 

across the globe. It’s an opportunity 

to meet stalwarts of the Industry at 

one platform. 

The attendees profile will constitute of 

the Industry connoisseur, Contractors, 

Architects, Chief Engineers, Consultants 

and Fabricators, Certification bodies, 

Developers, Manufacturers, Furniture 

Companies, Importers, Dealers & 

Distributors and end users from across 

Nepal. The members of the eminent 

associations and organizations 

from Nepal related to Construction, 

Architecture, Hotelier, Engineering, 

Plywood, and Furniture are also invited 

to visit the exhibition. 

The visitors can witness the innovative 

product launch, educating them about 

the latest technology available globally 

to meet the standards. Nepal being 

the lucrative market for the investors is 

attracting the market experts who will 

show their presence with live demos and 

designer stalls. • 

North East India 

Mosaic of Art & Cultures 

The Indian Cultural Centre, Embassy of India in 

association with Siddhartha Art Gallery held 

“North East India: Mosaic of Art & Cultures” Art 

exhibition by Riti Academy of Visual Arts from 

North East India from 14th to 18th January 2017 

at Siddhartha Art Gallery, Baber Mahal Revisited. 

The exhibition will then travel to various other 

cities of Nepal such as Bhaktapur, Patan, Dharan, 

Biratnagar, Sindupalchowk, Dolakha and Birgunj. 

This event was inauguration on Saturday,14th 

January 2017. This exhibition is the 1st phase of 

North-east Cultural Festival: Namaste Nepal. The 

2nd phase includes cultural performance by 4 

troupes from North-Eastern states of India. 

The exhibition showcases a diversity of paintings 

ranging from portraits, wildlife, nature, human life, 

impact of industrialization and modernization on 

the world. • 









Visit Stall 

No. W38 

3 rd nepal buildcon & nepal 

wood Int'l expo 2017 


News 

Taranga 

Simpolo Showroom Launched 

S 

impolo Ceramics announced 

the launch of its first showroom 

in Nepal at an event on January 6 

at Yak and Yeti hotel in Kathmandu. 

Considered to be the pioneer in the 

field of ceramic industry in India, 

they’ve approached the Nepali market 

in association with J.J. Marble House, 

one of the popular and biggest stone 

and ceramic supplier and retailer in 

the country. 

Simpolo Ceramics and J.J. Marble 

House officially launched the 

showroom situated at Tokha Road 

in Samakhusi in Kathmandu on 

January 7. Spreading over 2000 

sqft., the showroom offers exciting 

goods and services for any builder 

and architect featuring state-of-the-art 

mockup displays in an impressive 

ambience. It also features some of 

Simpolo’s popular ranges like 16mm 

ROCKDECK series for outdoor 

applications, DOUBLE CHARGE and 

GLAZED VITRIFIED tiles, wall tiles 

and sanitaryware products like water 

closets, basins and pedestals, handcrafted 

wash basins etc. 

The vice president of Simpolo 

Ceramics Mr. Shekhar Sati expressed 

his delight in finally making the first 

step to please the Nepali customers. 

He ensured that the customers 

would find top quality products and 

customized services at the doors 

of their new showroom. Anil K. 

Beejawat, CEO of Simpolo Ceramics, 

mentioned that Simpolo has products 

that will challenge the market usually 

dominated by Italian, Spanish and 

even Chinese brands. 

The event claimed the presence of 

top architects of Nepal, also serving 

as a casual architects’ meet. Mr. 

Beejawat said that it was a good 

opportunity for the architects to see 

the products Simpolo had to offer. 

Ar. Suman N. Vaidya, president of 

Society of Nepalese Architects, Er. 

Hare Ram Shrestha, president of 

Nepal’s Engineer’s Association, 

and Mr. Rajesh Thapa, president of 

Society of Consulting Architecture 

and Engineering Firms were the chief 

guests of honor of the event. 

Kanhaiya Mittal, director of J.J. 

Marble House, said he is optimistic 

that this alliance will be beneficial to 

both parties and is determined that 

Simpolo will spread to various parts 

of Nepal. The team is confident that 

the visitors will enjoy the shopping 

experience a class apart from the 

congested environment, and will be 

cost effective at the same time. 

The team also launched their website, 

ensuring the customers an easy and 

quick service. • 

“TARANGA” is the group art 

exhibition by Krishna Gopal 

Shrestha, Sandhya Silwal, 

Sanjeet Maharjan, Sarita Dongol 

and Satya Shila Kashajoo. 

This event was inaugurated by 

Mr. Saurabh Joshi, Director of 

Joshi Group on Wednesday, 

28th December. This exhibition 

remained till 10th January 2017 at 

Newa Chen art gallery. 

Sandhya Silwal have shown the 

inter-relationship between life 

and universe and that they go 

hand in hand. Sarita Dongol 

have used non-living object as 

her topic for paintings. Whereas 

Krishna Gopal Shrestha’s painting 

shows his feeling and thinking 

about the 2072 earthquake and 

how it destroyed the historical 

areas. Sanjeet Maharjan not 

only focused on one particular 

topic but has taken various 

topics for his paintings. Satya 

Shila Kashajoo has focused on 

changes according to time in her 

paintings. • 



News 

POP-UP 

P 

op-up” is a retail sales and 

community activities phenomena 

that is currently popular in North 

America and Europe: “open today 

and gone tomorrow” shops, markets, 

restaurants, art galleries, play spaces 

and parks. Generally small in scale, 

“pop-ups” are a means of quickly and 

inexpensively creating market interest 

in a product, be it commercial, 

cultural or, as with short duration 

schools of architecture, educational. 

“Pop-up schools of architecture” 

takes its inspiration from three 

sources. First: Finland’s innovative 

Arkki School of Architecture for 

Children and Youth – a hands-on 

learning organization. Second: 

the ‘pop-up’ phenomena currently 

popular in North American and 

European retail sales. Third: the 

scavenger architecture-as-art of 

Kathmandu International Art Festival 

2012 artists Janice Rahn and Michael 

Campbell from the University of 

Lethbridge, Canada. 

The pedagogy of the first “Pop-up 

School of Architecture” is “discovery 

by experimentation”: scavenging 

for discarded natural and manmade 

materials to create architecture. 

Nine cognitively creative girls aged 

12-18, three of whom are mobility 

challenged, will participate in the 

5-day studio. Participants, individually 

and as teams, learn to appreciate the 

inherent goodness of, and to creatively 

imagine ways to improve, their built 

environments. This event was held on 

January 3, 2017. 

Background 

In April 2015, Nepal was ravaged 

by earthquake and summer 2016 

has brought devastating monsoon 

floods. These are but two events in a 

never-ending series of geological and 

climatic situations faced by children 

and youth. Particularly affected 

are those born to be mobility and 

cognitively challenged. Challenged 

or not, post-trauma stress inhibits 

the development of young minds. 

Consoling friendships, meaningful 

diversions and learning about ways to 

advantage oneself of Mother Nature’s 

unhelpful doings can bring comfort. 

Experiencing the architecture of urban/ 

rural planning, landscapes, buildings 

and interiors can be a foil. • 




Interior 

T 

he number of specialty coffee 

shops has increased greatly 

over the years in Nepal. 

It is hard to walk down a street in 

Kathmandu without coming across 

a coffee shop and if you happen to 

stroll around Kupondole, you will 

stumble upon this small coffee shop 

that will give you a cue that you must 

enter it. NepaBeanz had launched 

last November with great vigor and it 

keeps to maintain that same energy. 

Coffee culture has become a popular 

part of people’s daily lives among 

most Nepalese people. But what 

Nepabeanz has to offer is more than 

just a coffee. This cozy coffee shop 

was founded by an electric engineer 

Mahesh Mahato and he has his tale 

to tell about Nepabeanz’ germination. 

The story had begun when Er. Mahato 

was in the United States. He often 

used to visit Star Bucks, grab some 

coffee and relax after the day’s toil. 

Whenever, he used to visit the place, 

he felt mellowed out, for the time 

being, he felt good. It was this “feel 

good” memory that he had brought 

back to Nepal which instigated his 

dream to open a coffee shop in Nepal. 

The cozy ambiance and the meticulous 

details are what keeps the spirit of 

“feel good” in this coffee shop. The 

tagline of the company “Creating a 

positive ambiance” is what it has lived 

up to. The ground floor has an intimate 

space with minimalist furniture and 

hosts 5 tables. The theme of brown 

and orange colors plays the role in 

making the space cozy. The glass 

façade and the building’s north-east 

orientation alleviates the maximum 

use of the natural light. The white tiles 

have aided to make the place look 

Nepa 

Beanz 

Creating positive ambience 

TEXT: Shweta Shakya 

Photo: A. Rajbansh 


Interior 


Interior 

more spacious than it actually is. These 

Korean tiles were molded on the site itself 

opposing to the conventional flooring tiles.It 

is a lovely place to sit and have a coffee and 

chat with friends or typing away on a laptop. 

