6. Nov-Dec 2010

NOVEmber - DECEMber 2010 

Art - Architecture - INTERIORS - ACCESSORIES 

www.spacesnepal.com 

RESORT REALMS 

Price NRs. 100/- IRs. 65/- 

Interior Design Institutes in Nepal 

7 Questions to ask before using 

Ready Mix Concrete 

When Solar gets Sexy 

November-December 2010 

Beds to Behold 

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November-December 2010


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38 Architecture 

The Rolling Greens 

by Ar. Sushmita Ranjit 

Out of its 700 acres of forest at the Gokarna 

Forest Resort in Kathmandu, a 100 acres has 

been crafted into rolling green pasture for golf 

enthusiasts. Complimenting this landscape 

with the built forms designed by Indian 

architect Romi Khosla, and later by Design Cell 

of Kathmandu, the resort has been serving its 

visitors with multiple facilities of leisure. 


Five Pebble Fish 

by Ar. Tom Crees 

The Riverside Springs Resort at Kurintar lies on the banks 

of the Trishuli river, fairly in-between Kathmandu, Pokhara 

and Chitwan. The brainchild of five friends, which included 

the architect of the project, the resort is rather an end 

destination than just a restaurant for passing traffic. 

Contents 

Vol 7 Issue 1 / November - December 2010 

54 

In the Heart of a Jungle 

by Ar. Swati Pujari 

Architecture 

Cover Photo : An Interior of one of the 

rooms at Gokarna Forest Resort 

Photographs: Ashesh Rajbansh 

Canon EOS 5D Mark II 

Av 6.3 ISO 800 

Built in 1964, Tiger Tops, was initiated as a hunting lodge. 

Today, it is a model of responsible conservation tourism. 

Located inside the Royal Chitwan National Park, famous for the 

rare Royal Bengal tigers, the lodge was initially conceptualized 

after the original ‘Tree Tops’ safari lodge in Kenya.


A Seductive Ensemble 

by Ar. Swati Pujari 

Tiger Mountain Pokara Lodge is a secluded and seductive paradise. 

Located a few kilometres from Pokhara, the lodge surmounts a hilltop, 

350 m above the Pokhara valley - the site selected by the founder of 

Mountain Travel Nepal, the late Col. Jimmy Roberts himself. 

72 Interior 

A Contemporary Lifestyle 

by Ar. Prabha Bajracharya 

The mock-up apartment at the Status Enclave 

apartments in Sanepa, Lalitpur, is a cut above the rest. 

Although only a mock-up, the space planning, choice of 

materials, furniture and furnishings, speak volumes of 

the designer’s skill towards building an environment for 

a contemporary lifestyle. 

79 Analysis / Opinion 

Interior Design Institutes in Nepal 

by Ar. Kalpana Bhandari 

The need for interior design was rarely, if not never, 

a necessity in Nepal since a decade back. Now, and 

although still limited to certain dimensions, the 

profession of interior design has been prospering as 

can be surmised by the number of interior design 

institutes opening shop in the country. 

26 ACCESORIES 


31 IN FOCUS 

Ready Mix Concrete – Panchakanya Group 

34 SOLUTIONS 

When Solar Gets Sexy 

91 Art 

The Painter of History 

by Richa Bhattarai 

Hari Prasad Sharma was born 75 years ago in 

a Newar community in Kathmandu. With an 

astrologer as a grandfather and a singer as a father, 

this warm and articulate artist has made it his life's 

aim to paint Nepal's glorious past and keep it intact 

for the future generations.

Letters 

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

Volume 7 Issue 1 


Nepal Pavilion at Shanghai World Expo. 

The article ‘Shanghai World Expo 2010’ made 

interesting read, especially since the Nepal Pavilion, 

until the last day of the exhibition, recorded a 

substantial visitor’s attendance out of the total 70 

million visitors to the Expo. Its attraction no doubt 

is primarily is due to the design of the pavilion. The 

article would have been more informative if it had 

mentioned the designer’s name. 

Anand B. , Kathmandu 

Contributions to the Interior section 

Being an Interior Designer, I am grateful to know 

that I can share my design ideas and sense with 

SPACES. Although, there are many subjects under 

interior design and architecture, I will try to compose 

some through my own experience! Thank you for 

informing. 

Anuja Shilpakar, Interior Designer, Kathmandu 

Distribution 

Kathmandu 

East Nepal 

Managing Editor / Editor 

Uday Sunder Shrestha, B.E, B.Sc. 

Photography / Production Control Ashesh Rajbansh 

Consultant-Marketing & Sales 

Assistant-Marketing & Sales 

Public Relations 

Editorial Assistant 

Contributing Art Editor 

Krishna Shrestha 

Anish Shrestha, Pratima Bhandari 

Prakash Bahadur Amatya 

Swati Pujari, B. Arch. 

- Madan Chitrakar 

- Kasthamandap Art Studio 

Contributing Editor - Darjeeling Hills Barun Roy 

- Delhi Ar. Jinisha Jain 

- Sikkim Ar. Chetan Raj Shrestha 

Accounts / Admin 

Correspondents 

Design / Colour Separation 

Printed at 

Published by 

Rajesh Dali 

Ar. Bansri Pandey 

Ar. Kalpana Bhandari 

Ar. Sushmita Ranjit 

Ar. Prabha Bajracharya 

Richa Bhattarai 

Digiscan Pre-Press 

Naxal, Kathmandu. Phone: 4436817 

Format Printing Press 

Hadigaon, Kathmandu, Phone: 4010160 

IMPRESSIONS Publishing Pvt.Ltd. 

Kupondole, Lalitpur 

Post Box No. 227, DPO Lalitpur 

Phone: 5544606, 5526040 

R.B. Newspaper Traders, Kathmandu 

Ph: 4232784 / 4215652 / 4216658 

Skypass Cargo (P) Ltd., Kathmandu. Ph: 4701293 

Parbati Shrestha 

Naya Bazar, Dharan - 05 

Ph: 025-5-21164/025-525118, Cell: 9842054110 

Mid & West Nepal Allied Newspaper Distributor Pvt. Ltd., Kathmandu 

Ph: 4261948 / 4419466 

Delhi 

M.L. & Sons 

Shivaji Stadium Complex 

Shaheed Bhagat Singh Marg, New Delhi-110001 

Ph: 0091-01-32421262, 23362688 

Darjeeling, 

Sanjana Limbu 

Kalimpong, Gangtok The Digital Den 

Top Floor, New Super Market, Darjeeling - 734101 

Cell: 99323 - 85772 eMail:subbaangel@yahoo.com 

advertising & subscriptions 

Kathmandu IMPRESSIONS Publishing Pvt.Ltd. 

Ph: 5544606, 5526040 

email: market@spacesnepal.com 

Birgunj 

Kishore Shrestha, Hotel Kailash, Adarsha Nagar. 

Ph: 522384, 529984. email: hotelkailash@wlink.com.np 

Dharan/ Parbati Shrestha 

Itahari/ Naya Bazar, Dharan - 05 

Biratnagar Ph: 025-5-21164/025-525118, Cell: 9842054110 

For SUBSCRIPTIONS 

Call Pratima or Anish at: 01-5544606 / 01-5526040 

Email: market@spacesnepal.com 

Kupondole, Lalitpur 

SPACES is published six times a year at the address 

above. All rights are reserved in respect of articles, 

illustrations, photographs, etc. published in 

S P A C E S . 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 SPACES in 

writing. Unsolicited manuscripts, photographs and 

other submitted material must be accompanied 

by a self addressed return envelope, postage 

prepaid. However, SPACES is not responsible for 

unsolicited submissions. All editorial inquiries 

and submissions to SPACES must be addressed to 

editor@spacesnepal.com or sent to the address 

mentioned above. 




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Editorial 

Greetings from SPACES 

- Art, Architecture, Interiors & Accessories! 

Noticed the addition to our by-line? 

Yes! We are changing with the times. Or maybe we’ve completed a full circle 

and found our way back. 

If readers will remember, our first few issues went by the by-line, ‘Guide to 

Good Living’. The idea of the magazine thence was to incorporate ‘all things 

related to good living’ – meaning that for good living, not only architecture 

is important, but all that SPACE encompasses. Hence those earlier issues 

even had articles like ‘Tranquillity in your Room’ and ‘Man’s Best Friend’, both 

on the favourite domestic pets – the fish and the dog. Reactions to this, as expected were mixed; the 

negative ones being, “Is this supposed to be an architectural magazine?” and, “What has fish and dogs 

got to do with architecture?” Our answer then was “Yes, it is definitely an architectural magazine. But 

then again, doesn’t architecture deal with SPACE? Will architecture be complete without addressing 

the SPACES that it encompasses?” Our belief on this 6th Anniversary remains the same! 

Hence as we embark on the 7th year of publication with this November-December 2010 issue, readers 

will find new additions to Art and Architecture – Interiors and Accessories. 

Coming to the focus of this issue – Resort Realms. Sometime earlier, it was officially announced that 

2011 be declared Nepal Tourism Year, which made us ponder as to how SPACES could contribute to 

this announcement. “How about connecting through the architecture of Resorts in Nepal?” was Swati, 

our editorial assistant’s suggestion. And that set the ball rolling. Identifying good resorts to feature was 

the next step, and who better to advise on it than Mr. Shyam SL Kakshapti, current Treasurer of Hotel 

Association of Nepal and the Chairman of Nanglo Pvt. Ltd. The list was long as we found out that there 

are many well designed resorts in the country. In addition, it was also important to identify the resorts 

according to the length and breadth of the country. Unfortunately due to many constraints we could 

not feature all, although we hope to do so in coming issues. Nevertheless, read on to get a taste of 

some of the best in the country. 

Our ‘Analysis’ this time is on ‘Interior Design Institutes in Nepal’, a topic no one has really bothered to 

find out about, even though all of us are one time or the other connected with the subject of interior 

design. Read on to find out what our research team (comprising also of enthusiastic interns from Rato 

Bangla and Lincoln schools) dug up on their status and what a few architects and interior designers 

have to say on the topic. 

And finally, elaborating on the additions to our by-line... 

Editor's Note : 

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 

While ‘Accessories’ focuses on the international ‘Kian’ brand of beds, ‘In Focus’ zeroes in on ‘Ready Mix 

Concrete’ of Panchakanya Group led by the innovative Pradeep Shrestha. The ‘Solutions’ section is 

carried on with a very interesting product featured in the article ‘Solar Gets Sexy’ – a product to ponder 

on by daring architects. 

Yes! Change is inevitable in life. It is just that we have to focus on the positive parts to move ahead! 

Until the next issue......


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Message 

From SONA 

F 

irst of all myself and on behalf of SONA, I would like to congratulate SPACES on the 

occasion of their 6th Anniversary Celebration and wish SPACES the very best of 

luck and success for their future endeavor. SONA is very much grateful to SPACES 

for regularly supplementing SONA’s views, activities and performance of architects in their 

magazine. Consequently, I would like to list here, few of the past major activities of SONA 

along with some planned events in the future. 

• SONA-SPACES MOU (Memorandum of Understanding) in Aug 2010 to 

Promote Architecture and its Allies. 

• SONA’S President with 14 Members delegation of Architects visited UIA 

2010 Conference at Thailand on April 27, 2010, as Observer of the Conference from Nepal. 

• Amendment in “Pratibadhata Patra” (for DUDBC Permit) for Building Permit of Apartment 

Buildings. 

• SONA’S President appointed & invited as Jury Member for 19th AYA (Architect of the 

Year Award) organized & awarded by J.K. White Cement, India. SONA’S President visited 

Mangalore on Nov 27, 2009 for carrying out the Evaluation of Entries along with other 

Jury Members of AYA. On Sep 9, 2010, SONA’S President visited Chandigarh for the Award 

Presentation Ceremony of 19th AYA (Architect of the Year Award). 

• Visit of SONA’S General Secretary, Ar. Debesh Raj Bhattarai on Aug 6, 2009 to Sri Lanka at 

SAARCH Conference, where the General Secretary also signed the Joint Declaration for 

formation of SAARCH Student Body. 

• Visit of SONA’s General Secretary, Ar. Debesh Raj Bhattarai on Dec 2009 to Chennai, India, 

along with two Architecture Students for the formation of Student Body of SAARCH and 

recently in Lahore, Pakistan, in October, 2010 for the Student Jamboree. 

• Visit to Ulaanbaatar, Mongolia by Vice President, Ar. Bishnu Panthi & Past President, Ar. 

Binod Neupane for attending the ARCASIA meeting on Aug 18- Aug 19, 2009. 

• Future Events: 

a) International Conference on Mission Green Nepal in year 2011. 

b) Construction Material Exhibition. 

We shall be keeping track of all the major activities of SONA and our fellow Architects will be 

updated in the future issues of SPACES. 

