2. February 2014

10th Year - Anniversary Special 

February 2014 – Vol 10 N o. 02 

ART ARCHITECTURE INTERIOR 

Price: NRs.100/- IRs.100/- USD 5.95 EURO 5.95 GBP 4.95 

Nepal’s Road Architecture 

Vikram Seth in Nepal 

1905 Eternally Alluring 

THE POETICS OF 

Architectural Drawing 

US EMBASSY 

MEMORIAL DESIGN 

The Lotus 

– Forms and Meanings 

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CONTENTS 

ANNIVERSARY ISSUE VOL 10 N O. 01 

SPACESNEPAL.COM 

21 

12 

52 

Cover Story Views Interior Journey 

56 

Road Architecture 

Delving into road architecture and 

design in Nepal with issues, voices 

and perspectives on planning, 

design, material, environment, 

traffic management, preservation, 

travel and urbanization 

19 

16 Appearance and Reality | A Rainbow 

of Experience 

An in-depth review of Anil Shahi’s ironic portraits 

and Sujan Dangol’s artistic narratives 

18 International Live Performance Art 

Revisiting the International Performance Art 

event at Bindu with highlights, artists and 

thematic overtures 

19 From Real To Surreal 

A personal review of an Iranian couple’s inspirational and enduring artistic 

quest as exhibited at the Siddhartha Art Gallery 

32 Road Trip with Bibbi Aburuzzini 

34 Interview with Kishore Thapa 

40 

The Perils of Climate Change 

An analysis of and highlights of 

the Nepal Art Council Photo Exhibition 

on the effects of climate 

change on the communities and 

ecosystems of the Hindu Kush 

Himalayan Region 

40 The Poetics of Architectural Drawings 

A reflection on architectural drawings as 

abstract possibilities of structure and landscape, 

of poetry and human endeavour. 

44 US Embassy – Memorial 

Revisiting a sculpted memorial at the US Embassy 

for the creative concept, expression, 

message and meaning. 

1905: Eternally Alluring 

A showcase of the 1905 Restaurant 

in Kantipath and a tete-a-tete 

with Shobha Rayamajhi 

Nestled by the Marshyangdi 

Photo feature on the famed 

Manang Valley brought to life by 

legend and terrain 

47 The Lotus – Form and Meanings 

A time-honored symbol finds new life in 

Buddhist interpretations and architectural 

conventions around the world 

64 Interview: Vikram Seth in Nepal 

India’s foremost writer finds in Haatiban 

Resort the sense of being of the world and yet 

away from it. 

69 From the Shelf: Chronicles of Kathmandu 

70 Artist Spotlight: Pramila Barjacharya 

72 Go Gadget: Retrospect 2013 Prospect 2014 

74 Store Watch: Imperial Furniture 

78 Market: Choose your car 

80 Open Space 

47

Offi cial Franchisee for Nepal: 

Parth International Pvt Ltd. Ward No 11,Babarmahal, Kathmandu,Nepal. Tel:+977.9802044440, Email: info@parthinternational.org

Editorial 

As SPACES continues its publication with it’s 10th. year Anniversary specials – we 

continue to find diamonds within our space. We begin with a series of creative 

writing by Gautam Bhatia, one of the most well-known architectural writers from 

India. His first piece within this issue is on the Poetics of Architectural Drawings 

which interestingly illustrates with his drawings and writing the flexibility and 

fluidity of his thoughts to his drawings. As more and more Architects, planners and 

designers get into this profession – it perhaps would help us look at the drawing 

process from a creative dimension and think out of the box. Gautam interesting 

says that drawing is a type of mental renovation, a restoration of dormant beliefs, 

that obliquely points the way towards the future possibilities of practice. 

Returning from Kolkata last month with the 2014 Literary Meet all over the news there, i couldn’t miss the energetic and prolific 

writer Vikram Seth at the baggage arrival area of Kathmandu airport trying to make sense and understand the dynamics of 

getting ones’ baggage. A brief introduction here further led to the Haatiban resort couple of days later where he seemed to be 

soaking the place with a feeling of timelessness. We are indeed very thankful to him for the interaction and the time spent. 

Even in such a brief encounter – we could smell the passion of the heart, to live a full life and the ingredients that one should 

have to drive some creativity and depth in ones work. When asked his reason for choosing Haatiban Resort for his stay, his 

answer was as simple and profound as ‘What I did want was a view, and I would like silence and, basically - a hilly space where 

you cannot see everything at once, and things open up to you as you walk up and down. I think Haatiban has it...everything 

from the Ganesh Himal, all the way, on a clear day, to Everest; the mist in the valley, the sense of being of the world and yet 

away from the world. I find Haatiban a wonderful place in this regard’. Nepal is a haven for the creative and the naturalist, and 

we need to preserve and enhance this environmentally and spiritually. 

Our cover story by Pujan this month is on the Road Architecture delving into it’s design and other related issues within the 

context of Nepal. As we experience the road expansion drive currently within the country, though having many sides to this 

debate, what does stand out – is the benefits of sharing of public resources and the value of Open Spaces. The public citizens 

are awakened to see the transformation of clogged streets into an openness and connectivity which almost feels like a bypass 

surgery breathing new life and energy into the city. 

Perils of Climate Change writing explores the must see exhibition of photographs exploring the effects of climate change 

on the communities and ecosystems of the Hindu Kush Himalayan Region being held at the Nepal Art Council. Spectacularly 

detailed photographs by David Breashears and Glacierworks delve into the fast-paced ecological changes witnessed in the 

Himalayan Region alongside technological solutions developed to help predict and prevent environmental disasters. A definite 

eyeopener for the visitors examining the hazards and challenges facing the natural landscapes, ecosystems and communities 

across the Region. Climate + Change is a must see exhibition that will remain open until 13 April 2014. 

Finally would like to end on some reflections from the piece on the Lotus – form 

and meaning by Pragati. Buddhist teachings reflect that nothing is fixed or 

permanent - actions have consequences and change is possible. Climate change 

today is a visible result due to our actions of industrialization and globalization, we 

need to be concerned with our environment and act in a responsible manner. 

Namaste ! 

- Sarosh Pradhan 

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Contributors 

GAUTAM BHATIA is an architect based in New Delhi and one of the 

most well-known architectural writers in India, having written for 

The New York Times, Outlook magazine and Indian Express. He feels 

there are two ways of seeking a reconciliation with architecture. 

The first is through the personal act of writing for himself, a 

therapeutic training of the mind to recall and unburden. Writing 

helps form a picture of the present. Drawing, as the other, is a 

type of mental renovation, a restoration of dormant beliefs, that obliquely points the 

way towards the future possibilities of practice. An aerobic imaginary expression of 

unrealized – often unrealizable – ideas. What is not possible in architecture is always 

possible in drawing. 

CEO 

Editor-in-Chief 

Creative Manager 

Editor-Features 

Feature Writer 

Contributing Art Editor 

Contributing Editor 

Design 

Photographer 

Intl. Correspondent 

Volume 10 N O. 02 | February 

Ashesh Rajbansh 

Sarosh Pradhan 

Deependra Bajracharya 

Veneeta Singha 

Pujan Joshi 

Madan Chitrakar 

Kasthamandap Art Studio 

President - Society of Nepalese Architects 

Ar. Jinisha Jain (Delhi) 

Ar. Chetan Raj Shrestha (Sikkim) 

Barun Roy (Darjeeling Hills) 

Big Stone Medium 

Pradeep Ratna Tuladhar 

Hemant Kumar Shrestha 

Bansri Panday 

PRAGATI MANANDHAR, an Architect graduate from Kathmandu 

Engineering College and is currently working at Sarosh Pradhan 

& Associates. A music enthusiast by nature, loves travelling and 

exploring the human dimensions of art, music and architecture. 

BIBBI ABRUZZINI has a passion for stories and people, and that 

is what brought her into the field of journalism. Currently based in 

Kathmandu, she spends her days writing, clicking and sipping tea with 

her friends in Basantapur. She is a journalist for Xinhua News Agency; 

she has worked with the European Parliament in Brussels and with 

the EU delegation to Nepal. Her favorite quote is by Paulo Coelho: “I 

learned that the world has a soul, and that whoever understands that 

soul can also understand the language of things”. 

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multimedia projects too. 

ASHA DANGOL is a contemporary Nepali visual artist. He is the cofounder 

of Kasthamandap Art Studio and E-Arts Nepal. He holds 

Master’s Degree in Fine Arts from Tribhuvan University. He has 

been creating and exhibiting his artworks since 1992. He has 10 

solo art exhibitions to his credit. He has taken part in numerous 

group shows in Nepal and has been exhibited in different 

foreign countries. He experimented with painting, mixed media, 

ceramics, installation, performance and video as well. 

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CORRIGENDUM: We would like to apologize for failing to introduce 

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Perils 

The 

of 

Climate 

Change 

by Pujan Joshi 

IMAGINE YOURSELF ON A BOAT ON A LAKE with a Himalayan range in the horizon and exotic 

birds gliding in the swirl of the cool breeze. The mystical sunset is reflected on the crystal blue lake and 

a rainbow appears so serene that your heart skips a beat. In this scenic backdrop, do we ever stop 

to consider that the environment is changing drastically? A reality check: this breathtakingly beautiful 

environment is in peril and the clock is continually ticking. It is imperative that we take a step back and 

reflect on ways to reverse the damage. Taking responsibility for our actions and learning to live in harmony 

with nature are vital to reducing and mitigating the impending dangers of climate change. A Native Indian 

proverb describes it best: “We don’t inherit the land from our ancestors; we borrow it from our children.” 

Empirical research and study in the Himalayan Region warn us, everyday, that global warming threatens 

the crucial but fragile ecological balance and, indeed, the survival of the Himalayas. 


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An exhibition of photographs exploring 

the effects of climate change on the 

communities and ecosystems of the Hindu 

Kush Himalayan Region was recently held 

at the Nepal Art Council in Kathmandu 

under the aegis of the International Centre 

for Integrated Mountain Development 

(ICIMOD). Photographs by David Breashears 

and Glacierworks showcased fast-paced 

ecological changes witnessed in the 

Himalayan Region alongside technological 

solutions developed to help predict and 

prevent environmental disasters. An eyeopener 

for the visitors, the exhibition 

examined the hazards and challenges facing 

the natural landscapes, ecosystems and 

communities that cut across several national 

boundaries within the Region. 

Critics often argue that the global warming 

context is a swindle in light of the fact that 

the environment is a naturally changing 

system. With rapid population increase, 

anthropogenic changes in the biospheric 

systems of the Region have been in direct 

We don’t inherit the land from our ancestors; 

we borrow it from our children. 

contradiction to the essential human ethos. 

Mechanization and industrialization are often 

seen as key contributing factors in this reality. 

Exploitative resource use and extraction 

are cited as principal in many cause/effect 

analyses. Natural resources such as coal, 

petroleum and oil are primary drivers of the 

global energy base and economy. These fossil 

fuels are both non-renewable and harmful 

atmospheric pollutants. It is estimated that 

within approximately a hundred years the 

planet will be exhausted of its indispensible 

natural resource infrastructure. 

A Preface to Nepal’s Climate and Geology 

Nepal is home to the highest and youngest 

mountain ranges in the world. Geophysically, 

it is divided into three principal regions: the 

High Himalayas, the Hills and Valleys and 

the Terai. In the context of climate change, 

the Himalayan glaciers in Nepal are rapidly 

retreating – climate scientists predict that 

by 2070 water levels in the entire region will 

drop considerably thereby posing colossal 

threats to millions of lives downstream. Dr. 

Walter Immerzeel, mountain hydrologist, 

climate change specialist and visiting 

scientist at the International Centre for 

Integrated Mountain Development (ICIMOD) 

in Nepal, says “we are now using a more 

advanced glacier monitoring system model 

that takes into consideration how slowly 

glaciers respond to climate change”. Yet 

surprisingly enough, water discharge in this 

region is increasing, rather than decreasing. 

The reason varies greatly from one 

watershed to another.Additionally, the water 

discharge in this Region is increasing rather 

than decreasing and the causal factors vary 

greatly from one watershed to another. 

Predictions on the impact of climate 

change on glaciers in this large and, often, 

inaccessible region range from fear of rising 

temperatures in the mountains and melting 

glaciers leading to falling rivers downstream 

to drought in one of the most denselypopulated 

regions of the planet. A combined 

study by ICIMOD and the United Nations 

Environment Programme (UNEP) confirm 

that the Himalayan glaciers have retreated by 

approximately a kilometer since the Little Ice 

Age–1350 to 1900 A.D. 

A glacier is a large ice mass that slowly slides 

or flows over land. It forms primarily in the 

Polar Regions and in the High Mountains. 

Glaciers vary in size, shape and location and 

are categorized by geologists as Continental 

glaciers and Valley glaciers. Continental 

glaciers are broad, thick sheets that cover 

massive areas of land near the earth’s Polar 

Regions. The Continental glaciers of Greenland 

and Antarctica bury mountains and plateaus 

and cover up entire landscapes barring the 

highest peaks built up in the sea. Valley 

glaciers are sheets of ice that cover valleys 

in the Himalayan Region. Low temperatures 

enable bulks of snow to build up and turn into 

ice - glaciers range from approximately 100 to 

3,000 meters in thickness. 

Formation and Movement of Glaciers 

Increased ice weight during snowfall, 

particularly in mountainous areas, make snow 


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crystals compact thereby enabling them to 

combine and form into ice. The thickness and 

massive weight of the ice eventually induce 

movement. A glacier flows downward due 

to gravitational pull with the small crystals 

causing the entire ice mass to move and 

form crevasses. Research by ICIMOD indicates 

that glaciers usually flow slowly and move less 

than 30 centimeters per day whereas others 

move more than 15 meters a day. 

