SPACES Nepal OCT 2014

ART ARCHITECTURE INTERIOR

October 2014 – Vol 10 No. 10

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

- Johann Wolfgang von Goethe

"

10th YEAR - ANNIVERSARY SPECIALS

Color itself is a degree of darkness.

CONTENTS OCTOBER 2014 VOL 10 NO.10 SPACESNEPAL.COM

20 Cover Story

ARTISTS-CELEBRATING 'COLORS' For sure, we can assert that no other band of people understand the values and importance of colors as deeply as the ‘Painters’ do. This is precisely the reason for we’d say 'artists celebrate the Colors the most and the best.'

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BLACK IS HIS FAVORITE COLOR Manandhar prefers darkness to light and black to white. The main reason for his love for black is its purity."Black is the purest color," adds Manandhar.

Could black be pure? –If the pure means not mixed and free from any colors, black is the purest color, without any doubt. If you experiment with light, mixture of all the colors results in white and the absence of any color results in black. Newton, one of the prominent color theorists says, "Black is the absence of colors."

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PLANNING A COLOR SCHEME The spectacular colors of flowers and plants, the tones of sky, the color of earth and rocks, reflection in water, fruits and vegetables, birds and animals, and many others natural phenomena appeal for a perfect range of hues. Once these amazing varieties of colors are observed, no other formulae are needed to maintain a balance; the natural word provides a sense of harmony in color. The natural world is without any doubt an inspiring source to attain almost perfect color schemes, texture and patterns. Nature adorns unlimited source of inspiration to designers and artists.

38 Interior THE KAKORI RESTAURANT: AN IDYLL FOR ALL SEASONS Kakori cuisine is a blend of food cultures from Punjab, Kashmir, Avadh and Rajasthan in India. The atmospherics of the restaurant are beyond simply captivating and the interior details among the most evocative in Kathmandu. Designed by a team from Lucknow, the old-themed brick floors augmented subtly by artifacts from Lucknow are given the perfect treatment with bead curtains that lend an air of warmth and tradition.

48 Lights ACCENTUATING INTERIOR Of course, getting the lighting right in a luxury design scheme isn’t just about where lights are placed or how strong or bright they are. The light fittings and lamps themselves are elements of the overall design and, when chosen to fit perfectly with the style of the room, they have the potential to give life to the space.

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56 Destination SUMMIT RIVER LODGE Situated at Brigands Bend, Kurintar in Gorkha district, Summit River Lodge has been winning the good words of appreciation for maintaining the high standard of modern amenities in eco friendly way.

The property is well built in harmony with the nature suing many of the locally available materials.

66 Heritage CREATING DIMENSIONS Merging light and darkness to create a new dimension in space, the Patan Museum is known for its display of well researched exhibits. Every detail seems to be worked out in an authentic way to amplify the effect of the artwork. The Patan Museum with its modest atmosphere focuses your attention to its artefacts. Adapting to its new purpose as a museum, the former palace showcases the pride of Newari architecture in its details.

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Perspectives

VASTU VS. ARCHITECTURE: SELECTION OF COLOR In yogic traditions, chakras are energy points, the best translated as plexus or vortex. The seven chakras are Muladhara, Swadisthana, Manipura, Anahata, Vishuddha, Aajna and Sahasra. Their associated colors are red, orange, yellow, green, blue, indigo, and violet respectively which are best used in color therapies and as well as in designing interiors: on the basis of the direction and on who and what the space is for.

44 IMPACT: NURSING BEYOND THE WALLS OF HOSPITALS 65

ARTSPACE: QUEST FOR THE TEMPLE CITY

74 OFF THE SHELF: HIMALAYAN CITIES 76 OPEN SPACES 78 PERSONALITY OCTOBER 2014 / 9

Editorial Let there be Light & Color !

As we gear towards winters the sky changes colors with beautiful sunrises and sunsets to enjoy. More so, if you have majestic a peak in front of you – the chilling effect of its transformation is even more profound.

What would the world be like - in the absence of color? One quick answer might be 'like a black and white movie'.

Though not black, white is also a color and a black and white movie displays shades of grey. Darkness is thus devoid of color. That is how experts have defined color as a product of the harmonious mixture of light and shadow thus where there is no light there will be no color.

Color is a visual attribute that results from the play of light, emitted further with reflection or refraction. Be it in nature or in human construct, it is an important element. In this issue, with an objective of presenting different perspectives and features on this theme, we highlight the visual attributes of Spaces with COLOR. We can assert that artists and painters are creative group of people that understands and plays with colors. Thus Artists-Celebrating Colors is the cover story for this issue.

In theory, black is not a color but just the absence of it. Our prominent Artist Kiran Manandhar is in love with black as Black is his Favorite Color.

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The story of vastu interpretation on color Vastu vs. Architecture Selection of Color is written to explore the perspectives on Vedik and Yogic perception of color. Similarly Planning a Color Scheme is an article that features guidelines for planning color scheme for interior designing. Light is also an important element for the interiors as well as exterior design, thus the article Accentuating Interior will also provide guidelines on the perceiving and selecting lights.

Reviews of Asha Dangol’s 20 Year Retrospective and Kala Sangam: The Exchange of Ideas adds hues through analytical presentation of the efforts of artists to see the world from their creative viewpoint.

Similarly, articles on the Kakori Restaurant and Summit River Lodge presents excellent examples where the interiors has evolved with appropriate selection of material and colors that have cultural inspiration radiating beauty.

May your life be filled with optimism and a hue of colors !

Namaste !

Sarosh Pradhan / Editor in Chief

OCTOBER 2014 / 11

Contributors

Volume 10 NO. 10 | October

DR MADHAV MANGAL JOSHI, the Vastu Shiromani, is a Vastu, Feng-shui and Dowsing expert. The Chairperson of the Vastu Bivag at Nepal Jyotish Parisad, he is also the Founder Principal of Global Vastu Pratisthan. Also the Chairperson of Nepal Vastu Sangh, he is associated with a number of associations home and abroad. In recognition of his high patronage to the cause of research and development of International Astrology and Vastu, Asian Astrologers Congress, India and KP Stellar Astrological Research Institute, Mauritius has conferred him Swami Vivekananda Award and Hony Doctorate of Vastu Shastra.

ASHOK MAN SINGH is a noted painter, illustrator, cartoonist, graphic artist, photographer and an author. His paintings are appreciated for the unique blend of colors and finished strokes and a constant presence of spirituality besides them. Born in Palpa in 1955, Singh moved to Kathmandu at age of 25 and has been continuously contributing in the field of arts and illustration since then. He has worked as a designer and an illustrator in different magazines; has developed several Nepali fonts and he is the author of Rang, a well acclaimed Nepali book on color.

ER MAHESH MAHATO is the Managing Director of Cosmic Electrical Engineering Associates Pvt. Ltd. He is also a key member of Nepal Engineer’s Council (NIC), Society of Electrical Engineers Nepal Council and Nepal Electrical Contractors Association Nepal. A graduate in electrical engineering from Institute of Engineering, T.U., he has his master's degree in Business Administration. His proficiency is in Project Management, Team Building, Strategic Management, Financial Management and Business development.

MS MANISHA PANTHA is working as Disaster Preparedness and Emergency Response (DPER) Officer in NSET. She Joined NSET in 2011 as a Nurse. Her expertise is on awareness raising and capacity development programs.

She has been facilitating trainings for various professionals of national and international organizations, embassies, schools and people from local communities. A graduate in Nursing from Choithram College of Nursing, Indore, India, she is also a graduate in Medical First Response (MFR), Collapse Structure Search and Rescue (CSSR), and Training for Instructor (TFI).

SHREYA KHANNA is currently studying architecture at the University of Kent, England. She is keen on pursuing a career in sustainable and low cost design that would contribute towards building a better society.

The best way to learn she feels is probably interacting with people and travelling. She enjoys long walks around town and exploring her photography skills.

CEO Editor-in-Chief Creative Manager Feature Editor Contributing Art Editor

Junior Editor Contributing Editor

Photographers

Intl. Correspondent Interns

Chief - Administration Marketing Officer Admin Officer Office Secretary Accounts Legal Advisor

Ashesh Rajbansh Sarosh Pradhan Deependra Bajracharya Jeebesh Rayamajhi Madan Chitrakar Kasthamandap Art Studio Sristi Pradhan President - Society of Nepalese Architects Ar. Jinisha Jain (Delhi) Ar. Chetan Raj Shrestha (Sikkim) Barun Roy (Darjeeling Hills) Pradip Ratna Tuladhar Hemant Kumar Shrestha Bansri Panday Binam Bajracharya Mohein Ranjitkar Anu Rajbansh Debbie Rana Dangol Ashma Rauniyar Pramila Shrestha Sunil Man Baniya Yogendra Bhattarai

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COVER PHOTO: Kurintar, Gorkha Š Ashesh Rajbansh

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OCTOBER 2014 / 13

REVIEWS

REVIEWS

communicative linear aspect of Golam Faruque Sarkar's work creates a new dimensional approach. Interaction with forms in watercolor and the play of notion is interesting. Among these abstract compositions Gazi Mosaddqur creates a realistic landscape depicting the patriotic visualization of Bangladesh.

KALA SANGAM THE EXCHANGE OF IDEAS SPACES Kathmandu- KALA SANGAM was a rare confluence of Nepali and Bangladeshi artists that Kathmandu saw last month. Ten artists from Bangladesh and six from Nepal had a joint exhibition of their representative paintings from 12 to 16 September at Srijana Art College, Uttardhoka, Lazimpat. The exhibition also featured a painting workshop in which 20 Nepali and 10 Bangladeshi artists participated.

The collaborative effort and the exchange of ideas is what all need for the development of concept for the artistic venture. KALA SANGAM, the confluence of two different art traditions, staged a dialogue between the aesthetic forms of the countries. Influencing each other, it paved avenues for the possibility for further aesthetic and cultural interactions.

Nature and culture of any country remain as the most important sources of inspiration that incessantly shapes the art of the country. For sure, Nepal and Bangladesh share distinctly unique art traditions inspired by uniquely different landscapes and cultures. The confluence of these distinct art forms may further be helpful in shaping dialogue and inspiring each other to transgress the geographical as well as cultural borders.

indigenous landscape of Bangladesh.

Sohana Shahreen's spontaneous brush strokes create the motion in her creation.

