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Vol 13 No. 03   AUGUST 2017




ROOM BFA Graduation Shows

NRS. 100/-










Contents Volume 13 NO. 03 | AUGUST
















24 ARCHITECTURE Preserving Nepal in Lumbini


No Ordinary ROOM



Combination of Light and Color


Citrustree Villa MANGOSTEEN


64 ART

BFA Graduation Shows


Buddhas of the Celestial Gallery



Volume 13 N 03 | AUGUST O.



Ashesh Rajbansh Editor-in-Chief

Ar. Sarosh Pradhan Director- Products and Materials

Ar. Pravita Shrestha

Contributing Art Editor

Madan Chitrakar

Sangeeta Singh

Asha Dangol

Ashmina Ranjit

Usha Sharma

Chhavi Vashist

Madan Chitrakar Kasthamandap Art Studio Junior Editor

Shreya Amatya Sristi Pradhan Pratap Jung Khadka Advisor

Ar. Pawan Kumar Shrestha Subscription and Administrative Officer

Riki Shrestha

Contributing Editor

President - Society of Nepalese Architects Ar. Jinisha Jain (Delhi) Ar. Chetan Raj Shrestha (Sikkim) Barun Roy (Darjeeling Hills) Photographers

The author, Madan Chitrakar is a senior artist and an art- writer based in Kathmandu. As a leading art writer of the country, on many occasions he has taken Nepali Art beyond the borders - through his writings in many prestigious publications abroad - notably in Japan, India and Bangladesh. Two well acclaimed books Tej Bahadur Chitrakar - Icon of a Transition’ 2004 and ‘Nepali Art: Issues Miscellany’ - 2012 remain to his credit, in addition to the numerous writings on Art and Culture in English and Nepali. Presently, he is associated with Tribhuvan University, Central Department of Fine Arts and Kathmandu University, Center for Art & Design as a member of the respective Subject Committee.

Pradip Ratna Tuladhar Intl. Correspondent

Bansri Panday Samir Dahal Intern

Sangeeta Singh is an Associate Professor at the Department of Architecture and Urban planning at the Institute of Engineering and has been teaching there since almost 20 years. She holds a master’s degree in infrastructure planning from the University of Stuttgart, Germany and is currently undertaking PhD research at the department where she teaches. She is also a practicing engineer/ planner and has a keen interest in research. Her research interest includes urban ecological planning, sustainable development, eco cities, housing among others and she has published her research articles in national and internal journals.

Soyana Nyachhon Director- Operation & Public Relation

Anu Rajbansh

SR. Business Development Officer

Debbie Rana Dangol Marketing Officer

Ruby Shrestha Legal Advisor

Yogendra Bhattarai Financial Advisor

Kiran Rajbhandary

Asha Dangol is a contemporary Nepali visual artist. He is co-founder of the Kasthamandap Art Studio and E-Arts Nepal. He holds Master’s Degree in Fine Arts from Tribhuvan University, and has been creating and exhibiting his art since 1992. He has 10 solo art exhibitions to his credit. Dangol has participated in numerous group shows in Nepal and his work has been exhibited in different countries outside Nepal. The artist experiments with painting, mixed media, ceramics, installation, performance and video.

Ashmina Ranjit is a Kathmandu-based conceptual artist with a strong interest in gender politics. A large body of her works operates from a feminist framework challenging binary oppositions; exploring, exposing and challenging pre-existing power structures. She believes in the potential of art to provoke and invite dialogue around society’s most pressing issues. As director and co-founder of LASANAA, a collaborative community arts centre, she actively works to develop a grassroots ‘artivism’ (art+activism) network in Nepal. She also runs NexUs Culture Nepal, a self-sustainable art cafe and gallery.

Usha Sharma completed her Diploma in Interior Design from IEC, School of Art and Fashion in 2007. Since then, she has designed a number of showrooms, offices, residential spaces and other related structures. Her other areas of interests include fine arts and photography.

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IMPRESSIONS Publishing Pvt.Ltd. Kopundole, Lalitpur, GPO Box No. 7048, Kathmandu, Nepal. Phone: 5181125, 5180132 Design/Layout & Processed at DigiScan Pre-press

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Chhavi Vashist is a Delhi- based Architect. She enjoys reading blogs & posts at blogger, WordPress, and some social networking sites too, which inspires her to write blogs. In past she had worked for a website: as an Interior Designing - content writer. She is also skilled in blogging, photography, travelling, event coordination, drafting, rendering, art & craft and model making.

