3. Nov -Dec 2011

NOVEMER - DECEMBER 2011
ART - ARCHITECTURE - INTERIORS - ACCESSORIES
www.spacesnepal.com
From
Necessity to Luxury
- the Flow of Furniture
Design
Excellence
The Rhythm of
WOOD…
NICK SIMONS
INSTITUTE
station BBQ
Price NRs. 100/- IRs. 65/-

Volume 8 Issue 1 November - December 2011
16 ACCESSORIES
Necessity to Luxury
by Ar. Swati Pujari
The origin of furniture, as with any other object
in history, can be speculated seen as an organic
development caused by need, and perhaps even
accidental discoveries.
22 ACCESSORIES
D’Décor
by Kajal Pradhanang
Emporious has brought the world’s third largest
producer of curtains and upholstery offering an
array of products that include furnishing fabrics,
embroidered fabrics velvets, rugs and bedding.
30 INTERIOR
Unfinished yet complete
by Ar. Dikshya Poudyal
Surrounded by other apartments as
well JB Complex is four storey tall
and the access is from the 10 feet
wide road in Pulchowk. Minimalism in
the finishing works is the forte of the
designer here
25 ACCESSORIES
House of Furnishing
by Kajal Pradhanang
It is only with proper furnishing that a house
begins to turn into a home. Ambience Life Style
has helped transform many such houses into
homes since 2000 A.D.
38 INTERIOR
Station BBQ
by Ar. Shivendra Patrabansh
A residential building to be converted into a
thriving restaurant brought in many challenges,
as well as opportunity to amalgamate the
coziness of a home to a retail dining experience.
44 ARCHITECTURE
Nick Simons Institute
by Ar. Bibhuti Raj Pradhan
John Sanday Associates Pvt. Ltd. (JSA) was one
of the selected architectural firms for the design
competition. JSA won the design competition and
was therefore awarded the design and supervision
contract. The design reflected the Nepali Style
building accommodating the requirement of
modern office facilities.
54 ACCESSORIES
The rhythm of wood
by Ar. Sushmita Ranjit
Playing with the rhythm of wood, Mr. Ronesh Das
Shrestha delves into the business of furniture and
wooden accessories with the background of
interior knowledge which lasts more than three
decades.
www.spacesnepal.com
COVER PHOTO : Ashesh Rajbansh
IN FOCUS 58
DESIGN EXCELLENCE
by Ar. Sushmita Ranjit
Mr. Trilokesh SJB Rana has so far worked with
companies like Contract Chair England, Christian Liagire
England, Castlebrook Funriture & Design Ireland, Model
Shop Assistant USA, Office Suites Inc Illinois USA to
name a few. He is now based here in Nepal.
ART 60
NEPALI ART HAS UGLY FACES - TOO
by Madan Chitrakar
But today in view with the emerging not so pleasant
developing culture amongst our artists brethren, a
question troubling us today is whether we are carrying
this legacy with equal honesty and dignity?

Volume 8 Issue 1
November - December 2011
Contributors
Madan Chitrakar, a regular
contributor to SPACES, is an artist,
art critic, writer, and holds a masters
degree in History and Culture besides
a degree in Applied Art from J. J.
School of Arts in Mumbai, India
and Iconographic Design from the
Netherlands. His writings on art
include the book on his late father Tej
B. Chitrakar, ‘Icon of a Transition’, published in 2004. He is
presently associated as visiting faculty in the KU Centre for
Art & Design. (madanc@ntc.net.np)
Bibhuti Raj Pradhan is an
architectural graduate from
‘Sushant School of Art and
Architecture’, Gurgaon, Haryana in
India and he has been working in
John Sanday Associates Pvt. Ltd.
for last eight years. Currently he is
the senior architect and associates
of John Sanday Associates Pvt. Ltd.
Some of his prominent projects include ‘Patan Hospital
Maternity Ward – Nick Simons Block’ at Lagankhel, ‘Sel-In
Pvt. Ltd.’ at Panipokhari and ‘Gurkha Welfare Scheme
Residential Home’, an old age home for ex-British Gurkha
Servicemen at Pokhara.
Managing Editor / Editor
Photography / Production Control
Public Relations
Editorial at Large
Marketing
Marketing /Correspondence
Subscription/Marketing Ass.
Contributing Art Editor
Contributing Editors
Contributors
Accounts / Admin
Correspondents
Design / Colour Separation
Printed at
Regd. No 30657/061-62 CDO No. 41
Uday Sunder Shrestha, B.E, B.Sc.
Ashesh Rajbansh
Prakash Bahadur Amatya
Siddhartha Lama
Kripa Shrestha
Kajal Pradhanang
Anish Shrestha
Madan Chitrakar
Kasthamandap Art Studio
Ar. Sworup G. Koney
(President - Society of Nepalese Architects)
Ar. Debesh Raj Bhattarai
(General Secretary - Society of Nepalese Architects)
Ar. Jinisha Jain (Delhi)
Ar. Chetan Raj Shrestha (Sikkim)
Barun Roy (Darjeeling Hills)
Madan Chitrakar
Ar. Bibhuti Raj Pradhan
Ar. Swati Pujari
Ar. Dikshya Poudyal
Ar. Shivendra Patrabansh
Ar. Sushmita Ranjit
Dipa Shrestha
Ar. Bansri Pandey
Digiscan Pre-Press
Naxal, Kathmandu. Phone: 4436817
Format Printing Press
Hadigaon, Kathmandu. Phone: 4010160
Swati Pujari graduated in
architecture form K athmandu
Engineering College in 2009. Since
then she has been involved in
research, design and publication.
She was an Editorial Assistant at
SPACES and is currently working in
the establishment of Devi Trust, a
conservation organization dedicated
towards preservation of not just
monuments but also the intangible tradition and skills of
society. (swati.pujari1@gmail.com)
Shivendra Patrabansh, runs his
design studio ‘Seed’ and is involved
in architecture and interiors.
Rather than random concepts
and forms, he believes in working
with human experience in his
designs. His inclination towards
green architecture interests him
in experimenting with building
materials as well as climatic elements of design.
spacesnepal.com 12
November - December 2011
DISTRIBUTION
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SPACES is published six times a year at the
address above. All rights are reserved in
respect of articles, illustrations, photographs,
etc. published in SPACES. The contents
of this publication may not be reproduced
in whole or in part in any form without the
written consent of the publisher. The opinions
expressed by contributors are not necessarily
those of the publisher and the publisher
cannot accept responsiblility for any errors
or omissions.
Those submitting manuscripts, photographs,
artwork or other materials to SPACES for
consideration should not send originals
unless specifically requested to do so by
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from the editor
‘THE BRIGHTER SIDE OF AN EARTHQUAKE’
Ever imagined that such a statement could be true? Well it seems so,
as I came to find out while reading an article in one of the national daily
newspapers. The article was about the author’s ‘petrified situation’ as
he lived through the recent 6.8 magnitude earthquake on September
18 and his consequent realization of how we have been wasting time
on futile issues rather than being aware of what is happening with our
lives. Yes, if taken positively, we definitely have been forewarned, as this
earthquake, although of a larger magnitude than the one at Dharan in
1988 which took 138 lives, was not as catastrophic. And as the author
of the article lived to write his tale, we too are lucky to have been able
to read it.