There are also some outdoor seating where 

one can watch the world pass by. 

The upper floor is capacious with lounges 

and five tables for two. This is the place where 

most discussions and meetings takes place 

specially amongst the youth. They say that 

every revolution start in a coffee shop, you 

can witness one here starting to spark. A 

cubicle for smokers is also allocated here so 

that others are not bothered by it. 

Here, also the simple geometric forms 

squares and rectangles dominate the 

false ceiling. It creates avenues as the 

person enters. Er. Mahato, being an 

electrical engineer himself had emphasized 

tremendously on the lighting. The warm 

accent lighting has helped to create a 

warm ambiance while the white focus lights 

are used to focus the saleable artifacts 

displayed on the shelves. Even these 

artifacts have motivational quotes inscribed 

on it so that subconsciously we absorb it. 

NepaBeanz has adopted the technological 

advancementin the ordering and billing 

system with the use of Wifi connected 

tablet that places orders in the counter 

instantaneously. Also, the bills are made 

faster. According to Er.Mahato, this has 

helped increase the efficiency and also it is 

easier for him to monitor the transactions. 


Interior 


Interior 

Whether be its minimalist furniture, the choice of warm and accenting colors, the 

geometry on the ceiling, the use of lightings, it’s the subtle details that create 

thepositive ambiance. Coupled with a good cup of coffee and it’s hard to think of a 

more perfect urban oasis. A visit to NepaBeaz is much more than buying a cup of 

coffee. A step inside is bound to delight your senses and refresh your mood. • 


Interior 


Architecture 

Children’s 

Ziggurat 

Lali Gurans 

Orphanage and Library 

TEXT & Photo: Samir Dahal, Awards 

Ambassador (AA) in Nepal for the 

LafargeHolcim Foundation 


Architecture 

L 

ocated within an area without 

fundamental infrastructure (both 

socio-political infrastructure and basic 

public utilities), the Lali Gurans Orphanage 

& Library utilizes low-tech renewable energy 

sources to sustain itself. The orphanage 

and library, supporting Nepal’s underserved 

population of womenand children, structural 

concrete employs the ubiquitous vernacular 

frame system, though without the typical 

brick infill. The framework is intensified and 

reconfigured to create a seismically stable 

shape that opens the building both visually 

and functionally. It provides an armature for 

vertical permaculture, food production, and 

solar shading, while also creating a lush 

outdoor environment connected to a series of 

social spaces for women and children. 

The site, located in a rural area outsidethe city 

of Kathmandu, was selected for its access to 

clean air and water, safety in seclusion, and 

economical land value. The building vastly 

improves facilities while cutting operating costs 

in half, allowing the organization to maximize 

its social impact within the community. The 

building invests in local workmanship by using 

vernacular building techniques and employing 

simple, sturdy, locally available materials that 

minimize embodied energy and maximize 

lifespan. Its concrete, which is made with fly 

ash from coal power plants, reduces waste, 

conserves virgin materials, and reduces 

processing energy. Window frames, built-in 

furniture, and freestanding elements are made 

from durable, locally-sourced hardwoods by 

local carpenters. 

In 2013 the National Geophysical Research 

Instituteof India and Stanford University had 

predicteda major earthquake would strike 

Kathmandu this century, causing catastrophic 

building collapses, landslides, and floods. 

GeoHazards International, an organization that 

works to improve the seismic safety of Nepal, 

had urged the development of earthquake 

resistant buildings to prevent large-scale 

damage. The orphanage addressed these 

seismic issues through its design. Its raft 

foundation and doubled frame of 300mm 

reinforced concrete post and beams have 

been engineered to withstand a significant 

event and operate as an area of refuge for the 

surrounding community. 

The building’s thermal mass mediates 

Kathmandu’s hot days and cold nights, 

absorbing radiation atday and releasing it at 

night. During winter, the low Sun penetrates 

deep into the building to provide warmth. 

Operable windows will allow users to control 

temperature and airflow. Larger spaces have 

cross- ventilation, and the main stairwell at 

the center of the building provides stack 

ventilation. Although the orphanage is wellshaded 

from direct sunlight by its exoskeleton 

and planting, its glazing allows for plentiful 

indirect light. 

Fifteen 175W solar panels would be mounted 

on the roof to provide for the building’s entire 

electricity usage. 5m and 6m diameter soliddome 

anaerobic digesters provide gas for 

heating, cooking and lighting. Made from 

poured concrete, the digesters are commonto 

the area, are safe and simple to construct, and 

operate on kitchen and agricultural waste. 

Drinking water collected both from the ground 

and sky, will be passed through a UV filtration 

system, and stored in large tanks found 

throughout the building. 

Food shall be produced throughout the building 

on two rooftop gardens, 80 fixed-drip irrigation 

planters, and more than 300 vertical hanging 

planters within the facade of the building—all 

of which are fed with bio-slurry and greywater. 

Fruit trees in the courtyard garden are to 

complement vegetables and herbs grown in 

planters lining the exoskeleton. The building is 

designed to provide enough food to fulfill the 

children’s needs. 


Architecture 

Location 

Travel Times Between Lali Gurans and Kathmandu 

Driving via F082 and Ring Road 22min12.1 km/ 7.5 Miles 

Walking via F082 and Pashupati Road 2h 17min/ 7 Miles11.3 km 

Libraries + Schools Nearby 

Libraries 

The orphanage will include a library. Presently there are seven 

libraries in Nepal, none of which are near to the orphanage. 

Nepal National Library 

American Library 

Kathmandu Valley Public Library 

British Council Library 

Central Library Kaiser Library 

Nepal Bharat Library 

Schools 

The following is a list of schools that are within a twenty minute 

walking distance from the orphanage. It is expected that the 

children in the orphanage will attend these schools and make a 

co-dependency. 

Community Schools located in proximity: 

Sangla Balkumari, Higher Secondary School 

Kunchipwakal, Lower Secondary School 

Kalikakatheri, Primary School 

Nateshwari, Primary School 

Saraswati Higher Secondary School 

Baudeshwer Higher Secondary School 

Jhormahakal Secondary School 

Chandeshwari Lower Secondary School 

Jalupa Secondary School 

Government or privately owned schools in proximity: 

Gyanbhumi, Secondary School 

Jyoti Shiksha Sadan Aawashya, Secondary 

Mahalaxmi English Secondary School, Secondary School 

Padhyachakra School, Secondary 

Vindhyawasini English School, Secondary 

Ganesh English Secondary School, Secondary 

Laxmipur English Secondary School, Secondary School 

Tridevi Sadan English Secondary School, Secondary School 

Amar English Secondary School, Secondary School 

Niten Memorial School, Secondary School 

Api School, Primary School) 

Osis Public Academy, Secondary 


Architecture 

Floor Plans 

First Floor: 

00 Gatehouse 

01 Anaerobic Digester 

/ Biogas Generator 

02 Aggregate Filter 

03 Well 

04 Play Pump 

05 Covered Slurry Pit 

06 Testing / Overflow Tank 

07 Vermicompost 

08 Hen House 

09 Fruit Trees / Edible 

Planting 

10 Main Entrance 

11 Library / Classroom 

12 Office 

13 Laundry / Mechanical 

14 Multipurpose / Classroom 

15 Restrooms 

P Vertical Permaculture 

S Stair / Stack Ventilation 

Second Floor: 

10 Main Entrance 

20 Dining / Meeting Hall 

21 Solarium / Classroom 

22 Staff Room 

23 Kitchen 

24 Pantry 

25 Restrooms 



Third Floor: 

30 Staff Room 

31 Restroom 

32 Dormitory 

33 Restrooms / Showers 

34 Reading Area 

35 Study Area 



Fourth Floor: 

40 Art / Music Room 

41 Classroom 

42 Mechanical 

43 Roof Garden 



Axonometric 

01 The entrance gate and wall 

around the perimeter of the site 

provide the children a welcoming 

and secure environment withan 

internal, 24 hour security 

presence. 

02 In addition to its structural 

performance, the concrete frame 

provides an armature for the lush 

vertical permaculture that shades 

the building. 

03 Vegetable gardens function 

as living classrooms and provide 

fresh vegetables and herbs for the 

children. 

04 A papaya trees provides 

residents with fresh fruit. Once the 

Orphanage is complete, it shall be 

able to produce its own food, and 

collect and filter its own water. 

05 A lychee tree that was planted 

by residents. 

06 Main entrance to the 

orphanage. The concrete 

exoskeleton accommodatesthe 

main circulation space and 

produces a semi-covered space 

for social interaction. 

07 Library entrance. The publicly 

accessible library shall provide 

the under-served rural community 

of women and children with 

access to numerous books and 

programs, including education 

on sustainability and women’s 

health. 

