SPACES Nepal SEPT-OCT 2009

SEPTEMBER-OCTOBER 2009

ART - ARCHITECTURE - DESIGN

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THE POST-MODERN TENDENCY IN NEPALI CONTEMPORARY ART MALL!MANDU - THE NEW CITY CENTER LIGHT IN THE TUNNEL RE-THINKING THE SOCIAL MEANING OF NEPALI ARCHITECTURE SNOWMALLING THE GLOBE

Price NRs. 100/- IRs. 65/-

PATAN DURBAR SQUARE the legacy of all times

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ANALYSIS

60 RE-THINKING THE SOCIAL MEANING OF NEPALI ARCHITECTURE - ANDREW NELSON In the past twenty years, urban Kathmandu Valley has undergone a radical transformation. While the Valley's population continues to grow, the boundaries of its cities expand and incorporate peripheral villages and towns. In a three-part series of articles, Andrew aims to challenge several assumptions regarding the study of the Kathmandu's peripheral growth. In the first article, (SPACES - Jul/Aug 2009) he argued that anthropology provides unique insights into urban change missing from disciplines that have traditionally studied the city. In this second article, Andrew addresses the question of Nepali architecture, arguing that the notion of a Kathmandu 'modern house', despite claims of being imitative, is grounded in Nepali-specific notions of modernity and development. In the third and final piece (next issue of SPACES), Andrew will challenge the claim that urban dwellers only care about their house's faรงade while disregarding its interior designs.

ANALYSIS

64 SNOWMALLING THE GLOBE - JINISHA JAIN Marketplaces since long have been a tangible face to trade and economy besides mapping the trendy visual culture of their cities or social geographies. It may be changing in their most recent and ubiquitous avatar - The Mall - however they still represent our demands as consumers, the life-style preferences of the dominant sections of the society and our metamorphosed viewpoints on social and cultural interaction as well as the notions of comfort, leisure and recreation in the current times.

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INTERNATIONAL

LIGHT IN THE TUNNEL - SAROSH PRADHAN It is said that architecture deals with light and shadow. It deals with the unseen. Lek Mathar Bunnag is an architect that dances playfully within the light and shadow that he creates in his work.

CONTENTS

COVER PHOTO Photographs: Ashesh Rajbansh Canon EOS 1D Mark II Camera Av 8.0 Tv 1/8 ISO 500

HERITAGE

68 PATAN DURBAR SQUARE - THE LEGACY OF ALL TIMES - SABINA TANDUKAR Patan Durbar Square, one of the most picturesque urban ensembles in the list of World Heritage Sites of the Kathmandu Valley, exceeds all expectations and opens up like a rainbow in the sky - simple but dramatically beautiful. The Patan Museum, housed within the Durbar and recognized as one of the most beautiful museums in Asia has added to its beauty and the Square's importance will surely be more enhanced once the restoration of Tusa Hiti is completed.

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PRODUCTS

SPACES CONNECTS

ON THE ANVIL

OPINION

ART

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INTERNATIONAL

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ARTISTICALLY YOURS RICHA BHATTARAI

UTSAV - THE CELEBRATION OF POSSIBILITIES - BARUN ROY

Born in 1953 in the hilly district of Dhankuta, Mukesh Malla has struggled spiritedly to achieve the fame and recognition he enjoys today. His interest and devotion in art has made him into an accomplished artist as well as a respected art critic.

Utsav, as the name suggests is celebration of space, this realm of possibility. Utsav, at a glance is imposing but not overwhelming. It is modern but not without a touch of tradition. In fact, in the midst of the vast sprawl of the Terai, a touch of Darjeeling Hills and Sikkim can be found - where contextually, the sloping roofs are reminiscent of the houses in Darjeeling Hills and Sikkim.

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ARCHITECTURE

SHERPA MALL - A PLACE TO UNWIND - PRAJAL PRADHAN

THE POST-MODERN TENDENCY IN NEPALI CONTEMPORARY ART - MUKESH MALLA It has not been long since post-modern tendency began in contemporary art, and in Nepal, this tendency evolved with the effort by Sutra, an art organization that was established in 2003 A.D.

ARCHITECTURE

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Sherpa Mall can be termed as a miniaturized durbar square where activities and the environment are almost selfsame. The mall is a modernized version of the traditional squares where every kind of activity takes place within a wonderfully blessed environment, a possession that it can be proud of.

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MALL!MANDU - THE NEW CITY CENTER - SUSHMITA RANJIT The New City Center is the latest in malls in the Kathmandu Valley.

Brandishing international brands, movie theatres and food courts in a fully air-conditioned environment, the mall attempts to satiate the ever hungry requirements of the fast moving city denizens of Kathmandu.

CONTRIBUTORS

EDITORIAL

"Unmistakably, the cultural heritage of the Kathmandu Valley is the most beautiful in the world. It is showing us the creativity and originality of the East. Unfortunately, the negative force of urban growth may kill such beauty. I am very jealous that such beauty is at your background." - Lek Mathar Bunag

Mukesh Malla

Sarosh Pradhan

Jinisha Jain

Andrew Nelson

Barun Roy

Andrew Nelson is a PhD candidate in the Department of Anthropology at the University of Virginia. He is currently conducting dissertation research on the urbanization of Kathmandu Valley supported by a Fulbright-Hays fellowship. Having first come to Kathmandu in 1999, he has observed with interest the rapid expansion of the city over the last ten years. (asn8p@virginia.edu) Mukesh Malla is an artist cum critic and holds a Masters degree in Art & Culture from Tribhuwan University. Besides bringing out the first Nepali art magazine Kala, in 1978, he has authored many books on art and post mordernism. (mukesh_malla@live.com) Sarosh Pradhan is a busy young architect with offices both in Delhi as well as in Kathmandu. He strongly believes in interacting and sharing on any topic under design or creativity. No wonder he regularly finds time to contribute to SPACES. (spa.ktm@gmail.com) Jinisha Jain is an architectural journalist, a researcher and a trained conservation architect. Published widely in several leading national and international journals/magazines, she tries to mainstream the values and pressing concerns of the profession and of our cultural possessions. She fosters a special interest in the study of the subcontinent’s cross-cultural linkages and its shared heritage. Also a visiting faculty in Jamia Millia and Islamia University and School of Planning and Architecture, New Delhi, she presently divides her time between research, writing, projects and teaching. (jjinisha@yahoo.co.in) Barun Roy is an Author, Dramatist, Filmmaker, Journalist, Blogger and Social Activist. He enjoys traveling throughout the world and documenting ethnic cultures. A Masters Degree holder in Computer Engineering and Journalism, Barun became one of the first persons to come up with the concept of 'online citizen journalism'. Today, his online news blog 'The Himalayan Beacon' and the community 'authored and edited' online encyclopedia 'Gorkhapedia.org' are visited by more than 575 thousand visitors per day.

I first met (rather observed) Bunag during his presentation at the Institute of Engineering (IOE), Pulchowk Campus a few years ago. He, along with several world renowned architects, had converged into Kathmandu for the A+D Architectural Design Awards and the presentation at IOE was an offshoot but separate program fitted into their itinerary. I was fortunate to be invited into it (thanks to dear friend Sarosh as usual) and I am glad I did. Among other presentations of their works by architects like Raj Rewal and William S. Lim, the one by Bunag was simply spell-binding. The man's calm and soothing designs, made more so by his casual and humble method of presentation, left a lasting impression on me - an impression which made me reflect back on where we stand at present‌relatively.

At the same time, the desire to share this experience with our readers germinated and has finally borne fruit in this issue with 'Light in the Tunnel' by Sarosh.

Lek believes that 'the cultural heritage of the Kathmandu Valley is the most beautiful in the world' and is 'jealous that such beauty lies in our background'. For most, it could be a case of 'the grass is always greener on the other side', but not for those who not only have realised and appreciated its value, but have also adopted it into their living environment. This issue features one such beauty, the Mani Keshav Narayan Chowk, one of the three courtyards in the Patan Durbar, transformed by Austrian architect Prof. Gotz Hagmuller' and with financial aid from the Austrian goverment, into the Patan Museum. It is heartening to note here that such restorations have had a positive influence on our own Nepalese - the restoration of the Sundari Chowk consisting of the Tusa Hiti is being funded by a group of Nepalese people and organizations besides the American Ambassador's Fund. The news of Rabindra Puri restoring a cement clad building (Toni Hagen House) into a traditional one at Bhaktapur yet is another example of such ripple effect.

This brings us to the final comment by Lek - 'Unfortunately, the negative force of urban growth may kill such beauty.' Unfortunately again, urban development cannot by stopped. However it can nevertheless be channelized into minimizing the 'negative forces'. While Andrew in his article 'Re-thinking the Social Meaning of Nepali Architecture' analyzes and presents a different perspective towards the ever debatable question - does Nepali architecture exist, the debate continues on as our skyline changes with time. Read on about the malls in Kathmandu and the Globe....

ERRATUM SPACES - July/August 2009 The profile of S. Ghosh & Associates, second runner up of the International Open Design Competition The New Campus of SPA, India should also read: Seen in the centre, besides Sumit and Suchitra is Sudipto Ghosh, a practicing architect whose interests are equally divided between design and writing. A graduate from CEPT, Ahmedabad, he completed his postgraduate studies in History and Theory of Architecture from the University of Cincinnati. After working for Richard Meier in New York, he has joined as a partner at S. Ghosh & Associates. (info@sghosh.com) We apologize for the error.

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Online Comments

LETTERS

I have been following up on the internet version of SPACES. It would be great if we could post comments on the articles online.

Sujan Das Shrestha (achillipeppersuj@hotmail.com) Maybe soon - ed Housing Consequences The article 'Housing Consequences: Issues of Ecological Values' by Ajaya Dixit (May-June 2009) was very informative. As I am a student of interdisciplinary water resource management, would it be possible for you to send me the article?

Mana Shrestha (mana_st@hotmail.com) Subscription for Australia I came across you website and was quite impressed with the amount of effort put up and the quality of information that a reader is able to achieve. I am a practising architect based in Sydney and would be interested to subscribe to your magazine. Is there any provision as such?

Jyotsana Maharjan (jyotsanam@gmail.com) Nagpur days The interview on Design Cell 'We are all Nagpurias' in the first issue of SPACES (Nov/Dec 2004), brought back memories of our Nagpur days. How are you Arun?

Deepak Pradhan (deepak.pradhan@gmail.com) Check out 'SPACES CONNECTS' to contact Arun Pant - ed International Section Great to know SPACES is spreading its horizon, which will in fact increase our horizon too. Looking forward to more of the International Section.

Sunita Paudel, Kathmandu

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News and Happenings

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PRACHYANAT, Nepal Rendezvous & Imtiaz 27 July 2009, Kathmandu

Mr. Imtiaz Ahmed, Ambassador of Bangladesh to Nepal, is a man who prefers to be remembered as someone different than his usual genre. No wonder his parting gift to his friends of Nepal was not a lavish farewell dinner party, but rather an extraordinary musical program at Baber Mahal Revisited, in Kathmandu, which ended with an art exhibition at the Siddartha Art Gallery.

The Music Ensemble of Prachyanat, a young theatrical group from Bangladesh, enthralled the small but attentive audience with their compositions. The songs, which were essentially folk themes but presented with their unique fusion of tradition and modernity, transported the audience to settings typical of village life in the countryside of Bangladesh.

Similarly, the art exhibition ‘Nepal Rendezvous’ was a collection of contemporary art works by well know artists from Bangladesh (Shako Group) and Nepal (Erina Tamrakar and Ragini Upadhya-Grela) – an example of the unique cultural relationship between these two countries. Shako, literally meaning ‘bridge’, consists of nine women artists from Bangladesh who paint women at work, in her environment and in nature. They believe in making positive changes in society through art.

Farzana Islam Milky, Bangladesh

Shulekha Choudhury, Bangladesh

Ragini Upadhyay, Nepal

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NEWS AND HAPPENINGS

Kuhu, Bangladesh

Naima Haique, Bangladesh

Fareha Ziba, Bangladesh

Farida Zaman, Bangladesh

Nasreen Begum, Bangladesh

Rebeka Sultana Moly, Bangladesh

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Kanak Chanpa Chakma, Bangladesh

Erina Tamrakar, Nepal

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NEWS AND HAPPENINGS

‘A Mystical Odyssey’ Milestone in Nepali Contemporary Art 18th June 2009, Mumbai, India On the 18 th of June 2009, the Gaekwad Art Foundation took an initiative to put four artists - Kiran Manandhar, Uma Sharma Shah, Dr. Seema Sharma Shah and Manish Lal Shrestha - in the fore front, as leading contemporary artists of Nepal at Jehangir Art Gallery, Mumbai.

Inaugurated amid many high level dignitaries and celebrities by the President of Indian Council of Cultural Relations, Dr. Karan Singh, the exhibition was very successful as a significant exposure of Nepali contemporary art to patrons, art lovers, art collectors, writers and critics of Mumbai. The exhibition was the result of many years of research on Nepalese contemporary art by the trustees of The Gaekwad Art Foundation, Princess Asha Raje Gaekwad and her daughter-in-law, Pragyashree Gaekwad.

While figurative abstraction on canvas - ‘Krishna Series’ - by Kiran Manandhar were bold brush strokes and patches with palette knife, large Tibetan prayer wheels with Tibetan scripts ‘Om Mane Pedme Hun’ were painted on the relief by Uma Shankar Shah with the theme ‘Shanti Yagna’. Etching and

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unique prints, entitled ‘Divine Enlightenment’ by Dr. Seema Sharma Shah, with dense composition of god and goddess brought out the feeling that transfer through adaptation of traditional motifs.

Manish Lal Shrestha’s ‘Sound of Existence’ could enhance his canvases with a conceptual metaphor of bells and shells depicting realization of human existence, while a self portrait silently appealed with a finger on the lips urging towards the inner self.

Celebrities attending the opening ceremony included renowned artist Laxman Shrestha, Yuvraj Vikramaditya Singh, Mr. & Mrs Jitendra Gaekwad, Simon Tata (CEO of Lakme Cosmetics), actor Dino Morea, Haseena Jethmalani, and Dolly Thakore.

Actress Manisha Koirala, however missed the opening but did attend later and was overwhelmed to observe the Nepalese artists creations. The week long exhibition which lasted till 24th June, saw more than seven thousand visitors during which almost all the paintings were sold.