An Ecological Crisis in the Hindu-Kush 

Himalayan Region 

The exhibition of photographs at the Nepal 

Art Council in Kathmandu focused on climate 

change in the Himalayan Region including 

the Karakorum, Pamirs and other neighboring 

ranges. The Hindu Kush Himalayas extend over 

3,500 kilometers over eight countries–from 

Afghanistan in the west to Myanmar in the 

east. They are the source of ten major Asian 

rWiver systems: Amu Darya, Indus, Ganges, 

Yarling Tsangpo (Bramahaputra), Salween (Nu), 

Mekong (Lancang), Yangtse (Jinsha), Yellow 

River (Huanghe) and Tarim (Dayan). These 

rivers provide water, ecosystem services and 

basic livelihood necessities to a population 

of approximately 210.53 million inhabitants, 

according to ICIMOD’s research on river 

basins of the Himalayas. 

An escalating water predicament and crisis 

in this Region continues to endanger half the 

world’s population. There are upto 50,000 

glaciers and the river systems support the 

livelihoods of three billion people either 

directly or indirectly. Studies show that 

ecological damage occurs, unresolved 

and unchecked, everyday which could be 

irreversible. Temperature variations of just 

a few degrees can also pose dramatic and 

deleterious effects on the entire sphere. 

Scientists argue that the glaciers of the 

Region will disappear completely by 2035. 

Changing snow, rain and wind patterns have 

also radically disrupted climatic balance in the 

past few decades. Droughts are now severe 

and monsoons have swapped villages and 

farmland in Nepal. Consequently, erosion 

is becoming dangerously commonplace in 

these mountainous areas with landslides also 

becoming more and more frequent. With the 

Region primarily dependent on agriculture, 

farmers have witnessed significant loss of top 

soil vital for growing crops. On the health and 

climate change front, water borne diseases, 

Asthma, Parkinson’s Disease, tumors and poor 

eye sight are becoming widespread. 

Endangered fauna in Nepal such as the 

Black Necked Crane, Blue Sheep, Snow 

Leopard and Tibetan Gazelle are now in 

greater jeopardy while flora such as the Yarsa 

Gumba, Brahma Kamal and Panchamle are 

known to have significantly decreased with 

every passing season. Global warming has 

caused many rivers to divert and change 

course creating mass floods in many parts 

of the world. Rivers and oceans are slowly 

becoming stagnant which means that 

underwater life is considerably threatened. 

Technology and Climate Monitoring 

Systems 

The National Aeronautics and Space Agency’s 

(NASA), Terra and Aqua satellites, equipped 

with MODIS sensors, form the centre of 

Nepal’s Forest Fire Detection and Monitoring 

System. Information from these satellites 

is processed at ICIMOD. These satellites 

pass over Nepal twice a day, providing 

near real-time fire detection information 

services. ICIMOD is currently responsible 

for authenticating this data then forwarded 

to four hundred subscribers via mobile text 

messages. Remote Sensing provides an 

efficient tool for displacement calculations 

and risk assessment by identifying at-risk 

glacial lakes especially helpful in remote 

mountain areas. Researchers, scientists 

and geologists now obtain critical climate 

information using space bound imagery. 

Economic ramifications and factors of climate 

change have begun to take centre stage in the 

climate change debate and reality. Extreme 

weather patterns and events are also visibly 

frequent causing large scale human and 

ecological losses. A fundamental solution to the 

crisis, however, remains mired by complexity 

and controversy: care for the environment. 

In conclusion, nature must be preserved and 

wise use of its bounty built into every aspect of 

human activity, both present and future. 



VIEWS 

ANIL SHAHI’s ironic portraits of ‘the Joker’ 

show the distance between appearance and 

reality. Masked figures of ‘the Joker’ lend 

humor whereas the pervasive red complexion 

of the character projects anger. In the Smile 

with Me and Inside Out Series, disillusionment, 

melancholy and sadness are both hidden and 

exhibited in the mask. He delineates multiple 

personalities of an individual: the external and 

internal; the visible and invisible; the artificial 

and real. The outer world reacts to our lives, 

recognizes our manifest personas but perhaps 

not fully enough the real life within. Tragic 

stories are often veiled by a smiling face. 

Appearance and Reality 

edited by Sangeeta Thapa, by Dr. Yam Prasad Sharma 

In the A Live Trophy triptych, ‘the Joker’ is fixed 

on the wall of aristocrats as the head of a hunted 

wild beast. In Blissful Ignorance, a person is 

stuck on the dartboard by an arrow while he 

pretends to smile. Defined, labeled and confined 

by myriad forces, the individual is circumscribed 

in a frame like a photograph or commodity. In 

Shattered Dreams, ‘the Joker’ overlooks the 

curse of the broken mirror and is driven by 

the need recreate it. In I Know..You know.. We 

Know,. the apple - symbol of knowledge and 

wisdom - appears and disappears in the mind 

of the protagonist as he becomes aware of his 

existence, its bitter realities all the while forced 

to feign ignorance and lack of cognizance. ‘The 

Joker’ has no power for protest and he must 

accept his circumstance silently. 

Shahi explores contemporary Nepali sociopolitical 

issues in Fragile Hope. ‘Jokers’ 

represent the youth swayed by political 

doublespeak of transformation and change and 

the inevitable disenchantment and feelings of 

betrayal. “Those who do not learn the lessons 

of history are destined to repeat them.” The 

pervasive theme of hope and hopelessness 

appears frequently in this work. Crossed-fingers 

symbolize hope, point toward the Capital’s 

open stage or Khula Manch but also serve as 

a warning of sinister underlying motives and 

political spin. 

In Colorful Dreams, paper airplanes are 

embolisms of childhood and youth - the 

airplanes take on messages of displacement 

as a consequence of youth migration often 

driven by economic necessity. Villages are then 

transformed into gray and colorless deserts 

devoid of vitality and people. Shahi also paints a 

bleak picture of an urbanized Kathmandu Valley. 

Modernization and development replace human 

and aesthetic values. In Through my Window, 

the Swayambhu Nath Stupa, a UNESCO World 

Heritage Site, is surrounded by an ever-growing 

concrete jungle. ‘Jokers’ are painted in four 

corners or cardinal directions of the paintings 

pointing to urban chaos and alienation. The 

City is Within Me is a radical departure from 

the Joker Series and is inspired by traditional 

Tibetan Thang ka paintings. These works reflect 

the city’s lingering impact on the young artist. 


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A Rainbow of Experience 

edited by Sangeeta Thapa, by Dr. Yam Prasad Sharma 

SUJAN DANGOL’s paintings are a series of artistic narratives. A 

single series is devoted to capturing the essential transition from 

childhood to old age. A portrait of a young boy is imaginatively 

juxtaposed with his boyhood needs: Spiderman, coca-cola kites, 

football, flowers, toys and a paper airplane. The second portrait is 

of a man wearing a Nepali topi seemingly burdened by the load of 

filial responsibilities. The young boy’s basic needs such as cooking 

gas, water, electricity, employment, transportation and time find 

expression in an aircraft flying overhead and repeat a prevalent 

motif in modern-day Nepal of migration and identity. Dangol’s 

third portrait is a disturbing narrative of old age. An old lady is 

blinded in one eye, sports patched up spectacles as she stares 

disconcertingly at the viewer – her wrinkled visage tells a story of 

disease, disillusionment, disorder, confusion, fragmented family 

life and other gloomy life experiences. A pile of old, wrecked cars 

in the background also brings to the fore her immobility and, thus, 

lifelessness. Circles of color symbolize the nava raas - the nine key 

moods or emotions expressed in traditional music and dance. 

The diptych I Know One Buffalo Lets Celebrate paints a crow 

perched on a buffalo’s head. Dangol uses the crow and the buffalo, 

both mascots of Yama the God of death, as narrative figures in 

a tale of social exploitation wherein one annihilates the other or 

destroys the other’s life force in the manner of a parasite. The 

second part of the diptych portrays the clever crow victoriously 

pecking at a plate of momos made from buffalo meat. The momos 

expand on yet another level of meaning - they are an integral part 

of Nepali popular culture. It is said that buffalos are imported from 

India to serve the growing demand for this delicacy. Have we 

become the new parasites? 

The Graduation Series portrays the personal experiences of a 

student or, perhaps, the artist himself. The third painting in this 

series depicts a restroom which the artist enters after graduation. 

Multiplication of the lotus in the toilet bowl suggests confusion 

and disillusion in the mundane and private setting of the restroom 

where the artist mulls over his future prospects. The paintings 

subtly imply that the link between obtaining a degree and 

securing a job is fallacious. 

In Homage to Yuemin Jun, Dangol examines the perils of 

environmental degradation and global warming. Inspired by the 

visual rhetoric of Chinese artist Yuemin Jun, he paints a man 

looking at an extinct dinosaur and laughing unaware that he 

is turning into a fish and on the verge of extinction himself. In 

this witty articulation, the joke is on the man and on Yuemin 

Jun whose works are always satirical. In Nothing Left to 

Divide, he paints traditional Newari doorways to explore the 

theme of property, central to Nepali society, which negates the 

intrinsic architectural value and beauty of this distinctive Nepali 

design form. 

In the Gaijatra Series, Dangol focuses on different angles of the 

festival. He captures the inherent sadness surrounding Gaijatra 

Festival essentially the day of the dead. Many mourn the dead 

during this day by reliving the pain and suffering of bereavement. 

Tradition dictates that young boys dress as cows to signify 

the loss of a family member. The paintings render the boys as 

medieval statues whose grief has turned them into stone. Over 

time Gaijatra has evolved into a festival of humor and satire. 

The diptych captures the mirth and sadness of this festival 

with precision and poignancy. Experience and perspective find 

particular resonance and expression in the artist’s works: the 

transition from childhood to old age, the desire for education and 

predictable disillusionment, the uncertain future of humanity in 

the face of environmental degradation, social exploitation and 

injustice, the loss of intangible culture and heritage, and the myth 

of property. 


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INTERNATIONAL 

Live Performance Art 2014 

by Erina Tamrakar 

PERFORMANCE ART is an alternative 

art practice in which the artist uses his 

or her own body, posture and gesture as 

a medium for expression of ideas and 

concepts related to contemporary social 

issues. It is an amalgamation of diverse 

media forms such as drama, music, 

colours - artists find self-expression 

through their bodies as tools or materials. 

Bindu, a space for artists in Kathmandu, 

organized International Live Performance 

Art 2014 in collaboration with the 

Nippon International Performance Art 

Festival (NIPAF) in January and February. 

Established in 2006, Bindu is an 

alternative art space which explores new 

and experimental art forms and holds 

related exhibitions. The International 

Live Performance Art highlights included 

renowned Japanese performance artist 

Japan Seiji Shimoda, Director of NIPAF, 

along with four Japanese artists who 

collaborated with 22 young Nepali artists. 

During the event, the Nepal Academy 

of Fine Arts in Kathmandu transformed 

into an art hub of live performances. 

The first day of the event opened with 

my performance - my second live 

performance in two decades of artistic 

endeavor. For this performance, I used 

buckets of liquid colours (red, blue, 

green and yellow) poured onto my 

body with my body movements, in 

turn, creating colours on large white 

canvases. The performance ended with 

the text: “my identity.” 

Visual artist Asha Dangol’s performance 

was themed on air pollution and smog. 

He attempted to create an environment 

polluted by smog and dust using fire. 

Sound (noise??) pollution was recreated 

for the audience in the form of a poetry 

recital. Dressed as an oxygen mask 

man, the performance brought him 

to the center of the fire circle. Ishan 

Pariyar’s performance was based out 

of the butterfly or dark fly. The dark fly 

and butterfly are symbols of struggle and 

metamorphosis as exhibited by a caterpillar 

or larvae. Japanese performance artist Seiji 

Shimoda performed through the symbol 

of the plastic jungle. Interestingly, artist 

Mahesh Bastakoti used his upper body 

as a performance tool pinning safety pins 

onto it which he later unpinned to engage 

the audience and elicit reactions. At the 

Newa Chen Gallery on February 1, Shashi 

Maharjan used footprints of dogs and 

balloons to generate awareness for street 

dogs. Sundar Lama’s performance of self 

identity was punctuated by tension and 

release. Dressed as a Newari woman, Ratina 

Bajracharya sought to raise awareness of 

Newari cultural preservation. 


VIEWS 

FROM REAL TO SURREAL 

A Meditative Journey 


WHAT STRUCK ME impressively in 

the exhibition,’ From Real to Surreal’, a 

meditative journey, was firstly the title 

itself. I consider myself fortunate to go 

study different forms of art in many art 

galleries in the city. This had to have a 

virtuous effect to my perception on surreal 

art within me because specifically I love 

visualization mingled with imagination. 

Like many of us who love dreaming, 

the unfailingly fascinating sights of such 

dreamy or surreal paintings made me more 

attentive and inquisitive to lean more on the 

theme of each photos taken and the power 

of imagination and expression. 

The inspiration to paint the actual photos 

taken by an Iranian Couple, and the 

conceptual surrealistic paintings done by 

the creative art students of Kathmandu 

University from stimulating and touching 

photography concept of the Iranian couple, 

a husband and a wife team made an 

ambience of tranquility. Some paintings 

were done so dreamingly pensive or 

meditatively, that as soon as I reached 

Siddhartha Art Gallery, Babar Mahal, I could 

notice nearly every visitor drawn, as if by 

magnet towards the introductory speech 

given by the Iranian organizers and the 

painters who defined surrealism art in their 

own experiences and the motivation behind 

those photos and paintings displayed. 

As wine and tea was being served, the 

mood tends to balance and make every 

visitor feel content as another Iranian 

musician; Morteza Ketabnevis started 

playing a traditional Iranian stringed 

instrument that made the late evening 

ambience even more interesting with a 

touch of Sufi melody. I was just in time 

to attend to the speech given by the 

artistic couple Soha Ebrahim Zandi, a civil 

engineer and his wife Somaya Farhan 

a French language teacher, where they 

defined surrealistic art or Surrealism is 

another dimension to reality and is another 

form of looking at reality. I was moved by 

their speech. Their explanation and their 

experiences shared made me want to 

converse with them, converse with them. 

As I will later briefly mention their inspiring 

and enduring quest to travel the world. The 

couple were devoted in their effort to raise 

consciousness for love peace and harmony 

between the mother earth and all the beings 

that inhabits it and more importantly to 

share their photographs taken from various 

countries to show that there is still hope. 

