SPACES Sept issue 2017

Vol 13 N o. 04 

SEPTEMBER 2017 

ART 

ARCHITECTURE 

INTERIOR 

THE ECOCITY 

WORLD SUMMIT 2017: MELBOURNE 

AUSTRALIA AND THE CONCEPT OF ECOCITY 

The Fruition of Heritage 

Karkhana 

Reclaiming 

streets 

as public space 

Eternal Visions 

and Contemporary 

Forms 

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Contents 

Volume 13 N O. 04 | SEPTEMBER 

S P A C E S N E P A L . C O M 

22 ARCHITECTURE 36 ARCHITECTURE 62 ARCHITECTURE 

Kaleidoscope: 

Reclaiming streets as public space The Ecocity World Summit 2017: 

Heroes of Future 2017 

Melbourne Australia and the concept 

28 ARCHITECTURE 


Karkhana 2017 

44 INTERNATIONAL FEATURE 

El Museo Prado en Filipinas del 

50 INTERIOR 

Manbhawan Project 

54 INTERIOR 

Geological impact of Color 

Combination2017 

76 FROM THE SHELF 

Art and Culture of Nepal 

78 ARTSPACE 

E-arts 


and floating 3:1 right shares of the 

paid-up capital maintained after 

distributing the bonus shares to 

its existing shareholders. Both the 

proposals are subjected to approval 

from the central bank the upcoming 

AGM of the bank. 

Presently, the bank has a paid-up of Rs 

2.75 billion. After the distribution of the 

bonus shares, the paid-up capital of the 

bank will reach Rs 4.67 billion. The bank 

said if it issues the 3:1 right shares, the 

paid-up capital of the bank will reach Rs 

6.24 billion. 

Everest Bank 

Support for 

Manakamana Temple 

Everest Bank has provided its support to 

Mata Manakamana Temple. As part of 

its CSR activity, the bank provided 

incense stick stands and dust bins to the 

temple during a programme held at the 

temple premises. 

Dr Ram S Sangapure, Executive Director 

of Punjab National Bank and Someshwar 

Seth, CEO of Everest Bank handed 

over the items to Garidhari Sapkota, 

Executive Director of Temple Area 

Development Committee. 

Money transfer company MoneyGram 

has distributed prizes to the winners 

of its scheme launched during 

the festive season. The company 

distributed 10 motorcycles, 10 

refrigerators and 10 mobile phones to 

the winners. Julius, Senior Director 

of South Asian and JCC Countries of 

MoneyGram handed over the prizes 

to the winners with a promise of 

providing more services beyond the 

customer's expectation. 

Muktinath to Distribute 34% Bonus Shares 

The 10th annual general meeting (AGM) 

of Muktinath Bikash Bank has approved 

the proposal of distributing bonus 

shares at 34 percent to its shareholders. 

The AGM also approved the proposal 

of distributing 50 percent right shares 

of the paid-up capital maintained after 

distributing the bonus shares and right 

shares. Moreover, the bank has also 

approved relocating its central ofce at 

Kamaladi, Kathmandu and providing 

authorisation to the board of directors to 

initiate merger or acquisition processes 

with other BFIs. 

Nepal Gramin Bikash Bank Net prot 

Increases Two Folds 

The net prot of Nepal Gramin Bikash 

Bank has increased by two folds during 

the rst quarter of the current FY. 

During the review period, the bank 

earned a net prot of Rs 30 million. The 

bank said the increase has been 

attributed to the increase in operating 

prot and net interest income. Similarly, 

the operating prot of the bank 

increased to Rs 45.5 million in the rst 

quarter of the current FY, a three-fold 

increase compared to the same period 

last year. Moreover, the loan extension 

of the bank has increased by 21.31 

percent to Rs 6.85 billion. However, the 

reserve fund of the bank has decreased 

by 80.21 percent to Rs 45.8 million 

during the review period. 

Insight Spaces Private limited ,Tara Bhawan, 1st Floor (Near Prakash Pharmacy), Teku, Kathmandu, Nepal 

Landline: 01-4100235, 01-4100236 Mobile no.+977-9801900099, E-mail: marketing@insightspaces.com 

NEW BUSINESS AGE DECEMBER / 2016

Volume 13 N O. 03 | AUGUST 

Contributors 

CEO 

Ashesh Rajbansh 

Editor-in-Chief 

Ar. Sarosh Pradhan 

Director- Products and Materials 

Ar. Pravita Shrestha 

Contributing Art Editor 

Madan Chitrakar 

Kasthamandap Art Studio 

Junior Editor 

Shreya Amatya 

Sristi Pradhan 

Pratap Jung Khadka 

Advisor 

Ar. Pawan Kumar Shrestha 

Subscription and Administrative Officer 

Riki Shrestha 

Contributing Editor 

President - Society of Nepalese Architects 

Ar. Jinisha Jain (Delhi) 

Ar. Chetan Raj Shrestha (Sikkim) 

Barun Roy (Darjeeling Hills) 

Photographers 

Pradip Ratna Tuladhar 

Intl. Correspondent 

Bansri Panday 

Samir Dahal 

Intern 

Soyana Nyachhon 

Director- Operation & Public Relation 

Anu Rajbansh 

SR. Business Development Officer 

Debbie Rana Dangol 

Marketing Officer 

Ruby Shrestha 

Legal Advisor 

Yogendra Bhattarai 

Financial Advisor 

Kiran Rajbhandary 

Published by 

IMPRESSIONS Publishing Pvt.Ltd. 

Kopundole, Lalitpur, 

GPO Box No. 7048, Kathmandu, Nepal. 

Phone: 5181125, 5180132 

info@spacesnepal.com 

Design/Layout & Processed at DigiScan Pre-press 

Printed at Wordscape The Printer, 9851037750 

Distribution 

Kasthamandap Distributors, Ph: 4247241 

Advertising and Subscriptions 

IMPRESSIONS Publishing Pvt.Ltd. 

Ph: 5181125, 5180132, market@spacesnepal.com 

Shreesha Nankhwa 

Sangeeta Singh 

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

Kirti Kusum Joshi 

Asha Dangol 

Shweta Shakya 

Chhavi Vashist 

Shweta Shakya is 4th year Architecture student in Khwopa Engineering College. 

Travels, takes photographs and writes to keep her sanity. 

Rajina Shrestha 

Maureen Drdak 

Shreesha Nankhwa is an aspiring environmentalist with a penchant for writing. She is interested in 

sustainable living, alternative energy and creating a better future for the planet. Her works have been 

published in a number of magazines and publications in Nepal. She currently writes and edits blogs for 

IT companies while dreaming of trekking across the Himalayas. 

Kirti K. Joshi received Ph.D. in urban and regional planning from Tohoku University, Japan in 2007, and 

has been a Fulbright postdoctoral scholar at Harvard University, USA, and a postdoctoral visiting scholar 

at University of Indonesia. Besides urban research, his other interests include psychology and philosophy. 

Sangeeta Singh is an Associate Professor at the Department of Architecture and Urban planning at the 

Institute of Engineering and has been teaching there since almost 20 years. She holds a master’s degree in 

infrastructure planning from the University of Stuttgart, Germany and is currently undertaking PhD research 

at the department where she teaches. She is also a practicing engineer/ planner and has a keen interest 

in research. Her research interest includes urban ecological planning, sustainable development, eco cities, 

housing among others and she has published her research articles in national and internal journals. 

Asha Dangol is a contemporary Nepali visual artist. He is co-founder of the Kasthamandap Art Studio and 

E-Arts Nepal. He holds Master’s Degree in Fine Arts from Tribhuvan University, and has been creating and 

exhibiting his art since 1992. He has 10 solo art exhibitions to his credit. Dangol has participated in numerous 

group shows in Nepal and his work has been exhibited in different countries outside Nepal. The artist 

experiments with painting, mixed media, ceramics, installation, performance and video. 

Chhavi Vashist is a Delhi- based Architect. She enjoys reading blogs & posts at blogger, WordPress, and 

some social networking sites too, which inspires her to write blogs. In past she had worked for a website: 

www.ebuild.in as an Interior Designing - content writer. She is also skilled in blogging, photography, travelling, 

event coordination, drafting, rendering, art & craft and model making. 

Rajina Shrestha is currently working full time for Marketing and Operations at Threadpaints Store, a moderated 

online selling platform. She is a also co-founder at Women Leaders in Technology (WLiT) and Vice-President at 

Women LEAD. She is a freelance writer and asks too many questions. 

Maureen Drdak is a graduate of the both the Pennsylvania Academy of Fine Arts and the University of the Arts in 

Philadelphia. She travels widely in pursuit of her visions. Her research has taken her to Europe, North Africa, the 

Middle East, India, Nepal and the Himalayas. She is the recipient of numerous honors, including the 2011-2012 

U.S. Fulbright Senior Scholar Award for Nepal. Her work is found in numerous public, private, and university 

collections within the US and abroad. 

SPACES is published twelve times a year at the address above. All rights are reserved in respect of articles, 

illustrations, photographs, etc. published in SPACES. The contents of this publication may not be reproduced in whole 

or in part in any form without the written consent of the publisher. The opinions expressed by contributors are not 

necessarily those of the publisher and the publisher cannot accept responsiblility for any errors or omissions. 

Those submitting manuscripts, photographs, artwork or other materials to SPACES for consideration should not send 

originals unless specifically requested to do so by 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. 



Editorial 

Karkhana is revolutionizing the education sector of Nepal as we know it, and the premises that houses the 

company is making a statement in the Kathmandu architectural and interior design scene as well. The building 

has a rich history, from being the residence of the Pudasaini family to the former International school. After the 

2015 earthquake, the building needed urgent renovations, which has been carried out now in spectacular fashion. 

Spaces features Karkhana and Galli Galli’s offices in Gyaneshwor, providing anecdotal accounts of the building’s 

history as well as the earthquake resistant retrofit and redesign process. 

Art, architecture, and interior design competitions and conferences have always been a great way of promoting 

the field, and the past month has been full of very exciting events. Spaces believes that it is critical to report 

about the winners, sponsors and the operations of these events to spread awareness within the art community 

and beyond. Started as an attempt to provide a platform for fourth year architecture students to expand their 

theoretical knowledge base and utilize it in the practical field, the winning entries of the Kaleidoscope are much 

appreciated evidence of wonderful vision of the students. Shrawan Thakuri’s concept of Dasharath stadium 

could be next functional beauty that Nepalese will truly aspire. 

As the author Kirati Kusum Joshi well reflected that ‘What connects, can also divide’ regarding the usage of roads 

as ‘we’ do. He amalgamated so many seen and unseen habits of reclaiming our streets that it simply incites 

us not just to think but act right away. What simply has been the practice since ages has grown into chaotic 

confusion of who or what exactly is the priority now. A spectacular piece, discussing the significance and history 

of the streets in Kathmandu also provides some wonderful ideas for our beloved city to be more eco-friendly. 

Bringing vitality to the public space it inhibits, a delightfully new concept of travelling exhibition takes the 

museum experience into the public spaces providing more than a frame for the museum’s art prints, it brings a 

spatial and visual experience through a replication of architectural expressions in both form and program. The 

taste for interior décor and lighting is becoming a substance of style from designer as well as the owner. The 

everlasting color of stone has been of deep influence and inspiration since ages. Application of the natural stone 

in their varying color and contents in interior designing and architecture, the combinations makes us feel close to 

mother earth. 

The universally celebrated mastery of Nepalese art on metal for their eternal beauty and spiritual relevance is 

eminent all over. The Newar master artisans are giving shape and life to the not so fortunate real substance of 

Nepalese heritage which suffered multitude of damages on 2015 earthquake. The technicality and sensory ability 

of these craftsmen is well cherished for ably restructuring the missing to bring back the esteem that was lost for 

a while. With innovative participation of these master visionaries, the legacy of Newar art is here to endure. 

Wishing all readers and well wishes a peacefully joyous festive season, 

Ashesh Rajbansh / CEO 



NEWS 

PRASHANTA SCHOLARSHIP 

AWARD 2017 

Prashanta Memorial Society was established with an aim 

to promote upcoming new young artists from the Fine Arts 

Colleges in the name of “Prashanta Scholarship Award”. It was 

initiated in the name of late artist Prashanta Shrestha in 2003. 

Since then the Society is giving Scholarship Awards for three 

young artists from the Fine Arts Colleges in Kathmandu. 