While the city planners dream of underground/
overhead trains, children in villages go to
school on such precarious transport.
In such a backdrop, I was invited to present my views on an interesting
and unusual program, ‘Pecha Kucha Night, Kathmandu, Vol. 4’, with
the theme, ‘ENVISIONING NEPAL IN 2020’ – unusual in the sense
that one had to put forward his/her presentation within twenty slides,
each lasting not more than twenty seconds! Interesting, as the twelve
speakers from different walks of life presented how they saw the year
2020. And more so since each speaker based their vision on their
individual field of interest approaching the subject either in a negative
or positive perspective, but all with a common ground of concern - a
hope for a better future.
Such glazing may be the aesthetic design
demand of the day, but these same
aesthetically beautiful pieces can be lethal in
the event of an earthquake.
Good to dream, no doubt, but then the dream becomes meaningless
if we leave out the word ‘faith’ – something that we are fast losing to
false promises, assurances, mismanagement and practicality. At the
same time, we must realize that to do something right, we have to
analyze where we have gone wrong. Widening of roads by pulling
down structures and dismantling pedestrian footpaths may be the
immediate solution, but will it solve the ever increasing traffic jams in
the city? Or is the recent announcement of the government’s plan for
an underground / overhead passenger train in the city, a constructive
long term vision towards its solution? Definitely not, as this will not only
invite more traffic, but will also be economically unfeasible simply
due to the seismic vulnerability of the Valley. Such glaring examples
of impractical visions abound all around us since we prefer to look
through coloured glasses and opt for easy and immediate solutions -
failing to realize that we ourselves are also a part of the system and that
tomorrow, if not the day after, our misguided visions will definitely get
back to us…
In spite of the inevitable earthquake,
the concerned authorities are oblivious
to the hazard posed by the construction
of such slender structures.
spacesnepal.com 14
November - December 2011
Editor's Note:
If you are Looking For A Platform:
• To publish your Architectural / Interior Design / Research Works.
• To explore your writing abilities on Architecture and Interior Design.
• To voice your opinion on Planning, Environment and Design Issues.
Write to editor@spacesnepal.com

November - December 2011
15
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ACCESSORIES
From
Necessity to Luxury
- the Flow of Furniture
Text : Ar. Swati Pujari
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November - December 2011

ACCESSORIES
November - December 2011
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The word ‘“Furniture’”, is defined as “the mass noun for the movable objects intended
to support various human activities such as seating and sleeping in beds, to hold objects
at a convenient height for work using horizontal surfaces above the ground, or to store
things”(www.en.wikipedia.org). This definition sums up a near entirety in our homes,
workplaces or any other space we use. From the moment one wakes up in their ‘bed’, the
‘chair’ one sits on during breakfast, the ‘desk’ at their workplaces, to the ‘couches’ one
rests on after a long day of work, our lives are made comfortable by the furniture we use
every hour of every day.
The origin of furniture, as with any other object in history, can be speculated seen as
an organic development caused by need, and perhaps even accidental discoveries.
Basic furniture could develop with the onset of a non-nomadic lifestyle, but superfluous
furniture probably originated much later in the evolution process. One can imagine
prehistoric furniture to be basic and simple in design and construction, and to be made
of materials that were easy to work with and naturally and indigenously available. In
this respect, the use of materials such as straw, twigs and timber can be accepted as
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ACCESSORIES
primary, but with some simple tools, and abundant supply, furniture, especially
for outdoors, could have also been created using stone. Prehistoric furniture
made of wood, straw etc, due to their perishable nature are not preserved, but
a range of stone furniture have been excavated from a Neolithic Village in Skara
Brae, Orkney Islands, Scotland. Stone was probably used in this area due to its
availability, and also because of the scarcity of much easily workable timber.
Furniture ranging from Cupboards, Dressers, Beds, Shelves and Seats has been
excavated on this site.
Stone furniture in Nepal, even though stone is not an indegenous conventional
furniture material, has also been recorded. A stone bed near Tusa Hiti in Patan
Durbar Complex, where, legend has it, Siddhi Narsimha Malla prayed after
bathing in the Tusa Hiti, is present till date. Although records of furniture history
in Nepal is sketchy at best, the use of traditional products like hand woven mats
and metal accessories - for both daily as well as ritual use, are visible even today,
and are have been handed down from generation to generation. Many of these
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ACCESSORIES
accessories have a special place at the fifty-five window
palace of Bhaktapur, where the walls of the King’s room
were found to house alcoves shaped according to the
accessories that fit into them.
As we move away from Nepal and into the rest of the
ancient world, the presence of furniture in ancient Egypt
is preserved and proved by the offerings made to the
deceased pharaohs found in their tombs. Offering tables
to present food to the dead, and chairs for them to rest
on, as well as trunks with possessions that they may
use in their afterlife, paint a picture that indicates the
use of furniture in ancient Egyptian life, both before and
after death. Other depictions of furniture use in ancient
times come from Egyptian hieroglyphics and Greek
pottery, both of which portray people using furniture. The
authenticity of these portraits, either as genuine scenes
from the lives of people, or as artistic representation,
cannot be entirely verified. Studies have shown however
that furniture gradually became an integral part of
life for affluent people in the past, whereas for the
commoners furniture was quite basic and sometimes
even nonexistent.
The ancient Greeks developed their furniture based on
some basic ideas borrowed from the Egyptians, which
were gradually modified to form furniture pieces in
Greek designs. The Greeks used a variety of furniture
ranging from stools, couches (which were used for both
sitting and sleeping), tables (used to place food), chests
and chairs. A notable type of chair designed by the
Greeks is the Klismos, with slight curvature in its back and
legs and a shapely free flowing design. The design trends
in ancient Greece were largely modified and developed
to account for practicality and comfort, thus influencing
ideas of design even today.
When looking into the materials that furniture is made
of there are literally hundreds of materials one can use,
but the dominant material through history has been, and
continues to be, wood. Wood is naturally available in
almost all places that humans have inhabited; it is easily
workable and is capable of carrying load. Some of the
popular kinds of wood that are used in furniture are oak,
walnut, mahogany, pine, cherry, teak etc. The reason
why wood has also been popular through the ages is
because it can render to the different needs of different
taste. One can see how during the decorative Gothic (and
post Gothic) ages, carved wood was used in the panels,
legs and stands of furniture, and how simplistic designs
were later made using thinner slices and veneers. Use
of wood is predominant in the minimalistic Japanese as
well as the highly decorative Chinese furniture of the
east. As technology gradually developed, designs could
be as minimalistic or as extravagant as one wished, and
wood was a material that provided the flexibility and the
capability to do all that.