Depiction of human forms in her own individual imaginative concern makes her work unique. The surrealistic approaches in the work of Md. Mahabulbul Islam Babu interact with the viewer in different way. The lyrical pattern in the work with the simplified elements creates a new compositional aspect. Afrozaa Jamal Konka's figural approach defines particular new adventure in the work of canvas.

Non representative color construction of Maksuda Iqbal Nipa constructs a new dynamism. The layers of colors and the balance in the work of Bipasha Hayat describe the synchronization of the forms and the emotions. Fhamida Khatun's work with the transparency ambience in the painting with the motifs of flora is good to look at. Nazia Andaleeb Preena's textural work represents the inner emotion and the expressive feeling of the world that she looks at. Lyrical

Six artists from Nepal presented their unique ways to express the language of artistic concepts. Samjhana Rajbhandari presents her love for nature with the depiction of tree and its surrounding with her own unique technique of brush strokes and colors. The textural approach of Bidhata KC in her work with a subdue display of color delves deep into her own imagination. The motifs of leaves and its character can be deeply visualized at her composition. The present context of contemporary life style dominating the traditional cultural aspects can be seen in the work of Arjun Khaling. The sweet motifs of dancing girl creating a cultural scenario can be approached from the work of Pramila Bajrachaya.

Sagar Manandhar makes his own way to represent the construction of nature and its component. The work is expressive and nouveau technical aspects can be visualized. Umesh Shrestha’s work represents Nepal through his unique selection of Nepali elements.

The culmination of two thoughts from Nepal and Bangladesh forming a new placement is a great venture to visualize.

We need more exploration and support; these are small steps for the way of exploration and encouragement.

Working together, exchanging the cultural experience through art and communication is the achievement of this exhibition and workshop.

The idea of the exchange was conceived in April 2014 while 6 of Nepali artists were to participate in SAARC Art Exhibition in Bangladesh.

Rizuan Nabi, the eminent artist from Bangladesh, showcases his emotive vibes through his abstract landscape. His work reveals his constant communication with the 14 / SPACESNEPAL.COM

OCTOBER 2014 / 15

REVIEWS

Asha Dangol’s

20 YEAR RETROSPECTIVE Pragyan Thapa, Kathmandu - For Asha Dangol the city exists as his soulful muse.

His artistic imagination hovers around the didactical idealism in Kathmandu’s decay from a lionized marvel of medieval architecture to a sufferer of ill-improvised urbanization. Dangol’s twenty years of artistic dabble was in the forefront at The City Museum where 36 illustrative pieces of the artist’s life work were exhibited.

In Where is my city?, we find Dangol himself in the scenery as he flies by in search of his city whose older settlements are engulfed by the mushrooming skyscrapers. Here he paints the fading plights of the nature: the domination of skyscrapers can be seen as the unknowing wreckage and invasion on the persisting entity of Kathmandu’s state of being, eclipsing it meagerly as an insignificant space on the map. He appositely applies stronger imagery in Vehicles over My Head, where big SUVs are stacked on top of his hollow head – perhaps symbolizing our hollow conscientious tilt for consumerism – and in Lost Identity where Kathmandu’s reputation, predominated by temples, is comparatively dulled down by the city’s overcrowded traffic and unplanned urbanization, and at the backdrop we again find Dangol, this time his hands are wide apart in a pose akin to the Statue of Christ 16 / SPACESNEPAL.COM

when human beings are the sole agent of pollution, we have a far-reaching responsibility in caring about other life forms existing along with us in our organic structure.

Dangol’s sociological imagination has matured over the years. His assurance is evidently counterpoised by his articulation in casting the Redeemer’s looming over Rio de the contemporary issues of the country in Janeiro, only difference in this courteous his compositions. His earlier water color and expression is that Dangol’s Kathmandu poster color paintings – dating back to 1992 – counterpart bulks large wearing a gas-mask. capture the avidness, observing people and places, of the artist in his formative years.

The ubiquity of the gas-mask in most of his Gradually dislodging his artistic sentiments as paintings works as a larger dialogue between a bystander, he has passed on to encounter a the artist and the observer. It seems he has flexible voice by being able to master a more dedicated this recurring motif designing subjective interpretation in visually detailing the right symbolization for claustrophobia the world he lives in. Union in Destruction’s and breathing space. Air Pollution, a plainly complexity emerges from the same passing. named piece, regenerates this: a ten-headed Two figures in the painting are deities in divine creature – constituting from four heads of unison, celebrating the act of procreation, but animals, five heads of human beings and Dangol lends some introspective items to the a central head of a deity – lets all its heads composition. The female deity is lifting a gun inhale, using the aid of breathing mask, while the male deity cups two hand grenades. from a single oxygen tank. This visualization These strangely odd assortments transcend decrypts into the ecological pertinence that the delivered intentions beyond the scene. the air everyone breathes is common and It may convey how religious extremism urge violence or how the society has surrendered completely under the weaponry of the power hungry demigods.

In his book Ways of Seeing art critic John Berger writes, “Every exceptional work was the result of a prolonged successful struggle.”

Asha Dangol’s two decade long journey holds true in this matter. The journey itself has made him able to carve himself out as the most exciting Nepali artist who prepares the perfect concoction by colliding art with social commentary.

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REVIEWS

CROSSWAYS

BEYOND FLYING SPACES, Bhaktapur - Yeti Airlines on the occasion of its 16th anniversary as well as Children’s day painted the new block of Jana Premi School in Lokanthali on Sunday, September 21, 2014. A total of twenty-five staffs participated in the painting.

Yeti Airlines in partnership with Save the Children has been supporting the school with its construction works worth NPR 13, 00,000 since 2014. Similarly, as a part of Corporate Social Responsibility, it donates Re. 1 per flight ticket to each of four social organizations involved in various social welfare activities.

In the last 15 years, Yeti Airlines has grown to become the country’s premier airlines with the largest fleet of fourteen aircrafts. The airlines maintains and flies the largest and the most extensive destinations network in Nepal by covering major cities within Nepal from mountains and hills to the plains.

AICA 2014 – 15

ON EARTHQUAKE AWARENESS SPACES, Kathmandu - With an objective of raising awareness on the possibilities of earthquake disaster reduction, National Society for Earthquake Technology (NSET), in collaboration with Spaces magazine, conducted a day interactive workshop at IEC School of Art and Fashion Bishalnagar. The speakers in the workshop were Surya Bhakta Sangachhe, Anil Upadhyay and Sundar Shrestha.

Throughout the workshop, the speakers emphasized on "It's not the earthquake but the ignorance kills people." The workshop primarily focused on the precautionary actions before earthquakes, while also covering set of guided procedures as an emergency response during and after earthquakes. The precautionary steps included general guidelines for an individual as well as steps they should consider as designers.

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The participants were mostly the students of interior design, and thus non-structural safety was given special priority.

Speakers instructed how the water tanks, flower pots and brittle objects should be placed.

They also explained how the furniture should be drilled to the wall to prevent it from falling and injuring someone. Other guides encompassed standard procedures on how one should react to an earthquake, on where they should be in such events and how they should exit a building.

Locating in between two major tectonic plates, Nepal lies in high seismic hazard zone. A very large number of high intensity fault lines are mapped throughout the country, especially Kathmandu; therefore NSET has been raising awareness amongst people on earthquake risk reduction and preparedness.

An International Festival of Architects

A

rtists in Concrete Awards (AICA) is one of the most prestigious fest annually organized by Reify since we instituted it in the year 2007. The fest is going to be held at Hotel Sea Princess, Juhu Beach, Mumbai, India on 20th and 21st January 2015. The festival strives to provide the meaningful coverage on current trends in Architecture, Interior Designing, Landscape Designing and Construction.

AICA is an award function with a difference. An annual celebration of excellence in architecture, landscape designing, interior designing and construction agencies; it attracts talents from around the world. AICA sees attendees, participants, judges, presenters, sponsors and exhibitors from all over India as well as from other countries across Asia and the world.

It’s a 2-day festival that offers a bird’s eye view of the global architectural, interior designing and construction scenario. It is claimed that it enables everybody present to achieve growth on personal and professional front and it provides platform to re-energize and realign themselves with the world of architecture and interior designing. It's the festival of architects and interior designers to appreciate the works of cutting edge innovation and to be appreciated for being aligned for the same.

The judges include noted architects and design professionals from India and across the world. They are: Prof. Juhani Pallasmaa and Ar. Rainer Mahlamaki from Finland; Ar. Kristin Feireiss from Berlin; Ar. Richard Murphy, Ar. Deborah Saunt, Ar. Edward

Hollis and Ar. Tony Fretton from the UK; Ar. Frazer Macdonald Hay, Ar. Stephen Pimbley and Ar. Roberto Capecci from Singapore; Ar. Angelo Candalepas, Ar. Peter Stutchbury, Ar. John Wardle from Australia; Ar. Ksenija Bulatovic from Serbia; Ar. Fernando Menis from Spain; Ar. Ahmet Vefik Alp from Turkey; Ar. Rasem Badran from Jordan; and Ar. Yatin Pandya, Prof. Krishana Rao Jaisim, Ar. Yashwant Ramamurthy, Ar. Prem Nath, Ar. Vikram Lall and Ar. Shakti Parmar from India.

The festival is brought to reality with partnership of several prominent institutions like Rachana Sansad (Mumbai); professional associations of various countries like China, Sri Lanka, Nepal, Philippines, Singapore along with India; high-profile press, magazine and TV media partners and so on.

OCTOBER 2014 / 19

COVER STORY

COVER STORY

Colors photo A RAJBANSH

Total absence of light makes the black color, and the total presence of light makes it white: all the other colors are products of the harmonious mixture of light and shadow. This is what Johann Wolfgang von Goethe, a prominent color theorist and poet means when he says, “Color itself is a degree of darkness" in his Color Theory.

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OCTOBER 2014 / 21

COVER STORY

COVER STORY

A detail from a cave painting in Altamira, Spain (c 13000 BC). It is known as 'Two Bisons.'

ARTISTS CELEBRATING

Colors text MADAN CHITRAKAR

photo HEMANTA SHRESTHA

It

is often said no living creatures are blessed with more color sensibilities than the humans. In a man’s life, the importance of this unique gift of nature has remained so profound and so all pervasive that even a small and mundane human act revolves around and in the diversity of its shades. From choosing a right color of an apple to the right hue of a dress one has a preference for, it all converge to one point - the choice of a right color.