Their story gets even more inspiring and is 

bound to stir up your consciousness, but 

firstly I want to introduce the readers to their 

charismatic persona, a couple that eventually 


VIEWS 

realized that money isn’t everything but love 

and oneness is everything. 

The Iranian husband wife team, Soha 

Ebrahim Zandi, and his wife Somaya 

Farhan , two independent photographs 

and filmmakers have been travelling 

through ten countries on their bicycles 

since April , 2012. The countries they 

have travelled so far are Turkey, Georgia, 

Azerbaijan, Kazakhstan,Uzbekistan, 

Tajikistan, Afghanistan, India and Nepal, 

and are still on their process for travelling 

to other countries. The artistic duo arrived 

in Nepal on the month of September in 

2013. I could only imagine their harsh but 

extraordinary expedition and dedication 

on travelling the world on bicycles while 

taking photographs and building concepts 

for it, Ebrahim explains to me, “well I’m the 

photographer but my wife has the eye for 

surrealistic details. We are one soul in two 

bodies”. Somaya smiles and I could sense 

that they had experienced a life changing 

circumstances in their journey. Both of 

them had a sparkle in their eyes, a flash of 

kindness, down to earth personality and 

their love for every being on this planet. 

She explains to me, “a realistic photo 

should be complemented with surrealistic 

paintings and only then the representation 

becomes lively and perfect.” The both of 

them explained to me to that their journey as 

a symbol of ying- yang which helped them to 

perceive the world in another dimension. 

I had to ask them what inspired them on 

such a tough mission, their chronicle of 

kindness and oneness followed when they 

lost their savings of US$ 8000. The bank 

in their country had shut down and they 

could not get the money through any bank 

transactions while they were travelling. 

They couldn’t believe such an incident 

would occur and specially while travelling 

abroad. Isolated , tired and hungry they 

kept cycling around countries but that 

experience changed their views of life 

completely, as people from all the countries 

they visited greeted them with the act of 

kindness. Provisions for food, water and 

rest were a special hospitality treatment 

everywhere they went; they carried on 

with the journey for twenty months without 

a single penny. It was a feeling of surreal 

for them as they recall. The act of such 

kindness made them realize that such 

awareness had to be spread; hence they 

started sharing their experiences through 

exhibition like these. Losing their money 

helped them to realize that money and 

materialistic attachments are of actual no 

importance at all, but your outlook towards 

yourself and the people are all that matters. 

As I was the last person still observing 

their photographs and paintings done by 

Kathmandu University art students, and was 

then ready to leave, the curator and owner 

of the gallery Mrs. Sangeeta Thapa greeted 

me again and asked me to come again, 

my answer was a definite, “yes of course”. 

After all these kinds of interactions between 

people makes me joyful to do my work and 

spread their message of love and oneness. 

Soha Ebrahim Zandi and Somaya Farhan 

20 / SPACESNEPAL.COM 

Surrealism is considered as an art and 

literature combined that was founded in 

Paris in 1924 by the French poet Andre 

Breton. These kinds of art are used by 

surrealist artist as a weapon against the evils 

and restrictions they see against society. 

Literally meaning super reality, surrealism art 

is nowadays getting popular even in Nepal. 

Art students from Kathmandu University 

showcased their own perceptions according 

to the photographs taken by Soha and 

Somaya. Their perception of their surreal 

art is shocking as well as remarkable, a 

literature in art.

VIEWS 

NEPAL’S ROAD 

ARCHITECTURE 

IN NEPAL, both urban and rural road architecture are 

increasingly bound by a multitude of challenges. 

Plagued by lack of sound scientific and geological 

research, use of quality materials and well-planned 

design are also known to hinder the development of a 

critical infrastructure now caught in the throes of renewal. 



COVER VIEWS STORY 

We Shape the City 

and 

the City Shapes Us 

IN NEPAL, both urban and rural road architecture are 

increasingly bound by a multitude of challenges. Plagued 

by lack of sound scientific and geological research, use of 

quality materials and well-planned design are also known to 

hinder the development of a critical infrastructure now caught 

in the throes of renewal. Heavy traffic gridlocks are, in turn, 

perpetuated by delayed transportation strategies and policies 

out of tune with the needs of a steadily urbanizing world. In 

Kathmandu alone, there are up to three lakh vehicles that 

ply the city roads in a single day. It is reported that over 600 

cars and 300 motorcycles are registered daily. The Valley has 

a population of approximately 2.7 million which is growing at 

4.32 percent per year – it is also one of the fastest urbanizing 

cities in Asia. 

Road hazards such as air pollution, heavy emissions, road 

accidents and noise pollution are exacerbated by the near 

absence of timely road construction. Consequently, access to 

places, resources, services and goods has become immensely 

mired thus requiring a massive conceptual leap in Nepal’s road 

architecture and transportation systems. Public transportation, 

in general, remains woefully inadequate despite services such 

as the Sajha Bus which has increased reliability and efficiency. 

Improvements in motorized road infrastructures are few and 

far between alongside low infrastructural investments in nonmotorized 

transportation such as pedestrian and cyclist lanes 

and special provisions for the elderly and handicapped. 

A ‘smart’ architectural paradigm that inculcates environmental 

awareness and aesthetics must be prioritized in Nepal with 

suitable citizen engagement and involvement. Collaboration 

between all concerned Government Ministries and 

Departments and private agencies is key to realize a wellrounded 

vision for road management – a balance must also 

be achieved among diverse components such as technology 

considerations and solutions, aesthetics, management and 

functionality for people and heritage preservation. 

Investments in trained and experienced architects and 

engineers can help bridge the gap between demands for 

safety, visibility, lighting, landscape studies, better lane 

systems and an overall environment that meets these 

requirements. Crucial factors such as the local ecology, 

geology, safety requirements, engineering works and socioeconomic 

viability must inform the overall approach and 

planning. Appropriate design and technology, in the current 

reality of urban and rural mobility, are key given Nepal’s 

geographical specificities. 


Issues, Voices and Conversations 

Mobility is not 

just about developing 

transport infrastructures and 

services; it is about overcoming the 

social, economic, political and physical 

barriers to movement, such as class, 

gender relations, poverty, physical 

disabilities and affordability. 

- Dr. Joan Clos, Executive Director, UN-Habitat 

Ancient Road Architecture in Nepal 

14 November, 1996, Koteshwor 

Professor Sudharshan Raj Tiwari, 

author of The Ancient settlement of 

Nepal Valley, Temples of Nepal Valley 

and The Brick and the Bull, explains 

how ancient temples were built in 

road intersections and crossings. The 

major trans-himalayan roads originated 

from Bhimsenthan with the main 

spinal road running from Jaisidewal to 

Chettrapati. During the Licchavi Period, 

roads usually comprised a network 

of seven sets of roads diagonal in 

direction and linear further augmented 

by public spaces for resting, social 

gatherings and festivities. 

Roads constructed during the Malla 

Period were given as much importance 

as the city centers themselves. These 

roads were organic with a focus on 

road squares supported by rectangular 

roads with the conceptual road always 

straight. Curved roads were not 

permitted during this Era. The temple 

was the central construct around which 

proper flow of traffic and mobility were 

coordinated with a clockwise route 

minimizing congestion in the entire area. 

This strategy was later made mandatory 

as it allowed for harmony in movement. 

The temple also served as a landmark for 

travelers with a strict code of conduct 

maintained and followed in this regard. 


COVER STORY 

R Dr. Biswa Ranjan Singh Sahi, 

explains how the Malla King of Yen 

or Kantipur, Jaya Prakash Malla (B.S 

1736–1768) began a trading partnership 

with Tibet and the Mughal Empire. As the 

road outwards began to extend making 

commerce vital, war between different 

states soon followed. King Jaya Prakash 

Malla co-opted the British in order to 

overpower King Prithivi Narayan Shah of 

Gorkha whose aim was to stop these 

trade routes. The British entered Nepal via 

Patna in India en route from Janakpur and 

Siddhipur,- a battle between the Gorkhas 

and the British eventually helped establish 

larger roads as the respective armies 

sought better routes to victory. With the 

defeat of the British, the course of road 

alignment took root both commercially 

and strategically. As civilizational values 

gained prominence with time and 

commercial interests, frequent use of 

these pathways grew less effective and 

thus began the era of institutionalized 

Nepali road architecture. These pathways 

were subsequently covered with brick 

and stone; functional bridges were also 

designed for better transportation. 

The process of formalizing smooth, large 

roads in Nepal continues to the present 

day. Pipal and Banyan trees brought in the 

vital environmental connection – these 

trees are also considered to be sacred. 

The importance of environmental impact 

was considered a major influencing 

factor with respect to road architecture. 

Innovations such as the Chautari (resting 

place), built under these trees, leant 

much-needed value to the evolving and 

now quintessential Nepali way of life. 

records and studies indicate that the earthquakes of AD 1253, 

1680 and 1932 are likely to recur every 75 years. Case studies 

in heritage preservation along roadsides monitor archeological 

importance with the KMC, Nepal Heritage Society and other 

concerned departments needing to step-up progress in the 

event of such disasters. In 2006, KMC officially requested the 

demolishing of new structures around the Rani Pokhari and the 

restoration of the pond to its original form - the pond itself dates 

back to the sixteenth century. 

R Shriju Pradhan Tuladhar, Coordinator of community 

mobilization and Former Environmental Chief, Heritage Preservation 

at Kathmandu Metropolitan City (KMC), says that the majority of inner 

city roads were designed for walking. Community protests against the 

widening of such roads have grown in recent years and serve to remind 

us of their historical and archeological significance. Social spaces such 

as the Chowk and the Patti still bear considerable practical value and 

are scattered across Kritipur, Bhaktapur, Madhyapur (Thimi), Lalitpur 

and Kantipur. 

There are seven registered UNESCO World Heritage Sites in 

Nepal but these sites are in need of repair and reple ishment 

having undergone both manmade and natural changes. Seismic 

Is there a KMC initiative currently underway to preserve 

cultural heritage sites? 

The two kilometer long stretch along the Bagmati river bank 

behind the Thapathali to Teku road is dotted by countless Hindu 

and Buddhist shrines and ghats, some of which date back to the 

seventh c entury. Many of these heritage sites in the Kalmochan 

Ghat – Teku Dovan Monument Zone are dilapidated and in 

need of immediate attention. KMC is currently proposing an 

initiative to conserve and revive the area in partnership with local 

communities. 

What are the key assessment criteria for your department? 

We must realize that as new roads are constructed, we should 

understand the area in its entirety. We are in the process of 

forming a committee along with working teams to coordinate 

and lead new initiatives. A plan is also being prepared for 

area improvements such as streetlights, green spaces, stone 

pavements, playgrounds, exercise areas, public toilets and proper 

waste management. 


COVER STORY 

R Bhusan Tuladhar, Environmental 

Engineer and Regional Technical Advisor, 

South Asia at UN-HABITAT and Former Head 

of Environment Department and Member of 

City Planning Commission at Kathmandu 

Metropolitan City, says Nepal is one of the 

fastest urbanizing countries in Asia. With 

an average growth rate of over 5 percent, 

Kathmandu Valley has seen unprecedented 

growth in motorization. Increasing traffic 

congestion, lack of open spaces, road 

accidents, dependency on fossil fuels, air 

pollution and carbon emissions have led to 

dire economic, environmental and health 

consequences. According to UN Habitat, the 

greatest challenge to urban mobility arises 

from the current fixation with buildings and 

expanding transport infrastructures. Urban 

planners and decision makers must recognize 

the human right to equitable access and 

focus efforts on improving urban mobility. 

A complete paradigm shift from the current 

vehicle-centric transportation system to 

a people-centric one which enhances the 

environment, economy and quality of life is 

imperative for Kathmandu Valley. 

What is the current status of 

urbanization in Nepal? 

Kathmandu was originally designed as a city 

for walking. A considerable part of the city’s 

beauty and charm lie in its pathways and are 

important as the city arteries. Public spaces 

such as the chowk, patti and square are 

critical elements which are complementary 

to road architecture in general. Throughout 

history, city spaces have functioned as 

meeting places for diverse activities and 

needs of its denizens. Following the 

planning ideals of modernism, road mobility 

on foot declined to 40 percent whereas it 

wavs 53 percent 20 years back. Nepal is 

considered to be among the least urbanized 

country in South Asia while Kathmandu is 

among the most rapidly urbanizing cities. 

The Government must conduct appropriate 

research and make our city beautiful and 

sustainable for future generations as well. 

What are the major challenges in 

implementing public services such as 

pedestrian pathways, bicycle lanes and 

lanes for the handicapped and 

the elderly? 

We encourage the Government to take 

necessary steps on three fronts: the policy 

level, capacity and training and awareness 

building. Fifty percent of the road accidents 

and fatalities are of pedestrians and those 

who cannot afford a car. If we do not pay 

due attention to such problems, fatalities 

will grow year after year. The concept of 

open places, pathways and lanes is a vital 

part of a city or community. Nepal also has 

a cycling culture. It is distressing to learn 

that government departments think only in 

terms of vehicles and faster mobility. Urban 

areas must be able to decrease speed not 

increase speed. Pedestrians and bicycle 

traffic save space and do not overcrowd the 

city; they also make positive contributions 

to the green ethos and sustainability 

by reducing emissions and pollution. 

Responsiveness to these factors must 

precede any road planning and, indeed, city 

planning itself. 


VIEWS 

Road Construction Material 

Spaces had an in-depth 

conversation with Mukul Mani 

Dahal, General Manager at Nepal 

Bitumen & Barrel Udyog, on road 

construction materials - the 

company focuses on procuring 

materials and services used for 

building roads such as bitumen 

materials, barrels, drums and 

containers. Bitumen, also known 

as Asphalt or Alakatra, is a 

petroleum product used for black 

top roads and road durability. 

What kinds of Bitumen are used for constructing roads in 

Nepal? 