On the 4th August Friday, the Society felicitated the three 

recipients of this year’s Prashanta Scholarship Award at Nepal 

Art Council and the recipients are: Pradip Pal Saud (Lalit Kala 

Campus), Tshering Chhambel Sherpa (Sirjana College of Fine 

Arts) and Shushank Kalapremi Shrestha (KU Center for Fine Arts 

and Design). The program was inaugurated by Mrs. Greta Rana 

and the program was also featuring the paintings exhibition of 

late artist Prashanta Shrestha till 6th August 2017. • 

DARLING MATTRESS 

Darling Mattress Co. Ltd. is a mattress manufacturer 

and wholesaler in Thailand, and a subsidiary of Darling 

Deluxe Group established in 1961. They produce quality 

mattresses such as pocket spring mattress, latex foam 

mattress and as well as mattresses for hospitality industry 

or hotels. The Sole Agent in Nepal for Darling Mattress is 

Fashion Furnishing Pvt. Ltd. located in Kathmandu. The 

company has been importing Darling Mattress to fulfill 

the needs of hospitality industry or hotels and also to 

consumers importing who emphasize on quality. Some of 

their customers in Nepal are Hyatt Regency, Hotel Ambassador, Soaltee Crowne 

Plaza, Hotel Radisson, Fishtail Lodge, Hotel Mount View, Temple Tree Inn etc. 

Darling Mattress Co. Ltd. won the PRIME MINISTER’S (PM) EXPORT AWARD 

2017 in Product Category: Hospitality, which is the prestigious award of 

Thailand given by the Ministry of Commerce, Royal Thai Government as the 

highest official tribute to the country’s foremost exporters. Even in Nepal Darling 

Mattress has succeed to create the market in Hospitality Industry as well as win 

the trust of general customers. • 


NEWS 

MONSOON PRINTMAKING 

WORKSHOP 2017 

Bindu Space for Artists has been organizing many art 

activities over the years providing artists an opportunity to 

work together. This Monsoon Printmaking workshop marks 

the sixth printmaking workshop organized by Bindu. The 

mission of this workshop was to develop and share the 

new techniques in printmaking, especially in etching and 

aquatint, for enhancing the local printmaking scene. Korean 

Printmaker Mr. Hyun Ju Kim had conducted the Monsoon 

Printmaking Workshop 2017 for six days (three days for 

etching process and 3 days for aquatint process). Each 

artist had created two works through those two processes. 

The exhibition was inaugurated by eminent artist Mr. 

Birendra Pratap Singh. Twelve artists from multi-disciplinary 

art background were selected to join the workshop 

which was held in Bindu’s premises. The participant 

artists had shown their own creation at Siddartha Art 

Gallery, Babarmahal,Kathmandu. The participating artists 

were Aman Maharjan, Anil Prajapati, Bijendra Shrestha, 

Bidyaman Tamang, Jenney Ghale, Pawan Sunuwar, Pramila 

Lama, Prithvi Shrestha, Ritu Thapa, Sarad Darshandhari, 

Saurganga Darshandhari and Subash Tamang. • 


NEWS 

7TH SAARC ARTIST 

CAMP 2017 

SAARC Cultural Centre, which is 

based in Sri Lanka was established by 

the Governments and Heads of State 

of the SAARC Countries to promote 

cultural cooperation within the Region, 

to enhance cultural understanding and 

harmony amongst the people of South 

Asia and to share the distinct cultural 

identity of South Asia with the world. 

The 7th SAARC Artists Camp was held 

from 28th to 31st July, 2017 at the 

Gokarna Forest Resort in Kathmandu, 

Nepal. The Camp was organized by 

The SAARC Cultural Center, Sri Lanka 

in collaboration with The Ministry 

of Culture, Tourism & Civil Aviation, 

Federal Democratic Republic of Nepal. 

There were 40 artists from 7 Member 

States participating in this camp 

including known artist from Nepal, 

namely: Lok Chitrakar, Udaya Charan 

Shrestha, Erina Tamrakar, SC Suman, 

Sunita Rana, Jasmine Rajbhandari, 

Jyoti Prakash BK, Namrata Singh, 

Anita Khanal Bhattarai and Subha 

Joshi. Participating artists had to 

create two paintings on the given 

themes “Sacred Sites” and “The 

Beauty of Nature”. For the first time 

traditional and folk arts were included 

in this event. Lok Chitrakar and Uday 

Charan Shrestha were participated 

from traditional art and SC Suman 

and Namrata Singh were participated 

from folk art. 

The SAARC Cultural Centre Artists 

Camp created space for artists from 

the Member States to gather together 

and put forward their creative 

expressions on canvass and share 

techniques and knowledge through 

the language of art. The atmosphere 

of interaction and friendship, cultural 

connectivity and cultural exchange 

during the Camp contributed towards 

establishing long lasting partnerships 

in art. The cache of being recognized 

within the region will increase as 

these paintings will be exhibited at 

various events. • 


NEWS 

SAMAAHIT 

The second solo exhibition of Mr. 

Nabendra Limbu focuses more on 

the dissection of feelings that are 

pure abstract works created from 

2004 till 2017. The artist has tried to 

strike a balance between subjective 

and objective values on to the canvas 

carrying a moral dimension, in that it 

can be seen to stand for virtues such 

as order, purity and simplicity. 

Various artists have expressed the 

beauty of abstract art through spiritual 

and visual attributes, power, and 

psychoanalysis. But Limbu has given 

a different perspective to abstract, 

believing that the abstract connects a 

human being to the society as society 

itself is a combination of abstract things 

that makes a perfect whole. He focuses 

more on the dissection of feeling that a 

human face in day to day life. 

His painting had similar pattern which 

reminded people of jigsaw puzzles 

and clothing designs, but on close 

observation the painting had different 

meaning to it. He says that the painting 

itself is a medium of how people feel 

while they observe it. 

The curator of the exhibition Mr. Sujan 

Chitrakar says that Limbu's paintings 

are infused with the passion of the 

person himself with rough surfaces 

and jagged edges. He recalls that the 

artist would disappear for a long time 

and reappears eventually bringing 

stories of faraway lands on his new 

sketches. 

The color combination appears 

prominent where harmony and 

blunt emotional forms expresses 

abstractionism. The use of white is a 

prominent attribute of his paintings. 

When not applied as background, 

white comes mixed with background 

colors making the hue seem more 

pastel-like. With the help of white, the 

colors lose their original intensity to sit 

better with the complimentary hues 

that they are applied alongside. 

Judging by his way of artistic 

approach, he is still exploring the 

theme ‘Relationship’ as he mentions 

“Everything in the world relates to one 

another. Just like how this exhibition 

has created a connection between 

you and me.” • 


NEWS 

FURNEX NEPAL 2017 

F 

urnex Nepal 2017 was 

organized by Nepal Furniture 

and Furnishing Association 

(NFFA) from 19th to 23rd August 

at Bhrikutimandap Exhibition Hall, 

in Kathmandu. Total 66 stalls (47 

big and 19 small) showcased their 

latest furniture, home furnishings, 

appliances, wood works, floorings, 

carpets, and other designs to the 

eager customers. Honorable Minister 

of Commerce, Mr. Meen Bahadur 

Bishwakarma inaugurated the event in 

presence of special guests, Mr. Umesh 

Shrestha (Vice-President of Federation 

of Nepalese Chambers of Commerce 

and Industry), Mr. Rajesh Shrestha 

(President, Nepalese Chambers of 

Commerce), Mr. Surendra Kumar 

Sarda (President, Federation of 

Nepal Furniture and Furnishing 

Entrepreneurs Association) and Mr. 

Hem Raj Dhakal (BOD Federation of 

Nepalese Chambers of Commerce 

and Industry). The opening ceremony 

also witnessed the launch of Souvenir, 

which celebrates the hard work of 

the jointly collaboration of SPACES 

magazine and NFFA. Heritage Carpet 

announced to donate goods worth 

Rs. 50,000 whereas Valley Furnishing 

announced to donate Rs. 51,000 for 

the flood victim during the opening 

ceremony of FURNEX Nepal 2017. 

The title sponsor for the event was 

Gem Flooring and main sponsors 

were Heritage Flooring Carpet, Yeti 

Flooring and Shree MD Furniture. 

Extra activities were held during the 

event such as blood donation program, 

checkup for diabetic patients, dental 

checkup and daily lucky draw from 

18 / SPACES SEPTEMBER 2017 

the visitors’ tickets. Blood donation 

program which was held in association 

with Lions Club of Kathmandu Central 

collected 87 pints of blood, similarly 

350 diabetes patients were took the 

facility of diabetes checkup program. 

Around hundred people took part in 

dental checkup which was organized 

by Gem Flooring in its stall, who is 

the title sponsor of the event. The 

expo was visited by Honorable Mayor 

of Kathmandu Metropolitan Mr. 

Bidyasundar Shakya and Honorable 

Deputy Mayor of Kathmandu 

Metropolitan Ms. Hariprabha Khadgi 

Shrestha which made the exhibition 

even more attractive. They visited 

each and every stalls and made 

queries about the product which were 

displayed in the exhibition. Lucky 

winners from the visitors were selected 

from the tickets each day and the 

winners were awarded with the gift 

hampers which made the event more 

interesting. 

All the funds collected from the sale 

of the tickets were donated to the 

flood victim in Terai. The closing 

ceremony was held on 25th August, 

2017 at Anupam Foodland in 

Battisputali, in presence of Honorable 

Mayor of Kathmandu Metropolitan 

Mr. Bidyasundar Shakya as a Chief 

Guest, Honorable Deputy Mayor of 

Kathmandu Metropolitan President 

of Federation of Nepal Furniture and 

Furnishing Entrepreneurs Association 

Mr. Surendra Kumar Sarada as 

Special Guests. Token of appreciation 

and Certificate of Participation were 

distributed at the event to all the 

exhibitors and supporters. Best three 

stalls during FURNEX Nepal 2017 

were also awarded during the closing 

ceremony as Best Interior, Classic 

Mattress and Yeti Flooring ranked 

first, second and third respectively. 

Gem Flooring was awarded for Most 

Crowded Stall whereas Pashupati 

Traders won Innovative Product 

award. FURNEX Nepal 2018 was also 

announced during the event. 

FURNEX Nepal 2017 concluded 

successfully. It is yet another attempt 

by NFFA to keep the furniture and 

furnishing trade in touch with each 

other and stay updated on the news and 

happenings. The five days event was 

filled with fanfare as eager customers 

from all walks of life came to absorb 

themselves in the newest materials 

while also getting a rare opportunity of 

mingling with the various exhibitors, all 

at the same venue. The exhibition was 

indeed a hot pot for the dealers to outdo 

each other and woo the customers 

as much as they could. This event 

was visited by around 50,000 visitors. 

Despite of many challenges, NFFA is 

able to organize the only event related 

to furniture and furnishing in Nepal 

every year. •


NEWS 

ART WITHOUT 

BORDERES 

The third edition of the painting exhibition Art without Borders 

was held at the Newa Chen Art Gallery in Patan from 12th 

-16th August, 2017, featuring works by aspiring artist such 

as Pramila Bajracharya, Nar Bahadur BK, Namrata Singh, 

Krishna Dangol, Sarita Dangol and Tanaka Akiko. 

Since Buddha’s teaching and the value of selflessness 

seems to disappear in the modern era, the paintings at the 

exhibition worked as a medium to remind visitors about 

the principles of oneness. All paintings showcased at the 

exhibition were related to Buddhism and the teachings of 

Siddhartha Gautam in one way or other. The exhibition 

celebrated the core values of Buddhist philosophy. 

“Art is a medium that allows us to surpass all limits, 

regulations and obligations and transcends eras. This 

exhibition evidently has shared a platform to commemorate 

the great teachings of Buddha,” said Ms. Astha Prabha 

Tuladhar, proprietor of Women for Women Nepal. The 

coordinator of Newa Chen Art Gallery, Sarita Dongol 

mentioned the exhibition also ensures cultural exchange 

through amalgamation of national as well as international 

artists. • 



REVIEWS 

Kaleidoscope 

Heroes of Future 2017 

F 

or the third year running, 

Asian Paints has successfully 

organized the Kaleidoscope 

“Heroes of Future” All Nepal 

Architecture Student Design 

Competition 2016-17. This competition 

began as an attempt to provide a 

platform for fourth year Architecture 

students to expand their theoretical 

knowledge base and utilize it in the 

practical field. Although, it first started 

on a college level at the Institute of 

Engineering Pulchowk Campus, it 


soon spread to three different colleges 

before turning into a national level 

competition. Since 2014, students 

from different engineering colleges 

across Kathmandu valley have been 

competing to win the top prize. 