True but it has also remained true that no segment of a human society celebrates or plays with colors better and in more visible manners than the people called painters - ‘the artists’. Only they create visual forms called ‘Art or Painting’ with colors. And it is they who, since time immemorial, have enriched the human civilization constantly with colors since the hoary days. They do 22 / SPACESNEPAL.COM

For sure, we can assert that no other band of people understand the values and importance of colors as deeply as the ‘Painters’ do. This is precisely the reason for we’d say 'artists celebrate the Colors the most and the best.'

it today and would continue to do so forever in future too, regardless of the changes whatsoever - but with colors.

IMPORTANCE OF COLORS TO AN ARTIST A glance at the annals of art history would reveal how the art of painting has made constant evolution since the days of cave paintings in Altamira, Spain 13000 BC (?) and Lascaux, France 15000 BC(?) to the present day Post Modernistic art forms. For sure, ‘paints’ as we see today did not exist then. But the cave artists did manage to look for right colors out of the natural pigments found in nature then like earth, stone or even charcoal!

No need to mention, the motives of paintings too have constantly changed at every interval of time since the caves were adorned with imageries of bison

and other animals. If art was served as a tool to appease imagined divinities or to ward off evil spirits then, it also transformed into an effective means of expression in later times. With the arrival of modern times and various shades of colors appeared in modern mediums like oil, water, pastel, and crayon and so on, it only ignited the imagination of the artists to explore more: and explore constantly through the colors available - emulate nature or express the inner feelings! The importance of colors remained and grew by each passing moment.

EARLIER THOUGHTS: EACH COLOR HAS A STORY Although every civilizations held one or other meaning of a color, nowhere in the world ‘Colors’ connoted deeper meanings and had remained of paramount significance than in the

cultural life and the art of Indian subcontinent. The tradition of Nepali Art too, had shared many of those values. Here, the beliefs and traditions has it that each and every hue of color has a different meaning and signified a different attribute – testifying the utmost respect and celebration of the chosen colors.

In a Hindu society, a vermilion red essentially connote a symbol of warmth, good luck and prosperity. Precisely so, immediately after the marriage, a married Hindu woman, with a very little exception, wears red dot or a Bindu on her fore head. Similarly, application of red or saffron powder in the parting of hairs over the frontal head also marks a woman as married. And as a bridal wear, women unfailingly only wear red sari and the rest of entire dress in red as a mark of good luck or Saubhagya.

clarify the special attributes of a chosen god. This explains the presence of imageries of innumerable divine beings from both Hindu as well as Mahayana Buddhist pantheon, albeit presented in anthropomorphic forms, in unnatural various colors. The myriad shades of complexion seek to narrate the special powers and the attributes of each of such divinity.

But in a sub-continental cultural outlook, a hue of red is also essentially associated with a symbol of energy, anger, protest or even chivalry. These thoughts have had well remained reflected in our traditional art too. Since the earlier times, different shades of red has made a strong presence in traditional Nepali painting. Whenever there has been a need to show exceptional energy, power or a state of anger, red is liberally used as a halo, flaming aureole or even the complexion of the chosen divinity.

But what has remained amazing is that in spite of such peculiar tradition however, Nepali painters through the ages, usually have chosen to create divine imageries in an idealistic earthly settings – often stylized mountains, trees or with architectural elements as backgrounds: more so in natural colors.

But whenever there arose a need to emphasize a point or display an emotion like sorrow, anger or a glimpse of opulence or luxury, artists were found ignoring the traditional background imagery: instead found choosing a particular flat color – connoting or reflecting the desired mood.

Moreover, even the religious holy texts dictates in the respective iconographies with different shades of colors of the skin or the complexions of a divinity to

EXAMPLES OF COLOR POWER To drive the point, an interesting example is cited here from an exquisite

work of Nepali Painting dated circa 1470. This was painted at a time when religious imagery reigned high and to think of a human portrayal was exceptional and unthinkable. The subject matter is a noble known as ‘Gagansim with his two wives’ and he was believed to be the governor of Dolkha. In the annals of art history, this painting remains extremely unique and exceptional for many reasons.

Firstly, this work represents one of the examples of a collaborative exercise. For, the artists credited as the painters of the work as Adayraja Pun and Udayrama Pun – both from modern day Kilagal, Kathmandu. The second peculiarity is the choice and the audacity of the painters – to paint human forms as said earlier.

But the most important reason we cite the work here is the overwhelming presence of vermilion red in this painting. Even unlike the divine imageries with earthly background, the artists apparently, wanted to over emphasize the grandeur and the opulence life style of the subject matter – the noble state. Here the noble is seen with his two wives – entirely surrounded by the symbols of OCTOBER 2014 / 23

COVER STORY

COVER STORY

'Sun and Moon' by Madan Chitrakar (2007 AD) 'Galloping Horses'

by Shashi Shah (2012 AD)

A cave painting from Lascaux, France(c 15000 BC).

It is popularly known as 'The Hall of the Bulls.'

from an image of iconic horses of noted artist Shashi Shah. Shah is best known in Nepali art for his constant rendering of horses as his principal elements. He does not create horses as mere natural animals – instead as a metaphoric representation of power, dynamism and endless energy. To express it all, all along he has more than once, makes liberal use of flat and strong colors in the background as well as in the chosen forms.

An untitled work

by Mark Rothko (1967 AD)

luxury, the utensils used as the typical Newar toiletries – ‘Shringar’. But the most amazing part is the liberal flat red color as the background – ignoring the conventional natural setting needed in a human portrayal, more so during an amorous mood. The overwhelming dominance of vermilion red radiates the entire composition to an unusual level and provides an exceptionally warm setting. In short, the painting represents a tantalizing display of raw power of color: and the color of red is hard to ignore here.

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Nearer the modern times, as time passed by, the Art or Painting continued to change in all the possible manners – shapes, styles and the subject matters and the most significantly the driving motives. Art long ceased to be a tool or medium of religion or religious thoughts.

Artists are set free from the iconographic bonds in shapes and colors.

But what did not change, regardless of the changing times and medium, is their appetite and profound love for the power of color. Let’s cite a modern example

But Shah becomes more successful when he is found using raw warm colors – specially the vermillion red in a dominating manner. His objectives and inner feelings become much more prominent and visible. The image illustrated here narrates effectively the strength of red color as his tool: and it also well testifies our point. The presence of overwhelming red not only drives well with his inner desire but also displays the unmistakable power of a pure color.

COLORS IN A FLAG: A COLLECTIVE IDENTITY A common wisdom has it a national flag of any chosen country represents the collective trust, aspirations and, of course, the identity of a given set of people. What has always remained important, in addition to forms, is the choice of often pure raw colors in it. It may represent a heritage or political thoughts – but the importance of colors remains. And whenever an artist seeks to comment on the collective concern, nothing can be more expressive than the colors found in a flag.

Even this scribes when incarnated as an artist. When disturbed with the happenings in the country and sought to express his reactions, he is found using the two colors seen in the national flag of Nepal. An image of instability and continued disturbances was best represented in the tattered pieces of the colored pieces. At a glance, the viewers are instantly prompted or even provoked to imagine or think about the reasons behind the scattered forms and the strong flow of pure colors. It presents an unlimited strength and power of a color – a true celebration of color!

AESTHETIC QUEST: COLORS A SPECTACULAR TOOL The instances cited above, it is true that all remain within the bounds of certain thoughts or the motives to achieve – irrespective of the success and an effective use of given colors as tools. But the history of art has taught us that nothing demonstrates as better and vivid as an artist when he is totally set free to play with a chosen color or colors – while seeking an absolute aesthetic pleasure. An astonishing example is presented by the American artist Mark Rothko (1903–1970). In the annals of modern art, Rothko is best known for the large expanses of limited colors in huge canvases. Yet within the limited chosen colors, he was highly admired for his judgment in his choice of use and the colors in the given space. His works have remained as iconic display of blatant color power. An untitled work by Rothko, 1967 and cited here reveals the raw strength of black over the overwhelming red and crimson.

For sure, we can assert that no other band of people understand the values and importance of colors as deeply as the ‘Painters’ do. This is precisely the reason for we’d say 'artists celebrate the Colors the most and the best.'

'Gagansima and his two wives' by Adyaraja Pun and Udrayarama Pun (c 1470 AD)

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COVER STORY

COVER STORY

W

Black is his Favorite Color

text JEEBESH RAYAMAJHI photo DEEPENDRA BAJRACHARYA

hile observing Kiran Manandhar's performance with color and canvas, for the first time you may label his acts as mad acts. He revolves in circle, picks up color and scrubs madly over the canvas. Rough selection of color, rough patches over the canvas and all rough acts - you simply judge it and your mind whispers with yourself "I can make better paintings."

He revolves around the canvas and uses different four directions to throw the patches of color in. He plays with color and merges it with tact and vigor. He interacts with the colors for a long. The needle of the clock goes beyond but still the painting does not get complete.

The very incomplete art is 'the complete and perfect art' for us. He says, "It never completes."

A devotee of Bacchus, he makes double love while making paintings: One with colors and another with liquors.

"A sub-conscious form of mind is the true source of art; a conscious mind never makes better paintings," justifies Manandhar. That can be one reason for his intense love for black: Black stands for unconscious mind.

Even professional painters be in awe while Manandhar makes excessive use of black color. "Black is one of the boldest colors and it turns to be difficult to make changes once it is patched on the canvas. That might be the reason why others dare not make excessive use of black," says Manandhar.

He has interesting anecdotes with black color. One was while he was in Japan to participate in Asian Painting Exhibition in Fukuoka. A Japanese artist in a challenging way had claimed that only Japanese or Chinese can make daring use of black. In reply Manandhar had picked a broomstick made of straws that he had brought with him from Nepal and had made paintings making excessive use of black. Then, out of surprise, the Japanese had asked, "Where did you learn it from?" Manandhar had learnt from his native culture and surrounding nature, and, so had he replied.

"Black is the dominant color in Chinese and Japanese lithograph painting," says Manandhar. In China, the color black is

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associated with water, one of the five fundamental elements. It is also associated with positive chaos which leads to change and new life. In Japan, black is associated with mystery, the night, the unknown, the invisible, and death. Black also symbolizes experience.