08 The orphanage will createa 

socially-viable environment in 

which essentially every space 

can function as a classroom or 

place to interact and learn. Here, 

two friends sit in the grass and 

discuss cloud formations. 

09 Two locals visit the library. 

Free access and a noninstitutional 

atmosphere creates 

a welcoming environment that 

encourages the library’s use by 

both the orphanage and local 

community. 

10 The concrete structure uses 

vernacular building techniques 

and standardized formworkto 

create a seismically safe 

building. Whereas 76% of all 

buildings in Nepal are projected 

to be destroyed in case of an 

earthquake, the orphanage has 

been created with seismically 

resistant design to ensure 

the safety of its residents, 

employees, and visitors. 


Architecture 

Energy 

Heating + Cooling 

The building is designed ecologically 

using systems of energy and waste 

recycling that are provenand already 

in use locally—such as an anaerobic 

digestion system, which uses waste 

to produce biogas, and a rainwater 

collection system. The building also 

maximizes its own heat and power. 

Leading through example and social 

mandate, it will develop institutional 

programs of self-sustaining energy, 

food, and funding for the orphanage, 

which provides knowledge and 

experience and, in turn, will influence 

the entire region’s development. 

Health 

Water + Waste 

The mission is to support Nepal’s 

underserved populations of women 

and children, and to provide access 

to proper healthcare and nutrition. 

The orphanage shall be designed to 

be secure, and offer children a safe 

and welcoming place to call home. 

The staff aims to include health care 

providers, who are to coordinate with 

outside care providers and instructors 

to ensure that the best possible 

health treatment is available for the 

children. 

Rainwater is collected on the roof 

and can be distilled and stored 

for use within the building.The 

water is to be gathered in cisterns 

distributed throughout the building 

to serve the specific needs of 

users and programmed spaces. 

The system functions primarily 

with gravity and only utilizes a 

small pump when required. The 

orphanage is to produce its own 

fuel by using a sanitary toilet water 

filtration system that yields methane 

as a byproduct. After the methane 

has been harvested, the waste will 

be filtered through a bed of reeds, 

then used as either an organic 

fertilizer for food production or 

as filtered water that can be used 

safely on the land. 

Lali Gurans seeks in this next phase 

to further develop programs and 

learning by working with public 

health experts, public health 

physicians, who focus on areas of 

improving health of children and 

women, and promoting physical 

activity and healthy diets. 

Living + Learning from 

Food 

The orphanage is to serve as a 

self-supporting place for food 

production. While it is a place 

that acts as a farm, it is also a 

classroom. The children who 

live in the orphanage will learn 

about the life cycle of food and 

crops by actively participatingin 

its cultivation. They will also be a 

part of the food’s preparation and 


Architecture 

learn about proper nutrition in the 

kitchen. Classrooms here are not 

thought of as confined to specific 

places, rather the whole building, 

including the gardens at both the 

ground and roof level, are spaces 

to learn and interact. The library 

is one of these learning spaces, 

providing free access to its books 

and offering online programs, such 

as one that can identify what plants 

might be in season. A medicinal 

garden will also be included as part 

of the planned crops. 

Food Production 

Food is to be grown on-site in 

environmentally friendly ways. “We 

hope to not only teach the children 

how to farm successfully, but to 

protect the environment while better 

serving the community. While the 

food production is designed to be 

self- sustainable, surrounding local 

farms have agreed to provide food 

for the orphanage should such an 

occasion arise.” 

Education 

In addition to providing children a 

safe, nurturing place to call home, 

the orphanage also offers them 

a well-rounded education. It will 

hostlive online teaching, and 

develop curriculumaround training 

and workshops about health, 

multiculturalism, and urban farms. 

Pre-lesson surveys are to be taken 

to measure the growth of student 

learning. This shall be crossreferenced 

with customized lesson 

plans and individual progress 

reports to monitor each student’s 

progress and ensure that no child 

is left behind. 

Additionally, the orphanage exposes 

the rural community to a wide 

range of books, as well as lectures, 

meetings and events. The program 

hopes to inspire people to return to 

their communities and teach their 

neighbors and peers through the lens 

of their own success and experiences. 

Planting + Vegetation 

Type 1 Fruits and vegetables 

that require a lot of sun, and soil 

between 12-24” deep (tomatoes, 

kale, cabbage, radishes, potatoes, 

cucumbers, carrots, cauliflower, 

onions, garlic). As an extension of 

the Music Room / Library, the garden 

also functions as a teaching garden 

for the children. In addition, having 

crops on the roof will help protect 

them from wild animals. 

Type 2 Aromatic vines, flowering 

plants (honeysuckle, jasmine). 

Type 3Herbs and spices (turmeric, 

cumin, mustard, parsley, basil, chili 

peppers). 

Type 4 Colorful plants, flowering 

plants, and aromatics. 

Type 5 Primarily used at the 

ground level, this planting is used 

for screening the building and for 

maximizing plant height. Tall trees 

(walnut trees) planted directly in 

the soil. 

Large planters for small fruit trees 

(guava, banana, mandarin orange, 

lemon, and lime trees), bamboo, 

soybeans, lentils, wheat, tall 

grasses. 


Architecture 

Section 



08 Hen House 

09 Fruit Trees / Edible Plants 

11 Library 

12 Office 

14 Multipurpose Room 

20 Dining / Meeting Hall 

23 Kitchen 

25 Restrooms 

30 Staff Room 

31 Rest Room 

32 Dormitory 

33 Restrooms / Showers 

34 Mechanical / Storage 

40 Art / Music Room 

41 Classroom 

43 Roof Garden 

44 Rainwater Collection 

Progress Since August 2014 

Since we submitted for the first round, 

we have continued to develop the 

interiors further through work on 

the dormitories, the library, material 

finishes, and furnishings. For instance, 

we are developing the weathering steel 

guardrails, planter boxes, ceramic 

work, and dormitory furniture, including 

storage, a desk and chair, and bunk 

beds for each unit. We hope to begin 

work with a women’s collaborative in 

Kathmandu to produce textiles, rugs, 

beddings, linens, and possibly school 

uniforms. We have also been working 

with educators and health experts in 

New York City to develop a system 

of education directives, from virtual 

education to locally-lead workshops. 

The client has developed a website 

(www.lali-gurans.org) that presently 

serves to announce the project, but in 

the future is to be a place for exchange 

of information and education. It is our 

hope that the building, while defined 

programmatically as an orphanage 

and library, is really used and 

understood as a complete, healthy 

learning environment. 


Architecture 

Building Materials 

Only local materials, laborers, and 

engineers have been utilized in the 

creation of Lali Gurans. In doing so, 

a local economic and constructionknowledge 

boost is given to those in 

need of revenue, jobs, and additional 

skills. Concrete is used extensively 

in the building. In order to minimize 

the high energy cost of producing 

Portland cement, up to 40% of the 

limestone typically used has been 

replaced with fly ash. 

Hardwoods that are durable, 

locally-available and plentiful in the 

Kathmandu Valley, such as Sal, Agrath 

or Chapa, shall be used to create 

window frames and built-in furniture. 

Children’s Ziggurat 

Locally-adapted orphanage and library 

Winner of the LafargeHolcim Awards 

Silver 2014, “Children’s Ziggurat: 

Locally-adapted orphanage and 

library, Kathmandu, Nepal” is 

designed by Hilary Sample and 

Michael Meredith of MOS architects, 

New York and the project client, 

Christopher Gish, Director of Seeds for 

Change in Colorado is looking after the 

construction of the project in Nepal. 

The Lali Gurans Orphanage and 

Library addresses the needs of an 

under-served rural population. In a 

context lacking basic infrastructure, 

the new 21 m high facility utilizes lowtech 

renewable energy and material 

resources, local craftsmanship, and 

vertical gardens for insulation and 

food, significantly reducing operating 

costs. 

The project also addresses the needs 

of the nearby communities by offering 

a library accessible to the public and a 

seismically stable refuge area during 

the devastating earthquakes and post 

tremors. • 


Interview 

Interview with 

Edward Schwarz 

Head of LafargeHolcim 

Foundation for Sustainable 

Construction, Zurich 

Tell us about your 

Foundation. 

The LafargeHolcim Foundation for 

Sustainable Construction based in 

Zurich promotes and illustrates the 

strength of diverse approaches to 

sustainable construction through 

global Awards competitions and 

international symposiums in cycles 

of three years. It is the mission 

of the Foundation to select and 

support initiatives that combine 

sustainable construction solutions 

with architectural excellence and 

enhanced quality of life beyond 

technical solutions – helping the 

world to build better. Through 

the non-commercial promotion 

and development of sustainable 

construction at national, regional, 

and global levels, the LafargeHolcim 

Foundation encourages sustainable 

responses to the technological, 

environmental, socioeconomic, and 

cultural issues affecting building and 

construction. 