Today furniture is a branch of design that can, and
has, used almost any material imaginable. These have
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ACCESSORIES
included the familiar wood and stone to laminates, cane
and wicker as well as the more ‘new age’ metal, glass,
plastic and almost any kind of polymer created by man.
They can all either be joined, weaved or molded to
create furniture. The contemporary trend in furniture
can no longer be defined by one material or one style.
There is a variety prevailing in every aspect, be it design,
material, decoration or finish. A rich development history
has made possible an eclectic ensemble to choose from
thus taking the development trend away from aspects
only concerning style or material and into new ventures
like environment responsive designing and technologies,
that have made possible the Aeron chairs that naturally
adapt to the user.
With an all encompassing definition, and a development
history that has in fact encompassed every aspect of
life; a discussion on furniture can only be concluded by
establishing its a vital need (?). As we expand
our horizons towards extremities of physical
space, furniture still plays a necessary role in
our lives as it gives us a medium for primary
interaction with the space we use. It is one
of our basic requirements and yet it has
developed into something that not only fulfils
our needs and provides us comfort, but can also bring
in a sense of luxury. The essence of furniture as the most
basic product, and its culmination into a luxury item,
creates a diverse range, making furniture something we
simply cannot live without. •
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ACCESSORIES
D’Décor
Author Joyce Maynard once quoted, “A good home
must be made, not bought.”
Text: Kajal Pradhanang
And indeed, with its mission set as “Making
homes beautiful on every street in every
city of every country in the world”,
D’Décor, a premium home furnishing
brand, been successfully helping people
transform their ‘house’ into ‘homes’ for
more than a decade now.
The world’s third largest producer of
curtains and upholstery offers an array
of products that include furnishing fabrics,
embroidered fabrics, yarns, ready-mades,
velvets, wallpapers, ladies’ wear fabric, rugs
and bedding. Their products, designed by
top-class in-house and Italian designers, are
exported to 65 countries worldwide, Nepal
being among them. The brand is well known
in Kathmandu through promotions that include
endorsement by Bollywood’s glamour couple,
Shakrukh Khan and Gauri Khan.
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ART ACCESSORIES
D’Décor has been distributing its
products in our home country for the
past one and a half years through its
authorized dealer, Emporios, located at
Kathmandu Business Park, Teku.
Emporios currently offers variety of
D’décor products, mainly upholstery,
curtains and wallpaper. ‘Emporios will
add more to its D’Decor collection’,
promises Mr. Ravi Agrawal, CEO of
Emporios. He noted they will soon cater
cushion covers of the same brand.
The brand is preferred by many facets
of customers, from walk-in customers
to corporate customers. Corporate
customers of Emporios for D’Décor’s
products include housing complexes
such as Binayak Colony, Valley Homes,
Sunrise Apartment, Kalash Apartment
and Downtown Housing.
Customers can choose from the available
materials that are on display on the 2nd
floor of the showroom. You can even
select fabrics from D’Decor’s swatch
catalogues available at the showroom.
Emporios will ship the material through
its own channels upon requirement and
order.
With so many choices available one can
even feel overwhelmed, however, as
Shahrukh Khan cites in D’Decor’s TVC,
“No matter what you choose, it’s always
the right choice.”
D’Décor does indeed create “Fabrics
that touch your life.” •
November - December 2011
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ACCESSORIES
HOUSE OF
Furnishing
Text: Kajal Pradhanang
Everyone who buys a new house
learns in due time that no house is
complete without furnishing.
It is only with proper furnishing that
a house begins to turn into a home.
Ambience Life Style has helped
transform many such houses into
homes since 2000 A.D.
At Ambience, new and veteran
house owners alike can find varieties
of furnishing products.
Their specialties include curtains,
upholstery, spring mattresses and
wallpapers.
Ambience is the authorized dealers
for Seasons Furnishings Ltd.,
Springfit Mattresses and
Maspar Products.
Through Seasons, Ambience
provides different kinds of furnishing
fabrics for curtains and upholstery.
One can select from their available
stock and from their extensive
swatch catalogues.
Each person has their own unique
requirements for mattresses.
Ambience caters to such
requisites through Springfit
mattresses, to suit your different
types of needs.
Their collections of wallpapers are
brought in from various countries.
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ACCESSORIES
Seen as a better alternative to
conventional paint, wallpapers
add more appeal to a room. With
assortment of design, colour
and quality made available by
Ambience, one can even choose
to according to one’s own
requirements.
With all these products,
Ambience Life Style is surely
worthy of the name “House of
Furnishing”. •
spacesnepal.com 26
November - December 2011

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ACCESSORIES
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INTERIOR
WE SHAPE OUR
DWELLINGS, AND
AFTERWARDS
OUR DWELLINGS
SHAPE US.
CHURCHILL, WINSTON
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INTERIOR
UNFINISHED
YET COMPLETE
Text: Ar. Dikshya Poudyal
It was shaped for a purpose but destiny had planned
different outlook for it. Unfinished yet complete; I am
talking about one of the apartments in Kathmandu which
goes by the name JB Complex. Spectacularly it hides itself
from the busy city road of Pulchowk by some yards and
gives us that expression which says ‘welcome home’. The
rectifications can clearly be seen and the facades have
been designed to give that look which reflects symmetry
and balance.
Special attention has been given to create greeneries by virtue of plants and flowers in the pots. They are placed in
balconies and along the stairways as such we don’t have to depart from the nature as well.
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INTERIOR
This building intends to commercialize by means of rental flats in the upper floors
along with a restaurant and office in the ground floor. Minimalism in the finishing
works is the forte of the designer here. The exposed concrete slabs and columns
without any finishes give a rusty appearance. Also the floor finish is a mixture of
cement punning and apex paint. The use of terracotta tiles in many places along
with dachi apa floors in balconies brings versatility in flooring materials.
So finally apartment concept penetrates in this historic city. Surrounded by other
apartments as well JB Complex is four storey tall and the access is from the 10 feet
wide road in Pulchowk. There are two separate entrances; one which leads to the
apartment from the right side of the building and one on the left leads our way to
the restaurant of the ground floor which calls itself CIBO, Bristo. Between these two
units the building finds itself commercialized as there is the office of Sunco which
deals in solar panels. Parking being on the right side of the building and a very
small yard at the back.
The aim to deliver some quality living spaces. The design is such that
there is a feeling of smooth flux within inner and outer spaces. The
main concept of the designer was to penetrate light into the building
avoiding passages and providing open spaces and balconies. The open
kitchen concept along with application of materials gives this design a
minimalist approach.
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INTERIOR
The design is such that there is a feeling of smooth flux within inner and outer spaces. The main concept of the designer was to penetrate light into the
building avoiding passages and providing open spaces and balconies (above, below left and facing page).