But for Manandhar the color inspiration came from the culture he was brought in. Black is considered to be a secret color in Newar traditions, as well as in many other eastern traditions. In most of the rituals they have secret practices and they end such practices putting black tika on the forehead as mohini: Black is dominant color and stands for power. In other occasions too, even in Dashain, they put black tika on the top along with red tika. We can see dominance of black color in the traditional Newar costumes like haku patasi, too.

Another source of inspiration for him was the nature. Regarding his acquaintances with color he says, "Bishnumati and dark groves of Nagarjuna forest are my first universities where I learnt color from." He used to wander around Bishnumati and Nagarjuna and used to make paintings using local colors.

Similarly he used to play with colors for hours in local festivals like Mah Pooja and Bhaitika. He learnt texture from the trunk of trees in which he used to hide

his paintings in; fishes that he used to catch in Bishnumati; and the grains that used to be customarily used in different festivals.

Black was one of the first colors used in art: The Lascaux Cave in France contains drawings of bulls and other animals drawn by Paleolithic artists between 18,000 and 17,000 years ago. Black was one of the most important colors used by ancient Greek artists, too. In the 6th century BC, they began making blackfigure pottery. In 19th century, black regained some of the territory that it had lost for a few centuries. The Russian painter Kasimir Malevich, a member of the Suprematist movement, created the Black Square in 1915, which is widely considered the first purely abstract painting.

Manandhar prefers darkness to light and black to white. The main reason for his love for black is its purity."Black is the purest color," adds Manandhar. Could black be pure? –If the pure means not mixed and free from any colors, black is the purest color, without any doubt.

If you experiment with light, mixture of all the colors results in white and the absence of any color results in black.

Newton, one of the prominent color theorists says, "Black is the absence of colors."

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INTERIOR

INTERIOR

Planning a Color Scheme text ASHOK MAN SINGH

The spectacular colors of flowers and plants, the tones of sky, the color of earth and rocks, reflection in water, fruits and vegetables, birds and animals, and many others natural phenomena appeal for a perfect range of hues. Once these amazing varieties of colors are observed, no other formulae are needed to maintain a balance; the natural word provides a sense of harmony in color. The natural world is without any doubt an inspiring source to attain almost perfect color schemes, texture and patterns. Nature adorns unlimited source of inspiration to designers and artists. (Hook) Various samples can be collected after color scheme is decided. These samples can be converted into charts, could be related to actual preliminary designs or maquette can be formed from these collected samples.

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C

olor plays a central role in interior design. The process of color combination cannot be limited to trial and error which might bring obscure results. Specific color theory must be applied that relates to the particular needs and demands of every interior concept. While designing any interior space, the color of furniture, draperies, carpet, art works, accessories and placement of these aspects all involve a certain system of color combination. So, every details, patterns, designs must be considered with unique color schemes.

There are a number of color theories that have been developed ranging from scientific studies to applied systems.

Those theories without any doubt assist for planning a color scheme. However, the color schemes cannot be limited to these few drafted formula. It must be implied that while playing with colors, there are no certified rules that bring anticipated results. The rules will only make the Color system rigid. Color planning can be dealt with openness to make it less problematic. Inspiration for color schemes can be attained from our daily life, random objects around us or maybe from the vibrant colors of nature.

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INTERIOR

INTERIOR

DEVELOPING A COLOR SCHEME Color Scheme is a fundamental element for successful interior design. It is through pleasant color patterns, the ambience of a place becomes remarkable and it makes appropriate impression. A well planned and furnished space may lead to disappointment due to lack of suitable color themes.

The other elements of interior design such as walls, floors, ceilings, furniture, accessories, etc all must fall under certain color scheme. The color selection for these complete interior elements must be made such that each element complement each other and provide a sense of completeness.

There are many complications regarding color conceptions. Although

developing ideal color scheme is tedious, there are many color systems developed with a view to make the complicated color behavior simple.

Munsell is the most appreciated color system. Similarly there are other popular systems: Ostwald System; CIE System; Oas System; KUPPER System; Color Aid System; Paul Klee System.

Nature forms amalgamation of colors which are in harmony. These harmonious color schemes can be derived as a theme for interior spaces.

Each system is different in terms of the conceptions and combinations of color.

What is more important is to understand own prerequisite of each design and to develop distinctive system that best associates to the required interior design.

Therefore it is essential that planning color scheme be more practical and understandable for each interior.

Color wheel makes it easier to understand relationship between primary, secondary, tertiary colors. By the help of this chart monochromatic, tetrad, triad, analogous color schemes can be understood.

Monochromatic Color Scheme: As the word monochromatic suggests, this Color system is the scheme developed by one dominant color.

Tints, shades of one single color can form monochromatic color scheme.

COLOR WHEEL Color wheel is circular arrangement of various colors that are generated through combination of primary colors, secondary colors and tertiary colors. The primary colors are red, yellow and green. When these colors are arranged in a circle more hues of colors can be developed by mixing these colors. The colors generated by combination of primary colors are secondary colors. The tertiary colors can be attained by combination of primary colors and secondary colors. The Color wheel provides a total twelve hues of colors that can further demonstrate various color schemes. It can be a helpful tool that simplifies the perception of color combination.

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Complementary Color Scheme: Complementary colors are the pairs of colors that are positioned opposite to one another in the Color wheel.

Triad Color Scheme: Triad Color Scheme can be acquired by combination of three colors that are equally separated in the color wheel.

Tetrad Color Scheme: This type of Color scheme can be generated by using four colors that are placed equally around the color wheel.

Analogous Color Scheme: The combination of colors that are created by the similar set of colors placed in the color wheel, almost similar to monochromatic but separated by color of another family.

The colors are chosen in such a way that they give a similar visual resemblance or are in continuation around the color wheel.

COLOR INSPIRATION FROM NATURE AND ARTWORKS The system of colors that can be influential in developing a color scheme helps decide whether or not a good choice of colors is being made. However, sometimes the existing theories constrain our imagination. The limitations create bewilderment, so to seek infinite possibilities of openness in innovative ideas, colors present in natural world could provide endless inspirations. Various Color schemes can be extracted from the nature. Nature provides endless set of colors that amalgamate with perfection to offer unlimited source of inspiration.

Color combination that exists naturally is the most gratifying source to a color scheme. The natural not only provides a sense of stimulus but also inspires countless themes.

The spectacular colors of flowers and plants, the blue tones of sky, the color of earth and rocks, reflection in water, fruits, vegetables, birds, animals, and many others natural phenomena appeal for a perfect range of hues. Once these amazing varieties of colors are observed, no other formulae are needed to maintain a balance; the natural word provides a sense of harmony in color. The natural world is without any doubt an inspiring source to attain almost perfect color schemes, texture and patterns. Nature adorns unlimited source of inspiration to designers and artists.

TESTING COLOR SCHEMES

Color contrast observed in nature.

Various tones of yellow and orange are eminent in this flower. This can be another source of inspiration for color combination.

Similarly, the color themes that are based on the artworks created by painters or other medium of artworks can be taken as another option for completing the color schemes. The tints and shades or tones of similar color exhibited in artworks and paintings provide possibility of developing new schemes of colors. So it is not necessary that the required color scheme is limited only to the color theories or the actual wheel charts. However, these planned color schemes can be decided by placing these colors in the final interior design works.

Once color scheme is finalized, it can be tested by many mediums to avoid any randomness of the developed system.

The unplanned relationship between the colors to be applied can be avoided by converting them into samples. The color theme can be related to the initial design concepts by converting into demonstrative charts or samples. Color data, regarding all the elements that have been preplanned, also can be set to test the schemes. Such sample charts or other convenient medium taken into account. These samples represent the actual location and materials to be used in the assigned work. Besides preparing charts and material samples, there are other alternative ways of making color samples. To convert the planned samples into vivid forms, more realistic approaches like making maquettes and rendering can be applied. They provide realistic view of the required space.

Although these various methods of

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INTERIOR

Various set of colors can be studied beforehand by taking references from a rendered image.

This process also is appropriate to view the actual final look of color combination and design.

representation provide overall view of the proposed space, the accuracy depends on the initial stage of finalizing color schemes. It must be noted that when deciding the color concepts, every color communicates to signify different meaning to the space. Colors possess characters that could relate to our emotions. Colors are powerful elements that can be cognitive. Some colors bring tranquil while some are associated with intense excitements. And, colors not only spread visual pleasure but are functional too.

It is necessary to comprehend that colors vary with motive of each space. A commercial space has its own standard colors. A residential interior is commonly dominated by warm tones. It is possible that this rule might again vary with the demands of the clients. Locations of the space, placement of the materials, weather, climate, psychology of individuals are other factors that can be taken into account. Colors without any doubt bring about visual pleasure. However, it cannot be denied that colors are also associated with human behaviors from change of mood to health hygiene.

A rendered image can be helpful in deciding whether or not the finalized color scheme and material sample actually match design.

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OCTOBER 2014 / 35

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INTERIOR

INTERIOR

THE KAKORI RESTAURANT an Idyll for all seasons text VENEETA SINGHA

The Kakori Restaurant at Hotel Soaltee Crowne Plaza, Kathmandu is often considered to be among Kathmandu‘s epicurean exemplars.

Par excellence in both menu and culture, it has contributed significantly to the evolution of Kathmandu‘s hospitality realm.

The origins of this historical cuisine can be traced to the Kakor from Lucknow in India.

The legendary Nawabs of Hyderabad coined this fine dining expression with, among other delights, mince kebabs of exceptional authenticity and infused with Saffron and nuts procured from the preeminent sources.

The Raan at the Kakori Restaurant appears as the simplest of delectables but entails an exhaustive preparation endeavor. Marinated overnight with fine Indian spices, this ‘pot roast' is a slow cook with favors from as far as Avadh and Rajasthan.

Kakori cuisine is a blend of food cultures from Punjab, Kashmir, Avadh and Rajasthan in India. Here in Kathmandu, the restaurant is led by Executive Chef Yubaraj Pokhrel who brings a definitive expertise and savoir faire to the experience of Kakori. The atmospherics of the restaurant are beyond simply captivating and the interior details among the most 38 / SPACESNEPAL.COM

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INTERIOR

INTERIOR

evocative in Kathmandu. Designed by a team from Lucknow, the old-themed brick floors augmented subtly by artifacts from Lucknow are given the perfect treatment with bead curtains that lend an air of warmth and tradition.

The dining tables are rustic, unpolished and made of raw wood and project a distinct medieval flair into a contemporary epicurean retreat. The stone mosaic fittings on the floor and tables pay tribute to an ancient Nawabi belief in the power of art.

