7. July 2014
Create successful ePaper yourself
Turn your PDF publications into a flip-book with our unique Google optimized e-Paper software.
<strong>July</strong> <strong>2014</strong> – Vol 10 N o. 07<br />
ART ARCHITECTURE INTERIOR<br />
10 th Year - Anniversary Specials<br />
Price: NRs.100/- IRs.100/- USD 5.95 EURO 5.95 GBP 4.95<br />
Nepali<br />
Art A of Mosaic<br />
Multiple<br />
Melodies<br />
As Long as<br />
the Sun and Moon<br />
Endures<br />
Monsoon<br />
Wet n Wild<br />
Bardia<br />
Earthquake<br />
Risk Reduction and<br />
Preparedness in Nepal<br />
RELICS<br />
ARE HEARD<br />
HISTORY<br />
IS SEEN<br />
june <strong>2014</strong> / 1
2 / SPACESNEPAL.COM
April <strong>2014</strong> / 3
4 / SPACESNEPAL.COM
A smart alternative to Septic Tank<br />
Zero Discharge<br />
April <strong>2014</strong> / 5
April <strong>2014</strong> / 7
Contents<br />
july <strong>2014</strong> Vol 10 N o. 07<br />
SPACESNEPAL.COM<br />
Monsoon Bardia<br />
Bardia National Park is a protected area established in 1988 covering an area of 968 km 2<br />
(374 sq mi), Together with the neighboring Banke National Park, the coherent protected<br />
area of 1,437 km 2 (555 sq mi) represents the Tiger Conservation Unit (TCU) Bardia-Banke<br />
that extends over 2,231 km 2 (861 sq mi) of alluvial grasslands and subtropical moist<br />
deciduous forests.<br />
Interior<br />
44<br />
57<br />
Journey<br />
Personality<br />
Ar. Pratyush Shankar is an Ahmadabad based architect and an author.<br />
Teaching studio basic design, urban history, and subjects of history,<br />
humanities, and architectural research are his subject of interest. The<br />
Associate Professor and Acting Dean of Faculty of Architecture at CEPT<br />
University based in Ahmadabad, India.<br />
48<br />
Lines: creating career pathways<br />
For one struggling interior designer, in Nepali<br />
context, to work in huge spaces is the biggest<br />
challenge itself. Along with different projects<br />
completed in very short period of time, ID<br />
Sushovit Ranjitkar got chance to prove himself as<br />
an innovative when interior design of Mrs. Shailaja<br />
Adhikari’s consultancy was assigned to him.<br />
Mercantile plaza<br />
When it comes to re-designing the existing<br />
Mercantile Plaza, situated at Durbar Marg,<br />
the heart of Kathmandu City and also known<br />
as King’s way (leading to Narayanhiti Palace),<br />
the designers opted for an elegant and a<br />
contemporary composition of glass and<br />
aluminum panels. This building, which now<br />
accommodates almost a dozen of high-end<br />
stores and a roof top restaurant Mezze, is<br />
one of the most popular hubs in the capital.<br />
Architecture<br />
22<br />
Art<br />
58<br />
64<br />
From the shelf<br />
A well researched book<br />
that describes the detail<br />
study of shrines in the<br />
streets of historic Kirtipur,<br />
Kathmandu valley and other<br />
towns that are studded with<br />
shrines dedicated to clan<br />
and family, Gods, the Hindu<br />
deities or to Lord Buddha.<br />
Nepali Art<br />
Observing artworks is<br />
getting inspiration and<br />
encountering the gems<br />
and poetic moments<br />
of Nepali artists. They<br />
are diverse in terms of<br />
themes as representation of<br />
nature, recreating myths,<br />
reintegration of cultural rituals, reformulation of<br />
tradition, raising the voice of the marginalized,<br />
the women, and the ethnic minorities, taking<br />
corrective measures on socio-political evils and<br />
carving identities of individual artists.<br />
Architecture Galleries<br />
You might have been to Patan Durbar Square<br />
for a number of times, but it’s not the whole<br />
what you have seen. You see what is, but you<br />
have to hear to get into the composite whole of<br />
it. As an effort to make the square heard more<br />
and to enliven the history, the Architecture<br />
Gallery, as an extension of Patan Musuem,<br />
has been established. And now it is open to all.<br />
While observing the display of rare and historical<br />
artifacts survived from the neglect, misuse and<br />
inadequate restoration for ages at Architecture<br />
Galleries of Patan Musuem, your despair, if<br />
any, effaces and a sense of new hope and<br />
appreciation occupies your mind.<br />
68 PASSAGE: Search Interdefinite<br />
70 Store watch: Parth International Pvt. Ltd.<br />
72 Open Space<br />
Architecture<br />
30<br />
8 / SPACESNEPAL.COM
june <strong>2014</strong> / 9
Editorial<br />
As the monsoons pick up momentum - Nepal<br />
appears at risk of water borne disasters and<br />
earthquakes. As I write this, the massive landslide<br />
in Jure shows how volatile our landscape can be.<br />
The imminent danger of the landslide-dammed<br />
lake outburst flood could create massive havoc<br />
downstream. The downstream areas are already<br />
declared crisis hit. River activist Megh Ale who is<br />
familar with the Bhote Sunkosi area has pointed out<br />
to the ongoing bulldozer works for the road above<br />
the landslide areas. Journalist Kanak Dixit opines<br />
that in areas where life is lived - environmentally<br />
conscious highways and alignments are appropriate<br />
(though one cannot protect against the ‘act of god’)<br />
and such designs happen when road engineers and<br />
environmentalists and economists act in unison. On<br />
another note the Indian Prime Minister Narendra<br />
Modi is on a state visit to Nepal currently and would<br />
perhaps touch on the contentious issues of sharing<br />
and developing trans-boundary water resources<br />
which we hope will give us all a positive direction.<br />
He is the first foreign Head of Government to<br />
address Nepal’s new parliament. Presently<br />
- water and environment within one’s<br />
space seems to be central and core to<br />
the issues debated globally as well<br />
as locally to sustain life.<br />
Our cover story this month<br />
is about the newly opened<br />
Architecture gallery at Patan<br />
Museum. The galleries showcase<br />
our historical elements such as<br />
windows, columns, struts, and other<br />
artifacts, displayed in a typological<br />
order accompanied by drawings and<br />
captions. Nepal’s first Architectural gallery<br />
is an eye opener depicting the extraordinary<br />
legends amidst the art and architecture. Through the<br />
gallery, we now have access to the Vidhyapith room<br />
(tantrik room) at Mulchowk which was closed for<br />
over 90 years and has an esoteric shrine dating to<br />
the 17th century with a rare example of Malla-period<br />
interior architecture. Rohit Ranjitakar the Country<br />
Director of KVPT (Kathmandu Valley Preservation<br />
Trust) who initiated the project states that Nepal’s<br />
(traditional) Architecture is it’s identity. As you<br />
discover and abosorb the artifacts and elements – it<br />
is natural for one to be inspired by one’s heritage,<br />
but the bigger question as you step out of the<br />
Museum lies on - what do we all do presently with<br />
our Cities and Vilages to improve our natural and<br />
visual environment ?<br />
This month we also interview Architect Pratyush<br />
Shanker - the author of ‘Himalayan Cities,<br />
Settlement Patterns, Public Spaces and<br />
Architecture’ who is also the Associate Professor<br />
and Dean of the Faculty of Architecture at<br />
CEPT (Center for Environmental Planning and<br />
Technology). His journey started when he received<br />
the Commonwealth Grant to study a small town in<br />
Himachal Pradesh and later received The Ford –Asia<br />
Fellowship Award to study Himalayan Architecture.<br />
His views on Nepal are succinct when he states<br />
that - Nepal is a living museum of many distinct<br />
architectural traditions. It is blessed with a lineage in<br />
architectural and urban ideas that are unique. The<br />
question really is of the future and where<br />
it is heading! Nepal has the strength<br />
to show the way to many Asian<br />
countries about questions for new<br />
forms of development and hybrid<br />
conditions between old and new.<br />
We also highlight the 155<br />
feet tall statue of Guru<br />
Padmasambhava in Takela,<br />
Eastern Bhutan which was<br />
designed and built exquistely by<br />
our Nepali sculptor - Raj Kumar<br />
Shakya and his team. The intricate<br />
work on the copper statue that began<br />
nearly 4 years ago was completed this year<br />
and goes on to reflect the export value of traditional<br />
craft and knowledge, keeping the spirit and flame<br />
of Nepal’s first Internationally acclaimed Architect<br />
Araniko. He had visited Tibet and influenced<br />
Chinese Architecture profoundly. Araniko was<br />
initially sent to Tibet to build the Golden Stupa, and<br />
further went on to China to work in the court of<br />
the Mongol emperor Kublai Khan, the founder of<br />
Yuan dynasty (1279–1368) and was credited to have<br />
brought the trans-Himalayan artistic tradition to<br />
influence Chinese art.<br />
Finally on an ending note – I would like to reflect<br />
on an interesting quote of the Dalai Lama who says<br />
that – the planet does not need more successful<br />
people. The Planet desparetly needs more<br />
peacemakers, healers, restorers, storytellers and<br />
lovers of all kinds.<br />
Namaste !<br />
Sarosh Pradhan / Editor in Chief<br />
10 / SPACESNEPAL.COM
Exterior Interior<br />
june <strong>2014</strong> / 11
Contributors<br />
Volume 10 N O. 06 | June<br />
Jeebesh Rayamajhi, a graduate in English Literature<br />
from TU, is a dramaturge and has worked as a theatre<br />
consultant for pioneering theatre companies including<br />
Aarohan-Gurukul, Theatre Village, Mandala Theatre and<br />
Bardali Kala Samuha in Nepal. In course of working for<br />
leading theatres, he has coordinated different campaigns<br />
and events including Kathmandu International Theatre<br />
Festival, a prestigious theatre festival organized by<br />
Aarohan. He is associated with a number of organizations<br />
like School of Creative Communications, Asian Centre for<br />
Humanities, Oscar College of Film Studies and Theatre<br />
Village. He is a translator and editor for a number of<br />
books and magazines.<br />
CEO<br />
Editor-in-Chief<br />
Creative Manager<br />
Senior Correspondent<br />
Contributing Art Editor<br />
Junior Editor<br />
Contributing Editor<br />
Photographer<br />
Intl. Correspondent<br />
Ashesh Rajbansh<br />
Sarosh Pradhan<br />
Deependra Bajracharya<br />
Pujan Joshi<br />
Madan Chitrakar<br />
Kasthamandap Art Studio<br />
Shristi Pradhan<br />
President - Society of Nepalese Architects<br />
Ar. Jinisha Jain (Delhi)<br />
Ar. Chetan Raj Shrestha (Sikkim)<br />
Barun Roy (Darjeeling Hills)<br />
Pradip Ratna Tuladhar<br />
Hemant Kumar Shrestha<br />
Bansri Panday<br />
Ms. Hima Shrestha is the Director of Earthquake<br />
Engineering Research and Training EERT Division of NSET.<br />
She joined NSET in 2004 as a structural engineer. She<br />
has 20 years of work experience in this field (Structural<br />
engineering). Her main expertise is on earthquake risk<br />
assessment, mitigation and preparedness.<br />
Chief - Administration Anu Rajbansh<br />
Marketing Officer<br />
Debbie Rana Dangol<br />
Admin Officer<br />
Ashma Rauniyar<br />
Office Secretary/Subscription Pramila Shrestha<br />
Accounts<br />
Sunil Man Baniya<br />
Legal Advisor<br />
Yogendra Bhattarai<br />
She has a Masters degree in Structural Engineering<br />
from Institute of Engineering, Pulchowk, Nepal and<br />
a Bachelors degree in Civil Engineering from Punjab<br />
Engineering College, Chandigarh, India.<br />
Published by<br />
IMPRESSIONS Publishing Pvt.Ltd.<br />
Chakupat (near UN Park), Lalitpur<br />
GPO Box No. 7048, Kathmandu, Nepal<br />
Phone: 5260901, 5260902<br />
info@spacesnepal.com<br />
Sushovit Ranjitkar is fresh interior designer in<br />
town who has experience of nearly one and half dozen<br />
interior design projects: some of them completed and<br />
some of them still on-going. He gets his inspiration<br />
from straight lines which have been his key design<br />
element and he likes to use glass often in his design.<br />
A graduate from IEC College of Art and Fashion, he is<br />
currently working as Lecturer at the same college.<br />
Design/Layout &<br />
Processed at<br />
Digiscan Pre-press Pvt. Ltd.<br />
Distribution<br />
Kathmandu Kasthamandap Distributors<br />
Ph: 4247241<br />
Mid & West Nepal<br />
Allied Newspaper Distributor Pvt. Ltd.,<br />
Kathmandu Ph: 4261948 / 4419466<br />
Darjeeling, Kalimpong, Sanjana Limbu, The Digital Den<br />
Gangtok Darjeeling, +91 99323 85772<br />
subbaangel@yahoo.com<br />
Advertising and Subscriptions<br />
Kathmandu<br />
Birgunj<br />
IMPRESSIONS Publishing Pvt.Ltd.<br />
Ph: 5260901, 5260902<br />
market@spacesnepal.com<br />
Kishore Shrestha, Hotel Kailash,<br />
Adarsha Nagar. Ph: 522384, 529984.<br />
hotelkailash@wlink.com.np Itahari<br />
Naya Bazar, Dharan - 05<br />
Biratnagar Ph: 025-5-21164/025-525118,<br />
Cell: 9842054110<br />
Regd. No 30657/061-62 CDO No. 41<br />
SPACES is published twelve times a year at the address above. All rights are reserved in<br />
respect of articles, illustrations, photographs, etc. published in SPACES. The contents of<br />
this publication may not be reproduced in whole or in part in any form without the written<br />
consent of the publisher. The opinions expressed by contributors are not necessarily those<br />
of the publisher and the publisher cannot accept responsiblility for any errors or omissions.<br />
Those submitting manuscripts, photographs, artwork or other materials to SPACES for consideration should<br />
not send originals unless specifically requested to do so by SPACES in writing. Unsolicited manuscripts,<br />
photographs and other submitted material must be accompanied by a self addressed return envelope,<br />
postage prepaid. However, SPACES is not responsible for unsolicited submissions. All editorial inquiries and<br />
submissions to SPACES must be addressed to editor@spacesnepal.com or sent to the address mentioned<br />
above.<br />
Cover Photo:<br />
Architecture Galleries<br />
at Patan Museum<br />
© Ashesh Rajbansh<br />
facebook.com/spacesnepal<br />
twitter.com/spacesnepal<br />
12 / SPACESNEPAL.COM
june <strong>2014</strong> / 13
NEWS<br />
FURNEX NEPAL EXHiBITION <strong>2014</strong><br />
The exhibition will showcase designs and decorations<br />
of various furniture and furnishing houses. Similarly<br />
it will cater information regarding repair and<br />
maintenance, value of goods and materials. And,<br />
keeping in mind the increasing demand for furniture<br />
and furnishing for homes and offices, it will avail a<br />
single platform for buyers and sellers.<br />
Nepal Furniture and Furnishing<br />
Association (NFFA) are all<br />
geared up to raise the curtains<br />
of the 3rd Furnex Nepal<br />
Exhibitions that is scheduled<br />
to be held on 27 to 31 August<br />
at Bhrikuti Mandap Exhibition<br />
Hall. With the success of the<br />