The Foundation is supported by 

LafargeHolcim, the world leader in 

the building materials industry, but 

remains independent of commercial 

interests. The Foundation has a wellbalanced 

presence in 90 countries. 

Why is sustainable 

construction important? 

Sustainability requires that the 

present generation meets its needs 

without limiting the opportunities of 

future generations. For an approach 

to enable long-term viability, it must 

integrate economic, environmental 

and social impacts – the three 

elements of the triple bottom line. 

The construction industry can 

contribute greatly to global 

sustainability because everything 

that is built shapes the way people 

live today and in the future. The 

OECD, for instance, estimates that 

buildings in developed countries 

account for more than forty percent 

of energy consumption over their 

lifetime (incorporating raw material 

production, construction, operation, 

maintenance and decommissioning). 

Sustainably handling building design 

and management, material selection, 

as well as energy and resource 

consumption would be a significant 

step toward ecologically, economically 

and socially responsible development. 

Tell us about 

LafargeHolcim Awards. 

What makes it different 

from other architecture 

competitions? 

The LafargeHolcim Awards is the 

most significant global competition 

in sustainable design. Organized 

by the LafargeHolcim Foundation 

for Sustainable Construction, the 

competition identifies the ideas with 

the highest potential to tackle today’s 

challenges to increasing urbanization 

and to improve quality of life. It carries 

total prize money of USD 2 million. 

The competition is open for projects 

in architecture, building and civil 

engineering, landscape and urban 

design, materials, products and 

construction technologies that 

contribute to the five “target issues” 

for sustainable construction. The 

competition has two categories with 

different requirements: 

• LafargeHolcim Awards (the first 

category): This is for projects that 

have reached an advanced stage 


Architecture 


Interview 

of design with high probability of 

execution. Authors must be over 

18 years of age. Execution of 

the project may not have started 

before July 4, 2016 which is the 

opening date the competition. 

• Next Generation (the second 

category for young professionals 

and students category): In this 

category we invite visionary 

projects and bold ideas from 

authors between 18 and 30 years 

of age. Here again execution of 

the project (if applicable) may not 

have started before July 4, 2016. 

The competition is open for registration 

until March 21, 2017 at 14:00hrs 

(UTC). Entering the Award is very 

simple; it is a fully online process with 

very user-friendly guidelines at www. 

lafargeholcim-awards.org 

How do you evaluate 

Sustainable Construction? 

We use a simple framework that makes 

it easy. The LafargeHolcim Foundation 

is committed to the underlying 

principles of sustainability, which 

assert that long-term development 

of the built environment requires a 

balanced interplay of responsible 

economic, ecological, and social 

agendas. To achieve this objective, 

the Foundation and its partner 

universities have identified five “target 

issues” that aim to clarify principles 

for sustaining the human habitat for 

future generations and quantify the 

degree to which buildings contribute 

to sustainable development: 

• Innovation and transferability – 

Progress 

• Ethical standards and social 

inclusion – People 

• Resource and environmental 

performance – Planet 

• Economic viability and 

compatibility – Prosperity 

• Contextual and aesthetic impact 

– Place 

These “target issues” serve as 

criteria for projects submitted for the 

LafargeHolcim Awards and as a road 

map for other related activities of the 

Foundation. 

Who evaluates entries in 

the LafargeHolcim Awards? 

We have juries in five geographical 

regions of the world that consist of 

independent, renowned representatives 

from science, business and society. 

They evaluate entries from the 

respective region against the “target 

issues” for sustainable construction. 

What is your interest in 

Nepal? What has been the 

response to LafargeHolcim 

Awards from Nepal in 

previous years? 

The Foundation is committed to 

pursue non-commercial promotion 

and development of sustainable 

construction at national, regional, 

and global levels. We are supported 

by companies of the worldwide 

LafargeHolcim group. We do not 

have operations in Nepal but are 

represented in neighbouring India by 

ACC Limited and Ambuja Cements 

Limited. We are keen on reaching out 

to audiences in Nepal through your 

magazine. 

We have had participation in 

the previous cycle from both 

professionals and students in Nepal. 

You will be interested to know that the 

LafargeHolcim Silver Award for the 

region of Asia Pacific was conferred 

on the project in a Nepalese village in 

the last competition. 

Please share details of this 

winning entry. 

It is the most interesting and socially 

relevant project. It is the design of 

an orphanage and library submitted 

by Hilary Sample of MOS Architects 

New York. It is promoted by a young 

American, Christopher Gish, who 

set up Seeds of Change Foundation 

(SOCF). 

Designed as a “Ziggurat”, the Lali 

Gurans Orphanage and Library is 

located in the village of Gagalphedi, 

around 10 kilometers in the outskirts of 

Kathmandu. The project for a locallyadapted 

earthquake resistant structure 

addresses the needs of an underserved 

rural population with a facility 

that uses low-technology, renewable 

energy and material resources, local 

craftsmanship, and vertical gardens for 

insulation and food, thus significantly 

reducing operating costs. The project 

also addresses the needs of the 

nearby communities by offering a 

library accessible to the public and a 

seismically stable refuge area during 

earthquakes. 

The Lali Gurans Orphanage building 

was still only partially-completed when 

the massive 7.8-magnitude earthquake 

struck Kathmandu in April 2015 causing 

enormous suffering and devastation. 

The orphanage’s raft foundation and 

its double exoskeleton frame of 300mm 

reinforced concrete were designed to 

be resilient to powerful earthquakes. 

The structure was able to provide a 

seismically-stable location with toilets, 

water and living area for many local 

people who were displaced from their 

homes. The orphanage is in need of 

funds in the last stage of finishing and 

needs financial help to complete it. 

What, according to you, 

is the significance of 

sustainable construction in 

a country like Nepal? 

I think the significance is immense 

particularly as yours is a country in a 

seismically sensitive region. I know 

you are blessed with natural resources 

like water but the benefits of promoting 

sustainability in construction in a 

developing economy like yours are 

substantial. Again, contributing to the 

built environment means respecting a 

balance between social, environmental 

and economic issues. Sustainable 

construction is not a rocket science; it 

is an expression of common sense to 

improve the lives of people! • 



Architecture 


Architecture 

Mana 

Hotels 

Ranakpur, Rajasthan, India 

TEXT & Photo: J.K. India 

T 

raditional Indian architecture is typically 

associated with ornamental detailing, 

and more specifically in Rajasthan, 

the architecture connotes the forts and palaces 

through techniques that are resonant of the 

wealth and culture of the region. Typically, people 

engage with tradition in a superficial manner in 

ways that are ordered, orthogonal and more often 

than not, a contemporary take on Indo-Sarcenic 

architecture. Architectural experience is about 

creating memories, and often, in an attempt 

to insinuate traditional architecture in order to 

create a lasting image while adopting a universal 

aesthetic, intervention ends up being kitschy and 

pastiche. Techniques, Technology and methods 

of construction that draw from the region and are 

‘of the earth’ get lost in the midst of mainstream 

processes. Within this context, the design of Mana 

Ranakpur attempts to demonstrate the studio’s 

agenda of regional expression within a global 

context while being environmentally conscious, 

without adopting a kitschy intervention and 

predictable construction techniques. The local and 

regional forms of expression are explored as vital 

resources to create an architecture that engages 

with the future and is of a progressive disposition. 


Architecture 


Architecture 

CONTEXT 

Sited in the vivid, enchanted Udaipur 

valley in the Ranakpur province, the 

hotel as a public space with a serviceintensive 

program is conceived to 

celebrate order and dissonance, 

continuity, stability, the experience of 

slow-moving time and the vernacular 

as an imbibed ethos. These values are 

celebrated through an architectonic 

intervention, form and material play in 

a region with a stark change of seasons 

and landscape, where the forest 

changes from Lush Green to bare and 

arid and the hills turn red during spring 

as the Tesu trees come to full bloom. 

Amidst the hills, with a clean, shallow 

river in the front, a km away from the 

famed Jain temple and adjoining a 

reconstructed old haveli, the client 

brief called for a boutique hotel that 

offers a unique, iconic experience for 

travelers in all seasons. Through this 

apparent harshness, extreme weather 

and striking landscape, the vernacular 

acts as a bare canvas and forms a stoic 

backdrop for this dramatic change 

of seasons. Amidst the vernacular 

milieu, the site was extremely 

challenging as a reclaimed river bed 

with the water table at 600mm. While 

local sites represent solid stone in 

an intense and intricate manner in 

the form of Paleolitic monuments or 

pathological homes or as boundary 

walls that segregate the farmlands, 

the hotel is evocatively fabricated 

in the frugal stone masonry which is 

locally available as an expression of 


Architecture 


Architecture 

timelessness, space and contrast, 

old vs new, and the light vs heavy 

expressing the changing landscape 

throughout the year. 