Ar. Swarup G. Koney 

President – SOCIETY OF NEPALESE ARCHITECTS (SONA), Thapathali, Kathmandu 

Contributors 

Ar. Tom Crees presently works in a practice that 

focuses on the design of schools in Australia and 

currently is submitting a design competition for 

a high school in Canberra. After an assignment 

as Project & Design Manager in the Middle 

East for the National Security Screen of Qatar, 

working purely as an architect again is very 

satisfying. With roots in Darjeeling, Tom has a 

number of notable projects designs to his credit 

in Kathmandu, Nepal, some being the ‘Church 

of The Assumption’ (http://www.spacesnepal.com/archives/jan_feb08/ 

the_church.htm), the ICIMOD new HQ complex, the UN Common Premises, 

the Empire Heights and others (tomcrees@tpg.com.au) 



Sandeep Giri is the President of Gham Power, 

fastest growing solar company in Nepal, using 

the #1-ranked American solar PV technology. 

Mr. Giri lives in San Francisco, California (USA), 

where he helped launch several technology 

companies, including a software company 

in Kathmandu. When his Nepal office was 

impacted by the load-shedding crisis in 

Nepal, he decided to launch Gham Power with 

American collaboration, providing quality solar 

technology for Nepali homes and businesses 

at affordable prices. Mr. Giri holds a Master’s degree in Computer 

Science and a certificate in Solar Energy from University of California 

at Berkeley. (sandeep@ghampower.com)


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Prashanta 

Scholarship Awards 

News and Happenings 

September 17, 2010, Kathmandu 

A scholarship award ceremony was held at the Srijana College 

of Fine Arts in which Arpita Shakya from the Bachelor’s level 

and Kuldip J.B. Gurung from the Intermediate level, and both 

from Srijana College of Fine Arts, were presented with cash 

prizes as well as art materials. The prize is awarded to the art 

student of Tribhuwan University, topping the final year of the 

respective level. An exhibition of the previous winner, Megh 

Bdr. Limbu, was also held in the same occasion. 

While the Prashanta Scholarship Awards was set up by the 

Prashanta Memorial Society to promote and encourage young 

artists in Fine Arts, the Society itself was founded in 1999 

in the memory of late Prashanta Shrestha, the founder of 

Kasthamandap Art Studio. 

Rivers of Pilgrimage 

September 17 - October 1 2010, Kathmandu 

An event held at the Nepal Art Council entitled 

‘Rivers of Pilgrimage’ showcased photographs of 

holy rivers of Nepal and India, as a celebration 

of the culture of devotion towards the rivers that 

have been the bases of cities and civilizations, 

their degradation in present era; as well as 

bringing together the vision of photographic 

geniuses of the two countries. Inaugurated by 

the Ambassador of India to Nepal, Mr Rakesh 

Sood, the program highlighted the religious 

importance of rivers like Bagmati, Ganga and 

Jamuna, the ancient cultural centres like Panauti 

and Varanasi, and also the ecological insight 

towards the importance of these rivers in life. 

With three photographers from Nepal- Kishor 

Kayastha, Laxmi Prasad Ngakhusi, and Bijay 

Gajmer, and three photographers from India 

- Prashant Panjiar, Dinesh Khanna, and Ravi 

Agarwal, the exhibition addressed 10 photo 

stories captured by each photographer. 


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NEWS and HAPPENINGS 

3 rd REMA Course 

Concludes 

24 September, Kathmandu 

Brihat Investments Pvt. Ltd. (BI), in 

affiliation with Thai Real State Business 

School (TREBS), has for the third 

consecutive year, successfully conducted 

the Real Estate Marketing Agent (REMA) 

Course from September 19 - 24, 2010. 

With the primary objective to bring about 

positive changes in the construction world 

and with an emphasis on the 3 RE’s - Real 

Estate Investment, Real Estate Partnering 

for Entrepreneurship and Real Estate 

Marketing Agents - the trainees are guided 

on ethical business deals in the land and 

housing sector. 

Dr. Sopon Pornchokchai, a Real Estate 

expert from TREBS Bangkok, Mr. Om 

Rajbhandary, Chairman of BI & CEO 

of TCH (The Comfort Housing), along 

with other professionals, bankers, and 

other concerned authorities took part in 

this session with the 19 trainees. The 

closing ceremony was held on 24 th 

September 2010 at the Radisson Hotel 

in the presence of Mr. Ichha Raj Tamang, 

Chairman, NLHDA & President, Civil Homes 

Pvt. Ltd., among other invitees. 

Experts involved in the training were 

Mr. Om Rajbhandary, Dr. Bhaikaji Tiwari, 

City Planner at the Kathmandu Valley 

Development Committee, lawyer Rudra 

Pokhrel, TCH's senior Advocate Mr. Sushil 

Kumar Chapagain, architect Prathana 

Vaidya of TCH, Purnima Rajbhandary CEO 

of BI, coordinator Ms Sabita Joshi, DGM of 

Himalayan General Insurance Mr. Sushil 

Bajracharya, CEO of Prisma Advertising 

Mr. Ranjit Acharya, Director of Care 

Construction Mr. Gautam Pradhan, and Dr. 

Sopon Pornchokchai. 

Both the buyers and sellers eventually 

benefit if transactions are undertaken by 

such trained individuals as such ethical 

practices promote genuine valuation of 

the property as well as eliminate related 

hassles for the buyer. 




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13 th ASA Architectural Exhibition- 

Experience through the Fourth Dimension 

Oct 01-Oct 03 2010 

With the quest to explore 

the fourth dimension - time, 

the13 th ASA architectural 

exhibition has been a must 

visit event to followers 

of architecture. Prior 

to the exhibition titled 

‘Expression through the 

Fourth Dimension’, an art 

competition was organised 

on 25 th September in Patan 

Durbar Sqaure, with the theme 

‘Scenario around Patan Durbar 

Square’, with pencil and water 

colour as the medium. 

For a visitor, the entry to 

the exhibition block was 

quite a surprising maze 

- a little deserted walk on 

unmanaged bushes and 

then through a cave to 

move around Stonehenge, 

and then approach to the 

‘Berger Rangey Haat’ 

winners announced 

summer pavilion with display 

of paintings and a stepped 

pyramid just before it. Yes, 

time did make sense to have 

seen a Stonehenge and then 

27 October 2010, Kathmandu: 

Berger Jenson & Nicholson (Nepal) Pvt. Ltd organized a press 

meet to connect to its consumers and award the winners of 

“Berger Rangey-Haat Offer” promotional scheme. The scheme 

that was launched on August 23 rd to last until November 16 th 

2010 has consumers claiming a diamond necklace, eight Sony 

22” LCD TVs, 8 MIDEA Microwave Ovens, and lakhs of cash 

prizes. The scheme was structured to receive a scratch card 

with every purchase of Berger Paints worth over Rs 4,000 and 

a chance to win the bumper prize - a Pulsar 220cc motorbike, 

unclaimed until present. 

a pyramid. The approach to 

the wing was from its back 

entry, which showcased 

some really well crafted 

models exemplifying the 

different styles of architecture 

of the world. The Egyptian 

pyramid, the Greek Acropolis, 

the Roman Colosseum, the 

Mayan architecture, Angkor 

Vat of Hindu Architecture, 

Sachi Stupa of Buddhist 

architecture, Taj Mahal of 

Muslim architecture, Salisbury 

Cathedral of Christian. It 

probably encrusted the 

timeline that one pictured 

outside the block. The 

compilation being appreciable, 

the exhibits were however 

there in the 11 th and 12 th ASA 

exhibition too. 

Other sections were 

different era of architecture, 

from Art Nouveau to De 

Constructivism, with some 

remarkable architects and 

pioneers of contemporary 

architecture. Assimilation 

was a good effort, but it left 

the visitors to assume their 

own understanding as the 

story were not narrated. And 

directed to the research area, 

a student did enlighten on 

the traditional architecture 

and issues of construction. 

However, the models of 

Patan Durbar Square and 

Kathmandu Durbar Square 

did little justice to fill up the 

research area. However, 

landscape section did have 

some information and talked 

about eco roof, a new concept 

that can promote the essence 

of living conditions especially 

in a country like ours. The 

other places to visit were 

the thesis works by recent 

architecture graduates. 

Overall the 13 th ASA 

Architectural Exhibition did 

house a lot of architecture that 

we have today, but probably 

with lesser innovations of the 

time. The exhibition was an 

expression but could have 

been more fascinating for 

someone who has been to the 

exhibitions in previous years. 

Nevertheless in the midway 

of the five year program, if 

the third year students could 

manage to organise this 

kind of a program, proper 

guidance by seniors and the 

department could add to it. 

ASA exhibition is a good way 

to learn, for the known and 

unknown of architecture. 





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Accessories 


– from KIAN, Malaysia 

Amanpuri 

With showroom and manufacturing facilities in Malaysia and 

China, Kian is a total furniture solutions provider catering to 

the commercial and residential sectors since 1983. 

Shandao 

While Kian products are available in more than 100 countries 

worldwide, in Nepal they are available at the Emporios showroom at 

Teku, Kathmandu. Here we look at some of the beds that Emporios 

has to offer. 

General: 

• Kian uses rubber wood as the base material for all its products. 

As rubber wood is grown industrially in Malaysia, it is reasonably 

affordable in the international market. Furthermore, the wood is 

perfectly seasoned, leaving no chances of it cracking at a later 

stage. 

• Size: 

• King size: (6 x 6.5) feet 

• Queen size: (5 x 6.5) feet 

• Price Range: Rs. 65,000/- onwards (inclusive of side tables) 

Model: Amanpuri 

Style: 

• Modern, simple, straight line design with a very rustic touch. 

Special Features: 

• Amanpuri is a resort in Thailand by the international Aman 

Chain known for its hospitality and design (India has three, 

while Bhutan has five). This bed was designed especially for the 

Amanpuri Resort at Thailand. 



ACCESSORIES 

• It comes in two styles – four poster and normal bed. 

Material: 

• Rubber wood as base material. 

• Rough wood oak veneer finish 

Model: Cameron 

Style: 

• Low floating bed with a traditional theme but in a modern design. 


• Tropical feel, yet not very traditional nor specific in terms of 

style. Mix this with a Nepalese theme, eastern or oriental theme, or 

use it in a modern room. 

• Warm, woody, natural material type of feel 

Material: 

• Rubber wood, faced with oak veneer. 

• The cane at the headboard is from Indonesia. It’s weave pattern is 

in a modern 90 degree, bypassing the traditional hexagonal design 

normally used for tropical furniture. 

Model: Shandao 

Style: 

• Ming Dynasty design 

Features: 

• The name itself reminds you of ancient China 

• Everything is solid wood including the drawers 

• Comes with co-ordinated wardrobes which can be used individually 

as a decorative piece in a different room setting 

Material: 

• Natural rubber wood without any veneer facing. 

Model: Marliyn 

Style: 

• Retro design, recreated 

from the past to give that 

nostalgic feel of the 60’s 

during which time leather 

was used heavily in 

modern furniture, 


• Specific design – the 

room has to be designed 

accordingly to match its 

style. 

• Option of black or white 

colour. 

• Very comfortable since it is 

padded on all sides. 

Material: 

• Rubber wood as base 

material. 

• Padded on all sides with 

good quality leather or PU 

(Polyurethane). 

• Riveted with leather 

buttons. 

Cameron 

Marliyn 

Further information: 

Tel: 977 1 4104522, 4104523 

www.emporiosnepal.com 


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PANCHAKANYA GROUP 

INFOCUS 

7 questions to ask before using 

Ready Mix Concrete 

Text: Ar. Bansri Pandey 

Concrete is the largest consumed material in the 

world after water. As of a 2006 study conducted by 

United States Geographic Service, about 7.5 cubic 

kilometres of concrete is made each year – more 

than one cubic meter for every person on Earth. 

To meet this large demand of concrete, it needs to 

be produced in bulk. Thus, taking the advantage of 

scale and efficiency of mechanical mixing. Ready 

Mix Concrete was patented in 1903 in Germany. But 

due to the lack of transporting means, the concept 

was not sufficiently exploited till 1926 when the 

first transit-mixer was born. The first delivery of 

ready mix concrete was made in1931 in Baltimore. 

“We have always been the pioneers for 

introducing the innovative construction 

materials in Nepal.” Says Mr. Pradeep 

Kumar Shrestha, the MD of Panchakanya 

Group, “People used to organize parties and 

cook food too at home. But these days, they 

go to a hotel and order a ready catering 

service for a hassle free and quality 

service, for which they are even ready to 

pay a little extra. Ready mix concrete too is 

at this stage.” 

The initial production plant setups used difficult 

production systems with a lot of manual labour. 

But after 1934, scientific controlled production 

systems were introduced. At these plants, the 

cement was delivered in bulk containers which were 

lifted off the delivery lorries and emptied into bins 

by opening a gate at the bottom of the container. 