1st and 2nd Furnex Nepal<br />
Exhibition, even the visitors,<br />
buyers, and businesses<br />
seem to be excited about the<br />
upcoming event.<br />
NFFA association was<br />
established in the year<br />
2056 B.S and is an umbrella<br />
organization of Furniture and<br />
Furnishing Manufacturers,<br />
Product importers,<br />
Distributors, Dealers and<br />
Professionals, bonded<br />
together for raising their<br />
voice and getting protection<br />
in compliance with the<br />
government acts. NFFA is a<br />
non-profit oriented and a nongovernmental<br />
organization<br />
that involves groups of<br />
renowned Furniture &<br />
Furnishing related business<br />
people of Nepal. It focuses<br />
on promoting Furniture<br />
& Furnishing products in<br />
urban as well as rural areas<br />
of Nepal. The association<br />
not only believes in public<br />
private partnership for<br />
assisting the government of<br />
Nepal in related objectives<br />
like National import/export,<br />
manufacture Policy but also<br />
believes in advocacy of<br />
users’ rights regarding the<br />
cases of warranty, guarantee,<br />
counterfeit, fraud issues of<br />
grey channel etc.<br />
Furnex Nepal Exhibition<br />
<strong>2014</strong> is bound to energize<br />
new expertise in furniture,<br />
furnishing and decoration<br />
businesses, brands and<br />
organizations featuring a<br />
prime, easily accessible<br />
location with a wide array of<br />
experts on services and onspot<br />
experience.<br />
Similarly it will avail an<br />
opportunity for local furniture<br />
manufacturers of Nepal<br />
to promote their product<br />
and service. According to<br />
NFFA there will be up to<br />
46 big stalls and 20 small<br />
sized stalls in the exhibition.<br />
The title sponsor for the<br />
event is Shaan Furniture,<br />
Status Group’s Polo and Yeti<br />
Carpet as main sponsors,<br />
Premier Insurance as the<br />
official insurance and Spaces<br />
Magazine as the official<br />
magazine. The Event is<br />
managed by Dr. CS Events,<br />
Pvt. Ltd.<br />
‘Kuch Bhi Ho<br />
Sakta Hai’<br />
Anupam Kher<br />
Live in Nepal<br />
The show avails an opportunity to the<br />
audience to experience Anupam Kher’s<br />
Journey to stardom, uncovering the<br />
hidden chapters from his book of life,<br />
stories of his resilience, heartbreaks,<br />
triumphs and how he turned every<br />
obstacle into a milestone during his 32<br />
years in acting career.<br />
Koseli School Nepal, is presenting one of<br />
the fabulous charity show of the year in<br />
Kathmandu, named as ‘Kuch Bhi Ho Sakta<br />
Hai with Anupam Kher’, a prominent Indian<br />
talk show that share Bollywood’s biggest<br />
celebrities stories of failure and success<br />
which is featured in Colors Chanel, a Hindi<br />
entertainment channel. Koseli School<br />
Nepal’s charity show is inviting one of the<br />
top Bollywood actor/director Anupam Kher<br />
in Nepal to entertain audiences in Nepal<br />
with his live act show and stories of his<br />
life. The Anupam Kher Show – Kuch Bhi<br />
Ho Sakta Hai is a <strong>2014</strong> Indian talk show<br />
hosted by Anupam Kher that features<br />
a new celebrity every week. The show<br />
is renowned to highlight inspirational<br />
stories of Bollywood celebrities, and is still<br />
achieving success since their first aired<br />
show with actor Shah Rukh Khan.<br />
Koseli is synonymous to ‘a Gift’ and the<br />
gift will definitely be life time memorabilia<br />
for the students of Koseli School who<br />
will get a chance to be educated by the<br />
prominent actor of India. Koseli School<br />
is a center for slum and street children<br />
situated in Kathmandu and are running<br />
under a registered NGO. This school is<br />
helping underprivileged children of Nepal<br />
who come to the city for better lives but<br />
due to poverty are often left to fence for<br />
their shelves in harsh conditions. These<br />
children come from the poorest area of the<br />
country and society and almost all of them<br />
end up living in miserable and unimaginable<br />
condition and their biggest need is survival<br />
through any means possible. Koseli School<br />
seeks to integrate the slum and street<br />
children into main stream society by<br />
providing them with a normal childhood<br />
and empowering them back to the society<br />
through education and skills. Currently the<br />
school has 120 students with requests<br />
for more admissions every day while<br />
seeking attention, education and need for<br />
care. Hence the event organized by Koseli<br />
School, and managed by WFS Events and<br />
Services will be a support to the students<br />
and can admit more underprivileged<br />
students as all the incomes from the event<br />
will be a beneficiary to the children admitted<br />
in Koseli School.<br />
The Charity show is being organized at<br />
Army Officer’s club on Friday, 22 August<br />
<strong>2014</strong> where throughout the play; the<br />
audience will get an opportunity to<br />
experience Anupam Kher’s Journey to<br />
stardom, uncovering the hidden chapters<br />
from his book of life, stories of his<br />
resilience, heartbreaks, triumphs and how<br />
he turned every obstacle into a milestone<br />
during his 32 years in acting career. The<br />
tickets are priced as NRs. 8,000- VIP<br />
tickets, NRs 5,000 – Golden tickets, NRs<br />
3,000 – Silver tickets and NRs 1,500 –<br />
Bronze tickets.<br />
14 / SPACESNEPAL.COM
NEWS<br />
Retro-fitting of School<br />
Buildings: An Imperative Need<br />
of Disaster Preparedness<br />
It is reported that 77 percent schools in the valley lack the safety measures in<br />
buildings for earthquake disaster. Hence there is an imperative need of disaster<br />
preparedness in vulnerable schools in Nepal.<br />
Schools in Nepal of the various regions<br />
are particularly exposed to different kinds<br />
of disasters. Disaster awareness and<br />
preparedness at the schools in Nepal is<br />
considered to be very low. School survey<br />
conducted in 1998-1999 shows that<br />
there are about 643 public schools and<br />
909 numbers of buildings. Out of 378<br />
schools surveyed, the study showcases<br />
that collapse grade is of 66 percent<br />
whereas 23 percent school buildings are<br />
in repairable condition and 11 percent<br />
schools are beyond repairable and are<br />
likely to face severe damages.<br />
But, at present there are more than<br />
32,000 public and private schools, and<br />
the challenge is to scale up the process<br />
of enhancing earthquake safety of<br />
schools for which institutionalization of<br />
the concept of School Earthquake Safety<br />
Program SESP is necessary.<br />
Schools are source of education and also<br />
a tool to make people aware about safety<br />
from hazards. Students, teachers, parents<br />
and the members of the management<br />
committee are the active agents who help<br />
widen the outreach of the earthquake<br />
safety measures. The earthquake<br />
resistant school building stands there<br />
as stimulator to change the current<br />
construction practice. School students<br />
are good conveyers of information from<br />
school to individual households. In this<br />
sense, school could be considered<br />
as ignition point to change traditional<br />
practices to seismically safer construction<br />
practice. Apart from its educational usage,<br />
schools are also used as community<br />
meeting places and emergency shelters<br />
during disasters.<br />
Despite the high risk of earthquakes,<br />
school construction in Nepal has largely<br />
ignored issues of structural safety and<br />
they are built very informally just like<br />
common residential buildings. Over 77<br />
percent of the valley’s public schools<br />
are likely to collapse if they were<br />
to experience intensity IX shaking.<br />
Estimated casualty figures for a scenario<br />
earthquake of MMI IX shaking during<br />
school hours in Kathmandu Valley are:<br />
29,000 deaths - including students,<br />
teachers and administrative staff (12<br />
percent), 43,000 seriously injured (18<br />
percent), total collapse of school buildings<br />
(66 percent), partial collapse (11 percent),<br />
and 23 percent buildings will suffer from<br />
minor to moderate damage.<br />
Nepal lies in high earthquake prone zone and<br />
promoting earthquake resistant construction<br />
can appreciably reduce the losses from<br />
the potential threat. Temasek Foundation, a<br />
Singapore based philanthropic organization<br />
that builds a more prosperous and connected<br />
Asia through developing human and social<br />
capital, is supporting training programs on<br />
various subjects like education and disaster<br />
response capability that promotes positive<br />
networks of cooperation in and across<br />
communities in Asia. Similarly Nanyang<br />
Technological University (NTU), a leading<br />
university, which has a vibrant research culture<br />
and has created a name internationally for<br />
its work in state of arts areas like advanced<br />
materials, biomedical engineering, clean<br />
energy and environment, computational<br />
biology, intelligent systems, and<br />
nanotechnology. As a result of joint project,<br />
retro-fitting of the building of Adarsha<br />
Azaad Higher Secondary School was made<br />
possible and the building was inaugurated<br />
recently. The delegates present in the<br />
inauguration ceremony were Mr. Gerald<br />
Yeo, the Director of Temasek Foundation,<br />
and Professor Lee Soo Ying of NTU, NSET<br />
staffs and faculties of Adarsha Azaad<br />
School.<br />
NSET, NTU and Temasek foundation<br />
had also provided construction<br />
supervision. During construction,<br />
the masons and technicians were<br />
provided with the hands-on training<br />
on earthquake resistant construction.<br />
Further the school teachers, students<br />
and the surrounding community<br />
were also oriented on earthquake<br />
safety. Emergency Response Plan<br />
of the school is developed including<br />
training of teachers, parents, children<br />
and the community for the drill to be<br />
performed based on the plan.<br />
NSET started providing on-the-job<br />
training and classroom lectures for the<br />
masons during the School Earthquake<br />
Safety Program (SESP) in 1999, it<br />
was observed that the mason training<br />
was very effective and the impact<br />
was remarkable with high replication<br />
potential. Mason training became<br />
the integral part of the school safety<br />
program. The masons trained during<br />
the program are now spreading the<br />
technology of earthquake-resistant<br />
construction in their communities<br />
and replicating the technology while<br />
constructing new buildings. They are also<br />
training other masons. Thus the process<br />
of replication is expected to create a<br />
multiplying effect in future to set a new<br />
technological culture in construction.<br />
june <strong>2014</strong> / 15
NEWS<br />
Spaces Magazine and NFFA Announce<br />
First Interior Design Competition<br />
IDC’s objectives are to uplift the scenario of forgotten richness of interior design<br />
in Nepal; to help create career opportunities in the market; and to encourage<br />
new generation to produce new innovative ideas and changes in designing<br />
concept with the changing lifestyle of these days.<br />
Spaces Magazine and Nepal Furniture<br />
and Furnishing Association (NFFA)<br />
has jointly announced the 1st Interior<br />
Design Competition (IDC) – <strong>2014</strong> on<br />
the occasion of Furnex Nepal Exhibition<br />
- <strong>2014</strong>, which is scheduled to be held<br />
on 27 to 31 August at Bhrikuti Mandap<br />
Exhibition Hall, Kathmandu. The IDC<br />
-<strong>2014</strong> is the first competition held in the<br />
yearly exhibition of Furnex for students<br />
of Interior designing background which<br />
was conceptualized and formulated by<br />
Spaces Magazine and NFFA after a long<br />
brainstorming session.<br />
Interior design comprises the<br />
arrangement of living spaces to<br />
accomplish greater functionality makes<br />
use of diverse aspects of other disciplines<br />
such as architecture, product design,<br />
environmental psychology, ergonomics<br />
and decoration. Spaces Magazine along<br />
with NFFA has sensed its significance and<br />
intends to promote interest in students<br />
for Interior designing careers.<br />
Approximately fifty students from various<br />
interior designing colleges and institutions<br />
will take part in the exhibition. IDC’s<br />
objectives are to uplift the scenario of<br />
forgotten richness of interior design in<br />
Nepal; to help create career opportunities<br />
in the market; and to encourage new<br />
generation to produce new innovative<br />
ideas and changes in designing concept<br />
with the changing lifestyle of these days.<br />
Spaces Magazine, as official magazine<br />
for the Furnex Nepal has prepared<br />
conscientiously to manage the upcoming<br />
Interior Design Competition during<br />
the exhibition. The Interior Design<br />
Competition (IDC) - <strong>2014</strong> scheme<br />
includes project on residential design<br />
with cultural inspiration in a contemporary<br />
arrangement while the concept includes<br />
Internal Space Utilization. The criteria is<br />
to prepare a 2D drawing that will include<br />
the assuming floor plan, zoning and<br />
partition layout, furniture layout plan, floor<br />
finish plan, reflected ceiling plan, cross<br />
section and furniture details. While<br />
the other criteria include a 3D layout<br />
by computer rendering or using any<br />
computer aided design software.<br />
After the total submission of these<br />
2D/3D illustrations, the jury panel<br />
will select the best ten projects<br />
before the exhibition commences.<br />
These ten models will be displayed<br />
during the Furnex Nepal Exhibition.<br />
Jury panel members include an<br />
architect, academician, interior<br />
designer, artist, and a home maker<br />
and will have 75 percent voting stake<br />
while the remaining 25 percent<br />
remains open for public voting. On<br />
the closing ceremony of Furnex<br />
Nepal Exhibition, three winners will<br />
be announced that comprises to 1st,<br />
2nd and 3rd positions. The winners<br />
will receive a trophy, certificate and<br />
a cash prize and an exposure to<br />
the market. Winners will be judged<br />
for suitability of the design to the<br />
project, originality of the design<br />
solution and the fine successful<br />
integration of interior finishes and<br />
furnishing.<br />
Lasting Protection for All<br />
New Multi-brand Paint Showroom in Bhaktapur<br />
Apurva International Pvt. Ltd., a company renowned for their<br />
multi-brand paint showroom and UPVC Roofing Sheet in<br />
Kathmandu, have recently opened a new multi brand showroom<br />