INTRODUCTION TO THE DESIGN 

Introducing the design intent to 

the visitor by creating a reading 

of the building as it is unraveled, 

allows for moments and spatial 

intervention. Layering is adopted to 

restore the notion of the collective 

memory, and repetition is used as a 

technique to establish the contrast 

and difference. The site is planned in 

a manner that upturns the land, as 

it opens up to the river on one side, 

while establishing contrast with the 

old haveli and the temple. The plan 

is derived from the time-honored 

9x9 grid and the site was dotted 

with points that would then go on to 

become trees. Normalcy is achieved 

through the grid, and deviations are 

used to break the order. Aligning the 

grid with the north-south axis through 

the linearity of the site, a 1.8 m wide 

sliver is fashioned for pedestrian 

movement that reinforces the linear 

planning on the site and brings in a 

strong order. Settlements happen 

along these linear walls, crafting 

straight views to the outside, helping 

the visitors orient themselves within 

the site. Superimposition of these 

various layers establish a dynamic 

between architecture (constant) and 


Architecture 


Architecture 

the landscape (in motion through 

change) and leads to chance 

encounters and moments of rest. A 

huge, existing Budh tree on the site 

with its unique characteristic of a 

large spread of about 25-30 m dia, 

is identified as a focal point for the 

alignment of linear vistas. Views and 

movement are orientated towards 

this tree, which is a remnant of the 

customary tree-chaupal that would 

provide shade under a large tree to a 

communal space. Unlike mainstream 

hotels, some rooms also look out into 

this public space using a modern, 

glassy interpretation of the traditional 

jharokha (overhanging enclosed 

balcony), while other room ceilings 

look up to the underside of the tree. 

MOVEMENT 

In order to endow a visual clarity to 

the movement path and to create 

vistas anti open up views as one walks 

through the site, Buttressed random 

rubble walls that are symbolic of 

tradition lend scale to the movement 

passage by naturally tapering away 

from the visitor and structural tactics 

are employed to make the columns 

disappear. The narrow, linear sliver 

of space is exaggerated through 

height while creating a dialogue with 

time, always allowing the visitor to 

walk along a masonry wall, hence 

facilitating orientation. A Linear 

staircase is wrapped and brought out 

on the facade to encourage the visitor 

to walk through, further enhancing the 

vista. Water bodies are interspersed 

through this loop that create the water 

loop from the building to the ground 

and temper the climatic controls whilst 

creating points of interchange. 


Architecture 

LANDSCAPE 

Engaging with the sky, the seasons 

and materials of the earth, landscape is 

brought as an infill into the built volume. 

The sloping roof brings in the sky, and 

expresses three-dimensional direct 

views whilst the wall remains timeless, 

as other edifices take support in the 

wall through temporary interventions 

that enable an architectural dialogue 

between form and technique. 

ENVIRONMENT MATERIAL 

In order to be environmentally 

conscious by reducing transportation, 

local material and manpower dictated 

the architectural intervention; 

only what was not available was 

prefabricated and brought from the 

outside. Apprising the visitor of local 

ethnicity, an archetypal regional 

material palette of Stone Masonry 

and Sandstone floors has been 

adopted. For most part, the local 

Rajasthani craftsmen and construction 

workers were employed to build in a 

manner rooted in the region and its 

landscape. Structural steel has been 

used as it is a long life span material, 

reducing dead load & thereby overall 

material consumption. The concrete 

consumption is insignificant for a 

building of this type and size. The 

spanning system is made with locally 

available kashia stone- a sandstone 

that can span up to 3 meters and 

trusses are used to support it. Being 

in seismic zone 2, a lean, vernacular 

method of creating structural stability 

is adopted that allows for the creation 

of large spans that are well-optimised 

by the nature of the space. The steel 

joists that hold up the Kashia slabs 

are visible within the guest rooms. 

The main load bearing wall of the 

hotel cuts through the corridor one 

side, in contrast with the fabric panels 

on the other side. An acoustic ceiling 

also reminisces the perforations while 

cutting doing ambient sound. 

Rainwater is harvested and Grey water 

from the sewage treatment plant is 

used to irrigate the hardy, local trees 

that are a part of the landscape. 

During construction, tree-cutting was 

avoided and the external hardscape 

is constructed and recycled from the 

waste materials that was accumulated 

during the digging process of the 


Architecture 

foundation. An exclusive HVAC system 

is developed as a significant element; 

a system that uses Earth cooling, 

Thermal Storage and Displacement 

ventilation to reduce energy 

consumption. While conventional airconditioning 

systems consume 40% 

of the energy used in a building, apart 

from lower energy consumption, this 

system also ensures better indoor air 

quality and avoid recycling. Both water 

and air circulate in distinct open loops 

and air is exhausted from in- between 

the dry, sandwiched roof. Towers 

that emerge from the ground help to 

transfer air to the interiors, and work 

as a means of architectural expression 

that is evocative of the traditional forts 

of Rajasthan. Multiple layers of glass 

are used to generate draughts of air 

and to filter sunlight. The minimal heat 

transmitted through the glass is used 

to induce the displacement ventilation 

system. Jaalis that are evocative of 

traditional Rasjasthani stone Jaalis 

with filigree are recreated in vinyl as a 

notional device to filter light and air for 

comfort. 

NATURAL LIGHT 

Daylight ingress into the building is 

ensured in a manner that eliminates 

the use of artificial light during the 

day. Night lighting resonates that of 

an art gallery; all lighting is from the 

top with a hint of the sky, the jaali 

or the clear glass. The landscape 

lighting is de-cluttered, and is lit with 

borrowed light from the cottages and 

the hotel buildings. The overhang roof 

is used to bounce life from under the 

cottage and the overall intent is to 

efficiently orchestrate lighting in line 

with the running cables with no sharp 

rendering. Light from the west that is a 

dramatic, warm yellow, crafts an array 

of experiences in the different rooms, 

while bright southern light is used to 

bring in luminosity into interior spaces. 

TACTILE EXPERIENCE 

A minimal palette of stone, glass, steel 

and vinyl that is not distracted by too 

many surfaces is adopted to craft an 

architecture that is intense and bareboned 

all at the same time. Concrete 

is used to a minimum, hard edges are 

contrasted with timber warmth, and 

the structural system/ construction 

techniques are expressed clearly with 

as little cladding as possible. As a hat 

tip to the 70’s India modern, the solid, 

minimal furniture in rubberwood and 

rosewood inlay as inserts is designed 

to reflect the environmental concerns 

of the hotel. The contrasting circular 

pattern in the perforations also mimics 

and expresses itself as an intention in 

the upholstery, linen and furniture. As 

an attempt to blend in the local craft 

and culture, the furniture is sourced 

from local artisans and craftsmen. 

Like a glasshouse in a jungle, Mana 

Ranakpur attempts to recreate 

the site as it was discovered, by 

unearthing the various layers that 

have been embedded in time. Rooted 

in regionality and collective memory, 

through its architecture, it creates 

interfaces that are expressed not as 

mere filigree or ornate decoration, but 

as a reflection of time. • 


Architecture 

Tarhibabu 

A Lucky Artist in Metalcraft 

TEXT & Photo: Sukrasagar 

He hails from Patan but now lives out of the city at the left bank of Nakhu 

River in a place called Fulbari. Born in1976, initially he started working as an 

apprentice, but his skilled work demonstrated as gifted by the god. Very few 

people can develop in such a level just learning from someone and few are 

lucky enough to recognize one’s own skill. Tarihbabu is the one who could 

arrest luck on his skill. He is officially known as Babu Ratna Maharjan. 

T 

arihbabu, a young metallurgic 

worker born under a lucky star 

is to be considered an artist, 

not just craftsman in the metal craft of 

21st century that led him by his instinct. 

He loves not only daan (money and 

happiness) but also naan (name and 

fame) that led him to be enlisted in 

the history for future. Anybody having 

skill on this profession can earn good 

money but will not remain in the list of 

future account. We have so many nice 

pieces of art but not names of their 

authors. Who were the artists of Golden 

Gate of Bhaktapur Durbar, who carved 

the torana of Chhusyabaha and who did 

the work of Ukubaha and Bhelaachhen 

struts are all unknown. Very few 

Nepalese artists from the history are 

known today. First of all Araniko enlisted 

in China, then Tejram in Mustang who did 

metal book cover in Mustang, Rupatej of 

manuscript painting of Lhasa and stone 

carver of Taras from Chilancho chaitya 

of Kirtipur. Very few get the chance to be 

enlisted like that in the history. But fame 

does not bring good money. Sacrificing 

the opportunity of being rich Taribahu 

stepped in to this field of less lucrative 

side of the profession, but I am sure, 

he will have his name cherished in long 

future. 

Though Patan city has produced many 

skilled metallurgist, Tarihbabu could 

be counted in the finger. His specialty 

can be seen in both the art of lost wax 

process (cire-perdu) and hammer 

beaten method (repousse). On top of 

that he has the sharp eye in ratio and 

proportions in his art creation. He has 

produced charm and beauty that very 

few artists can offer. 