CIBO Bristo; a western name and so is the restaurant. You enter
the café and you find yourself departed from the fast city life
to enjoy a sip of your own time. The restaurant aims 30 to 40
people and the open kitchen along with the little garden at the
back gives us that homely feeling. The rough finishing along
with use of slate in some places gives that accomplished yet
crude look.
The upper floors are all about rental apartments. First floor and
second floor is occupied by the owner himself for private use.
Overall there are six units of flats which can be divided into
large and small ones. The first and second floors have three
bedroom flats each. These are the bigger flats of area 2800
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November September - December - October 2011
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INTERIOR
The open kitchen concept along with application of materials gives this design a minimalist approach. The kitchen
flooring is done in local tiles and use of wooden furniture is done in plenty.
sq.ft. while the smaller ones contained in third floor and fourth
floor are 1200 sq.ft. each. The third and fourth floor contains
two numbers of two bedrooms flats which completely targets
rental returns. These rental flats aim to deliver some quality
living spaces. The design is such that there is a feeling of
smooth flux within inner and outer spaces. The main concept
of the designer was to penetrate light into the building avoiding
passages and providing open spaces and balconies. The
wide panels of glass separating the outer spaces with inner
ones connect them visually. The open kitchen concept along
with application of materials gives this design a minimalist
approach. The kitchen flooring is done in local tiles and use
of wooden furniture is done in plenty. The visual association
between living, kitchen and dining
has impression of modernized living
spaces yet the interior can find
some local decorations that blends
the two differences. The use of color
white has predominance along
with some splatter of orange color.
The parquetting along with decent
furniture and the attached balconies
which is common to both bedrooms
completes their elegance.
Special attention has been given to
create greeneries by virtue of plants
and flowers in the pots. They are
placed in balconies and along the
stairways as such we don’t have to
depart from the nature as well. The
topmost floor has a service room
and the terrace is enclosed with
pillars and enhances airflow and also
acts as a design element at the top.
The water tanks rest on a structure
and holds 4500 liters of water. The
terrace provides a resting space
as well as the views from there can
be enjoyed particularly during the
morning and evening time. Thus it
acts as a platform for some time out
from your busy schedule. •
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September November -- December October 2011

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station
BBQ
Text : Ar. Shivendra Patrabansh
Station BBQ was not designed merely as a restaurant – it was meant to be an
experience. A residential building to be converted into a thriving restaurant
brought in many challenges, as well as opportunity to amalgamate the
coziness of a home to a retail dining experience.
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INTERIOR
INFOCUS
To break the monotony of wood,
the lounge ceiling was made from
gypsum combined with dried
nigalo sticks, which formed a
diffusely lighted ceiling.
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INTERIOR
Taking a step further into recycling, old
bottles were hung in the bar ceiling with
small LED lights to form an array of lights.
were used to veneer a part of upper terrace walls. Other
wood were used to create artificial dalins in various parts
of the restaurant. The scrap pieces of wood were used for
making lighting fixtures.
An understated 2 storied brick building with a spacious
Pomelo tree garden provided a canvas, which was to be
themed Earth and Nature as per the owner’s request.
The requirements were simple – warm environment, cost
efficient, outdoor BBQ, bar lounge, family spaces.
The first choice was use earthy materials which provided
a warm look - undoubtedly wood. With the cost of wood
skyrocketing, the only choice was to recycle – and
recycled it was. An owner’s friend was dismantling a
very old building from where windows, doors, and dalins
were brought in. The doors were remodeled into doors
for the house. The windows were hung in their original
conditions as décor on the boundary walls. Dalins were
used to make the furniture and latticed pergolas over the
terrace and entrance. Some oddly shaped sheets of wood
As a more manageable material was to be used for
flooring, most of the internal floors were tiled. The
parquet removed to place the tiles was assembled to
create a pattern in the wall. Some old wooden sheets
were cut into colored squares which formed a lobby area
ceiling along with lokta paper cladding.
To break the monotony of wood, the lounge ceiling was
made from gypsum combined with dried nigalo sticks,
which formed a diffusely lighted ceiling. Taking a step
further into recycling, old bottles were hung in the bar
ceiling with small LED lights to form an array of lights.
To match the overall feeling of the house, the walls were
textured with jute bags impressed over the Plaster of
Paris and painted in different earthy shades. Old used
and discarded printing blocks were used to stamp
on block prints and textures in the walls which gave
some ethnic touch to the interiors. The exterior and the
boundary walls were also painted in mud color to match
the interiors.
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November - December 2011

INTERIOR
AS A MORE MANAGEABLE MATERIAL WAS TO BE USED FOR
FLOORING, MOST OF THE INTERNAL FLOORS WERE TILED. THE
PARQUET REMOVED TO PLACE THE TILES WAS ASSEMBLED TO
CREATE A PATTERN IN THE WALL.
To match the overall feeling of the house,
the walls were textured with jute bags
impressed over the Plaster of Paris and
painted in different earthy shades.
November - December 2011
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INTERIOR
Besides a bar lounge, an additional lounge, 2 family
rooms, terrace seating and a garden BBQ arrangements
were provided. The hub of the restaurant, the garden was
paved with stone sheets forming grids with grass to give
a solid surface as well as provide a garden environment.
All the Pomelo trees were kept in their original condition
with seating arranged around them. The outdoor tables
were designed with a discreetly placed BBQ grill, so that
each table could enjoy their own BBQing experience.
The grill fire also worked as a warmer during the winter.
Garden was moderately lit through hidden lights placed
within the trees, which provided privacy between the
tables. A section of the garden was raised to create
a platform for seating which at times worked as a
performing stage for musical events.
The final product - an old red brick residence is now
converted to an earthy restaurant building with warm
interiors embraced within a beautiful paved Pomelo
garden, mostly made from recycled materials. •
Designed by:
Seed Private Limited, Heritage Plaza, Kamaladi.
Phone 4169180. Email: info@seed.com.np.
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November - December 2011

November - December 2011
43
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ARCHITECTURE
NICK SIMONS
INSTITUTE
Text : Ar. Bibhuti Raj Pradhan
The material usages in the building have its influences from Nepalese
architectural style. To enhance the vernacular character in the building,
fair faced brick façade and the wooden members have been extensively
used. Some walls are clad with stone to break the monotony of fair
faced brick. These stone clad walls are adorned with wooden carved
windows, which are again the decorative feature concealing the aluminum
window sections behind. Sloped roof and skirt roofs are other feature to
complement the Nepalese architectural style.
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ARCHITECTURE
NSI was operating its activities through a rented
building at Jhamsikhel since its establishment. In
the year 2009, NSI planned to build its own head
office in Sanepa. To achieve this goal NSI first
conducted a design competition between few of the
reputed architectural firms based in Kathmandu.
John Sanday Associates Pvt. Ltd. (JSA) was one
of the selected architectural firms for the design
competition. JSA won the design competition and
was therefore awarded the design and supervision
contract.