Bitumen is used as binder in road construction and 

maintenance; 80/100 prime grade bitumen is directly 

imported from India. We provide bitumen for road 

construction along with quality certificates in every 

consignment. There are various types or qualities of bitumen 

that we provide: Bitumen Emulsion, Crumb Rubber Modified 

Bitumen (CRMB) and Polymer Modified Bitumen (PMC). 

Can you explain the use of Cationic bitumen emulsion in 

Nepal’s context? 

We term Cationic bitumen emulsion in Nepal as “Himalsion.” 

This is designed to suit the climatic and traffic conditions of 

Nepal by formulating high quality ingredients in advanced 

formulae. The superior quality of “Himalsion” is an effective 

and economical alternative to conventional bitumen. This 

quality is unmatched as it inherits properties such as 

viscosity, stability, breaking rate and adhesion. An individual 

walking on the road or driving can feel the effectiveness and 

guage the quality and durable bonding on roads along with 

the smoothness. 


COVER STORY 

Planning and Design 

The Department of Roads (DOR) and the Kathmandu 

Metropolitan City (KMC) are currently responsible for land 

allocation, budget and construction controlled through the road 

planning process. Designs are sketched prior to construction; 

budget and land allocations are tabled to concerned 

departments and organizations. Road architecture is undertaken 

before the actual construction itself begins. The alarming rate 

at which road problems such as undulations, potholes, rutting, 

cracking, deformations and pollution are on the rise in Nepal 

necessitate an overhaul and rethink of the entire road planning 

and design paradigm with necessary weight put on road 

standards and technology. 

Both urban and rural road architecture in Nepal exhibit immense 

room for improvement. In the hinterlands, local road user 

groups were formed to manage the road infrastructure in 

Rupandehi, Palpa, Dhading, Dolakha, Parbat and Ilam districts. 

Would an increase in toll or road tax necessarily translate into 

better and improved roads? Cities function like arteries of the 

human body; if an artery is blocked or congested, the entire 

system suffers. Well-known architect Jah Gehl coined the 

phrase: “We shape cities, and the cities shape us.” Appropriate 

and sustainable designs and technology must be prioritized at all 

levels of the road planning and design processes. Spaces had a 

insightful conversation with Dr. Biswa Ranjan Singh Shahi from 

the Department of Road who holds considerable understanding 

and experience having worked as a chief engineer, material 

engineer, geo-tech engineer and road engineer. 

What is principal source for road 

materials? 

The Government helps in locating 

the sources but this must be 

supported by geological research. 

We must remember that all these 

resources derive from nature. 

My research study with a 

World Bank Project in 1992 

on resources materials 

was conducted primarily 

to understand the 

quantity and the quality 

of the resources needed. The research results were shared 

with various departments. However, negligence has now led to 

drastic consequences as our resources are receding. We import 

different kinds of bitumen from India, Singapore and Iran and 

these are scientifically tested for suitability and durability. 

In architectural terms, is there room for improvement? 

We are still optimistic - we coordinate among the Private Sector 

and Government departments with significant information 

exchange and technological enhancements involved. Priority is 

given to road architecture as it is extremely important; aspects such 

as road inclination, smoothness, road geometry, super elevation, 

safe distances and lighting are now of critical value. We must 

apply the International Roughness Index (IRI) as the standard in 

smoothness, beauty and to prevent skidding. Roadside pavements 

for the elderly, disabled and bicycle lanes, aesthetics and a sound 

environmental consciousness are vital necessities now. 


COVER STORY 

Environment 

K.B. Shahi, Chairperson of Aastha Scientific 

Research Services, opines that Nepal is rich in 

natural capital - natural and manmade disasters, 

however, have continually rendered roads and 

mobility in the country particularly dangerous. 

Please explain briefly your research work 

and services. 

Aastha Scientific Research Service was 

established in B.S. 2065. The Agricultural 

Sector and Road Management are national 

priorities. Our research services include 

laboratory tests, chemical testing and health 

checks. Our foundational team consists of 

doctors, micro-biologists, geologists and 

biologists who also help to build a strong 

network. We focus on main roads and 

maintenance; we also study air, soil, water 

and noise for road improvement. 

How do your research services help in 

road construction? 

We have a team that checks rock, gravel, 

soil and water content in roads which is 

further tested in the laboratories. A series 

of international standards, such as the 

Environmental Impact Assessment (EIA) 

and Environmental Impact Monitoring 

(EIM), is used to help minimize risk to roads 

and the environment. The Environmental 

Impact Assessment (EIA) is a preventive 

process by which costly and irreparable 

mistakes are avoided during project 

development and implementation. It serves 

as an important tool for environmental 

planning through identification, prediction 

and evaluation of potential project impact. 

The EIA is a major instrument integrated 

to ensure economically-sound project 

development which is both environmentally 

suitable and sustainable. The Environment 

Impact Monitoring (EIM) helps to monitor 

hazardous waste, surface and ground water 

pollution along with landfill gas. 


VIEWS 

D.I.G Keshav Adhikari, Metropolitan Traffic Police Division 

What is the role of the Traffic Department in Planning of 

Roads? 

Our department has only 3% authority in planning, or to 

be precise we have not been handed any authority by the 

government. We have only been permitted for only few 

responsibilities like, Accident Investigations and Checking 

of vehicles. It’s important that the Ministry of Infrastructure 

and transport organization take this into account. The Traffic 

department should be given full authority for planning of 

roads, because our department has to face the daily fatal 

incidents of bad road planning. The D.O.T.M department have 

recommended us to fine only of 200 Rs to 1000 Rs for traffic 

violation, though they have helped us with Lights and dividers 

for roads, they should allow us to plan as well as to monitor 

traffic violation fines. 

Has the planning of demolition of encroachment lands 

helped the Traffic Department in anyway? 

We have a strong relation with Kathmandu Valley Development 

Authority and in some areas it has helped us but at the 

same time the extension of deadline in Nepal is habitual. It’s 

disappointing to see the slow progress of the planning. We did 

see the rapid demolition two years back but now the debris, 

utility poles and materials piled up on the roads have created 

a chaos for the Traffic Department. This has also led to major 

cause of road accidents and the negligence of awareness 

of such dangers especially during the night time has had 

disastrous outcome and pre-mature deaths. Currently areas like 

Lazimpat, Nakkhu, Tinkune and Minbhawan are the most traffic 

congested areas due to this demolition and it needs to be well 

equipped with road markings, traffic lights, dividers and parking 

areas. 

Does the Traffic Department take responsibility or 

encourage Environmental awareness? 

We have always encouraged various related departments for 

the importance of avenues, bushes, grass and sturdy rooted 

trees along side roads as it adapts to landscapes and prevent 

from washing the soil, however some trees that are not 

suitable for roadside we advise them to be rooted out because 

many accidents and deaths have occurred. These days we see 

more of advertisement hoarding boards and the profanity of 

some advertisements are also to be blamed for road accidents. 

continuted on page 30 


COVER STORY 

continuted from page 29 

Is the present road architecture to be blamed 

for such mayhem traffic congestions and noise 

pollution? 

In the Capital alone we have more than 3 lakhs 

vehicles roving around in one day, so in several 

places bad road architecture and planning is to 

be blamed. Imagine,one traffic policemen have 

to monitor 762 vehicles in the city and without 

appropriate technology and work up to 15 hours a 

day. Every department should take into account 

of the importance of planning and not only for the 

present but for the future as well, as more vehicles 

will be registered and the traffic congestion 

problem will arise again. Our laws allows 26 

decibels of noise on the roads but in city the noise 

pollution by vehicles are of 100 decibels, however 

we have managed to reduce from from 100 percent 

to 10 percent. 

Traffic Management 

Inspector S.R Hachhethu, stationed at 

the Durbar Marg Department, explains that 

the main concern and objective of the Traffic 

Department, as a whole, is to reduce road 

accidents and consequent fatalities. 

What improvements could be instituted 

in the Traffic Department in terms of 

administrative details? 

Firstly, coordination and communication 

are key but they are lacking in the current 

scenario. Consider this: we only have 

three percent administrative power 

whereas in other countries the Traffic 

Department is given full authority. The 

Department currently knows which 

areas are accident prone zones and what 

measures must be taken to save lives 

in the future. It is frustrating to hear 

news of high death tolls and accidents 

in the roads of Nepal via 

foreign newspapers. If 

we are given 50 percent 

administrative authority, 

there will likely be a 

concomitant decline in 

incidents and fatalities. 

How important is road 

architecture in this 

regard? 

Road architecture is of 

the utmost importance; 

road geometry can reduce 

fatalities instantly. With 

proper road geometry and fluorescent lights 

installed, I can guarantee that fatalities 

will decrease drastically. However, we 

need better architects, mathematicians, 

engineers and laborers, International 

standards, aesthetics, environmental 

consciousness and better road materials are 

the needs of the hour. The importance of 

road architecture was highlighted by D.I.G 

Bigyan Raj Shahi and D.I.G. Ganesh Raj Rai 

who were instrumental in helping many 

departments raise awareness and focus on 

reconstruction of many city roads. 



COVER STORY 

ROAD TRIP 

with 

Bibbi Aburuzzini 

A long journey on the highway can be exhausting. The lack of 

comfort and the perennially bad roads are anything but relaxing. 

We all wish we had better roads. 

the danger. Relax. There is little or nothing 

you can do. You are, invariably, in the hands 

of the driver and his assistant. 

The bus driver’s assistant is among the 

protagonists of the journey. From early 

morning to late night, he is half-awake and 

half-asleep but (surprisingly!) always ready 

to help load the luggage and goods. A stop 

for a meal is often a welcome relief. All 

along the highway, you can find relaxing rest 

stops and restaurants particularly restive 

after a few squeezed hours in the bus. Food 

and drinks are usually expensive. On these 

occasions, a stop at the toilet, ‘just in case’, 

is certainly a good habit. You never know 

when and where you’ll stop again! 

AS A FOREIGNER, I enjoy traveling on local 

buses. It is part of the adventure. Here is the 

story of life on the Nepalese roads based on 

my experience and my learning. First of all, the word 

‘impossible’ is almost non-existent in the Nepalese 

lexicon. This is especially true when it comes to travel in 

remote areas. Modern road construction technologies 

have not helped the country eliminate some of the 

most hazardous conditions that exist in the world. 

Unprotected, cliff-hugging roads are still a reality. 

The highway between Kathmandu and Chitwan is the 

busiest road in Nepal, connecting the western and 

eastern parts of the country. Everyday buses, tourist 

cars, trucks and motorcycles rush along its serpentine 

route and it is exactly here that we understand why 

Nepal is known, throughout the world, as a land of 

contrasts. The road follows a beautiful river valley but 

the idyllic scenery is, sadly, often obstructed by road 

accidents. These buses and heavy trucks navigate the 

road while trying to beat the incoming traffic to the 

curves. Is this a car race, I think? I am familiar with 

hair-rising situations but here it is better not to think of 

Many of the roads which lead to remote 

areas are more likely to be tracks, making 

travel by bus very slow – but beautiful. If you 

look out the window, you can see stunning 

scenes of daily life in Nepal - women 

combing their hair and expressing their femininity; 

children walking on the side of the highway while 

coming home from school or (again) youngsters waving 

at people in a bus rushing through a village. 

On the road where buses are more likely to stop, food, 

fruit and drink sellers are everywhere - especially the 

“highway kids” driven by the hope of selling a slice 

of coconut. A long journey on the highway can be 

exhausting. The lack of comfort and the perennially bad 

roads are anything but relaxing. We all wish we had 

better roads. The problem is structural: the highway 

is way too narrow. A technical failure is enough to 

create a queue as long as the Great Wall of China! The 

mistake of one creates sorrow for many. 

It must be noted that as soon as you reach your 

destination, you will look back at the journey with a 

smile – and sometimes with a grimace - on your face. 

Inevitably, the highway has served its purpose: it took 

you somewhere, maybe home or maybe to a place 

which you yet have to discover. 


VIEWS 



An Interview with 

Kishore Thapa 

Secretary, Ministry of Urban Development 


Urban planning is built on a fundamentally hierarchical structure with a 

similar hierarchy for roads and open spaces as well. There are standard 

bylaws for roads in urban areas. 

How is the Ministry of Urban 

Development assisting in the 

implementation of road standards 

for well-maintained roads in 

Kathmandu City? 

R A key mandate of the Ministry is the 

development of urban roads. Similarly, 

the Ministry of Physical Infrastructures 

is responsible for highways and strategic 

roads. Urban roads are categorized as 

arterial urban roads, collector roads and 

feeder roads. Arterial roads are four and 

six lane roads and form the main artery 

of the city. Collector roads are roads on 

which tax is levied. Feeder roads may be 

clusters of secondary roads used to bring 

traffic into a major road. 

Urban planning is built on a 

fundamentally hierarchical structure 

with a similar hierarchy for roads and 

open spaces as well. There are standard 

bylaws for roads in urban areas. Roads 

that are less than 4 meters in width 

are not considered as urban roads. The 

pre-existing standard required to be 

maintained is 4 meters, 6 meters and 8 

meters. Therefore, emphasis is placed 

on roads of up to 4 meters, 6 meters, 8 

meters, 11 meters and 20 meters width. 

Twenty meter roads are artery roads 

with four lane roads such as Ramshah 

Path, Bishnumati Link Road and the 

Kamalpokhari, Gaushala/Lainchaur and 

Maharajgunj roads. Similarly, there are 

two types of single lane roads: the 4 

meter lane road without a footpath for 

access to plots or houses and the 6 

meter lane road with a footpath on one 

side or the 8 meter road with footpaths 

on both sides alongside a single lane. 

These are the established standards 

used during the development of housing 

colonies or vicinities - the road hierarchy 

therein is the urban road standard. 

In terms of quality road construction, 

is there a standard for road materials? 

R Yes, there is a standard level for 

road materials. There are various types 

or qualities of bitumen used, namely, 

Bitumen Emulsion, Crumb Rubber 

Modified Bitumen (CRMB) and Polymer 

Modified Bitumen (PMC). We consult 

construction experts and conduct a 

(feasibility?) study of quality standard 

road construction. In rural areas, there 

are three kinds of roads: the dirt road, 

gravel road and asphalt road/metal road. 