While similar to the Indian tandoor, the Kakori proffers a finer menu and an intense dining philosophy. Characterized by roasted spices, roasted nuts, saffron and many other conventional ingredients, the food is also brought to life in the restaurant by the ochre, cream and dark wood spatial fabric.

Chef Pokhrel is understandably effusive about the Kakori guests and the restaurant’s resplendent popularity. For a particular and acquired cuisine, the Chef

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OCTOBER 2014 / 41

INTERIOR

is encouraged to see diners return time and again as well as by the steady stream of regular gourmands.

The recipes are translated onto the dinner plate by a team of experienced chefs who hail from Lucknow and are carefully monitored by Chef Pokhrel.

Part and parcel of the Kakori endeavor is to upgrade both the restaurant and the menu as well as to ensure that the ďŹ ne ingredients are procured regularly and directly from Lucknow.

A recent Kashmiri food promotion at the Kakori has delighted patrons.

Interesting to note is that Kashmiri cuisine is deďŹ ned by the use of rose petals, nut-based gravies and the incomparable paratha.

The Kakori Restaurant is a registered and copyrighted service of Hotel Soaltee Crowne Plaza Kathmandu.

Among the restaurant's well-heeled guests are renowned actor Anupam Kher and many distinguished visitors from overseas.

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www.ujyaaloonline.com

OCTOBER 2014 / 43

IMPACT

IMPACT

NURSING BEYOND THE WALLS OF HOSPITALS

Nurses should not be made limited within the walls of hospitals. They should gain competencies or at least remain aware about their importance during disasters. They should be trained to work for large number of population during disasters, to identify their sufferings, prioritize their need and render care accordingly.

text MANISHA PANTHA

“May my life be devoted to service and to the high ideals of the nursing profession." I remember this last line of the Nightingale’s Pledge which I promised to follow at the beginning step of my Nursing Profession. I have incorporated the practical meaning of oath and remained under the supervision of the ethical boundary of Nursing throughout my profession.

Everyone who comes to this profession feels it as a noble profession and is taught to care regardless of age, sex, creed and nationality. I have no idea about the health delivery system of any other country; but I know at least a little about Nepal. Here nurses are only privileged to be pictured in white uniform and a tray with medicine in hand. They are not provided with diverse opportunity and therefore they are limited to provide care only within the walls of hospitals.

It is very well known fact that Nepal is facing tremendous number of disasters

almost at every season; many people are dying and are left homeless. The most affected system during or after such disasters remains Health System in major. Are our hospitals prepared enough to receive large number of victims at a time? Or, are our health practitioners prepared to handle the stress of the situation? Do we have enough medicine or do we have enough staffs to handle the crowd? There are pools of questions which have been left unanswered for many years.

Of course there are numerous issues to be dealt with priority. But it should never be forgotten that disaster preparedness is one of the most important issues that require top priority. I don’t think I am flashing light on any of the upraised or unseen facts; many efforts might have been made by others. Honestly, I would have not known these many things if I myself would not have been engaged in disaster preparedness and emergency response. I didn’t want to work only

within the walls of health care centre and thus opened up my eyes to see the wide area of services. Upon realizing the fact for requirement of health care providers in disasters, I felt nurses should not be only working during their shifts at hospitals. Nurses should not be made limited within the walls of hospitals.

They should gain competencies or at least remain aware about their importance during disasters. They should be trained to work for large number of population during disasters, to identify their sufferings, prioritize their need and render care accordingly.

I acknowledge the effort of non professionals who work in the field; they rescue the victims and treat them making the best use of the skills they learnt from short term trainings. I appreciate the willingness of organizations like Red Cross and a number of NGOs who are providing trainings on pre hospital treatment.

When these non medical people, simply

relying on the basic trainings, can perform pre hospital treatment, how well could nurses perform on site?

Nursing curriculum does not contain the disaster response activity nor are they trained practically. Their role only starts when victims are taken to the hospital.

I am not sure whether my concern carries some sense to the readers or not. I am not an activist to raise a question on the nursing practice that has been rendered only within the walls of Hospitals. I belong to the nursing profession and thus these thoughts keep on bothering me. I simply want to express the need of exposing nurses to disaster response through their curriculum or through any organizational system of response.

However, many nurses, for one reason or another, are not competent to serve in the site of a disaster but they really want to get ready when disaster actually occurs. It's time for all nurses to gain

competency and be prepared to caring victims of a disaster also. Training that focuses on multidisciplinary emergency preparedness and disaster response should be in high priority. This applies to nurses in all professional settings and they require the core competencies that render the nurse qualified to respond to emergencies. Some core areas are critical thinking, assessment, technical skills, communication, core knowledge about health and disease management, information and healthcare technologies, ethics, and professional roles.

Therefore, I feel there is a need for national initiatives for the advancement of education and policy related to nursing emergency preparedness. Nurses' competencies and awareness as well as their roles and responsibilities for disaster preparedness and emergency response should also be vitalized.

Sigatse Hardware Centre was founded by Mr. Ramesh Bhandari twelve years back in Boudha, Mahankal.

Sigatse Hardware Centre is Jagadamba Cement's one of the old dealer. According to Mr. Bhandari, Jagadamba cement has a good volume of sales and is preferred by many construction companies and contractors."

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Mr. Ramesh Bhandari, Proprietor, Sigatse Hardware Centre, Boudha, Mahankal, Tel: 4461779, Mob: 98510-66055 OCTOBER 2014 / 45

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OCTOBER 2014 / 47

LIGHTS

LIGHTS

Of course, getting the lighting right in a luxury design scheme isn’t just about where lights are placed or how strong or bright they are.

The light fittings and lamps themselves are elements of the overall design and, when chosen to fit perfectly with the style of the room, they have the potential to give life to the space.

I

t looked like the best room in the world but when curtain were drawn the beauty was all but gone. Suddenly someone switched on the lights and the room became alive again - Lights play an integral role in bringing out and enhancing the beauty of the room. It not only changes the mood of the room but also enhances the size of the room. The selection of the right elements and the right lighting comes together to make the room look different and outstanding.

Lighting helps in improving the interiors in the aspect of color, highlighting, functionality and space.

Color: Light can change the perspectives of the space. Darker colors will make the room look smaller and cramped but brighter colors with appropriate light will make the room look bigger and spacious. Also the coloring of the light will redefine the way a room looks like. Directional lighting will create a directional flow and highlight the colors accordingly.

ACCENTUATING

Interior text Er. Mahesh Mahato

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Space: light helps create the illusion of space within a confined area. If we don’t have good lighting the room will look crammed and that costly and decorative sofa will loose its elegance. While a small room will look big and better with more lighting.

LIGHTING TECHNIQUES Lighting can be quite technical but yet it is a wonderful medium to work with.

It requires knowledge since you need to choose the right products to work with, and you need to choose a lighting supplier that can deliver a variety of high quality, modern lighting products for you to work with. Lighting designers can also be hired to design the perfect layout in your home, allowing you to create the ideal environment for the particular room or area in the house.

Highlighting: Lighting can either highlight certain specific areas or can be used to create ambience of the whole room. Track lighting is used to highlighting different things by hanging from different angles or spaces. Frame lighting is used to focus on a painting or a picture. Recessed lighting is used to create highlight or beam effect when hung from ceiling or base.

There are many different lighting techniques that can be used and you can manipulate light to create almost any effect you want. You can use light to place emphasis on certain items in a room, or you can use light to attract attention away from a particular point or corner in your house. You can also use different types of brightness, depending on the amount of light that you want to let into a room. Softer light provides a calmer atmosphere, where brighter lights are ideal for areas that are busy, like an entertainment area.

Natural Vs Artificial Lighting

Functionality: Lighting in the room has to serve a purpose other wise it will be simply the waste of electricity.

Chandeliers serve the purpose of central lighting and adding grandeur to the room. Wall lights add length and size to the room. Other specific lighting at desk or photo frame adds viewing comfort to the eyes. Focus lighting help bring out importance of the vase in the room or help you get a better shave in the toilet.

When thinking about lighting, it tends to be artificial light that comes to mind.

Optimizing the use of natural light, however, is also a key concern, both in terms of practicality and in order to be able to appreciate the beauty of the space. When creating an interior design scheme from scratch taking both artificial and natural lighting into consideration, but even within an existing design there is still much that

we can do to improve matters.

Where artificial lighting is concerned, there are of course a number of different types. Accent lighting, for example, can be extremely effective when used to display paintings or to accentuate plants or objects, although the angle of the lighting clearly needs to be just right to achieve the very best effect.

Task lighting is another type of lighting which is important in just about every room of a house. In sitting rooms and studies, for example, it helps to avoid eyestrain when reading or working, while in the kitchen it ensures that tasks can be carried out safely. Adequate task lighting is also essential in the bathroom for the purposes of shaving or applying make-up for instance.

Mood lighting uses different tones and colors of light, as well as different levels of brightness, with the aim of creating atmosphere in a room. In many cases it uses soft, warm lights to induce a feeling of calm and relaxation, but at the opposite end of the spectrum it can also be used to provide a lively and invigorating effect.

Down-lighting is a popular technique where you can add a moderate amount of light in specific areas of a room. This is ideal to use in rooms that have a lot of natural light during the day, but not so much at night. These down-lights are perfect to add to a room to provide a moderate amount of light during night time.

LIGHTS FOR DRAMATIC EFFECTS Creative use of lighting can really enhance your decorating project. Make use of all of the different types of lighting to make your home a beautiful showcase.

Different rooms in the home need different lighting. Halls and stairs

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LIGHTS

should be well lit to prevent accidents.

Living rooms need a mixture of lighting options: background, task lights and accent lighting. The best lighting for kitchens is bright overhead lights and extra under-counter lights for task lighting. All types of lighting fixtures can be found for whatever your needs may be. They can run from very inexpensive to extremely high cost fixtures.

Lighting for Art or Wall Hangings: There are special considerations when using lighting for art or wall hangings. If you are lighting a single picture or painting, try to place the light so that it does not show a reflection on the glass of the art piece. There are special picture lights made especially for lighting pictures but some of these are not very effective since they can only highlight the top or bottom of the picture. Down-lights are a good alternative. When lighting a group of pictures, it's better to use individual lights in track lighting that can be positioned towards the pictures.