in Gatthaghar, Bhaktapur. The Managing Director (MD) of<br />
Apurva India Ltd, Mumbai Mr. Ashok Kumar Kate inaugurated<br />
the showroom on 6 <strong>July</strong> <strong>2014</strong>. Mr. A.K. Kate along with MD.<br />
Raju Gupta, Apurva International and team organized a two<br />
day workshop on Product Briefing and Presentation. Similarly<br />
a Workshop for Fabricators and painters was also organized.<br />
According to the company, the new multi-brand showroom<br />
offers varieties of paints for commercial, industrial and residential<br />
use and top brands like Sunrise’s brand product of UPVC<br />
Roofing Sheet, Asian Paints, Kansai Nerolac, Pashupati Paints,<br />
Lewis Berger Paints, and Dulux Paints and eminent brand from<br />
Akzonobel are presently on their product portfolio. The company<br />
also stated that on the occasion of the inauguration of the new<br />
showroom Rs 1,000 cash discount vouchers will also be offered<br />
to its customers for a year.<br />
16 / SPACESNEPAL.COM
When it’s about value for money<br />
trust the Kitchen Specialist<br />
Featured here is the new Sleek kitchen in PU Lacquer finish with soft-closing base units<br />
and handleless wall cabinets. Appliances from BEST (Italy) and fittings from LAMP (Japan).<br />
Kitchen Cencepts Pvt. Ltd. GPO Box N. 8975, EPC 2700, Teku Road, Kathmandu (Next to Bakery Café), Tel.: (01) 422 1858, 421 2097, Kumaripati: Tel: (01) 500 8680<br />
Sleek Kitchen Concepts : Srijana Chowk, Pokhara, Tel: (061) 534364 Chitwan Kitchen Concept : Sahid Chowk, Narayangarh, Tel: (056) 522793<br />
Sleek Kitchen Concept Pvt.Ltd. : Butwal-12, Kalika Nagar, Tel: (071) 621703 (CDMA) Sleek Kitchen Concept : Paschim Line (Near Auto Stand), Itahari –1, Tel: 025-582748<br />
Email : nepalkitchen@wlink.com.np, Visit : www.kitchenconcepts.com.np<br />
june <strong>2014</strong> / 17
NEWS<br />
Completion of 155ft tall Repousse Statute of<br />
Guru Padmasambhava in Bhutan<br />
Guru Padmasambhava is believed to have meditated in a sacred cave of<br />
ancient Village of Pharping, the south of the Kathmandu Valley, and attained<br />
enlightenment. Presently as a homage, Bhutan has the tallest statue of Guru<br />
Padmasambhava and it was made possible with the art and craftsmanship of<br />
the Nepalese artists.<br />
Guru Padmasambhava is often referred<br />
to as the second Buddha in Bhutan<br />
where the official state religion is Drukpa<br />
Kagyu Buddhism. A great master of<br />
Buddhist Tantra, he is said to have<br />
emerged in Bhutan around eighth<br />
century and established the teachings<br />
of the Buddha all over the country. He<br />
is also credited in bringing Vajrayana to<br />
Tibet and Bhutan and he is<br />
revered today as one of the<br />
great patriarchs of Tibetan<br />
Buddhism and the founder<br />
of the Nyinmapa School.<br />
The project of the 155<br />
feet tall repousse statue<br />
of Guru Padmasambhava<br />
was assigned to Raj Kumar<br />
Shakya and his team.<br />
They were assigned to<br />
design and built the 155<br />
feet tall statue of Guru<br />
Padmasambhava in Takela,<br />
Eastern Bhutan. The<br />
intricate work on the copper<br />
repousse statue began<br />
on 20 June 2010 and after<br />
working diligently for three<br />
years and nine months, the<br />
statue was completed on<br />
20 March <strong>2014</strong>.<br />
As Nepal’s is renowned for its metal<br />
works and artifacts, the practice is<br />
believed to be very ancient as it traces<br />
far back to the 11 th century. This art has<br />
been practiced and passed down to<br />
generations and the historic monuments<br />
created by the generations of artists<br />
are strewn throughout Nepal and all<br />
over the world. Hence Nepalese artists<br />
were requested for the project in<br />
Bhutan whereby the project itself<br />
was a complex task undertaken by<br />
Raj Kumar Shakya and his team. The<br />
project started with many models and<br />
under the direction of Shakya, a total<br />
number of 57 people worked on the<br />
project. The concrete base that was<br />
constructed is 40 feet tall. In fact, the<br />
actual size of the copper repousse<br />
figure is 115 ft tall and the face alone<br />
measures 15 ft.<br />
To mark the successful completion of<br />
the 155 feet tall repousse statute of<br />
Guru Padmasambhava in Bhutan and to<br />
felicitate the involved artists, a program<br />
was carried out in Patan on 12 <strong>July</strong> <strong>2014</strong>.<br />
In the program, Mr.R.J. Shakya, Architect<br />
Anil Shakya and his team from Sumeru<br />
Art Village were honoured. Senior scholar<br />
and culture expert Mr.<br />
Satya Mohan Joshi and Ani<br />
Maya Shakya presented<br />
tokens of appreciation to<br />
all the team members<br />
who were involved in the<br />
project in Bhutan. The<br />
Event at Yala Maya Kendra<br />
was a kind of celebration<br />
of Nepal’s craftsmanship<br />
that will present a good<br />
and optimistic outlook from<br />
abroad. The contributions<br />
of Raj Kumar Shakya and<br />
team, Ar. Anil Shakya and<br />
Sumeru Art Village are<br />
greatly acknowledged.<br />
Apart from Nepal and<br />
Bhutan, Shakya’s work<br />
has also reached China,<br />
Germany, USA, Korea,<br />
France, India and Japan.<br />
18 / SPACESNEPAL.COM
june <strong>2014</strong> / 19
NEWS<br />
Amalgam <strong>2014</strong><br />
An Exhibition of Paintings and Prints<br />
Many paintings in the exhibition explore the unconsciousness as a source<br />
of inspiration. The visions were based on more personal experiences and<br />
thought process that have been evoked by the urban surroundings of<br />
Kathmandu where the artist’s works involve a lot of line-works which<br />
metamorph into different forms of human expressions that are composed<br />
with varying forms of patterns.<br />
In some point in our life we realize that<br />
every moment we experience teaches<br />
us something new about ourselves,<br />
our creativity, the society, the world<br />
around us, and the responsibilities<br />
we hold for every phase that pass<br />
us by. It’s absurd sometimes we feel<br />
in course of events that takes an<br />
unexpected turn and stamp its mark<br />
permanently in us; more often we<br />
find it challenging while dealing with it<br />
optimistically and artistically, but in the<br />
end, it definitely turns to be rewarding.<br />
Everything around us is bound to<br />
change and accepting and coping<br />
with changes is an art itself. Life is<br />
always about changes and choices.<br />
Though some choices are out of our<br />
control, whatever the choice we may<br />
have that eventually shapes our days,<br />
shapes our experiences, shapes our<br />
views, shapes our thoughts and thus<br />
transforms our lives and the people around<br />
us completely. If we could adapt the<br />
changes in life positively then there is no<br />
doubt that it adds courage to our thought<br />
patterns and only then we would have<br />
a chance for ourselves to blossom and<br />
progress meaningfully. ‘Amalgam- <strong>2014</strong>’,<br />
the exhibition of paintings and prints by<br />
26 Nepali artists, proved to shape the<br />
perception of the visitors in an inspirational<br />
and constructive way. As art in itself should<br />
never be taken in a competitive way,<br />
where you have to excel in all fields or<br />
expects to be perfect but rather focusing<br />
on simpler things can sometimes matter<br />
the most.<br />
Another artist finds inspiration in his<br />
heritage, social and political roots and is a<br />
direct reflection of his cultural background<br />
such as costumes, rituals, myths and<br />
aesthetics. Most of these arts displayed<br />
show the contemporary reflection of<br />
the artist’s personal, socio-cultural and<br />
political surroundings influenced by<br />
the progression into urban life and the<br />
merger of ancient traditional times with<br />
the new and contemporary one. Other<br />
works of art illustrate the awareness<br />
of climate change, using the medium<br />
of art to link to the community. Many<br />
of the displayed works in the exhibition<br />
are deeply inspired by the culture and<br />
tradition of our country and some are<br />
based on socio-political issues that<br />
address the current situation of Nepal<br />
through the use of distinct characters<br />
and icons which are imbued with a<br />
sense of humorous and satire while<br />
others display the inner state of the<br />
human mind that deals with the direct<br />
and indirect social and cultural impact on<br />
the human psyche.<br />
Amalgam – <strong>2014</strong> was successful with<br />
the group effort of 26 Nepali artists,<br />
whose paintings and prints were<br />
displayed vividly at Siddhartha Art<br />
Gallery from 27 June to 28 <strong>July</strong> <strong>2014</strong>.<br />
These 26 artists include Aditya Aryal,<br />
Arjun Bhandari, Arjun Khaling ,Hitman<br />
Gurung, Jasmine Rajbhandari Pant,<br />
Rajan Pant, Kailash K Shrestha, Lavkant<br />
Chudhary, Mukesh Shrestha, Mekh<br />
Limbu, Muna Badel, Manish Harijan,<br />
Narayan Prasad Bohaju, Prabin Shrestha,<br />
Prithvi Shrestha , Ram Maharjan,<br />
Sagar Manandhar, Saurganga<br />
Darshandhari, Sanjeev Maharjan,<br />
Sheelasha Rajbhandari,<br />
Shraddha Shrestha, Sudeep<br />
Balla, Sunil Sigdel, Surendra<br />
Maharjan, Sushma Shakya, and<br />
Suvas Tamang. The art exhibition<br />
‘Amalgam’ was inaugurated by<br />
His Excellency. Mr. Ranjit Rae,<br />
the Ambassador of India to<br />
Nepal After the inauguration he<br />
stated that he was incredibly<br />
impressed by the work of the<br />
artist and he congratulated the<br />
artists individually.<br />
During the month long<br />
exhibition, Siddhartha Art<br />
Gallery also hosted a series of<br />
talks titled ‘Amalgam Art Talk<br />
Series’ every Sundays. In the<br />
talks, different issues related<br />
with the challenges of arts and<br />
artists were addressed and<br />
discussed on.<br />
20 / SPACESNEPAL.COM
june <strong>2014</strong> / 21
Architecture<br />
Mercantile Plaza<br />
text Drishti Manandhar<br />
photo A. Rajbansh<br />
This complex conveys the story of a successful transition<br />
of a residential complex into a modern commercial centre.<br />
A modern picturesque that stands on its old glory with all<br />
its splendor and subtlety!<br />
Durbar Marg, also<br />
known as King’s<br />
way (leading to<br />
Narayanhiti Palace) is<br />
situated at the heart<br />
of Kathmandu City.<br />
It is one of the most<br />
famous and posh area<br />
of Kathmandu with<br />
luxury hotels, restaurants<br />
serving international<br />
cuisines, fine<br />
boutiques, galleries,<br />
travel agencies and<br />
airline offices.<br />
And when it came to<br />
re-designing the existing<br />
Mercantile Plaza,<br />
situated at Durbar<br />
Marg the designers<br />
opted for an elegant<br />
and a contemporary<br />
composition of glass<br />
and aluminum panels.<br />
This building, which<br />
now accommodates<br />
almost a dozen of<br />
high-end stores and<br />
a roof top restaurant<br />
Mezze, is one of the<br />
most popular hubs<br />
in the capital. The<br />
Mercantile Building<br />
has been a one sure<br />
shot destination for<br />
the shopping mongers<br />
as well as the foodies<br />
of the valley.<br />
22 / SPACESNEPAL.COM
Architecture<br />
june <strong>2014</strong> / 23
Architecture<br />
complex was to keep the courtyard concept<br />
intact,” said Rupak Maharjan of Decor<br />
and Design,“resulting in a central atrium<br />
that guides the planning of the whole<br />
space.” The central core of the complex<br />
has regulated in the overall planning of<br />
the complex. Shops are carefully planned<br />
alongside the well-lighted atrium that<br />
gives you an essence of guided openness<br />
generously exposing lights in the interiors.<br />
One can view the entire complex from the<br />
atrium itself. And this is definitely of the<br />
highlights of this plaza.<br />
Architecture<br />
Although this building was reconstructed<br />
over the existing building, special considerations<br />
for the retrofitting of the structure<br />
were taken. Previously, it was a one storied<br />
residential building built with a concept of<br />
an inward looking courtyard. There were<br />
two complexes sharing the common<br />
courtyard. “The main concept behind the<br />
The side elevation is a sensitively wrought<br />
composition of grey aluminium panels<br />
and glass entirely facing the street. The<br />
complex is divided into two parts by the<br />
atrium. The anterior part of the atrium<br />
being the street side, which is two storied<br />
with 12’ floor height and the posterior<br />
part which is three storied with 8’ floor<br />
height. Hence the front façade manages<br />
to conceal the spatial consideration of the<br />
complex.<br />
The complex is largely solid on the street<br />
side with glass walls used for displaying<br />
various products and their hoarding<br />
boards. Strategic openings are provided<br />
at the southern face in order to admit daylight<br />
to the complex. Integration of pergolas<br />
on the front façade gives the complex<br />
a powerful sense of restraint.<br />
24 / SPACESNEPAL.COM
Architecture<br />
june <strong>2014</strong> / 25
Architecture<br />
26 / SPACESNEPAL.COM
Architecture<br />
Interiors<br />
The entrance lobby opens up to<br />
the airy atrium spacewith a large<br />
metal staircase extending unto the<br />
top floor, an elegant configuration<br />
of lines and shapes that is complemented<br />
by a larger than life artistic<br />
lampshade. The amalgamation of<br />
metal and glass evidently brings out<br />
the serene character of the place.<br />
According to the designers, “The<br />
main reason behind using materials<br />
like metal, glass and ACP panels in<br />
the exterior was to give it a contemporary<br />
character.”<br />
All the interior walls are painted<br />
white, and these walls along with<br />
the expanses of glasses give a<br />
character to its interior spaces. The<br />
partially higher floor levels make the<br />
complex interpret as two instead<br />
of three stories high. The planning<br />
of the shops around the atrium<br />
space makes navigation easier and<br />
effective. The atrium space has resulted<br />
in various pockets like spaces<br />
between the shops encouraging<br />
gatherings and interaction.<br />
Hence, the major concern of the design<br />
was how to merge the existing<br />
circumstances and get a transitional<br />
connection with the functions that<br />
were proposed.The outlets of brands<br />
like Nike, Polo, Pocket, No Exit,<br />
Roadhouse Café and many other<br />
names speak for the effective rendition<br />
of this building. This complex<br />
conveys the story of a successful<br />
transition of a residential complex<br />
into a modern commercial centre. A<br />
modern picturesque that stands on<br />
its old glory with all its splendor and<br />