Dirt roads and gravel roads are not 

permitted in urban areas. All urban roads 

are required to be paved either by asphalt 

or concrete. 

Quality wise, even though asphalt is 

used, the required detail on edges, 

corners and drainage are absent 

leading to a limited life span. How are 

quality control challenges addressed? 

R There are standards for this as 

well. Many roads in Kathmandu appear 

standard and sub-standard. The reason is 

that the roads do not meet the landscape 

requirement. Our main obstacle is the 

landscape followed by the bylaws. 

For example, a road that is 11 meter 

wide needs a footpath that is 2 meters 

wide alongside proper drainage. The 

requirements also include two lanes 

and streetlights but the inability for the 

right path and landscape obstacles do 



not permit this. Given this scenario, the 

Government then constructs with metal 

in order to avoid dust that could result in 

incomplete roads or what is referred to 

as incomplete roads. The Department 

of Roads (DOR) and Development 

Committees complete road construction by 

following standard regulations such as the 

size of the road core, width of the footpath, 

drainage system among others. 

If the edging or a proper drainage 

system is supervised, the life span of the 

road will increase. Why is this action not 

implemented? 

R The main reason for this is the need 

to demolish these kinds of roads regularly 

- roads that are simply ‘make-shift roads’. 

These roads are constructed for easy 

pedestrian and vehicle mobility and for 

supporting commerce. In cases where 

the asphalt is not of correct thickness, the 

result is an overlay. In general, roads must 

be overlaid with overlay construction 

carried out periodically to support 

increase in traffic, cracks and bleeding 

on the roads. Overlays are thin surfaces 

- airport runway overlays are upgraded 

every five years and used primarily to 

protect the road surfaces. 

Is there a maintenance bylaw and is it 

possible to incorporate maintenance as 

a critical element? What is the policy for 

roadside assets? 

R Maintenance guidelines do exist. 

Furthermore, there is now an interesting 

training agenda called ‘Roads Board’ 

which is an institution established under 

the law. The Roads Board is responsible 

for collecting road toll or tax and 

redistributing it to the Municipalities, 

District Development Committees (DDC) 

and Department of Roads (DOR). For urban 

roads, part of the tax money has been 

given to municipalities over the past five 

years for road maintenance. 

What is the status of the privatization 

debate? Can certain infrastructures be 

privatized and what are the requisite 

policies? 

R We have been testing the Private Sector 

for many years now with some success 

and failure. An important test is being 

conducted in the tunnel road to Hetauda 

which is completely a private sector 

venture. Moreover, in urban environments, 

elevated roads can be built by the Private 

We all realize that without proper public 

transportation, any city cannot function efficiently. 

Nepal’s Transport Sector is dominated by private 

industry which has its own limitations, grievances and 

constraints. Systemization and properly organization 

are instrumental here. 

Sector with provisions for charging road 

tax. I have proposed an elevated road from 

Koteshwor- Minbhawan – Maitighar and 

Thapathali to Tripureshowr and Kalanki 

which are among the busiest streets 

in Kathmandu. A key advantage of this 

proposal is the connection between the 

Arniko Highway and Tribhuwan Highway. 

As a busy, commercially viable road, the 

Private Sector can effectively manage this 

project while raising money via road tax. 

The Ministry is ready to offer this project to 

the Private Sector. 

What about public transport? 

R We all realize that without proper 

public transportation, any city cannot 

function efficiently. Nepal’s Transport 

Sector is dominated by private industry 

which has its own limitations, grievances 

and constraints. Systemization and 

properly organization are instrumental 

here. These companies are individual 

enterprises, hence it is difficult to establish 

and institute well-functioning coordination. 

With private transportation companies, 

opportunities exist for bus standards, 

trained staff and suitable bus stops. 

In terms of road expansion, there are 

two principal components: to make the 

road broader for flow where traffic will 

increase over time and to systemize 

public transport. Is there any priority 

being given to development of public 

spaces such as parks, bicycle lanes 

and jogging areas? If you look at the 

number of vehicles today, it appears 

to be a temporary problem but larger 

problems will arise leading to serious 

challenges. How do you take these into 

account? 

R There is a dire need for large buses such 

as the Sajha Bus and Starline Bus; these 

are the transport models that Kathmandu 

needs. The Ministry encourages the Private 

Sector to procure high capacity buses for 

the city whereas Micro Buses and Tempos 

are important for the outskirts of the Valley. 

High capacity, low emission buses are a 

crucial necessity in urban areas. The Sajha 

Bus Service has recently started - if the 

Private Sector focuses on larger buses as 

well, this will be beneficial to everyone. 

The Private Sector is disorganized here. 

They have prioritized tourist transportation 

services by introducing the Starline 

Buses. We must also maintain local buses 

such as Sajha Buses and details such as 

seating arrangements must be fixed and 

standardized for urban areas and contexts. 

The Ministry is in the process of minimizing 

cars in Kathmandu Valley and we have now 

introduced a ‘Clean City Program’. Through 

this program we aim to restrict use of 

government vehicles on Fridays. We are 

committed to making the Kathmandu roads 

safe, hazard free and standardized places 

for the future generations. 

If fees are levied for vehicles going to 

the inner cities, there is bound to be a 

reduction in traffic congestion. Is that not 

suitably applicable? 

R This falls under the purview of 

the urban management system - 

management itself also has a cost and 

must be borne by the Municipality(s). This 

is a viable and applicable concept but it 

will be difficult to institutionalize. We have 

an ongoing project called the Kathmandu 

Sustainable Urban Transport Project 

(KSUTP) which is jointly implemented 

by the Kathmandu Metropolitan City 

(KMC) and the Department of Roads 

(DOR). The Department of Roads will 

undertake improvements on the road 

inter-sections with traffic lights, bridges, 

artery roads, additional roads and other 

facilities while KMC will work on stone 

pavements and pedestrian, cyclist and 

handicapped lanes. After the project is 

completed, historical parts of the city will 

have better footpaths and pavements 

for pedestrians including areas such as 

Thamel. The plan includes additional 

pedestrian sidewalks that will be 

constructed, improved and managed. 

In Thamel, the asphalt will be replaced 

by smooth stone pavements. The design 

process is almost complete and construction 

will begin within six months. 


COVER STORY 

Road To Shangri-La 

A Nepali Narrative Rediscovered with Arjun Singh Tulachan 

By Veneeta Singha 

THE DISTRICT OF MUSTANG in 

Dhaulagiri Zone of Western Nepal 

has found its way into our collective 

imagination, over the years, with varying 

degrees of understanding and pride. 

Once the Kingdom of Lo, it is now among 

Nepal’s avowed tourist havens. Scenically 

unparalleled, this region is also invoked as 

the essential mountain ecosystem while 

presenting uncharacteristic geophysical 

properties. I had made a trip to Jomsom, the 

district HQ, many years back. The landscapes 

and the piercingly pure mountain air remain 

with me as my own signifiers of Nepal 

and the Nepali terrain. Walking along the 

banks of the Kali Gandaki from Kagbeni, my 

friend and I rediscovered our personal life 

stories, unleashed by a sharp perception of 

the natural surroundings that still make the 

journey indescribable. 

A return to Mustang many years later, even 

through a morning conversation with one 

of its well-known sons, put the region into 

perspective with complete clarity. Arjun 

Singh Tulachan, proprietor of Hotel Sunset 

View, brought Mustang to us in a way 

that only he could have done. The main 

order of the day was a discussion on road 

development in Upper and Lower Mustang. 

I hesitated for a while. It did not seem fitting 

that we take sides on the issue. Much to 

our delight, we found a Nepali narrative, 

votive and inspiring, waiting to unravel. 

The road to heaven is paved with potent 

insight and when the going gets tough, we 

seek wise experience. The narrative itself 

was also interspersed with discontent and 

misgivings - a pristine environment, steeped 

with culture and ingenuity, is turning into 

a dysfunctional modernism. Mustang is a 

message and a medium for Nepal. (Excerpts 

from an incredible conversation with Mr. 

Tulachan follow.) 

The ongoing road development program 

in Mustang is, firstly, not conducive to the 

continued well being of its inhabitants and 

environs. The sudden introduction of “car 

culture” has meant that while modernism 

has made inroads here, the wherewithal 

to benefit from it is still glaringly absent. 

Changes witnessed from this dynamic 

include exploitative commercialism in tourism 

and significant cultural erosion. As a nation 

of still untapped tourism potential, the push 

and pull factors in the industry are, thus, 

rendered unsustainable. The inherently 

spiritual nature and origin of many tourist 

attractions here must take hold in the public 

consciousness as over-arching guiding 

principles. 

Mustang is home to the world’s deepest 

gorge. Transplanting new and progressive 

thinking into a fundamentally natural system 

such as this must necessarily involve a 

strengthening of old and time-tested ways. 

In correlation, the foundations of progress 

and modernity can only translate into real, 

meaningful value for the people and places 

of Mustang if the ideals of science and 

nature, culture and society, community and 

the individual are brought together in a longterm 

vision of development. By extension, 


COVER STORY 

Mustang is home to the world’s deepest gorge. Transplanting 

new and progressive thinking into a fundamentally natural 

system such as this must necessarily involve a strengthening of 

old and time-tested ways. 


COVER STORY 

intrinsic competencies must not be changed 

and displaced by the vested interests of 

an elite minority touting shallow values of 

civilization and, indeed, globalization. 

The Nepali ideal of “Sabhyata,” borne 

and sustained over centuries, can be 

augmented and preserved with appropriate 

education and the development of 

indigenous social systems that place 

identity at the centre. Nepal has over time 

taken on, in fits and starts, the debate of “a 

zone of peace.” This is, perhaps, a logical 

time during which to explore this discourse 

and epithet. The Upper Mustang area is a 

desert environment while Lower Mustang 

is a temperate climate zone. If this region 

were to imbibe “a model study status,” it 

could potentially show the way to many 

other regions and Nepal itself while, 

crucially, sustaining its own unique and 

vital specificities. 

Among the harmful and visible by products 

of road development in Mustang is a high 

level of air pollution caused by diesel fumes 

which could eventually be irreversible. The 

Thakkhola area is currently being developed 

as a tourist destination. Monetization of 

tourist activity must also incorporate the 

benefits accruing from local lifestyles and 

local self-sustenance. Recent construction in 

the region is also visibly jarring and lacking in 

proper planning and design with discontent 

among the Mustangi people spilling over 

onto many spheres. The delicate balance 

maintained between Mustang’s natural 

biosphere and its people is also losing out 

to a modern ideology already discredited 

in many parts of the world. Local materials 

and local skills must regain their place in this 

“mountain Shangri-La.” A next-generation 

philosophy for Mustang, and Nepal, must 

engage critical, local socio-economic and 

socio-environmental practices and cultures 

without which the entire region could 

become yet another “paradise lost.” 


VIEWS 


VIEWS 

THE POETICS OF 

ARCHITECTURAL DRAWING 

– Gautam Bhatia 


ARCHITECTURE 

WE LIVE TODAY THE WAY WE DO 

because we know no other. Our lives 

fit the defined patterns of homes, 

streets, neighborhoods, cities. As an architect I try 

to understand and explore—through drawing— 

different possibilities of building and landscape. 

More and more, drawing has taken me away from 

the conventions of architecture, into more abstract 

realms. Drawing has helped define space as it 

doesn’t exist, and perhaps as it should. Not in a 

utopian way, but one that tries merely to describe a 

different way we may live. 

The drawings are a sort of rebellion against the limits 

of space. They explore the possibilities of extreme 

views: at one end, a confinement that is so narrow 

and stifling, it requires release and exposure, and at 

the other, a boundlessness that recedes endlessly 

to the horizon, in which people and buildings are 

miniscule. As if all human endeavor—defined by 

people, trees and buildings—is merely an engraving 

in the vastness. 

In the beginning, the earth is empty and 

expressionless, deserted, without sound or form 

or shade. Just an absence in the landscape. The 

emptiness creates the first hint, the hope for 

architecture. A rootless object appears in space—a 

human being, a tree, a building, a shadow. The 

drawing constructs a relationship between them. 

Sometimes the shadow defuses the space itself, 

sometimes shadow is used to root things to the 

earth. Does architecture exist if it casts no shadow? 

FEBRUARY 2014 

/ 41

ARCHITECTURE 

The drawings are a sort 

of rebellion against the 

limits of space. They 

explore the possibilities of 

extreme views. 

The weight of building leaves a permanent shadow 

on the ground, a grey-black area of mystery quite 

unlike the restless shadow of a moving person that 

follows him or her around. Its depth is as devious 

as it is impenetrable, but it is there, a historical 

archaeological footprint that cannot be erased. 

Permanence and immobility of building is a given. 

You accepted it as a fixture, a certainty as sure as 

death. And when you build, you build with the brush 

of a black shadow, in the persistent hope that your 

building too will, someday, get the permanent resting 

place of death, that the immobile blackness will 

grow and darken as the building ages, as it becomes 

architecture. 

This article originally appeared on ArchDaily under the title, 

Drawing Shadows. All images courtesy Gautam Bhatia 


US EMBASSY – MEMORIAL 

Kathmandu, Nepal 

in conversation with Ar. Sarosh Pradhan 

The US Embassy invited selected design firms to a design competition - to build a Memorial design 

within their Embassy premises, to be built in memory and honour of people who had served the 

embassy, and as a space for reflection - on Memorial day in the month of May each year. 

Veneeta: What is the conceptual idea and process that gave rise and expression to 

this particular sculpture/monument? 

Sarosh: After being shown potential locations in the Embassy premises for the 

memorial design, some reflection time was spent imagining design possibilities. 

A reminiscence of my visit to a marble quarry several years back ignited thoughts 

on the possibility of using rocks as a landscape element for the design. Nepal is a 

country of mountains. I infused some poetry into the thought process which were 

sublimated, scribbled and conceptualized further. Sketches of rocks in different sizes 

were then placed together with gaps in-between - the metaphor of memory and the 

concept for the Memorial was born. Memory can be felt and experiences as though 

it were a big rock. When you come closer – there exist gaps and voids - just slices or 

fragments of thoughts as in a memory. Some reflection, some poetry of thoughts 

and sketches – that is what won us this unusual competition. 