Lighting sculptures can be particularly challenging. You can use up lights, downlights or even strip lights, depending upon the sculpture and its placement.

Experiment with different lights and their placement to get the best effect.

Table lamps can be used as task lighting or for general lighting, whereas Uplights can be placed on the floor behind furniture, glass shelving or plants to give them a dramatic accent. Strip lighting can be used behind shelves and on stairs and platforms for a dramatic

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result. The platforms lit this way can appear to be floating above the floor.

Similarly, track lighting is one of the most versatile lighting systems available and can be moved around to accent different areas of a room. Track lighting and recessed lighting can be set to produce an effect called wall washing which, as it sounds, washes an entire wall with light. Dimmer switches give the ability to provide a different level of light by turning the knob. Dimmers save electricity and provide mood lighting for special occasions.

Of course, getting the lighting right in a luxury design scheme isn’t just about where lights are placed or how strong or bright they are. The light fittings and lamps themselves are elements of the overall design and, when chosen to fit perfectly with the style of the room, they have the potential to give life to the space.

LIGHT DESIGNING Light is a technically difficult yet astonishing medium that requires mastery of varied and continually evolving disciplines. A lighting design practice integrates the arts, sciences and business of illumination design and implementation far beyond concerns of visibility and horizontal foot candles.

Lighting equipment and control technologies are developing at light speed: hundreds of new products are introduced to the marketplace annually. To provide proper design solutions that make use of the latest,

most-cost-effective technologies, lighting professionals must attend national trade shows and continually update product information and samples from hundreds of manufacturers. Keeping abreast of newest weapons in the lighting arsenal has become time intensive and more essential. Independent lighting consultants do not sell or install equipment, nor do they depend on the recommendations of lighting sales persons. So the client receives a lighting design based on research and expertise - free from conflicts of interest.

Illumination is the ephemeral partner of architecture. Light is invisible until it strikes an object or surface. And it is controlling this difficult, transitory medium that gives the lighting "artist" the ability to create hierarchies, dynamics and mood. Lighting design has become a creative extension of architectural design, improving visibility and complementing form, program and color. Experience and, of course, talent creates patterns of illumination that seamlessly supports overall project goals.

Knowledge of physics, optics, electricity, ergonomics, business codes, environmental issues, construction, vision and the art of design are all essential to creating great lighting solutions. Lighting professionals must be well grounded and continually educate themselves to provide the best possible service.

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STOREWATCH

Apurva International Gatthaghar, Bhaktapur

SPACES, Kathmandu - Apurva India Limited is one of the leading companies in India that offers a complete solution for epoxy and PU flooring systems. It possesses the capability to deliver complete and customized solutions for all kinds of surfaces and its quality process has been certified to meet ISO 9001:2008 standards, ensuring consistent performance and continuous improvement of quality and customer satisfaction.

In Nepal, Apurva International, a franchise of Apurva India, is an importer of multi-brand paints and UPVC roofing sheets. It provides a variety of paints for commercial, industrial and residential use. They provide a variety of choice from a range of well renowned brands of paints like Asian Paints, Kansai Nerolac, Pashupati Paints, Lewis Berger Paints, Delux Paints and an eminent brand from AkzoNobel, a Dutch multinational, active in the field of decorative paints.

Also in their product profile are UPVC roofing sheets from Sunrise.

It has recently opened a multi-brand showroom at Gatthaghar, Bhaktapur.

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PRODUCTS

PRODUCTS

HANGING LIGHT (Item no. TESL45/9176) Price: Rs. 93,000 Made in China WOODEN HANGING LIGHT (Item no. TE30/2281) Price: Rs. 8000 Made in China Available at: Taini Electricals Bhotebahal (Opposite to Bizulibazar), Sundhara, Ph. 4229648, 4224247

Hanging Light Purple Price: Rs. 2800 Made in China

BLACK FLOWER PRINT Hanging Lights (Item no.

TE7/9268) 5 Lights Price: Rs. 17,000 Made in China

STANDING FLOWER LAMP (Item no. 96205) Price: Rs. 11,500 Made in China

HANGING LIGHTS (Item no. TE22/6126) 7 Lights Price: Rs. 10,500 Made in China

HANGING LIGHT (Item no. 8363) 3 Piece Price: Rs. 16,500 Made in China

CHANDELIER (Item no. 8976) 6 lights Black Price: Rs. 54,000 Made in China

Available at: Mayur Light Bhotebahal (Near Life Care Hospital), Sundhara, Ph. No. 4268201

HANGING LIGHT (Item no. 3366) Price: Rs. 6500 Made in China

WOODEN HANGING LIGHTS (Item no. TESL30/3065) 3 Lights Price: Rs. 19,000 Made in China 54 / SPACESNEPAL.COM

WOODEN HANGING LIGHT (Item no. TE7/3084) Price: Rs.13,000 Made in China

OCTOBER 2014 / 55

DESTINATION

Summit River Lodge a home where comfort and nature confluence

DESTINATION

“The use of traveling is to regulate imagination by reality, and instead of thinking how things may be, to see them as they are.”

– Samuel Johnson

text and photo A RAJBANSH

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OCTOBER 2014 / 57

DESTINATION

DESTINATION

T

ravelling is a wonderful experience, sometimes we know the place and sometimes not. Being an avid traveller, sometimes I wonder what the things that I’m going to land on and expectations rise expecting more to see and know the place more than I could imagine.

It was around a three hour drive from Kathmandu and half and hour walk afterwards crossing mighty Trishuli river over the suspension bridge, what the place was that could be hardly imagined, a pure disguise near the very highway we’ve traveled many times.

Well said, but things turn out above that, sometimes. You’re a poet, an artist, a musician or from other profession in deep desire for relaxation, nature has blessed this place to overwhelm the wildest of imagination. Sitting around the curved banks of Trishuli river, protected by the greeneries from direct sunlight, well arranged seating and songs come out instantaneously if you’re a lyricist.

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We landed there amidst the rainy season, serene acts of nature was warm and cozy, surrounding hills kept changing the look with the weather. Wonder why the tourism industry has labeled only four months of the year as ‘good season’ when abundance could be found all over.

Magically bestowed be the gods, the country needs to realize its true potential.

Only a few open minded people have managed to identify the places and maintained its integrity. Summit River Lodge was established in 2001 with 7 rooms. Providing the enjoyable hospitality ever since, it is now expanding its wings by adding 10 new rooms and a swimming pool.

Situated at Brigands Bend, Kurintar in Gorkha district, it has been winning the good words of appreciation for maintaining the high standard of modern amenities in eco friendly way. The property is well built in harmony with the nature suing many of the locally available materials.

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DESTINATION

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DESTINATION

OCTOBER 2014 / 61

DESTINATION

DESTINATION

The interiors of the small houses are nicely done to continue the feeling of being out in rural area but quietly sophisticated enough having air conditioners and ceiling fans in all rooms, showcasing an open kitchen to make everyone feel at home, serving excellent food and giving may options and opportunities to go on short or moderate hiking to nearby places. Not far but only an hour of walk will take you to a natural slide on spring water, the experience that you can not forget at all.

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Without disturbing the surroundings, without interfering much with modern import from big cities and without asking for too many physical faculties still one can enjoy and accomplish their dream, creativity, good health and feeling of living and touching nature so close, all are possible right here in Nepal.

Summit River Lodge is one of such wonderful destinations for some days out just a three hour drive away from Kathmandu on Trishuli River.

OCTOBER 2014 / 63

ARTSPACE

Quest for the Temple City text ASHA DANGOL art BINOD PRADHAN

No greenery at all! The city space is covered with the thick layer of dark clouds. Even the city high-rises are engulfed into the mist. In a closer look, we can see the silhouette of temples and stupas. This is an artist's aspiration to relocate historic sacred monuments: he is in search of pristine hills or any Shangri-la where these monuments could be placed safe and enlivened with beautiful atmosphere around.

Quest for the Temple City is Pradhan's recent series resulted from his quest for the conservation of temples and monasteries of Kathmandu Valley.

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The Artist

Binod Pradhan, a founder member of Kasthamandap Art Studio and E-Arts Nepal, has earned Bachelor’s Degree in Fine Art from Fine Arts College, Kathmandu.

He has had 7 solo painting exhibitions to his credit and has won several awards including the second position in National Art Exhibition in 1997, first position in Ganesh Man Singh Adhyayan Pratisthan in 1997, Gold Medal and Araniko Youth Award in 2012. He was also awarded from Camel Art Foundation, Kolkatta, India in 2006.

OCTOBER 2014 / 65

HERITAGE

HERITAGE

CREATING DIMENSIONS text and photo SHREYA KHANNA

W

ithin the lively part of Patan resides the Patan Museum. The Royal residence turned museum has been one of the major renovations under taken in the valley. An average of a 100 people visits this museum in a day. This number might not seem like a lot but more than half of it being tourist, it adds to the self-sustainability of the museum.

Merging light and darkness to create a new dimension in space, the museum is also known for its display of works. Every single detail is taken in consideration to amplify the effect of the artwork.

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If you have visited museums in the past, one would normally go in and trail their way from one artefact to another. Taking information from the written tabs and probably forgetting about it later on. But in the Patan Museum even the smallest detail will catch your attention. Be it the placement of delicate lamps or the niches on the walls, all of it contributes and enhances the display of artefacts.

When you first head towards the entrance that leads you through the courtyard, you come across a strikingly small doorway. With a height of mere 135cm, it requires a deep bow of the

head when you enter. This can be related to the standard Malla period height but can also be regarded as showing respect for the place you are about to go in.

As you head up to the gallery area you would immediately notice the steep wooden staircase, often used in a traditional Newari house to save space.

Though the main staircase was added later on, a few of them were also used by the royals when it was a palace.

So in a way, you will be retracing their steps as you head from one gallery to another.

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HERITAGE

HERITAGE

construction material found in all traditional architecture in Kathmandu.

There has been optimum use of wood in the interior as well as exterior spaces where possible in the Patan Museum.

From doors, beams, struts and pegs wood has been used for both structural and decorative purposes.

On the same staircase one would also notice the slanted railings. The Tibetan railings, a special feature made up of brass casing are probably inspired from sacred Tibetan buildings.

When you enter the gallery space, again with a deep bow, you can sense the controlled directional movement. You are lead to each and every artefact not 68 / SPACESNEPAL.COM

wanting to miss out on a single one.