Long, high conveyors were used to elevate the 

aggregate to a height that allowed them to be 

stored above the weight scales and to be gravity fed 

as required. All materials were brought to hopper, 

from the weigh-hopper to mixer and from mixer to 

delivery vehicle. Computers and electronics were 

used to control each step of production. 

The acceptance and growth of Ready Mix Concrete 

from 1950 onwards was remarkable in UK and USA. 

Nepal too took a leap into this growing industry four 

years ago when Panchakanya Group introduced 

Ready Mix Concrete for Kathmandu. 

Ready Mix Concrete has its benefits as well as 

limitations. It is mostly preferred over on-site 

concrete mixing because of the precision of the 

mixture and reduced work site confusion. However, 

using a pre-determined concrete mixture reduces 

flexibility to manage site conditions and resources. 

Thus, before we form our own conclusions, let 

understand this new technology of the concrete 

industry, with the following 7 questions:8 


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INFOCUS 

The graded aggregate and sand is dropped into the 

weighing machine, lifted to the mixer where the 

cement, admixture and water is added, mixed, and 

then dropped into the transit mixer. 

The pump lifts and pours the 

concrete to the construction 

level/area. 

81. 

What is Ready Mix Concrete? 

Ready Mix Concrete (RMC) has cement, 

aggregates, water and other ingredients, which 

are weigh-batched at a centrally located plant. 

The concrete is then delivered to the construction 

site in transit mixers which are trucks fitted with 

rotating drums for carrying concrete. This concrete 

is in plastic condition which requires no further 

treatment before being placed in position to set 

and harden. At the construction site, it is placed 

by pumping with concrete pumps which can pump 

up to 100m horizontally and 20m vertically at the 

rate of 30cum/hr. 

2. What are the advantages of RMC? 

• Better quality concrete is produced under a 

controlled environment. 

• Elimination of storage space for basic materials on 

site. 

• Elimination of procurement / hiring of plant and 

machinery on site. 

• Wastage of basic materials is avoided. 

• Labour associated with production of concrete is 

eliminated. 

• Noise and dust pollution at site is reduced. 

3. What are the limitations of RMC? 

• The materials are batched at a central plant, and 

the mixing begins at that plant, so the travelling 

time from the plant to the site is critical over longer 

distances. 

• Transportation on roads with heavy traffic 

and narrow widths has been one of the major 

limitations for RMC to be used in Kathmandu. To 

overcome this limitation, most of the times RMC 

is delivered during night time when the traffic 

is not a hindrance. But this requires additional 

management of resources and labours on site to 

lay the concrete during night shifts. 


• Concrete's limited time span between 

mixing and placing means that readymix 

should be placed within 90 minutes 

of batching at the plant. Sometimes, due 

to lack of management, the site staff is 

not well-prepared to lay the concrete 

immediately after the RMC pumping 

setup is ready, which causes damage to 

the concrete mix due to delay. Similarly, 

if the manufacturers delay the process 

of connecting the pumping equipments 

and pipes on site, the concrete mix is 

damaged due to delay. Thus, site staff 

as well as the manufacturers should be 

pre-informed and well-managed to take 

the best advantage of RMC. 

4. What are its benefits over sitemix 

concrete? 

Parameter Site Mix Ready Mix 

Quality Varying Consistent 

Wastage on site 4-16% Nil 

Labour Required 20-30% 5-7% 

Time Required for Concreting 

(for approx. 1500Sqft) 

Storage of raw materials 


6-8hours 

Space Required 

in site 

2-3hours 

No space 

required on site 

5. How is the quality ensured? 

Different tests for fine aggregates, 

coarse aggregates, water, fresh 

concrete, hard concrete and for 

admixtures are carried out for the 

preparation of the concrete in a well 

equipped laboratory. Trial mixes are 

carried out and tested to ensure that 

each and every batch of concrete 

coming out of the plant meets the 

parameters of the client's 

requirements. 

6. What is the minimum quantity 

that can be purchased? 

Normally, the minimum capacity of 

a transit-mixer is 5cum. Thus, any 

construction of using more than 5cum 

can use RMC on site. However, using it 

on sites which has bulk requirement of 

concrete increases the efficiency and 

reduces the cost of RMC. 

7. Is RMC expensive? 

Comparing with a good quality site 

mix concrete, it is observed that RMC 

costs about 10-15% more. But at the 

same time, the saving of time and 

assurance of quality is higher than the 

site-mix concreting. Thus, the cost of 

RMC needs to be weighed considering 

the site situation and the quantity of 

concreting required. 

Panchkanya Group 

Always Ahead, Always First 

Panchkanya Group of Industries is the 

first in the country to establish Ready 

Mix Concrete plant in Kathmandu. Known 

for innovative products and state-ofthe-art 

technologies, the Panchkanya 

Group which began in 1971, is a leading 

industrial and trading establishment 

of Nepal. Dealing with various products 

like Steel, Ready Mix Concrete, Bitumen, 

Plastic, Pipes, Wires & nails, etc, the 

Group has created its own brand name in 

the country. 

For more information : 

www.panchakanya.org


31 

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Solutions 

When 

Solar 

gets 

Sexy 

Text & Images: Sandeep Giri 

A 

common perception amongst architects 

regarding solar photovoltaic (PV) is to hoist 

rectangular solar panels somewhere on a 

building roof and integrate wires to building’s electrical 

mains. Doesn’t sound very sexy, does it? Instead, 

let’s not think of solar PV as a separate system like air 

conditioning or water heating. This is where Building 

Integrated Photovoltaic (BIPV) solar comes in, to start 

thinking of solar PV as a building material that also 

happens to produce electricity. 

Viewed through this lens, all of a sudden solar opens 

up a wide range of applications that not only result in 

environmentally friendly building designs, but also 

introduce new realms of aesthetics. Smart and sexy? 

Very much so, just look at these examples. 

Windows to the World of Energy 

Traditionally, Solar PV has been a silicon-based industry 

since silicon-based panels provide the maximum 

efficiency (typically 16 to 18%) in converting light into 

electricity. These are the typical panels you commonly 

see on rooftops, which are manufactured by putting 

silicon-based solar cells under a glass substrate and 

connecting them in series. However, aesthetically 

these panels have their own unique look, which may 

or may not blend in with your building design. As such, 

they are best installed on the rooftop, where they are 

less likely to intrude with the building façade. 

In the last ten years or so, a new technology has taken 

over the solar PV industry by storm. This technology 

started by depositing thin layers of amorphous 

silicon (A-Si) on a glass substrate, thus called “thin 

film” technology, and it is also a lot less expensive. 

© Curtain Wall with Konarka Power Plastic® 



Solutions 

© Solar Tent with Konarka Power Plastic® © Carport with Konarka Power Plastic® 


33 

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Solutions 

San Francisco Bus Transit with Konarka Power Plastic® by Ryan Hughe 

The downside is that thin films are much less 

efficient and take more space and weight (A-Si 

starts at 6%, and although newer technologies 

using CIGS or CDTe are approaching 12%, they 

tend to be more expensive). The upside is that 

thin film has a better appearance since it looks 

like tinted glass, and it also allows the flexibility 

of adjusting the transparency of the glass. This 

has given rise to a new industry of using solar 

thin film-laced glass panes for your building 

windows. 

BIPV Window Glass Panes with Solar 

Strips or Blended 

You are going to have windows in your building 

anyway. Why not go the extra mile and 

use BIPV windows? Of course, you have to 

consider the added cost, but you also need to 

consider the electricity cost offset by the BIPV 

windows. Ultimately, it becomes a matter of 

environmentally-friendly design. BIPV windows 

take your building a few steps closer to achieving 

zero-energy design concept. 

A Powerful Roof over Your Head 

John F. Kennedy once said – “the time to repair 

the roof is when the sun is shining”. This couldn’t 

be truer when it comes to solar PV as a roofing 

material. The first approaches in this area have 

been actually taking the silicon-based monocrystalline 

panels and using two transparent 

glass substrates on both sides to frame them. 

The result is a great-looking roofing material 

that will give your sun room or building porch 

or awning a stunning look, while generating 

electricity at the same time. 

Other approaches for solar roofing include solar 

tiles which involve either coating tiles with PV 

material (similar to thin film deposited on glass), 

or attaching solar cells on top of flat tiles. 


Another cost-effective approach for installing 

solar on the roof (and also on top of tents or any 

stretchable surface) is to use flexible solar rolls. 

These rolls utilize solar thin film “printed” on top of 

flexible yet durable material, which makes it very 

light, and extremely easy to transport and install. 

All you need to do is unroll them on top of your 

roof surface and attach either using adhesives or 

tie-ins, and these flexible rolls essentially hug the 

surface they are installed on. 

Flex your Organic Solar Muscles 

This brings us to the latest and greatest in BIPV – 

organic solar PV material that not only rolls but is 

great on stretchable surfaces. “Organic” means 

using carbon-based PV material instead of siliconbased, 

and the advantage is that they don’t need 

sunlight to fall perpendicular on them to produce 

energy (as required by silicon-based panels). Even 

though their conversion efficiency is less than 

both crystalline and thin film panels (currently 

around 3%), they are great in low-light conditions, 

and they make much better use of reflected 

light. As such, they start producing electricity 

at full capacity much earlier in the morning, and 

go later into the evening – increasing the overall 

productivity. 

But it is their flexibility that enables designers 

to cut and attach them to any type of surface. 

A recent example is the “wave design” roof 

implemented on top of public bus stop shelters in 

San Francisco: 

You can further extend this approach and apply 

the flexible solar PV “strips” on any stretchable 

surface like window or door awnings, large beachstyle 

umbrellas, parking lot shades, tents, etc. 

Since the material is extremely light, it lends itself 

to create lightweight structures that produce 

shade in the outdoors and generate energy at the 

same time. 


Parting Thoughts 

Beautiful architecture needs to combine 

both art and science. Aesthetics matter 

as much as underlying technology. Form 

matters as much as functionality. Just like 

an artist’s repertoire is enhanced by artistic 

tools such as instruments and colors palette, 

an architect always benefits from having 

access to wide array of building materials. It 

is no surprise that the energy crisis in Nepal 

has necessitated designing buildings that 

are not only extremely energy efficient, 

but also lend themselves to electricity 

production on-site. Solar PV technology has 

already proven itself in this regard as an 

extremely effective technology in terms 

of rooftop energy production. With BIPV, 

solar PV goes into the realm of building 

materials, where you now have solar PV as 

windows glass panes, roofing material, or 

just plain flexible material with which you can 

build electricity-producing surfaces in any 

imaginable dimensions -- bringing the sexy 

back in your building design with BIPV. 

Editor's Note: All solar products cited in this 

article are available from Gham Power. For further 

information, please contact Sandeep Giri at 

sandeep@ghampower.com, or call Gham Power 

at +977 01 4004545

Solutions 


35 

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Architecture 

“Wonderful 

surroundings… 

Interesting 

architecture….. 

Enchanting” 

The 

Rolling 

Greens 

Gokarna Forest Resort 

Text: Ar. Sushmita Ranjit 

The above comments are some of the many enthusiastic remarks in the 

guest’s comments book at the Gokarna Forest Resort. And as expressed, the 

place is indeed worth a visit. Located North-East of the Kathmandu Valley and 

a stone’s throw away from the hustle and bustle of the city, the place sweeps you 

deep into the thick tranquil forest as soon as you overcome the congestion and 

traffic of Chahabil. The Resort has more to offer though, and since the last decade, 

it has been serving its visitors with multiple facilities of leisure. A secured and well 

oriented den for a relaxed sleep, an indoor swimming pool and Spa for rejuvenating 

the body and soul (added later in 2003 AD), invigorating walks amidst the thick 

forest experiencing some hundred different types of flora, and a number of fauna 

like spotted and barking deer, common rhesus monkeys, wild cat and pangolin - all 

finally complimenting the feel of swinging your hands in one of the world’s most 

luxurious games – golf! 



Architecture 

Then and Now 

Spread over 700 acres of Forest Reserve, 

it is the only intact forest of the Valley 

representing what existed over 500 years 

ago. The soaring trees are up to 200 years 

old (one was used as the backdrop in the film 

‘Little Buddha’), and dozens of religiously 

significant shrines and temples like Ban Devi, 

Gokarneshwar Mahadev, Kanti Bhairab, Naag 

Isthan, Mahat Kuldevta, Poudel Kuldevta 

and Dhungana's Kuldevta can be found 

within its compounds, signifying its richness 

in cultural, environmental and biological 

diversity. Traditionally, the forest was known 

as Rajnikunj and was the private Royal hunting 

grounds of the Kings of Nepal. In 1862 AD, 

Jung Bahadur Rana, the first Rana prime 

minister of Nepal, constructed a brick wall 

encircling the forest to protect its ecology and 

biodiversity, parts of which still exist today. 

Out of its 700 acres of forest land, 100 acres 

have now been crafted into resort buildings 

and rolling green pastures for golf enthusiasts. 