subtlety!<br />
june <strong>2014</strong> / 27
28 / SPACESNEPAL.COM
june <strong>2014</strong> / 29
Architecture<br />
30 / SPACESNEPAL.COM
Architecture<br />
RELICS<br />
HISTORY<br />
ARE HEARD<br />
IS SEEN<br />
The display of rare and historical surviving<br />
artifacts at the Architectural Galleries of Patan<br />
Mueseum gives Kathmandu a new sense of<br />
appreciation for its history.<br />
june <strong>2014</strong> / 31
Architecture<br />
You might have been to Patan Durbar<br />
Square for a number of times, but it’s not<br />
the whole what you have seen. You see<br />
what is, but you have to hear to get into<br />
the composite whole of it. As an effort<br />
to make the square heard more and to<br />
enliven the history, Architecture Gallery, as<br />
an extension of Patan Musuem, has been<br />
established. And now it is open to all.<br />
Like in many other sites, Patan Durbar was<br />
devastated massively by the earthquake<br />
of 1934. Whatever the monuments<br />
the resources and skills of the time<br />
made possible were restored after the<br />
earthquake but some of them were not<br />
restored adequately - and many are yet to<br />
be restored.<br />
Rohit K Ranjitkar, The Country Director of<br />
The Kathmandu Valley Preservation Trust<br />
(KVPT ) says, “Shrine of Taleju, for example,<br />
seems to have been slightly taller and<br />
another shrine called ‘Bhai Dega’ was the<br />
biggest one in the premises. There were<br />
other three shrines made of stone, and<br />
they are not in scene at present.”<br />
32 / SPACESNEPAL.COM
Architecture<br />
Vidhyapeeth Room at Mulchowk<br />
Mr Ranjitkar took an initiation to open a room called Vidhyapith at Mulchowk which<br />
was closed for about 90 years. It is believed to have been a tantric room, and any<br />
entrance to the room without proper ritual performance is supposed to be harmful.<br />
Having no idea about the proper rituals, no one had taken an initiation to enter the<br />
room after the overseeing priest left his duties years before.<br />
He had entered the room with a team of 7/8 people. They were surprised to see a<br />
very thick layer of dust and a few idols and uniquely carved altars. Vidyapith, one<br />
of the esoteric shrine rooms of the former palace, contains uniquely carved three<br />
altars: complete with an architectural framing of base, colonnettes, roof-molding and<br />
tympanum. The large cabinet has nine niches which likely housed the Navadurga<br />
deities. And two smaller cabinets have four divisions portioned by colonnettes which<br />
might have housed other subsidiary deities.<br />
june <strong>2014</strong> / 33
Architecture<br />
34 / SPACESNEPAL.COM
Architecture<br />
‘THE FIRST AND<br />
THE ONLY ONE<br />
ARCHITECTURE<br />
GALLERY IN NEPAL’<br />
Rohit K Ranjitkar, The Country<br />
Director of KVPT<br />
How KVPT initiated the establishment of the Architectural<br />
Galleries?<br />
The monuments started falling and decaying with the smack<br />
of the great earthquake of 1934. It is obvious that the rescue<br />
of living beings is given the first priority in the time of<br />
crisis and the arts and heritages are left out-of-the-way. The<br />
devastated major monuments were hastily reconstructed<br />
during a period of material scarcity after the earthquake,<br />
leaving many buildings in a fragile condition.<br />
KVPT, in association with The Department of<br />
Archaeology of The Government of Nepal, has been<br />
working to safeguard the historic architecture of the<br />
Kathmandu Valley. Over the past two decades KVPT<br />
has restored over 50 buildings throughout the valley<br />
including palaces, temples, monasteries, and homes.<br />
Since 2006 KVPT has been working primarily on<br />
the complete restoration and adaptive re-use of the<br />
historical palace complex adjacent to Patan Durbar<br />
square. A number of organizations and individuals<br />
including The Department of Archaeology of The<br />
Government of Nepal, US Ambassadors Fund for<br />
Cultural Preservation, The Government of The Federal<br />
Republic of Germany, Prince Claus Fund for Culture<br />
And Development, The Prince’s Charities, Sumitomo<br />
Foundation, Nepal Investment Bank, Lamu Amatya,<br />
Ludwig Kuttner & Beatrix Ost, Prithivi B. Pande &<br />
Pratima Pande, University of Applied Arts in Vienna have<br />
supported to make the restoration project a success.<br />
Patan Palace Restoration Project is KVPT’s largest<br />
program of works to date, encompassing the<br />
restoration and conservation of 2 major palace<br />
courtyards, 3 tiered temples, 2 Shah-period public<br />
buildings, a water tank, a step-well, a rest-house, and<br />
a large urban garden. The oldest inscription in the<br />
area dates back to a Licchavi monastery from the 8th<br />
century, but most of the existing structures were built<br />
by the Malla kings in the 17th century. The palace was<br />
abandoned by royalty in 1769 when the Shah dynasty<br />
captured the Malla kingdoms and shifted the seat of<br />
power to Kathmandu.<br />
Over the course of the 20th century the monuments of<br />
the Patan Palace were encroached by various government<br />
offices for other purposes leaving it suffer from neglect and<br />
decay. Sundari Chowk, for example, housed police station<br />
at the time when a documentation project started in 1993.<br />
Similarly, the negative impact of today’s development<br />
pressures has been another threat for the monuments in<br />
this square. With the mission of safeguarding the threatened<br />
architectural heritage, KVPT launched The Patan Palace<br />
Restoration Project. Though the Architecture Gallery was<br />
not in original plan, with an objective of preserving the<br />
monuments and making the palace self sustaining, we<br />
established architecture gallery. This is the first and the only<br />
one architecture gallery in Nepal.<br />
How far is the dream to come true?<br />
Besides the complete restoration of the Patan durbar<br />
complex, the gallery is under development and there are a<br />
lot of things to do. We are focused on the elements of the<br />
architecture like tundals and pillars and we have been able to<br />
exhibit only a few things. We have only been able to give the<br />
captions but the sub captions for individual exhibit are yet to<br />
be given.<br />
Now we are working on the north wing. We are thinking<br />
about the possibility of establishing a proper audio-visual<br />
exhibition area with an objective of contributing for the<br />
proper documentation and archiving. We have not been<br />
able to make the proper use of the rooms at Mulchowk yet.<br />
We are thinking of allocating a space for the temporary<br />
exhibition of rescued monuments, too. Mulchowk Gallery<br />
exhibits objects whereas we are planning to make Sundari<br />
Chowk, which is under restoration, a gallery of drawings and<br />
facsimiles of historic paintings.<br />
Your dream as a conservation architect?<br />
Nepal’s identity is its architecture. There is only ours<br />
in our architecture; our architecture is originally ours. I<br />
wish all the monuments were preserved - It can be one<br />
of the main resources for our prosperity. There seems<br />
to be a misconception about the monuments: only the<br />
temples, palaces and idol are not monuments; surrounding<br />
atmosphere including private houses are also monuments.<br />
It should be taken as a composite whole and, thus, the<br />
development or other construction should go well with<br />
the surrounding atmosphere of the space. I wish the<br />
owners of the private house as well would step ahead for<br />
the preservation of monuments. May every individual be<br />
conscious of its importance and start preserving monuments<br />
right from individual level!<br />
june <strong>2014</strong> / 35
Architecture<br />
Window of the House of Gayahbajya<br />
According to Ranjitkar, Gayahbajya’s window is one<br />
of the most valuable assets the gallery showcases.<br />
This small carved window from a historic house<br />
of Sulima Square dates to the 10-11th centuries<br />
according to its radio-carbon analysis, making it<br />
oldest yet found in Nepal. The window was rescued<br />
during the repair project when it was replaced by<br />
a modern window. The window is made of Sal<br />
(Shorea Robusta) wood. A large multi-bayed window<br />
framed by two smaller ones is perhaps the most<br />
characteristic motif of Nepali façades.<br />
Aside from its age and artistic qualities, this window<br />
figures prominently in local history as a piece of<br />
the house of Gayahbajya, a tantric priest who was<br />
famous in the 17th century for his tantric powers<br />
including the ability to bring dead back to life. The<br />
legends say Gayahbajya’s spirit is maintained until<br />
today in the ground floor of this house and can’t be<br />
opened without threat of major calamity.<br />
Architecture Galleries<br />
The interior of the first floor of Mulchowk<br />
(main courtyard originally established<br />
by Srinivasha Malla in 1666) houses<br />
Architecture Galleries. As you enter<br />
you will be amazed to see the rare<br />
and historical artifacts survived from<br />
the neglect, misuse and inadequate<br />
restoration for ages. While observing<br />
the exhibits your despair, if any, effaces<br />
and you feel pride for the extraordinary<br />
legends, arts and architecture you own,<br />
your county owns. A sense of new hope<br />
36 / SPACESNEPAL.COM
Architecture<br />
and appreciation occupies your mind<br />
while observing the efforts made to<br />
conserve the endangered artifacts and<br />
to enliven the history.<br />
The galleries showcase historical<br />
windows, columns, struts, tympana,<br />
and other artifacts which are displayed<br />
in a typological order accompanied by<br />
drawings and captions. The Vidhyapith,<br />
an esoteric shrine dating to the<br />
17th century and a rare example of<br />
Malla-period interior architecture can<br />
be accessed through the galleries.<br />
Window of the House of Gayahbajya<br />
that dates back to 10-11th century and<br />
uniquely carved altars of the Vidhyapith<br />
room, amongst other, are the valuable<br />
treasures in the galleries.<br />
The artifacts themselves are enough<br />
to tell you about the aesthetics and<br />
the course of time they suffered for.<br />
Moreover, the aptly placed captions<br />
based on extensive research and<br />
authentic sources are enough to<br />
quench your immediate curiosity<br />
and to generate new passions for<br />
arts and history.<br />
The gallery at the Mulchowk<br />
suffices you for this time and<br />
Sundari Chowk Gallery, which is<br />
currently under restoration, invites<br />
you for the next time.<br />
june <strong>2014</strong> / 37
Architecture<br />
Earthquake<br />
Risk Reduction and<br />
Preparedness in Nepal<br />
text Ms. Hima Shrestha<br />
An earthquake does not cause death or injury by itself. People are<br />
hurt by falling objects and collapsing walls. Collapsing buildings<br />
and vibrations can cause short circuits and electric fires. Lighted<br />
gas or stoves may also cause fires. All this leads to panic and<br />
confusion. With precaution it is possible to avoid such confusion.<br />
Introduction<br />
Disasters disrupt hundreds of thousands<br />
of lives every year which has lasting effects,<br />
both to people and property. Most<br />
of the losses of lives in past earthquakes<br />
have occurred due to the collapse of<br />
buildings. Those buildings are generally<br />
non-engineered which are constructed<br />
informally in the traditional manner without<br />
any or little intervention by engineers<br />
or built without following building standard.<br />
The safety of the non-engineered<br />
buildings from the fury of earthquakes<br />
is a subject of highest priority in view of<br />
the fact that in the moderate to severe<br />
seismic zones of the world more than<br />
90 percent of the population is still living<br />
and working in such buildings, and that<br />
most losses of lives during earthquakes<br />
have occurred due to their collapse. The<br />
risk to life is further increasing due to rising<br />
population particularly in the developing<br />
countries.<br />
On average about 1,000 earthquakes<br />
with intensities of 5.0 or greater are<br />
recorded each year. Great earthquakes<br />
(intensity 8.0 or higher) occur once<br />
a year. Damage and loss of life sustained<br />
during an earthquake result from<br />
falling structures and flying glass and<br />
objects. Hence every individual should<br />
be involved in disaster risk reduction activities<br />
to mitigate human and property<br />
loss. The effort should be made at right<br />
time well before disaster strikes so that<br />
we can save life and property considerably<br />
which is well proven by two recent<br />
earthquakes in Haiti and Chile.<br />
Damage due to Recent<br />
Earthquakes<br />
The information on the behavior of nonengineered<br />
or substandard designed<br />
existing structures under seismic loads<br />
has been further emphasized by the catastrophic<br />
effects of recent earthquake<br />
events (Turkey 1999, India 2001, Iran<br />
2003, Pakistan 2005,China 2008, Haiti<br />
2010).The recent event in Haiti reminds<br />
us about the colossal death and destruction<br />
that earthquakes can bring to a<br />
community which lagged behind in its<br />
preparations to avert the likely disaster.<br />
The January 12, 2010 earthquake in<br />
Haiti caused a massive loss of life and<br />
a great number of injuries occurred.<br />
According to official estimates, 222,570<br />
people killed, 300,000 injured, 1.3 million<br />
displaced, 97,294 houses destroyed<br />
and 188,383 damaged in the Port-au-<br />
Prince area and in much of southern<br />
Haiti. Most of Port-au-Prince’s major<br />
landmarks were significantly damaged<br />
or destroyed in the earthquake, including<br />
the Presidential Palace, the National<br />
Assembly building, the Port-au-Prince<br />
Cathedral, and the main jail. It measured<br />
<strong>7.</strong>0 in magnitude.<br />
On the afternoon of May 12, 2008, a<br />
<strong>7.</strong>9-magnitude earthquake hit Sichuan<br />
Province, a mountainous region in<br />
Western China, killing about 70,000<br />
people and leaving over 18,000 missing.<br />
Many school buildings collapsed killing<br />
more than 5300 students. Almost 7,000<br />
classrooms crumbled because of slipshod<br />
construction methods or because<br />
building codes were ignored.<br />
A powerful <strong>7.</strong>6 magnitude earthquake<br />
struck in Pakistan-administered Kashmir<br />
known as Azad Kashmir, near the city of<br />
38 / SPACESNEPAL.COM
Architecture<br />
Muzaffarabad, affecting Gilgit-Baltistan<br />
and Khyber-Pakhtunkhwa province<br />
of Pakistan. It occurred at 08:52:37<br />
Pakistan Standard Time (03:52:37 UTC)<br />
on 8 October 2005. This destructive<br />