Displayed in a warm incandescent light and short ceiling height, it makes you feel comfortable. You can immediately relate to the space you are in. The experiment with illumination on each object magnifies its charm. Meticulous placements of objects in a framed view also contribute to this effect.

The use of wood is one of the oldest

An example to this effect would be the windows. As you pass from one room to another, the lattice windows would make you stop and stare. The intricate carving on an Aakhijhaal is indigenous to newari architecture. You would always find someone peeking from one of these at your visit.

Sitting on the bay windows on the second floor is where you could enjoy the view of the square. The lattice windows which can be opened let in

ample amount of sun and lights up the gallery space. This leads you through the main Buddhist gallery.

The exposed steel trusses give this space a contemporary look. The lattice window in this exhibition space contributes to the effect. Unlike other lattice windows in the museum, this window shows the simplified version of the Aakhijhyaal and merges well with the atmosphere of the exhibition.

Another noticeable feature is the triangular hole pierced into the top of a wall. Resembling the wall niches at the entrance, it lets in sunrays to trace a short lived arc on the floor during noon.

Carved into the thick load bearings walls on the exit, the wall niches leave a lasting impression on its viewer.

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HERITAGE

Delicately engraved in to a pointed arch shape, it manages to embrace the displays and accentuate its beauty.

The Patan Museum with its modest atmosphere focuses your attention to its artefacts.

Adapting to its new purpose as a museum, the former palace showcases the pride of Newari architecture in its details. Combinations of the smallest of features highlight the art work. The atmosphere created by the subtle interior balances well with its artefacts.

All of this contributes to a fruitful experience and for a visit worth not more than of Rs 30 (for Nepalese), it is an experience not to be missed.

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PERSPECTIVES

PERSPECTIVES

VS Colors

VASTU ARCHITECTURE

SELECTION OF

text DR MADHAV MANGAL JOSHI

Shat Chakra focuses on seven colors.

In yogic traditions, chakras are energy points, the best translated as plexus or vortex. The seven chakras are Muladhara, Swadisthana, Manipura, Anahata, Vishuddha, Aajna and Sahasra. Their associated colors are red, orange, yellow, green, blue, indigo, and violet respectively. Our body as well as the entire cosmos is composed of Pancha Maha Bhuta, five fundamental elements. They are Prithvi (the earth), Jala (the water), Teja (the fire), Vayu (the air), and Akasha (the sky). And their associated colors are yellow, blue, red, green, and white or light blue respectively.

Similarly there are nine planetary stars

Red

Elements

Fire

Orange

East: Southeast:

There are basically three guiding principles for perceiving colors: One is Shat Chakras and their associate colors; Pancha Maha Bhuta or five fundamental elements; and planetary stars or cosmic phenomena

Color

Northeast:

Yellow

Green

Blue

Earth

Air

Water

which are believed to be cosmic influencer and to have been influencing on life and the earth. They are Surya (Sun), Chandra (Moon), Mangal (Mars), Budha (Mercury), Brihaspati (Jupiter), Sukra (Venus), Shani (Saturn), Rahu (north node) and Ketu (south node). Their associate colors are red or gold, silver white, red, green, yellow, white, blue, dark blue and smoky grey respectively.

Red is associated with Muladhar Chakra. The basic characteristics of red are anger, inner power and passion.

According to vastu, Agneya or southeast is the best direction for Kitchen. And, thus it is recommended to use red or most appropriately the shades of red in kitchen. Red also can be used in master bed room targeting to newly married couples. Besides southeast, other directions the red can be used are south, east, southwest.

Orange is the associated with Swadisthana Chakra. It shares the shades of red and yellow and thus its primary characteristics are passion and Indigo

Violet

Sky

Sun Planetary Stars

and

Moon Sun

Jupiter

Mercury

Saturn

and

Mars Chakras

Muladhara

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White

Venus Swadhisthana

Manipura

Anahata

Bishuddha

Aajna

Shahasra

South: South west: West: Northwest North: Central space or Bramhasthan:

Light blue and Yellow Light pink of rising sun Pink and reddish and green as supporting color.

Blue in this direction might be destructive.

Red. It is also associated with Mars.

Yellow or shades of yellow that suggests stability with peace.

Orange from sun set, and blue, this is associated with Saturn. Off white also can be used.

White or Green Green as the color of Mercury. And green is associated with blue so we can also use light blue in this direction.

Yellow or off white.

stability. Orange can be used in south and southwest direction.

Yellow is associated with Manipura Chakra. Stability is its primary characteristics and it will be best to use in the southwest and also in central space.

Associated colors of Chakras are best used in color therapies and as well as in designing interiors: on the basis of the direction and on who and what the space is for. Five fundamental elements and their associated directions, planets or cosmic as well as natural phenomena also should be considered while perceiving color; either in therapies or in design.

While considering green, that is the associated color of Anahata Chakra, the element it represents also needs to be considered. Green represents the air and its primary characteristics are peace, comfort and bliss. The best directions for green are northwest and west.

Blue is associated with Bishuddha Chakra. It represents water element and northeast is the best direction for blue. Depth of character and the strong determination are the characteristics of blue.

Best Colors for Different Directions Indigo and violet, which are associated with Ajna and Shahasra Chakras respectively, are rarely used primarily.

Indigo is associated with intellect or consciousness. Use of this color in a room stimulates intellect, but use of this color throughout the whole room might bother to the mind. So, better would be using in parts only, may be the ceiling only or one or two walls.

The mostly used colors are red, orange, yellow, green and blue or their shades.

It is always recommended to use softer shades of each color instead of using strong shades in designing color schemes for interiors.

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OFF THE SHELF

OFF THE SHELF

HIMALAYAN CITIES

Settlement Patterns, Public Places and Architecture AUTHOR: Pratyush Shankar PUBLISHER: Niyogi Books PUBLISHED YEAR: 2014 LANGUAGE: English

Himalayan Cities: Settlement Patterns, Public Places and Architecture marks the culmination of extensive documentation and research on the cities and architecture of the Himalayas.

It explores the idea of settlements in different areas of the Himalayan region, cutting across national boundaries, from Kashmir via Nepal to the north-eastern parts of the Indian subcontinent, and their relationship with the landscape. By comparing these, the book makes the case for peculiarities of the Himalayan city and succeeds in deducing key principles and general models typical of the settlement patterns, nature of public places and architecture shaped by this unique mountainous environment. The relationship between natural systems and human ingenuity as projected through its built traditions forms the underlying theme of the book.

Lavishly illustrated with stunning photographs and detailed hand drawings by the author and his students, Himalayan Cities not only engages the academia but also the general reader and helps provoke a discourse on this intriguing landscape and its architectural nuances.

from Introduction

In this book on Himalayan spaces, we try to look at objects, spaces and various circumstances that have evolved over a long period of time with the premise that such attitudes are loaded in the cultural preference of a place. The idea of a 'place'

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definitely takes centre stage in such studies. Spatial constructs of a particular place become symbols that can unravel the unique attitude of the place.

Case studies from different parts of the Himalayas are used to arrive at certain generalizations. The emphasis has been on deriving key principles that makes us think about the contemporary and the future. Drawings are an important part of this book and many amongst them are abstract diagrams to make a particular argument or understand a set of relationships.

The book is divided into four chapters. The first one deals with the area of imagination and perception of the Himalayan landscape and it attempts to deconstruct the very idea of the Himalayan landscape and its peculiarities. It covers the issues of nature, landscape and its relationship with material cultures such as city form and public places. The second chapter makes an attempt to find patterns at the level of settlements in the historic centers of the Himalayas and thereby suggest at the particularities of a Himalayan city. The third chapter looks at the key ideas and practices in the past where the landscape was transformed to create new spaces of enduring value. Examples from across the Himalayas including British colonial cities find mention and description here.

The last chapter covers an extended range of attitudes where landscape conditions have been revered and followed to create everyday spaces. Again, examples across

different parts of the Himalayas and across scales have been illustrated in this section.

Some Excerpts

The landscape of a region helps define the image of a place and often becomes central to its identity. Landscape can be understood as the natural physical setting of land, water and vegetation. At the same time landscapes are also perceived as a setting that makes us understand the relationship between the natural and cultural conditions. 'The cultural landscape is fashioned from a natural landscape by a cultural group. Culture is the agent, the natural area is the medium, the cultural landscape is the result.'(Sauer 1925, 21) The very idea of natural landscape may be considered to be only a theoretical one as with human intervention and perception, the landscape is essentially understood as a cultural expression and cannot be seen as a completely isolated natural system.

The landscape in this case is also ephemeral; the power of the place with layers of history of natural and human interaction ensures that landscape becomes the outward expression of human perception, a cultural image (Cosgrove and Daniels 1988, 1).

This way of understanding landscapes demands that we view them as a symbolic representation of the relationship of people with their surroundings and reveals things, which are often not possible in mediated pure morphological studies. The concept of landscape as a legible representation, suggested by Daniels and Cosgrove in the 1980s, is an important reference here.

It is widely understood that the perception of landscape by humans also influences the landscape itself. So the landscape is not a physical innate category but a strong cultural construct of societies.

The perception and modification of either manmade or the seemingly natural is an interlinked phenomenon.

The representation of a landscape in historic and contemporary discourses is as important as the physicality of the landscape itself.

The relationship between the body and its image is not a one-way relationship with the image and has the possibility to transform the body itself. For example, the expectation of a landscape to be picturesque, pure and natural can be attributed to the romantic representation of the landscape in paintings and photographs. This is the case where the representation of a space creates a further expectation to be 'something' more in the future.

The representation and hence the imagination of Himalayan landscape becomes an important area of enquiry which can help locate the spatial practices.

Himalayas is the space to which the origins of the Hindu religious mythology can be traced. Be it Mount Kailash as the abode of Lord Shiva or the origin of river Ganga (a goddess) from the mountain ranges, whose waters connect the three worlds— heaven, earth and hell—and in the process brings life to the dead and purification for

the living souls of the Indian subcontinent.

The omnipresence of the Himalayas in the imaginary and lived landscape of India can be understood by the fact that 'parts of the Himalayas' are distributed all across the plains of India in the mythological imagination of the regions.

In the region defined by the Indian subcontinent and the Tibetan plateau, the perception of the Himalayas holds a special position in the collective memory of people. It will be worthwhile to understand the built environment of this 'special and sacred' landscape and see if there are any correlations between this special imagination and the man-made spaces.