ARCHITECTURE 

Veneeta: You are a very well known architect. Do 

you consider the Arts and creativity, in general, to 

be equally important or not? Please explain. 

I think each of us are artists at heart in our own 

ways in the lives we live or can live. 

Veneeta: As an artist, what is the most important 

message behind this Memorial? 

Sarosh: The message behind this sculpture is that of a 

simple landscaping element that would make us silent 

and make us think, makes us think and appreciate 

a natural material. The three words inscribed on it: 

“Remember, Recollect and Reflect” could evoke the 

essence of the Memorial. More than a monument, it 

was clearly stated to be a sculpture gracefully sitting 

beside the flag in the garden that lights up the entry-exit. 

Sarosh: I think each of us are artists at heart 

in our own ways in the lives we live or can live. 

Perhaps the difference lies in the time we spend 

on reflection, on stillness and awareness of our 

trials and errors - our strengths, weaknesses and 

potential. Perhaps in the meditative search for that 

creative potential that remains locked somewhere. 

Creativity lies in this silence of seeing the unseen 

clearly, of connecting the infinite potential to 

reality and then finding and breathing honesty and 

skill into our works - seeing truth and releasing 

the frills, the meaningless within our lives – this 

is what makes life challenging and creative. 

To my mind, the Arts and creativity are equally 

important and go hand in hand in developing an 

awareness which is essential to any skill - to see 

something beyond the present and the obvious 

which connect us to a worthwhile meaning and 

experience of existence. 


ARCHITECTURE 

There is a dormant creative potential in each of us – in whatever way we may chose to 

express it. It is not just about architecture, music, sculpture or design... it is the way we 

chose to live our lives. 

Veneeta: In a rapidly globalizing world, what role do you see the Arts play in 

international relations? 

Sarosh: It is very easy to lose one’s sense and orientation of place, culture and climate 

particularly in architecture. A modern building that we see springing up at a globalized 

pace could be built anywhere and be devoid of the above. Perhaps what it needs is the 

sensitivity of the Arts to understand and appreciate the uniqueness of culture, so that 

the blurred boundaries of globalization will, once again, respond to the uniqueness of 

place, culture and climate – creatively. 


VIEWS 

“We are shaped by our thoughts; we become 

what we think. When the mind is pure, joy 

follows like a shadow that never leaves.” 

- The Buddha 

The Lotus – Form and Meaning 

by Pragati Manandhar 

BUDDHIST teachings posit that nothing is fixed or 

permanent - actions have consequences and change is 

possible. The teachings of the Buddha, in many ways, 

reflect, subtly, the stages of growth of a lotus flower. The 

lotus is a symbolic representation of Buddhist philosophy. 

According to an ancient scriptural text which details the life of 

Gautama Buddha, the spirit of the best in men is untainted. 

The growth of a lotus flower is often representative of the 

stages of enlightenment. A lotus sapling develops gradually 

before emerging from murky waters to become a beautiful 

flower in the same way that an individual consciousness 

evolves in the path to enlightenment. In Buddhism, a closed 

lotus flower is emblematic of the time before enlightenment 

whereas a lotus in full bloom represents complete 

enlightenment and self-awareness. 

In the same vein, all humans are born into a world where 

there is suffering and suffering is a vital part of human 

experience. It makes us stronger and teaches us to resist 

temptation to evil. When we relinquish evil thoughts, we 

are able to break free from muddy waters and become one 

with the Buddha like a pristine flower shining bright above 

murky waters. In essence, the mud shows us who we are 

and teaches us to choose the right path over an easy one. 

The Buddhist mantra “Om mani padme hum” is translated as 

“jewel in the lotus” symbolic of enlightenment. It is believed 

that this mantra has mystical powers of transcendental truth 

in its words. In Buddhist writings, “Om mani padme hom” 

(O Jewel in the Lotus Flower) signifies not only the jewel of 

man’s divinity living within the lotus (the cosmos) but also the 

jewel of cosmic divinity living within the lotus (man). 

Lotus form in art and architecture 

In Nepal, the lotus symbol is used extensively in Buddhist art. 

Sculptures and art on the Buddha are replete with imagery 

of the Buddha typically positioned on a double lotus base. 


VIEWS 

The protrusion found on the Buddha’s 

head is portrayed as a lotus. Lotus forms 

are also used extensively in both Hindu 

and Buddhist Mandala paintings. Gods 

and goddesses either holding or placed on 

a lotus flower are prominent features of 

traditional religious art. In Egypt, the lotus 

symbol, or motif, is found in sacred spaces 

particularly on the capitals of Egyptian 

pillars, in tombs, hieroglyphics, thrones 

and on the head dresses of the divine 

pharaohs. The lotus flower was believed 

to be a natural symbol of the sun and 

creation in Egypt and profusely depicted 

in Egyptian art - the pink lotus appears in 

Hellenistic artworks and the sacred blue 

lotus was commonly used and depicted in 

the hieroglyph. 

The Purankalsa Purnakalasa, also known 

as Purnakumbha and Mangalakalasa, is 

an auspicious symbol in Indian classical 

art symbolizing plenty and creativity 

normally associated with Goddess Lakshmi 

and depicted with over flowing foliage 

composed of lotus buds, flowers and 

leaves. The Purankalsa motif appears in its 

finest form in the interiors of the Taj Mahal 

where the vase and the foliage motifs have 

been combined with the inner border. The 


ARCHITECTURE 

dome of the Taj Mahal also resembles the 

upside-closed lotus resting on its petals. 

In many cultures and over time, the lotus 

remains a centrally motivating form in art 

and architecture. For example, the Lotus 

Temple in New Delhi, designed by architect 

Fariborz Sahba, is conceptualized from the 

lotus flower. Symbolically it is related to the 

Bahá’í belief of the potential purity of the 

human spirit. Ar. Fariborz Sahba states, 

”it as a symbol for the truth that out of the 

“murky waters” of our collective history 

of ignorance and violence, we will arise to 

create a new age of peace and universal 

brotherhood.”. 

The Art and Science Museum in 

Marina Bay Sands (Singapore??) was 

conceptualized and designed by architect 

Moshe Safdie as the first museum in 

2011. There are many different Feng Shui 

perspectives to this building - some 

reason that this ‘lotus flower building’ 

symbolizes the wood element of harmony 

in a relationship with the water element 

in the North. Others opine that the lotus 

represents purity and serves as a reminder 

that one should not be blinded and misled 

by money. The building is positioned 

in a receiving gesture towards the sky 

channeling rainwater to the base of the 

building - a subtle connection between 

heaven and earth through a lotus form. 

The Breathing Flower in San Francisco lies 

in front of the Asian Art Museum facing the 

City Hall. It is a 24-foot red lotus installation 

sculpted by Korean artist Choi Jeong Hwa. 

The Museum describes the work as: “With 

motorized bright red fabric leaves opening 

and closing, simulating the movement of 

a live lotus flower, the installation creates 

a link between the modern world and 

one of the most important cosmological 

symbols in Asia.” An interesting aspect of 

this installation is that a viewer can find 

his own backdrop on this gigantic lotus 

and became part of the art itself. Exuding 

a pristine form, appearance, beauty and 

spiritual meaning, the lotus form is a 

quintessential emblem in fields such as art, 

interiors and jewelry. Inspired by the art of 

Origami, the famous lotus lampshade was 

created from a single sheet of fabric by 

Vanessa Battaglia and Brendan Young from 

Cambridge; the original spark of inspiration 

came from the Japanese Origami lotus 

flower in which the object made is clearly 

visible and transparent and the strings that 

tie it together are essential to both the 

construction and the simple beauty of it 

similar to a lotus. 


VIEWS

1905 

THE 

RESTAURANT 

ETERNALLY ALLURING 

By Veneeta Singha 

1905. The year is a signifier, a moment in 

time. Cradled and hidden in the heart of 

Kathmandu City, the restaurant bearing 

the year as its well-known epithet is one of 

the Valley’s most beloved restaurants. The 

1905 Restaurant is reminiscent of an old 

continental world. Concomitantly, it offers 

a balmy natural space enhanced by water 

hyacinths, a sunken garden and verdant flora. 

At once a haven and a popular meeting space, 

an open air amphitheater and a fine dining 

eatery, the restaurant reveals a history that 

is a mosaic of people and cultural influences. 

A carved ceiling, ancient pillars and a stonepaved 

veranda paradoxically create a “casual 

Al Fresco set up.” 


INTERIOR 

Drawing on the geospatial structure of a valley - 

even Kathmandu Valley itself - 1905 represents 

a microcosm. A central dining area and bar are 

creatively ensconced by the garden and pond. 

It is also surrounded by important landmarks 

such as the Narayanhiti Palace, Phora Durbar, 

Kaiser Palace, the Nirwachan Aayog and 

Thamel (Kathmandu’s most frequented tourist 

destination). 

A wonderful téte-a-téte with Shobha Rayamajhi, 

proprietor of the 1905, about its long-standing 

narrative unearthed many interesting facts and 

insights. The space was originally a summer 

pavillion of the Bahadur Bhawan next door, once 

the famous Royal Hotel founded by Russian 

savant, Boris Liesannavitch. Many expatriates 

have subsequently resided in this beacon of 

hospitality including architect Robert Wiese. 

The sunken garden, a cool respite particularly in 

summertime, was a pond fed by rainwater and an 

intermittently trickling water source. Akin to the Rani 

Pokhari pond nearby, it lost the water streams as 

urbanization began to take firm hold over the years. 

Shobha’s renovations included draining the stale 

water and the landscaped garden we see today took 

form. The existing pond facing the building is veiled 

by lush water hyacinths that capture many eyes 

with surprising ingenuity. 


54 / SPACESNEPAL.COM 

In a sudden burst of passion, Shobha recalls her 

vision for 1905: “I saw the building and wanted 

to turn it into a public space with natural light 

and an intuitive ambience.” The name itself has 

taken thought and deliberation. While a western, 

neo-classical building could not be given a Nepali 

name, an English name would sound out-ofplace 

in Nepal. Evoking a sense of history, the 

restaurant has been painstakingly brought to 

life. Architecturally, the water below the dining 

hall was drained. The original building materials 

- clay and “chuna” - were replenished. The old 

kitchen was turned into a commercial one and 

considerable refurbishments done on the lounge 

area, outdoor patio and flooring.

INTERIOR 

The flora surrounding the restaurant itself is 

central in theme and presentation. Shobha 

proudly asserts that visitors and diners are often 

moved by the space and environment. The harsh 

winters and wet monsoons of Kathmandu, 

however, pose some maintenance issues. “It is 

a natural setting. I try not to change the natural 

ambience too much.” 

The gourmet specialities at the Restaurant 

currently range from average to expensive 

Continental food. The Resident Chef from the 

US also trains the younger Nepali staff in the 

culinary arts. Previous 1905 chefs have hailed 

from Brooklyn and London. The space has hosted 

many international and national fundraising 

events and the Saturday Farmer’s Market is a 

popular community gathering event with fresh 

organic produce brought in straight from the 

farms. Shobha is now keen to see similar heritage 

buildings in the open spaces that surround this 

“historic fine-dining experience.” 


JOURNEY VIEWS 

A smooth and plane way towards Manang, approx 25 kms, very windy 

after noon, graveled by nature, views similar to places in Alaska. 


VIEWS 

MANANG 

NESTLED BY THE MARSHYANGDI 

Legend has it that the Taal Village came into existence as a result of 

trapped water being set free. 


VIEWS 


JOURNEY 

The northern parts of Manang Valley are dry, arid 

and desolate in stark contrast to the lush forests and 

green valleys of Eastern Nepal. 

Manang town in Manang District of Western Nepal 

lies near the Nepal-Tibet border and is a rich haven of 

biodiversity and natural capital. It is situated on the 

broad valley of the Marshyangdi River north of the 

Annapurna Range. To the west is the TorongThorong 

La Pass (5,416 metress) leading to the holy Muktinath 

Temple. The trail from Manang to Muktinath has 

remained a thoroughfare for the local communities 

through centuries. Used primarily to transport herds 

of sheep and yak, it is still considered a vital part of 

the travel infrastructure of the region. 

The northern parts of Manang Valley are dry, arid 

and desolate in stark contrast to the lush forests 

and green valleys of Eastern Nepal.To the north 

is the Chulu East peak (6,584 meters). Trekking 

programs and groups bound for the Annapurna Trail 

usually restin Manang to acclimatize to the altitude 

before moving through the Thorong La Pass. Sloping 

terraces and fields cover the northern slope; the 

built environment here is traditional in design and 

structure usinglocalmaterials. However, the newlyimplemented 

roadproject has already caused an 

eyesore – the tin sheets used are instantlyincongruous 

with the natural splendor and geospatial dynamics of 

the area. 

Legend has it that the Taal Village came into existence 

as a result of trapped water being set free. In terms of 

crucial energy needs, the village is sustained by micro 

hydro power.The local settlementscomprise mainly 

of Buddhists and the popular route to Manang is via 

Dumre, Besi Shahar, Dharapani and Chame. 

Left: Before reaching Dharapani, one of the most difficult read I’ve ever travelled, big rocks lying loose on the way and 

fast flowing water also making it’s way. The beauty of the place forces us to forget all hardships. 

Top Left: A vehicle was abandoned by the driver who was unable to take it out of the mud, so sticky that with every 

effort to take the vehicle out it dug more into it. 

Top Right: A landslide blocked the regular route and forced the commuter to go up and take different but difficult way 

out, after Chame towards Manang. 


JOURNEY VIEWS 


VIEWS 

A road towards Manang after Chamay, the rock boulder was 100s of feet high. The construction was 

done without using any explosives to blast the rocks, considering the damage that might be caused 

towards the wildlife in that area. The stone boulder was cut through after softening using chemicals 

to pave the road ahead. 


VIEWS 

A Buddhist chorten on the way. 