earthquake followed with more than 140<br />
aftershocks, causing extensive damage<br />
in Pakistan, India and Afghanistan.<br />
Reports indicate more than 82,000<br />
people have been killed, and more than<br />
3.3 million people have been left injured<br />
or homeless with more than 1,000 hospitals<br />
destroyed. Extensive damage occurred<br />
in northern Pakistan. The heaviest<br />
damage occurred in the Muzaffarabad<br />
area, Kashmir where entire villages were<br />
destroyed.<br />
Impact of earthquake and<br />
preparedness (An example<br />
of Haiti and Chile)<br />
In the first two months of the year 2010<br />
the world experienced two devastating<br />
earthquakes: one in Haiti and one in<br />
Chile, letting a comparison between the<br />
two incidents. The magnitude <strong>7.</strong>0 quake<br />
centered right near the Haitian capital<br />
swept through several urban areas leveling<br />
nearly everything. Communications<br />
were completely knocked out. Even the<br />
National Palace was destroyed, leaving<br />
the prime minister in the same dire<br />
straits as other citizens. In contrast, the<br />
magnitude 8.8 quake in Chile a month<br />
later caused considerably less damage<br />
and loss of life, with death tolls under<br />
a thousand rather than over 200,000<br />
as in Haiti. What allowed Chile to be so<br />
prepared when Haiti was clearly not?<br />
One reason Chile was less damaged<br />
was the location of the actual quake.<br />
The Chilean earthquake, while over 500<br />
times stronger than the one in Haiti, was<br />
about twice as deep and four miles offshore<br />
rather than onshore. It was even<br />
further from the nearest urban area,<br />
Concepción, about 70 miles from the<br />
epicenter, while Port-Au-Prince is located<br />
less than 20 miles from the epicenter in<br />
Haiti. Beyond the actual shaking caused<br />
by the quakes, however, Chile was<br />
better prepared overall to endure high<br />
magnitude seismic activity. This is due<br />
to an organized government and building<br />
regulations, which Haiti has historically<br />
lacked.<br />
Similarly the recent more violent<br />
earthquakes in developed cities like<br />
Christchurch (February 2011 Christchurch<br />
earthquake) and Japan (March 2011<br />
Japan earthquake) clearly demonstrated<br />
that preparedness makes a lot of difference.<br />
Had it occurred in developing<br />
country like Nepal, it would have claimed<br />
massive number of dead and significant<br />
loss. Magnitude 6.3 earthquake<br />
of Feb 2011 Christchurch earthquake<br />
resulted in peak ground acceleration<br />
exceeding 1.8g with highest recording<br />
2.2g at Heathcote Valley Primary<br />
School, a shaking intensity equivalent<br />
to MM X+. A PGA is one of the greatest<br />
ever recorded in the world. This<br />
PGA was greater than many modern<br />
buildings were designed to withstand.<br />
The acceleration experienced would<br />
“totally flatten” most world cities causing<br />
massive loss of life; in Christchurch<br />
New Zealand’s stringent building codes<br />
limited the damage causing only about<br />
180 dead. Similarly, a 9 magnitude<br />
mega thrust earthquake, off the coast<br />
of Japan that occurred on 11th march<br />
2011, triggered extremely destructive<br />
tsunami waves up to 10 m and travelling<br />
up to 10m inland destructing many<br />
buildings. The buildings in tsunami hit<br />
areas sustained severe ground shaking<br />
due to earthquake but were destroyed<br />
later by massive tsunami which was<br />
beyond imagination of the nation.<br />
Seismicity of Nepal<br />
Nepal is situated along southern slope<br />
of Himalayan mountain range, which<br />
is susceptible to great earthquakes.<br />
There is a record of many large earthquakes<br />
that have occurred in the past.<br />
Kathmandu has suffered damage due to<br />
earthquakes several times since 1833.<br />
june <strong>2014</strong> / 39
Architecture<br />
The assessment of Seismic Hazard<br />
of Kathmandu valley done by UNDP /<br />
UNCHS, 1994 and Nippon Koei and Oyo,<br />
2001, identifies several faults in the<br />
Kathmandu Valley. Different fault models<br />
are liable to produce earthquakes of<br />
intensity IX in many parts of the country.<br />
It is pointed out that there is a high possibility<br />
that a huge earthquake will occur<br />
around the Himalayan region based on<br />
the difference between energy accumulation<br />
in this region and historic earthquake<br />
occurrence (“Himalayan Seismic<br />
Hazard” by R. Blham, V.K. Gaur and P.<br />
Molnar).<br />
Various earthquake zoning studies assign<br />
Kathmandu Valley peak ground accelerations<br />
ranging from 0.3g to 0.45g,<br />
which corresponding to a Modified<br />
Mercalli Intensity MMI = VII – X. From<br />
the Munich Re Group database it can<br />
be concluded that MMI IX is the maximum<br />
intensity that can be expected on<br />
Kathmandu Valley fluvio-lacustrine deposits<br />
and MMI VII should be assumed<br />
on bedrock surrounding the Kathmandu<br />
metropolitan area.<br />
Seismic Risk of Nepal<br />
Earthquake scenario for Nepal poses<br />
grave concern as most of the buildings<br />
are unsafe in the urban areas of Nepal.<br />
The main factors creating this situation<br />
are lack of knowledge, awareness and<br />
technology dissemination mechanism.<br />
Kathmandu Valley Earthquake Risk<br />
Management Project (KVERMP), implemented<br />
by NSET, has shown that there<br />
is possibility of 60 percent damage to<br />
total building stock of Kathmandu Valley<br />
if there would be the repetition of 1934<br />
earthquake again. Scenario is not different<br />
for buildings constructed of modern<br />
material and system. The tendency of<br />
neglecting in the construction practice,<br />
minimum seismic design recommendations<br />
provided by codes and guidelines,<br />
dramatically increases the percentage of<br />
high vulnerable structures within the existing<br />
stock. These vulnerable buildings<br />
in high seismic hazard have created significant<br />
risk. Hence majority of Nepalese<br />
population is under high seismic risk.<br />
Seismic Risk Reduction<br />
Strategies<br />
From the safety view point , the safety<br />
of human lives is the primary concern<br />
and the functioning of the buildings<br />
has lower priority except the buildings<br />
required for community activities such<br />
as schools, assembly halls, cinema halls<br />
etc. and those required for the emergency,<br />
such as hospitals, telephone and<br />
telegraph, fire fighting. Structural safety<br />
can be achieved by adopting appropriate<br />
design and construction details involving<br />
only small extra expenditure which<br />
should be within the economic means<br />
of people in most countries. These rules<br />
will not prevent all damage in moderate<br />
or large earthquakes, but life threatening<br />
collapses should be prevented and damage<br />
limited to repairable proportions.<br />
Experience from recent earthquake has<br />
demonstrated that structures which are<br />
properly designed and constructed are<br />
able to withstand severe earthquake<br />
without collapse. However, these<br />
same earthquakes have shown that old<br />
buildings as well as buildings of recent<br />
construction can be seriously damaged<br />
or can collapse causing loss of life to<br />
the occupants. Studies of the structural<br />
performance during these recent earthquakes<br />
have clearly demonstrated that<br />
structural system must have sufficient<br />
ductility, or the ability to maintain their<br />
integrity when stressed beyond their<br />
yield point in order to protect human life.<br />
Seismic risk can be significantly reduced<br />
by the following actions that are also<br />
considered as strategy for earthquake<br />
risk reduction.<br />
1) Do not increase the risk:<br />
2) Decrease existing risk:<br />
3) Prepare for possible consequences<br />
Do not increase the risk<br />
We can avoid increased risk by constructing<br />
buildings and non building<br />
structures seismic safe. Use of codes<br />
and guidelines helps to protect public<br />
health, safety and general welfare.<br />
Standard norms shall be followed to<br />
all types of structures. Nepal National<br />
Building Code is to be enforced practically<br />
to virtually reduce the seismic risk.<br />
Further, the following things should be<br />
kept into consideration when building<br />
new structures.<br />
The factors that pose less vulnerability<br />
to the building during earthquake shaking<br />
are listed below:<br />
- Building should be regular in plan,<br />
elevation and structural system<br />
- Building should have sufficient<br />
redundancy<br />
- Demand Capacity Ratio (DCR) of<br />
each structural elements as well as<br />
the whole structure should be less<br />
than 1<br />
- The building shall contain one complete<br />
load path<br />
- Building shall have no damage and<br />
deterioration of structural elements<br />
and materials itself<br />
- There shall be no hammering between<br />
adjacent buildings<br />
- There shall be no diaphragm<br />
discontinuity<br />
- Structural elements and the building<br />
shall not be slender<br />
- There shall be proper connection<br />
between each structural elements<br />
and between structural and nonstructural<br />
elements<br />
- Building shall have sufficient ductility<br />
- Building shall have sufficient<br />
strength<br />
40 / SPACESNEPAL.COM
Architecture<br />
- Building should not be situated on<br />
liquefaction susceptible soil, steep<br />
and rock fall areas, fault rupture<br />
surfaces and soil filled areas<br />
- Non-structural elements should be<br />
restraint properly<br />
The key factor to survive the building is<br />
symmetry, ductility and redundancy.<br />
Decrease Existing Risk<br />
The main seismic vulnerability is due<br />
to the present building stock. Hence<br />
reducing the heightened risk is a main<br />
challenging task and is utmost important<br />
at the present context of Nepal.<br />
Various alternatives have been developed<br />
for retrofitting of the buildings.<br />
Retrofit strategy refers to any option<br />
of increasing the strength, stiffness<br />
and ductility of the members or of the<br />
whole building. The possible intervention<br />
options need to be selected based on<br />
the building typology and the expected<br />
performance of the building after retrofitting.<br />
Following considerations ought to<br />
be additionally made while selecting<br />
probable intervention options:<br />
(i). Requirements to complies to the<br />
Building Code for design, materials<br />
and construction<br />
(ii). Compatibility of the solution with<br />
the functional requirements of the<br />
structure<br />
(iii). Possible cost implication<br />
(iv). Indirect cost of retrofitting such as<br />
relocation cost<br />
(v). Availability of construction technique<br />
(materials, equipments and workmanship)<br />
in construction industry<br />
(vi). Enhancement of the safety of the<br />
building after intervention of the<br />
selected option<br />
(vii). Aesthetic view of the building<br />
Once these considerations are made,<br />
different options of modifying the building<br />
to reduce the risk of damage should be<br />
studied. The corrective measures include<br />
stiffening or strengthening the structure,<br />
adding local elements to eliminate irregularities<br />
or tie the structure together,<br />
reducing the demand on the structure<br />
through the use of seismic isolation or<br />
energy dissipation devices, and reducing<br />
the height or mass of the structure.<br />
Prepare for Possible<br />
consequences<br />
Preparedness can reduce the impact<br />
of disaster and sometimes avoid the<br />
danger completely. The citizens should<br />
learn how to protect themselves<br />
and their families against all types of<br />
hazards. Various manuals are available<br />
on this issue. The focus is on how to<br />
develop, practice, and maintain emergency<br />
plans that reflect what must be<br />
done before, during, and after a disaster<br />
to protect people and their property.<br />
Also included is information on how to<br />
assemble a disaster supplies kit that<br />
contains the food, water, and other supplies<br />
in sufficient quantity for individuals<br />
and their families to survive following a<br />
disaster in the event they must rely on<br />
their own resources.<br />
Preparation before an<br />
Earthquake Strikes<br />
Prepare your family by creating a family<br />
disaster plan. You can begin this process<br />
by gathering family members and<br />
reviewing the information such as hazards,<br />
evacuation routes and community<br />
and other plans) and discussing with<br />
them what you would do. Additionally,<br />
your family plan should address the<br />
following:<br />
• Escape routes.<br />
• Family communications.<br />
• Utility shut-off and safety.<br />
• Vital records.<br />
• Special needs.<br />
• Caring for animals.<br />
Safety skills<br />
It is important that family members<br />
know how to administer first aid and<br />
CPR and how to use a fire extinguisher.<br />
Prepare Emergency Kit - go<br />
bag<br />
You may need to survive on your own<br />
after a disaster. This means having your<br />
own food, water, and other supplies<br />
in sufficient quantity to last for at least<br />
three days. Local officials and relief<br />
workers will be on the scene after a<br />
disaster, but they cannot reach everyone<br />
immediately. You could get help<br />
in hours, or it might take days. Basic<br />
services such as electricity, gas, water,<br />
sewage treatment, and telephones may<br />
be cut off for days, or even a week or<br />
longer. Or, you may have to evacuate at<br />
a moment’s notice and take essentials<br />
with you. You probably will not have the<br />
opportunity to search for the supplies<br />
you need.<br />
A disaster supplies kit is a collection of<br />
basic items that members of a household<br />
may need in the event of a disaster.<br />
Coping with an earthquake<br />
An earthquake does not cause death or<br />
injury by itself. People are hurt by falling<br />
objects and collapsing walls. Collapsing<br />
buildings and vibrations can cause short<br />
circuits and electric fires. Lighted gas<br />
or stoves may also cause fires. All this<br />
leads to panic and confusion. With some<br />
precautions it is possible to avoid such<br />
confusion.<br />
If you are caught indoors at the time of<br />
an earthquake,<br />
• Keep calm.<br />
• Move to pre-identified safe areas<br />
inside the building.<br />
• Stay away from glass windows,<br />
june <strong>2014</strong> / 41
Architecture<br />
doors, almirahs, mirrors etc.<br />
• Stay away from falling plaster, bricks<br />
or stones.<br />
• Get under a table or a sturdy cot so<br />