Complimenting this landscape with the built 

forms, the architects have played a major role 

to ensemble the boutique hotel - preparing a 

tryst with life and nature. 


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Architecture 

The architecture of Gokarna Resort is primarily reflected by the main building following distinct 

elements of the traditional Malla architecture, but with an utter transformed language. 

The warm and inviting lobby with a view towards the internal courtyard - all reflecting elements of the traditional Malla architecture. 



Architecture 

The Rolling Greens 

The golf course is one of the main attractions of the Resort and 

one would expect it to be seen as one approaches the main 

building. But no. It is accessed beyond the Spa and as one walks 

down the footpath through the dense foliage, the verdant green 

opens out suddenly and is a sight to behold after a fresh shower 

of rain. Fitting snugly into the surrounding forest, this 72 course, 

eighteen holes golf course was designed by David Mclay and 

James Kidd of Turf-grass Management, under the direction of 

Gleneagles Golf Developments. 

Supporting the golf course, the Club Restaurant comfortably 

fits in a hundred guests at one go. Especially and purposefully 

designed for the Golfer, the restaurant overlooks the green 

pastures of the golf course. The ambience of this restaurant 

along with the forest view is quite unprecedented, being in 

such proximity to the urban setting of the Valley. The indoor 

seating and the outdoor airy sit outs is segregated by full length 

glass partitions - a transparent screen breaking up and inviting 

the beautiful landscape to mingle with the otherwise rather 

mundane interiors. 

Blending the Old and the New 

Uniquely, the Hunters Lodge in the resort is a historical building 

being over 120 years old. Functionally, it then housed the shikaris 

who accompanied the royal family members during their hunting 

trips to the forest. It has now been restored into a restaurant and 

bar and is opened on special occasions. This is the only senior 

building and is flanked by a uniquely growing amala (gooseberry) 

tree, which adds to the historical aura of Gokarna. 

The resort boasts of trees more than 150 years old. This particular tree was used as 

one of the special settings in the movie ‘Little Buddha’. 


39 

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Architecture 

Averaging an area of 33 

square meters, rooms in 

the Rana Retreat are wide 

with oversized bathrooms, 

resembling the style of 

Rana Durbars. 



Architecture 

Typical courtyard planning of the Malla architecture is adopted with towering temple-like 

structures , exposed brick facades, carved wooden colonnades and decorative windows. 

Besides the Hunters Lodge, all the new buildings 

in the resort have been built taking into account 

minimal intrusion into the landscape and 

preserving major full grown trees and vegetation. 

Whereas the basic space planning and building 

design of the main block was commissioned to the 

Indian architect, Romi Khosla and his team (Group 

India), its construction was carried off in 1996 by 

CE Construction Pvt. Ltd., based in Kathmandu. 

Architect Khosla’s general concept bases itself 

on the traditional Nepalese architecture from 

the Malla period (1200-1769A.D.). The resort 

therefore is in sharp contrast in terms of the 

building complex reflecting the vernacular touch 

of Nepal on one hand, and on the other hand 

providing a complete contemporary luxury for 

tourist adventure. 

The courtyard view rooms encloses a pleasant garden with a couple of ancestral trees. 

All facilities housed within the different groups 

of buildings compliment to a certain degree in 

form, texture and style. The only thing that the 

latter added buildings contradicts the earlier 

ones is the simplification in the language of 

architecture that has been used by the architects, 


41 

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Architecture 

The Hunter’s Lodge being over 120 years old, 

then housed the shikaris accompanying the 

royal family members during their hunting 

trips to the forest. 

The Spa including the indoor swimming pool designed 

later by Design Cell contradicts the earlier ones in the 

language of architecture, but nevertheless compliments 

to a certain degree in form, texture and style. 



Architecture 

to define some transformations from the past, 

yet traversing by some common lines as a 

visionary extention connecting both past and 

present. These are however a combined effort 

of different consultants at different stages. 

First, through the architect, Romi Khosla for 

the master plan and the main block, and thenafter, 

Design Cell Pvt. Ltd. for the Spa including 

the indoor pool, master plan improvements, 

an extension of 50 rooms, the Golf Club House 

and other supporting facilities. 

The architecture of Gokarna Resort is primarily 

reflected by the main building, following 

distinct elements of the traditional Malla 

architecture, but with an utter transformed 

language, probably inspired by the 

transformed Patan Museum. The typical courtyard 

plan, the towering temple-like structures at the 

corners, exposed brick façades, carved wooden 

colonnades and decorative windows crowned by huge 

overhangs of hipped roofs reckons a lot about Nepal’s 

native style. To elaborate, architect Khosla improvises 

on the traditional elements using a combination of 

metal and wood, typically noticeable on the columns 

and the windows. Comprehensively, the entire resort 

complex is an emulation of the form and space 

belonging to Nepal’s traditional architecture but with 

a contemporary twist and simplification to obtain a 

precise and trendy atmosphere. 

Acknowledgement: 

• Mr. Daman Pradhan, CEO, Yeti Holidays 

• Mr. Saral Pradhan, RDM, Gokarna Forest Resort 

The restaurants lie in the main part of the complex with 

different settings of interiors presenting an aura of royalty. 


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Architecture 

As the water flows over the rock slide into the feature pool, the bamboo wand echoes the memories of the 'five pebble fish'. 



Architecture 


A Riverside Springs Resort Story 

Text: Ar. Tom Crees 

Everyone needs a bit of magic in their 

lives now and then. This sometimes 

takes the shape of a special place, which 

once having encountered, forever 

remains an inspirational touch stone. 

For a child, it is the spirit of nature 

swirling ever close, creative and safe, 

cocooned by kindness and peace. For 

an adult, it is where the troubled 

and anxious world is stopped at the 

gates and you gain respite to regroup, 

unwind, and even dream. 

Living your Dreams 

It was an ordinary day when my friend Shyam K asked me to come to 

a meeting with Kishore P, Mukundha S, Mahendra S and himself, not 

forgetting spotter Pushpa T. They wanted to build a restaurant to cater 

to the tourist bus trade plying between Kathmandu and Pokhara. I 

stepped in as the architect and the fifth partner. 

The very first site visit sent my mind whirling as my spirit touched the 

ground. Where most rural development projects are stilted by distant 

or non-available water sources, a perennial spring busily gushed clear, 

sparkling, mineral water underfoot. The myriad possibilities could barely 

constrain themselves. The perfect set was there awaiting theatre. Back 

in Kathmandu I spun out visions to my partners. 

© Tom Crees 

Two strong axial spines act 

as ordering devices to tie 

the resort ‘pieces’ together 

into the landscape. 

The barren, rock strewn, thorny plateau was a blank canvas 

– a perfect set awaiting theatre. 


45 

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Architecture 

Rather than just a restaurant for passing traffic, I saw the 

location as an end destination. Almost central to Kathmandu, 

Pokhara and the Chitwan valley, an inspirational location 

awaited. My colleagues were quick to grasp the vision, and 

arose to the spirit of entrepreneurship to do something 

challenging. Riverside Springs Resort (RSR) eventually set its 

own precedence in the leisure and resort industry in Nepal, 

with more dreams for the future . 

Although some said that it was too far off from the road, events like the 

wishing well were placed along the path to make walking an exploration. 

It all fell together at this special Kurintar site. The barren, rock 

strewn thorny plateau edge falling away to a wide river beach 

was a blank canvas. My partners gave me free reign to write 

the brief and to interpret it. Their enthusiastic encouragement, 

participation and support took us from phase to phase, 

creating delights after delights in this special location. The 

partnership was rich with resources of entrepreneurship, good 

horse sense, local expertise ignited with a thirst for something 

not done yet in ‘modern’ Nepal. 


The place for the restaurant was obvious and pre-ordained, 

although some said it was too far from the road, “... older folk 

will find the walk too steep ...” some commented. Like precious 

stones on a necklace, I placed events along it to make walking 

an exploration. Mr Tamang, the manager, said he has not had 

any complaints about the approach! And as a sequel ‘spin off’ 

to the nearby Mankamna experience, a sympathetic fantasy, 

a fairy tale wishing well is one of these. The instructions for its 

use took the form of a small poem I wrote, etched on two brass 

plates affixed onto the well. 

“Khoi tha? Yan-tha chaina rai cha tha hou?” (Where is it then, it is not here?) - designed by nature, the 

restaurant and river suddenly unfolds at the ‘gazebo where paths cross’. 



Architecture 

The ‘grand stair’ leads down to the Palm Court and on to the island pool below. 


47 

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Architecture 

Almost central to Kathmandu, Pokhara and the Chitwan valley, the restaurant is 

rather an end destination than just for passing traffic. 



Architecture 

Two strong axial spines act as ordering devices to tie the resort 

‘pieces’ together into the landscape. The main axis starts at 

the Entry gazebo at the car park, and ends at the great tree 

over the spring; with ‘precious stones’ of the “wishing well” and 

the “gazebo where paths cross” placed in between. This main 

approach axis coincides with a natural existing drainage channel 

of the plateau above. Designed by nature, the berms on either 

side provide a screen which ends in an element of surprise. “Khoi 

tha? Yan-tha chaina rai cha tha hou?” (Where is it then, it is not 

here?), new-comers have been heard to remark as they step out 

of their vehicles onto the plateau above. The restaurant and the 

river remain hidden until the restaurant suddenly unfolds in front 

of you at the “gazebo where paths cross”. 

Protection from the hot sun was needed to work an idea that 

was an inspiration into reality! With three masons, six helpers, 

twenty labour, many cases of chilled beer, we pushed, pulled, 

rotated, lifted, lowered and formed a rock slide ending in a feature 

pool. Twenty-one days later the water was allowed to flow, and 

the bamboo wand tapped out it first echoes at the RSR. The berm 

on the opposite side of the steps was planned for a cascade of 

roses - ‘Rocks and Roses’. The graceful curve of the final stair run 

added a truly graceful touch to the composition; which had not 

been planned but was a result of close site work, staying vigilant 

for opportunities during the construction for that “extra mile” that 

were not conceived at the drawing boards. 

The secondary axis starts from Cabin No 1 and ends at the tree 

at the far side of the Trisuli River as it passes through the centre 

of the restaurant building. It leads down the ‘grand stair’, over 

the rock pool, past the reception, across the small court, down 

the dragon steps, onto the Palm Court, to the railing edge and 

‘vois la’, a full panorama of the magnificent wide, river and the 

landscaped, island pool greet. The weather vane on the central 

lantern came from London and some of the locals call it “Bhalay 

Kothi”. (Rooster mansion) 

The entry steps were planned as a straight decent. While 

dressing its foundations, the workers came across huge boulders 

that they proceeded to break up just as I happened on site. 

These were God sent “nuggets” which I immediately stopped 

them from breaking up, as my friend Navin Kakshapati (RIP) 

the builder arranged a huge canvas sail over the site on request. 

The outdoor seating at the restaurant with gushing waters of 

the Trishuli river as background music. 

The secondary axis starting from Cabin No 1 leads down the ‘grand stair’, over the rock pool, past the 

reception, across the small court, down the dragon steps, onto the Palm Court, to the railing edge and 

‘vois la’, a full panorama of the magnificent wide, river and the landscaped, island pool. 


49 

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Architecture 

The berms in front of each 

cabin creates privacy as 

well as ‘wind deflecting’ 

120Km / hr gusts that 

funnel up the valley 

occasionally that would 

otherwise lift the thatch off 

the roofs of the cabins. 

© Tom Crees 

A ‘conventional’ pool would be out of scale and improper to the 

context. It had to be as big as the site would allow. 

The bamboo from my home took many months of cajoling to take 

root and establish in this hot environment. We collected coloured 

pebbles from the beach and laid them as a mosaic in this feature 

pool. As the beer took effect, I set five, ’pebble’ fish into the mosaic; 

one for each of the directors who made Riverside Springs possible. A 

few ceramic figures completed the finishing touches to watch over 

this little fantasy world. Then we planted trees and flowering shrubs 

on the barren landscape and shaped it around the buildings. 

© Tom Crees 

Swimming in the Formwork 

The swimming pool has its own story. The expanse of the valley is 

large; your arms reach out to embrace it, as the gigantic ‘hills’ rise 

high on either side. A ‘conventional’ pool would be out of scale and 

improper to the context. It had to be as big as the site would allow 

as I dreamed and sketched. The left hand, river facing, concave 

‘edge’ was formed around a magnificent Bair tree that stood there. 

It had a big branch that I envisioned stretching over the pool. I could 

imagine little kids splashing into the pool from it. The quick sketch 

was estimated at Rs 18 million. 