JOURNEY 

Top: A glacier lake in Manang, human settlement is seen in foreground. The lake 

surface completely freezes in winter, locals enjoy skiing on hard icy surface of the 

lake. Wind eroded artistic landscape was very beautiful, the place is known for 

acclimatizing to climb up the snowy hill before going to Thorang Pass. 

Left: A house supported by just a few pipes and raw timbers, the people living 

there feels completely at home but not frightened anyway. 

Photographs and text by Nilkantha Shrestha 

An avid traveller, climbed every surrounding hills of 

the valley and wants to spread the wings to outer hills 

to captivate the beauty of fl ora and fauna of nature. 

A businessman by profession, he loves to go to new 

places whenever he could fi nd time and thankful to god 

for gracing with beauty aplenty. 


VIEWS 

VIKRAM SETH 

in Nepal 

A Suitable Place for the author of A Suitable Boy 


Vikram Seth, (born June 20, 1952, Calcutta, India), Indian poet, novelist, and 

travel writer known for his verse novel The Golden Gate (1986) and his epic 

novel A Suitable Boy (1993). 

All You Who Sleep Tonight 

All you who sleep tonight 

Far from the ones you love, 

No hand to left or right 

And emptiness above– 

Know that you aren’t alone. 

The whole world shares your tears– 

Some for two nights or one, 

And some for all their years. 

– Vikram Seth 

After the Calcutta Literary Festival last month, Vikram was in Kathmandu 

tucked away at the Hattiban Resort where he shared some of his thoughts 

with SPACES. 

The son of a judge and a businessman, Seth was raised in London and India. 

He attended exclusive Indian schools and then graduated from Corpus Christi 

College, Oxford (B.A., 1975). He received a master’s degree in economics 

from Stanford University in 1978 and later studied at Nanking (China) 

University. In 1987 he returned to India to live with his family in New Delhi. 

Seth has studied several languages, including German and, later, French 

in addition to Mandarin, English (which he describes as "my instrument" 

in answer to Indians who query why he doesn’t write in his native Hindi), 

Urdu (which he reads and writes in the Nasta’liq script), and Hindi. He 

learned to play the Indian flute and the cello and he sings German lieder, 

especially Schubert. 

Seth has been honoured with several awards for his writings; EMMA 

(BT Ethnic and Multicultural Media Award) for Best Book/Novel, An 

Equal Music, in 2001; WH Smith Literary Award, A Suitable Boy in 1994; 

Commonwealth Writers Prize (Overall Winner, Best Book), A Suitable Boy 

in 1994; Irish Times International Fiction Prize, A Suitable Boy, shortlisted 

in 1993; Commonwealth Poetry Prize (Asia), The Humble Administrator's 

Garden in 1985; Thomas Cook Travel Book Award, From Heaven Lake: 

Travels Through Sinkiang and Tibet in 1983. 

I didn’t need a five star hotel or any specific facilities; but what I did want was 

a view, and I would like silence and space – an interesting space. 


CONVERSATION WITH VIKRAM SETH 

Sarosh: How does a Space that one chooses inspire or 

help a novelist while writing? How did you choose Haatiban 

resort for your stay? 

I wanted to stay outside Delhi for a while, and I thought 

of various places in India, but eventually, since I hadn’t 

been to Nepal for many years – and previously for just a 

single day!– I thought, why don't I try it? Since I knew no 

one here, I spoke to a few friends and they asked me what 

sorts of facilities I needed? I mentioned I didn’t need a five 

star hotel or any specific facilities; but what I did want was a 

view, and I would like silence and, hmm... space – an 

interesting space, basically: a hilly space where you cannot 

see everything at once, and things open up to you as you 

walk up and down. I think Haatiban has it...hmmm... 

everything from the Ganesh Himal, all the way, on a clear 

day, to Everest; the mist in the valley, the sense of being of 

the world and yet away from the world. I find Haatiban a 

wonderful place in this regard. 

Sarosh: How do you manage to keep focused on your work? 

I’m not truly a focused type of person, except for short 

periods of time like when I’m doing a piece of 

calligraphy or a painting or something. But with a novel, you 

have to stay the distance in some way, you have to show 

some stamina, you can’t just say I’ll be obsessed for few 

minutes and then I’ll come out of it. 

Instead of being a disciplined or determined person, I find 

myself an obsessed person. I’m not recommending it, but 

it’s not a bad substitute. My preferred mode of operation is 

to do something concentratedly, over a short period of time. 

It’s just that when I’m writing a long novel, I find myself– 

against my own grain – running a marathon rather than a 

sprint, and I’m quite enjoying it. 

Sarosh: While writing A Suitable Boy, where did you stay the 

most? 

I stayed mainly in my bed actually, hmmm… I was at 

my parents’ place in Delhi; my mother was a judge at 

that time. The house was very large,in fact it was an official 

house, and the upstairs was empty. I didn’t have much 

money at that time, had given up my economics studies in 

the US and had just come back to Delhi. So I lived there 

and started to write and started thinking about the book. 

My habit is to sit in bed and write, to use a dark blue or 

plain white duvet as a calm desk in a sense; these are 

some of the secrets of my technique! 

The stamina doesn’t come from discipline, it comes from 

obsession. I sometimes don’t write for a month or two 

and sometimes I continuously write for weeks on end… 

I think the obsession to write helps you to build your 

stamina. 

Sarosh: Do you write your novels by hand? 

While I was writing A Suitable Boy, I got a sort of 

cramp in my wrist. It got so bad that I couldn’t even 

lift a cup of tea. I went to a doctor, and what she advised 

me to do was to type; she said all you need is a little bit 

of variety in the movement of the wrist; but for a month 

do nothing at all. But I was deep into the novel and had to 

keep going, so I dictated a few chapters instead of 

writing or typing them. 

Sarosh: Does your work have a character from Nepal? 

I have no idea. But so far, not. 

Sarosh: Besides writing, what are the other activities in 

life that inspire you? 

Over the last few years, I have spent more time 

painting, sculpting and doing calligraphy than writing, 

and earlier I spent a lot of time doing music. So, I don’t 

feel it’s necessary that you have to assume everything 

needs to feed your writing. I think that if something gives 

you pleasure, and if you love it at a particular time then 

you should do it; it is a part of life fully lived. 

Sarosh: If you weren’t a writer, what would you be? 

Basically, being someone other than myself or doing 

something other than I do … I would love to have 

been a musician. But you cannot take something like that 

up at a late stage of life, whether it’s Indian classical 

music or Western music or whatever; painting you can 

take up late in life – or even writing, since you already 

have the skill of speaking the language. But as for music, 

that’s quite a different thing. 


21" LCD TV

FROM THE SHELF 

CHRONICLES OF KATHMANDU 

The earliest known historical and cultural 

documentation of Kathmandu Valley was 

published in 1811 by William Kirkpatrick. 

Kirkpatrick visited Kathmandu in 1793. Illustrations 

were also published in 1819 by Francis Buchanan 

Hamilton who spent 11 months in Nepal during 1802 

- 1803. Published illustrations of Kathmandu by Prince 

Waldemar of Prussia are also on record - the Prince 

visited Kathmandu Valley in 1853 and Nuwakot in 

February 1845. The first photographs were taken 

by Clarence Comyn Taylor in 1863 followed by Colin 

Murray in the early 1870s and John Claude White in 

1883. Countless picture books on Kathmandu have 

since been published with the aim of documenting 

our rich and unique culture(s) which seemingly 

re-emerge from a misty past, each time and with, 

perhaps, each photograph. 

Excerpts by Lisette Model, New York, 1983: 

“When I first arrived at Kathmandu Valley on 10 July 1962, 

it was an amazing experience. As I failed to realize the 

spectacular spread of the Palaces of Bhimsen Thapa and 

the Ranas in the Valley, I was later invited to be a guest at 

one of the palaces at Laxmi Niwas. I was there to document 

the architectural heritage of the Newars with drawings and 

photographs; but since 1990, I had also become a chronicler 

of change. By the mid-1980s the ready availability of new 

building material such as steel and cement and growing 

social and spatial mobility created the momentum for everincreasing 

urbanization. I still spend four to five months a 

year in Kathmandu Valley, preferably arriving the day before 

Janai Purnima - the full moon in August - in order not to miss 

Gaijatra on the following day. I know of no other place in 

the world that calls upon people to merge with their urban 

space in an effort to release the dead into a different realm. 

However the attraction which I thought would be short lived 

developed into a lifelong love affair that has lasted till today.” 


ARTSCAPE 

Artist Spotlight: Pramila Bajracharya 

by Asha Dangol 

Visual artist Pramila Bajracharya is a founding member of the 

Kasthamandap Art Studio and E-Arts Nepal, an online art gallery. She 

holds a Master’s degree in Fine Art from Tribhuwan University. She 

has held eight solo painting exhibitions and exhibited in numerous 

group shows over the past 20 years. She was awarded with special 

recognition in the National Art Exhibition in 1998 and 2004 respectively 

and the Gold Medal from Arniko Yuwa Sewa Kosh in 2002. She 

was honoured in the Fine Art Professional Category at the Birla Art 

Academy in Kolkata in 2008. 

Her works often play on landscape and abstract forms. At first glance, 

colour composition appears to be abstract but a closer look reveals 

a mystical dream landscape with images of 

temples and ancient architecture. re. The narrow 

streets of Kathmandu are artfully realized 

in the foreground. She also captures, 

panoramically, images of nature and 

architecture with a distance thus allowing a 

hazy and foggy effect on shapes and colours. 

These scenes are views of and viewed in 

early mornings after a rain shower. 



GO GADGETS 

RETROSPECT 2013 

PROSPECT 2014 

by Ganesh Aacharya 

month, there used to be a new phone in 

market with bigger screen size. One of my 

friend used to say, “I am sure, within some 

year we may need a suitcase to keep a 

mobile phone.” The increasing screen size 

of mobile phone was really unexpected, so 

can be referred as dark side of the year. 

For the inventions in the world of 

ICT, every month even every day is 

extremely important. Today we have 

our Hands-On, in the inventions which 

was someday thought to be completely 

impossible. Twitter, Facebook and Blog 

posts all about tech rumors, have largest 

numbers of viewership. And the biggest 

unexpectedness is, almost 60 percent 

of the tech rumors go real. It means, 

today you may get an extraordinary idea 

about tech invention, but you may get 

sad to know that somebody have already 

started to work on its prototype. Since the 

millennium, every single year is setting an 

up-to-the-minute trend of introducing at 

least 5 revolutionary prototypes or even 

the complete invention itself. And the 

brighter side is, most of them used to be 

just rumors some years before. Not only 

are the physical existence of inventions, 

bunch of software and applications are 

being unexpectedly released every year. 

Let us review the previous year and 

preview the current. ‘013 was completely a 

year of revolutionary gadgets, prototypes, 

spectacular applications and undergoing 

projects; ready to blow our mind very soon. 

Bright side of ‘013: 

‘013 can be said to be a struggler year. All 

of the vendors and service providers of 

the gadgets and gizmos were so much 

dip into the struggle to get the thinner, 

low weighing and low in price too. A lot of 

companies were very much successful to 

give us those products. Sony gave us Alpha 

7, which is just 1200$ but, still has the 

facility of interchangeable and full frame 

lenses. Samsung gave us the 46-Inch LED 

Smart TV with a very thin and unbelievable 

display in just 1500$. Apple launched 

Iphone5S with retina display in not so 

much difference in price with previous 

version of Iphone5. Same condition applies 

for MacBook Air. Talking about the phones, 

Samsung, LG, Nokia got highly advanced 

features with display, processor speed 

and RAM. HTC One, Moto X, Iphone 5S, 

Google Nexus 5, Samsung Galaxy Note 3, 

Nokia Lumia can be said the landmark of 

advance development of mobile phones. 

This year competent of Nexus 7, Kindle 

Fire launched Kindle Fire HDX, to get 

into the healthy competition with the 

rocketing market of Nexus 7. ‘013 was 

the revolutionary year for mobile apps 

too; either in IOS or in Android. Seene, 

Cycloramic are very magical mobile apps 

which got wonderfully popular within 

some weeks of launch. All in all, ‘013 has 

a lot of bright sides among it’s infinite 

dimensions. 

Dark side of ‘013: 

Some tech-pundits also prefer to say; ‘013 

was the year for lose for tech world. It 

seems to be relevant when we see some 

very unexpected loses. The very popular 

media player Winamp, the search engine 

AltaVista, Google Reader are some of the 

members which we lost in ‘013. I mean to 

say, now they are just in past. 

Similarly, ‘013 made false, a pre-verdict 

which use to say, “Small is beautiful.” If 

you refer to the phones produced in ‘013 

you can clearly find it irrelevant. Every 

Crazy gadgets of Early ‘014: 

“Morning shows to daytime.” ‘014 is 

started with some very crazy gadgets 

and gizmos. Ponono Ball Camera and 

Bluetooth Toothbrush can be kept in the 

list of craziest gadgets. Don’t you feel the 

concept of Ponono Ball Camera is really 

crazy by knowing that, it has 12 cameras 

in the ball? Very funny but very real. All you 

have to do is power on the camera and 

throw in the air with all effort. The camera 

takes 360 degrees HD Panormic bird eye 

pictures of you! You can connect to the 

computer and download the picture. 

Hold on, here is next crazy gadget. It’s 

Bluetooth Toothbrush which saves your 

trend of brushing as a preset. You can send 

the preset to next Blutetooth Toothbrush 

too. It seems to be so useful while you are 

about to teach your children the correct 

way of brushing. Now let us count days of 

getting bunch of crazy gadgets throughout 

the year. Afterall, “Morning shows the 

daytime.” 

What to expect from ‘014: 

After talking about the crazy gadgets so 

far, obviously our expectations will go 

high. We can expect some more crazy 

gadgets, some obvious mobile phones 

and mobile apps for IOS and Android. The 

64-Bit Smartphones can be in our pocket 

this year. We can get laptops with daylong 

battery life. Apple’s physio wrist band, 

IWatch, Google Watch, Foldable displays, 

open space virtual display can be obviously 

expected to be launched in ‘014, if not we 

can get the prototypes of those gizmos. 