The design reflected the Nepali Style building
accommodating the requirement of modern
office facilities. The spaces were planned to
accommodate the extensive requirements that
included offices, meeting rooms, a training hall and
a courtyard space in addition to other associated
services like basement parking, roof top dining
September - October 2011
45
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ARCHITECTURE
and kitchen and so on. However, the building mass was organized to refrain from
making the building look massive.
The material usages in the building have its influences from Nepalese architectural
style. To enhance the vernacular character in the building, fair faced brick façade and
the wooden members have been extensively used. Some walls are clad with stone
to break the monotony of fair faced brick. These stone clad walls are adorned with
wooden carved windows, which are again the decorative feature concealing the
aluminum window sections behind. Sloped roof and skirt roofs are other feature to
complement the Nepalese architectural style.
The courtyard space is paved with flagstone and features a dhugge dhara. The
courtyard is surrounded by walkways decorated with carved wooden posts and
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November - December 2011

HIMALAYAN ARCHITECTURE TRAILS
November September - December - October 2011
47
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ARCHITECTURE
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November - December 2011

ARCHITECTURE
November - December 2011
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ARCHITECTURE
FINAL SITE PLAN
Main Entry
Main Gate
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November - December 2011

-
S
ARCHITECTURE
wooden battens. This walkway acts as the prime
connection between the main office building and
a training hall.
The landscape includes the terraced garden at
the south end of the site. The terrace garden is an
adaptation of terrace farming which is a common
feature in the hilly regions of Nepal. The open area
in front portion of the site is comparatively smaller
as the building is located towards the front (north)
of the site to enable the users to have a view of
Chundevi at South end.
The building covers approximately 19,500 square
feet of built area. The building features environment
friendly features like rainwater harvesting, cavity
walls with insulation and double glazed exterior
windows for thermal comfort inside the building
in addition to the insulated roofs with false ceiling.
The project also features the use of pressure
system for water distribution and filtration plant for
water treatment. There is a full load generator back
up in the building. The construction of the building
was started in November 2009 and completed in
June 2011.(an addition to the article submitted to
SPACES on 9th August)
BED ROOM
(3578 x 4350)
NCP
One layer gypsum
board with 25 mm
styrofoam insulation
+150
flower
bed
-450
+ 150
ADDITIONAL
OFFICE (5045 x 2840)
TIMBER
SH
L. TOIL. Elec.
HOM. TILE Duct
G. TOIL.
HOM. TILE
A/12
SH
Up
Dn
FOR EXPANSION
JOINT REFER
DWG NO.
BOARD MEETING
(5037 x 8120)
Up
CARPET OVER NCP
EXTRA OFFICE
ROOM (4074 x3025)
CARPET OVER NCP
GENTS
TOILET
HOM. TILE
LADIES
TOILET
HOM. TILE
Future
Extension
Room TELIA TILE
(4657 x 5649)
NCP
± 000
EURO GUARD
fOR
DRINKING
WATER
PANTRY
(3022x 2584)
HOMOGENOUS TILE
Up
Up
S. STAFF
(3070 x 4308)
HOMOGENOUS TILE
KIT/DIN
(3570 x 4350)
HOM. TILE
EURO GUARD
fOR
DRINKING
WATER
± 000
brick
wall
G Store
WAITING
(6050 x 5320)
TIMBER/MARBLE
-200
40mmØ ms
pipe
-1950
Main Entry
± 000
RECEPTION
(4450x 3470)
Stone cladding
TRAINING HALL
(14040 x 7590)
CARPET OVER NCP
450
HOM. TILE
TELIA TILE
MARBLE
Dn
Ramp
ADMIN. STAFF
(4540x 3335)
TIMBER
ADMIN. CHIEF
( 4695 x 3195 )
TIMBER
Up
240 X 255
COLUMN
PREP./STORE ROOM
(4570 x 2334)
CARPET OVER NCP
PLANS
November - December 2011
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ARCHITECTURE
ENVIRONMENTAL FRIENDLY FEATURES
USED IN THE BUILDING
The building uses environmental friendly features like
cavity wall with insulation, insulated roofs and rainwater
harvesting. The thermal comfort inside the building was
achieved by using features like external cavity wall with
insulation and double glazed exterior windows. Two layers
of 120mm brick wall with 80mm cavity gap forms the
exterior skin of the building. The cavity gap incorporates
50mm thick ‘Extruded Polystyrene Thermal Insulated
Board’ (Styrofoam Board) for additional thermal comfort.
To increase the efficiency of insulated cavity walls, the
openings on walls which include the exterior doors and
windows have double glazed glass panels. These features
were introduced to keep the building warm during winters
and cool during summers without having to use any
energy source for it. Likewise the ceilings in the rooms that
have open terrace above are also insulated.
The building also uses the rain water harvesting. The
rainwater is collected in two HDPE tanks of 5000 Litre
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November - December 2011

ARCHITECTURE
capacity each. This rainwater is used for the
gardening purpose as the project features an
extensive garden and landscaped areas.
The construction works was carried out by
Himalayan Builders and Engineers Pvt. Ltd.
(HBE)
The project team includes the following key
personnel.
Mr. Fred Langworthy
Project Coordinator, NSI
Mr. Bibhuti Raj Pradhan
Project Architect, JSA
Mr. Prabin Bajracharya
Project Engineer, JSA
Ms. Ramita Tamrakar
Asst. Architect, JSA
Mr. Jagat Khanal
Contractor Representative, HBE •
November - December 2011
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ACCESSORIES
The Rhythm of
The Rhythm of
WOOD…
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ACCESSORIES
WOOD…
Text : Ar. Sushmita Ranjit
Beauty lies in simplicity they say. But to what extent
and how is always a matter of concern. What would
you call if simple furniture is adorned with meticulous
carvings that affect our eyes mind and body? Well
of course you would still say it is beautiful. The art of
making things simple yet beautiful by only highlighting
the necessary is indeed a challenging job.
Playing with the rhythm of wood, the managing
director of CRAFTMAN Mr. Ronesh Das Shrestha
delves into the business of furniture and wooden
accessories with the background of interior
knowledge which lasts more than three decades. Few
eminent interior projects accomplished are Hotel
Manasalu, Hotel Radission and Potala Lounge bar,
Ealing Broadway, England.
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ACCESSORIES
The wood craft ranges from bed, sofa, couch, TV board,
coffee table, corner table, mirror table, cupboards, dining
table, decorative ceiling light fixtures, wall hung artworks
and many more, all as per your room size and design,
which is also called as the custom design furnishing work.
With this sort of work range, CRAFTMAN still does not
own its showroom. The MD believes that the vision of the
company will be best practiced only when the mission is
satisfactory and well appreciated. He further elaborates
that even though he started with a single design unit
His vision is to serve his clients with best possible
detailing in furniture. This adds a typical class to
whatever he makes out of a well seasoned shesham
wood. His workshop at Sitapaila, Kathmandu has
in-house carpenters, skilled Newari craftmen from
Kritipur, and other supporting staff to manage the day
to day activities. He also has the team that works on
site with architects and engineers.