Following the exhibition at Mumbai, ‘Kalakushari’ an overview of the success of the exhibition followed by a review - was organized by the School of Creative Communication at Kupondole, Lalitpur, on 9th August 2009. The program, facilitated by Dr. Sanjeev Uprety, had the four participating artists speaking about their artworks as well as the frustrations they had to undergo prior to the exhibition. The program also had art critics Dr. Abhi Subedi, Shailendra Kumar Singh, Madan Chitrakar and Mukesh Malla reviewing and commenting on the presented artworks. – MLS

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NEWS AND HAPPENINGS

TONI HAGEN

HOUSE 19 August 2009, Bhaktapur

‘Concrete buildings in bad taste have the effect of a blot on the landscape of the picturesque old squares of Bhaktapur.’

These were the words of frustration and disappointment expressed by Toni Hagen in the 1960s, when he saw this grey cement plastered structure amid the beautiful culturally enveloped traditional buildings of Bhaktapur. And these are the very words that propelled Rabindra Puri into transforming this ugly duckling into a beautiful building which is now not only more contextual with its surroundings but is also inspirational for those contemplating along similar lines.

The restored building, dedicated to and named ‘Toni Hagen House’, was formally inaugurated by amid dignitaries, friends and media, by Prof. Dr. Novel Kishore Rai, the Chairman of Toni Hagen Foundation.

The house now serves as rentable apartments for those desiring to live in such a warm and traditional environment.

Rabindra Puri, who likes to call himself a ‘restorer and renovator of traditional houses’, is a recipient the UNESCO Asia Pacific Heritage Awards for Cultural Heritage for the restoration of ‘Namuna Ghar’ at Bhaktapur.

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NEWS AND HAPPENINGS friendship. During his 40 years of work in China he introduced Nepali art and architecture through numerous artistic and architectural works such as temples, pagodas, statues and paintings and earned unparalleled respect for Nepal in China.

‘Pictorial Biography of Arniko’ was envisioned in December 2007, to include pictures about the life and works of Arniko, and Nepal-China relation since ancient times, based on the information and pictures provided by the ‘White Pagoda Administrative Office’ and ‘Nepal-China Executives Council’.

REMEMBERING THE GENIUS

ARNIKO 19th August 2009, Kathmandu

The voyage from Nepal to Tibet and then to Beijing, made by Arniko and his 79 associates, almost 800 years ago, was a stepping stone in the friendly as well as diplomatic relations between China and Nepal. At the tender age of 17, Arniko took on the challenge of leading and supervising the construction of the ‘Golden Pagoda’ in Tibet, and later the popular ‘White Dagoba’ in Beijing, which is a well preserved historical monument symbolizing this

In 2009, this vision became a reality in the form of an exhibition, which happened in Kathmandu, at the Nepal Art Council Hall, Babarmahal, from 19th to 31st August 2009, titled ‘Pictorial Biography of Arniko’, along with a book release of the same title. The exhibition and book release was inaugurated by Minister for Information and Communications Mr. Shankar Pokharel, and Chinese Ambassador to Nepal Mr. Qiu Guohong. The book ‘Pictorial Biography of Arniko’ includes the 82 exhibited pictures regarding the life and works of Arniko, and was first written in Chinese and simultaneously translated into English and Nepali.

Prior to the exhibition in Kathmandu, a month long exhibition was held in Beijing, under the same name, and was inaugurated on 9th July 2009 by Nepalese Ambassador to China, Mr.Tanka Karki, Chinese Ambassador to Nepal Mr. Qiu Guohong and Vice Director General of the Department of Relics of China and President of Nepal-China Executives Council Mr. Anoop Ranjan Bhattarai.

ART

If a home reflects the owner, then Mukesh Malla’s home absolutely reflects him. In the midst of walls tastefully decorated with his vivid paintings, the artist-cum-art critic appears equally cheerful and lively.

“There will always be some who take pleasure in belittling others’ achievement,” he says, “But having come up the hard way, I have realized that one has to shake off all such negativity and attain peace of mind.”

Born in 1953 in the hilly district of Dhankuta, Malla has indeed struggled spiritedly to achieve the fame and recognition he enjoys today. His very first hardship was that despite being interested in art right from early childhood, he had no access to it. “Once I exhibited my paintings in my home, and I call that my first one-man show,” he chuckles while revealing his innocence. It was only much later, when he joined Mahendra Morang Campus in Biratnagar, that he was introduced to the artist Hem Paudel. His interest was thus aroused and soon after, at Biratnagar, he teamed up with Gopal Kalapremi and the duo then began giving vent to their artistic tendencies, enthused even more when NAFA opened its branch in their town. Malla completed Bachelors in Water Colour Painting through a correspondence course of I.C.S. (Bombay) and his Masters degree in Art & Culture from Tribhuwan University.

It was when he travelled to Dharan to handle his shoe business that the painting bug really bit him. He, along with a like-minded group, established Dharan Yuwa Kala Kendra in 1976 A.D., and began holding national exhibitions of national standard every month. “We were inexperienced, but really crazy about art,” Malla recalls, “We painted with abandon but did not even have the knowledge about making canvasses until Lainsingh Bangdel taught us.” Soon, the establishment began exchanging painters and visitors with those in Kathmandu. That was the point that Malla felt he had to come to the capital to establish himself. Along with the collapse of the family business, he arrived in Kathmandu with just hundred rupees in this pocket and half a dozen of his paintings.

ARTISTICALLY YOURS Richa Bhattarai

Criticism is a dry and arduous task, for which one needs to have complete knowledge about artists and their style. Although I have no prejudice against any artist and critique a work merely so that artists will overcome their weaknesses, several artists misconstrue my intentions and do not want to improve themselves.

In Kathmandu began Malla’s ordeal for survival. Taking pity on his plight, litterateur Dhruba Chandra Gautam took him to Garima (of Sajha Publications) to meet Kshtera Pratap Adhikari, where a special art column was begun just for his sake with a salary of Rs. 100. To pay his monthly share of expenditures of Rs. 220, Malla soon found another job as a cartoonist, earning an extra Rs. 120. His career expanded as he was appointed as an artist by the Ministry of Education and Culture in 1985 A.D. Later, he resigned and went on to work for Plan International and other INGOs. In the meanwhile, he plunged into the world of art criticism. Influenced by the art column of an Indian newspaper, he had developed his own style of art analysis in Dharan. He brought into light the art magazine Kala in 1978 A.D., which he later found out was the first

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ART

of its kind in the whole nation. Even though he was warned by the then Chief District Officer about its publication, Malla slogged on, with primitive printing blocks and a limited readership.

After his arrival in Kathmandu, his art criticisms were published regularly in more than a dozen newspapers and magazines. His unique method of mixing interviews with analysis of personalities established his identity.

He later collected these interviews with prolific painters into a book named Tulikaghat (1995). Other publications include Chitrakala Nirupan (2004), Nepali Adhunik Kalako Samakalin Sandarbha (2004) and Adhunik Kala Artha Prakriya Ra Bhasa (2005). Three other works, including one on postmodernism, are in the press.

He admits, “The journey thus far has been anything but easy.

Criticism is a dry and arduous task, for which one needs to have complete knowledge about artists and their style. Although I have no prejudice against any artist and critique a work merely so that artists will overcome their weaknesses, several artists misconstrue my intentions and do not want to improve themselves.” He recounts an experience, in which his writing that exposed corruption in art competitions almost pushed him to resign from his government job.

He further elaborates, “Art criticism is very different from a literary one. We need to understand and interpret visual language which is only possible through in-depth knowledge. Unfortunately, there are almost no texts on art criticism. So I have constructed my own model and criteria for judgement, which is even followed by the younger generation.

The critic, who has had little formal education on his subject, emphasizes on the need of education, “We had no access to formal education on art back then, which is a different matter. But in today’s times, it is essential for an artist to have maximum theoretical knowledge as well so that they can be up-to-date with contemporary styles and techniques. The feeling that needs to be expressed as a painting can be trained through specialization, awareness and mastery over the medium.”

In the same vein, he does not forget to praise his students of Kathmandu University, where he is the visiting Professor for the Centre of Art and Design. “I am really impressed by the way they play so comfortably with ideas and concepts. One student based his painting on vibrations felt through Buddhist prayers, while other simply painted a wire. The amount of research and concentration poured on a single painting baffled me.”

It is this kind of research strategy that Malla urges every artist to follow. “There is a fallacy among artists that whatever they paint is novel, even though it may have been in vogue several centuries ago.

It is mainly to remove this misconception that artists need to gather as much information about the historical as well as the contemporary situation of art.”

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Continuing with his object d’ passion, Malla rues the trend of journalists who write on art without adequate expertise. “This leads them to convey wrong information to the readers,” Malla worries, “I hope that my book will be a guideline to them.”

Through his book, Malla also aims to preserve installation and digital art. In fact, he has an archive of an innumerable number of paintings with him, which he intends to put to good use. “In Nepal, there is simply no material for an art enthusiast to study from,” he analyses, “My master plan is to remove that absence.”

The critic, so deeply immersed in his subject, has innumerable solo and group art exhibitions, workshops and seminars to his credit, both inside and outside the nation. In addition, he is actively involved in a revolt to establish an art academy, which can encompass diverse facets of art. He has been honoured with several awards for his dedication, chief among which are Samman Patra 2004 presented by APEC Nepal, Amatya Kala Prativa Puraskar (2005), Kriyashil Utkrista Kala Samikshya (2005), and so on. He was even granted a scholarship by the University Grant Commission in 2008 for his research writing. He is also involved in various posts in half a dozen organizations.

Even in this hectic schedule, Malla manages to identify the correct mood and gives release to his emotions through colours.

“I feel a great satisfaction when I observe myself in the art world. I have a fascinating attachment to it. Although the economic gains are negligible, the honour and respect I have gained are phenomenal.”

The creative mind does not forget his precarious position either, “The general public has become very aware of and appreciative towards art. I have to sustain their interest as well as those of the figures of the art world. I can never forget my responsibility of improving art through constructive criticism. So I have to be credible and accurate even in the tiniest details.”

The plain speaking intellectual is committed to speak the truth so that artists can hone their strengths up to the international standard.

“My interest is to raise their potential professionally.” But even the candid critic gives a diplomatic answer when queried about his favourite artist. “I can’t pinpoint anyone as such,” he smiles,” I just like those artists who identify their artistic horizon and move towards it continuously without losing focus.” As Malla is fond of repeating, that is indeed ‘so interesting’.

The art magazine, Kala, on art criticism, which Mukesh brought out in 1978 from Dharan, was the first of its kind in the whole nation.

Adhunik Kala Artha Prakriya Ra Bhasa, a book on Modern Art: Essence and Manifestations, published in 2005.

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ART

Ithasnotbeenlongsincepost-moderntendencybeganincontemporary art, and in Nepal, this tendency evolved with the effort by Sutra, an art organization that was established in 2003 A.D. Nonetheless, in order to comprehend the affects of post modernism, it is necessary to identify and briefly understand the evolution of modern art in Nepal.

The Turning Point Post 1960s saw the advent and transformation of modern art in Nepal. During this time, the exhibitions by legendary artists such as Uttam Nepali, Lainsingh Bangdel, Urmila Upadhya, Vijay Thapa and others helped to flourish modern art in the country. However western art tendency had already entered the country earlier than that, although it had not evolved comprehensibly. In 1928 Chandra Mansingh Maskey and Tej Bahadur Chitrakar returned to Nepal after receiving formal art education from the Government Art School, Calcutta. This phase is considered as the turning point in the Nepali art scene. The artists were sent to Calcutta by the then Prime Minister, Chandra Shamsher Rana, and upon their return, they introduced natural realism and romanticism. However, the authentic styles that mark modernity in art such as expressionism, hyper realism, abstraction etc., took off in Nepal only from 1962.

The artists who are prominent now, but were new back then, were introducing and experimenting with these new styles. Most of the artists who returned after the completion of their art education were in a rush to exhibit their solo exhibitions.

Therefore, from 1962 and onwards, numerous solo exhibitions were held that Text & Images: Mukesh advocated on the modern concept and technique in art and hence is an essential reason for considering 1962 as a turning point of modern art in Nepal. Some important artists of this time are Laxman Shrestha, Ramananda Joshi, Thakur Prasad Mainali, Shashi Bikram Shah, Durga Baral, Manuj Babu Mishra, Madan Chitrakar and Pramila Giri. Then after, the modern tendency in Nepali art expanded in such massive proportion that it is still influencing the upcoming artists regarding their concept and technique.

Ashmina Ranjit's methods to bring out gender issues are particularly bold.

The Post-Modern Tendency in Nepali Contemporary Art

Going Beyond In 2003, Sutra initiated a residential art workshop called ‘Coaxing the Nature’ where 28 artists were invited to the forest of Osho Tapoban.

This workshop was completely different from rest of the art workshops that were previously held. Since its primary objective was to introduce a new dimension to the art of Nepal, the workshop was designed in such a way that the process of creating could also be experienced spacesnepal.com

Malla

Translation: Saroj Bajracharya

by everybody. The participating artists had to remain within the harmony of the Osho forest for eight days. For the first two days, the participants were made to simply observe the surroundings and get attuned with nature; only after that were they encouraged to create their artworks. In order to direct art towards an ultra modern course, the organizers not only called this event a site specific workshop, but also described it as a process of emerging out of the canvas or going beyond it. Considering the canvas as a symbol, the artists were asked to surpass the limited boundary of conventional methods of creating art. Therefore as part of the strategy, the artists were requested to explore and observe the area of the forest and only on the third day, the artists decided on the materials they needed to create the art works. Some asked for ropes, fabrics and wires; others wanted iron rod, clay and clay pots or balloons and even plastic bags September-October 2009

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In 2003, a new dimension was introduced to the art of Nepal - 'Coaxing the Nature' - a never before attempted residential art workshop initiated by Sutra at Osho Tapoban.

conventionally, artists do not use such supplies to create art. The entire area of the Osho Tapoban amazingly started getting enveloped in unprecedented art forms. The artists enthusiastically incorporated small hills, waterfalls, rivers, trees, the cement steps - everything that was present in the surroundings - as a backdrop and even the primary element of their art works something which they had never done before. The entire Osho Tapoban became a gigantic art piece. At the end of the event, an open day was declared for public viewing of this creative ambiance, where the viewers were astonished to experience this newly revived Osho ban. The artworks created during this event mostly dealt with violence, murder, and hostility that were Picasso's 'Les Demoiselles d'Avignon' in 1907, is considered as the first ever work in going on in Nepal at that point of cubism which helped to establish the time. Art of such ultra modern concept of mordernism. tendency had never been seen before with such efficient clarity. Although an art workshop named Monsoon Harmony was carried out the preceding year in the same location; this event can be witnessed as the background or the prephase of the post modern beginning in Nepali art.