This year, thirty four students 

participated in this competition 

with twenty nine of them making 

it into the submissions. The seven 

participating colleges were Institute 

of Engineering Pulchowk Campus, 

Kathmandu Engineering College, 

Nepal Engineering College, ACME 

Engineering College, Himalaya 

Engineering College, Khwopa 

Engineering College and Kantipur 

International College. The participants 

from Institute of Engineering Pulchowk 

Campus, Kathmandu Engineering 

Campus and Nepal Engineering 

Campus were chosen based on a 

college level design competition, also 

organized by Asian Paints Nepal, and 

while the rest of the participants were 

nominated based on the criteria set by 

their college. 

The competition this year was 

launched on Baiaskh 23rd at Sauraha, 

Chitwan where all the participants and 

college coordinators were briefed 

about the competition. The objective 

of the competition this year was to 

design the International Covered Hall 

at Dasarath Stadium in Tripureshwor. 

Two architects from the National 

Sports council, Ar. Tillotama Bashyal 

and Er. Sabin Maharjan explained the 

criteria and requirements. They were 

given a little less than two month to 

perfect their designs and were asked 

to submit their designs by 11th of 

Asar.

ALL NEPAL ASIAN PAINTS DESIGN COMPETITION 2017 

5/5 

REVIEWS 

CONCOURSE 

PRIMARY 

MULTI-SPORTS COURT 

SECONDARY 

MULTI-SPORTS 

COURT 

SECTION AT A-A 

B 

A 

A 

VIP/VVIP LOUNGE 

B 

CONCOURSE 

LOBBY 

SECTION AT B-B 

WINNER 

SOUTH ELEVATION 

The main facade of the 

complex is composed with 

different volumetric 

composition inorder to 

correspond the function it 

encloses and also to break the 

volumes. 

WEST ELEVATION 

The western facade is 

provided with less voids 

inorder to restrict the western 

glare into the arena. 

A jury panel of five judges consisted of 

Ar. Suman Nanda Vaidya, Ar. Sarosh 

Pradhan, Ar. Sahidi Joshi, Ar. Tilottama 

Bashyal and Er. Arun Upadhyaya. Ar. 

Arun Dev Pant joined the existing 5 

jurors as an external jury member 

in order to judge the top 15 designs 

presented by the students on 27th of 

Asar. The top 5 winners were selected 

by the jury panel on the same day. 

The Awards ceremony for the 

competition was held on 24th of 

Shrawan at Hotel Yak and Yeti, where 

the students finally found out who won 

the top prizes this year. The Chief Guest 

for the ceremony was Rt. Hon’ble 

Vice president of Nepal Mr. Nanda 

Bahadur Pun. The other guests on 

the dais included Presidents of Nepal 

NORTH FACADE 

Inorder to get maximum 

northern diffused light into the 

arena northern facade is 

provided with clerestory 

openings. 

EAST FACADE 

Since the eastern part 

encloses the secondary court 

it is provided with large 

openings inorder to get 

optimum natural daylight. 

Engineering Association, Er. Hare 

Ram Shrestha; Society of Nepalese 

Architects, Ar. Suman Nanda Vaidhya; 

Federation of Contractors Association 

of Nepal, Mr. Sarad Kumar Gauchan; 

Society of Consulting Architectural & 

Engineering Firms, Ar. Rajesh Thapa, 

Ar. Anil Sharma, Special Guest from 

Delhi and Mr. Budhaditya Mukherjee, 

Country Director of Asian Paints Nepal. 

During the ceremony, Mr. Pun thanked 

Asian Paints Nepal for organizing this 

competition to encourage budding 

architects and fulfilling their social 

responsibility. He also reminded all 

the students, that as an architect, 

they must shoulder the burden for the 

prosperity of this country. 

Finally the time for reckoning 

came when the top five winners 

MR. SHRAWAN THAKURI 

My major design approach was to 

create a space that stands with its 

surrounding rather than standing out 

from it. The main point of departure 

for my whole design approach was to 

create an open public space that can be 

shared by the users of both the sports 

arena solving the problem of entrance 

at Dasarath Rangashala .Since the 

requirement was to build a covered hall 

that in houses two multi-sports court, 

the secondary axis was developed 

perpendicular to the datum line dividing 

the whole buildable area into two 

halves providing the space required. 

The secondary axis is later developed 

as the main service spine catering both 

the courts and optimizing the whole 

buildable space at the same time. 


REVIEWS 

1 st 

runner up 

ALL NEPAL ASIAN PAINTS DESIGN COMPETITION 2017 

MS. SHRINKHALA KHATIWADA 

The design of this building is highly 

inspired by the works of Louis. I Kahn, 

Marina Tabassum, Tadao Ando and 

Charles Correa in terms of contextual 

design, play with light and shadow and 

transformation of simple geometric 

forms into extraordinary spaces. 

COMMERCIAL ZONE 

POLICE/MILITARY ZONE 

The building is designed along the 

movement of the user, creating beautiful 

spaces around the visual axis. The 

play with light and shadow is repeated 

throughout the building with the use of 

slits, pergolas, punctures and lattice 

pattern covers. The building moves with 

the shadow and no single point looks the 

same when observed at different points 

in time. It creates a sort of dynamism to 

the otherwise geometric shapes 

CONTEXT 

The main site is located within the core 

commercial hub of the Kathmandu 

city, as a sports and recreational zone. 

The site is surrended by the commercial 

zone on its south and north frontage, 

whereas its proximity to the Army areas 

on its north and east frontage creates 

its limitation to build a structure. 

THE SITE 

ACCESS 

ARCHITECTURAL CONTEXT 

The main site is located within the 

DASARATH STADIUM, an international 

sports arena of Nepal. 

The project is to redesign the Multisports 

Covered Hall, that is on the eastern part 

of the main stadium. 

Since the site is located within the core 

commercial hub of the capital, it is 

easily accessible from different city 

cores. 

The surroundings of the site is highly 

affected by the buildings that 

showcases the characteristics of 

modern architectural approach. 

Present Multisports Covered Hall - interior 

Present Multisports Covered Hall - exterior 


REVIEWS 

were announced. The winner of 

Kaleidoscope “Heroes of Future” 

2016-17 was Mr. Shrawan Thakuri from 

Kathmandu Engineering College. Mr. 

Thakuri was awarded with Rs. 70,000 

cash prize. His design was inspired 

from one of the philosophies of 

Tadao Ando, a celebrated self-taught 

Japanese architect, who believed that 

architecture should be influenced by 

the context of the site and that both 

should exist as a single entity together 

in harmony. “Besides fulfilling all the 

given requirements of the project, I 

was more concerned in developing the 

project as a part of the whole Dasarath 

Rangashala Sports Complex. I wanted 

it to fit into the site like it was meant 

to be rather than developing it as 

segregated individual entities”, he 

explained. 

Ms. Shrinkhala Khatiwada of Institute 

of Engineering Pulchowk Campus 

was the first runner up and she won a 

cash prize of Rs. 40,000.“I’m a strong 

believer that architecture should 

represent its place, especially when it 

is a National level project”, she said. 

Hence, it was only natural that her 

design incorporated the identity of the 

architecture of Kathmandu valley. “I 

tried to narrow it down to materiality, 

feeling of a space through light and 

shadow and use of local architectural 

elements like dhungedhaaras and 

wooden jali work, to create an overall 

character of experiencing the spaces”, 

she added. 

The second runner up was Mr. 

Govinda Prasad Mainali from Institute 

of Engineering Pulchowk Campus 

winning a cash prize of Rs 30,000. 

His design was inspired by the natural 

postures of a bird, to be more precise. 

“The urges of the functionality of the 

design was fulfilled by the inspirational 

concept from the natural postures of 

the birds. The idea lies in the posture 

of the bird at its stationary position. The 

skeleton of the bird that allows its body 

to counter act the external stimulus 

was taken as the core idea to develop 

the structural grid of the building. To 

make the body stable, birds inclines its 

limbs towards shorter rear bone sides 

so that it counter balances the longer 

fore side of the body. This feature has 

been developed to create the structure 

of the building as well as technique 

that lets the northern diffused light 

inside the indoor hall. This gives us 

the powerful technique to achieve the 

spatial need of the building; structural 

need as well as add the value to the 

functionality”, he explained. 

Mr. Pradeep Maharjan of Kathmandu 

Engineering College and Mr. Rustam 

Lama of Nepal Engineering College 

took home consolation prizes worth 

Rs. 10,000 each. The award ceremony 

also included recognition to the 

students of B.E. 2068 Batch as Thesis 

Winners, Mr. Sanjeev Shrestha, Mr. 

Achyut Paudel, Mr. Jenish Maharjan, 

2 nd 

runner up 

MR. GOVINDA PRASAD MAINALI 

Inspiration derived from the form of the 

natural entity: nature, the sole muse 

from the form of the natural posture of 

the avian counterparts. The functionality 

urges fulfilled by stationary position of 

the birds; the skeleton that allows to 

countermeasure the external stimuli 

was the core idea for the structural 

concept for the building form. The design 

successfully incorporates the powerful 

technique to fulfil the spatial need of the 

building along with the structural, adding 

core value to the functionality of the 

design approach. 


REVIEWS 

Ms. Ashmita Sigdel and Mr. Satish 

Manandhar & Dibash Adhikari (tied 

up), with cash prize of Rs. 50,000.00 

to each from Institute of Engineering 

Pulchowk Campus, Nepal Engineering 

College, ACME Engineering College, 

Himalaya Engineering College and 

Kathmandu Engineering College 

respectively. 

The competition has been not only 

provided a platform for the students 

to showcase their abilities, it has also 

proven to be a learning opportunity. 

Shrawan mentioned that it is the kind 

of competitions that teaches you the 

architecture demands and teamwork, 

whereas Shrinkhala learnt to be efficient 

with her time as she did the project 

alongside her final year thesis. For 

Govinda, this competition was not with 

others, rather it was with himself. For 

both Shrinkhala and Govinda, juggling 

their thesis and the competition was 

proved to be rather challenging. 

The winners all had many memorable 

times during the competition. Shrawan 

fondly remembered his visit to Asian 

Paints Nepal factory in Hetauda and 

as well going for safari in Chitwan. For 

Shrinkala, the most striking memory was 

of the harsh comments she received 

from the juror, which only motivated her 

to work harder. Govinda remembered 

the disappointment of being denied 

more time to work on his thesis so that 

he could focus on the competition for 

the time being. The top three designs 

and their respective designers will be 

in consultation with the sports council 

for revisions and implementation of the 

design they created for the covered hall 

at Dasarath Stadium. • 



ARCHITECTURE 


Karkhana 

photos : Pradid Ratna Tuladhar and Karkhana 

THE BUILDING NOW HOSTS SEVERAL OFFICES AND AN EVENT SPACE. THE 

EDUCATIONAL INNOVATION HUB KARKHANA AND CIVIL TECHNOLOGY NON- 

PROFIT GALLIGALLI SHARE THE BOTTOM TWO FLOORS. THE THIRD FLOOR 

HOSTS MATHI KO HALL, AN EVENT SPACE AND GALLERY THAT CAN HOST UP 

TO 150 PEOPLE FOR CONFERENCES AND TALK PROGRAMS. 


ARCHITECTURE 

SOME GUIDING PHILOSOPHIES 

• Embrace the flaws: Three generations 

of the family have left their mark on 

the house by doing additions and 

modifications. The siblings and their 

architect made a design choice to 

show and celebrate these ‘flaws’ 

rather than try to hide them. This led 

to the decision to strip and expose all 

the bricks and the wood. 

• Build a personal tribute to the 

earthquake: The April 2015 quake 

was and will remain a big part 

of the psyche of a generation of 

Nepalis, including the Pudasaini 

family. One design decision was 

to accentuate all the retrofitting 

elements as a tribute to this 

powerful event. The tie-beams 

around the window sills were 

turned into molding and the corner 

stitching was made to protrude in 

a repeating stripe pattern. 

• Make it a functional modern 

space: Though the preference was 

to not impact old material when 

possible there was also a strong 

design commitment to making a 

functional modern space. Thus, 

incisions in the walls and floors, 

to embed electronic and internet 

writes, were approved. Similarly, 

the small older windows were 

upcycled to create the 6 x 10 feet 

south facing windows in the 3rd 

floor gallery space. 