VIEWS 

Snapper Photo is renowned as the place to be for your enre photo, digital imaging needs in Kathmandu, Nepal for over twenty-five years. 

Our overriding goal is to make you, our customer, feel comfortable and sasfied with your experience here. Our commitment to sales quality and 

customer sasfacon is second to none. The enre premise of our store is based upon your ability to come in, touch, feel, experiment, ask, and 

discuss your needs without sales pressure. At Snapper, we have strong feelings about our customers and, to that end, our sales and support teams 

are dedicated to making your experience with us a pleasant and lasng one. 

7th Floor, Kesha Plaza, New Road, Kathmandu, Nepal, Phone: +977 1 01-4224645, email: contact@snapperphoto.com 


STORE WATCH 

IMPERIAL 

Furniture 

by Pranita Rana 

GONE ARE THE DAYS when people use to have no time for 

interior design and decorations and furniture were used only for 

the mere function of sitting and resting. This is an era of time 

where looks and design are equally importantas their main 

purpose of work. People now are more concerned about the 

way their house and office looks and are willing to invest more 

to give it that distinct look and appealing feel to it. People have 

become more aware and conscious about the way they live and 

the furniture they use. They want something different something 

that describe them and at the same time makes their place look 

attractive. Imperial Furniture was established few months back 

with its showroom located in Narayanchaur, Naxal. 

Imperial Furniture is one of the few furniture companies 

thatmainly focuses onneoclassical design of furniture along 

with contemporary furniture and customizedworks on orders. 

Although the company manufacture all types and ranges 

of solid wood furniture they have chosen to concentrate 

in neoclassical design. Imperial Furniture contemplates 

thatbeauty and elegance can never go unnoticedwith the 

finecraftsmanship which can only be appreciated more.They 

also provide customers with wide range of colors finish, 

dimension, and style and to escort them with the planning 

and interior design service for free. So, with proper guidance 

from the designers customers can go with the semi classical 

look or a combination of both contemporary design and 

ultramodern looks. Besides these Imperial Furniture also have 

good collection of venetian mirror, a famous 18th century 

glass mirror which complements any designs and rooms. 

All the products are made out of 100% solid wood,locally 

known as jungali sisam and teak which are well branded 

for its quality and lasting durabilityfor generations. Imperial 

Furniture also have wide range of designs from semi classical 

and modern furniture for customers who find antique Victorian 

design not their flair, but desireelegant and sophisticated 

looks.It is obvious that with fine designs demands exclusive 

price, but customers should appreciate that it is only an one 

time investment. 


STORE WATCH 

Grand Entry of Samsung Grand Duos 2 

International Marketing Services Pvt 

Ltd (IMS) , the authorized distributor for 

Samsung mobile in Nepal has announced 

the entry of Samsung Galaxy Grand 2 

on 9th February 2014. The new compact 

smartphone combines convenient size 

with optimal large –screen experience 

on a portable , compact smartphone. 

Previously Samsung launched Galaxy 

Grand out of which users were getting 

bigger screens, Dual –Sim and many 

facilities at a good rate. It was a grand 

success in the market of Nepal and 

thereby mid-ranged cell phones started 

getting popular. The new improvised 

version on Samsung Grand Duos 2 will 

give you a ‘larger than life’ experience. 

The Galaxy Grand 2 boasts a 5.25” 

screen with a 16.9 HD ratio, perfect 

for watching movies, playing games 

and e-reading. Multi Windows take 

multitasking to the next level by 

maximizing the benefit of the large 

screen as well as enabling users to run 

one application in two windows at the 

same time.Samsung Grand Duos 2 is 

the most anticipated smartphone of 

the year, and is the flagship model for 

the Nepali market, with its new and 

improved version, IMS are expecting 

a very high demand for this product 

as the previous version has already 

made its mark. The Galaxy Grand 2 

delivers superior performance with 

a more powerful Quad Core 1.2 

GHz processor and long lasting 

2,600 mAh battery, providing 

up to 10 hours of playback 

and 17 hours of call. The dual 

Sim capabilities means 

that users can switch 

seamlessly between 

networks and comes equipped ed 

with several smart features including 

Best Face, Best Photo and Continuous 

Shot. Samsung Galaxy Grand 2 is 

now available in the Nepalese market 

and initially offered in white color with 

premium design. 


Quality Aluminium Fitting for all purpose 

A foreign-owned Nepali 

company, in technical 

collaboration with 

Approved TECHNAL Fabricator from France 

Exclusive Distributor for MAE NUM, Thailand 

“Glazing the roof of the world” 

Our Products include: 

Sliding and Casement Windows, Doors, Skylights, 

Folding Doors, Office Partitions, Shower Cabins 

Double Glazing and more. 

Naxal (Wunjala Compound - Opposite Police HQ), Kathmandu - Nepal. Tel: +977 1 4423851, 4415209 | Fax: 4420789 

email: info@skylight.com.np website: www.skylight.com.np

MARKET 

Choose your Car 

We are heading towards a modern society, where automobiles are the life line, especially for a country like Nepal, because they 

drive the economy and the livelihood of families. Nepal’s automotive dealers are all geared up to showcase the new cars that are 

available in the market that are bound to have a dazzling impact to the customers. Today we see automobiles manufactured and 

imported from countries like India, Germany, USA, Japan, South Korea, Malaysia, Sri Lanka and Czech Republic. Spaces assist 

a platform for potential customers to evaluate and decide which cars you would want to purchase from the many varieties that 

are currently available in the market, from various brands of hatchbacks and sedans that are fuel efficient, quality of performance 

and new technologies. Each of the cars has its own reward and drawback; however, eventually it all depends on your own 

preference, choice and your budget. 

Model : Hyundai Grand i10, Magna – 23,26000 Nrs. 

Sports – 24,76000 Nrs / Asta -26,96000 Nrs. 

Price range: 23,26000 Nrs - 26,96000 Nrs 

Ground Clearance: 165mm 

Engine Displacement: 1120cc 

Company: Laxmi Intercontinental Pvt.ltd 

Location: Thapathali 

Contact: 4101553 

Model: Ford Figo (Petrol) 

Price range: 18,99000 Nrs –24,50000 Nrs 

Model: Ford Figo (Diesel) 

Price range: 22,50000 Nrs – 27,49000 Nrs 


Engine Displacement:1196cc – Petrol / 1399cc - Diesel 

Company: Go Ford 



Model: Suzuki Alto-800 

Price range: 13,59000 Nrs –16,39000 Nrs 


Engine Displacement: 790 cc 

Company: Chaudhary GroupW 

Location: Sanepa 



MARKET 

Model: Mazda 3 (The sporty Sedan) 

Price range: 6,750,000 Nrs 


Type: In-line 4 Cylinder DOHC 16-valve 


Company: Padmashree Pvt.ltd 

Location: Gyaneshwor 


Model: Skoda Rapid 

Price range: 31,75,000 Nrs – 36,95,000 Nrs 



Company: Morang Autoworks 



Model: Volkswagen Polo Premium 

Price range: 24,95000 Nrs – 31,95000 Nrs 


Engine Displacement: 1200cc / 1600cc 

Company: Pooja International Pvt.ltd 

Location: Panipokhari 


Model: Fiat Linea 

Linea 1.4 Active (Petrol) Price: 31,99,900 Nrs 

Linea 1.4 Dynamic (Petrol) Price : 35,95,999 Nrs 

Linea 1.3 Active ( Diesel) Price : 35,89,000 Nrs 

Linea 1.3 Dynamic ( Diesel) Price : 38,69,999 Nrs 


Engine Displacement: Linea 1.4 model 1368cc / Linea 1.3 

model 1248cc 

Company: Batas Brothers Motors Pvt. Ltd 

Location: Gairidhara 



OPEN SPACES 

‘Open Space’ is a newly-dedicated column on 

Spaces Magazine where the School of Creative 

Communications (SCC) will aspire to showcase 

photographs on art and culture in Nepal. SCC is 

located at Kupondol, Lalitpur, Nepal. 

www.scc.org.np 

http://www.facebook.com/scc.kathmandu 

I visited Dolkha, 133 kilometers from Kathmandu, on my motorbike - a 

spectacular view of the Gaurishanker Range awaited me. The temple of the 

Dolkha Bhimsen along the highway to Jiri was among the ‘cultural moments’ 

we feel inspired by. The rough road to Kalinchowk, nearly 20 kilometers from 

Charikot, gave the oft-spoken ‘tough journey’ angle. Travelling by motorbike 

is fun but the ‘off- road bike experience’ is a new one each time – all of 20 

kilometers! What about a ‘tourist hot spot’ designation for this ‘road less 

travelled’, folks? 

About the photographer 

Bhuwan Maharjan is from Chobhar, Kirtipur. He is an agro-business 

entrepreneur currently studying for an MBA at the Ace Institute of 

Management. He considers photography as a supporting tool for areas as 

diverse as management, travel, agro- business and more. 


e.create 

Your Story. Your Moment. Your Life. 

VIEWS 

www.fotohollywood.com.np 

stunning vibrant prints that endure the test of time 

Nepal’s largest digital photo & 3D Prinng on any rigid and flexible surfaces 

1 st Floor, Classic Complex, Kamaladi, Kathmandu - Nepal 

Tel: +977 1 2004774 | Email: info@fotohollywood.com.np 



CONNECTS 

02 JK White Cement 

14 Kuleshwor, Naya Basti, Kathmandu 

Ph: 977-9851050650 

prashant.chaturvedi@jkcement.com 

www.jkcement.com 

03 Deluxe Trading Company 

Putalisadak, Kamaladi, Kathmandu 

Ph: 977-1-4416512 

deluxe@mail.com.np 

04 Beko 

Putalisadak, Kathmandu 

Toll Free No: 1660 01 12345 4422190 

www.beko.com.np 

05 Balterio 

1st Floor, A.T. Complex, New Plaza, KTM 

Ph: 977-1-4430785/4428196 

balterio@navindistributors.com 

www.navindistributors.com 

07 Parth International 

Babarmahal, Kathmandu 

Ph: 977-1- 4245432 

info@parthinternational.org 

www.parthinternational.org 

09 Index Furniture 

Metro Park Building, 1st Floor, Laximpat 

Steel Tower (Old Unity Tower), Jawalakhel 

Ph: 4415181/5000270 

11 Technical Associates Services 

Thapathali, Kathmandu 

Ph: 977-1-4219999/9802030479 

ta@ta.com.np 

www.tas.com.np 

15 ATC Pvt. Ltd. (Wilo) 

336/21, Ganesh Man Sing Path-2, Teku 

Ph: 977-1-4261220,4262220 

Fax: 977-1-4262140 

15 Somany 

Tripureshwor, Kathmandu 

Ph: 977-1-4260714 

26 Panchakanya Group - Bitumen 

Krishnagalli, Pulchowk 

Ph: 977-1-5526551 

info@panchakanya.com 

www.panchakanya.com 

29 Panchakanya Group - RMC 

Krishnagalli, Pulchowk 

Ph: 977-1-5526551 

info@panchakanya.com 

www.panchakanya.com 

31 ATC Pvt. Ltd. (Solar) 

336/21, Ganesh Man Sing Path-2, Teku 

Ph: 977-1-4261220,4262220 

Fax: 977-1-4262140 

31 Pioneer Nepal 

Teku, Kathmandu 

Ph: 977-1-4268063 

info@pioneernepal.com 

www.pioneernepal.com 

33 Pashupati Paints Pvt. Ltd. 

Maitighar, Kathmandu 

Ph: 977-1-,4258209 

pashupati@paints.wlink.com.np 

39 Starnet Enterprises 

Sinamangal, Airport Road, Kathmandu 

Ph: 977-1-4416175 

inro@starnetenterprises.com 

www.starnet.com.np 

43 Bira Furniture 

Patan Industrial Estate, Lalitpur 

Ph: 977-1-5522253 

contact@birafurniture.com.np 

www.birafurniture.com.np 

50 Worldlink Communication 

Jawalakhel, Lalitpur 

Ph: 977-1-5523050 

sales@wlink.com.np 

www.wlink.com.np 

51 Kitchen Concepts Pvt. Ltd. 

Teku Road, Kathmandu 

Ph: 977-1-4221858,4212097 

nepalkitchen@wlink.com.np 

www.kitchenconcepts.com.np 

67 Krishna Chemicals & Paint Industries 

Teku, Kathmandu 

Ph: 977-1- 4267969 

info@kcpi.com.np 

www.kcpi.com.np 

68 Nagrik 

JDA Complex, BaghDurbar 

Ph: 977-1-4265100,4261808 

circulation@nagariknews.com 

71 Imperial Furniture 

Naxal, Kathmandu 

Ph: 977-1-2298568 

info@imperialfurniture.com.np 

www.imperialfurniture.com.np 

73 New Snapper Photo 

New Road, Kathmandu 

Ph: 977-1-4224645 

newsnapper@hotmail.com 

75 Yeti Airlines 

Tilganga, Kathmandu 

Ph: 977-1- 4464878 

reservations@yetiairlines.com 

www.yetiairlines.com 

76 Buddha Air 

Jawalakhel, Lalitpur 

Ph: 977-1-5542494 

www.buddhaair.com 

77 Skylight 

Naxal (Opp to Police HQ) 

Ph: 977-1-4423851,4415209 

info@skylight.com.np, www.skylight.com.np 

77 MD Furniture 

Maharajgunj (Nabil Bank Building) 

Ph: 977-1-4721484,2151832 

mdfurniture@snet.com.np 

81 Foto Hollywood 

Civil Bank Building, Kamladi 

Ph: 977-1-4169060 


83 Marvel Technoplast 

Heritage Plaza - II, 2nde Floor, Kamaladi 

Ph: 977-1-4169122/3 

info@marvel.com.np 

www.marvel.com.np 

84 Berger Jenson & Nicholson 

Berger House - 492, Tinkune, Kathmandu 

Tel.: 977-1-4466038, 4466751 

E-mail: info@bergernepal.com 


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2. February 2014

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