Travelling a little further back, an event in 1995 called Bangladesh Nepal Art Workshop took place in various parts of Lumle in Pokhara and Sundarijal in Kathmandu, where Gopal Kalapremi Shrestha created an installation art and also did a performance. This creative act by the artist can be pointed out as the initial post modern artwork in Nepal. This workshop affected some of the young artists in such a way that it acted as a catalyst for them to initiate a whole new tendency of post-modern art in Nepal in the later years. These artists individually, or even from a collective effort, commenced various art activities that would feature the post modern elements. Due to all this vibrant activity in art, few innovative artists became aware on the art continuity and thus in 2003 they systematically introduced post modern art in Nepal. The artists responsible for this beginning are Gopal Kalapremi Shrestha, Ashmina Ranjit, Sujan Chitrakar, Manish Lal Shrestha and Sarita Dangol.

The ‘Fountain’ In the 1960s, after abstract art heightened the understanding in art, movements such as pop art, dada movement and minimal art found

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access into the art configuration. These art movements, practiced through installation, performance, video art, body art, conceptual art, happening art, etc., are considered to be the fuel for post modern art by many art critics. However, dada revolution is considered to be its seed - a movement that occurred in Europe in 1916.

Marcel Duchamp’s ‘readymade approach’ is taken as the point of origination of the post modern phenomenon in art. In 1917 he presented a urinal tank as his work of art and titled it ‘Fountain’, and later in the year 1919, he painted a moustache and beard on a Lainsingh Bangdel was amongst the very print of Mona Lisa and titled it first abstract painters in the modern art ‘L.H.O.O.Q’. The artist scenario who blurred and transformed natural forms into simple colours and lines considered these prints as his art work and these works were greatly debated upon. However during the 1960s, the same works became inspirational for the post modern pioneers. When viewers were through with experiencing art from every possible way and method in limited space; when it got defined, redefined and got interpreted from all the conventional theories, art needed a new beginning, an unbranded purpose. This is when art heightened towards unlimited space, integrating any material as its medium - from natural resources to readymade objects, or even human beings as its exquisite element; the era of post modern art awakened. In this genre, art was in many cases the nucleus of it all. No one till date has come up with a clear definition of post modern phenomenon. However, its impact is felt not only in art, music and literature; it has consistently affected fashion, architecture, social development issues to everything that has vague or sharp appearance and demands analytical explanation.

Since post modernism is affecting a wide range of areas, its definition also varies accordingly. In some areas where new and futuristic experimentations are carried out all the time, even this ultra modern concept of post modernism has begun to fade. But in some, post modernity has just entered. In visual art, new approaches are being experimented with almost every day.

Therefore, art analysts are in a constant effort to find a suitable category or title for such approaches. spacesnepal.com

ART

The age of globalization has encompassed Nepal also. Consequently the impact of post modernism is also rapidly affecting the Nepali art scene. Since the essential feature of post-modern art is that it incorporates contemporary incidents by involving the general public; viewers also witnessed the portrayal of peoples’ revolution of 62/63 in several artworks. Ashmina’s happening art, an installation based earth work entitled ‘Question Mark’; Sujan’s ‘Masticated Faces’ and Gopal Kalapremi’s ‘The Feast’, are some of the fine examples of art that commented on contemporary issues.

Defining Post Modernism The phenomenon called post modernism can not be distinctly defined. However art scholars, artists and critics have attempted to clarify it by relating it with the present condition of time. According to the expansive concept of post modernism a description of artwork can be altered or re-described. If this liberty is to be taken away, then we once again land in the conservative periphery of analyzing or interpreting a work of art. Since our viewpoint is continuously being affected by every passing moment, no one can pass an ultimate definition of an artwork. This particular opinion is the core concept of post modern approach. It says that if we try to postulate a static definition, we become inclined towards conventionalism. Neither an artist nor critics or even art theorists can pass an absolute definition in art. It changes according to the pace of time. Therefore, post modernism affects differently in different fields or subjects. For instance- it is a popular culture in some area, but in academic sectors it has become an issue of argument. Somewhere, it attempts to redefine consumerism, and still elsewhere it emphasizes on the process and the activity rather than the final outcome. To some it is a zooming in from macro to micro and yet to others it is a catalyst for social and cultural transformation. It can also be a condition of

Gopal Kalapremi's wheat seedlings was an experiment called 'Life Art'

a reality that exists in society. At the same time it can also be a heap of thoughts that attempts in describing certain situation of an occurrence, or it can be an enhancement of an artistic tendency that helps in constructing something. In the context of enhancement, some even describe it as additional angles to the perspectives towards social realities. Others affirm that it is neither a topic nor an object, rather it is an attitude. Since attitude is the primary factor that broadens the thought process of an artist, the art that features post modern approach is also looked upon with broader perception.

Conventionally, things are mostly viewed and perceived from the exterior; however, by adding a strong concept, the same thing acquires a different form.

Manish believes in positive thinking and sound has become his perfect theme for the past eight years.

Sujan's 'Utopian Introspection' delved in the abyss of frustration, becoming an introvert in order to find purity within, which would eventually make him realize self blissfulness

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Post modernism is best active through pluralistic approach, decentralization, site specific or genre oriented works etc. In all this the concept of globalization is an essential factor. Because of the affect of post modernism, theatre artists have also introduced installation, video art and performing arts in their plays. Theatre artists such as Ashesh Malla, Anup Baral, Sunil Pokharel, Krishna Sahayatri, Ghimire Yuvraj are experimenting with such kinds of art.

Similarly some of the artists have included poetry in their paintings. Gopal Kalapremi Shrestha and Sujan Chitrakar are amongst few to do that. Jupiter Pradhan incorporated a dance sequence as a primary component in his art.

through installation art, video art and performance. She not only wants to access the gender issues in the daily lives of people, but also wants to implement the rights of women through her art works.

Recently, Gopal Kalapremi’s experimentation called ‘Life Art’, where he planted jamara (wheat seedling) on cucumber, apple, pumpkin etc., aroused a feeling of life as it grew and changed form continuously throughout the display of the exhibition.

Momentary Art and Nepal

Manish, who is acclaimed as a ‘situational artist’, believes that one should always have positive thinking. Sound, according to the artist, is his life; therefore, sound has become his perfect theme for the past eight years. He is also interested in ‘interactive art’. However, at present, through his creative art work he is in a process to reveal that privacy can only be understood inside a restroom.

Marcel Duchamp converted a readymade object that we frequently use in our daily lives into a momentary work of art by fusing it with Duchamp’s ‘Fountain’ in 1917 is As for Sujan, he has a deep contemplation his concept. It was called momentary art Marcel taken as the point of origination of post towards ultramodern tendency. ‘Utopian because after the art show concluded, the modern phenomenon in art Introspection’ was his first solo exhibition artist would send it back to the market again and it would no longer remain a work of art. He affirmed that the where he delved deep into the abyss of frustration, becoming an art and the subject matter entirely depend on the artist. This attitude introvert in order to find purity within, which would eventually make

by Duchamp generated a post modern attitude in art. As for Picasso, him realize self blissfulness. According to the artist, this blissfulness he presented a life of prostitutes through cubic forms where he will free the world from the ocean of agony. He transformed this skilfully obtained a three dimensional effect in a two dimensional pensive concept into art by adjusting big mirrors on the walls of canvas. The Les Demoiselles d’Avignon which he painted in 1907 the gallery. The viewers would find themselves staring at their own is considered as the first ever work on cubism and it is believed deep reflection. In his second solo exhibition, he appeared with portraits of masticated faces which he arranged on the floor of the that this art work helped to establish the concept of modernism. gallery. The visitors were allowed to walk freely on his portrait, making Coming back to Nepal, Lainsingh Bangdel was amongst the very them realize that his face is being masticated. On the inaugural day first abstract painters in the modern art scenario who blurred and of this exhibition, he arrived at the gallery bandaged in white cotton transformed natural forms into simple colours and lines. At the other to symbolically convey his suffering along with the deaths and hostile flip of time, amongst many, we have with us a conceptual artist, Sujan situation the nation was going through. Sujan is now entering into Chitrakar, who fuses readymade objects with his creative thoughts a new aspect of postmodernism with his concept ‘Artivity’, where and reconstructs them as exquisite forms of art. This activity by the he says that there might not be any art forms this time. Rather it could artists has in our present time introduced the phenomenon of post be probable that the artist might commence simple activities that modernism in the Nepali art. Gopal Kalapremi, Ashmina Ranjit, Sujan occur in our daily lives. Here the artist wants to focus on the creative Chitrakar and Manish Lal Shrestha are few of the active artists to process and the activity. These two elements also happen to be the appear as post modernists from 2000 onward. Then we have Sunil nucleus of conceptual art. In the context of high and low art, a non Sigdel, Jupiter Pradhan, Jasmine Rajbhandari, Sangi Shrestha and artist can also relate to the beauty of an art work. Neither is art only for the privileged nor artists are some kind of special people. Rather, others continuing with this creative practice. art persists in all the activity that humans perform. Sujan wants to Today, Ashmina expertly comments on gender issues through bring across such ideas with his coming creative venture. ‘Artivity’ contemporary political point of view. She brings out these issues by Sujan could be a milestone on the post modern phenomenon.

The Sutra Team (from left): Gopal Kalapremi Shrestha, Ashmina Ranjit, Sujan Chitrakar, Manish Lal Shrestha and Sarita Dangol.

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ARCHITECTURE

Mall!Mandu The New

CITY CENTER Ar. Sushmita Ranjit

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“I have a whole lot of shopping to do: from a pair of shoes, trendy cool t-shirt, few hair accessories and window-shop some hottest cell phones in town. After my shopping, I would prefer to sit somewhere comfortable to eat and relax, which should probably be just next door. Finally going back home wouldn’t be problem for me because I have my bike parked on the basement from where I can easily drive back home.” spacesnepal.com

Customer centric and user friendly Big Mart shopping store

The entire store is overt, segregating all the sections through colour coding

As one enters the store, menus printed on plates hung from the ceiling direct the shopper to zoom into what he/she requires.

Escalators galore to move quickly up or down, yet at the same time be still connected visually with the shopping ambience.

This was the day when I was returning back from CITY CENTER with my Dad. We both had the expression of ‘Great!’ for this new, flashy shopping mall located at the heart of Kamal Pokhari, just opposite to Russian Cultural Center. Getting access in to the building through the basement to park our two wheeler, we were admiring the 40, 000 square feet of parking space, built to accomodate in around 125 cars and 500 two wheelers. However, after all this extraordinary size and capacity of the space, it somehow lacked the clarity to direct the flow of the vehicles, resulting in confusion in directions to move and park unless shown by the stand-by guards. Maybe the basement is not complete yet, awaiting all the necessary signage to enhance easy vehicular access. And hopefully we can expect more once when it is finally completed!

Having almost around 100 stores displaying international brands like Peter England, Lilliput, Puma, Archie’s Gallery, John Players, Miss Players, Hugo, Toshiba, including many local brands, this shopping arcade is almost a comprehensive gallery to shop with style. Designed by Indian Architect, Vivek Verma, for Nepal Life Insurance Company (NLIC), this contemporary building stands robustly on one lakh square feet of land.

The entire complex has six floor levels to display its stores, events and entertainments.

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ARCHITECTURE

Comfortable The gaming arcade is environment to kid favorite amongst shop, entertain and and teens enjoy leisure time.

My Dad wanted to go to Big Mart, the recently opened department store at the rear side of the ground floor. He wanted to get some utilities for his daily use. As we entered the store, we knew which corner to go to directly and so there was no need not to waste time strolling along the rest of the store to get one particular thing. This they say is the concept of Big Mart, very customer - centric and user friendly. Designed by the MD, the entire store is overt, segregating all the sections through colour coding and menu hung plates from the ceiling.

The juice section is done with yellow, purple for beverage, red for fresh meat and no worries for green tagged for the vegetables. Being utterly customer centric, the entire department store is well arranged where everything could be sorted quickly complying with everyone’s busy scheduled time. This actually depicts easy and modern shopping spree! where Product, Merchandize, and Time has been well conceived to prove itself best amongst the other. The initiation of keeping stalls for fresh vegetables is of course a new dimension in the department store culture. But on the contrary, my father was of the opinion that people are reluctant to purchase such packed greens and would still prefer to buy loose vegetables fresh from the field.

This culture of purchasing is hard to ebb in a society like ours where habit is our culture and dependence on each other for sustainability is equally important. Although his point was to rather generalize the conventional shopper, the search for time based solutions made on the demands of a busy life in a growing modern city are never enough.

So what else could a malling culture replace anyway? We both were discussing and walking while we admired the chilled ambience of the complex keeping us away from the scorching heat outside. Inviting its visitors into a fully air-conditioned environment, the complex does raise a question to some extent about the efficiency of the building and its sustainability in a place where there is severe crisis of energy.

Nonetheless, the complex has the entire system planned to cater to its visitors, providing them

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ARCHITECTURE

The food court on the fourth floor spreads over 15,000 square feet of area

the most comfortable environment to shop, entertain and enjoy leisure time. On entering the building and passing through the security guard, the ambience is perfect with well attuned temperature, lighting system and flashy but well planned stores in spite of the slightly off - centered escalators faced opposite to the main entry foyer, making visitors confused and lacking proper surveillance.

However, walking and discussing at the same time was not a problem at all, because the well arranged stalls and the wide passage neatly managed the crowd taking them up and down through six escalators (4 ups and 2 down). We also took the comfortable escalators to explore the upper levels. Later we noticed that the descending ones did not connect all the floors. This to some extent is a nuisance to force the crowd to take the staircase which is located in a rather awkward position. The stair seemed more like a secondary access or an emergency exit at the rear side of the building, completely separating the visitors from the shopping gallery and lacking a lot of transparency. However, the entire flow pattern of visitors along the stalls and moving around the kiosk placed centrally in the lobby vigilantly drives them comfortably throughout the arcade. This to some extent is a better aspect of spatial planning compared to other trendy shopping malls in and around Kathmandu.

accommodating 1000 people for movie pleasure and many more leisure programs which are still under construction.

Finally to relax after our busy hovering, we came across a food court on the fourth floor, spread over 15,000 square feet of area, which has over a dozen of eatery serving delicious food. The court that looks so foodie makes the visitors sit comfortably on a vibrant colored checkered table, which is equally interesting and playful. The other part of the court has the scenic lounge area overlooking a rear view of the huge pond towards the north - the Kamal Pokhari, which a lot of people are not even not aware of. One can sit, enjoy, relax or even work with all their mood, send emails through the free wi-fi provision or hang out with friends and families. There is something for everyone where all this place can capture within.

Strolling excitedly and passing by every stall with trendy interior decoration, a lady sitting at the front desk at the rear corner on this third floor introduced us to a new entertainment zone, the 4D Max Theater, a first of its kind which added to the pleasure activities. Others remaining are the usual gaming arcade favourite amongst kids and teens. But excitingly impending ones are the three medium screens spacesnepal.com

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Sherpa MALL

A place to unwind...