ARCHITECTURE 

“HAVING BUILT A FEW HOUSES 

IN MY LIFETIME I KNEW WHAT A 

BIG CHALLENGE IT WOULD BE TO 

REPAIR AND RETROFIT AN OLD 

HOUSE. WE HAD ALL THE USUAL 

TROUBLES - WITH CONTRACTORS, 

WITH TIME DELAYS, WITH COST 

OVERRUNS - AND ALSO ONE 

UNUSUAL TROUBLE WITH THE 

BORDER BLOCKADE MAKING 

EVERYTHING HARDER. STILL THE 

PROCESS OF WORKING WITH MY 

CHILDREN, OUR ARCHITECT MIKU 

AND THE ENGINEER TIWARI JI WAS 

NEW AND INTERESTING FOR ME. 

THEIR RESEARCH PROCESS, WHICH 

INVOLVED LOOKING AT HOUSES AND 

BUILDINGS RANGING FROM EUROPE 

TO JAPAN FOR INSPIRATION AND 

ALSO USING DIGITAL MODELS TO 

VISUALIZE NEW IDEAS, WAS NEW 

FOR ME AND THUS INTERESTING TO 

BE A PART OF. I AM HAPPY AT THE 

FINAL RESULTS. WHEN YOU LOOK 

AT THE HOUSE YOU CAN CLEARLY 

SEE IT RESPECTS OUR TRADITIONAL 

STYLES AS YOU SEE IN TEMPLES 

AND HOMES, BUT ALSO THAT IS 

SOMETHING NEW AND MODERN AT 

THE SAME TIME.” 

- SOM PUDASAINI: THE FATHER, 

WHO GUIDED THE PROJECT AND 

FINANCED IT. 


ARCHITECTURE 


ARCHITECTURE 

“SO MANY OF THE FONDEST 

MEMORIES OF MY LIFE ARE 

ATTACHED TO THIS HOUSE. I 

WAS BORN AND GREW UP HERE. 

EACH OF MY 7 SISTERS WERE 

MARRIED IN THE COURTYARD 

OF THIS HOUSE AND SO MANY 

OF MY NEPHEWS HAD THEIR 

BARTAMAN THERE. FOR ME IT IS 

NOT JUST PERSONAL BUT ALSO 

A PROFESSIONAL ATTACHMENT. 

INTERNATIONAL SCHOOL, WHICH 

I STARTED WITH MY SISTERS, 

WAS IN THIS HOUSE FOR 

DECADES AND I SPENT MOST OF 

MY CAREER TEACHING YOUNG 

CHILDREN TO READ AND LEARN 

HERE. I WAS SAD TO SEE THE 

COLORS, CEILINGS AND OTHER 

DESIGNS THAT I GREW UP WITH 

BEING CHANGED. BUT I AM ALSO 

HAPPY THAT MY CHILDREN HAVE 

GIVEN THIS HOUSE A NEW LIFE. I 

UNDERSTAND THAT WITH ME THE 

HOUSE HAS A HISTORY BUT WITH 

THEM IT ALSO HAS A FUTURE.” 

- PRAFULLA PUDASAINI: THE 

MOTHER, WHO WAS BORN IN 

THE HOUSE AND RAN A SCHOOL 

THERE FOR 46 YEARS. 


ARCHITECTURE 

“OUR HERITAGE AND CULTURAL INHERITANCE IS A PLATFORM ON WHICH WE 

SHOULD BUILD. THIS POINT-OF-VIEW DEFINITELY GUIDED OUR COMMITMENT TO 

THIS RESTORATION PROJECT. BUT WE WERE ALSO CLEAR THAT THE PAST SHOULD 

NOT BE A PRISON THAT CONSTRAINS US. WE WERE NOT INTERESTED IN BUILDING A 

MUSEUM TO THE WAY OUR GRANDFATHER DID THINGS. WE HAVE BETTER MATERIALS, 

NEW AESTHETICS AND DIFFERENT FUNCTIONAL NEEDS TODAY. WE WANTED TO 

ACKNOWLEDGE THE HISTORY OF THIS BUILDING WHILE HAVING IT MAKE SENSE 

FOR YOUNG NEPALIS, WHO HAVE 21ST CENTURY ASPIRATIONS AND TASTES, TO 

USE AS AN OFFICE SPACE. IT IS APPROPRIATE TO SAY THAT OUR DESIRE WAS NOT 

PRESERVATION BUT REBIRTH.” 

- SAKAR & SURABHI PUDASAINI: THE BROTHER SISTER TEAM THAT SUPERVISED AND 

LED THE RETROFIT. 


MIKU DIXIT, ARCHITECT 

After the 2015 earthquake left parts of 

this mid-century former schoolhouse 

unsafe, the third story had to be 

demolished. This project combines 

a proposal for a new upper level and 

rear “annex” space, with a renovation 

to interiors of the floors below, it also 

had a specific approach to both interior 

and exterior. For the exterior facade, 

we wanted to preserve the proportions 

of the original elevation while stripping 

away plaster, exposing brickwork, 

and making south-facing windows 

as large as possible. The interior 

renovation of the lower floors followed 

a similar approach, where plaster that 

was used to cover the brickwork was 

stripped away and seismic retrofitting 

was expressed both inside and out. 

All evidence of seismic reinforcements 

including steel dowels, molding around 

the mesh reinforcement of portals, 

injection grouting, post-tensioning 

and the addition of steel wide-flange 

beams were all expressed as yet only 

another addition to generations of 

alterations to the original structure. 

A clear spanning hall was created 

at the top floor using steelwork and 

the spanning capabilities of the truss 

create an open interior space with 

narrow skylights and a combination 

of plaster and exposed brickwork 

finishes. The use of modern materials 

was used for the annex structure 

which was hidden away behind the 

hall. Lightweight steel and translucent 

polycarbonate was used to create a 

well-lit and ventilated space. 


BASU BABU TIWARI, CONSULTING ENGINEER 

After doing multiple visits to the project site to assess seismic damage a retrofit plan 

was developed. Some key components of the plan were: 

• Corner Strengthening with Helifix: From the exterior, 16 mm reinforced bars were 

inserted in a 20 mm diameter hole, diagonally created with rotary drill, at 2’ c/ c 

spacing. With the bar in place, the hole filled with polymer non-shrink mortar and 

both ends plugged with high strength mortar. 

• Junction Strengthening: From the interior, a 12 mm diameter bar was inserted at 

every 2’ spacing in a L-Shape. To accommodate the bar one course of brick was 

removed each side of the wall, bars inserted and gap filled with micro concrete. 

• Bands: At three levels - Lintel, around Jambs and at the Sill - bands were run 

around the entire perimeter. A 250 mm width MS mesh fabric of 2 mm diameter 

and having a mesh size of 25 mm from both faces of wall around opening was run 

around sill and lintel level wherever possible. A 40 mm thick application of micro 

concrete across the mesh was cured for 7 days. 

• Soil Cement Grouts: For existing walls and cracks, a soil cement grout was injected 

at low pressure (.1 to .025 MPa). After using an initial injection of water to clean the 

insides and improve cohesion, the grouting mix (cement water 1:1) was added. • 


URBAN PLANNING 

W 

hat connects, can also divide; and roads probably 

exemplify this the best. Many streets in the old 

neighborhoods of Kathmandu Valley, where locals 

used to socialize or children used to play, have changed to 

become roads that divide neighborhoods like a knife cutting 

a cake into pieces. The two sides of the road are no longer 

the same single neighborhood that locals have known for 

generations. Roads have partitioned communities with 

vehicles dominating every possible inch of the space. 

Our cities have been losing open spaces. Public lands have 

been encroached – even by public authorities at times. 

Buildings and shopping malls are dominating the urban 

landscape in every imaginable way, creating their own traffic 

and putting pressure on government to make space for more 

vehicles by building roads or widening streets. And unlike 

in old days, roads are not public space any more – they are 

“exclusive” space for vehicles, whether moving or parked. 

Pedestrians have been reduced to secondary users of roads 

– a minority vulnerable to the verbal abuse from motorists. 

STREETS AS PUBLIC SPACE 

Old streets and pathways in the Valley served many functions 

besides the obvious use of walking. Streets acted as an 

extension of residential space where locals could socialize, 

children could play, elders could sunbathe or farmers could 

sun-dry grains. Houses were built without compound walls 

– a rarity these days – and streets formed part of the built 

environment linking houses with temples, bahabahi (Buddhist 

monastries), chowk (courtyards), paati (resthouse), dhwakha 

(town gates), ponds, and dhunge dhara (stone spouts). The 

place belonged to everyone, and everyone belonged to the 

place. 

Streets also connected communities by providing space for 

or rather by taking part in jatra (festivals), ritual processions, 

and other socio-cultural and religious functions. Each of these 

functions would have historically defined routes and thereby 

streets or pathways. 



TEXT : Kirti Kusum Joshi 

Photos : Naresh Shrestha 

Reclaiming 

streets 

as public space 



For instance, in the ancient town of 

Sankhu where only five out of the 

original eight dhwakha exists, there 

are specific routes to welcome new 

brides, marry off daughters, perform 

ritual processions during Vajrayogini 

festival, and separately, during 

Shalinadi festival and even to take 

out funeral procession. Likewise, 

Rato Machindranath jatra in Lalitpur, 

Seto Machindranath jatra and Indra 

jatra in Kathmandu and Biska jatra 

in Bhaktapur, among others are wellknown 

festivals of the Valley where 

streets bring people together. 

Besides religious or cultural uses, 

streets are also places where trades 

occur in formal or informal way. Shops 

that line up along either side of a 

street are there for obvious reasons. 

Even today people, locals or not, 

enjoy walking and shopping along 

the streets of old neighborhoods 

although passing vehicles can spoil 

the pleasure at any time. 

THE HEGEMONY OF 

VEHICLES 

During transport strikes when roads 

have no vehicles, people are seen 

enjoying the roads in every possible 

way. Children and youth are seen 

playing or cycling. Adults are seen 

enjoying chitchatting with old 

acquaintances who are also walking 

on the road after a long time. Strikes 

are of course, not a legit way to 

tackle vehicular dominance on roads 

but they do provide the pleasure of 

winning back the roads. 





When roads are designed and 

constructed explicitly for vehicles, such 

as in the case of highways or some 

urban roads, vehicles are a priority by 

default because no one is supposed to 

walk along an expressway. But when a 

pedestrian street is turned into a caroverfriendly 

road, to whom should it 

first belong – to people who walk or to 

them who drive? 

Many developing countries, particularly 

in Europe, are known for good public 

transportation system including 

pedestrianization, and it is not 

uncommon to see high-ranking 

officials or politicians walking, using 

public transportation or even cycling. 

In contrast, our bureaucrats and 

politicos prefer to bask in the glory of 

gaadi suwidha. 

Walking is vehemently discouraged in 

our cities, to say the least. Pedestrians 

are seen as lesser beings. Walking has 

become a serious “urban crime” for 

which punishment could sometimes 

be as severe as “death by accident”. 

In cities, people are busy. Communication 

(with fellow citizens) may not 

be a priority but commuting (to jobs 

in particular) is important. Private cars 

have become a “necessity” now, and 

in case one forgets just how necessary 

car, auto dealers and bankers are there 

to remind with offers of budget-friendly 

cars and budget-friendlier auto loans. 

Moreover, cars are seen as a “savior” 

– they protect from dust and air 

pollution, enhance social status, and 

save from the humiliation of travelling 

in a crowded, stinky public bus with a 

foul-mouthed conductor. 

If we keep on adding vehicles and 

building more roads or destroying 

more streets for them, where would 

we arrive? 



RECLAIMING STREETS 

The street networks in the old 

settlements of our cities were built for 

navigation on foot. In the course of 

time, some streets were widened and 

some not, but they somehow became 

“motorable” roads. Two-wheelers first 

laid claims on the roads, followed next 

by four-wheelers, and then by vehicles 

of any size technically possible. The 

sharp turns and numerous junctions 

and paths that crisscross these streets 

were not meant to facilitate vehicular 

traffic – not even two-wheelers. As a 

result, these streets are often always 

choked with vehicles. The vehicular 

abuse of streets has continued but it is 

time to correct the mistakes. 

In many countries, particularly in Europe, 

cities are transforming car-friendly areas 

into car-claimed, pedestrian-friendly 

zones. Barcelona is transforming nearly 

60 percent of streets currently used by 

cars into public spaces. Paris is also 

slashing the number of lanes on major 

axes and redesigning seven major 

squares to reduce vehicle lanes and 

parking. Seoul’s Cheonggyecheon 

Restoration Project is legendary 

in urban planning circles: the city 

replaced a major highway with smaller 

roads and green infrastructure without 

deteriorating traffic situation in the city. 

If the city planners of Barcelona, Paris 

or Seoul have done the “unthinkable” 

and yet emerged victorious, what is 

holding us back? 

