3. Nov -Dec 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. •
November - December 2011
59
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