that you are not hurt by falling objects.<br />
• Do not rush towards the doors or<br />
staircase. They may be broken or<br />
jammed.<br />
If you are outdoors at the time of<br />
earthquake,<br />
• If open space is available nearby, go<br />
there.<br />
• Keep away from tall chimneys, buildings,<br />
balconies and other projections.<br />
• Do not run through streets; hoardings<br />
or lamps may fall on you.<br />
After an earthquake<br />
• Check if you or anyone else is hurt.<br />
Use first aid at least on the cuts and<br />
bruises.<br />
• Keep the streets clear for emergency<br />
services.<br />
• Switch off all appliances like the refrigerator,<br />
TV or radio. Turn off the gas.<br />
• Wear shoes to protect your feet from<br />
debris.<br />
• A battery operated radio will help you<br />
to get important messages.<br />
• Be prepared for more shocks.<br />
These aftershocks always follow an<br />
earthquake.<br />
Avoid the following in an earthquake<br />
• Do not crowd around damaged areas<br />
or buildings.<br />
• Do not waste water. It will be needed<br />
for fire fighting.<br />
• Do not move the seriously hurt<br />
people.<br />
• Wait for medical help to arrive.<br />
• Do not spread rumors. They lead to<br />
panic and worsen the situation<br />
Philosophy of Earthquake<br />
Resistant Design<br />
Engineers do not attempt to make<br />
earthquake proof buildings that will not<br />
get damaged even during the rare but<br />
strong earthquake; such buildings will<br />
be too robust and also too expensive.<br />
Instead the engineering intention is to<br />
make buildings earthquake-resistant;<br />
such buildings resist the effects of<br />
ground shaking, although they may<br />
get damaged severely but would not<br />
collapse during the strong earthquake.<br />
Thus, safety of people and contents is<br />
assured in earthquake-resistant buildings,<br />
and thereby a disaster is avoided.<br />
This is a major objective of seismic<br />
design codes throughout the world.<br />
Design Philosophy<br />
a) Under minor but frequent shaking,<br />
the main members of the buildings<br />
that carry vertical and horizontal forces<br />
should not be damaged; however<br />
buildings parts that do not carry load<br />
may sustain repairable damage.<br />
b) Under moderate but occasional<br />
shaking, the main members may<br />
sustain repairable damage, while<br />
the other parts that do not carry load<br />
may sustain repairable damage.<br />
c) Under strong but rare shaking, the<br />
main members may sustain severe<br />
damage, but the building should not<br />
collapse.<br />
Earthquake resistant design is therefore<br />
concerned about ensuring that the<br />
damages in buildings during earthquakes<br />
are of acceptable variety, and also that<br />
they occur at the right places and in right<br />
amounts. This approach of earthquake<br />
resistant design is much like the use of<br />
electrical fuses in houses: to protect the<br />
entire electrical wiring and appliances in<br />
the house, you sacrifice some small parts<br />
of electrical circuit, called fuses; these<br />
fuses are easily replaced after the electrical<br />
over-current. Likewise to save the<br />
building from collapsing you need to allow<br />
some pre-determined parts to undergo<br />
the acceptable type and level of damage.<br />
Earthquake resistant buildings, particularly<br />
their main elements, need to be built<br />
with ductility in them. Such buildings<br />
have the ability to sway back-and-forth<br />
during an earthquake, and to withstand<br />
the earthquake effects with some damage,<br />
but without collapse.<br />
1. Structure should remain essentially<br />
elastic in frequent minor ground<br />
shaking<br />
2. Structure should be able to resist<br />
occasional moderate ground shaking<br />
without significant damage<br />
3. Structure should be able to resist<br />
major earthquakes without collapse<br />
Difference between Normal Load and<br />
Lateral Load Design<br />
1. In Ordinary Load (dead/ Imposed,<br />
wind etc), it is expected that structure<br />
will essentially remain elastic even<br />
during severe most design loading<br />
2. Where as in earthquake resistant<br />
design it is expected that structure<br />
could go in inelastic regime and suffer<br />
severe damage during a major<br />
earthquake<br />
We thrive for Earthquake resistant design<br />
& construction not Earthquake proof<br />
1. Buildings and other structures are<br />
designed for much lesser load than<br />
imparted by large earthquakes for affordability<br />
and also large earthquakes<br />
are rare.<br />
2. Properly designed Buildings has<br />
Ductility, Redundancy.<br />
3. Building has over strength due to<br />
considered safety factors in loads and<br />
materials.<br />
Ductility: It is the capacity of an element<br />
or structure to undergo large inelastic<br />
deformation without significant loss of<br />
strength and stiffness. Ductility depends<br />
upon:<br />
• Construction material<br />
• Quality of detailing<br />
• Form of structure<br />
42 / SPACESNEPAL.COM
june <strong>2014</strong> / 43
Interior<br />
LINES<br />
Creating<br />
Career<br />
Pathways<br />
text Sushovit Ranjitkar<br />
Along with different projects completed in<br />
very short period of time, ID Sushovit Ranjitkar<br />
got chance to prove himself as an innovative<br />
when interior design of Mrs. Shailaja Adhikari’s<br />
consultancy was assigned to him. This success<br />
has completely transformed the complexion of<br />
Interior Design in Kathmandu. The consultancy is<br />
in the busiest street of old Bhatbhateni, Tangal,<br />
and now that offers a state-of-the-art amenity no<br />
other consultancy interior in the city can match.<br />
Wow design factor of the reception with use of<br />
warm lights at the entry made possible occupants<br />
and their interest pull them directly at the door<br />
of consultancy. Add enticing features like space<br />
planning, partition design; wall design has made it<br />
easy to understand why the address has become<br />
so desirable.<br />
44 / SPACESNEPAL.COM
Interior<br />
In Interior Design for Interior Designers,<br />
FIRST IMPRESSIONS are everything.<br />
The main concept behind these few projects, which we<br />
have had a chance to be involved with were mainly based on<br />
nature. We emphasized all design elements: such as furniture<br />
design, space planning, accessories and design elements<br />
based mainly on the concepts received from the client.<br />
june <strong>2014</strong> / 45
Interior<br />
For one struggling interior designer in<br />
Nepali context, to work in huge spaces<br />
is the biggest challenge itself. He says,<br />
“It was in my 3rd year of B.Sc. Interior<br />
Design when I got this opportunity to<br />
work with Mrs. Adhikari in such a big<br />
project and it was challenging, too. As a<br />
student it was like dream come true.”<br />
When it came to the decor, Sushovit<br />
selected a variety of statement<br />
pieces, among them were use of<br />
green color that represents fresh and<br />
new beginning; the stripes and use<br />
of slanting lines in the partitions tries<br />
to speak about the career path of<br />
students who are trying to go abroad<br />
and also represent the opportunities<br />
and guideline for them who are in<br />
dilemma. The library and classroom<br />
has two green strips on the wall which<br />
creates a fresh and calm atmosphere.<br />
He says, “She asked me to design the<br />
3000+ sq. ft. area in such a way that it<br />
can stand out best and I tried to make<br />
it as simple as it could be. Design is<br />
what you link with the scenario that<br />
can be creative and simple. Design<br />
has no limit.” As the natural lights<br />
enter only through one direction, glass<br />
partitions are created to make the<br />
optimal use of natural lights. With lots<br />
of excitement, little difficulties, challenge<br />
and hard work, he completed this<br />
elegant looking modern design.<br />
With approximately 3000 sq. ft. space,<br />
the consultancy has got a reception<br />
area, 2 counseling rooms, 1 in-charge<br />
room, 1 library, 3 classes, 1 computer<br />
lab, 1 MD office along with 1 big training<br />
hall for teachers. The Red and black color<br />
combination gives warm and welcoming<br />
environment to the reception whereas<br />
the design made on the back part of<br />
reception acts as the emphasized zone.<br />
46 / SPACESNEPAL.COM
june <strong>2014</strong> / 47
Journey<br />
Monsoon<br />
Wet n Wild<br />
Bardia<br />
text and photo Ashesh Rajbansh<br />
48 / SPACESNEPAL.COM
Journey<br />
About 70 percent of the park is covered with forest,<br />
with the balance of a mixture of grassland, savannah<br />
and riverine forest. The flora recorded in the park<br />
comprises 839 species including 173 vascular plants<br />
comprising 140 dicots, 26 monocots, six fern, and one<br />
gymnosperm species.<br />
The good recent news about the<br />
success in wildlife conservation<br />
in Nepal has a grass root<br />
connection with the largest and most<br />
undisturbed national park in Nepal.<br />
No poaching of tigers reported for<br />
three consecutive years. Together<br />
with the neighboring Banke National<br />
Park, the coherent protected area of<br />
1,437 km2 (555 sq mi) represents the<br />
Tiger Conservation Unit (TCU) Bardia-<br />
Banke that extends over 2,231 km2<br />
(861 sq mi) of alluvial grasslands and<br />
subtropical moist deciduous forests.<br />
Bardia National Park is a protected<br />
area established in 1988 covering an<br />
area of 968 km2 (374 sq mi), adjoining<br />
the eastern bank of the Karnali River<br />
and bisected by the Babai River in the<br />
Bardiya District.<br />
About 70% of the park is covered<br />
with forest, with the balance a mixture<br />
of grassland, savannah and riverine<br />
forest. The flora recorded in the<br />
park comprises 839 species of flora,<br />
including 173 vascular plant species<br />
comprising 140 dicots, 26 monocots,<br />
six fern, and one gymnosperm<br />
species.<br />
Esteemed as the most undisturbed<br />
and largest national part in Nepal, it<br />
has abundance of nature including<br />
mammals like rhinoceros, wild<br />
elephant, Bengal tiger, swamp deer,<br />
Gangetic dolphin and around 407<br />
species of birds. This is good enough<br />
to tempt a travel in there but many<br />
planning went unsuccessful due to<br />
some responsibilities here and there.<br />
Suddenly there was an opportunity<br />
for a trip to the same place, but in mid<br />
monsoon. Without thinking twice and<br />
many any adjustments I went ahead<br />
with one on my dream trip.<br />
june <strong>2014</strong> / 49
Journey<br />
50 / SPACESNEPAL.COM
Journey<br />
Special ingredients pan<br />
cake being prepared for<br />
elephants.<br />
Food pack for elephants,<br />
includes rice,<br />
lentils and salt. They’ll<br />
remember you for long<br />
time if you feed them<br />
for a week, daily.<br />
june <strong>2014</strong> / 51
Journey<br />
Started the journey with a flight from Kathmandu to Nepalgunj in early<br />
morning, for further road transport to Bardia National Park. It took us around<br />
two and half hour in SUV to reach Tiger Tops Karnali Lodge situated within<br />
several feet from the border of the park. It was already very exciting trip that<br />
we drove though jungle trails crossing several rivers, luckily the effect of the<br />
monsoon was still not that strong to swell the rivers.<br />
Monsoon flood and<br />
karnali chisapani<br />
bridge, unique and<br />
famous for it’s asymetrical<br />
design.<br />
The lodge had the legendary touch of perfection to meet the standard set by<br />
Tiger Tops both in accommodation and service. The rest at night went well<br />
with sound sleep. Next morning we started the much anticipated jungle trail<br />
on elephant back. The entire area was covered in lush greenery everywhere,<br />
rives had enough water but not to overpower by its strength. Since there was<br />
light shower now and then and breeze of fresh air prevented the build the<br />
heat of terai thus making the journey very pleasant.<br />
52 / SPACESNEPAL.COM
Journey<br />
We spotted many waterholes, favorite amongst the animals of neighboring<br />
jungle, taking pictures of the activities of rhinos and wild elephants. During<br />
next four days, we covered a vast area of the jungle and even rafted on<br />
mighty Karnali river starting from Karnali Chisapani bridge. Though the river<br />
was not on its full might, the swirl, depth at certain places and current<br />
seemed scary many times. It was a surprise and delight to see a wild<br />
elephant couple in an island in the river itself prompting us to assure the<br />
strength, courage and will of that mighty beast.<br />
Mesmerized completely with the sights, views and thanking god for giving<br />
so much to this area and for providing me the opportunity to experience the<br />
nature at its fullest, all went fine except for few instances when we really had<br />
to plan and make use of every bit of knowledge that we have.<br />
The elephant is almost swimming while crossing the river, on our way back the<br />
rives rose by almost a feet, it was very scary while crossing the river.<br />
Mother and baby rhino submerged in water to escape escalating heat.<br />
june <strong>2014</strong> / 53
Journey<br />
54 / SPACESNEPAL.COM
Journey<br />
A smiling Tharu<br />
woman wearing<br />
unique hat to prepare<br />
her from sun and rain<br />
while working on filed<br />
and walking as well.<br />
While returning back on last day of<br />
jungle trail, there was sudden and<br />
extremely heavy downpour of rain that<br />
caused the river, that we had to cross<br />
back home, swell so dangerously that<br />
forced everyone there to stop, bang<br />
their heads, come up with the genuine<br />
idea and implement swiftly. The elephant<br />
that we rode was almost floating, a<br />
serious affair. At last we managed to<br />
come back safely to enjoy the rest of the<br />
evening together with wonderful staff<br />
and others present at the lodge.<br />
Terai has very fertile land,<br />
farming is main source of<br />
income for local residents.<br />
A herd of spotted deer deep<br />
in Bardia National park.<br />
Why go abroad, why spend foreign<br />
currency, why worry about difference<br />
in language and lifestyle, why you take<br />
a chance to upset your stomach with<br />
the food that you have never knew,<br />
why spend long time in travel to and fro<br />
of destination, why prepare passport<br />
and do unpleasing formalities at the<br />
immigration, you can find everything in<br />
our Nepal so wealthy with diverse but<br />
pleasing nature.<br />
june <strong>2014</strong> / 55
56 / SPACESNEPAL.COM
personality<br />
On Himalayan Architecture<br />
Nepal is a living museum of many distinct architectural traditions.<br />