The Himalayas as a region, both in its physical and imagery terms, forms a very important part of the narration of cultural myths in the Indian subcontinent. The idea of the Himalayas in the subcontinent is an important one for defining the plains themselves. They are seen to protect and nourish the plains below, both physically and culturally; but at the same time being the inversion of the worldly ways—a retreat for the ascetic, asylum for the wanderer and the renounces. The Western folklore often associated the idea of being Tost' and the exotic 'ShangriLa' to the Himalayan region and Tibet. A place comparable to the 'Garden of Eden' where all wishes come true and people are immortal. This again is a complete antithesis to the material and mortal world we inhabit. The idea of a city in the Himalayas seems to connote a contrast with those of the other places.

The popular and historic perception of the Himalayas reduces it to being either an 'other worldly' space of gods controlling the destiny of the vast humanity or the exotic one that houses communities cut-off from the social and cultural flow of the world. The ground reality though is much more complex and nuanced. The Himalayan chain of mountains, which covers six different countries, is the meeting point of cultures from Tibet-China, the Indian subcontinent and AfghanistanPersia. It has historically been the place that not only hosted many distinct ethnopolitical communities but also one that witnessed a rich and unique material culture in the form of cities, public places and architecture.

This is not a book review; this is just an effort to conveying information to the readers on rare and valuable books on Nepali 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).

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SP AC ES OP EN

Kathmandu, also known as the city of temples, features a number of temples with multi tiered roofs. It is customary to temple architecture to have decoration birds at the corner edge of roofs.

I found it amazing to catch the sight of a pigeon flying off the 'never to fly bird' resting at the edge of a temple roof.

The Photographer:

Milan Ratna Bajracharya is a known colorist in movie making. He studied graphic arts at Kathmandu University and had photography course at SCC. His keen interest is in playing with colors. He has worked in a number of popular Nepali movies and music videos.

The School of Creative Communications is a unique blend of creativity and communication. We provide a platform for those who dream of nurturing one’s creativity through communications. We offer training programs on art, photography, creative writing and communication skills. We have been conducting SCC Explore Photography workshops since its establishment in 2009. We also organize SCC Blue Bag, a sharing program with scholar once a month. SCC is located at Kupondol, Lalitpur, Nepal. (Link road to Bagmati River)

www.scc.org.np facebook.com/scc.kathmandu

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OCTOBER 2014 / 77

PERSONALITY

LASTING PROTECTION FOR ALL Apurva International Pvt. Ltd. is renowned for its specialty in wall coatings. Mr Ashok Kumar Kate, the Managing Director of Apurva India, was in Nepal to inaugurate its newly established multi-brand showroom at Gatthaghar, Bhaktapur. Spaces had a short meeting with Mr Kate to get to know in details about the company.

industries. The Company has presence in almost all segments of construction industry in India and as we expanded our operations internationally in various countries presently we are the No. 1 brand in 15 countries. Our products are being used by the military, engineers, nuclear power corporations and Metro Stations in India.

Could you please brief us about Apurva Corporation?

Apurva India Limited started as a home grown company with a very modest beginning in the year 1992 with the first plant set-up focusing on Industrial flooring, residential flooring and specialty in wall coatings. Later, our company started manufacturing various acid resistant cements and coatings, which were required to be used in the contracts undertaken. It started as an extension of contracting arm to manufacture products for captive consumption.

Soon new products were developed for various applications of protecting building surfaces like waterproofing, floor coating, tank linings and external coatings. Our company expanded rapidly by adopting new products and application technology to provide effective solutions to various

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Your stories of growing international could be worth a note. Could you please tell us about it in brief?

We ensure the quality of an international standard and to maintain the standards, we have been collaborating with renowned companies. We currently have a joint venture with Parex Group of France. Parex Group is a global leader in the manufacturing of innovative and high quality dry mix mortars and specialty solutions for sustainable and responsible construction. Apurva, in collaboration with Parex, now offers a full range of products for new construction or renovation, for faรงade decoration and protection which are all adapted to suit the architectural styles and construction methods of the area.

Innovative product range, consistent quality and strong commitment to green

initiative in construction industry are the keys for our success. We at Parex Group India aim to create increased awareness of value additions through the use of world class technical mortars and waterproofing products in the construction sector. We believe the launch of innovative products marked by global technology and R & D will have a high degree of acceptance among our esteemed clientele in India.

What advantages can you ensure your customers for?

Our experience and detailed knowledge of manufacturing, careful planning & design and latest installation techniques assure our clients durable and cost effective facilities. Our quality process has been certified to meet ISO 9001:2008 standards, ensuring consistent performance and continuous improvement of quality and customer satisfaction. We have various products that have their advantages of their own and for specific market that can be tailored to requirements.

Our products have the following distinct advantages such as eco-friendly, low VOC, solvent free with a high level of mechanical, chemical and water resistance, low odor, antimicrobial, low maintenance, LEED compliant and can be cleaned easily.

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CONNECTS

71 Aditya Hardware Enterprises Bluestar Complex, Room # 522, Thapathali Ph: 9851007818 ektakyal@yahoo.com 53 Apurva International Pvt. Ltd. Teku, Kathmandu Ph: 977-1-4248537 / 4261617 apurvaroofing@yahoo.com www.apurvanepal.com.np 71 ATC Pvt. Ltd. 336/21, Ganesh Man Singh Path-2, Teku Road Ph: 977-1-4262220 atc.wlink.com.np 11 Balterio - Navin Distributors Pvt. Ltd. 1st Floor, A.T. Complex, New Plaza, Kathmandu Ph: 977-1-4430785 balterio@navindistributors.com www.balterio.com 04 Beko Putalisadak, Kathmandu Ph: 977-1- 4422190 www.beko.com.np 84 Berger Jenson & Nicholson (Nepal) Pvt. Ltd. Berger House - 492, Tinkune, Kathmandu Ph: 977-1-4466038 info@bergernepal.com www.bergernepal.com 46 Bestbuy Nepal Pvt. Ltd. Kupondole, L.P. Ph: 977-1-5523289 / 5545481 info@bestbuynepal.com www.bestbuynepal.com 18 Bricks CafĂŠ Kupondole, Lalitpur Ph: 977-1-5521756 info@brickscafee.com.np www.brickscafe.com.np 46 Buddha Air Jawalakhel, Lalitpur Ph: 977-1-5542494 www.buddhaair.com 79 Capital Grill Naxal, Bhatbhateni, Kathmandu Ph: 977-1-4428426 grillcapital@gmail.com 64 Chaitanya Spa Wellness Healing Spa Pvt. Ltd. Bakhundole, Sanepa Ph: 977-1-5547774 info@chaitanyaspa.org www.chaitanyaspa.com

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43 Communication Corner Pvt. Ltd. (Ujyaalo 90 Network) Ujyaalo Ghar (Behind Central Zoo) Jawalakhel, Lalitpur Ph: 977-1-5000171 info@unn.com.np www.unn.com.np 37 Exterior Interior Hattisar & Bhatbhteni Supermarket, 2nd Floor Tangal, Kathmandu Ph: 4435419 / 4436876 extint@wlink.com.np 15 Featherlite Office Systems Pvt. Ltd. Kamladi Complex,Ground Floor Ph: 977-1-6200209 77 Foto Hollywood Civil Bank Building, Kamladi Ph: 977-1-4169060 www.fotohollywood.com.np 07 Furniture Land Blue Star Complex Tripureshwor, Kathmandu Ph: 977-1-4224797 sales@furnitureland.com.np www.furnitureland.com.np 03 Index Furniture Metro Park Building, 1st Floor, Lazimpat Ph: 977-1-4415181 info@indexfurniture.com.np www.indexfurniture.com.np 17 International Electronic Concern (P) Ltd. Harati Bhawan, Putalisadak Ph: 977-1-4421991 market_iec@wlink.com.np www.iec.com.np 44-45 Jagdamba Cement Neupane Tower, 6th Floor Tinkune, Kathmandu Ph: 977-1-4111500 jcement@wlink.com.np 43 MD Furniture Maharajgunj (Opp. U.S. Embassy) Ph: 977-1-4721484 mdfurniture@snet.com.np www.mdfurniturenepal.com 83 Marvel Technoplast Pvt. Ltd. Heritage Plaza - II, 2nd Floor, Kamladi Ph: 977-1-4169122 info@marvel.com.np www.marvel.com.np 29 Nagrik - Nepal Republic Media Pvt. Ltd. JDA Complex, Bagh Durbar Ph: 977-1-4265100 / 4261808 circulation@nagariknews.com

35 Pashupati Paints Pvt. Ltd. Maitighar, Kathmandu Ph: 977-1-4258209 pashupati@paints.wlink.com.np 47 Pyramid Vaastu Consultant 244 Rudra Marga, Ratopool, Kathmandu Mobile: 9851151618 / 9815717618 mundharanp618@gmail.com 79 Skylight Pvt. Ltd. Naxal (Opp to Police HQ), Kathmandu Ph: 977-1-4423851 info@skylight.com.np www.skylight.com.np 82 Starnet Enterprises Pvt. Ltd. Shankhamul, Pragatimarga, Kathmandu Ph: 977-1-4781945 info@starnetenterprises.com www.starnetenterprises.com 06 Subisu Cablenet Pvt. Ltd. 148 Thirbum Sadak, Baluwatar Ph: 977-1-4429616 info@subisu.net.np www.subisu.net.np 09 The Taragaon Museum Boudha, Kathmandu Ph: 977-1-4491234 museumdirect@taragaon.com 13 Technical Associates Services Pvt. Ltd. Thapathali, Kathmandu Ph: 977-1-4219999 ta@ta.com.np www.tas.com.np 36 Thamel.com Hattisar, Kathmandu Ph: 977-1-4416888 / 4416175 info@thamel.com www.thamel.com 05 Universal Electrocom Tripureshwor, Kathmandu Ph: 977-1-4251622 / 4251623 uec@wlink.com.np 28 Worldlink Communication Pvt. Ltd. Jawalakhel, Lalitpur Ph: 977-1-5523050 sales@wlink.com.np www.worldlink.com.np 80 Yeti Airlines Tilganga, Kathmandu Ph: 977-1-4464878 reservations@yetiairlines.com www.yetiairlines.com 51 Yeti Polychem Pvt. Ltd. Dillibazar, Kathmandu Ph: 977-1-4421501 / 9851004448

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