Some relishing their favorite ice-cream flavour, some sipping their favorite caffeine and some gobbling mouth watering pani puris.Friends and families simply strolling around and groups of people indulged in their seemingly never ending tête-à-tête.

This scenario must have evoked flashes of Durbar Squares in the Kathmandu Valley. But the one I am talking is about a newly opened mall at the heart of Durbarmarg-The Sherpa Mall.

Ar. Prajal Pradhan

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ARCHITECTURE

THEN

Sherpa Mall can be termed as a miniaturized Durbar Square where activities and the environment is almost similar. The mall is a modernized version of the traditional squares where every kind of activity takes place within a wonderfully blessed environment - a possession that it can be proud of. Traditional architecture, from design to the aspects of scale and material used has played a vital role in yielding such a majestic ambience in both the squares and the mall. The open to the air courtyard does the magic of heartening the positive spirit of the place.

With sheer determination to ameliorate the appeal of the place, Sanjeev Tuladhar and Bishwa Rajbhandari put in a joint effort for it. Decor and Design, the design consultant for the mall has helped the owners to materialize their dreams of making the mall one of the most happening place of the city.

Planned in the shape of a ‘C’ with its mouth facing towards the main road is the most striking feature of the place. This open to all concept is so alluring in itself that people get hypnotically attracted towards the womb of the place. The mall merges itself with the surroundings and harmoniously ascends from the level of the pedestrian footpath. This mild flow provides a sense of care and cordiality. spacesnepal.com

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ARCHITECTURE Initial concept of the mall

The visitors like it here at the entry court which is accompanied by a popular ice-cream parlor, a coffee shop and exquisite water fountains on both sides of the stair.

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ARCHITECTURE

Lobsters,one of the most interesting place inside the mall which was once the boiler space of Sherpa Hotel

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Ground floor plan

First floor plan

Unlike other malls which are planned usually with a central courtyard surrounded by super structures limiting visual connection to the outer environment, Sherpa Mall acquires it’s unique identity with its barrier - less transparent design which also allows increased visual field and connectivity to the activities outside the mall. This design idea is quite amicable and is as if it awaits the visitors so as to bestow them with heart winning generosity and hospitality.

The visitors like it here at the entry court which is accompanied by a popular ice-cream parlor, a coffee shop and exquisite water fountains on both sides of the stair. Ascending to a higher level is the airy and open to the sky courtyard, the heart of the mall which is surrounded by eateries, shopping stores and office spaces. A huge screen which features live music videos and advertisements supported at the place further enlivens the ambience of the mall.

With burgeoning mall culture in the valley, there is a general practice to make the building look huge and dominating which at times are overpowering and uncomfortable. Scale always plays a prominent role in how we feel in a space - it showers a sense of humbleness that fosters a feel of comfort. In Sherpa Mall we can experience one of the most qualitative feature of a design a human friendly scale which is very comforting and cozy.

PROFILE DĂŠcor & Design ,established in August 2004,is a professional consulting firm comprising a group of promising Architects and Engineers supported by experts of various disciplines as resource persons. The firm imparts consultancy services in the disciplines of Architectural, Civil, Electrical and Sanitary Engineering.

Environment affects us tremendously. A positive environment can uplift our mood and energy. Designers of the mall have been successful in creating an environment that yields a sense of amusement and extreme relaxation . They have put in a laudable effort to revive the old world charm of the place yet facilitating in many ways to rejoice desired modern facilities. Sherpa Mall, lately has been the most ideal place to unwind with friends and family.

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INTERNATIONAL

Utsav

Barun Roy

The Celebration of Possibilities Space is not just a boundless, fourdimensional extent in which objects and events occur and have relative position, direction and age… space is a realm of possibility, wherein the cause and causality of objects and events interacting with each other create life and the sense of being…

Utsav, as the name suggests is celebration of this space, this realm of possibility. A part of the 1,000 crore Uttarayan Township, a project of Luxmi Group in partnership with Siliguri Jalpaiguri Development Authority (SJDC) and West Bengal Industrial Development Corporation (WBIDC), Utsav was conceived as a hall with multi purpose uses for Banquets, Marriages, Cultural Programmes, Functions and Ceremonies. Prashant Pradhan, the architect who conceived it and managed the entire project until the last finishing touches were added says, “I wanted to create something that was traditional yet modern, practical yet monumental.”

To an extent Pradhan has been successful. Utsav, at a glance is imposing but not overwhelming. It is modern but not without a touch of tradition.

In fact, in the midst of the vast sprawl of the Terai, a touch of Darjeeling Hills and Sikkim can be found – where contextually, the sloping roofs are reminiscent of the houses in Darjeeling Hills and Sikkim.

Bathed with lights, amidst well laid streets, Utsav paints a poignant picture.

INTERNATIONAL

The walls are made of plaster and lath framed by timber members - similar construction technology and forms prevalent in the hilly regions that surround Siliguri.

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Prashant Pradhan is a resident of Gangtok and has spent a number of years studying and gaining professional experience in various parts of India as well as in Europe and in the United States. He has a master's degree in Urban Design from the Berlage Institute in Amsterdam and has worked with some of the more important designers in New York as well as Amsterdam while furthering his academic career by lecturing at the City University of New York. During the final year of his bachelor's study in Ahmedabad, the 'Piloo Modi Award' was conferred upon him for the best architecture student in India in 1993 for the design of the 'Museum of Sikkimese Culture'.

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INTERNATIONAL The large and generous volumes of the main entry achieves are designed to welcome the visitor and lead them into the hall. There is a fountain located along the axis that dominates and accentuates the symmetry of the structure. This balance is further enhanced by the choice and use of materials. There is a 12" granite border along the central axis that defines the axis. Along this are the main ridges, the centre of the king post truss and the centre of the fountain. All the usable spaces and areas are located on either side of this axis. Sober elegance using a monochromatic colour palette remains the mood of the interior and exterior.

Utsav is also more revealing within and as one sets foot on the lavishly set granite stairs, one is enthralled with an exquisite fusion of traditional courtyard albeit an ‘open air’ hall built in the style and tradition of oriental palaces. A stage sits at the extreme end and a fountain sprouts afore. The traditionalism of the courtyard is revealed through a mix of Tibetan paintings, colonial roofs sloping gradually, forming an array of amusing geometry having themselves been placed over walls inspired by ‘Lepcha’ traditions. The courtyard can be arrayed with furniture, and in most occasions involving feasting and merrymaking, the pavilion-like lounge, all 580 sq feet on both sides of the courtyard, is used to serve the guests. As one walks through the courtyard and stands on the stage, one comes to realize that the entrance itself is in fact a two storied building, which aside from housing airconditioned lounges – North Lounge and South Lounge, houses administrative offices. The South Lounge opens up further to the south to the catering section, terrace and two public toilets. An access to the North Lounge and the South Lounge is provided through the courtyard in the form of a winding staircase whence the fountain already stated earlier sprouts neatly in the centre. The staircase is painted in shades of creamy white while the underlying sections painted exquisitely according to Tibetan religious tradition. It is indeed these very sections of the stairs that one is confronted with as one enters the courtyard.

Utsav is the latest addition to the Heritage Plaza of Uttarayan Project. A great deal of ambitious new additions are to be made to the same. These include a North East Crafts Village and a food court serving traditional cuisine. In fact, the ground work for the same has also been already completed where a team comprising of an architect, bamboo specialist and an anthropologist travelled through the North East, Sikkim and North Bengal studying house form and culture. Utsav, already complete will definitely be the centre of this Heritage Plaza.

The lavishly marbled staircase leading to the inner sanctum of Utsav

The courtyard can be arrayed with furniture and in most occasions involving feasting and merrymaking, the pavilion like lounge all 580 sq feet on both sides of the courtyard used to serve the guests.

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INTERNATIONAL

LIGHT in the

TUNNEL The BARAI at Hyatt Regency, Hua Hin, Thailand

Text & Images: Sarosh Pradhan

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INTERNATIONAL

The Meeting I first met Lek at the A+D Awards event here in Kathmandu where he captivated the architecture students at the Pulchowk Engineering Campus in a presentation where he literally danced during the discourse. It was exhilarating, inspiring and entertaining …and lived upto his words – ‘have Fun while doing Architecture’.

Next scene Lek’s office – on my way to Bangkok attending a conference…I meandered into Lek’s office.

There did I realize the seriousness of his Fun in Architecture witnessing drawings that unfolded one leaf after another….(all connected) that described his projects. Models after models, drawings after drawings and hand sketches, he presented me with several books that further evoked my curiosity on the architecture of the region.

Cut. Next scene – I realized I was in Hua Hin and again meandered into the Barai project almost by destiny to witness the wit and sensuality of Lek’s work. Thai culture as such is very playful, that’s perhaps why he says have Fun – but at a deeper level one can almost feel the seriousness and the meditative focus that he evokes in his work.

Jump scene : Kathmandu Aug.2009, I get a call from Lek and his wife Louisa saying that they are in town and are staying at the Yak & Yeti Hotel. I meet them and they shift to Dwarika’s followed by dinner and conversation at the Krishnarpan restaurant, which is a highlight. The next day – we find ourselves with a friend of Lek - Gotz Hagmuller and Ludmilla in their beautiful home in Bhaktapur. If there is another side to the beauty of Nepal – it has to be the culture and Architectural details that exists right here. But perhaps we need to have another set of eyes to remind us the inspiration that we can draw from all these and work towards an architecture and environment which is Nepali. Lek looks at Gotz as a Master…and that could be another whole discourse and writing.

Light in the Tunnel There is an old saying on hope - that says there should be light at the end of the Tunnel. The Barai, 2,958 sq.m spa project located on a flat site of 11,000 sq.m that includes 61 metres of sea frontage begins with what can be termed as a tunnel of light. It is a sense of mystery that you walk the tunnel punctuated with shades of Light streaming in the shadows of the stars, or a wall that is open ended enough to allow the light to play in. It is a spiritual experience that can be best described by some of the photographs to speak. I think the tunnel resonates hope as a process of movement – it gets you slowly to focus on ones sense of arrival to something more.

The key design element used in the project is ‘light’. Lek describes this conceptual attitude as a ‘highly disciplined person’ who is arrogant and strong, romantic and a brute. She (light) loves to dance, sing and play like a child playing with a rainbow, until it is time to go to bed. She creates a multitude of wonderful colours and she also has a companion who goes everywhere with her, her boyfriend – ‘the shadow’, who brings and brightens up her beauty. Her character is explained having delightful and mysterious qualities that create surprises, a sense of wonder, and a sense of place1.

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It is said that Architecture deals with light and shadow. It deals with the unseen. Lek Mathar Bunnag is an architect that dances playfully within the light and shadow that he creates in his work.

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Architecture As you wander into the built space – the element of water, the connection with the sky and the awareness of nature seeps into your mind. It almost feels like a cleansing process to be aware of the details that demand your attention. It is understood that the 64 mature trees that existed on the site are all well preserved. The wall details adjusted around branches of trees cannot be missed.

Architecture seems to be a by-product of these observations.

Yet, a sense of theatre - the World is a Stage is there at every turn. A voice which says – we can all have a sense of calm is echoed within the serenity. Lek’s understanding from his culture…the steep sways of the curves, the framed views and cornices, the memorable images of his life seems to find its translation within this project. A theatre of hope unfolds. This project is to be viewed better than described in words and leave the images attached to communicate.

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Man with the Hat One couldn’t help - but notice the white crisp shirt and the hat on our first meeting in Kathmandu. Lek says ‘I love the early morning sun and the late evening sun because they give long soft shadows without any glare. I don’t like glare it hurts my eyes, that’s why I need a hat2.

I think this in a subtle way describes him best as an architect playing with light and unearthing his understandings of local culture and heritage into his works. It is indeed a tremendous value to have him as a friend of Nepal.

Few personal queries and Lek’s response…

Sarosh: You have a Buddhist calm in your works – the Barai appears particularly special. Tell us about your concepts, struggles and your highlights while working on this project…

architecture so as to recall us of our long and beautiful as- to make us feel more rooted, more secure - to add a layer of age, time and historic significance to us.

Lek: The (BARAI) design is an eastern idea of meditation. ‘Spa’ is in the deepest sense ‘meditation. The word ‘spa’ must not be precise at this time.

We approach this study with love and true respect with hope to extend our cultural heritage to the future, so as to continue maintaining a sense of identity and sense of longing by way of art and architecture.

From the entrance one starts meandering deep into a quiet long journey, as we close our eyes, light becomes less, noise from outside become less and less....more and more silence. Bareness of tall and enclosed wall and singleness of material demand no attention; no concentration from us; such serenity invite chance for our aloneness - this is our aim; this is what we want architecture to express.

Sarosh: You have been quoted in several books saying… ‘I hope in future to create architecture with more quality of stillness, solitude and surprise just like the ancient Sukothai Wat Tonquen in Northern Thailand 3 . Can you elaborate on this….

Hyatt has also (to) train their spa personnel to carefully invite their guests in such a way that guests find themselves in the joy of aloneness; they train to disappear, from guest some times, and sometimes walk behind their guests in silence.

Light is the key. Enhance the meditative experience by way of light and shadow and add delight by use of coloured glass. Multi-colour expresses itself in the dark beautifully.

There is not a single window to the outside; guests are invited to only sky, the pure framed sky. Dark and narrow passages arrive at courtyards with handmade quiet fountains, creating subtle sense of surprise and joy; it is inside these serene courtyards where fountains sing.

All the passages lead us to a large court of tranquillity. Here one has a glimpse of the sea horizon beyond. Horizon becomes so precious to be experienced in such small quantity.

All mature existing trees have been carefully preserved and integrated together with architecture. Order and discipline of architecture will have to be adjusted to give way to existing trees as one whole existence. Some of these trees is believed to have spiritual content and must be preserved on the Client’s request.

Tranquillity Court is the place created by walls enveloped by a large group of mature trees at four sides with an opening to the horizon.

History and language of the cultural heritage of South East Asia has been carefully selected and artistically modified to harmonize with the spacesnepal.com

Lek: It has always been my intention to create architecture that gives us serenity. This is unmistakably an eastern idea.

I know well that it is not easy at all to achieve this in architecture. One has to love the sun, the rain, the moon, the breeze, the shadow, the water and create architecture that is happy to be with them, then the very sense to serenity may happen. And if that happiness becomes a joyful relationship then, perhaps, delight and mysteriousness may come out to surprise you. Have you ever heard water sing? Have you ever seen the shadows dance? Have you ever seen the moon smile?