Past efforts to pedestrianize old 

neighborhoods in Kathmandu have 

met with little success. The benefits 

of pedestrianization might not have 

been clear to the skeptics. Studies on 

pedestrianization and traffic-calming 

schemes in Germany and United 

Kingdom over years have shown that 

shops inside pedestrian areas benefit 

more than those outside, and parts of 

the increased turnover is transferred 

to landowners (or locals). Likewise, 

a recent study by EMBARQ on the 

pedestrianization of Istanbul’s historic 

peninsula has found that locals were 

largely happy with the results that 

included decreased noise levels and 

improved air quality. 

Studies around the world show that on 

an average, cars are parked 95 percent 

of the time or more which implies that 

most of the time, cars just occupy scarce 

urban space. Land is a scarce resource, 

and should not be wasted on roads and 

vehicles at the expense of better use of 

land. It is not enough to build pedestrianfriendly 

roads but to build more 

compact, walkable neighborhoods that 

require less commuting and have more 

public space. 

Humans first learn to walk, then run 

and then to drive. This is how the 

priority for using urban space should 

be set. • 




ARCHITECTURE 

EL MUSEO PRADO 

en FILIPINAS del 

Correspondence : Samir Dahal 


ARCHITECTURE 

El 

Museo del Prado en 

Filipinas Travelling 

Exhibition takes the 

museum experience of one of the 

most important national museums 

of Spain into the public spaces of 

the Philippines. More than a frame 

for the museum’s art prints, it brings 

to the country a spatial experience 

of El Museo del Prado through an 

implied formation of its arches and 

vaults – walking through the series 

of the travelling exhibit modules is an 

interpretation of wandering through 

the vaulted galleries of El Museo del 

Prado. Moreover, as it provides shade 

and visual interest through its sail-like 

canopies positively reminiscent of 

familiar umbrellas, it appeals to the 

sensibilities of the Filipino people. It 

is elegant yet approachable; fresh yet 

familiar. It brings the institution closer 

to the public. 

The concept of this travelling exhibit 

takes the basic elements of a museum 


ARCHITECTURE 


ARCHITECTURE 

and creates a module adaptive to the 

streetscape. Through a modular design that 

is both visually and functionally derivative of 

the El Museo Del Prado, the project achieves 

its goal of giving the public access to the 

museum’s rich collection of art. The basis 

of the design comes from simplifying the 

museum experience into 3 parts (the art 

itself, the structure that houses the art, and 

ample viewing areas for visitors). From there, 

a module resembling El Museo Del Prado’s 

form and function in a micro scale is created. 

The modules, which follow the form of an 

arch, combine to form a visual representation 

of El Museo del Prado through its defining 

vaults and arcade. This brings the spatial 

and visual experience of El Museo del 

Prado through a replication of architectural 

expressions in both form and program. 

Since it is a travelling exhibit that must adapt 

to various site conditions and parameters, 

the modules offer flexibility through the 

variations of layouts these modules can 


ARCHITECTURE 

be arranged in. By using its visual 

character and its ability to portray 

various architectural forms, it brings 

vitality to the public space it inhibits. 

The modules can also be configured 

to define functional spaces, such 

as courtyards, event grounds, or 

community centers. Designed to be 

placed outdoors, it is provided with 

equipment necessary to withstand the 

elements and function even during 

nighttime augmenting its ability to 

integrate itself into the streetscapes. 

Translucent canopy roofing, energy 

saving lighting fixtures, and added 

stability all help in resisting the 

natural elements. Ease of transport 

and storage is also addressed in 

the design as the modules can be 

dismantled in sections. 

Urban lifestyles are made richer by 

bringing our institutions to the people, 

making culture part of our everyday 

lives, and engaing more with the 

public. El Museo del Prado en Filipinas 

Travelling Exhibit disseminates the 

museum experience to the streetlevel 

community. It makes prized art 

accessible to the general public. • 


ARCHITECTURE 


INTERIOR 

Animated Interiors 

A RESIDENCE 

AT MANBHAWAN 

TEXT : Shweta Shakya 

photos: Pradip Ratna Tuladhar 

T 

he interior design picture in Nepal has drastically 

changed over the past few years with development 

of understanding the experience of a building. The 

image of our dream house has changed synchronously. This 

house at Manbhawan is an embodiment of a modern day 

dream house which portrays the fullness of its inhabitant’s 

personality and philosophy. 

Rashmi Chitrakar, Absolute Interiors, understood the narrative 

weaves of owner’s needs. Taking a minimalistic approach 

with a tinge of tradition, a design process was initiated that 

suits the needs and lifestyle of the family. The vibrant social 

life of the homeowners unfolds a capacious and free flowing 

living area. Tailored living rooms were split into formal and 

more informal spaces emphasizing a spatial journey by a 

progression of the floor surface selection like marble, parquet 

to soft carpeting. The ceiling design commands every space 

balancing with the furniture and the textures. Working with a 

reduced palette of materials and colors has been the part of 

the process of creating timeless design while embracing the 

subtleness of the family. 

Lighting is detailed to heighten the experience of the spaces. 

Recessed lights have not been used but the reflected light of 

the chandeliers gives it a floating effect. All the possibilities 

were taken into account including chandeliers, LED lighting, 

spot lights, pendant lamps, and sconces have been used 

smartly balancing between ambiance and function. 


INTERIOR 


INTERIOR 

The sequence of kitchen, dining and 

living room is maintained tunefully. In 

the contrary to the contemporary open 

kitchen concept, enclosed kitchen was 

embraced in the context of Nepal since our 

food habits demand tempering of spices 

(tadka) which can be peculiar. A breakfast 

table is placed beside the preparation 

table while the adjacent elaborate dining 

room is used only for dinner as it is the 

only time when all the family members 


INTERIOR 

are together after a day’s toil. Etched 

glass partition door and a pair of 

curio shelves separate the dining area 

from the living rooms maintaining 

the balance between openness and 

enclosure when needed. 

The spiral staircase emphasized 

by the textured tile cladding as 

the backdrop and a magnificent, 

cascading chandelier enhances as 

a focal point. A big painting of white 

horses galloping with rising sun in the 

background has a greater significance 

in Vaastu as they represent the 

success and power while intensifying 

good luck and energy in the home. 

It is believed that there are scientific 

reasons of orienting certain rooms 

and positioning certain objects that 

can make a greater impact in the lives 

of the occupants. The basement can 

be accessed through the entry foyer. 

It consists of a gym, a lavish home 

theatre cum bar and a playroom which 

can be transformed into a dining area 

during gatherings with relatives and 

friends. 

The designer takes her cues from 

the traditional wooden dalins used 

on the ceilings of traditional Newari 

homes. This concept is recurring in 

all the bedrooms except for the son’s 

bedroom which has a modern wavy 

design on the ceiling that represents his 

swaying nature. The master bedroom 

with a color scheme of red and 

white highlights the bedroom with its 

boldness and vigor. The headboard is 

elaborated and velvet-textured, adding 

softness in the room, visually and 

physically. The walk-through wardrobe 

leads to en suite bathroom where there 

are two sinks for the husband and wife. 

This was personalized because of the 

clients’ morning rush to their offices. 

The house is the outcome of an honest 

and open communication between the 

client and the designer. Fortunately, 

the taste and philosophy of the two 

concurred in terms of design. It is 

evident in the meticulous and plentiful 

detailing. The overall design is a quiet 

and unfussy but nevertheless, adds 

some drama while also making sense 

of the changes that have occurred in 

modern day lifestyles. 


INTERIOR 

GEOLOGICAL IMPACT OF 

Color Combination 

TEXT : Ar. CHHAVI VASHIST 

‘GEOLOGY’ IS ANCIENT GREEK WORD, 

WHERE ‘GEO’ MEANS “EARTH” AND ‘LOGY’ 

MEANS “STUDY OF DISCOURSE”. THIS 

BRANCH OF SCIENCE DEALS WITH THE 

PHYSICAL STRUCTURE AND SUBSTANCE 

OF THE EARTH, AND THEIR HISTORY. 

HERE, WE WILL BE HIGHLIGHTING 

NATURAL STONE, SOIL COLOR, THEIR 

CONTENTS, PROPERTIES, APPLICATION OF 

THE ABOVE SAID IN INTERIOR DESIGNING 

AND ARCHITECTURE. THE NATURAL 

OCCURRING COLOR COMBINATIONS OF 

THESE BUILDING MATERIALS GIVE THEM A 

UNIQUE IDENTITY, WHICH MAKES THE END 

USER FEEL CLOSE TO MOTHER EARTH. 


INTERIOR 

Majority of us are familiar with the 

three main classifications of rocks 

which are igneous, sedimentary, and 

metamorphic. Stone occupies its own 

importance in interior designing and 

architecture. This gift of nature is used 

by designers in designing elegant 

facades, floorings, paving, stone 

cladding, kitchen slabs, landscaping 

etc. Besides this technical information, 

color combinations can also be 

enjoyed in form of corals, gems, and 

contour in hilly and valley areas. 

IGNEOUS ROCKS 

Igneous rocks are formed when 

magma that is the molten rock deep 

within the earth cools and hardens 

with due course of time. Sometimes, 

the magma cools inside the earth or 

the lava erupts onto the surface from 

volcanoes, when lava cools very 

quickly, no crystals are form and the 

rock looks shiny and glasslike. But, if 

gas bubbles are trapped in the rock 

during the cooling process, it leaves 

tiny holes and spaces in the rock. 

Examples of this rock type include 

basalt, granite and obsidian. 

SEDIMENTARY ROCKS 

Sedimentary rocks are formed from 

particles of sand, shells, pebbles, and 

other fragments of material. Together, 

all these particles are called sediments. 

Gradually, the sediment accumulates 

in layers and over a long period of 

time hardens into a rock. Generally, 

sedimentary rock is fairly soft and may 

break apart or crumble easily. You can 

often see sand, pebbles, or stones 

in the rock and it are usually the only 

type that contains fossils. Examples of 

this rock type include conglomerate 

and limestone. 


INTERIOR 

METAMORPHIC ROCKS 

Metamorphic rocks are formed under 

the surface of the earth from the 

metamorphosis (change) that occurs 

due to intense heat and pressure 

(squeezing). The rocks that result from 

these processes often have ribbon like 

layers and may have shiny crystals, 

formed by minerals growing slowly 

over time, on their surface. Examples 

of this rock type include gneiss and 

marble. 

SOIL AND ITS COMPOSITION 

Soil can exhibit a wide range of 

colors; gray, black, white, red, brown, 

yellow and sometimes green too. 

This distribution and development 

of color is a result of chemical and 

biological weathering. Redox reaction 

plays an important role here. The 

color concentration, mottled patterns 

etc. Is produced from environmental 

conditions and weathering effects 

which results in gradual uniform color 

changes. Moreover the presence of 

water also affects soil color by affecting 

the oxidation rate. Yellow or red soil 

indicated the presence of oxidized 

ferric iron oxides. Dark brown or black 

color soils indicate that the soil has high 

organic matter content. Manganese 

oxide causes a black color, glauconite 

makes the soil look green, and calcite 

makes the soil appear white. 

MARBLE 

Prized for its classic elegance, marble 

flooring has been around since ancient 

times. It’s instantly recognizable for its 

soft grain patterns and creamy colors 

that range from white to red, green, 

and black. It’s often polished to a 

high sheen that shows off its subtle 

beauty. Polished marble is slippery 

when wet and isn’t the best choice 

for kitchens and baths. Honed marble 

has more surface texture and is a 

good alternative, but doesn’t have the 

dynamic color of polished marble. 

Marble is one of nature’s softer rocks 

and prone to scratching and staining, 

so professional sealing after installation 

is recommended. 


INTERIOR 

When it comes for home improvement most of us prefer the 

stone which require less maintenance and easy cleaning. 

Galaxy black granite stone is another option. As per present 

market situation, there is high demand for granite stones as it 

is used for all kinds of constructing purpose both for exterior 

and interior designing and decorations, granite stones are an 

apt choice. Readily available tiles and pre-processed slabs 

can be purchased at affordable rate. Out of the varieties of 

natural colors and designs, you can make a choice which 

attracts you utmost. By choosing absolute black granite tiles, 

you can have sophisticated flooring for your kitchen, living 

rooms, and bathrooms and even for entire space. This type 

of floor treatment are available in black, crystal white, blue 

pearl, golden garnet, tropical brown and many more colors. 

By opting for the primary compositions of this kind of tile are 

potassium, quartz, mica and feldspar. It can be used both for 

houses and commercial buildings. As constructing a house 

or commercial space is meant for years to go, the stones 

used for flooring must be durable. In modern days, such 

durable flooring chosen by most of the people is absolute 

black granite tiles. 