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ACCESSORIES
of furniture, he is now setting a trend of doing the
complete interior work for his desired clients. He adds,
that the work no matter what should start from a ‘part’
leading it to a ‘whole’. The wholesome satisfaction is
achieved once there is good coordination in work and
activities.
Mostly the clients that CRAFTMAN has are all appointed
clients rather than the walk in client. Therefore the work
is more specific, value based and time consuming as
per the heavy detail carvings in the furniture. This work
nature preferably demands no showroom facility for
display, which is indeed a challenging nature of work
where marketing and exposure to the larger group of
customer is vital for business growth. However, MD
believes in quality of work rather than the quantity
which is indeed a genuine philosophy for better
business than more business. •
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INFOCUS
Design
Excellence
Text : Ar. Sushmita Ranjit
Mr. Trilokesh SJB Rana, an accomplished individual in the field of furniture
design. Beginning from his school days where he won the ‘Best Craftsman’
award in 1992, Mr Rana has since gathered several awards including
winner at the woodworking show at Olney Central College in 1997, the
First National Bank Southeast Award in Fine Arts Festival of Rockingham
County in 1999, and also bagging first place at the American Society of
Furniture Designers, David Kline Memorial Scholarship 2003. He has in
his career so far worked with companies like Contract Chair England,
Christian Liagire England, Castlebrook Funriture & Design Ireland, Model
Shop Assistant USA, Office Suites Inc Illinois USA to name a few. He is now
based here in Nepal.
Mr. Rana says he has a strong passion for exploring art, craft and conservation,
and would like to bring in a new dimension to his work environment where
both design and skill are better comprehended. He says “As a designer,
utilization of the most technologically advanced materials and processes is
a key to expanding the horizons of design and further establishing a more
personalized and functional existence with the material world.” In his working
style, he describes himself as a ‘hands on’ person who likes to understand
things from seeing and touching, rather than reading about it. He is a believer
in the practical learning process and design utility and says, “I define my
work as a reaction to our ever-changing world. Like the world, my ideas and
concepts are in a state of constant metamorphosis. I view design as the art of
reducing stress and bringing enjoyment to the user’s experience of an object.”
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November - December 2011

Mr. Rana completed his high school from St. Paul’s
School, Darjeeling, India, and then went on to study
woodworking in Olney Central College, Illinois, USA –
which he completed in 1998. In 1999 he enrolled in a
course for Associate in Applied Science in Fine & Creative
Woodworking at Rockingham College, NC, USA. On
completing this course, he felt it was not comprehensive
enough for his needs, so he went on to acquire a bachelor
degree in fine arts in the field of Interior/ Furniture Design
from Kendall College of Art and Design, Grand Rapids, MI,
USA in 2003.
Though satisfied with his education in the field so far, he
says he is still learning in his field of design, where skill,
according to him, takes a life time for an artist to improve
on. He remarks, with a smile, that a lifetime of learning
would probably still not be enough!
He feels that the art that we have inherited from our
predecessors in the field of woodwork and architecture
here in Nepal are an extraordinary quality that is found
nowhere else on earth. Woodcraft and architecture are
highly developed here, he says, and that we should be
proud of it and preserve it. He takes inspiration from
this tradition of craftsmanship and says that mentorship
learning would be good, but better if done under
professional teachers. Asked about his inspiration in the
world of western art, he gives credit to people like Henry
Spencer Moore (an English sculptor and artist best known
for his semi-abstract monumental bronze sculptures which
are located around the world as public works of art),
Charles and Ray Eames (American designers who worked
in and made major contributions to modern architecture,
furniture and who also worked in the fields of industrial and
graphic design, fine art and film).
Mr. Rana likes to works with a theme, and gets inspired
with a story or a piece of history. He says that every
creation is the outcome of daily interactions with the world
around us and with our ingenuity, we should learn to be
aware of the obvious things that surround us, and can get
inspired with endless ideas from experience in every
moment of interaction. As a furniture designer, he not only
fills in spaces, but interacts with volume and objects. He
defines these objects as “the material things surrounding
us that evoke emotions, memories, and mood.” He
elaborates further to say that individuals interacts with an
object in their own unique way and that subconsciously
or consciously, an object’s function and aesthetic value
impacts our cultures and individual identities. “In a way,
objects themselves take on individual identities as one
views and interacts with the entity”, he says.
Mr. Rana has a long term vision for the establishment of
an international non-government organization (INGO)
to work for conservation of art, architecture and various
INFOCUS
artisan skills, so that it can be adopted and appreciated by
generations in the future.
He has had a lot of opportunities to stay abroad and work with
reputed companies and high end clientele, but he says he
sees more potential for his work in Nepal than elsewhere in
the world, and so is here to stay. One hopes that this view of
working with and promoting one’s native art and architecture
will lead contemporary arts and design to much better heights.
From designers sketch book
Birth of KOSI TABLE (Winning furniture piece at a free
competition organized by - American Society of Furniture
Designers- David Kline Memorial Scholarship 2003)
Inspiration:
The early Japanese bridges of Shintoism influenced his design
for a Kosi Table. The name ‘Kosi’ itself is coined from the name
of the Kosi river in Nepal.
Design Concept:
The design of the Kosi table works visually from all angles of
view demonstrating proficient design ability, complex forms,
and excellent joinery. The two supportive arches and elegant
compound curves create a pleasant rhythm in structural
organization and has an airy spatial definition. Its simplicity has
a mass appeal, and could easily be redesigned for the readyto–assemble
market.
Although appearing light and fragile, the Kosi table has an
inherently strong structure as the weight is evenly distributed
on the arch, giving structural solidity. The walnut and maple
spline effect is distinctive to the piece, providing a pleasing
symmetry. Kosi is as pleasing to our senses as a sculpture.
The wonderful interplay of horizontal rectilinear and vertical
curvilinear elements successfully combines the elements of
form, function and aesthetic quality producing
visual harmony. •
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ART
Nepali Art
has ugly faces - too
Text : Madan Chitrakar
In the past, endowed with vast medieval wealth - Nepali
Art had many reasons to be proud and to be admired.
For centuries, the traditions of Painting and Sculpture
in particular, have remained so remarkable it could
narrate innumerable stories of diverse imaginations,
styles and beliefs in its expressions. The achievements
also provided reasons to wonder how in spite of the
harsh geographical adversity and the days of isolation
then the ancestors managed and were able to create
cultural marvel. Indeed amazing it may seem today, it
underscored a singular fact – honesty, dedication and
ingenuity of Nepali artists then!
But these are the things of the past. But today in view
with the emerging not so pleasant developing culture
amongst our artists brethren, a question troubling us
today is whether we are carrying this legacy with equal
honesty and dignity? Not really. It seems it is really a
high time one should have the guts to expose and let
the people know what has always been superseded by
the high noise of fallacies.