Back in Kathmandu, Kishore’s eyes sparkled as all complimented 

the proposal. My partners enthusiastically instructed me to have 

it built immediately but we could only afford half the budget! The 

knee jerk suggestion to make it smaller was met with a firm, “ 

.... Tom, we want it exactly as you have drawn it .... please find a 

way .... .” Back at my studio, a brain storming session pointed to an 

‘in-between’ scenario, which could be achieved for around 8 million 

if we could ‘temporarily’ forego the inner concrete lining of the pool 

for a few years. Without the ‘lining’, we could brick line the retaining 

wall's edges and finish with render and paint which would be good 

for about five to eight years! The funds would eventually have to be 

found for the concrete lining. I personally took charge of the footing 

consolidation and the waterproofing, and fourteen years later, all 

are still swimming in the form work! 

The design of the swimming pool considers all genres of 

swimmers. While the colonnades delineate the changes 

of levels, the baby pool has its own water supply and 

drain off so that ‘accidents’ from littlies does not mix with 

the main pool water. 

The design considered all genres of swimmers. The baby pool has 

its own water supply and drain off so that ‘accidents’ from littlies 

does not mix with the main pool water. The pool precincts are 



Architecture 

While the thatch roof cabins located above the restaurant were part 

of the original design, the tents overlooking the Trishuli river is a later 

addition to the resort. 

‘learner’, ‘intermediates and bar’, ‘leisure area’, and the ‘dive 

pool’. The colonnades delineate the changes of levels as 

well as forming a ‘wall’ through which people move between 

these zones. The shy find cloister within these colonnades 

or along the island edges. The island is also reached by a 

six inch deep, submerged walk way. Even traditional ladies 

may slip their sandals and walk to the island in participation 

while more liberated husbands and children take on the full 

options. 

We talked of catwalks being built over the water from the 

island for evening fashion and music nights in the RSR in the 

winter months. We even talked about planning a ‘Woodstock’ 

event with a tented city across the main river beach and 

mega sound systems for a long weekend music festival! 

Maybe it could still be locked into a Nepal Tourism promotion 

one day in the future yet! 

A Place to Pause and to Dream 

The walks to the cabins have delights and memories of 

its own. Two old, knurled trees on the site were retained 

to enhance the walk, ‘slipping through’ them with a lamp 

to light this little bower after dark. A place to pause. The 

berms in front of each cabin creates privacy as well as 

‘wind deflecting’ 120Km / hr gusts that funnel up the valley 

occasionally that would otherwise lift the thatch off the roofs 

of the cabins. 

The story of the RSR is an unfinished one. We talked about 

shared accommodation bungalows along the cliffs, a 

meditation centre, a golf course, a competition tennis ranch, 

a “Go-cart” circuit, a “water world” and ”dream on”. 

In Nepal, the high mountains and the tropical Terai have 

considerable opportunities, which have been found by 

entrepreneurs, with facilities well provided for. However the 

charms of the magical river valleys have been overlooked. 

Himalayan waters are readily available and reachable at the 

foot and fold of every mountain, which perhaps has made most 

blasé towards these special places. RSR refocuses attention to 

these romantic places that are the stuff of dreams. These are 

places which are easily reached and are places were all may rest, 

recuperate and play. RSR is a place that I call special as I include it 

among the fond places that I frequented often in the annals of my 

mind. I hope it will be a special memory to others as well .... ... 


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Architecture 

In the Heart of a 

Jungle 

Text: Ar. Swati Pujari 

Tiger Tops Jungle Lodge, Chitwan 



Architecture 

Built in 1964, Tiger Tops was initiated as a hunting lodge, or 

at least a facility from where hunts took place. But today, as 

we look into the history of the establishment, the organization 

is - as in the words of Mr. Marcus Cotton, Chief Executive 

Officer and a hunter turned conservationalist - a model of 

responsible conservation tourism. 

From Tree Tops to Tigers 

Mr. Dhan Bhahadur Tamang, Chief Naturalist involved in 

the lodge for the past 42 years has an interesting story 

regarding Tiger Tops. Contrary to what its name suggests, 

Tiger Tops was not purely based on what the area, now 

Chitwan National Park, is famous for - the rare Royal Bengal 

Tigers. Instead, the lodge was initially conceptualized 

after the original 'Tree Tops' safari lodge in Kenya and 

coincidentally, the concept adapted its way perfectly into 

the site of Tiger Tops as well. 

Located inside the Royal Chitwan National Park, the river 

Rapti was initially right next to the site, giving all the more 

reason for the buildings to be as they are built - on stilts. 

The lodge initially started with only four rooms and the first 

two buildings of the lodge, the Thulo Bungalow and the 

Simal Bungalow which now accommodate twenty guest 

rooms, are built using local indigenous materials - wood, 

bamboo and dried elephant grass. 


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Architecture 

Dried elephant grass, locally known as khar is 

a very popular and unique building material in 

these areas. Named elephant grass as they 

grow high enough to cover an elephant in their 

wilderness, this plant when fully grown and 

properly dried provides the locals with a very 

strong material that can be weaved into walls 

or thatched as roofs. 

Both the bungalows are built on top of wooden 

Sal (Shorea robusta) posts some 4 metres 

high. The open ground not only provides 

ventilation channels, but also helps protect 

the rooms from the omnipresent wildlife. 

The Simal Bungalow was so named as it 

wrapped itself around a Simal (Bombax)Tree. 

Although the tree itself is now dead, it has not 

been completely chopped off. The tree has 

been adapted as a sculptural penetration into 

the building ending at the top floor level as a 

platform forming a coffee table, adding to the 

naturalistic appeal of the tree as well as that of 

the bungalow. 

The dining house or the Gol Ghar is an inspired 

building combining the Tharu architecture 

from the Terai plains and styles from African 

‘Bomas’. As its name suggests, the Gol Ghar 

is a circular building with stone walls and a 

thatched roof over wooden supports, and 

comprises a multi-functional space for a dining 

hall, bar, utilities and an outdoor verandah. 

Incidentally the verandah showcases a story 

of its own. In the company’s quest for wildlife 

conservation, they had discouraged the locals 

from bringing their cattle inside the national 

park. A row of cowbells hanging from the eaves 

of the corridor is a reminiscence of the lodge's 

initiative, where the reward for every cowbell 

removed from a cattle grazing inside the park 

was Rs. 10. 

www.spacesnepal.com 56

Architecture 

The Gol Ghar, inspired by the Tharu architecture of the Terai and the style of 

the African `Bomas', is a multi-functional space comprising of a dining hall, 

bar, utilities and an outdoor verandah. 


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Architecture 

The curved corridor of the Gol Ghar leading to the rest rooms with its stone walls and elephant 

grass thatched roof strongly exemplifies the traditional building materials and style. 



Architecture 

Rooms are simple, clean and basic, and the entire power 

requirements for electricity and water heating runs on 

solar power. 

Befriending the Jungle 

Conservation and minimal impact have 

been important aspects for the company. 

Buildings, including the stone walled Gol 

Ghar that predate the establishment of the 

park in 1973, are all non-permanent and can 

be dismantled. The Tiger Tops organization 

started with a mission to utilise tourism as a 

means of funding conservation research and 

community development and continues to be 

an important part of the community in terms 

of wildlife preservation and social projects. 

Environmentally speaking, Tiger Tops has always 

been ahead of the crowd. The entire lodge runs 

on solar power, for both electricity as well as hot 

water. The hot water supply runs on solar energy 

for most of the year, but in extreme winters, a 

combination of firewood and rice husk briquettes 

are used as an alternative. The food served at the 

lodge also comes from their organic farm located 

outside the national park. 

Many of these initiatives started as a necessity. 

Due to the very fact that the lodge was located 

in the middle of the jungle, it was important 

to be self sufficient in many ways. With time, 

these necessities became policies and Tiger 

Tops evolved as the country's first conservation 

tourism organization. 


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Architecture 

The river Rapti was initially right next to the site, giving all the more reason for the buildings to be as they are built - on stilts. 

Living inside a jungle – The experience of 

a life time! 

A typical day at the Tiger Tops starts with an early 

morning wake up knock at the door, heralding an exciting 

day ahead. The lodge provides a number of ways to 

experience the surrounding jungle, be it on elephant 

back, jeep or boat safaris or even on a nature walk, 

whichever suits the guest. Every outing is accompanied 

by experienced naturalists who help not only to spot 

the animals, but also inform the guests about the wide 

varieties of plants and animals found in the park. Tiger 

Tops is the only lodge to require a rigorous examination to 

attain the coveted title of naturalist. 

Tiger Tops also has a tented camp, some 7 kilometres 

away from the lodge. The tented camp, with twelve tents 

overlooking the Reu River Valley, provides not only an 

outdoors experience at the jungle, but also lets one view 

the wildlife from right in front of their tents. 

All in all, a visit to the Tiger Tops Jungle Resort is a 

complete experience of living inside a jungle, surrounded 

by elephant grass instead of concrete walls and waking 

up to the sound of the birds and the fresh air blowing 

down the Reu! 



Acknowledgements: 

• Ar. Prabal Thapa, Prabal Thapa Architects, 

Kathmandu, www.prabalthapaarchitects.com.np 

• Mr. Marcus Cotton, CEO, Tiger Mountain Nepal, 

www.tigermountain.com 

• Mr. Yadav Bantawa, GM, Tiger Mountain Nepal

Architecture 

The Simal Bungalow wraps itself around a Simal tree, which though is now dead, 

has now been adapted as a sculpture ending into a coffee table on the top floor. 

(see picture below) 

Tiger Mountain Nepal (www.tigermountain.com) was established 

with the merging of its two founding organizations, Tiger Tops and 

Mountain Travel Nepal, both of which were formed in the early 

1960's. A pioneer in responsible conservation tourism in Nepal, 

the properties comprising Tiger Mountain provide its guests 

with an experience of taking ‘One Step Beyond’ in Nepal. Some 

of the organizations that function under Tiger Mountain Nepal 

are Mountain Travel Nepal, Tiger Tops Jungle Lodge and Tented 

Camp, Tiger Tops Tharu Lodge, Karnali Jungle Lodge and Camp, 

Tiger Mountain Pokhara Lodge, Himalayan River Exploration and 

Adventure Travel Nepal. 

Through its years, Tiger Mountain has been able to develop a 

sustainable tourism policy which ensures nature conservation 

as well as minimal impact to the surrounding community. The 

facilities within the Tiger Mountain Group strive for minimum 

use of resources as well as reuse and recycling of materials 

as far a possible. The lodges also inform their guests about 

the surrounding environment and community and the guests 

are encouraged to respect the same. The organization is also 

associated with numerous other organizations, both social 

and conservational, and has in turn received numerous awards 

and recognition, both for their hospitality and corporate social 

responsibility. Tiger Mountain is, in its true nature not a tourism 

organization but rather a conservation organisation supported 

by tourism. 

Khar (dried elephant grass). a unique an popular building material in this 

area, is weaved into walls or thatched as roofs. 


61 

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Architecture 

A Seductive 

Ensemble 

Tiger Mountain Pokhara Lodge 

Text: Ar. Swati Pujari 

Tiger Mountain Pokhara Lodge is what can only be described 

as a secluded and seductive paradise. Located 14 Kms east 

of Pokhara, the lodge is on a hilltop, 350m above the valley. 

As you enter the lodge, walking up a series of stone steps, the 

first sight simply takes your breath away. A beautiful terrace or 

Nepali Aagan with a slate-clad floor, complimented by the natural 

greenery sprouting from the slope below, and beyond it – the 

iconic Machhapuchre or the Fish Tail - right within the frames of the 

doorway Itself! 

Keeping things ‘not too visible’ 

The site, selected by Late Col. Jimmy 

Roberts, the founder of Mountain 

Travel Nepal, was part of the Royal Trek 

established for the Prince of Wales in 

1980. The 30 ropanies (1 ropani = 508.7 

sq. m.) site is now an ideal destination for 

people who wish to enjoy a perfect sense 

of peace and tranquillity within natural 

surroundings, providing a spectacular 

location for viewing the Dhaulagiri, 

Annapurana and Manaslu ranges along 

with the Macchapuchre Peak. Tiger 

Mountain Pokhara Lodge has 13 individual 

bungalows, each with one or two rooms in 

the local style and architecture, and with 

its own private entrance, through a 'Pidi' 

or a balcony. Keeping things simple and 

basic, a common dining area and hall with 

a fire place and a bar completes the lodge. 

The natural vegetation in the area also 

attracts some 250 species of butterflies 

and 300 species of birds. For those who 

wish to explore more of the surroundings, 

walks are organized daily, which focus 

on culture, wildlife, birds, or just plain 

exercise. 



Architecture 


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Architecture 

The Lodge has 13 individual bungalows in local style and architecture , 

constructed using locally quarried hand dressed stone on mud mortar. 

The buildings are constructed using locally quarried hand 

dressed stones on mud mortar with timber elements. Besides 

the main building, the use of reinforced concrete is kept to 

a judicious minimum. The balconies and pidis are lined with 

timber posts that support a sloping timber roof finished in 

local slate. Roof loads are transferred to the bearing walls 

using Sal wood trusses. While most of the buildings are left 

un-plastered, exposing the stone work, some are finished 

with local red mud, blending perfectly with the surroundings. 