Makrana marble or white marble is mined in the town of 

Makrana in Rajasthan, India. It is popular and considered 

best in world because of its smooth and pure white milky 

appearance. Basically its a calcite stone, Makrana Marble 

is durable and becomes more shinier with time and usage. 

doongri marble is used in carving sculpture and building 

décor, his is mostly used in divine rooms, and decorating 

walls, windows, jali, pillars, idols, floors etc. in pooja rooms 

or holy spaces. 

GRANITE 

Granite is an igneous rock formed under extreme pressure, 

making it one of the hardest flooring materials. It’s virtually 

impervious to staining and scratching. It comes in many 

colors and is found throughout the country — local varieties 

of granite flooring may be less expensive due to lower 

shipping costs. 


INTERIOR 

TRAVERTINE 

Travertine is a sedimentary rock and is 

one of the softer varieties of stone flooring. 

That means over time, travertine will 

develop a soft, mellow patina. It comes 

in a wide range of shades and hues, 

from light cream to dark rust. Polished 

travertine resembles marble; tumbled 

travertine is characterized by pits, holes, 

and rounded edges that give it an antique 

look. Travertine flooring is porous and 

reacts quickly to acidic substances, so 

even spilled orange juice may cause a 

stain. Regular application of a stone sealer 

helps protect travertine flooring. Here, in 

t his image traditional Kitchen Style with 

Wooden Cabinets and Neutral wall Colors 

with Travertine Flooring is designed. 

SLATE 

Slate is a metamorphic rock that was 

formed in layers, so it easily splits into thin 

sheets that are cut into tiles. Slate floor 

tiles can be left with their naturally rough 

surfaces or honed smooth. The rougher 

surfaces offer good traction for entryways, 

balconies, sunrooms, compound walls, 

bathrooms, patios and kitchens. Color-wise, slate tends 

toward blends of dark green, gray and brown. Slate comes 

in various densities. The denser the slate, the less likely it 

is to chip or flake in a process called “spalling.” A bit of 

spalling is common in un-honed slate. Slate is mostly found 

in the Western Hemisphere. It is used for both decorative 

and utilitarian purposes. Slate comes in a wide range of 

colors that are determined by the minerals found within 

the stone. The minerals it contains determine the color of 

slate. Red slate is caused by hematite, green by chlorite, 

blue-gray by sericite, black by carbonaceous materials and 

yellowish-brown by limonite. Some types of slate are also 

mottled, streaked or spotted because of its mineral content. 

The cleavage surface of slate may have either a shiny or dull 

luster. Slate is an opaque material that does not transmit 

any light. Cross fractures are typically dull. Denser slates 

cost more. Here, a wall cladding of black slate is designed 

with a uniform, symmetrical and rough look. 

LIMESTONE 

Limestone is a bit harder and over time will stand up better 

to everyday use. It has striking grain patterns that, when 

cut into long, narrow tiles, resemble wood planks. It’s a 

porous stone and should be protected with a quality stone 

sealer to prevent stains. Here, bedroom wall is designed 

with limestone. 


INTERIOR 

SAPPHIRE BLUE GRANITE 

Sapphire Blue Granite, English Brown 

granite, Brown Sapphire Granite, 

Sapphire Brown granite, Sapphire 

Blue Granite are other names of the 

blue sapphire stone. Sapphire Blue 

granite is an extremely hard igneous 

stone. Sapphire Blue granite is one of 

the known building materials and well 

finished granite, manufactured with 

fine texture to give a unique looks. It 

has been used for many years in both 

interior and exterior applications. 

Sapphire Blue granite is durable, 

weather resistant and beautiful. One 

of the hardest of stones, Sapphire 

Blue granite is excellent for stone 

cladding, curtain walls, water features, 

counter tops, furniture, elevator panels 

and wherever a long lasting, naturally 

beautiful stone is needed. 

FEROZA TURKISH STONE 

His stone is more used in astrology but 

certainly can be used as a decorative 

element in interior designing and 

furniture. For example, a glass table 

top can be paired up with feroza 

turkish stone to add elegancy and 

natural feel to the space. 

FOSSIL MARBLE 

The distinctive marble is characterized 

by the clearly evident presence of 

the fossilized prehistoric marine life 

forms of orthoceras and ammonites, 

which lived between the Silurian, 

Jurassic and Cretaceous periods 

(65 and 435 million years ago), and 

are visible throughout the marble. As 

the orthoceras and ammonites died, 

their shells accumulated in great 

numbers on the sea floor, where they 

were aligned by currents, buried by 

sediments, and transformed over the 

ages into stone by various physical 

and chemical processes. Fossil Marble 

exits in five hues -- Kajal Fossil (black), 

Bordeaux Fossil (red), Chocolat 

Fossil (dark brown), Sijilmassa Fossil 

(brown), and Hezhra Small Fossil 

(medium gray). Within each color, the 

figures of orthoceras appear as rocket 

or spaceship-like, elongated cylindrical 

shapes. Ammonites can be identified 

by their rounded, nautilus-shaped, 

spiral-esque forms. The animals have 

been preserved in their entirety and 

can be seen throughout the marble. 

The beauty of life has literally been 

suspended in time, proving a oneof-a-kind 

visual adventure. Physical 

and mechanical properties of Fossil 

Marble make it a premium selection for 

interior and exterior design, building, 

remodeling and renovation project. 

The natural stone have here own 

charm and bring everlasting aesthetic 

look to the spaces. It is expensive but 

durable too. • 




ARCHITECTURE 

have ever since been held in various 

countries: 1992 Adelaide, Australia, 

1996 Yoff, Senegal, 2000 Curitiba, 

Brazil, 2002 Shenzhen, China, 2006 

Bangalore, India, 2008 San francisco, 

USA, 2009 Istanbul, Turkey, 2011 

Montreal, Canada, 2013 Nantes, 

France; 2015 Abu Dhabi, UAE; 2017 

Melbourne, Australia. 

THE ECOCITY 

WORLD SUMMIT 2017: MELBOURNE 

AUSTRALIA AND THE CONCEPT OF ECOCITY 

TEXT : Sangeeta Singh 

The ecocity world summit 2017 which 

took place in Melbourne, Australia 

from 11-14 July 2017, provided Ms. 

Sangeeta Singh, associate professor 

at the Department of Architecture 

and Urban Planning at the Institute 

of Engineering, a unique platform 

not only in presenting a paper on the 

“Challenges and opportunities in urban 

ecological planning in the context of 

Nepal” but also in understanding the 

world views on building sustainable 

cities.The Economist’s annual 

global liveability survey has declared 

Melbourne as the most liveable city in 

the world for the seventh year running. 

During the three days of the summit it 

was an overwhelming and a difficult task 

to choose from the 300 sessions from 

the three tracks on Urban Leadership, 

Academic Research, and City Practices 

which was participated by more than 

900 delegates from 30 countries. 

Although all the plenary sessions were 

interesting, the one that garnered a lot 

of attention was the plenary session 

where Al Gore was the keynote 

speaker. Discussing the dimensions of 

sustainable cities with Richard Register 

during the summit was indeed a totally 

enriching experience. 

Eco city as a concept for planning cities 

is seen to have been popularized by 

Richard Register with the establishment 

of non- profit organization Urban 

Ecology in 1975 and Eco city Builders 

in 1992 which urged discussions on 

ecological aspects in urban planning 

and also with the publication of a book 

Eco-city Berkeley (1987), the journal 

“urban ecologist” and later some other 

books on the subject matter. Register 

envisions rebuilding cities “in balance 

with nature”, and he stresses on “as we 

build, so shall we live”. He further raises 

concern on the impact of “peak oil” 

situation where practically everything 

from transportation, indoor climate, 

food, clothing, shelter depends on oil. 

“Given the crisis state of life systems 

on earth, the collapse of whole habitats 

and the increasing rates of extinction 

of species, it follows that cities need 

to be radically reshaped; they need 

to be reorganized and rebuilt upon 

ecological principles. “When we build 

the automobile sprawl infrastructure, 

we create a radically different social 

and ecological reality than if we 

build closely knit communities for 

pedestrians” . 

Richard Register has been tracking 

many of the dilemmas cities face and 

has written extensively on the ecocity 

building approach. Register’s 

organization the Urban ecology (later 

Eco city Builders) have organized 

eleven world eco city summits across 

the globe which has been effective 

in advocating the eco city principles, 

formulating the policies frameworks 

and standards and identifying the 

elements of eco city. The summit 

started in 1990 Berkeley, USA and 

Human settlements from the ancient 

times in history have emerged as a 

response of mankind to fulfilling its 

basic requirements and adapting to 

nature and its diversity. Starting from 

the Paleolithic (stone age) ages human 

beings have gradually advanced 

changing not only the surrounding 

in which they provided themselves 

with shelter and comfort but also 

in the livelihood and consumption 

patterns using the great potential of 

the human mind which differentiated 

them from the other species on earth. 

With the industrial development and 

technological advancement creating 

unlimited possibilities there has 

been a further shift in the livelihood 

and consumption pattern leading 

to societies largely depending on 

mechanized systems. In the process 

there has been a rapidly accelerating 

gap between the nature and man, and 

more and more exploitation of natural 

resources. The air and water pollution 

is increasing, waste assimilation 

is becoming more and more 

complex and burden some with the 

consumption pattern becoming more 

and more sophisticated and advanced. 

With the increasing population, the 

land is increasingly being occupied 

by the human species, expanding in 

all directions of the globe, driving all 

the other species to extinction in the 

process of exploiting the forests and 

agricultural land and disturbing the 

other natural ecosystems of the earth 

creating increasing number of urban 

ecosystems instead. 

With increasing globalization through 

improved technology, the impact of 

development on ecological systems 

have shifted from local to regional to 

global level threatening the survival of 

human beings. With growing realization 

of this increasing impact on a global 

scale there has been yet another 


ARCHITECTURE 

paradigm shift in the recent years, in 

planning sustainable settlements and 

various approaches like the eco city, 

low carbon city, green city, smart city 

have been gaining global significance. 

It is obvious that urbanization cannot 

be curbed and cities are bound to 

grow in numbers and sizes. How we 

plan our cities and how we manage 

our urban ecosystems in relation to 

other natural ecosystems of the world 

will largely determine the survival or 

extinction of the human species. 

During 19 th century, the city planning 

principles have been guided by 

abundant use of nonrenewable 

energy (fossil fuel) combined with new 

technologies leading to improvement 

in the quality of life. Access to clean 

water, centralized sewage treatment, 

vehicular oriented streets promoting 

higher and higher speed, increased 

comfort levels with lighting and 

heating technologies and increased 

consumerism, and improved 

communication technology have been 

achieved as the society made speedy 

progress to modernism. The societies 

became developed leading to the 

so called developed nations and the 

developing nations aspiring to become 

developed nations. However the 19th 

century models of city planning have 

in retrospect been very unsustainable 

models, with over exploitation of 

natural resources and this realization 

have brought forward the paradigm 

shifts in the planning principles in the 

twentieth and the twenty first centuries 

focusing more on sustainability issues. 

“Sustainable development” has 

become the new paradigm in 

global efforts towards economic 

development since the Brundtland 

commission published a report 

“our common future” in 1987 which 

defined it as “development that meets 

the needs of the present, without 

compromising the ability of future 

generations to meet their own needs”. 

The United Nations conference on 

human development in 1972 leading 

to the Stockholm declaration on 

human environment was the first 

major international gathering that 

discussed on sustainability issues on 

a global scale. Since then there has 

been a number of efforts on a global 

scale focusing on sustainability and 

climate change and there has been 

more concerns on considering the 

ecological approaches in human 

settlement planning. 

The Melbourne Principles for 

Sustainable Cities is one of the product 

of the United Nations Environmental 

Programme International Workshop 

on Building Urban Ecosystems held in 

Melbourne in 2002 which were adopted 

at the Local Government Session of the 

Earth Summit 2002 in Johannesburg, 

and known as Local Action 21 or 

the Johannesburg Call. The vision 

promoted by the ten Melbourne 

Principles is to create environmentally 

healthy, vibrant and sustainable cities 

where people respect one another and 

nature, to the benefit of all. Resolution 

on Sustainable Development Goals 

adopted by the General Assembly on 

25th September, 2015 includes 17 goals 

which has included all the key elements 

of sustainable development including 

fostering inclusive, safe, resilient and 

sustainable human settlements (goal 

11: Sustainable cities and communities). 