This is always what I want to do in architecture. Solitude, stillness, serenity, these secrets are all from the same family - meditation. We are architects. We are a form giver. It is up to us to decide on what do we want our forms to do to others.

Sarosh: Tell us about your views on Kathmandu, while meandering around the City…

Lek: Unmistakably, the cultural heritage of the Kathmandu Valley is the most beautiful in the world. It is showing us the creativity and originality of the east. Unfortunately, the negative force of urban growth may kill such beauty. I am very jealous that such beauty is at your background.

1. Resorts by Thai Architects, 2009 .Pg192 . Li-Zen Publishing Limited 2. Asian Architects, 2000 . Pg 160 . Select Books , Singapore 3. Asian Architects, 2000 . Pg 161 . Select Books , Singapore September-October 2009

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RE-THINKING

The Social Meaning of Nepali Architecture

Nepali Modern 1969

Andrew Nelson

At the time of its inauguration in 1969, Narayanhiti

columns, extensive gardens and massive ceilings, The criticism of Palace was intended to signal a modern and some scholars argue that the Mallas were also Nepali architecture influenced by their equivalents in India, the Mughals. forward-looking architecture. Looking back, Narayanhiti stands not as a beacon of modernity, is framed by one but rather as a symbol of the failure of Nepali The important difference between the Ranas and type of question: architecture to establish a modern style 1 . Like Mallas was that while the former’s palaces shared does a Nepali the façade and scale of many commoners’ dwellings Narayanhiti, analysts often criticize post-1950 Nepali architecture exist? (difference of roof material and decorative architecture for being imitative of other places and ornateness), the latter barred commoners from other times – not true to the Nepali context. replicating their feats by banning the construction of houses with stucco Specifically, Kathmandu houses have been called ‘Bihar boxes’2 , and plaster and tiled roofs. Because of Rana control over commoners, the Nepali architecture has been compared to a ‘crow that loses direction 1934 Earthquake represented a missed opportunity for remaking the city. in the fog’3 , or worse yet, derided as ‘flat, thin, weightless and Unlike other post earthquake cities, such as post-1973 Managua that temporary’4 . The underlying assumption of this argument is that a Nepali used disaster to re-create itself in a new image, Kathmandu’s earthquake traditional architecture exists in the palaces, temples, and houses built did little to change the physical appearance of the city. Despite the minor before 1950, but that its modern counterpart has never been realized.

Rana intervention of Juddha Sadak (now known as New Road), one can Even worse, the concrete monstrosities of Kathmandu’s ‘modern era’ surmise that due to Rana repression, most rebuilt houses and are slowly replacing the traditional buildings and thus destroying the only neighborhoods in the same form. Thus, it was not natural forces that authentic identity left in the city. produced a change in the city’s appearance, but rather the political and social upheavals of the early 1950s.

The criticism of Nepali architecture is framed by one type of question: does a Nepali architecture exist? This question reflects a bias of postenlightenment rationality; that is, a desire to categorize, define, and fix Post-1950: Cement, Modernity, and Bikas built forms into inflexible categories of either/or oppositions: Nepali or Although the Ranas’ departure did not immediately produce peoples’ foreign, modern or traditional, authentic or imitative. If we were to pick democracy, it did at least allow for a burgeoning urban middle class to have a physical metaphor for this line of logic it would be concrete, the access to some of the pleasures and materials that were previously limited material of impenetrable finality. I would rather ask a different set of to the aristocracy. In terms of house construction, this meant access to questions that might not spark the interest of Architecture departments a market of new materials, ideas, technologies, and places to build. These or UNESCO offices, but that resonate with the everyday experiences changes ranged from the arrival of cement mortar and plaster, flat RCC/ of Kathmandu residents. First, instead of defining Nepali architecture RBC roofs and pillars to the shift in manpower from Newar masons and as this or that, it is necessary to ground our discussion in the social and carpenters to the import of Madhesi and Pahadi contractors and workers. ideological transformations of recent history and dissect the construction Additionally, with the increasing arrival of rural migrants, the location of of a Nepali modern. In other words, how does society affect forms? settlements moved from the highland tars of the traditional cities to the Second, and reversely, how do forms affect society? What does lowland dols closer to riverbanks and rice fields. architecture mean to residents? What sort of feelings does it evoke?

We should not think of the post-1950 changes as an overnight revolution, however, since the transition from so-called traditional to modern houses Architecture, Ideology, and Society was a gradual transformation. For instance, looking just at the most To answer the first set of questions, I would like to entertain the different noticeable symbol of the modern house, concrete, it is clear that the modern ideologies and social contexts that have produced and reproduced a house did not attain a hegemonic control of the new city until long after Nepali specific notion of architectural modernity. Instead of a fixed set 1950. Although elites could access imported cement from India and several of criteria, the production of the ‘modern’ reflects a shifting ground of other countries, it was not until 1974 that Himal Cement started producing ideological fields that have responded to political and social changes. for the domestic market. Moreover, data from imports and domestic production suggests that cement consumption did not take off until the The Rana Effect late 1980s at which time it grew at over 10% per year. What accounted Let’s start by exploring the architectural practices and ideas of Nepal’s for dramatic rise in the cement consumption? Obviously the Panchayat very own harbingers of modernity, the Ranas. In the wake of Jang government was busy building ministries and roads, but also we need to Bahadur’s trip to Europe in 1850, Kathmandu would never look the same. account for how concrete came to dominate house construction; how it Although the neo-classical Rana palaces might have appeared radical became the preferred material for mortar, plaster, and roofs. for the time, it is worth questioning how much the Ranas’ motivations differed from those of previous rulers. While it is common knowledge Similar to Nepal’s gradual steps towards democracy, I suggest we that the Ranas looked to the British to find beauty in stucco exteriors, understand the development of the modern house through waves. The white-wash plasters with touches of green and blue trim, concrete

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In my conversations with people building houses, they speak of building a ‘model (or namuna) house’ (a new look for others to imitate), or a modern house, but its difficult to pinpoint exactly what model or modern entail.

New Road, Old City

troops of the first wave were the people Leichty calls ‘Nepal’s proto-middle class’: Rana civil servants who could taste but not obtain the ruler’s elegant lifestyle, and the Nepali expatriates who escaped Rana Nepal early in the Century only to return with hopes of democracy and foreign tastes acquired in post-independence India. Can we surmise that while the former wanted to imitate the houses and palaces of their former leaders, the latter were influenced by decades spent in colonial India, where cement palaces, government buildings, and private bungalows signaled the power of the colonial regime?

The second wave can be seen in Nepal’s aspiring architects and engineers, who from the late 1950s onwards, have been going abroad for their architectural education5 . However, the work of a few trained architects should be seen as having an indirect effect on what would take years, perhaps decades, to trickle-down into the imagination of less privileged builders. Even today, most people building houses continue to rely more on the advice of engineers and untrained contractors when drawing up house maps.

Perhaps more so than the imported ideas of returning architects, the overwhelming ideology of bikas introduced a stronger wave of ideas that defined what was proper, modern, and necessary for not only building the nation, but also one’s house. In house construction, the legacy of bikas is manifested in the language of pakki and kacchi houses. Even in official government housing policy, one finds the categorized hierarchy of Nepali houses into pakki, semi-pakki, and kacchi to distinguish the use of ‘permanent’ (concrete, burnt bricks, stone, slate, tile, galvanized sheet) and ‘temporary’ (bamboo, straw/thatch, mud and unburned bricks, wood flakes) materials. If we look these terms up in the dictionary, we find another set of opposite meanings relating to ‘ripe, mature, firm, strong’ (pakki) and ‘raw, inexperienced, and weak’ (kacchi). Clearly, ‘development’ belongs in the former category rather than in the latter. The irony is that mud houses have a much longer lifetime than cement houses.

Nonetheless, despite the Panchayat government’s attempts to enforce a ban on non-traditional houses, the linkage between pakki, modern, and bikas would ultimately win out.

An Island of Cement amid the fields

One Tala with room to grow

building village houses6 . What then is a city house? Is it merely a cement house that does not require constant maintenance and cleaning and certainly looks more expensive than brick/mud facades7 .

If we dig a bit deeper, the production of a modern-urban house often falls into a constellation of traditional or non-urban value judgments. For one, there is the emphasis on ritual practices of purification and boundarymaking. While constructing a house, families perform several sets of pujas as well as constructing walls that serve to symbolically and physically delineate inside from outside space. In this case, the built form helps shape insider/outsider and host/guest relations and sociability without a word being said.

Two, although it is easy to dismiss the ‘eyesore’ flat roofs with protruding RCC posts and rebar, we must understand the house as a social process.

A flat roof allows for a family to grow, to add a floor for a son after marriage, or for the house’s income potential to grow by adding a flat to be available for rent. Additionally, in many houses, just the façade is painted or plastered while the other sides remain brick or the less than attractive grey of plain cement.

Borrowing from the theory of architectonics, we need to ask how architecture is evocative – what does it express, symbolize, and mean for its inhabitants? As such, scholars look to the built form, a tangible entity, to express the intangible aspects of cultural processes. As Bourdieu argued, the house is a text that can be read for its social meaning. Since we are discussing house exteriors, we are interested in what its facade communicates about the status, values, and identity of the inhabitants to neighbors, kin, and strangers.

Finally, as the proverbial invocation of a ‘marda’ demonstrates, it is a man’s duty to build one house in his life, and even more prestigious if he builds it in Kathmandu and can say, ‘Kathmanduma ghar cha’ (I have a house in Kathmandu). Importantly, however, this statement calculates only in a rural-based prestige economy; within the social confines of Kathmandu it only distinguishes a house-owner from the renters, but not the masses of other house-owners. Furthermore, not only must the house be one’s own, it needs to be a cement pillar-system house. Any other form, as one informant explained to me, would be criticized by family members for bringing be-ijjat (‘dishonor’) to the house’s inhabitants. To enter the game of Kathmandu status, a concrete-based pillar system house is only the starting point.

City Houses, Village Prestige

Neo-Newari Renaissance

In my conversations with people building houses, they speak of building a ‘model (or namuna) house’ (a new look for others to imitate), or a modern house, but its difficult to pinpoint exactly what model or modern entail. When asked to define these terms, residents describe their house less in terms of what it is and more in terms of what is not. Importantly, they are not

In order to accrue prestige, one must distinguish the house with new designs (Victorian sloped roofs, arches and bay windows) or decorations (bright colors, Greek-inspired columns, anterior gardens, or house names).

For the remainder of the article, I will briefly discuss one such trend: the return of ‘traditional exteriors’ in the form of dachi appa and Chinese

Toward a Social Meaning of Houses

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bricks. As seen most centrally in the Nepal Tourism Board, the sloped roofs and exposed brick facades of the Malla architecture have returned to style. While some call this Kathmandu post-modern, others refer to a Neo-Newari Renaissance. However, before we celebrate the arrival of Nepali modern architecture, let’s consider a few concerns.

For one, it is important to remember that although ‘based on traditional themes’, these houses reference ‘tradition’ through superficial ways, or as Bijaya Shrestha puts it, ‘a fabricated way to regain past memory’8 .

Just as the NTB building is constructed on a RCC pillar structure, many of these houses have not reverted to mud mortar and load-bearing principles of the so-called ‘traditional’ house. Moreover, the proportions of ceiling and window size are much larger than traditional houses.

We need to also consider the class and ethnic meanings of this reinspired look. At 10 Rupees per brick, only a select group of people can afford the higher quality bricks. The return to brick facades appeal to an upper class desire to possess a ‘touch of history’, and furthermore, an attempt for the private citizen to access what UNESCO and the Nepali government have been promoting for many decades through architectural preservation programs. Finally, they also reference a desire to identify or present one’s self as ‘Newar’, or at least, ‘urban’. When one finds a dhunge dhara inside a private residence far from Kathmandu’s city core, it is a symbol removed from its original context, and thus a tool be manipulated towards a political or social goal.

Nepali notions of modernity are anything but static and singular.

They have changed over time and vary according multiple overlapping fields of prestige, class, and ethnicity.

I would like to thank the following The Commodification of people for sharing their time and Traditional Themes thoughts with me while writing this article: Surya Bhakta Sangachhe, Umesh Dhimal, Shankar Nath Rimal, Devendra Nath Gongal, Sanjay Bahadur Thapa, Biresh Shah, B.L. Shrestha, Uday S. Shrestha, Mahesh Shrestha, Sudarshan Raj Tiwari.

End Note 1

For instance, the authors of the recently published Kathmandu Valley Style (a book that documents present day buildings that ‘capture the wealth of the past’) omitted Narayanhiti on the grounds that it does not qualify as authentically ‘Nepali’.

2

Parajuli, Kabita (2008), ‘The Valley’s Relentless Growth’, Himal South Asian (October).

3

Sharma, Bharat (2008), ‘Talking Architecture’, Vaastu, Vol. 10, pg. 22.

4

Shrestha, Bijaya K. (2008), ‘Post Mortem of Contemporary Architecture of Kathmandu Valley’, Vaastu, Vol. 10, pg. 71.

5

This trend has only started to slow recently with the creation of Architecture degrees in Nepal.

6

However, the signifier of ‘city house’ and ‘village house’ is no longer attached to the actual city and village. With roads and foreign remittances reaching increasingly remote areas, one can find numerous examples of ‘city houses’ in villages.

7

I am reminded of one curious story regarding the repairs of a low-income housing project in the western Tarai. When a Kathmandu architect visited the site to replace cracked concrete roofs with mud, the inhabitants turned him away stating they would prefer the concrete version – even if cracked – to the ‘cheap-looking’ replacement.

8

Vaastu, Vol. 10, pg. 71.

Conclusion Before we dismiss contemporary Nepali architecture as unoriginal and inauthentic, I urge analysts to first question the social and historical frameworks that have not only dictated how we see buildings, but also produced the processes and ideologies that give meanings to an architectural modernity. As the case of Kathmandu houses demonstrates,

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ANALYSIS

ABU DHABI

INDORE

KRAKOWSKA

SYDNEY

SINGAPORE

Snow‘malling’ the Globe Text & Images: Ar. Jinisha Jain

MALL ROAD IN SIMLA

Malls in India

Marketplaces

The examples of old markets are galore in India, as they still thrive in ‘old’ sections and more ‘local’ parts of the cities. However the closed malls with controlled climates and coutured ambience, costumed in theatrically colourful apparels of metal and glass are the fashionable phenomena in not just the metropolitans but also in small cities and towns. Strategic locations along bustling roads/ highways, effortless car-parking, large lobbies with air-conditioned atriums, enhanced vertical and horizontal circulation, floors earmarked for definite purposes, organized shopping, food-courts/lounges with a veritable smorgasboard of world cuisines, multiplexes, anchor stores, gaming zones, kiosks, sanitized toilets, 100% power back-up, integrated management system, fire-safety, et al, would sound like a typical brief of these ubiquitous malls.