It is blessed with a lineage in architectural and urban ideas that are<br />
unique. The question really is of the future and where it is going<br />
to go! Nepal has the strength to show the way to many Asian<br />
countries about questions of new forms for development and<br />
hybrid conditions between old and new.<br />
What have you come to comprehend<br />
regarding Himalayan<br />
architecture?<br />
I see similarities between the architecture<br />
and settlement pattern in the Himalayas<br />
which I have tried to cover in my book.<br />
With regards to settlement pattern, I see<br />
a strong correlation between landscape<br />
conditions and material culture. In the<br />
case of Himalayan cities two attitudes to<br />
landscape exist: one where landscape is<br />
followed and revered; and other where<br />
it is defied through one time man-made<br />
acts. I think great cities are a result of both<br />
following and defying landscape. I find<br />
similarities in the way city centers are conceived<br />
and produced in most Himalayan<br />
cities. This is very evident in cities of the<br />
valley here. And, Himalaya has also been<br />
the place of immense innovation and the<br />
development of new typologies including<br />
high density housing like in the valley, that<br />
were not possible in the plains. This was<br />
perhaps possible due to its unique geographical<br />
location and accepting cultures<br />
from both north and the south.<br />
It sounds like your book covers<br />
many regions in the Himalayas. Is<br />
that so?<br />
Yes, exactly. Actually it marks the conclusion<br />
of long research on the cities and<br />
architecture of the Himalayas. It surveys<br />
the ideas of settlements in diverse areas<br />
of the Himalayan region, cutting across national<br />
boundaries from Kashmir via Nepal<br />
to the north – eastern parts of the Indian<br />
Subcontinent and their relationship with<br />
the landscape. Even the cultural landscape<br />
of myths and rituals, perception of nature,<br />
spatial construction and the nature of<br />
landscape plays a significant function in<br />
settlement. These connections between<br />
natural systems and human inventiveness<br />
are predicted through its built tradition and<br />
this underlies the subject matter of the<br />
book.<br />
Could you brief us about your<br />
years of research for the book?<br />
This book is a result of my last 20 years<br />
of work in the Indian and Nepalese<br />
Himalayas. This book is illustrated with<br />
some 120 drawings: some of my own<br />
and some by my students who I have<br />
supervised. This publication makes a case<br />
for settlement in the Himalayas and tries<br />
to decipher the code of their settlement<br />
pattern, public places and Architecture.<br />
In terms of its scope, it includes Ladakh,<br />
Himachal, Gharwhal, Kumaon, Sikkim,<br />
Nepal and Bhutan. This is for the first<br />
time that an analytical study on the spatial<br />
construct of the Himalayas has been attempted<br />
at this scale. It tries to not only<br />
describe the Himalayan cities through<br />
documentation but tries to derive useful<br />
lessons for urban designer and planners<br />
while they deal with contemporary problem<br />
of development in landscapes such as<br />
Himalayas.<br />
How as an architect do you see<br />
the relation between and among<br />
Internet, Society and Spaces in the<br />
cities?<br />
Yes the monograph on Internet, Society<br />
and Space in Indian Cities, is an entry into<br />
debates around making of IT Cities and<br />
public planning policies that regulates and<br />
restructures the city spaces in India with<br />
the emergence of internet technologies.<br />
Placing the inquiry in the built form, it<br />
maneuvers discourse from architecture,<br />
design, cultural studies and urban geography<br />
to look at the notions of cyber-publics,<br />
digital spaces, and planning policy in India.<br />
The findings shows that the relationship<br />
between cities and cyberspaces need to<br />
be seen as located in a dynamic set of negotiations<br />
and not as a mere infrastructure<br />
question. It dismantles the presumptions<br />
that have informed public and city planning<br />
in the country by producing alternative<br />
futures of users’ interaction and mapping<br />
of the emerging city spaces.<br />
What is your viewpoint on the<br />
blending of architecture, public<br />
spaces and culture of Nepal?<br />
Nepal is one of my favorite places and a<br />
living museum of many distinct architectural<br />
traditions. It is blessed with a lineage<br />
in architectural and urban ideas that are<br />
unique. The question really is of the future<br />
and where it is going to go. Nepal has the<br />
strength to show the way to many Asian<br />
countries about questions of new forms<br />
for development and hybrid conditions<br />
between old and new. I feel Kathmandu<br />
Ar. Pratyush Shankar is an Ahmadabad based<br />
architect and an author. Teaching studio basic<br />
design, urban history, and subjects of history,<br />
humanities, and architectural research are his<br />
subject of interest. The Associate Professor<br />
and Acting Dean of Faculty of Architecture<br />
at CEPT University based in Ahmadabad,<br />
India, he is an avid hiker, photographer and<br />
a researcher. His journey started when he<br />
received the Commonwealth Grant to study<br />
a small town in Himachal Pradesh and later<br />
received The Ford –Asia Fellowship Award to<br />
study Himalayan Architecture. Since then, he<br />
has published several writings in the form of<br />
book chapters, papers and articles in prestigious<br />
journals. His years of work in the Indian and<br />
Nepalese Himalayas is now scheduled to be<br />
launched by <strong>July</strong> <strong>2014</strong> in a forthcoming book<br />
titled ‘Himalayan Cities, Settlement Patterns,<br />
Public Spaces and Architecture.’ Spaces had an<br />
opportunity to talk to Ar. Pratyush Shankar on<br />
the subject of Himalayan architecture, space and<br />
urban geography planning.<br />
valley has the potential to create new<br />
spaces that are of urban importance much<br />
like the bold public squares that were<br />
created during the Malla period, that are<br />
still relevant. The good thing about Nepal<br />
is an active civil society and a natural use<br />
of public spaces for social purposes like<br />
performances and even protests. This is a<br />
good sign and augers well for its future.<br />
Could you brief us about the<br />
recent projects you had in<br />
Kathmandu?<br />
I have recently completed one. It was<br />
a house in Kathmandu wherein I have<br />
used skylights at an angle and position so<br />
as to get the light in during the winters<br />
and block the same during the summer<br />
months. It is a house that reinterprets the<br />
traditional Newari house into a modern<br />
idiom.<br />
What advice would you like to give<br />
to the new generation of architects<br />
in Nepal?<br />
It will be nice if architects begin to write<br />
more and generally raise more awareness<br />
about not only architecture but also the city<br />
and questions of public places. They should<br />
be active participants in questions of development<br />
and public policy beyond being<br />
only reduced to connoisseur of arts.<br />
june <strong>2014</strong> / 57
art<br />
Nepali<br />
Art A of Mosaic<br />
Multiple<br />
Melodies<br />
text Dr. Yam Prasad Sharma<br />
photo a. rajbahsh<br />
58 / SPACESNEPAL.COM
art<br />
In some of the artworks, the opposing images have been<br />
juxtaposed. One image is melting into another; the images have<br />
been displaced and condensed in metonymy and metaphor.<br />
Nepali art represents the diverse<br />
voices, themes and styles. Observing<br />
artworks is getting inspiration and<br />
encountering the gems and poetic<br />
moments of Nepali artists.The artworks<br />
range from traditional to modern, and<br />
even to post modern. They are inclusive<br />
in terms of art genres as sculpture,<br />
painting, architecture, installation,<br />
performance, video arts, new media arts<br />
and alternative arts. They are diverse in<br />
terms of themes as representation of<br />
nature, recreating myths, reintegration<br />
of cultural rituals, reformulation of<br />
tradition, raising the voice of the<br />
marginalized, the women, and the ethnic<br />
minorities, taking corrective measures<br />
on socio-political evils and carving<br />
identities of individual artists. Multiple<br />
images have been carved; multiple<br />
melodies have been composed and<br />
multiple colours are in harmony as in the<br />
rainbow. Thus, Nepali art is a mosaic of<br />
multiple voices. All the individual artists<br />
have their own unique identities as their<br />
artworks, yet, they have been connected<br />
to each other as in the carnival.<br />
The traditional paintings and sculptures<br />
make the viewer aware about our<br />
cultures, myths, rituals and our tradition.<br />
The traditional paintings include<br />
manuscript illumination, miniature<br />
painting, paubha, mandala, patta chitra,<br />
Fresco in Bhaktapur palace.<br />
Photo Hemanta Shrestha<br />
june <strong>2014</strong> / 59
art<br />
didactic aspects. Use of mythical and<br />
supernatural elements makes the<br />
works strange and unusual.The images<br />
suggest something beyond themselves.<br />
The sculptures are in various mediums<br />
as woodcarving, stone carving, clay<br />
modeling, bronze, metal casting and<br />
assembled sculptures.<br />
The contemporary sculptures and<br />
paintings are more subjective than<br />
the traditional ones, for they express<br />
the inner feelings and emotions of<br />
the artists rather than representing<br />
the external objects realistically.<br />
Contemporary arts do not reproduce the<br />
reality rather they respond to their own<br />
context. There is the distance between<br />
the objects in the world and images in<br />
Modern Painting<br />
by Asha Dangol<br />
wall paintings and representation of<br />
mythical divinities in realistic forms.<br />
Manuscript illumination includes<br />
both visual and verbal elements. The<br />
texts and paintings coexist together.<br />
Paubhas and mandalas can be taken<br />
as the instrument of meditation and<br />
concentration for the achievement of<br />
enlightenment and nirvana. The principal<br />
divinity is located at the center and<br />
subsidiary deities are in the periphery<br />
around the central figure. As we<br />
observe the mandalas, our eyes move<br />
from periphery toward center and<br />
become stable at the central divinity.<br />
The individual viewer is supposed to<br />
be united with the almighty dissolving<br />
the duality between the self and the<br />
other. Moreover, some paubhas also<br />
reconcile sacred and profane elements,<br />
for the images of divinities are in sexual<br />
union suggesting the union of Prakriti<br />
and Purusa, male and female principles,<br />
the individual sadhaka and the almighty.<br />
Traditional sculptures and paintings<br />
have magical, mystical, symbolic and<br />
60 / SPACESNEPAL.COM
art<br />
Wall Painting<br />
from Lumbini<br />
the paintings. The images and colours<br />
are distorted and altered to express<br />
inner feelings. The figures have been<br />
simplified using geometric shapes.<br />
The unlimited numbers of shapes have<br />
been represented in limited numbers.<br />
The abstracts arts are free from external<br />
reality. The form is its own content.<br />
Such artworks attempt to address the<br />
intangible aspects of the human beings.<br />
As the artworks are subjective, the<br />
meanings of the works seem to be<br />
multiple. In some of the artworks, the<br />
opposing images have been juxtaposed<br />
with free association as in dream.<br />
One image is melting into another;<br />
the images have been displaced<br />
and condensed as in metonymy and<br />
metaphor.<br />
Contemporary artworks seem to be<br />
interconnected with various genres of<br />
arts as paintings, literature, sculpture,<br />
drama, architecture and music. The<br />
boundaries between various art genres<br />
have been blurred. Thus, they have intertextuality<br />
and inter-art relationship. Some<br />
of the artworks seem to be unfinished<br />
and on the process of becoming,<br />
thus, they are open-ended and plural.<br />
Their meanings are not fixed, certain<br />
and monolithic but always contingent,<br />
uncertain, provisional and ever shifting.<br />
These works carve multiple identities.<br />
The meanings are relative to time, place<br />
and person.<br />
The handicrafts and folk arts make our<br />
collective unconscious visible t. Our<br />
june <strong>2014</strong> / 61
art<br />
cultures, rituals, myths and manners have<br />
been expressed through these artworks. The<br />
simple folk forms remind us of our childhood.<br />
The artworks related to architecture present<br />
the model of our office, residence and<br />
shrines giving insights to the contemporary<br />
architects and designer.<br />
The experimental and alternative artworks<br />
do not follow the convention and established<br />
rules. Being avant-garde, they break away<br />
from the mainstream. They attempt to invent<br />
their own rules for expression. They are<br />
alternative in terms of media, subject matter<br />
and style. Nevertheless, all the artworks<br />
are alternative arts of their time. Nepali<br />
art houses multiple voices, identities and<br />
melodies. Nepali art is the beautiful mosaic<br />
of diverse voices, forms and traditions.<br />
62 / SPACESNEPAL.COM
june <strong>2014</strong> / 63
from the shelf<br />
As Long as<br />
the Sun and Moon<br />
Endures<br />
As Long as the sun and moon endures,<br />
is a well researched book that describes<br />
the detail study of shrines in the streets<br />
of historic Kirtipur, Kathmandu valley<br />
and other towns that are studded with<br />
shrines dedicated to clan and family,<br />
Gods, the Hindu deities or to Lord<br />
Buddha. Apart from their religious and<br />
social significance, these street shrines<br />
also contribute to the individuality of<br />
character and the disposition of each<br />
street or neighborhood. The study<br />
focuses on the shrines chronology from<br />
the earliest specimens to the end of<br />
the twentieth century, the reasons for<br />
their erection, typology and iconography<br />
with the aim of providing a broad<br />
understanding in a wider perspective for<br />
all Newar settlements.<br />
Most of these shrines are reinforced<br />
by a general similarity between various<br />
types of Hindu shrine and Buddhist<br />
shrines. Nevertheless, not only does<br />
each shrine bear the marks of its own<br />
relationship with its immediate urban<br />
space, but together the shrines reflect<br />
the history and the social life of the<br />
town. Furthermore no two shrines are<br />