Beginning at early adulthood he has 

done few works in other temples 


Architecture 

and shrines that has not recorded 

properly. His first remarkable work is 

the gilt icon of a Durga on tip of the 

metal banner (pataah) hanging down 

from the pinnacle of the Kumari chhen 

at Kathmandu Durbar Square. His 

work on silver is in Muktinath temple 

in Mustang. After that he was busy 

making statues for sale to the tourist 

for some years. From 2012 he got 

assignments to work for Kathmandu 

Valley Preservation Trust in rebuilding 

the metal icons that either were stolen 

or lost in course of time. 

Tarhibabu’s product of denting and paintings of Ganga and Jamuna 

Kathmandu Valley Preservation Trust 

(KVPT) is probably the only organization 

in Nepal who understands the value of 

such icons and could manage to work 

in terms of the artists’ skill demanded. 

Tarihbabu worked last years for KVPT 

in denting the nicest icons of Ganga 

and Yamuna from Mulchowk followed 

by the small shrine of Yentaamaaju 

standing at the center of the courtyard. 

All the work of denting the images 

and gilding gold on them were done 

by him except main tympanum of 

the Talezu shrine. On top of that he 

did skillfully carve the new piece and 

refitted with the old one, the quality of 

which is almost undetectable except 

the factors of worn out condition of the 

old piece due to the time factor. 

At present he is busy working with 

the same organization in mending all 

broken pinnacles, icons and images 

devastated by the great earthquake 

of 25 April 2015 in and around Patan 

Durbar Square area. The finished 

works are already refitted in Talezu 

and Aganchhen temples that are in 

the shape of miniature architecture. 

He is now busy in bringing the life of 

In-situ work in main gate of Mulchowk Shrine. 


Architecture 

Before earthquake 

Victimized king 

Victimized queen 

After earthquake 


Architecture 

Tarhibabu’s work at Mulchowk 

Yoganarendra Malla and his wives who 

were buried in the debris of the great 

earth quake of 2015 and victimized. 

Great works of an able men should 

be perpetuated. If that is beautiful, the 

art will survive for long. The work of 

Tarihbabu has the quality of art with 

excellent ratio and proportion. The 

charm of his beautiful works of art will 

remain acclaimed long in the history. 

The written records will also help 

perpetuate the name of the creator like 

Tarihbabu somewhere in some books. 

This work will fill that gap. 

His work of art, if could be collected will 

fetch high price in the future because it 

is qualitative handmade, way above the 

craft only and is a real art. As Germans 

saying ‘Einzehl Produkte’ only single 

product, it is the work of Tarihbabu. • 

Final touch being given to the statue before gold gilding. 


hxf“ gful/s 

Toxf“ gful/s 

nagariknews.com 

myrepublica.com 



Interior 

Colors in an 

Educational 

Environment 

for the 

Learning Mind 

TEXT : Ar. Kritika Rana 

Children paint the world with beautiful colors each day 

Children are naturally attracted to color and show a higher response to its effect than the adult 

themselves. It is believed that as they mature, people tend to become oblivious to color and its 

impact on shaping the individuals that we are today. However, creative people will remain color 

dominant all their life. This pattern can also be seen in the educational environment where the 

usage of color in classrooms seem to decline as we proceed to the higher classes. 

Color has the ability to impact the emotions, attention, behavior and ultimately the achievement of 

the students. It is important to avoid both under stimulation and over stimulation through colors. 

Achieving a balance of hues is ideal to craft a positive ambience for the students to grow in. Frank 

H. Mahnke, the President of the International Association of Color Consultants/Designers has 

emphasized that simply designing a ‘colorful’ space is not a constructive solution as the colors of 

the school will influence thousands of children throughout the years. 


Interior 

COLOR TREND IN A SCHOOL 

LEARNING ENVIRONMENT 

The importance of color in the 

center for learning that consequently 

shape the future of children is often 

overlooked. Neutral colors generally 

adorn the walls with an occasional 

use of the school’s theme colors at 

several focal points. Color usage is 

limited to functionality explained by 

dark shades adopted in furniture to 

minimize the frequent cleaning and 

maintenance requirements. 

In an educational environment, 

although function undermines 

aesthetics, color choice can be 

guided by the science of color 

psychology. Some colors are believed 

to possess the attribute to enhance 

the absorption of information while 

some facilitate the thinking process 

in students. Keeping in mind the 

purpose of the learning space, an 

effective color scheme can be derived 

to facilitate learning in a school. Not 

just limited to walls of the room, the 

color palette can be used efficiently 

on furniture, ceiling and even floor 

depending on the intended effect. 

AGE CONSIDERATION FOR COLOR 

SELECTION 

Children grow up in no time. This rapid 

growth makes it difficult to generalize 

the use of colors around children. 

Consideration of the definite age group 

of students in the selection of the color 

palette for their surroundings is vital. 

To make this process easier, Frank 

H. Mahnke, the author of ‘Color, 

Environment and Human Response’ 

Models of transforming a classroom space through colors 

has listed down the guidelines to 

follow while coloring an educational 

environment as per the age group. 

Pre- school students from the age of 

two to four and elementary school 

from five to ten prefer warm and bright 

hues. Red, orange and yellow that 

occupy the warmer region of the color 

chart seamlessly complement the 

extroverted nature of the little ones. 

Contrasting blue hue to achieve a balance in 

a yellow themed preschool classroom 

Bright warm colors- red and yellow engulf the 

elementary school classroom with neutral hues on the 

floor and ceiling to minimize the effect 


Interior 

Light tones of blue and green as accents in a middle school classroom balanced with neutrals 

On the other hand, middle school 

students from the age of eleven to 

thirteen and high school from fourteen 

to eighteen are inclined towards light 

and calm tones. Blue, green and 

violet comprise the cooler section of 

the color chart with the ability to relax 

and promote concentration during 

the transitional stage of children from 

childhood to adulthood. 

COLOR EFFECT ON STUDENTS 

According to a study by Kaya and 

Epps in 2004 titled “Relationship 

between color and emotion”, the 

emotional associations of different 

set of colors on students have been 

explained. 

• The warm hue yellow is lively 

and energetic eliciting positive 

emotions associated with sunshine 

and summertime. 

• Green, a cool color is associated 

with relaxation and calmness and 

is then followed by comfort, peace, 

hope, happiness and excitement. 

• The neutral gray is associated 

mostly with negative emotions of 

sadness, loneliness, depression, 

confusion, boredom, tiredness, 

anger and fear. 

Pastel tones incorporated in educational 

illustrations throughout the high school classroom 

Research suggest that colors can have a therapeutic effect 

on people with physical and mental disabilities. Placing a 

colored transparent sheet over black and white page has 

been helping dyslexic children to read better. 

Experiments in color effects were conducted by testing the 

IQ of the same people in different colored rooms where the 

results were astonishing. People received higher results in 

yellow, yellow-green, orange or light valued blue room and 

lower results in white, brown or black rooms. This proves 

that stimulating hues play a major role in enhancing our 

performance. 


Interior 

To understand the effect of colors on 

students, a research was conducted 

between 2007 and 2008 by the 

University of British Columbia. The 

performance of 600 participants on 

six cognitive tasks that either required 

detail-orientation or creativity were 

analyzed thoroughly. The tasks 

involved spelling, punctuation and 

word recall when words or images 

were displayed against different 

colored backgrounds. 

Red for Accuracy 

The research indicates that red 

increased the accuracy of students 

on detail- oriented tasks such as 

memory retrieval and proofreading 

by 31 percent as compared to blue. 

This also generated a theory that red 

is associated with danger that may 

have pushed the students to pay more 

attention to detail. However, when 

students were exposed to red before 

an IQ test, they scored significantly 

lower than students who were 

exposed to green. This can be traced 

back to the fear of red markings that 

bring out the feelings of caution and 

anxiety. Students showed caution 

while answering the test by choosing 

the easier questions to answer. 

Blue for Creativity 

Blue boosted the performance of 

students on creative tasks where toys 

had to be created from shapes and 

new uses of the displayed items were 

to be invented. Similarly, for other 

creative tasks such as a brainstorming 

session, a blue environment 

encouraged the students to produce 

twice as many creative outputs as in 

a red setting. 

CHOOSING THE RIGHT HUES: 

It is always difficult to pick one hue 

over the other for the collection of 

the most appropriate hue for various 

spaces within an institution. The 

emotional attribute of each hue can 

then be taken into consideration to 

make sure that chosen color aligns 

with the purpose of the space. 

Blue: Often associated with the quality 

of stimulating the mind, blue is the 

most preferred hue for science and 

math based classrooms. The calming 

trait of blue is believed to enhance 

concentration in students by lowering 

their heart rate. 