Buzzing with activities, largely commercial and inadvertently social, the role of market places in defining the public realm and conditioning the experience of a collective space is historically critical. It may be changing in their most recent and ubiquitous avatar - The Mall - however they still represent our demands as consumers, the life-style preferences of the dominant sections of the society and our metamorphosed viewpoints on social and cultural interaction as well as the notions of comfort, leisure and recreation in the current times.

Historically overviewed, the mall referred to an exclusively pedestrianised street that allowed shoppers to walk without interference from vehicular traffic in the British usage. With the advent of the British in India, the mall roads appeared in various cantonment towns. These had wider roads to accommodate the changed traffic, colonnaded walkways for pedestrians and then the shops. They also had parks and open spaces nearby. The upper and lower malls on the hill stations like Shimla, Dharmasala, Kasauli, Musoorie, Nainital and others became particularly popular. The markets when compared to the traditional Indian market-streets changed their optics and many features but the quality of an open-air shopping street was retained. The British also built well-designed closed markets, examples of which can be seen in the Spencer Plaza, Chennai, the first and the largest departmental store of the subcontinent, founded as early as 1863 and built in the Norman and the

MALL ROAD IN MUSSOORIE

since long have been a tangible face to trade and economy besides mapping the trendy visual culture of their cities or social geographies. From Greek Agoras, Roman forums, roofed bazaars of Isfahan and Tehran, the Indian bazaar street of Chandni Chowk to the Oxford market in London, the recognition of these historic markets- as exclusive experiences of these places and their communities representing a certain echelon of time- is worldwide popular.

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MALAYSIA

KERALA

NOIDA

BANGALORE

CONNAUGHT PLACE, NEW DELHI, 1933

Gothic style (destroyed in 1983 in a fire It is estimated that there will and rebuilt into a modern mall with the be about 600 malls in India same name), Crawford market, by 2010 and 51% of these Mumbai (now renamed Mahatma malls will be in Tier II and Jyotiba Phule Market) built in 1869 again Tier III cities in the Norman and Gothic style with two wings and a central watchtower, and Connaught Circus finished in 1933 in the Neo-classical style and planned into inner and outer circles with radial roads, as the commercial hub of New Delhi-the capital of both CRAWFORD MARKET, MUMBAI, 1869 the pre-partitioned and the post-independent India. However, the terminology as is used now can be identified more closely with the Malls in North America. The concept of the fully-enclosed shopping mall, though, did not appear until the 1950s. The idea is believed to have been pioneered by the architect Victor Gruen. Victor’s Northland Shopping Center built near Detroit, 1954 and Gulfgate Mall in Houston were originally open-air pedestrian shopping centers that later were enclosed as malls. The first enclosed, postwar mall was the 1956 Gruendesigned Southdale Center, Minnesota. These malls moved retailing away from the dense, commercial downtown into the largely residential suburbs. This formula- enclosed space with stores attached, away from downtown, and accessible only by automobile- became a popular way to build retail across the world. With vast mechanisation in the construction sector, malls started spreading.

The phenomenal rise in the number of closed malls in India can be seen in concurrence with its foreign exchange crisis in the early 90’s. The crisis led to the adoption of neo-liberal economic policies that were disseminated globally by the IMF and the World Bank. This manifested itself in the privatization of state owned industries, increased private participation in the development of civic infrastructure and real estate, and the liberalisation of capital and commodities markets. With more private players, the mall became the whim for investment in that it was the emerging choice of the urban mass affluent.

SPENCER PLAZA, CHENNAI, 1869

SOUTHDALE CENTER DESIGNED BY VICTOR GRUEN, FATHER OF THE SHOPPING MALLS IN AMERICA, 1956

The first glitzy ‘world-class’ shopping mall to open in India was the Crossroads (opened 1999) in Mumbai with an area of 120,000 sq. feet.

Ten years from thence, at one click, Google gives you no less than 6, 780, 000 results (0.09 sec) for searching ‘Malls in India’. What’s more, there is a book by the same title. A quick search on Wikipedia, offers a ‘List of shopping malls in India’, sortable by name, city, state, year opened and area coverage. While Saket, Noida, Gurgaon find easy camaraderie with Mumbai, Hyderabad, Chennai, Bangalore, Kolkata and Bangalore, not unforeseen are the mentions of cities such as Lucknow, Kanpur, Zirakpur, Kochi and Raipur in this list. Most of these malls spate in the years 2002-2009 and devour an area of 4000 to more than 1, 50,000 sq. m. Although the list does not show, but cities like Amritsar, Nagpur, Pune, Jaipur, Indore, Bhopal, Agra, Varanasi, Patna, Visakhapatnam and Madurai in different corners of the country are also not behind in spacesnepal.com

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A N A LY S I S CHANDNI CHOWK- OLD DELHI

KITE-STRING WHEELS, SHOP IN MANAK CHOWK, AHMEDABAD

A walk through the Chandni Chowk in Delhi, Aminabad in Lucknow, Triplolia Bazaar in Jaipur, Manek Chowk in Ahmedabad, Lad Bazaar in Hyderabad, would be sufficient to underline this.

While malls may give immense opportunities to developers, architects and contractors, they raise critical issues for the future of the cities. The demands of the global urban nation and the mass affluent must not pander to its spirit, by blindly following western models and concepts, which have begun to fail in the CROSSROADS MALL, country of their origin. In the USA, the frenzy has MUMBAI, 1999 -FIRST MALL TO PROMOTE already given way to dead malls which are abandoned 'SHOPPERTAINMENT' and unfit for other uses, until they are restored or AMINABAD MARKET, LUCKNOW COLABA FRUIT MARKET, MUMBAI demolished. Until the mid-1990s, the trend was to embracing this urban architectural fad. It is estimated that there will build enclosed malls and to renovate older outdoor malls into enclosed be about 600 malls in India by 2010 and 51% of these malls will be ones. However, the trend has now reversed into building once again in Tier II and Tier III cities. A city like Ludhiana has over dozen of malls. the open-air malls. If we would not take a stock of the condition now, What would be the count of these high-fashion architectural divas in it is highly possible that we are also given to face the same in a very near the metropolitans is only predictable? It then should not be a surprise future. that a certain website (www.gurgaonshoppingmalls.com) gives one untiring options of various malls in the ‘Mall capital of India’- Gurgaon, The End Thoughts which alone hopes to play host to some 150 odd malls in the coming In point, some Indian architects have begun to look at the re-integration years... practically everything can be surfed on the portal which also of outdoor and indoor spaces in malls. To instantiate, Metropolis Shopping Mall for MGF at Gurgaon - currently under construction keeps abreast of the upcoming malls. has a clear design concept which attempts this. The architects envision One thing obvious is that the popular mall culture is powering not only that the landscaped sunken forecourt with a series of stepped access terraces at upper levels will provide an exciting area for a variety of a retail revolution but a cultural one, sweeping activities and communal interaction, similar alike the urban and rural areas.

As we go on oversupplying to traditional open air markets. At the same The Hurdles in ‘Malling on’ these glazed monuments time, in response to extremes of climate the development provides substantial airIn an emerging economy as ours-with of consumerism, we must conditioned interior spaces. enhanced transport - communication and begin to relook at our larger disposable incomes, markets are historic markets and Improved design and spatial sensitivity still becoming bigger and their target population do not resolve the problems related to growing. These malls may be emblematic existing commercial energy-intensive demands and extensive of our more global, urbane and economically centres which need resource consumption of these structures. developing countries. However it is widely conservation, revitalization The logic of their very existence, in catchment accepted that these steel and glass boxes and planned urban landscapes which are already replete with are devastating for our climate. The interventions these, is a big question. More than half of investments and maintenance costs are the malls once erected report substantially immense which also reflect in rentals. poor occupancies, resulting in a depression in rentals. Perhaps it is As a point of social and cultural convergence for different sections already time the urban planners and the investors began to think of of the society, they defy egalitarianism as they cater to the needs and the possible re-uses of our future ‘dead malls’. fancies of a select social group. Neoliberalism favours the middle class in our societies and the emergence of shopping malls and As we go on oversupplying these glazed monuments of consumerism, multiplexes increasingly relocate the public realm into the private domain we must begin to relook at our historic markets and existing of the privileged classes. To talk retail language, the target group in commercial centres which need conservation, revitalization and a mall is much more filtered than the common man on the street. On planned urban interventions. Delhi needed the approaching Common comparison, the traditional markets and the pedestrian bazaars of Wealth Games to instigate some of these. An initiative of New Delhi the old towns, have access to one and all unlike the guarded enclosures Municipal Corporation’s (NDMC) civil engineering department has of the malls. The medieval city markets, characterized by narrow recently seen a face-lift to Janpath market and is seeing the shaded lanes with shops on the ground floor and residences or storage redevelopment of Connaught Place. A concerted action plan for Gol on the first floor amount to a different shopping and social experience. Dak Khana and Gol Market is included. By another initiative of the PHUKET

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SRILANKA

NAGPORE

DUBAI

KARACHI

CHINA

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A N A LY S I S

As the insipidity catches-up the entire sub-continent with malls mushrooming in Nepal, Bangladesh, Pakistan and Sri Lanka, it may be worthwhile to draw some lessons as well as inspirations from our neighbouring countries, from each other, than transplanting ideas from remote contexts, not rooted in our soil.

Malling through history: Text: Ar. Swati Pujari in Kathmandu MALLA HOUSE WITH SHOP FRONT AT GROUND FLOOR

MARKET STREET - ASON AND MARU

Municipal Corporation of Delhi (MCD), the Walled City, will be conserved with special emphasis on famed bazaars of Chandni Chowk, Dariba Kalan and Kinari Bazaar. Though encouraging, the ‘Games’ and the ‘Tourism’ skew are obvious in these efforts.

What also immediately required are a drastic typological innovation and a reinterpretation of both the concept and tangible expression of a market/ shopping destination. Dilli haat drawing its inspiration from the traditional village haats and craft bazaars stands out as a good existing alternative. Contextually appropriate, logical and encouraging an authentic socio-cultural perspective, this is definitely a more inspiring model for emulation. The new Dilli Haat (or the Pitampura Dilli Haat completed in 2008) attempts to renew the spirit of its precursor- Dilli Haat at Aurobindo Marg, built in 1994. Its elevated public realm offers a clear spectatorship of the mega-city malls and high rise towers around it, thus sharpening the contrast of its own experience as an egalitarian and socially relevant ‘barrier-free’ environment which is intended to be understated with respect to its built volumes and design tectonics. Dilli Haat has a different format where low rise buildings in exposed brick and stone with sloping verandahs are grouped together on a simple layout to enclose craft shops, regional food stalls, landscaped courts and plazas. Imitating vernacular structures in a more permanent way, the haat also attempts to incorporate the crafts into the architectural detail. The choice of material, construction and layout is made to maximise thermal efficiency and minimise energy consumption. A couple of more Dilli haats are in the offing. More original models and trend-setters are required. Infact, as the insipidity catches-up the entire sub-continent with malls mushrooming in Nepal, Bangladesh, Pakistan and Sri Lanka, it may be worthwhile to draw some lessons as well as inspirations from our neighbouring countries, from each other, than transplanting ideas from remote contexts, not rooted in our soil.

Markets must be designed and sustained as urban cultural assetsas places where diverse age groups, classes and genders get together to run into an exciting multiplicity of regional traditions and cultures, besides meeting the current consumerist goals. People (inclusive of ‘Architects’) must not forget that markets are not only the centre of retail, a format for entertainment and brand-activation, and a source for high fashion urban imagery, but in our part of the globe they have often been the soul of the cities. Do we let this be conveniently snow‘malled’ by the emissaries of globalisation?

DILLI HAAT

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LUDHIYANA

IRAKI BAZAAR AKA RAKHI BAZAAR

BISHAL BAZAAR - 1969

KATHMANDU MALL - 2006

The city of Kathmandu, has always been a trade hub between China and India, so it is not surprising that many of the original dwellers of the valley were businessmen or tradesmen. The two prevailing economic activities of the Valley – agriculture and trade, reflected itself in the architecture of the Valley as well. The traditional houses consisted of a shop front in the ground floor or a cattle raising area, according to the occupation of the dweller. The Malla housing style with a shop (Pasa) at the ground floor, and the city planned with row houses alongside streets, have given rise to the traditional market spaces, or Central Business District (CBD) of the Valley, one can still see a glimpse of that CBD at the present day Ason & Maru area. Both these areas were the predominant market areas, and the centre for economic concentration during the Malla times (12th – 15th century A.D.) As we explore through Ason, Maru and the streets connecting them, we can find that they provided, and still do, absolutely everything that a person needs to shop, including food items, clothing, household goods, cultural items for rituals (pujas etc). So in perspective these markets can be regarded as the traditional supermarkets and shopping centers of Kathmandu.

The economic interest in this area prevailed through time and during the Rana reign (1846 – 1951 A.D.) different craftsmen from foreign lands were introduced in this area, specifically craftsmen from Iran for beading works, giving rise to what was known as Iraki Bazaar, now called Rakhi Bazaar.

The foreign interest in this area, since then, has not only multiplied but has also influenced in the creation of other markets like Chukka Chen Galli and more importantly the Bishal Bazaar, the first shopping center of Kathmandu which, not surprisingly, lies between Ason and Maru.

Established in the year 1969 A.D. Bishal Bazaar and the area surrounding it was the major shopping district in Kathmandu for a very long time, for many years Bishal Bazaar was the only shopping complex in the town, even when the next shopping center, Suraj Arcade, was established, at Makhan (between Maru and Ason), neither of these shopping complexes provided all the urban amenities that we expect from malls and multiplexes of today.

The need for an eatery was never felt in the first few shopping complexes of Nepal, perhaps because shopping, then, was a mere necessity and not a factor of city life as it is now.

Today shopping complexes and malls are spread all over the Valley, from Bhat Bhateni Supermarket at Thirbam Sadak, to Bluebird Department Store at Tripureshwor Road, both of which started primarily as a supermarket and not as a full fledged mall. The designed mall culture was introduced to Kathmandu by The Kathmandu Mall at Sundhara (established 2006) and grew very rapidly with United World Trade Center (UWTC) at Tripureshwor, and The Sherpa Mall at Durbarmarg, and finally with the establishment of Nepal’s first Multiplex – City Center at Kamalpokhari (2009).