exactly the same; each offers certain<br />
individual characteristics and most are<br />
of intrinsic artistic value. Such shrines<br />
are witness to the continuation of the<br />
traditional life among the indigenous<br />
population. As with other towns of the<br />
valley, the Kirtipur population comprises<br />
a Buddhist and a Hindu community who<br />
have lived in peace and harmony side<br />
by side for many centuries. Although<br />
64 / SPACESNEPAL.COM
from the shelf<br />
the two communities have their separate identity<br />
they respect each other’s belief and share many<br />
traditions.<br />
It is not certain how far the tradition of building<br />
small shrines goes back in the history of the valley.<br />
A possible ancient example is the fragment of the<br />
dome of a chaitya of the form used in the Licchavi<br />
period (4th – 8th Century AD) set outside the<br />
city walls of Báhirigáon. In many of these shrines<br />
emblems of the sun and a half or full moon allude<br />
to last as long as the sun and moon remain in the<br />
sky. In the Malla period other emblems such as the<br />
trident or radish indicate the shrine being dedicated<br />
to either Shiva or Ganesh. Deer, fish, the lotus ,<br />
thunderbolt or bull are to be found carved on earlier<br />
inscriptions of the Lichhavi period symbols of<br />
Buddhism, Vaishnavism and Shaivism.<br />
Although the tradition is still alive and new shrines<br />
have been erected in the recent years it remains<br />
to be seen whether in the future fresh shrines<br />
would be set up in the new modern life in the<br />
valley. In spite of such changes in the physical<br />
environment and social habits the street shrines<br />
are still part of the daily life of town and together<br />
with larger temples bind the social and cultural<br />
identity of the townspeople together. There are<br />
various reasons for setting up a street shrine. The<br />
most important are, of course, piety, reli¬gious<br />
duty and a sense of paying the ultimate respect to<br />
the divinity, which is hoped to help pave the way<br />
for an improved life in the next reincarnation. Other<br />
reasons would be simply to perform a dharma,<br />
june <strong>2014</strong> / 65
from the shelf<br />
as a commemorative monument, good<br />
deeds, a desire to make a permanent<br />
record on stone of personal or family<br />
names with inscriptions that usually<br />
follow a fairly set formula which includes<br />
the names of the donors followed by<br />
their genealogy and often the date. Such<br />
records bring respect and fame to the<br />
family within the community. Almost all<br />
inscriptions on the shrines emphasize<br />
the wish of the founders for a better<br />
life in the next reincarnation. It is also<br />
customary to mention in the texts of<br />
the inscriptions that the act done by the<br />
donor should continue and last as long<br />
as the sun and moon remain in the sky.<br />
These street shrines that were made by<br />
individuals or members of one or several<br />
families or groups associated , provides<br />
a direct link between the townspeople,<br />
their ancestors and their neighborhood<br />
community and are set up to last as long<br />
as the sun and moon endures.<br />
The book was kindly provided by<br />
Mandala Book Point,<br />
Katnipath, Kathmandu<br />
Tel: 4227711<br />
66 / SPACESNEPAL.COM
june <strong>2014</strong> / 67
artspace<br />
PASSAGE<br />
SEARCH INTERDEFINITE<br />
performance ASHMINA RANJIT text ASHA DANGOL<br />
Influenced by the time she lives in, her works question the being in the passage: about the<br />
female identity raising questions about women’s cultural roles, social gendering, physical<br />
experiences and sexuality.<br />
This work is about her ephemeral that occupies the liminal space that has been experienced<br />
but never talked about or expressed about. Her performance yarns for the manifestation<br />
and reclaiming of the women’s experiences between defined roles, between nostalgias and<br />
aspirations. It gives voices to their political concerns as well as to their most for making political<br />
and their intimate expressions of desire, joy and fulfillment.<br />
ASHMINA RANJIT<br />
Ashmina Ranjit is an interdisciplinary visual artist and well known name in the contemporary<br />
Nepali arts. She received her MFA from Columbia University Graduate School of Art, New York,<br />
USA and also holds BFA from University of Tasmania, Australia as well as Lalit Kala Campus,<br />
Kathmandu.<br />
She has traveled and exhibited widely in Asia, Europe, Australia and the USA including Dhaka<br />
Biennale and Fukuoka Triennial. Honored by several scholarships and fellowships such as<br />
Fulbright (USA), Aus-aid (Australia), Honorable Mentioned-Dhaka Biennale, she is well known<br />
for her installation and live performance along with painting, drawing, sound and video<br />
installation as well. She has organized and performed a number of art events and she is one of<br />
the founders of Lasanaa and the Founder Chair of Sutra Art Center.<br />
68 / SPACESNEPAL.COM
june <strong>2014</strong> / 69
store watch<br />
Parth International Pvt. Ltd.<br />
COMFORT HAS A NEW<br />
DESTINATION<br />
This is the first wing of Featherlite<br />
outside India and through Parth<br />
International they are committed<br />
to provide ergonomic office<br />
furniture and make people aware<br />
on the health issues that come<br />
with sitting in shoddily chairs and<br />
desks which can have a serious<br />
effect on their back.<br />
Parth International Pvt. Ltd, based at<br />
Babarmahal Kathmandu, which by now<br />
runs the franchise of several international<br />
brands, has introduced Featherlite<br />
group into Nepal by launching a wide<br />
range of office furniture. Comfort has<br />
a new destination and through Parth<br />
International Pvt. Ltd, Featherlite is<br />
committed to deliver the best furniture<br />
products in Nepal. Its core expertise lies<br />
in manufacturing and marketing exceptionally<br />
innovative and cost effective<br />
office furniture such as modular work<br />
stations, chairs, partitions, desks, conference<br />
tables, educational laboratory,<br />
retail furniture and fixtures. Featherlite<br />
is further acknowledged for establishing<br />
implementation of mega and multiple<br />
location projects without compromising<br />
on requirements of the customers.<br />
70 / SPACESNEPAL.COM
store watch<br />
Presently, Featherlite is one of the leading<br />
furniture manufacturing and marketing<br />
organizations in India. It provides<br />
complete office furniture solutions for all<br />
sectors of market. This is the first wing<br />
of Featherlite outside India and through<br />
Parth International they are committed<br />
to provide ergonomic office furniture and<br />
make people aware on the health issues<br />
that come with sitting in shoddily chairs<br />
and desks which can have a serious effect<br />
on their back. The store now has an<br />
answer to this problem as ergonomics<br />
chairs will diminish such health concerns<br />
and at the same time a comfort level for<br />
more effective result for any individual<br />
working in offices.<br />
Their design capabilities include large<br />
in-house design studio; integrated<br />
design solutions that provides solutions<br />
in the areas of seating and furniture<br />
systems; and ergonomic design that<br />
combine technology and aesthetics to<br />
suit different working environments.<br />
Parth International Pvt. Ltd now provides<br />
limitless extendibility of work space<br />
allowing scalability and multiplicity of<br />
the workspace. It neutralizes the rigid<br />
hierarchies and promotes collaboration<br />
at the workspace. Some products<br />
like chairs are designed differently for<br />
men and women. While some tables<br />
can be adjusted to different levels of<br />
height for various kinds of works, this<br />
allows adjustability of accessories which<br />
enables workspaces to be personalized<br />
for oneself. Even the wire management<br />
is conceived to address the most<br />
advanced and demanding technology<br />
requirements. Privacy screens are also<br />
unique in construction, these screens<br />
also could be supported on connectors<br />
which could slide on the track or could<br />
be permanently fixed to the surface.<br />
Through such innovative office furniture<br />
products, Parth International provides<br />
great workplaces supporting their<br />
people and their business goals.<br />
june <strong>2014</strong> / 71
OPEN Spaces<br />
This photograph was shot on 17 <strong>July</strong> 2013 at<br />
Ghabahal, Lalitpur during Rato Macchindranath<br />
Jatra, a week long festival to welcome rain<br />
and harvest at the beginning of summer. Rato<br />
Macchindranath Jatra is mainly celebrated by<br />
Newars (indigenous people of the Kathmandu<br />
Valley) but people from different walks of life<br />
come together to celebrate this festival regardless<br />
of their social status, race, religion and genders<br />
which I think is a step towards peace and<br />
harmony. People look at the chariot from their<br />
houses, come out onto the street, have feasts<br />
and celebrate with family and friends in the<br />
community. Festivals like this, reflects unity and<br />
the harmony.<br />
The Photographer<br />
Siddhartha Man Shakya, a local inhabitant of Patan,<br />
is currently studying in Virginia Commonwealth<br />
University in Qatar majoring Art History. An art<br />
lover and passionate photographer, he is an SCC<br />
alumnus.<br />
The School of Creative Communications is a unique<br />
blend of creativity and communication. We provide<br />
a platform for those who dream of nurturing one’s<br />
creativity through communication. We offer training<br />
programs on art, photography, writing and languages.<br />
We have been conducting SCC Explore Photography<br />
workshops since its establishment in 2009. We have<br />
been organizing SCC Blue Bag,sharing program<br />
with scholar once a month. It is located at Kupondol,<br />
Lalitpur, Nepal. (Link road to Bagmati river)<br />
www.scc.org.np<br />
facebook.com/scc.kathmandu<br />
72 / SPACESNEPAL.COM
74 / SPACESNEPAL.COM
june <strong>2014</strong> / 75
76 / SPACESNEPAL.COM
]z}el/ Ps} ;dodf<br />
sfofs}/g g]kfn va/ g]kfn va/ g]kfn va/ g]kfn va/ g]kfn bk{0f<br />
june <strong>2014</strong> / 77
connects<br />
02 JK White Cement<br />
14 Kuleshwor, Naya Basti, Kathmandu<br />
Ph: 977-9851050650<br />
prashant.chaturvedi@jkcement.com<br />
www.jkcement.com<br />
03 Furniture Land<br />
Blue Star Complex<br />
Tripureshwor, Kathmandu<br />
Ph: 977-1-4224797<br />
sales@furnitureland.com.np<br />
www.furnitureland.com.np<br />
04 Beko<br />
Putalisadak, Kathmandu<br />
Ph: 977-1- 4422190<br />
www.beko.com.np<br />
05 Technical Associates Services Pvt. Ltd.<br />
Thapathali, Kathmandu<br />
Ph: 977-1-4219999<br />
ta@ta.com.np<br />
www.tas.com.np<br />
06 Subisu Cablenet Pvt. Ltd.<br />
148 Thirbum Sadak, Baluwatar<br />
Ph: 977-1-4429616<br />
info@subisu.net.np<br />
www.subisu.net.np<br />
07 Index Furniture<br />
Metro Park Building, 1st Floor, Lazimpat<br />
Ph: 4415181<br />
info@indexfurniture.com.np<br />
www.indexfurniture.com.np<br />
09...........<br />
11 Exterior Interior<br />
Hattisar & Bhatbhteni Supermarket, 2nd Floor<br />
Tangal, Kathmandu<br />
Ph: 4435419 / 4436876<br />
extint@wlink.com.np<br />
13...........<br />
17 Kitchen Concepts Pvt. Ltd.<br />
Teku Road (Near to Bakery Café)<br />
Ph: 977-1-4221858<br />
nepalkitchen@wlink.com.np<br />
19 Kapilvastu Glassfiber Industries<br />
Milanchowk, Butwal, Nepal<br />
Ph: 071-549406<br />
info@kapilvastuglassfiber.com<br />
www.kapilvastuglassfiber.com<br />
19 Aditya Hardware Enterprises<br />
Bluestar Complex, Room # 522, Thapathali<br />
Ph: 9851007818<br />
sanjay_kyal@yahoo.com<br />
21 MD Furniture<br />
Maharajgunj (Opp. U.S. Embassy)<br />
Ph: 977-1-4721484<br />
mdfurniture@snet.com.np<br />
www.mdfurniturenepal.com<br />
21 Poonam Parquet & Furnishers<br />
Maharajgunj, Chakrapath, Kathmandu<br />
Ph: 9841278558 / 4721264<br />
parquet.poonam@gmail.com<br />
28 Worldlink Communication Pvt. Ltd.<br />
Jawalakhel, Lalitpur<br />
Ph: 977-1-5523050<br />
sales@wlink.com.np<br />
www.worldlink.com.np<br />
29 Best Interior Furniture Industry<br />
GPO Box: 1949, New Baneshwor, Kathmandu<br />
Ph: 4782864 / 9851025858<br />
hkajimaharjan@gmail.com<br />
43 International Electronic Concern (P) Ltd.<br />
Harati Bhawan, Putalisadak<br />
Ph:977-1-4421991<br />
Market_iec@wlink.com.np<br />
www.iec.com.np<br />
47 Balterio - Navin Distributors Pvt. Ltd.<br />
1st Floor, A.T. Complex, New Plaza, Kathmandu<br />
Ph: 977-1-4430785<br />
balterio@navindistributors.com<br />
www.balterio.com<br />
56 Yeti Airlines<br />
Tilganga, Kathmandu<br />
Ph: 977-1- 4464878<br />
reservations@yetiairlines.com<br />
www.yetiairlines.com<br />
62 Halesi Décor Pvt. Ltd.<br />
Chabahil, Kathmandu<br />
Ph: 977-1-4464888 / 9851050798<br />
63 Pyramid Vaastu Consultant<br />
244 Rudra Marga, Ratopool, Kathmandu<br />
Mobile: 9851151618 / 9815717618<br />
mundharanp618@gmail.com<br />
66 Bestbuy Nepal Pvt. Ltd.<br />
Kupondole, L.P.<br />
Ph: 977-1-5523289 / 5545481<br />
info@bestbuynepal.com<br />
www.bestbuynepal.com<br />
67/69 ATC<br />
............<br />
67 Bricks Café<br />
Kupondole, Lalitpur<br />
Ph: 977-1-5521756<br />
info@brickscafee.com.np<br />
www.brickscafe.com.np<br />
67 Chaitanya Spa<br />
Wellness Healing Spa Pvt. Ltd.<br />
Bakhundole, Sanepa<br />
Ph: 977-1-5547774<br />
info@chaitanyaspa.org<br />
www.chaitanyaspa.com<br />
69 Skylight Pvt. Ltd.<br />
Naxal (Opp to Police HQ), Kathmandu<br />
Ph: 977-1-4423851<br />
info@skylight.com.np<br />
www.skylight.com.np<br />
73 Foto Hollywood<br />
Civil Bank Building, Kamladi<br />
Ph: 977-1-4169060<br />
www.fotohollywood.com.np<br />
74 Nagarik - Nepal Republic Media Pvt. Ltd.<br />
JDA Complex, Bagh Durbar<br />
Ph: 977-1-4265100 / 4261808<br />
circulation@nagariknews.com<br />
75 Yeti Polychem Pvt. Ltd.<br />
Dillibazar, Kathmandu<br />
Ph:977-1- 4421501 / 9851004448<br />
76 Starnet Enterprises Pvt. Ltd.<br />
Shankhamul, Pragatimarga, Kathmandu<br />
Ph: 977-1-4781945<br />
info@starnetenterprises.com<br />
www.starnetenterprises.com<br />
77 Buddha Air<br />
Jawalakhel, Lalitpur<br />
Ph: 977-1-5542494<br />
www.buddhaair.com<br />
77 Communication Corner Pvt. Ltd.<br />
(Ujyaalo 90 Network)<br />
Ujyaalo Ghar (Behind Central Zoo)<br />
Jawalakhel, Lalitpur<br />
Ph: 977-1-5000171<br />
info@unn.com.np<br />
www.unn.com.np<br />
79 Marvel Technoplast Pvt. Ltd.<br />
Heritage Plaza - II, 2nd Floor, Kamladi<br />
Ph: 977-1-4169122<br />
info@marvel.com.np<br />
www.marvel.com.np<br />
80 Berger Jenson & Nicholson (Nepal) Pvt. Ltd.<br />
Berger House - 492, Tinkune, Kathmandu<br />
Ph: 977-1-4466038<br />
info@bergernepal.com<br />
www.bergernepal.com<br />
78 / SPACESNEPAL.COM
june <strong>2014</strong> / 79
80 / SPACESNEPAL.COM