Interestingly, the architecture of the buildings adapts to 

the local architecture but are modified to suit the functional 

needs of a tourist lodge and also to address added safety and 

durability requirements. For instance, the thatched roofs are 

replaced by slate and discreet reinforcement for earthquake 

resistance is accounted for. It is interesting to note that 

almost all materials used in the construction were locally 

sourced, and all tools used were hand tools. Interior decoration 

is minimal, simple and uses local artefacts and design 

themes. Furniture was designed and made in Kathmandu 

by Alternative Furniture and paintings were specially 

commissioned from a leading British artist. Traditional 

Tibetan rugs were supplied by Nepal Carpet Industries. The 

construction, which took place through 1997-98, utilized over 

300 labourers and 40 craftsmen, and quite a few of them are 

now involved in the management and operation of the lodge. 

A major concern during the conception of this design, as 

architect Prabal Thapa recalls, was that the entire complex 

should blend in with the surrounding, and the buildings not be 

too visible nor obstruct each others’ view. 



Architecture 

Interior decoration is minimal and simple, and uses local 

artefacts and design themes 


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Architecture 

Keeping things simple and basic, a common dining area (opposite top) and 

hall with a fire place a bar (this page) and a sit out overlooking the valley 

below ( opposite below) completes the lodge. 



Architecture 


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Architecture 

As night falls, and amidst the sounds of insects, the warm light of the lanterns guide you along the stepped terrain. 



Architecture 

The infinity edge swimming pool with a spectacular view of 

the majestic Himalaya 

With the buildings being modelled after the ‘15 haat’ village 

houses, and as the lodge does not have an actual fence 

demarcating its boundary, it is interesting how one can simply 

walk through the facility only to end up at a real nearby village 

house! Also with careful placement of the buildings along the 

slopes and the high fertile vegetation of the area, the lodge is 

definitely not too visible. Standing at a higher ground level one can 

only see the roofs of the building, which in turn blend in with the 

surrounding, giving them a natural rustic appeal. The complex was 

initially conceptualized by American architect Philip Beck, which 

was further designed and detailed through its construction by 

architect Prabal Thapa from Kathmandu. 

On the crown of the hill that forms the core of the site, is located 

a small but interesting swimming pool. On a clear afternoon one 

can enjoy a cool dip along with a spectacular view of the majestic 

Himalaya reflected in the pool’s waters through use of an infinity 

edge. The mountains appear so close, you could perhaps smell the 

snow if you tried! 

Tourism and Conservation 

Keeping with the principle of Responsible Conservation Tourism 

followed by Tiger Mountain Nepal, the lodge manages waste 

through bio-degradation and even the water at the pool is treated 

using electrolysis instead of chlorine based cleaning agents. The 

use of chemicals is monitored as a part of Nepal's first Responsible 

Tourism Audit system. Water is supplied from a spring 325 m 

below, and all laundry is done at a half way level. Efforts are in 

hand to source simpler and ecologically benign cleaning materials. 

An early 

photograph of 

architects Philip 

Beck (right) and 

Prabal Thapa 

during the 

construction 

works. 

Energy intensive resources such as TVs and air conditioners are 

completely banned. A strong Community Support Partnership 

provides advice, funding and mentoring support to community based 

and led development initiatives. Food supplies are locally sourced and 

organic wherever possible, including from the Lodge’s own organic 

gardens. 

A typical day at Tiger Mountain Pokhara Lodge starts with a wake up 

knock on your door. As you wake up and open the door, your morning 

tea awaits you at the entrance balcony accompanied with early 

morning mist and a spectacular view of the valley below and the 

mountains beyond. As the day progresses, you can choose between 

a wide range of activities – a nice walk through the village, a relaxing 

massage or a cool dip in the pool, all set to give you an experience of 

comfort and seclusion. As night falls, the romanticism of the place is 

highlighted as you take a walk along the stepped terrain amidst the 

sound of the insects and the dimly lit lanterns flickering to guide you 

along the rustic pathway to your room. 


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Interior 

A Contemporary 

Lifestyle 

Text: Ar. Prabha Bajracharya 

For a happy life, a peaceful mind and an enlightened soul, the surrounding environment plays a very important 

role. A similar environment - peaceful yet vibrant, simple yet modish and cozy yet spacious, is provided at the 

sample apartment of Status Enclave Apartments in Sanepa, Lalitpur. Designed by Ar. Sanjay Lal Shrestha, the 

contemporary apartment displays the designers planning and aesthetic skills. The apartment houses three 

bedrooms, a kitchen, dining, living, and a cosy study area. All rooms are marked with a unique style differentiating 

one from other in many ways; be it the colour or the furniture, the ceiling or even the wall paper. Ar. Sanjay Lal 

Shrestha shares that he has tried to harmonize the layout with the space, creating an interrelation between the 

furniture, ceiling and walls, so that they all act as a single unit. Neither of these elements can be estranged from 

each other. 



Interior 

W 

ithout going into any fanfare, 

the entry into the apartment 

immediately bursts open to a large 

open living–cum-dining space. A 

black chaise sofa emphasizing the 

apartment’s contemporary theme 

makes a bold statement besides 

defining the limits of the living space 

within the interconnection of the 

living and dining areas. The use of 

different carpets under each units 

too visually segregate these spaces 

beautifully. The living space further 

connects to the outside environment 

through a balcony. While both ceiling 

and wall are in continuation with 

each other. Secondary walls here are 

kept simple in an enriched off-white 

colour, brightening up the interior 

and creating a stronger appeal on the 

main wall. Lighting is provided through 

hidden fixtures and slits to avoid glare 

and give a floating effect. 

The dining area, a continuation of the living room, stands ideal in its own 

elegance and boldness. The alternate black and white chairs at the dining 

table match perfectly with the black and golden alteration of pictures on 

the wall. This colour theme continues with the black knitted lamp hanging 

from the false ceiling - the only direct light in the living cum dining area. 

A small showcase at the corner of the wall fulfils the need of a storage 

space for crockery if required. The full height mirror next to the showcase 

conveniently reflects light and it is intermediated at its middle, restricting 

people from viewing their own image, thereby contributing to creating 

an illusion of another room to exist next to it - marvellously maximizing 

the virtual lateral length of the room. In continuation with each other, 

secondary walls here are kept simple in an enriched off-white colour, 

brightening up the interior and creating a stronger appeal on the main wall. 


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Interior 

The study area, visible in warm light 

contrasting to the bright living cum 

dining, is another visual focus on entry to 

the apartment. The glass partition helps 

to make the study private and at the 

same time be visually connected to the 

common area beyond. 



Interior 

The master bedroom is positioned at the north-west corner of the apartment. With a colour 

scheme of a combination of black and its adjacent shades, black, unlike its usual dark and 

dull effect, highlights the bedroom with its boldness and maturity. The dominating red 

colour of the abstract picture on the wall adds a sensual beauty to the master bedroom, 

sophistically embracing this unique combination. 

Other bedrooms in the apartment are also provided with interesting colour 

schemes – one with a royal yellow base and a slight pale wall paper décor, 

and the other – the children’s bedroom, in a bright blue colour theme. 


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Interior 

Adjacent to the dining space is the kitchen - the most moderate room in the apartment, but focusing on a clean and sleek appearance. 

The kitchen counter is finished with white granite which is a rather unique approach. The custom designed glass cabinets above the 

kitchen counter highlights the transparent cleanliness. The kitchen is also provided with a small balcony which can be used as a 

kitchen garden making it complete in itself. 

There is no other way than to 

cherish the experience of being 

surrounded by the perfect blend 

of decoration with comfort in 

this apartment. The peaceful 

environment and soothing vibes 

given by the apartment are 

immeasurable. The effect of the 

thought and knowledge put in this 

apartment makes this place – a 

complete home. 

Project details 

• Client : Lifestyle Lousing Pvt Ltd. • Design team: Sanjay Shrestha, Romi Shrestha, Pragya Pradhan 

• Main contractor: Jha and Sons • Ceiling and Paint works: Fixit Pvt Ltd • Built in furniture work: Homemaker Pvt Ltd 

• Loose furniture: Chinese imported • Modular Kitchen: Optima Kitchen (Selin Pvt Ltd) 

• Sanitary wares and fitting: Kohler (Bajra and Bajracharya) • Light fixtures: Massive, Eglo Lights (Light Gallery) 




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Interior 

Design Institutes in Nepal 

Text & Compilation: Ar. Kalpana Bhandari 

Research: Amrusha Shrestha, Krisha Shakya, Snigdha Bhatta, 

Preema Ranjitkar, Suraj Karmacharya 

ANALYSIS 

Architecture prevails in every civilization, but what can be recorded is its 

practice in different times by different people. Nepal entered modernism 

in the Rana regime while rest of the world was departing from it to explore 

post modernism. Despite adaptation of lot of styles from other places, 

we have identified it as our modern architecture, though traits remain 

apparently unoriginal. In response of the prospering architecture around 

the world, we are educated with what might seem different than ‘the 

architecture’ of the rest of the world. Narrowing the vision, the usual 

interior layout practice in architecture schools is actually designing for 

interiors-a reason that lot of architects are also into interior design. Also, 

there is little awareness of the institutes where the major education is the 

detailing, or art of ‘beautifying spaces’- the interior designing. This science 

of detailing has taken quite a while to analyze the prospects in our market, 

or are we there yet? 

Part of a residential building designed by Prakash. B. Amatya (of SPADECO, 

a local architectural firm) 

Background 

The need for interior design was rarely, if not never, a necessity in Nepal 

since a decade back. While the lavish interiors of Rana palaces built in 

the past showcase ideas borrowed from the West, the Malla palaces 

on the other hand exude extraordinary craftsmanship. Both of which 

were not the works of interior designers then, but rather an expression 

of what the owner felt. It is for a fact that people treat their space 

in the way they visualise it – irrespective of whether it 'fits' into the 

context or not. Even today, interior design is sought mostly in official 

and commercial areas than in residential projects. Nevertheless, the 

profession is prospering within the past few years, although it is still 

scaled down and limited to certain dimensions, which among other 

factors, could be the effect of the level of education available on interior 

design. 

Architecture is closely associated with interior design and it would 

not be wrong to say that they co-exist. The technicalities of designing 

have prospered both in architecture and interior design, and along with 

the number of architecture schools opening in the country, it is but 

natural that the need of interior design institutes also be a part of the 

whole process. In the following pages we will see what interior design 

institutes have to offer in this regard- when and how were they started, 

and their performance with and without architectural context. 

When and how? 

One of the first interior design institutes Lakhotia Institute of Art and 

Designing (LIAD), officially started in 1997; a branch of its parent 

company in Kolkata. Offering a two-year-course in interior designing, 

the institute also runs fashion designing programs. Later, Kantipur 

Institute, International Institute of Fashion Design (INIFD), IEC School 

of Fashion and Art, and few other institutes opened in the valley, 

offering varied levels of courses, the duration ranging from 3-5 months 

to 3 years, corresponding to pre-academic qualification of SLC to high 

school (+2 or equivalent) respectively. These institutes also run other 

allied programs, probably to sustain themselves, where Bachelor in 

Business Administration(BBA), Bachelor in Hotel Management and 

Fashion Designing are most common. 

Some of these institutes are affiliated to the interior design institutes 

outside Nepal and claim to have their standard and curriculum as set 

by its parent institute. Kantipur Institute, a 6-year old interior design 

institute is affiliated to Purbanchal University, the only institute 

recognized by a national university. 

Awareness: opt or just? 

The most reckoning fact about the interior design institutes in Nepal is 

that, although the course duration ranges from 3-5 months to 3 years, 

each graduate is considered to be an interior designer. Nevertheless, 

whatever the level of qualification may be, the graduates from 

Nepal and abroad, have found this industry booming, especially in 

places of urban interests, malls, office complexes, and restaurants. 

The awareness amongst the common people has increased to 

newer heights and people have started to realize the importance 

of assimilation of tangible objects that tune into intangible spaces. 

Interiors are more than living spaces, because they are an identity to 

one’s cultural arena. Therefore, the institutes offering short 3-5 months 

courses and releasing the graduates into the market create a risk of 

providing dual identities to living spaces. 

79 www.spacesnepal.com 




Analysis 

It is always necessary to bind practice to certain norms. If the 

quality of interior designing has to be optimized, then a prior 

step of polishing the education system in interior designing 

institutes is of utmost importance. 

In between the walls 

Interior Design Association of Nepal (IDEA) was established 

with an aim to bring together all the interior designers of Nepal. 

However, the association has been rather inactive at present 

and the interior designers have lesser to opine about being its 

member. 