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HERITAGE

The Patan Museum was previously called Charkot Durbar for its four corner pavilions

© KVPT

PATAN

DURBAR SQUARE

the legacy of all times

The palace complex, one of the most picturesque urban ensembles in the list of world heritage sites, is composed of two parts viz; private palace courts and a public square in the front. The palace consists of four quadrangles, annexed in a precise row at one side of the durbar square. The three main courtyards – Sundari Chowk, Mul Chowk, and Mani Keshav Narayan Chowk stand in line from south to north respectively. The palace building stands parallel to the main road and does not conceive the idea of monumentalism. Even the proportions of the built form are in harmony with its context which exemplifies the simple living of Malla kings.

Sabina Tandukar

“Is this heaven on earth?” – Kunu Sharma, poet Sitting in the junction of the two main trade routes and lying almost in the geometric center of the beautiful Newari city of Yala, Patan Durbar Square exceeds all expectations and opens up like a rainbow in the sky - simple but dramatically beautiful. Locally it is known as ‘Mangal Bazaar’ for its Sanskrit connotation of being auspicious, or simply as ‘Mangah, its root in Newari meaning ‘centre’. To reside at this auspicious centre of a tiny but wealthy kingdom was a divine prerogative of its rulers, themselves thought to be the incarnation of Vishnu, the Supreme God in Vaishnavite tradition of Hinduism.

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The public square, on the other hand, is embellished with impressive temples, monuments, pillars and other shrines. The temple architecture varies from multi-tiered newari style to Shikhara style but the interesting idea is that all temples in this square is devoted to Hindu male gods who stand for moral values and take no blood sacrifice. On the contrary, the temple to the exclusively royal and female deity Taleju (who receives blood sacrifice), is part and pride of the palace building itself.

Since many festivals were celebrated in the durbar square, there are open spaces along with the temples. Throughout the year, the square witnesses celebrations of varied festivals bringing together the people and their culture. Every festival is celebrated with equal enthusiasm, be it Hindu or Buddhist. This religious tolerance has existed in Nepal since time immemorial, which is perhaps best displayed by the Patan Museum’s golden window (lunjhyah) over the entrance door, which enshrines Avalokiteshwor/ Karunamaya – a Buddhist bodhisattva, surrounded by the pantheon of Hindu gods. spacesnepal.com

© KVPT

Bird's eye view of Patan Durbar Square

Legend and history The Patan Durbar Square was conceived as a rivalry among the kingdoms of the valley, not only in the political scenario, but also in the artistic domain, and was most intensely felt in each king’s beautification of his palace square.

The construction of the palace starts from the south - Sundari Chowk being the oldest (1627 A.D)- and goes northwards. In distinction to this, temple construction in the pubic square started from the north and proceeded in both directions. The oldest temple in the square – Charnarayan temple is on the north.

It is to be noted that the existing palace complex is essentially the work of two Malla kings, Siddhi Narshimha and Srinivasa, father and son, whose successive reigns spanned most of the 17th century. The Sundari Chowk was built by Siddhi Narsimha Malla and completed in the year 1647, also the year of birth of Srinivasa Malla; in whose reign the palace would be completely renovated. He also built the temples of Vishveshvara and Krishna mandir, and initiated a ritual dance still being performed every year during the lunar month of Kartik in winter. Known as Rajarsi (sage among kings), he was an abstemious and meditative man devoted to the gods than to the enjoyment of kingly splendors. Legend attests that he lives still and it is said that the stone guardian spacesnepal.com

elephants of his temple Visvesvara will signal that death has at last come when they descend to drink in the Manidhara.

The Mul Chowk was built by Srinivasa Malla in the year 1666. At that time, he introduced the practice of celebrating the Dashain sacrifices in this quadrangle. Marry Slusser in her book ‘Nepal Mandala’ quotes that, ‘thyasaphu’ - an ancient book specifically states that the ‘foundations of Chaukot Durbar was laid by Srinivasa Malla, but he must only have restored or enlarged the preexisting quadrangle’. The consecration ceremony of the rebuilt quadrangle, then alternately called Manigalbhatta

The Kartik Dance initiated by King Shrinivasa Malla is still performed every year during the lunar month of Kartik in winter.

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The Patan Durbar Square was conceived as a rivalry among the kingdoms of the valley, not only in the political scenario, but also in the artistic domain

(Central Square Law Court), took place in A.D. 1680. A few years later in A.D 1693, ‘the southern part of the Chaukot fell down’ and scarcely a half century after its consecration, the building was razed by Vishnu Malla, who ‘built it anew’ which is today known as Manikeshava, or more commonly Lunjhyan for its golden window.

Legend has it that a small river once ran along what is now the palace front – it is still there underground as storm water drain. A Vihara (Buddhist monastery) was present on the banks of this small river.

Later the Vihara was shifted giving space for the palace extension.

Thus the Manikesava Chowk was built in 1734, which was originally known as ‘Chaukot Durbar’. However, the sanctity of the site and its relation with water are still remembered after centuries. Every year, during the holy month of Gunla, a Buddha image is immersed in the consecrated water of a copper vessel placed in front of the golden door and worshipped by the faithful.

The public square is embellished with impressive temples, monuments, pillars and other shrines.

Lunjhah (golden window) over the Museum's entrance door enshrines Avalokiteshwor/ Karunamaya - a Buddhist bodhisattva, surrounded by the pantheon of Hindu gods, an example of the religious tolerance that existed in Nepal since time immemorial.

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HERITAGE

Recognized as one of the most beautiful museums in Asia and the first self-sustaining museum in Nepal, the Patan Museum is housed in the northern part of the Patan Durbar complex, previously called Charkot Durbar for its four corner tower pavilions (of which only two remain on the front facade), but later known as Keshav Narayan Chowk in reference to the temple in the centre of the main courtyard.

“To make it look like some makebelieve Malla facade would have been a case of mere conjecture.”

With its typical red brick facade in the shade of wide overhang roofs and with its many exquisitely carved doors, windows and courtyard arcades, the building itself is a ‘museum piece’; a prime example of the high standards for the arts and historical architecture of Kathmandu Valley - although it has not always shown its original beauty. After the earthquake of 1934 had destroyed the rear wing of the courtyard as well as the front roof and corner towers, they were repaired with little respect for the authentic historical fabric and the old brick walls of the courtyard were all covered with cement plaster.

Mani Keshav Narayan Chowk

NOW THE PATAN MUSEUM

But like Phoenix rising from its ashes, the 15-year long restoration (1982 to 1997) of the entire building (with support from the Austrian government), including its adaptation to a museum, has luckily returned it to its rightful place among the jewels of Nepal’s cultural heritage – for the appreciation of future generations.

Keshav Narayan Chowk

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HERITAGE

The main staircase leading up to the gallery

Since parts of the original building had been lost or changed over time, ‘restoring at least the front elevation and the main courtyard to their original design of 1734’ was one of the aims as explained by the architect in charge of the project, Goetz Hagmueller, in his book about the Patan Museum. “On the basis of preearthquake photographs, the entire top floor gallery and roof configuration of the front wing were reconstructed with relative exactitude based on these visual records, while for the facades of the courtyard, no drawings or photographs existed. In the latter case, we relied on analysis of the surviving fabric and on comparative design solutions in buildings of the same era to correct the obvious, and often insensitive alterations of these elevations.” Some aspects of the courtyard’s pre-earthquake design were also confirmed in interviews with elderly residents of Patan who could remember it from the time of their youth.

As the traditional brick and timber construction is particularly vulnerable to earthquake, the building was reinforced with concealed concrete ring beams and slabs. The back elevation of the east wing, which had been rebuilt in typical ‘Rana style’ after the 1934 earthquake, has now been restored using also some modern elements that give it an unmistakable ‘stamp of our time’. “To make it look like some make-believe Malla facade would have been a case of mere conjecture,” says the architect, “To make it understandable that this part is not a replica of the original elevation was the intention.” The use of steel beams and pillars instead of traditional wooden ones has, if nothing else, given appropriate structural strength and a contemporary note as mandated by international conservation guidelines.

Once inside the museum at its main staircase, visitor circulation moves through seven principal galleries and from one floor to the next in a “square spiral” around the entire courtyard. In a wonderful play between shadow and light, each of these galleries shows and explains some distinct aspects of Hindu and Buddhist devotional art with exquisite religious artifacts, culminating in the last gallery with a focus on the technology of traditional metal crafts for which Patan is famous. Apart from a few free-standing exhibits – like the 17th century throne of the Malla kings of Patan – most objects are displayed in showcases individually designed and illuminated to give each of these sacred icons its own spatial aura and dignity.

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HERITAGE

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HERITAGE

Out of the 1100 artifacts from two national repositories, most of which were retrieved stolen art, only 200 objects were carefully selected by Mary Slusser for the exhibition.

In welcome distinction to most museums, the available gallery space is not overcrowded. In fact, only some 200 objects have been carefully selected for permanent exhibition from two national repositories comprising more than 1100 artifacts. It was the daunting task of Mary Slusser, the eminent author of “Nepal Mandala” and other works on the cultural history of Nepal, to have made this selection for a meaningful didactic museum display and to explain the spiritual and artistic significance of each image in easily readable labels.

Each of the galleries exhibit distinct aspects of Hindu and Buddhist art and artifacts in a wonderful play of light and shadow.

other of Nepal’s museums during the same period – the majority being students. But apart from this educational purpose, its courtyards also often come alive with musical functions, and sometimes with exhibitions of contemporary artists. The serene historical context is further complemented with a quiet and beautiful garden café in the back of the museum, with delicious food served in a homely environment, enhancing the museum experience of a lifetime.

Conclusion It is a sad irony that most of the treasures now in the Patan Museum are in fact stolen art. First having been looted from their original shrines and places of worship for the illicit international art trade, but intercepted by police or customs officials before being smuggled abroad, they ended up – often for years – in the above mentioned state repositories, until the lucky day they were returned to the public domain in this and other museums.

Since its inauguration 12 years ago in 1997, the Patan Museum has attracted some 600,000 local and foreign visitors, more than any

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Giving space to every users, be it the old man basking in the sun chewing fresh peanuts, or small children playing with the stone sculptures or those sitting in the temple plinth and watching the world go by, Patan Durbar Square in essence is a people’s place.

From the era of royal powers to the present day democratic society, the square has given space and identity to all Nepalese. This architectural marvel has come a long way with us and we are never tired of admiring its beauty. Now is the time to preserve its soul for our future generations who have equal right to witness and be a part of this glorious story. spacesnepal.com

HERITAGE

Apart from the educational purpose of the museum, the courtyards come alive with musical programs, further complemented by the quiet and beautiful garden café.

Acknowledgement Architect Gotz Hagmuller Architect Rohit Ranjitkar Padma Sundar Maharjan, architecture student IOE Kavita Maharjan, architecture student IOE Sabin Shrestha, architecture student IOE Kathmandu Valley Preservation Trust, Patan Patan Museum Administration Pulchowk Campus library

References •

• • •

Kathmandu Valley, the Preservation of Physical Environment and Cultural Heritage. A protective inventory prepared by HMG of Nepal in collaboration with the UN and UNESCO, the Austrian Federal Government and the JDR 3rd fund The Patan Royal Palace restoration and conservation project, joint mission report. Dec. 2006, KVPT Slusser, Mary Shepherd, 1998; Nepal Mandala, a cultural study of the Kathmandu Valley Hagmuller, Gotz; Patan Museum, the transformation of a royal palace in Nepal

A separate gallery of HISTORIC VIEWS OF NEPAL (accessible from the rear courtyard) is presently being completed with significant visual documents from the 1850s onwards, and will be inaugurated at the end of October.

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HERITAGE

Tusa hiti, the royal fountain, is one of the oldest hitis (traditional stone water spout) in the palace square. Built in 1636 by King Siddhi Narshimha Malla, it is sunken and oval in shape with an area of approximately 8 meter square. The main component of this artistic hiti is its multi faced golden spout (with faces of a cow, frog, crocodile and fish). On top of the spout is a bronze figure of Vishnu with his consort Laksmi on Garuda and below the spout there is an image of Bhagiratha with two elephants.

“Its retaining walls are divided into two registers of niches, each with a miniature image of a tantric divinity. Most of the images are stone, but there is an occasional one of gilt metal. Still other images and shrines surround the fountain, and a protective serpent encircles the brink. (ref: pg: 200, Nepal Mandala)”

The Tusa Hiti in the Sundari Chowk

Recently Kathmandu Valley Preservation Trust (KVPT) won a competition under the ‘American Ambassador’s Fund for Cultural preservation’ worth US $ 86,700.

This fund has been specifically allocated for the stone sculpture preservation of Tusa Hiti and Bhandarkhal garden. Donors include: Sundari Chowk Restoration Donors (World Monuments Fund, Mr. and Mrs. Prithivi B. Pande, Nepal Investment Bank, Beatrix Ost and Ludwig Kuttner, Sumitomo Foundation, Japan), Tusha Hiti Water Supply inlet and outlet work and Bhandarkhal Tank restoration Donor (German Embassy, Kathmandu) and Stone Conservation of Tusha Hiti and Bhandarkhal Pavilion (U.S. Ambassadors’ Fund for Cultural Preservation Program, U.S. Embassy, Kathmandu).

© KVPT

Water flows through

TUSA HITI after half a century!

The water source of the Tusa hiti is Naricha near Lagankhel, which is one of the historical sources providing water to nine other hitis. These historical water bodies had ceased to function since the last four and half decades, until KVPT recently took the initiative to reconstruct and preserve them. There is a belief that once this hiti starts giving water, there will be peace and prosperity in the country.

Other restoration plans include: • Improvement of the source at Naricha near Lagankhel • Improvement/relaying of the supply lines • Rehabilitation of the outlets • Rehabilitation of Bhandarkhal pukhu © KVPT

© KVPT

Vishnu with Lakshmi on Garuda on top of the multi-faced golden spout of the Tusa Hiti

© KVPT

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Section through the Sundari Chowk, Tusa Hiti and Bhandarkhal tank.

September-October 2009

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POLYMIX

PRODUCTS

CONCRETE IMPRINT

Construction of a building concludes with its finishing, which is usually stated as one of the most complicated and costly processes in building construction.

Recently Polymix Concrete Imprint introduced to the Nepali market a new method of flooring/ finishing which does not require additional finishing materials like marble, granite, tiles etc. Polymix Concrete Imprint (or PCI) uses colour hardeners on leveled wet concrete which is coated with other chemicals like Magnesium Buff Float, NR 25 Releaser Powder etc. and stamped with various textures using moulds, and the end result, after cleaning, is a surface with natural looking textured finish, without using any additional finishing material. The professionals at PCI are trained in Malaysia and Australia and the materials and tools for this process are also imported from these countries. Price: Rs. 125/ sq. ft. (equivalent to average quality tiles but comparatively cheaper than marble)

ADVANTAGES: • Colour Hardener fills the pores in concrete and binds the concrete properly • Blocks leakage in concrete • Water ponds are not created hence avoids watermarks problem • Slip resistant • No moss growth • The colour doesn’t fade

TRANSWELD TRANSFORMER

Being one of the leading Transformer manufacturer in Nepal, Transweld Nepal, brings to the Nepali market a product that we can be proud of. Though many raw materials are imported, the transformers are designed and fabricated at their factories in Kathmandu and Hetauda.