To begin with let’s fast forward the beginning of
modern era in Nepali society and see whether we
were able to stay in tune with the call of the time in the
recent past. In the genre of Painting, for sure, Nepal
did not remain far behind when modern thoughts and
modes of expressions when it just began to appear
in the British-India. Two Nepali art students (Tej B.
Chitrakar and C.M.Maskey) already for the first time in
Nepali history had graduated from the British modeled
art schools in colonial India as early as mid twenties
of last century– thus ushering a new era of modernity
in ‘Nepali Art’. It proved to be the earliest but a sturdy
foundation for more modern and liberal expressions to
come later.
And then it leads us straight to the early sixties
when Nepali painters began to transform from the
recognizable forms to the modern expressions. It
was during these historic times, masters of modern
art in India like Raza, Husain, Ara and other avantegarde
painters were ruling the crest of art waves in
independent India and thanks to the liberal grants
of Govt. of India then, Nepali artists could learn and
express beyond the known norms and break the
established practices at such an early stage. And
add to it the knowledge of graphic communications –
absolutely a new genre in Nepali context but already
well developed in India was introduced in Nepali art
and social fabric. By all means, these early efforts did
remain highly commendable and by every reason,
were path breaking exercises.
Almost simultaneously, as if to add more feathers to
these early feats, it was followed by some meaningful
events like establishment of a first ever establishment
of Nepal Association of Fine Arts (NAFA). Established
as an independent state entity, NAFA honestly speaking,
came into being as a result of the personal interest and
initiative of the then crown prince late Birendra himself.
It was meant to function as a state agency to look after
every aspect - to develop, promote and nurture the
artistic expressions of every kind and the people. As it
was meant to promote and preserve all genres of art
in existence, it proved a timely- morale booster. As a
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ART
result, waves after waves of younger generation of artists
began to practice and get attracted to forms either with
academic undertones or with unconventional forms with
modern ideas. It all sounded impressive and seemed
doing all with honesty: and it seemed Nepali Art was then
really poised for a great leap and hoped optimistically it
would soon take on the international arena.
And as intended, for good reasons changes were
really taking place. Nepali society in general and the
intelligentsia in particular began to witness a vast sea
change in people’s attitude and perception towards
art. Common people began to find they are no more
bewildered and perplexed looking at ‘modern’ works in
display. As if to recognize or reward these honest efforts
of Nepali Artists then, exactly during this early period
one of the member artists from the SKIB, Batsa Gopal
Vaidya managed to win the coveted Gold in the Asian
Art Biennale held in Dhaka, Bangladesh. It all seemed
surreal then that Nepali Art was taking such fast strides
within a very short time. Moreover, an establishment of a
permanent gallery – Birendra Art Gallery in the premises
of NAFA, during this early period indeed offered a great
hope to many that at long last there is going to be a place
which would truly chronicle and narrate the growth and
history of Nepali Art!
Symptoms of dark sides
But unfortunately, as the law of nature has it not always
everything would go as intended. Darker sides always
follow. So not long after, signs of ugly faces began to
emerge in Nepali Art as early as seventies or even
earlier. Firstly, the liberal thoughts offered by the modern
expressions in painting and sculpture were interpreted by
many opportunists as short circuit to name and fame. As
a result, not soon after, Nepali Art began to witness many
charlatans masquerading as avant-garde painters and
many mediocre works began to appear as ‘modern art’ in
Nepali Art scene. And secondly, as the creation of NAFA
– the Nepal Association of Fine Arts, offered prestigious
jobs like Member Secretary as the Executive Official and
the posts of ‘Academicians’ representing Fine Arts in the
then Royal Nepal Academy (RNA), never-ending powerstruggles
began to take place unabated amongst a set
of power-hungry artists. To these select few, the ‘posts’
remained the matter of paramount importance rather
than search for creative explorations. To them, the need
for self-respect and dignity soon vanished. Sycophancy
and lust for coveted jobs in NAFA and RNA remained the
catch word - so unbecoming of a true artist! Objectively
speaking, beginning with the earliest appointment of
any artist as a member of ‘Academy’ to all the Member-
Secretaries of the then NAFA, without any exception, have
remained the end result of this perverted attitude and the
phenomena of sycophancy. Apparently, to the incumbents
it always seemed the amount of the allocated budget
remained their primary concern. The poor state of Nepali
Art remains strong testament to all the inefficiencies and
the open testimony of the inept performances. Beginning
with the appointment of Lain Singh Bangdel in 1962 circa
(and incidentally, his entire tenure in various capacities in
the then Royal Nepal Academy coincided with the advent
and the demise of much reviled Panchayat rule in Nepal)
to the latest activities of present incarnation of NAFA which
continues to carry the same legacy.
An Eye Opener
A stark example of the complete wastage of time and
money thus spent in the past is made when a simple
request made by a foreign art-enthusiast to advise him on
a book on ‘contemporary Nepali Art’ – preferably written
in English. It is a pity that no such material ever existed or
even attempted. For sure, a common curiosity of a foreigner
unintentionally ridiculed the concerned institutions and
the entire intelligentsia how distressfully unprepared and
intellectually shallow the state of Nepali Art and the artwriting
is in. It made a shameful example of intellectual
poverty of those artists who always sought power in the
name of art: and it makes one more angrier and sick of
the fact that as stated earlier ‘Fine Arts’ always remained
included as a genre of equal concern in the Charters of the
then Royal Nepal Academy since its very inception in 1962.
The task should have been commenced by the Academy as
an ongoing project a long time back!
So then where did the fault lie? Always appointed on
the strength of sycophancy, to none of the consecutive
incumbents throughout, ever occurred to them a need to
engage in academic exercises. So no wonder that those
six decades of state budget and endemic perks went down
the drains and resulted in a blank zero. In comparison, the
efforts and achievements made by Bangladesh – a country
of similar size but with a larger population to feed, put us
in great shame. An independent entity only since 1971,
Bangladesh – today hosts a large international art event
every two years since 1979 - leave aside the volumes of art
publications every year!
The Art infrastructures
Now let’s see the state of infrastructures of the Nepali Art, we
have today. It is indeed a matter of shame that to this very
moment Nepal – a sovereign country and we take so much
pride of our rich with cultural heritage, do not have a venue
we can describe as a modern art gallery- with amenities
of international standard. The incumbents of the NAFA or
the then Royal Nepal Academy or the concerned ‘Member’
throughout this long period had never thought of renovating
the existing antiquated physical conditions of the so called
exhibition halls in the premises of Bal-mandir. Thoughts of
creating a new ultra-modern ‘Art-Complex’ apparently not
only remained a far away dream but it never occurred to
them.