Since the earth summit sustainable 

development has gained recognition 

and been adopted by many prominent 

international organizations like the 

world bank, monetary fund, world 

trade organisation including the private 

sectors. The private sector has adopted 

it in the form of corporate social 

responsibility and several voluntary 

initiatives have been directed towards 

sustainable development including 

World Business Council on Sustainable 

Development (WBCSD), Global 

Compact, Equator Principles, Global 

Reporting Initiatives, and Extractive 

Transparency Initiative including 

international NGOs like WWF, Oxfam 

International and Friends of Earth. 

Since Register several others have 

propagated the concept of Eco city, 

David Engwicht being one of them 

who published Towards an Eco-City 

(1992), (later as Reclaiming our cites 

and towns, 1993) in which he talks 

about how building more roads, 

shopping malls, gutting communities 

and increasing dense traffic, the city 

planners and engineers have greatly 

reduced effective human interaction. 

A city is “an invention for maximising 

exchange and minimising travel”. He 

advocates ‘eco-cities’ where people 

can move via foot, bicycles and mass 

transit and interact freely without fear 

of traffic and toxins . The five principles 

of an eco city according to Prof. 

Sudarshan Raj Tiwari are a) green city, 

b) wet city, c) cool city, d) disposability 

and e) living with other beings. 

“Greening a city is about maintaining 

harmony with nature and its air, water 

and land cycles while at the same 

time using materials and methods 

that respect and work with nature. The 

other indicators of a green city are cool 

and processes that keep things moist, 

cool and green are natural ways to 

deal with present urban state which is 

dry, hot and grey. Thus humans can 

live in harmony with other life forms.” 

Several new paradigms in city planning 

have been propagated in achieving 

sustainable development on a global 

scale all of which having similar objectives 

such as eco cities, sustainable cities, 

healthy cities, safer cities, cities without 

slums, smart cities, energy conscious 

cities, clean cities, and green cities, healthy 

communities, appropriate technology, 

community economic development, 

social ecology, the green movement, 

bioregionalism, native world views, low 

carbon city, zero carbon city, zero energy 

city, zero net energy city green capitalism, 

slim city, compact city, solar city etc. 

With commitments on global agenda on 

sustainability like the SDG goals, Habitat 

III agenda etc. the government of Nepal 

has shown a keen interest in the issues 

of sustainable development which is 

commendable. In the recent years 

planning initiatives in the context of Nepal 

is also seen to be guided to some extent 

by the principles of sustainability and 

concepts like food green cities and smart 

cities have been propagated. However 

there is a need to formulate proper 

guidelines as to how these concepts are 

implemented in the years to come. • 


ART 

Eternal Visions and 

Contemporary Forms 

NEWAR REPOUSSÉ INSPIRES A NEW MATERIAL SYNTHESIS 

sufficient to deter contemporary artists 

from consideration of the potential 

of these practices for applications in 

their own work by their own hand. 

And though commissioning traditional 

artisans is always a possibility, here 

considerations of cost act as a 

deterrent. To the extent this is true, 

it is also lamentable, as the living soul 

of any culture can most immediately 

and viscerally be experienced through 

its unique cultural approach and 

interpretation of material culture. 

TEXT & photos : Maureen Drdak 

T 

oday the traditional material 

arts of Nepal are universally 

celebrated for their beauty, 

technical mastery, and spiritual 

relevance. This is especially true 

following the wake of the 2015 

earthquake when surviving Newar 

master artisans were recognized 

as indispensable for the rebuilding 

and repair of Nepal’s temples and 

related art, and re-established their 

critical importance as custodians 

of Nepal’s patrimony. Today these 

master artisans share the spaces 

of cultural production and with a 

dynamic Nepali contemporary arts 


scene, one which freely references 

both East and Western paradigms 

and concerns. Yet, in my experience, 

this conversation concerns itself 

primarily with issues of concept, social 

relevance and politically informed 

criticism, often overlooking the 

protean potential for contemporary 

application inherent in the material 

aspects of traditional practices, and 

how deeper study of these techniques 

might benefit the contemporary artist. 

Warranted, the technical disciplines 

of these traditional arts present the 

demands of long apprenticeships— 

the maddening dedication alone is 

Among these endangered art practices 

of Nepal, Newar repoussé metalwork 

(thwojya-majya) deservedly holds a 

special place. Repoussé, as it is called 

in the West, is the art of producing three 

dimensional form from sheet metal 

through the use of anvils, hammers 

and chisels. No less than Nepal arts 

scholar Dr. Mary Slusser describes 

Newar repoussé as an “art of the 

cognoscenti,” i alluding to the uniquely 

challenging and formidable aspects 

of this material practice. Existence of 

the global practice of repoussé dates 

from the third millennium B.C.—in 

Nepal evidence of the earliest work is 

generally dated from the 11th century. 

Repoussé experienced periodic bursts 

of flowering in the West, but is rarely 

practiced today. Though its tools and 

techniques are disarmingly simple, one 

is quickly apprised of the level of skill 

and talent required to raise the Beautiful 

Form. The unfortunate evidence of the 

elite technical demands of repoussé 

is today’s ever-dwindling numbers of 

practitioners—of even middling stature. 

The sole remaining epicenter of its 

contemporary practice lies within the 

city of Patan in Nepal’s Katmandu Valley, 

and its most celebrated practitioners are 

undeniably the grandsons of Nepal’s 

historic master, the Newar Kuber Singh 

Shakya of Okubahal in Patan.

ART 

When in 2005 I first beheld the opulent 

forms of repoussé that grace the 

high architecture of the Valley, they 

immediately evoked associations with 

painting, an impression that remains 

with me today; the passing of the 

light over their sumptuous surfaces 

reveals opulent patinas, highlighting 

the golden tissues of what was 

once heavy fire-gilding. It was this 

sensorial illusion, together with my 

astonishment at the transformative 

ferocity of modernity on Nepal’s 

culture and environment, which led to 

my envisioned synthesis of repoussé 

and contemporary painting and 

The Prakriti Project, my 2011-2012 

Fulbright work in Nepal. Realizing I 

would need to apprentice myself to 

a master, my subsequent research 

inexorably led me to the home of 

Rudra Raj Shakya and his three sons, 

Raj Kumar, Rabindra and Rajendra. 

To connoisseurs of Newar metalwork, 

the family of Rudra Raj Shakya of 

Okubahal needs little introduction. 

Yet at the time of my first visit to 

Rabindra’s atelier in 2009, it was my 

curious experience that a significant 

number within Nepal’s cultural 

community were still largely unaware 

of the historic significance and 

venerable legacy of this family—and 

its protean capabilities. Today the 

family’s eminence and reputation 

precedes it, amplified as it is by 

their recent achievement of their 

repoussé colossus of the Buddhist 

saint Padmasambhava in Bhutan. 

Spearheaded by Raj Kumar Shakya, 

who designed and directed its 

creation, this achievement arguably 

rivals that of the American Statue of 

Liberty. Following the completion of 

this project in 2014, two new larger 

ateliers have been added to the 

original family atelier in Imodol, which 

is now operated by Rabindra as Image 

Atelier; they are the On Metal Atelier, 

operated by Raj Kumar, and Creative 

Atelier, operated by Rajendra. The 

three Shakya brothers maintain a 

growing international clientele, and 

though each atelier has its specialty, 

they collaborate as commissions 

necessitate, making them today’s 

undisputed premier force in this elite 

material practice, and a national living 

treasure for Nepal. 

As my Fulbright work in The Prakriti 

Project evidenced the potential of 

repoussé for dynamic new expressive 

applications, it also illuminated these 

master practitioners. As a result of 

Nepal’s historic seclusion the unique 

traditions and practices of this elite 

art have been available for study by 

foreigners for less than seventy years. 

The lineage of my guru Rabindra 

Shakya includes artists and scholars 

patronized and decorated by the 

Malla and Shah Kings, commissioned 

by Buddhist leaders, and traceable 

back to Abhaya Raj Shakya, founder 

of the Mahabouddha Temple in 1564; 

members of my teacher’s family still 

serve as priests to this temple. As 

scions of the famed repoussé master 

Kuber Singh Shakya the family 

continues the legacy of their illustrious 

ancestry; their creation of the repoussé 

colossus of Padmasambhava, also 

known as Guru Rimpoche, in remote 

Takela, Bhutan is undoubtedly the 

family’s greatest achievement to date. 

With a total height of one hundred 

fifty seven feet, the copper colossus 

itself measures one hundred and 

fifteen feet in height, it easily hold with 

comparison to Frederic Bartholdi’s 

Statue of Liberty. The project was 

designed and directed by Raj Kumar 

Shakya, eldest of the three brothers, 

with the entire family’s participation. 

Surmounting formidable logistical 

challenges and made entirely without 

the aid of computer input, it was 

completed and consecrated in 2014. 

Yet in the face of continued success, 

Raj Kumar Shakya expresses concern 

for the future of the practice; the 

demanding nature of repoussé, the 

diminished interest of the younger 

generation in this practice; growing 

Western influences and social change 

are all challenges to its survival. By 

Rabindra’s recollection, their family 

atelier has seen only four foreign 


ART 

students; I am the only one (and only 

woman) to have extended my study 

and successfully attained technical 

proficiency. 

Artists carry within us our society’s 

assumed priorities and cultural 

expectations. We may hesitate in our 

departure from these expectations— 

especially if our path travels into the 

territory of other cultures and issues 

of cultural appropriation may arise, 

leading to further hesitation—but we 

are impelled to expand our imaginative 

vision. Ways of knowing, seeing and 

making are universal in their variability, 

and are in perpetual dialogue. This 

has historically always been the case, 

and today this conversation is truly 

global. And while we must honor our 

cultural references, we paradoxically 

preserve them through extending their 

reach, and in the process, ensure their 

relevance for the future. My envisaged 

union of repoussé and painting was 

inspired by the flickering light-play 

on the undulating forms, eroding 

gilding, and changing patination of the 

magnificent toranas of the Kathmandu 

Valley. The opulent layered tissues of 

gold, reds, greens, browns, and blacks 

on worn metal surfaces, created by 

the hand of elemental forces and the 

passage of time, spoke powerfully to 

me of the surface abrasion techniques 

I employ in my painting. I experience 

the plasticity of copper sheet as 

seductive; in its substance and 

weight, its malleable response to fire 

and manual force, it feels alive in the 

hands of the artist. Under the blows 

of the hammer its voice steadily rises 

ever higher until it almost cries out 

to be softened by the annealing fire. 

It swiftly changes color, darkening in 

response to the air around it, yet after 

annealing and its acid bath it throws 

off blackened fire scale shroud, and 

reveals itself newly born as softly 

pink as an infant’s skin. The repetition 

of this process—necessitated 

many times during the formation of 

each copper element—becomes a 

metaphor for the life cycle itself. I 

work the metal in the biomorphic, or 

auricular, style; its treatment of form is 

indeterminate, suggestive of natural 

forms. The process of allowing the 

unforeseen to emerge alongside the 

intended form and immersing yourself 

in its investigation is one of the most 

profound pleasures of my work. 

Dr. Mary Slusser, distinguished 

scholar of Nepali art, described 

my work with Rabindra Shakya as 

a “fecund collaboration” and “an 

inspired coupling apparently without 

antecedents” ii . Describing my resulting 

work as “astonishing paintings”, she 

writes appreciatively of my study 

with Rabindra, expressing her hope 

that further creative dialogue will be 

pursued between contemporary and 

traditional arts. I’ve been privileged 

to study with Rabindra Shakya, and 

to work alongside the artisans of 

his atelier. I’ve come to intimately 

experience and know firsthand the 

immense dedication to practice and 

devotion to technique that is required 

of any artist aspiring to practice 

repoussé. When deeply engaged in 

working the metal, the spirit of these 

artists is always with me. • 

i 

Slusser, Dr. Mary. “The Art of Rabindra Shakya and 

Maureen Drdak: An Appreciation”, The Prakriti Project: 

Eternal Visions—Contemporary Forms, Siddhartha Art 

Gallery, Baber Mahal Revisited, Kathmandu, Nepal, 

February 2012. 

ii 

Slusser, Dr. Mary. “The Art of Rabindra Shakya and 

Maureen Drdak: An Appreciation”, The Prakriti Project: 

Eternal Visions—Contemporary Forms, Siddhartha Art 

Gallery, Baber Mahal Revisited, Kathmandu, Nepal, 

February 2012. 