Green: The nature’s color of balance, 

green also balances the serenity of 

blue and the creativity of yellow to 

generate an arena for multi-tasking. 

The versatility of green can be proven 

by its effectiveness from classrooms 

centered on history and social studies 

to social spaces such as counselling 

rooms and libraries. 

Yellow: The lively yellow tones that 

derive the energy from the sun are 

believed to be in touch with our creative 

side. Gentle yellows spark the creativity 

of students in language classrooms 

and other areas of artistic pursuits such 

as culinary, fine art and dance. 

Orange: Associated with movement, 

orange can be used to connote energy 

in activity spaces such as athletic 

A selection of suitable tones of green, orange/ peach, yellow and blue 

for educational environments by Sylvia O’ Brien, an architectural color 

specialist working in Toronto. 

facilities, drama and media centers. 

Moreover, soft orange and peach 

tones resonate comfort and generate 

a social and loquacious atmosphere 

appropriate for a school cafeteria. 

To fabricate the desired learning 

atmosphere in an educational 

environment, a meaningful color 

palette can be executed. A functional 

color scheme is developed through 

the balance of hues handpicked 

from both sides of the color wheel. 

Choosing a variety of hues is often 

beneficial over a single hue. Research 

suggest that assortment of hues in 

a learning space reduce eyestrain 

and visual fatigue and advance the 

learning process as well. The amount 

of variety is also an important factor 

as an excess may overstimulate and 

strain the mind; while moderation may 

result in bored and introvert students. 

It is also important to keep in check 

the amount of bright and muted 

colors to create a sense of balance. 

If the walls are painted in bright hues, 

neutral tones of furniture is preferred to 

minimize the effect. Conversely, if the 

walls are in neutral and muted tones, 

bursts of lively hues on the furniture 

can make the space feel alive. 


Interior 

CLASSROOM 

As colors affect our everyday lives, its 

importance cannot be disregarded 

in the space designed exclusively 

for learning. The atmosphere of a 

classroom should benefit both the 

students and the teachers. Pale and 

soothing tones of green and blue on 

both sides of the room will allow the 

students to sporadically rest their eyes 

and mitigate the strain from looking at 

high-contrast of text through the day. 

Moreover, placing the teaching board 

in a yellow background on the front wall 

of the classroom will provide a point of 

focus and further assists the students 

to absorb and retain the information. 

For a successful classroom setting, 

the effect of colors on the teacher is 

as crucial as the student themselves. 

Surrounding the teacher with soothing 

hues such as green and blue for the 

teacher’s desk and shelves goes a 

long way in keeping them inspired and 

motivated through the day. Moreover, 

as the teachers frequently face the 

back wall of the classroom, it can be 

painted in bright creative hues such as 

violet to establish a sturdy bond with 

the students to aptly communicate 

information and occasionally lift their 

spirits as well. 

Generally the choice of colors on the 

wall and floors of a classroom is made 

by the school long before a teacher 

enters it. However, teachers can play a 

major role in the introduction of colors 

to the classroom through furniture 

and wall decorations. Selection of the 

most appropriate family of colors for 

desks, chairs and bookcases through 

the classroom can be guided by the 

characteristics of these hues. Bright 

warm tones such as orange and 

yellow allows a student to be more 

attentive and grasp new information 

with ease. On the other hand, soft cool 

tones result in relaxed students who 

can focus on the tasks at hand. 

The use of colors in the class 

decorations and mostly the bulletin 

boards is also a vital element to 

consider. Rather than choosing 

monochrome tones for the information 

board, complementary colors spark 

interest and facilitate the learning 

process. However, in the process 

of designing a colorful classroom, 

it is essential to understand that an 

overuse of colors may overstimulate 

the students causing them to overlook 

the information entirely. 

TRAINING AND LECTURE ROOMS 

Turquoise, the greenish blue hue is 

believed to assist in the development 

of organizational and management 

skills. Also recognized as the color 

of creativity, the hue inspires selfexpression 

and good communication 

skills which is crucial during a lecture. 


Interior 

Turquoise aids in calming the nerves 

of public speakers thus building 

confidence. Moreover, teaching in 

a room with turquoise walls gives 

a clarity of thought and a control 

over our talk. A splash of yellow on 

a wall of the lecture room preferably 

in close proximity to the teaching 

material helps the students retain the 

knowledge for a long time. 

LIBRARY AND STUDY AREAS 

A library in a school is an extended 

form of a learning environment that 

functions as a multipurpose space. 

Different areas within a library are 

allocated for different activities such as 

reading and lounge areas. Colors can 

be used to clearly define the purpose 

of these spaces and align the emotions 

and behaviors in the same direction as 

well. Calming hues such as green and 

blue in the reading area generates a 

serene and tranquil atmosphere for the 

learners to reflect. Conversely, vibrant 

hues such as red, orange and yellow 

on the lounge areas spawn excitement 

for a productive tête-à-tête, also a part 

of the learning process. However, a 

wide array of bright hues may come 

across as garish in a library. To 

minimize the effect, neutral pastel wall 

colors can be accompanied by vibrant 

accents on the lounging chairs, tables 

and shelves. 

As green is believed to be the most 

favorable color for learning, it has 

frequently been used in institutions, 

libraries and research rooms to 

maintain the overall scholastic setting. 

Especially in libraries, pale and light 

green calms the mind, enhances 

quietness and helps a student study. 

The most restful color to the eye, 

green promptly improves efficiency 

by stimulating mental focus thereby 

increasing alertness. The hue also 

boosts our mental performance and 

improves our memory that allows us 

to learn new information swiftly and 

retain it over time. 

COMMON AREAS 

Colors reinvigorate the mind of 

students in the common areas that 

act as the transitional spaces between 

various areas of learning. The purpose 

of various communal spaces within a 

school can be defined evidently with 

suitable hues. The front entry hall 

reflects the overall atmosphere of the 

school, where the theme colors of the 

school can be showcased naturally. 

Besides, warm and comfort hues such 

as soft orange and peach tones in the 

waiting area can make the students, 

staff and even parents feel welcome. 

Soft tones of vibrant hues such as 

red, yellow and orange in the hallways 

may uplift the spirit of the students as 

they move from one class to another. 

Similarly, bold and energetic colors 

work best in informal gathering spaces 

such as cafeterias and seating areas. 

These set of hues are welcoming and 

induce enthusiasm for the students 

to gather and have meaningful 

conversations in their free time. • 




From the shelf 

Treasures of Nepal 

– Gary Wornell 

G 

ary Wornell has spent 

an important part of his 

life giving meaning to 

the clays of England. In return, 

he learned to find ideas in things 

around him. He learned to respect 

various raw materials brimming 

with spirit. He realized that a skilled 

craftsperson understands their 

language like their own mother 

tongue and that takes their time 

reach its full potential. 

His curiosity-fueled love for craft 

brought him to Kathmandu one day 

in 2012. The more time he spent 

here, the more he absorbed himself 

in the crafts found everywhere – 

statues, jewelry, thangkas, etc. In 

2013, when he travelled in the wider 

east and west of Nepal, art and craft 

still presented itself in all forms. 

Especially, he noted, in common 

local materials. 

Wornell found inspiration for 

‘Treasures of Nepal’ when he was 

in Kathmandu in 2014. Initially, he 

wanted to photograph craftsmen 

devoted to their craft. But once he 

knew what he wanted to do, he 

went around various workshops 

in Kathmandu with his two Nepali 

friends and got down to work. 

Though halted by April 2015 

earthquake, it gathered speed later 

that year. 


From the shelf 

The work in this book reflects his observation of Nepali culture, diversity, 

and skill – in short Nepali life. He notes how the legacy of the traditional 

craftsmen is caught in a fix. The allure of technology and a glamorous 

life in a foreign land might attract the children of these craftsmen away. 

Someday, their hands might be too frail to hold the tools that shape Gods 

and Goddesses. 

Wornell’s book is a visual pondering and further evidence of the craft we 

know. It is a documentation of the wonders created by the meticulous hands 

of the craftsmen who have done their time creating art, and have in return, 

been defined by it. • 

This is not a Book Review; this is just 

an effort to conveying information to 

the readers on rare and valuable books 

on art and architecture. This column 

aims to give a helicopter view on such 

books and thus presents the excerpts 

and illustrations either from the preface, 

introduction, jacket or main contents of 

the book from the shelf. This book was 

kindly provided by Mandala Book Point, 

Kantipath, Kathmandu (Tel. 4227711). 



Artscape 

Animals Incarnation 

Batsa Gopal Baidya’s painting is symbolic and spiritual. This work is influence by the four animal incarnation from the Hindu myth 

“Dash Avatar”- Matsya Avatar, Kashhya Avatar, Barah Avatar and Narsimha Avatar. The images of the animals in the form of Avatar 

in his painting are symbolic where the artist has created by using the emboss technique from the recycle papers and textures. The 

atmosphere of the background is spiritual by using the religious symbols, sharp and triangular mountain, river which also gives the 

feelings of the artist’s love for the nature. 