With the present curriculum in the institutes lacking a proper 

and standard set of norms, resulting in varied and substandard 

‘graduates’, IDEA could be one body which could play 

an important role in its standardisation. This can set a certain 

quality control over the professional practice in Nepal in the 

long run. 

Architecture versus Interior Design 

Even though architecture and interior design are two different 

practices professionally, they do have a certain co-relation to 

one another as both work towards the end result of a ‘planned 

and aesthetic space’. Hence in general, most architects 

naturally practice interior designing as well. What justice 

the architect does to interior design is an aspect depending 

mainly on the quality, and probably his/her experience. It 

can be said that architectural practice sincerely took off 

in the country only about 15 years back, and ever since, it 

has played a significant role in the architectural scenario of 

Nepal. Challenges and criticisms prevailing, the standardized 

institutionalization of architecture is somewhere responsible 

for its prosperity. Besides, architecture is also a product of the 

history of art, a study of the chronology of its development and 

the reasons behind it, including the adaptation and the concepts 

behind them. If an architect creates space, he believes to have 

visualized space within, from where the interior designing would 

just begin, which is probably the reason that architects practice 

interior design and in most cases probably would do justice to it. 

On the other hand, interior design is about in-between the walls, 

which if addressed individually, might do an injustice to the 

built environment of the building - which is one of the reasons 

for the differences arising between the architect and the 

interior designer. The interior design institutes do educate the 

permutations and combinations of interiors, but they definitely 

need a direction and identify styles of ‘fit-in context’, the idea of 

‘inside out’. 

Here and there 

The quality of education in interior design varies greatly between 

Nepal and abroad - India being the closest. Studying outside 

Nepal does provide students to obtain more exposure to the 

global scenario. The belief that education is better in other 

parts of the world as compared to that in Nepal hence naturally 

prevails and is a predominant criteria for a designer’s selection, 

in spite of many institutes established in the country being 

affiliated to other institutes outside Nepal. 

A residential building incorporating traditional elements and style, reflecting preferences of the owner. 


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The J Bar designed by Sonia Gupta, an 

Interior Designer from India 

Analysis 

Conclusion 

The interior design institutes should not only be established 

with the aim of producing local designers, they should also 

meet the standards that would make them as competent as 

those practicing in the global context. These institutes require 

improvisation in terms of curriculum, academic qualification, 

recognition and norms of practice. Interior designing practice is 

a lot about what we learn prior to what we see, and thus learning 

should definitely be improved. We are not saturated by education 

itself, but we do need purify it to know what we are doing. 

Three interior design institutes of the Kathmandu Valley were surveyed to analyse their education standard, background of interior 

designing in Nepal, and the present context and performance in the market. 

Institute 

INIFD-The Creation 

Kantipur Hotel 

Management and Interior 

Design College (KI) 

LIAD 

Location 

Lazimpat, 

Kathmandu 

New Baneswor, 

Kathmandu 

Kupondole, 

Kathmandu 

Year of 

Establishment 

Affiliation 

2006 INIFD India 

2004 

Purbanchal 

University 

1997 LIAD Kolkata 

1) What are the courses offered (Diploma/Degree)and the 

duration? 

INIFD: Short term Diploma courses ranging from 3 to 5 months 

duration. In addition, 1 year or 2 years diploma courses depending 

on the choice of the student. 

K I: 3 years Bachelor program. 

LIAD: 2 years course consisting of three levels. Basic Level 

(6 months), Diploma Level (6 months), and Advanced 

Level(1 year). 

2) What is the number of students in each class and number of 

graduates till date? 

INIFD: 7-8 students in the 1 year course; 4 students 

(presently) in the 2 year. About 50-60 students have 

graduated in total since 2006 

KI: An average of 20 students in each class. Almost 35-40 

graduates till date 

LIAD: Presently 25 students. 

3) What facilities does the institute offer the students that 

attract them the most? 

INIFD: The institution has an outstanding reputation with 

a very tough curriculum. Students are attracted by the 

high international standards the institute offers. After 

course completion, there are lots of chances for jobs and 

internships. Also, its affordable. 

KI: Mainly it’s a bachelors program - 3 years. In terms of the 

course, our syllabus is from outside (India). Our teachers are 

also professionals and experts in the field (architects). 

LIAD: The institute has short semester courses, so a lot of 

housewives join to get a diploma in a short amount of time. 

People who want to take a different route and try something 

new join the institute. 

4) What is the history behind the foundation of your institute? 

INIFD: The Incentive Group of Companies in Nepal applied 

to INIFID in India and got a chance to start the institution 

in Nepal. The reason it is called “The Creation” in Nepal 

is because the administration realized the difficulties in 

government procedures to call it “INIFID”, therefore for 

registration sake, a second name - the Creation, was given. 

KI: Established in 2004, but proposal was in 2000. Nabin Kumar 

Joshi is the syllabus planner. 

LIAD: LIAD is a branch from India that started in 1997 here in 

Kathmandu. 

5) What are the various career options students can choose after 

graduating from your institute? 

INIFD: This really depends on the students and their intention for 

joining the class, along with their work ethics. Some just join the 

course for general knowledge about interior design. These types 

of students tend to lose interest by the end of the course. There 

are some dedicated students who have gone abroad for further 

studies, while others get job placements in Nepal as interior 

instructors, free-lancers, and such. 

KI: Some pursue further studies abroad. Some work here in 

furniture factories as interior designers. Some freelance too. 

LIAD: Most people work in designing kitchens, bathrooms, and 

other interiors. There are a few that go on to work as freelancers. 

6) Are students from outside the Kathmandu Valley/country enrolled at your 

institute? 

INIFD: About half the students are from outside the Valley. There 

are students that come from Dharan and Jhapa. However, these 

are mostly those who are settled in Kathmandu and don’t come to 

Kathmandu soley for the sake of getting an interior degree. 

KI: Lots of students from outside the valley. 

LIAD: There are people who do come from outside the valley, but it is 

very rare. 

7) Does your institute have branches at any other place? 

INIFD: There are a total of 180 INIFD centers in total. 

K I: No 

LIAD: There are branches in India and the UK. The Kathmandu 

Institute is one of the branches. 

8) What age groups of students mostly attending the interior 

designing course in your institute? 

INIFD: There is no age trend, the minimum requirement is SLC-pass. 

KI: Most of the students enrolling in the institute are18-20 

years old. Pre-academic qualification is High School (i.e. +2 or 

equivalent). 

LIAD: No specific range. Most of them are aged between 15 to 35. 

9) Does your institute offer any courses besides interior designing? 

INIFD: Yes. Fashion Design is offered besides Interior Design. 

KI: Hotel Management, BBA, and BHCM. 

LIAD: Fashion Design is offered besides interior design. 

Contacts: 

INFID: info@nifdnepal.com; 01-4435957, KI: khmc@wllink.com.np; 01-4780564 

LIAD: liad_ktm@yahoo.com; 015547506 




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Interior Design Institutes 

OPINION 

Anju Malla Pradhan (AMP) 

Architect, The Design Studio, 

Kathmandu; Bachelor in 

Architecture, Jadavpur 

University, Kolkata (1993). 

Usha Sharma (US) 

Interior Designer, Akriti 

International, Kathmandu; 

Diploma in Interior Designing, 

IEC, Kathmandu (2008). 

Peanu Shrestha (PS) 

Interior Designer, Creative Spot 

(P) Ltd, Kathmandu; Diploma 

in Interior Designing, Kristal, 

Institute of Professional 

Management, Kathmandu 

(2002). 

Shristi Pradhan (SP) 

Interior Designer, Arch Design 

And Dimensions (P) LTD, Lalitpur; 

Bachelor in Interior Designing, 

Mangalore University, India (2002). 

A review of the interior design institutes in Nepal. 

A set of questions was 

forwarded to some members of 

Society of Nepalese Architects’ 

(SONA), Interior Design 

Association (IDEA), architects 

and interior designers, 

for their opinion on these 

institutes, the education they 

provide, the standards of 

education and practice, and 

role of the association in these 

institutes. 

What is your opinion on the condition of interior design institutes of Nepal? 

How do you find the education in these institutes in Nepal? 

SP Institutes are sprouting up. Few years back the interior design institutes 

were offering a one year diploma course (2 hours a day) which was not 

sufficient to practice interior design. After opening degree course, the 

scope of interior design has increased. Though I used to teach in one of 

the institutes, I am not truly satisfied. The courses and also the course 

duration of one year is not sufficient to practice designing. 

PS The condition of interior design institutes is good enough at present. As 

far as education is concerned, these days bachelor’s courses in Interior 

Designing have developed the education a lot more as compared to our 

time. Back then the course was packaged in a very short period such that 

we had a lot of pressure while studying Interior Designing. On the other 

hand, one couldn’t afford time and money due to lack of professional 

security. For instance, I am one of the very few designers of my batch 

still continuing ‘Interior Designing’ as the main stream career. But these 

days, the scenario is changing. 


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OPINION 

US Interior Design institutes in Nepal are still in the developing 

stage. They haven't been able to successfully deliver the 

exact courses for Interior Design and focus on the detailed 

knowledge that a student requires to be a designer after 

graduating. Only the academic qualification and certificate is 

not enough. 

There are a few institutes in Nepal for interior design. The 

education in these institutes is limited to some randomly 

selected subjects. The institutes themselves are in a 

confused stage as to what subjects to offer to the students. 

The education system is limited for providing students with 

some books for reference and some software. The books 

and the tools used in these software won't produce quality 

designers. 

AMP The condition of interior design institutions is definitely 

improving in the context of Kathmandu valley from what it 

was around eight years back, when I taught the 3rd batch of 

students at “Exterior Interiors”, at the Bluebird complex. With 

the establishment of their own association, the profession 

seems to be flourishing. As far as residential projects are 

concerned, clients are ready to spend lavishly on interiors. 

Do you think that there are good career opportunities for interior designers in Nepal? What are the 

advantages and disadvantages of graduating from Nepal and abroad, say India? 

SP Nepal is opening to interior designing. An increasing interest in 

interior design and awareness of its benefits increases demand 

for designers. Clients are increasingly using the services of 

interior designers when they plan new additions, remodel and 

update the general décor of their home, offices etc. Designers 

with formal training or experience in green or energy efficientdesign 

in particular are expected to have better job prospects 

due to increased interest in this area. Good designers can be 

born anywhere. 

PS I am optimistic towards interior designing in the coming days. As 

cities are growing, space is getting smaller day by day. People 

are compelled to adjust in smaller spaces, whether it be a personal 

residence, a commercial area or an office - willingly or unwillingly. 

Therefore professional consultation can be fruitful for users to 

obtain maximum utilization out of the minimum space available. 

The advantage of graduating from Nepal is the ability to learn 

on the designing techniques based on the circumstances of 

Nepalese culture. And of course the education is much more 

economical as compared to that abroad. One can start with lower 

expectations and can grow up step by step, enjoying the work 

and learn at the same time. I don’t see any disadvantages in 

graduating from Nepal. 



OPINION 

US For a developing country like Nepal, interior design is a 

good career opportunity. There are numerous commercial 

buildings, housing, corporate houses, banks etc. being 

developed every day. New concepts are being introduced 

for construction and designing. People have understood 

the aesthetic values not only for their houses but for their 

workstations too. 

Graduating in Nepal gives the students less opportunity 

to explore. The inadequate resources and technology lack 

the education system behind it and the institutes in Nepal 

haven't been able to create that ambiance. Graduating 

in the same subject from abroad or India obviously gives 

students more chances to explore with larger spaces for 

experimentation. However, graduating in India and practising 

in Nepal eases the designers work due to cultural similarities. 

AMP First and foremost we Nepalese suffer from this branded and 

tag mayhem. Is it good or otherwise? What counts is the end 

product- either it’s good or you just don’t like it. It’s for the user 

to decide. The abroad factors definitely have airs about them, 

confidence level is better and they have a wider exposure 

for sure, but then again even the locals get maximum 

exposure due to our beloved internet etc. What is necessary 

is knowledge about local products and what’s available in 

the market including the level of workmanship available, not 

forgetting the aptitude to create good and viable designs. 

Have you worked with an architect/interior designer? Can you 

share you experience regarding the same? 

SP No, only interaction. 

PS Yes, I have worked with some architects and I really had 

good experiences working with them. I had the opportunity 

to sharpen my knowledge regarding the details of 

constructions, and with the combined efforts we were able 

to rectify all the minor errors that usually occur due to lack 

of coordination between the Architect and Interior designer. 

US No I haven't worked with an architect. I would definitely like 

to work with them and understand interior designing from 

an architect's perspective. 

AMP I did happen to work with an interior designer in one of my 

very early projects. It was the interior of a restaurant. What 

I saw lacking was the knowledge about available market 

products and practical solutions to limited budget. She 

came up with pretty good ideas which couldn’t materialize 

due to budget constraints. A condition we have to deal with 

too often. Anyway, if both professions are to prosper, best 

is to form a good team first and then to deal with projects 

on mutual understanding, not deterring from the goal of 

obtaining clients satisfaction on one hand and creating the 

best to one’s abilities. 