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Thanks to the initiatives of late king Birendra that a
permanent ‘Gallery’ was mercifully created then. Birendra
Art Gallery- a place envisioned to be a central repository of
all historic and modern works of meaningful consequences
was provided with adequate budget to make purchases
of monumental works every year. However without any
prejudice, it makes one really sad to note that what really
happened to this institution with such noble objectives is a
story of despicable acts. On many occasions the incumbent
members of the Academy, did succeed in transforming the
provision into a virtual cash cow to purchase own or the
works of the cronies with arbitrary price tags. A unique
example is set- it is really sad to note, by Uttam Nepali while
he was in the chair. He managed to compile as many as
seventeen of his own works in this prestigious place and
pocket the funds into the pocket. Similarly, quite a few of
his cronies each has minimum ten to fifteen works sold to
NAFA as historic pieces while many many works of historic
consequence remain grossly ignored and dismissed.
Nothing can be more disgusting show of utter disregard for
the declared objectives of the Gallery. Today if one chooses
to make a surprise visit to the ‘Gallery’- it would not be
really far from the descriptions made here. One would findleave
aside a system of proper display and the supporting
literature, it would leave an art lover literally cry at the sight
of gross negligence and mismanagement. One has to see to
believe the state of disorder and dilapidation in the creaky
dust ridden ‘Gallery’!
The other visible casualty of the recent times is the
increasing degeneration of innovation, honesty and the
sense of dignity in Nepali Art. True that advent of modern
forms has brought a visible change in the perception of
Nepali art. But it is also understood by many imposters as
an easy refuge to make a quick name – or a convenient
camouflage to brand oneself as a ‘contemporary or modern
artist’. People from different walks of life as diverse as
physical fitness trainers to men least familiar with even the
basic rudimentary knowledge about art began to emerge
as artists or art writers. Most of them continue to make
‘Shows’ at every interval with mediocre works calling
it modern or ‘abstract’. Such flagrant abuse of modern
thoughts only helps create misunderstanding about essence
of art in the minds of the people.
Recent dramas and antics
Yet another ugly phenomenon seen these days is the rise
of antics, hypocrisy and the use of gimmicks in the name
of art-primarily to draw attention of the power centers and
the public. A glaring example is made in the recent past
when someone known for gimmicks, created funny antics
by dropping bundles and bundles of cloth down the balcony
of Bhimsen tower (Dharahara) for no good reasons. With
meaningless random scribbles painted over it, bundles
of cloth rolled down the balcony and it was described as
an ‘art’. What a shameless way of fooling simple Nepali
people. Thanks to the simplicity and ignorance of Nepali
people, they had to swallow it as if it is a real work of art. It
was by all means an outright bluff of a highest order and
a ridiculous stunt. Can anyone explain to this date what
purpose did this senseless and meaningless act served to
the cause of art- except to make noise? The traders who
may have donated the cloth bundles should know it better.
Rise of Opportunism, sycophancy and Greed
In 2006 circa, the country witnessed an epochal upheaval
politically: suddenly the country got transformed into a
republic. Expectations were raised high and everyone
remained euphoric that bad days are over for good. So did
the art and the art fraternity. But the first thing to happen
in the art fraternity was to witness a set of super-jealous
artists seeking to offer themselves as the art-wings or the
art-cadres of the chosen political parties. The only reasons
behind doing so were the greed, to gain close access to
the power centers and then avail themselves of the rewards
for doing so. Primarily driven by greed and partly to
compensate their own academic short comings needed
to acquire prestigious posts- such acts so unbecoming of
true artists, remained the general pattern of their ‘Lalit-kala
Abhiyan’ or the campaign for Art. So unfortunately after
2006, the state of chaos and bluff in Art for sure, nosedived
from bad to worst. In short, it was as if a kind of vicious
viral disease was spread amongst the artists. No wonder
that today each major political party has bunch of artists
serving as sister -organizations in art– in par with labor or
peasants’ groups.
The coming of ‘Nepal Academy of Fine Arts’ in place of
earlier Nepal Association of Fine Art in April, 2010 –now
independent with more clout and hefty budget is the most
visible and glaring example of a wrong decision made in
complicity with such vice groups as stated above. By the
term ‘Academy’, one understands it is a place where a
group of wise and learned scholars from respective genres
or fields sit together to steer and provide the leadership on
the strength of their knowledge and past experiences. In
a normal circumstance, the state decision makers always
make a serious thinking on choosing the very right people
to man such an august institution – never on the strength
of continuous lobbying and caving in to such petty groups.
Unfortunately, it is really a matter of shame that the present
‘Art Academy’ remains an out right end-result of such
constant pestering and lobbying made by one of those
vice-groups seen in the Nepali Art today. The present
Academy is led by and all the Office holders have all
remained the cadres of similar groups. The result is open
and for everybody to see. It is a motley crowd of people
from extreme opportunists, monarchists to just anarchists
or with disparate back grounds. Most of the ‘Academicians’
are not only members of sister organizations, about half
of them are also still enrolled as regular students in TU to
this very moment. And paradoxically, some members have
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never seen a face of an art institution in their lives. It is not
that one should have qualms on being a political cadre
but the primary issue is one should have proven ability
to accomplish the noble academic tasks as enshrined
in the given statute. Imagine a scenario if people
doing Bachelors or Masters in Science are appointed
the honorable members of an academy of science or
technology? This is what precisely happened in Nepali art
today and thanks are entirely due the culture of extreme
political meddling and the desire of the leaders to reward
their henchmen.
Now it is more than one and half years, the ‘Academicians’
have been appointed and since then enjoying from the
state funds - the hard earned tax-money paid by the
poor Nepali people. So it is also time to expect some
‘academic’ works in return. But the returns are hard
to find. Agreed that the period is too short to make
tangible long term works but it is too long enough to
at least chart out an outline of future course of actions
to come. The accomplishments made so far it seems
limited to purchase glossy limousines, make elaborate
refurbishment of office cabins : and to exhaust the given
state given budget and wait for another budget to come.
And a defensive argument may come that a ’National Art
Exhibition’ has been organized. But it may well be noted
that it remains a poor continuation of an old ritual initiated by
late king Birendra some forty five years ago with a meager
budget. What the people expect from an ‘Academy’ is
academic works. No less!
Forget ‘academic‘ research works, instead a recent
news coming out from the ‘Academy’ in public says
‘Academicians’ are now at each other’s throat over the issue
of commission spoils coming out of the new car purchasesamounting
millions. On 16 th this July, with a liberal display of
‘Khukri’ and followed by ransacking of office premises, the
so-called ‘academy’ unveiled its true face before the world
making the entire art-fraternity of Nepal’s head bow low.
For these acts of shame, the ‘Academicians’ are not to be
blamed for what had happened -because they are known for
that. The blame and fault entirely lies in the poor judgment of
the members of the Selection Committee albeit they remain
of questionable integrity and the political decision maker
who wanted to reward his henchmen above the principle of
right men in right place.
Unfortunately in short, the present constitution of present
set –up would sure to go down in the annals of Nepali Art
history not only as an absolute mockery of meritocracy but
also as an intentional affront to the people who had helped
shape a modern face of Nepali Art. •
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