For further information contact: Transweld Transformer Head Office: Lazimpat, Kathmandu, Ph. No. 4410631, 9851072148 Factory: Dhapasi, Kathmandu, Ph. No. 4363481 e-mail: amulshrestha@gmail.com

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MAINTENANCE: General Cleaning; after 3-4 years washing and application of specific oils is required – this service is provided by PCI.

For Further Information Contact: Polymix Concrete Imprint Below Airport, Sinamangal, Kathmandu Ph. No. 01 – 2050692

SERVICES PROVIDED: 1. Replacement Guarantee: Transweld Nepal issues a replacement guarantee for a period of 1 year from the time of purchase in case of manufacturing or technical defects.

2. Back-Up Facility: Clients are provided with free back-up transformers (especially for sensitive cases such as hospitals) in case of short circuits, for the repair time.

3. Free of cost maintenance at the end of guarantee period.

4. Technical overview and yearly maintenance for minimum charges, which ensures the extension of the product’s lifespan by about 1.5 times.

5. For hydropower projects, where transformers can be damaged due to difficulty in transportation (remote locations), skilled technicians are employed to check and repair any damage before charging the transformer.

Transweld Nepal produces transformers ranging in capacity from 5 kVA to 1000 kVA.custom designing and fabricating according to the clients specific requirements is one of the advantageous service provided by the company. Price range: 1, 50,000 – 20, 00,000.

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SPACES CONNECTS

DESIGN

FIRM

Services

Project Sample

Contact

Archiplan Pvt. Ltd, Kathmandu

Architecture, Planning, Conservation, Preservation, Landscape, Interior, Construction Management

Kathmandu College of Management, Gwarko; Nepal Medical College, Kathmandu

977-1-4416118 archiplan@wlink.com.np

A-Not Architecture and Architects

Architecture, Interior, Landscape, Planning, Conservation, Valuation, Construction management

National Planning Commission, Kathmandu; Nepal Midpoint Community Hospital, Nawalparasi

977-1-5526061 anot_architects@hotmail.com

Design Cell, Kathmandu

Architecture,Engineering,Planning, Interior design

Krishna Tower, Kathmandu; Chitwan School of Medical Sciences, Bharatpur

977-1-4423165 admin@dcell.wlink.com.np

Innovative Createers

Architecture, Interior, Sustainable/green design

Tilganga Eye Hospital, Kathmandu

977-1-4249290 createer@mail.com.np

John Sanday Associates Pvt Ltd

Architecture, Planning, Conservation, Preservation, Landscape, Interior

Upper Mustang Cultural Heritage Conservation Project; Mustang HRDC( Hospital for rehabilitation of disabled children), Banepa.

977-1-4411671/4438935 jsa@subisu.net.np

KVPT (Kathmandu Vally PreservationTrust)

Historic preservation

Radha Krishna temple, Patan; Kal Bhairv temple, Kathmandu

977-1-5546055 info@kvptnepal.com

Prajwal Hada and Associates

Architecture, Interior, Landscape, Structure, Planning, Construction Management

Civil Mall, Kathmandu; Ashok Cinema Hall, Patan

977-1-4672747 prajwalhada@yahoo.com

Prabal S. Thapa

Sustainable /green architecture

Tiger Mountain Lodge, Bardia; Amaghar Children's Home, Godavari

977-1-4434628 ptarch@infoclub.com.np

Red Buddha Folk Art

Traditional Nepali Designs adapted for Contemporary Living

Baudha Kitchen, Kathmandu

977-1-444-2512 mikekraj@wlink.com.np

Shah Consult International (P) Ltd

Architecture, Interior, Landscape, Planning, Hydro Power, Structure

Agriculture Development Bank H.O. Extension, Kathmandu; Muni Bhairav Commercial Complex, Kathmandu

977-1-4468866 shahcoint@wlink.com.np

Sarosh Pradhan and Associates

Architecture, Interior, Planning, Graphic design

The Bakery CafĂŠ, Sundhara, Kathmandu; TEWA, Lalitpur

977-1-4270260 sarosh.pradhan@gmail.com

Siddharth Gopalan

Architecture and Interior

The Factory, Thamel, Kathmandu; Valley Homes, Lalitpur

977-1-4104522/4104523 info@emporiosnepal.com

SLTD( Shelter and local technology development centre)

Cost Effective Technology & Research

Pokhara Housing, Pokhara; Housing for Mushahars families, Siraha

977-1-4270696 bhshrestha@wlink.com.np

SPADECO (Spatial Design Company Pvt .Ltd)

Architecture, Engineering, Interior, Construction Management

Nepal Pavilion Expo 2005, Aichi, Japan; Kathmandu Medical College Extension, Kathmandu

977-1-5526040 spadeco@hotmail.com

Technical Interface

Planning , Engineering, Architecture, Interior

Nepal Pavilion Expo 2000, Hanover, Germany; Sanchaya Kosh, Thamel, Kathmandu

977-1-4222408 tecinter@wlink.com.np

Vastukala Paramarsha

Architecture, Interior

Comfort Housing, Kathmandu; Great Lotus Stupa, Lumbini

977-1-5542418 vastu@mail.com.np

SERVICES COMPANY

Field

Contact

NEW TECHNICAL WATER PROOFING SERVICE & REHABILITATION PVT. LTD.

Water Proofing

977-1-5545242 ntwps@wlink.com.np

PURPLE ENTERPRISES

Termite Treatment, Water Proofing

977-1-4492285 sk3p@wlink.com.np

HIMALAYAN FLORA ENTERPRISES

Landscaping, Ornamental plants, Cut Flowers, Foliage, Orchids

977-1-2220783 himalflora@gmail.com

IT WATER PURIFIERS

Water Treatment

977-1-4275649 tamrakar.pradeep@yahoo.com

GALLERY

Field

Contact

SIDDARTH ART GALLERY

Contemporary Arts

977-1-4218048, 4438979 siddharthaartgallery4@gmail.com

PARK GALLERY

Contemporary Arts

977-1-5522307 parkgallery@wlink.com.np

KASTHAMANDAP ART STUDIO

Creativity and visual art

977-1-5011573 kasthamandapartstudio@gmail.com

GALLERY 32

Photography, Art, Poetry

977-1-4241942 info@dent-inn.com

ART

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September-October 2009

spacesnepal.com

spacesnepal.com

ROYAL PALACE Durbar Marg

Kantipath

Lazimpath

KALINTA Nag Pokhari

September-October 2009

81

SALIENT FEATURES OF THE TECHNOLOGY Architectural beautification Eliminates weeds and watermarks problems Gives a long lasting and hard wearing surface Easy and low cost maintenance Slip resistance

INTRODUCTION Product Presentation: Recently, well-acclaimed and widely accepted technology in Australia and Malaysia is introduced in Nepal by a team of committed professional which not only replaces (Marble, Granite, Mosaic, Creamics Tiles, Concrete Slabs) traditional materials but offers highly authentic in appearance with excellent durability to minimize your cost with above materials available in your towns/cities.

o o lution in concrete fl

r

Revo

Below Airport, Sinamangal, Kathmandu Phone : 012050692, Email : roquesanj2009@gmail.com

P O LY M I X

CONCRETE

IMPRINT

ASK GROUP (ASKG) Project Name : Bajeko Sekuwa Restaurant, Sinamangal Consultant

A-NOT ‘ARCHITECTURE N ARCHITECTS’ ON THE ANVIL

: ASK Group (ASKG) Situ Plaza, Narayanchour, Naxal, Kathmandu

Project Name : Hotel Building, Tibet

Phone No.

: 4413587

Designers

: A-not ‘Architecture n Architects’

Website

: www.askg.com.np

Area

: 0.5 Hectares

Client

: Chetan Bhandari

Project Type

: Revitalization and Façade development

Project Type

: Renovation

Status

: Design Phase

Status

: Under Construction

Features

Features

: This project intends to revitalize “Bajeko Sekuwa” which is nestled in the midst of the metropolis .The design has put an endeavor to resound progressively modern and minimalist architectural notion with elevated quality of space.

: An existing two storied building (85 m length) used as store-cum office is converted into a hotel building with 100 rooms, restaurant and swimming pool.

The Tibetan façade is accompanied by Nepali architectural style. The structural parts and the inner partitions of the building were not much altered.

The façade and roofline of the building are designed so as to break the monotony in the structure.

Features of traditional Nepali architecture such as wooden pillars and struts on the slope roofs are incorporated.

SPADECO P. LTD. Project Name : Muktinath Temple, Butwol Consultant

: SPADECO Pvt. Ltd.

Client

: Shree Swami Narayan Muktinath Development Trust, Muktidham, Butwol

Project Type

: Design & supervision

Status

: Under construction

Features

: A 3 Tiered Temple designed in traditional Malla architecture. The Temple features typical nepali architectural elements, features and proportions.

PRAJWAL HADA ASSOCIATES Project Name : Civil mall, Sundhara Consultant

: Prajwal Hada Associates

Status

: Under Construction

Features

: The commercial complex located at Sundhara has 3 cinema halls along with food court, kids zone, number of shops and a double basement parking.

An important urban space is created by the front plaza of the building where people can hang out and enjoy the space.

OPINION

A Blitz on Mall Malady - Prof Bharat Sharma

The recent gold-rush type of Mall Malady in Kathmandu is getting very pronounced for any onlooker. I have no specific comment on Mercantile Crescendo of Mall culture but I do have concern over most of the architectural products per se.

I guess as per prevalent modern concept and cognition of Mall in

When the words spread that four Nepali Painters were chosen to exhibit their works in one of the most prestigious art venues of India in Mumbai , the Nepali art fraternity almost in unison took it as a collective pride . For the occasion offered Nepali Art not only a rare opportunity to showcase the state of creativity taking place in Nepal and but also a barometer to test the level of its acceptance in the market elsewhere. In both counts, the event did succeed well in achieving the desired objectives – a superb display of diverse forms and styles as it exists in the present day Nepali Art in a common platform and secondly, as we’ve been told, the event did prove excellent from the sales point of view as well. In that sense, the artists therefore, do deserve our hearty congratulations.

But at the same time, does this event also give us sufficient reasons to conclude that Nepali Painting as represented by the four is now fairly competitive at the Sub-Continental level and can afford to remain complacent or be happy at the way we’re moving? Objectively speaking, we do need some further thoughts. To begin with, let’s not forget that the event is entirely an individual initiative – a token display of appreciation by the patron or the organiser towards

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context of built- environment in the West, our so called Malls are not Malls in essence. The Mall Environment is definitely not BOXEnvironment which we generally experience in Kathmandu.

Rather it should impart a promenade feeling. It should establish a bridge between the external and internal spaces with

a strong sense of ‘Spatial Fluidity’ and a unique kinetic experience.

These days in Kathmandu there is growing trend of mushrooming of so called Malls as if to reap Mall-Bonanza.

I hardly bother about the ‘Means’ but I sure am perplexed by the ‘Products’. In architectural functions and quality including the Envelope, they do not quite seem to be what they claim to be. It is not like ‘giving a dog a name’ and he will respond to your call. So the bottom-line of the moral is that just sign-boards do not justify the

NEPALI PAINTING:

beyond the local borders - Madan Chitrakar the artistic heritage of Nepal –the land of her birth. The choice of artists therefore, is entirely her private affair. And an individual judgement always remains subjective and thus, do not qualify to label it as a representative display of creativity taking place in the country. So to describe this event with euphoric phrases at this stage is rather early. Rather at this stage, what remains more interesting and relevant to us is to know the basic contents and its salient features of the works as it appeared in an aesthetically more advanced audience.

Kiran - artist known for his strong likings to the spontaneous strokes and patches, is represented by the usual imageries of his chosen style – albeit with different titles. His sense of judgement and confidence of colours have been commendable. But it constituted a specific idiom or style needed to make a specific content and it has continued to recur for more than a quarter of a century. What a viewer would expect is a continued noble innovative imageries. Here lies the basic

difference between the creativity and the continuity. At the same time, the elements chosen by Uma Shankar - medieval prayer wheels and the Buddha idols must have evoked a great sense of curiosity amongst the urban elites of Mumbai and can easily be guessed that it must have been equally rewarding as well. But it is very hard to avoid a debate that does a persistent and multiple use of repetitive forms in a near monotonous manner qualify to call it a contemporary expression? And does it justify to its stated theme –Peace? Dr Seema, at the same time has chosen almost similar elements for her Prints. But she has made an astonishing assemblage of exotic medieval motifs and forms to celebrate the unique religious harmony and the rich artistic heritage of the historic Kathmandu Valley. A combination of exotic motifs and forms expressed in a modern contemporary print has resulted in an exotic panorama – most likely, causing a wide curious interest amongst the Mumbai elites. Notwithstanding the exquisite looks, a debate haunts a critical mind, whether the artist

cause of architectural solutions.

Sometimes the folly lies with the client also. I understand that Kathmandu Mall in Tudikhel was not designed by the architect as a mall but something else and later got converted it into a Mall.

But there are others around Khicha Pokhari and other various locations which were initiated as Malls but without the basic soul of a Mall. So it all boils down to sign-board culture only.

Prof. Bharat Sharma was the DDG of the DUDBC and is currently associated with Nepal Engineering College at Kathmandu (dhabauli@yahoo.com)

is seeking to make a narrative of the past or a mere clever manipulation of the available forms. Manish – the youngest of the four participating artists, showcases his large canvases with conceptual imageries – seeking to narrate his own personal experiences of sound in relation with the existential issues of a human being. The concept of sound is usually conveyed through the symbolic bells or conch shell. The visual extravaganza is superb – the mastery over the large space is well reflected with the clever use of chosen forms. But the unusual wedding of his earlier style with the large dots, raises strong questions whether the artist is unusually inspired by the images found in the electronic media.

Conclusively, the event indeed marks a turning point where the Nepali artists were able to make collective debut. Thanks are definitely due to the organizer but one should take it as a starting point. Larger and wider participation is definitely desirable in future so as to make it more meaningful. But the artists must bear in mind that to be able to make an international presence it needs lots of effort and innovation.

Madan Chitrakar is an artist, art writer and critic and a visiting faculty in the art colleges of Kathmandu. spacesnepal.com

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