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OPINION 

There are architects who also practice interior designing. Do you think architects are creating 

lesser opportunities for interior designers? What do you think are the pros and cons of an architect 

practicing interior designing? 

SP Yes. Though interior designing is a part of architecture, it has 

more depth and should be treated as an individual subject. 

Interior designing is an art for detailing. Interior designers are 

given lesser chance than architects. 

PS No. Architects have certain limitations while practicing 

interior designing. For instance, they can bring the technical 

solutions like designing a structure and planning its space, 

but the final touch has to be done by the Interior Designer. 

Re-designing has to be done after understanding the 

personality, psychology, and philosophy of the clients. The 

detailing of colour tone, fabrics, design of furniture, floorings, 

curtains, pictures, paintings, showpiece, etc., have to be done 

by interior designers. 

US I don't think architects are creating lesser opportunities 

for interior designers. Anyone who is creative enough and 

express their ideas in an innovative way can create a healthy 

competition, with or without the formal qualification. 

The practice depends on the amount of research done 

individually. Those who can understand this and can 

think out of the box will be noticed. That person could 

be an architect, an interior designer or someone from a 

completely different path, say an artist. 

AMP I don’t think so; definitely not. We visualize the entire space 

right from the beginning. A good design, functionally as well 

as aesthetically well conceived finally pays off. We cannot 

start on any project without considering the furniture 

placements, power points, lighting, etc., which are part 

and parcel of architecture as well as interiors. So where is 

the demarcation? Where do we stop, and they start? The 

ultimate is either we work together right from the start, or we 

deal with the full package, which I feel is a better option. 

An architect practicing interior design definitely results 

in a full package of any project from conception to 

materialization. Can anything surpass that? But this should 

not be done forcefully though. One should have an eye for 

colour combinations, furniture designs, as well as all the 

other details. Though the mushrooming furniture houses 

seem to have helped in easing this aspect, but at times it 

pays better too. 



OPINION 

Are you a member of IDEA/SONA? 

To Interior Designers- The role o f IDEA is not so remarkable in present context. Do you think this 

explains the condition/situation of interior designers in Nepal? 

To Architects- How do you think the role of an architect should be to bring together architecture and 

interior designing? 

SP Yes. IDEA should make guidelines for practicing interior 

design and provide license to work like other associations do 

and should bring all designers under one roof. 

PS I have not yet become a member of IDEA formally, but I am a 

well wisher and have participated in the activities conducted 

by them. At present, IDEA does not seem to be so remarkable, 

and I think it is due to the lack of proper networking and 

interactions between the professionals and another thing 

that I noticed during the AGM is that the participation of senior 

designers was very low. I don’t think this truly projects the 

condition of interior designers in Nepal because designers 

are individually established on their own. 

US No I am not a member of IDEA. 

I can't tell if the role of IDEA has been able to explain the 

condition of interior designers in Nepal, but there are still 

few people who haven't exactly understood what an interior 

designer does. Moreover interior designing and interior 

decoration is taken as a similar term. 

AMP I’m a member of SONA only. From a layman’s point of view, 

the architect creates space or designs a house and an interior 

designer fills it with life and converts it into a home. 

In several of my own projects, clients hire interior designers 

once the structure and finishing is done, i.e., including flooring 

and bathroom furnishing. Then in walks the interior designer 

and without any consultation with us turns all the layouts 

upside down creating mayhem with all the wireworks and 

window placements. The odd part is that clients don’t seem 

to complain much after seeing all the 3D’s and rendered 

drawings. Sad part is at times they run off with all the credit. 

Should I say after all, this is Nepal? We should strive better to 

change the situation, and for clients who can afford it, better 

sign a deal on the entire package right from the start. 


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Art 

The 

Painter of History 

Text: Richa Bhattarai 

Imagine an era in Nepal way back before you were 

born, and then try to paint it . It might sound 

difficult, if not impossible, but there is an artist 

who manages to achieve it . 

Early days 

Born in a Newar community in Gafaltole of 

Lagan, Sharma was so enamoured by the 

rich Newari culture that he chose to reflect 

it in his paintings. He considers his artistic 

skills to be God-gifted, because no one 

else in this family had this talent. "During 

that time, art was limited to Newars," he 

informs, "We had other occupations. My 

grandfather was an astrologer and my 

father a singer. But since my earliest 

years, painting attracted me. I would draw 

something, erase and try again." The real 

turning point was when his father saw him 

drawing a snake during Naag Panchami, 

the holy festival of snakes . His father took 

the drawing to the Ranas, the rulers of that 

time. They praised Sharma and offered 

him coins as reward. "I was barely five or 

six years old ," Sharma recalls fondly, "and 

those coins were worth a lot. That was how 

my artistic journey began." 

Soon after, his father took him to Jeev 

Ratna Shakya, a noted painter , and 

requested him to place Sharma under 

his patronage. "There, we spent days 

studying objects, cultural heritages and 

landscapes to reproduce them in paper," 

Sharma shares his reminiscence, "I was 

supported by my family, specially my 

father, who unfortunately passed away 

in 1948 A.D. " It is evident that Sharma's 

family has been his biggest support 

system from childhood to date. It is 

heartwarming to notice that details of his 

exhibition and paintings are being looked 

after by his daughters, daughter-in-law, 

and his son. Thinking back on his early 

days, Sharma continues, "I kept up with 

my formal studies and completed rudri 

from Darbar High school." 

After this adorable revelation, he 

continues with his biography. "I learnt a 

lot by copying the paintings of B. K. Mitra 

published in an Indian magazine, Kalyan," 

he says, "but I knew that I had to get 

professional training. 


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Art 

modernization has 

taken away the 

significance of these 

artefacts, and the 

present generation 

does not know their 

importance. I just 

want to show our 

future generations 

what Nepal is - how 

it has been built, 

not by rulers but by 

artisans 


So I joined Juddha Kala Pathshala which was 

under the Technical School established by 

Juddha Shamsher in the place where Lalit 

Kala Campus stands today. We were taught 

water colour, pencil sketch, and imitation of 

objects." Sharma studied there for five years and 

completed his Kala Kaushal, equivalent to SLC. " 

Getting Professional 

It was 1958 A.D. by then, and young Sharma 

felt that it was time to take up a job. The Design 

Section of Gharelu Sana Udhyog Bikas was 

looking for an artist, so he applied there. He was 

selected and trained by Amar Chitrakar, under 

whom he learned commercial art, logo and 

calligraphy. He earned a stipend of Rs. 75 per 

month, and his work there was so good that he 

was even awarded the first prize by the then King 

Mahendra. This contract was extended for one 

more year. 

Talking further on his career, "The Chhauni 

National Museum was looking for a painter. I 

applied and got appointed. My task was to paint 

the introduction of rare artefacts. I got paid eighty 

rupees per month." 

Then, Sharma applied for the post of a painter 

in the National Airlines Corporation (then RNAC) 

where he was queried by a Bengali on what 

the primary colours were. "They are red, yellow 

and blue," the smart painter answered, "if we 

mix them, we can get any other colour." The 

interviewer was impressed, and Sharma got 

the job and worked there for the next twenty-six 

years and eight months. Meanwhile, his will to 


continue his further education had not dimmed. 

He joined the ninth standard in Mahendra Praudh 

Sikshya. His determination made him pass SLC 

in second division and joined Mahendra Ratna 

Public Campus, then in Basantapur. But his aim 

to complete his school level education had been 

fulfilled, so he did not continue his studies after that. 

Instead, he turned his attention towards painting, 

particularly life-like sketches in water-colour and 

oil. To this day, he remains interested in drawing 

matters of everyday life. He is specially devoted to 

sketching the Licchavi and Malla era of Nepal, a time 

period from the ancient to the medieval. On being 

asked why he chose this field, he answers, "I am 

fascinated by art and architecture of the period. The 

temples and spouts, jatras and festivals have all 

been handed down from that Golden era. When I was 

young, all of this was beautiful and well-preserved. 

But modernization has taken away the significance 

of these artefacts, and the present generation does 

not know their importance. I just want to show our 

future generations what Nepal is - how it has been 

built, not by rulers but by artisans ." 

He seems passionate about his art, and his attempt 

to preserve the heritage through art. At the same 

time, he appears appalled at the government's 

indifference. "Changu Narayan temple is the oldest 

temple. Every portion of it is filled with exquisite 

Nepali art that can never be duplicated. But it is 

falling apart and no one cares to conserve it." 

Whatever others may be doing, Sharma is faithful 

towards his aim. For this, he first studies history 

books, visits temples and old heritage sites, obtains 

old pictures."

Art 

Commercialization of art may be a 

good income source, but art will 

be at its best only if you carry it 

on for its own sake 

I talk to historians," he adds, "I make it a point to collect as much 

information as I can. I make a lot of visits to the Kesar Library, 

which has rare historical documents. After that, a certain image 

of that era appears in my mind, and I try to bring it out on paper. 

It takes a lot of effort to accumulate all facts and interpret them." 

An example is the painting where Taleju Bhawani is playing dice 

with the king. He has executed a myth into art. And it took three 

attempts to come up with the final piece." I was dissatisfied until 

I studied about Malla weapons from museums, and included 

them as well as the shriyantra into the sketch," he reveals with 

satisfaction. 

Art for art’s sake 

However, he is sad that this dedication towards the craft is lacking 

in the present generation, "They are quite educated, which is good. 

Studies are essential to understand the intricacies of art. However, 

these educated youth lack patience. They come to me, learn 

for a few months, then get tired and stop coming." As for the art 

institutes booming everywhere, and the commercial value of art, 

he opines, "Commercialization of art may be a good income source, 

but art will be at its best only if you carry it on for its own sake." 

On being queried how much it takes for him to complete a painting, 

he ponders a bit, "Sometimes it takes five months, sometimes 

up to a year. For example, the Kailashkut palace took me a year." 

His sincerity is most evident in this particular painting. He has 

recreated the huge legendary palace of king Anshuvarma in his 

canvas. Looking at the vast hall where the king is welcoming his 


visitors, we are filled with a feeling 

of awe. Similarly mesmerizing 

is the image of Arniko, our very 

own Balabahu, leaving on his 

artistic mission to China. There are 

paintings of the Kumari entering 

her new home, of king Jayaprakash 

Malla playing dice with Taleju 

Bhawani; of Prithvi Narayan Shah 

and Junga Bahadur Rana. 

Sharma also specializes in 

paintings detailing day-to-day life 

: a Jyapu couple, a farmer, a nagini 

(woman offering manicures), a 

gubhaju (faith healer), a potter. 

Nothing misses his watchful eye, 

no detail is spared. It is a treat 

for every Nepalese, though he is 

particularly adept at displaying 

Newari heritage. It is no surprise 

that ex-Mayor Keshav Sthapit 

complimented him, "You, as a 

Brahman, have done what a 

Newar couldn't." It was Sthapit 

who coordinated Kathmandu Metropolis and Himal Association 

to arrange for an exhibition of Sharma's paintings in 2002. Titled 

'Kathmandu Valley Down the Ages," Sharma's paintings were 

published in book form later. Before that, in 1973 A.D., he had a solo 

exhibition in NAFA art gallery. He has participated in seven joint 

exhibitions and held four single exhibitions till date. 

Being humble yet 

Even after achieving this success, and his paintings being widely 

acclaimed, Sharma remains humble . "My paintings are a blend 

of art and culture," he proudly says, "They are history. So I cannot 

put a price on them anyhow. It depends on their rarity, their finish. 

Some visitors are so overwhelmed by my art that they are willing 

to pay any price. However, my greatest reward is not price but 

the satisfaction I gain when people like my paintings. The money 

I earn from the sales will go to charity." He offers postcards at 

much reduced prices for those who cannot afford his paintings. 

He is one of those rare beings extremely content with his life. 

"What's there to be greedy about?" he counter-questions. "I have a 

wonderful family, a great talent, so many admirers. God has given 

me everything.." 

Sharma steers clear from abstract and modern painters. "I do not 

understand them much," he accepts with childlike frankness, 

"My favourite artists are John Constable, Gitto, and Leonardo Da 

Vinci. Among our artists, I am partial to Chandra Man Maskey, 

Tej Bahadur Chitrakar and Balkrishna Sama." He seems highly 

attracted to Sama's personality. "Studying his paintings changed 

my view towards life," he agrees, "I pray to God that in my next 

birth, I should be a painter like Sama, poet like Lekhnath, and 

philosopher like Shankaracharya." 

Well, no one knows about the next birth, but we can be assured 

of one thing – Hari Prasad Sharma, through his dedicated 

amalgamation of history, culture and religion in art, has proved 

himself to be an exemplary artist in this birth. 

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Panchakanya

6. Nov-Dec 2010

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