Asha Dangol 

Batsa Gopal Baidya: Born in Saugal, Lalitpur in 1946 AD, Batsa Gopal Baidya received his Govt. Diploma in Painting from Sir 

J. J. School of Art, Mumbai, India and also did a special course on Print Making from the same college. He is one of the Founder 

Member of SKIB-71. His selected honor and awards includes: 1st Prize in National Art exhibition organized by Nepal Association 

of Fine Arts in 1970, Gold Medal in first Biennale Exhibition in Dhaka, Bangladesh in 1981, Gorkha Dakshin Bahu 4th by HMG in 

1993, Birendra Aishworya Padak in 2003 and Rashtriya Pratibha Puraskar in 2006. 


Connects 

65 Aditya Hardware Enterprizes Pvt. Ltd. 

Tripureshwor, Blue Star Complex, Room 

no. 522 

Ph: 9851007818 

E-mail: sanjay_kyal@yahoo.com 

ektakyal@gmail.com 

27 Agni Enterprises 

Kupondole, Lalitpur 

Ph: 977-1-5529526, 5547629, 5526634 

E-mail: adhikari.agni@gmail.com 

info@agnienterprises@gmail.com 

79 Airtech Industries Pvt.Ltd 

First floor, Sharda Complex, Panchayan 

Marg, Thapathali 

Ph: 977-1-4219999, 4243897, 

9801022129, 9841204315 

E-mail: info@airtech.com.np 

21 All Tech Solutions & 

Engineerings Pvt. Ltd 

Tara Bhawan, Teku 

Ph: 9802015888, 977-1-4100235 

E-mail: sumit@alltechse.com.np 

23 Arancia Kitchen & 

Furniture Pvt. Ltd. 

Kalanki, Kathmandu 

Ph: 9801020326 

E-mail: arancia.nepal@gmail.com 

72 Asian Paints Nepal 

Balkumari, Lalitpur 

Ph: 977-1-5203045 

E-mail: ccm@asianpaints.com.np 

Website: www.asianpaintsnepal.com.np 

27/29 ATC Pvt. Ltd. 

336/21, Ganesh Man Singh Path-2, 

Teku Road 

Ph: 977-1-4262220 

E-mail: info@atc.com.np 

31 Bath n Room Trade Concern Pvt. Ltd 


Ph: 9802015888, 977-1-4240610 

82 Berger Jenson & Nicholson 

(Nepal) Pvt. Ltd. 

Berger House - 492, Tinkune, 

Kathmandu 

Ph: 977-1-4466038 

E-mail: info@bergernepal.com 

9 3rd Nepal Wood International Expo 

2017 

Brikuti Mandap, Kathmandu 

4 3rd Nepal Buildcon International 

Expo 2017 

Brikuti Mandap, Kathmandu 

65 Champak & Chirag International 

Teku Road, First floor, 

(Opposite Laxmi Bank) 

Ph: 977-1-4249991,9851051881 

E-mail: adbnb1@gmail.com 

18 Comfort Kitchen & Interiors 

New Baneshwor 

Ph: 977-1-4107031, 4107231 

E-mail: niwat@info.com.np 

18 Communication Corner Pvt. Ltd. 

(Ujyaalo 90 Network) 

Ujyaaloghar(Behind Central Zoo) 

Jawlakhel, Lalitpur 

Ph: 977-1-5000171 

E-mail: info@unn.com.np 

Website: www.unn.com.np 

3 Fashion Furnishing Pvt. Ltd. 

Ratopool, Kathmandu 

Ph: 977-01-4420661/ 4420647 

E-mail: fnfurnishing@gmail.com 

76 Foto Hollywood 

Civil Bank Building, Kamaladi 

Ph: 977-1-4169060 

Website: www.fotohollywood.com.np 

11 Furniture Land Store Pvt. Ltd. 

Blue Star Complex 

Tripureshwor, Kathmandu 

Ph: 977-1-4224797 

19 Home Furnishers Pvt. Ltd. 

Tripureshwor (Way to Thapathali), 

Kathmandu 

Ph: 977-1-4254601, 4262240 

Email: bath@wlink.com.np 

37 Insight Spaces Private Limited 


Ph: 9802015888, 

977-1-4100235, 4100236 

E-mail: spaces.insight@gmail.com 

7 International Electronics 

Concern (P.) Ltd. 

Harati Bhawan, Putalisadak, Kathmandu 

Ph: 977-1-4421991, 4422107 

E-mail: market@iec.com.np 

enquiry@iec.com.np 

Website: www.iec.com.np 

15 JJ marble house 

Tokha House, Samakhushi Road 

Ph: 977-1-4353017 

Email: info@jjmh.com.np 

Website: www.jhmh.com.np 

2 JK White Cement 

14 Kuleshwor, NayaBasti, Kathmandu 

Ph: 977- 9851050650 

E-mail: prashant.chaturvedi@jkcement.com 

Website: www.jkcement.com 

24 Karuna Interiors Pvt. Ltd. 

Gairidhara 

Ph: 977-1-4434581, 4434181 

E-mail: info@karunainteriors.com 

Website: www.karunainteriors.com 

80 Lafarge Holcim Awards 

Metieta Advertising Private Limited 

202, Second Floor, Shivai Plaza 

Premises Co-op. Society Ltd., 

Plot No. 79/A-3 Marol, Andheri East, 

Mumbai 400 059 

Tel.: +91-22-2264 4464, 98218 54120 

E-mail: saidas@metieta.in 

Website: www.metieta.in 

64 Nagarik - Nepal Republic 

Media Pvt. Ltd. 

JDA Complex, Bagh Durbar 

Ph: 977-1-4265100, 4261808 

E-mail: circulation@nagariknews.com 

47 Navin Distributor Pvt. Ltd. 

A.T. Complex, New Plaza, Putalisadak 

Ph: 977-1-4428196, 4430785 

E-mail: ndpl@navindistributors.com 

Website: www.navindistributors.com 

20 Nepal Construction Mart 

Kupondole, Lalitpu, Nepal 

Ph-977-01-5180320 

E-mail: info@nepalconstructionmart.com 

nconstructionm@gmail.com 

81 Nepa Top Organization 

Samakushi, Kathmandu 

Ph: 977-1-4354117, 4363548, 4387901 

E-mail: info@nepa.com 

Website: www.nepatop.com.np 

22 Panchakanya Group 

Krishna Galli, Lalitpur 

Ph: 977-1-5526551, 5526357 

E-mail: shanbhu.karna@panchakanya.com 

Website: www.panchakanya.com 

49 Pashupati Paints 

Babarmahal 

Ph: 977-01-4258209, 4265405 

E-mail: bikashjha@pashupatipaints.com 

Website: www.pashupatipaints.com 

73 Pidilite Industrial Limited 

Putalisadak, Kathmandu 

Ph: 9851092221 

E-mail: subratabhakta@yahoo.com 

Website: www.pidilite.com 

31. R.I.P.L. International Pvt. Ltd. 

Teku Road, Kathmandu 

Ph: 977-1-4270730 

78 Red Pepper Designers 

Baluwatar, Opp. Chinese Embassy, 

Kathmandu 

Ph: 977- 9843376000 / 9813900416 

E-mail: idsushovit2015@gmail.com 

www.facebook.com/ 

redpaperdesigners 

25 Shree Shyam Hardware Pvt. Ltd 

Hanagulu Chowk, Balkhu 

Ph: 9851013876 

E-mail: pankajbirganj@yahoo.com 

Baluwatar, Opp. Chinese Embassy, Kathmandu 

Contact No. 9843 376000 / 9813 900416 

e-mail: idsushovit2015@gmail.com 

web: www.facebook.com/redpaperdesigners 

29 Skylight Pvt. Ltd. 

Naxal (Opp to Police HQ), Kathmandu 

Ph: 977-1-4423851 

E-mail: info@skylight.com.np 

Website: www.skylight.com.np 

30 Subisu Cable net Pvt. Ltd. 

148 Thirbum Sadak, Baluwatar 

Ph: 977-1-4235888 

E-mail: info@subisu.net.np 

Website: www.subisu.net.np 

13 Technical Associates Services P. Ltd. 

1st Floor, Sharda Group Building, 

Panchayan Marg 

Thapathali, Kathmandu, Nepal 

Tel: 977-1-4219999 

E-mail: sktulshyan@gmail.com 

5 Triveni Byapar Co. Pvt. Ltd. 

Putalisadak 

Ph: 977-1-4224074 

E-mail: mkt@trivenitrade.com 

14 Worldlink Communication Pvt. Ltd. 

Jawalakhel, Lalitpur 

Ph: 977-1-5523050 

E-mail:enterprise.support@worldlink.com.np 

Website: www.worldlink.com.np

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