ART 


ART 

hxf“ gful/s 

Toxf“ gful/s 

nagariknews.com 

myrepublica.com 





YOUR HOUSE’S FLOORING IS THE 

FOUNDATION OF YOUR DESIGN 

AND THE FIRST THING PEOPLE 

SEE WHEN THEY WALK IN. IT ALSO 

GETS THE MOST TOLLS OUT OF 

YOUR EVERYDAY ACTIVITIES AND 

THUS REFLECTS FIRST OF ALL 

THE WEAR AND TEAR. SO IT’S 

ESSENTIAL TO INVEST IN QUALITY 

FLOORING THAT ALSO ADDS ON 

TO STYLE AND CLASS OF YOUR 

HOME. AT RIGHT MOVES- SMART 

CHOICE, WE TAKE CARE OF ALL 

THE MUMBLE JUMBLE RESEARCH 

TO HELP YOU MAKE A SMART 

CHOICE. 

RIGHT MOVES SMART 

CHOICE FOR 

Flooring 

EVEN THOUGH THEY ARE THE 

LAST THINGS TO BE INSTALLED, 

THERE SHOULD BE SELECTION 

AREA FOR ANY REMODELING OR 

NEW CONSTRUCTION PLANNING. 

REPLACING FLOORING CAN BE 

VERY EXPENSIVE. THE REST OF 

THE DESIGN SHOULD GO WITH 

YOUR FLOORING AND NOT THE 

OTHER WAY AROUND. 

HARDWOOD FLOORS 

Hardwood floors come as parquets, 

wooden planks, or prefinished boards. 

They could be installed by nailing or 

stapled down. While they look and feel 

the classy, and are extremely durable 

and warm, they are expensive and 

require high maintenance. Another 

reason why people are moving on 

to other options is because of the 

fear of termite attacks. Nonetheless, 

FEW COMMON TYPES 

AND CHOICES 

they have a great resale value and 

have been a very popular choice in 

staircases in the past as well for the 

fancy touch. 

LAMINATE FLOORING 

They are composed of wood based 

materials and come in all shades 

of wood. Made of High Density 

Fibreboard, they come in thickness of 

8mm, 10mm, and 12mm. It’s important 

to understand that higher density 

boards make the best choices. Their 

surface is usually printed with different 

shades of wood and can be chosen 

as per preference. While the Chinese 

brand of these kinds of flooring cost 

from NRs. 80 to NRs. 150 per sq ft, the 

Swiss brands will cost you anywhere 

between NRs. 120 to NRs. 170 per sq 

ft. They can last anywhere from 5-15 

years on average. 

Engineered floorings are basically 

Laminated Flooring where the wooden 

texture doesn’t reflect from print but 

rather a layer of wood on top. They 

cost around NRs. 600 per sq ft. 


VINYL PLANKS 

They are PVC planks that are much 

thicker and are found in width of 6 to 

8 inches and length of 3 ft. While they 

are waterproof, their installation is glue 

based and thus shouldn’t be used for 

places that use water - like the kitchen 

or the bathroom. They can be 2-3 

mms in height and cost about NRs. 

130 to NRs. 150 per sq ft. You can 

also choose from the various wooden 

textures they come in for style. They 

last you around 10 years on average. 

LUXURY VINYL TILES 

These are PVC planks that are installed 

with a lock in system and are thicker 

than Vinyl planks (4.2 to 4.5mms). 

Their installation system makes them 

easy to install, suitable for places that 

use water, and easy to dismantle and 

reuse at another place. They also 

come in all wooden textures to choose 

from. They cost around NRs. 250 per 

sq ft and can last up to 10 years. 

MARBLES 

Marbles are usually preferred for their 

waterproof nature, easy to clean and 

elegant look. It’s however easy to scratch, 

reacts with acidic substances in your 

food or cleaner, and can chip off creating 

possibility of need for replacement. 

Still, they’re a popular choice not just for 

bathrooms and kitchen but also hallways 

and even living and bedrooms. They’re 

available in different styles and textures 

giving you different decorative schemes. 

Especially because it’s natural produce, 

your marble floor will stand out from 

others easily. Light color marbles also 

reflect light, making the space brighter. 

They can be Indian or Italian and cost 

around NRs. 120-200 per sq ft. and will 

last you anywhere from 10 to 30 years. 

TILES 

Tiles available in the market are usually 

Vinyl, Ceramic, or Vitrified. 

Hospitals use Vinyl tiles for a more 

serious purpose of maintenance as they 

don’t have edge depressions that are 

difficult to clean and might carry germs. 

They are also the quieter of the tiles. 

Ceramic tiles are made of clay and have 

a glazed material on the surface making 

it waterproof. They are fairly easy to 

wipe and clean and thus a popular 

choice for bathrooms. Most tiles come 

in various designs and patterns to 

choose from and a glossy finish. They 

come in various sizes and shapes and 

cost around NRs. 100-NRs. 200 per 

sq ft. Without Physical damage, they’ll 

easy last from 10 to 25 years. 

Vitrified tiles are made with a process 

that keep them colored throughout 

their body making it an increasingly 

preferred choice. This means even 

if your tiles chip off, they look the 

same color as the tile rather than clay. 

They are scratch and stain resistant 

and easier to maintain. They are 

also stronger than their counterparts 

making it a better choice for high traffic 

areas and also commercial buildings. 

They cost from NRs. 150 to NRs. 350 

per sq ft and last from 10 to 25 years. 

PVC FLOOR SHEETS 

They are the cheapest form of flooring 

and come in rolls of Printed Sheet, 

similar to carpets. Easy to wipe clean or 

sweep, they are ideal for bedrooms and 

living rooms. A wide range of selection 

of designs and quality are available in 

the market and can be purchased from 

as low as NRs. 150 per meter to NRs. 

1500 per meter. However, the cheaper 

sheets have life of as low as 3-4 months 

as they are susceptible to tearing and 

wearing off. Good quality sheets can 

however, last you from 4-5 years. 

CARPETS 

Going back to basics, Carpets are cozy, 

and are pleasant to step on. They’re also 

easy to sit on and is easy to blend with 

the curtains in the room. There are wide 

ranges of price, quality, and design you 

can choose from as per your comfort. 

They’re also quieter, save energy and 

keep the room warmer. Slip accidents 

are much rarer in carpeted floors and 

act as sound barriers. However, they 

need more time and vacuums to clean. 

If you’re using carpets in high traffic 

areas, use darker colors to save yourself 

from needing to wash them too often. 

Nepali Carpets (Galaicha) have 

their own charm and are popular in 

Nepali household as well as in the 

international market. To maintain them 

better, don’t place them at floors that 

receive direct sunlight. 

Futsal grounds, cafes, and stores 

also use grass carpets as flooring for 

preferred business brands. 

Sprinkling salt on the carpet is an 

effective way to get rid of mud prints. 

Keep it on for an hour and then 

vacuum it up. 


SPORTS AND GYM FLOORING 

You also find special flooring for Sports 

and Gym which usually come in 

interlocking mats and can be around 

25 mm thick. Basketball courts, TT 

halls, and badminton courts usually 

use these to resist the force and 

tension created during matches. 

WHAT DO I CHOOSE? 

Flooring has been slowly moving 

from luxury to basic of interiors. While 

most flooring in the past decade 

was parquet or marbles, there are 

a lot more options today. When you 

consider your choice, you might have 

to factor in a few conditions. 

FUNCTIONALITY 

Consider what you would need the 

flooring for and where. Your living 

room might look better with chic 

flooring, but your bathroom would 

need waterproof floor. Wooden 

flooring for example, would lighten up 

the homeliness of your living room but 

will warp with moisture content in your 

bathroom. 

Consider the amount of human 

and animal traffic a floor will have to 

endure. For a high traffic area like 

the entrance, passages, and kitchen, 

choose flooring that is durable, 

resistant to water, and easy to 

maintain. Even better if it is resistant 

to stains, scratches, and scuff marks. 

If the space is a high moisture 

area such as the bathroom, go for 

waterproof materials such as PVC, 

marble or ceramics 

MOOD, SPACE, AND STYLE 

Once you know your choices serve 

to the function of the space, select 

materials with colors that match your 

style and mood you’re trying to create. 

There can be color options even in the 

type of flooring you’ve chosen- such 

as wooden flooring. Light and neutral 

colors create a calm ambience while 

dark wood colors create a warm and 

cozy aura. Solid wood flooring looks 

authentic and premium. Light colors 

also brighten up dark rooms and can 

make your room look more spacious. 

Moreover, if your material’s color is 

natural, it’s easier to blend it in with the 

furniture and rest of the decor. 

SIZE 

Size (sort of) matters! According to 

your material, you’ll most likely have 

an option between skinny, wide, 

square, or large rectangular tile/plank 

sizes. The shapes and sizes can be 

used to trick your eye to see the space 

that is larger or smaller. Horizontal tiles 

for instance, can make your space 

look longer. Larger and wider planks 

and tiles can make a smaller space 

look larger. 

SOUND 

Since your floor has the most interaction 

with people and surroundings, it also 

produces most noise. If you want 

minimal noise, vinyl tiles and carpets 

are your friends. 

GO GREEN! 

If you want to be more eco-friendly, 

go for choices such as bamboo. Apart 

from being super nice for Mother 

Nature, they’re also extremely durable 

and aesthetically pleasing. Even when 

making other choices, think about how 

they’re made and how much harm they 

cause to the environment. 

Don’t make a decision before bringing 

a couple of samples home to try them 

out at your houses’ light and your 

vision for the home. Try the sample at 

different times of the day. 

MAINTENANCE 

Laminate, marble floors and tiles are 

extremely easy to clean with a damp 

cloth and don’t need huge amount of 

efforts in making them look attractive 

and pleasing. 

Using a doormat on the outside of your 

entrance can really prevent a lot of dirt 

from making its way into the house. 

FUTURE REPLACEMENT 

You might want to change the decor of 

your space in passing of certain time 

or need to because of the condition 

of it. Make sure you understand what 

process you might have to follow if 

you had to replace your choice of 

flooring. This means understanding 

the installation process and cost of it 

first! • 


ARCHITECTURAL ART DIGEST 


FROM THE SHELF 

ART AND 

CULTURE 

OF NEPAL 

SELECTED PAPERS 

Mary Shepherd Slusser with contribution by Gautama V. 

Vajracharya and Manuela Fuller 

This volume brings together in 

one convenient format a selection 

of papers devoted to Nepalese 

culture published over several 

years in a variety of places. In 

one of them, for example, jointly 

authored and published in Artibus 

Asiae in 1973, the authors make 

one exiting discovery after another 

as they unravel various facets of 

Nepalese history. 

The so-called “Sleeping Vishnu” at Balaju turns out to 

be actually part Shiva and to be a thousand years older 

than previously thought. In an astonishing reversal of the 

accepted relationship, it is shown actually predate the 

image of which it was supposed to be a copy. 

and the interested public they have been brought 

together in this single volume. The chronological order 

of publication has been ignored in favour of grouping 

them under specific headings such as painting, 

sculpture and architecture. 

No changes have been made in the original texts but 

some articles are followed by a short commentary to 

include new information pertinent to that paper. One 

commentary, for example, takes into account the critical 

Jayadeva sculpture whose discovery postdated the 

planned 1997 publication of this volume. The present 

work is also fully illustrated with all the photographs 

included in the original publications. • 

With few exceptions, the papers have appeared in 

Western scholarly journals not readily available in Nepal. 

To make them easily accessible to Nepalese scholars 

This is not a Book Review; this is just an effort to conveying information to the 

readers on rare and valuable books on art and architecture. This column aims 

to give a helicopter view on such books and thus presents the excerpts and 

illustrations either from the preface, introduction, jacket or main contents of the 

book from the shelf. This book was kindly provided by Mandala Book Point, 

Kantipath, Kathmandu (Tel. 4227711). 



ARTSCAPE 

TAKEN 2015 

Her performance said about the cruel and insecure moments for the women in the society that 

has been taken place in their living areas. After the earthquake, people are living in tents and are 

suffering and even in such problematic situations there were being raped and hassled. 

In this performance, she used various materials indicating various meanings such as red flower 

symbolized innocent and purity. Red tomato symbolized as the fertilizer of nature. And similarly 

she used hammer as the society. The mirror on the head symbolized the perception of the society. 

ASHA DANGOL 

SAURGANGA DARSHANDHARI 

Born in 1980, she did her B.F.A. from Lalit Kala Campus and M.F.A. in Print Making from University of 

Development Alternative, Dhaka, Bangladesh. She is a lecturer at Fine Art Campus and Sirjana College 

of Fine Art. One of the founding member of Bindu, a space for artists, Saur has participated in various 

art workshops and residencies in Nepal, Sri Lanka, Japan, Korea and Bangladesh. She works on various 

medium such as performance art, print making, painting and installation art. 





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