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Editorial We were taken aback to hear about Dina Bangdel’s untimely demise earlier this month. She was a truly scholarly gem who contributed in myriad ways to Nepali as well as the international art community. Art historians and scholars play an important role in enhancing, encouraging and documenting the arts, and her demise is a huge loss to the community. However, things are looking good for the furniture and furnishing industry in Nepal. SPACES has featured past FURNEX expos organized by the Furniture and Furnishing Association (FFA) and is also the magazine partner for the annual exhibition this year as well. While chatting with the major stakeholders of the industry at the expo, everyone is optimistic about the future. Indeed, Nepali middle and upper class living standard is improving and the furniture and furnishing business is growing steadily. It is also very impressive that architecture and art exhibitions are being organized and attended in lots of different colleges these days. Exhibitions provide a platform for budding artists and also tends to bridge the gap with the non-artistic community. Himalayan College of Engineeniring and Kathmandu University both organized successful art and architecture exhibitions, and I am grateful for the students for their exemplary effort. For the sustainability and green technology enthusiasts, Pratap’s coverage of Matoghar, an eco-friendly mud house in Budhanilkantha, should be an interesting and informative read. The house uses the ancient rammed earth technique to build thick walls, and employs a passive solar architectural design system to regulate temperature inside the house. Alternative building practices should be encouraged in Nepal, especially because earthquakes will continue to be a source of nuisance and fatalities in the future.. Matoghar is almost completely earthquake resistant and it is imperative that such alternative designs gain more acceptance in the Nepali community. A sustainable mindset is a must also, since rising global temperatures and climate change is negatively affecting our lives.

Our interior designing sections features some very fascinating pieces on the effects of light and color to beautify the spaces. Soyana’s No Ordinary Room goes into fascinating and lovely combination of desire and reality that one should imagine. BFA Graduation show realizes that we have promising young generation getting ready to surface gentle flamboyance. Happy reading..

Ashesh Rajbansh / CEO


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Showroom: Kamaladi Comp Showroom: Kamaladi Complex, Kamaladi, Kathmandu, Nepal. Contact: 9771600209 AUGUST 2017 SPACES / 13 E-ma E-mail:



AUSTRALIA AND THE CONCEPT OF ECOCITY The ecocity world summit 2017 which took place in Melbourne, Australia from 11-14 July 2017, provided Ms. Sangeeta Singh, associate professor at the Department of Architecture and Urban Planning at the Institute of Engineering, a unique platform not only in presenting a paper on the “Challenges and opportunities in urban ecological planning in the context of Nepal” but also in understanding the world views on building sustainable cities.The Economist’s annual global liveability survey has declared Melbourne as the most liveable city in the world for the seventh year running. During the three days of the summit it was an overwhelming and a difficult task to choose from the 300 sessions from the three tracks on Urban Leadership, Academic Research, and City Practices which was participated by more than 900 delegates from 30 countries.Although all the plenary


sessions were interesting, the one that garnered a lot of attention was the plenary session where Al Gore was the keynote speaker. Discussing the dimensions of sustainable cities with Richard Register during the summit was indeed a totally enriching experience. Eco city as a concept for planning cities is seen to have been popularized by Richard Register with the establishment of non- profit organization Urban Ecology in 1975 and Eco city Builders in 1992 which urged discussions on ecological aspects in urban planning and also with the publication of a book Eco-city Berkeley (1987), the journal “urban ecologist” and later some other books on the subject matter. Register envisions rebuilding cities “in balance with nature”, and he stresses on “as we build, so shall we live”. He further raises concern on the impact of “peak oil” situation where practically everything from transportation, indoor climate, food, clothing, shelter depends on oil. “Given the crisis state of life systems on earth, the collapse of whole habitats and the increasing rates of extinction of species, it follows that cities need to be radically reshaped; they need to be reorganized and rebuilt upon ecological principles. “When we build the automobile sprawl infrastructure, we create a radically different social and ecological reality than if we build closely knit communities for pedestrians” .

Richard Register has been tracking many of the dilemmas cities face and has written extensively on the ecocity building approach. Register’s organization the Urban ecology (later Eco city Builders) have organized eleven world eco city summits across the globe which has been effective in advocating the eco city principles, formulating the policies frameworks and standards and identifying the elements of eco city. The summit started in 1990 Berkeley, USA and have ever since been held in various countries: 1992 Adelaide, Australia, 1996 Yoff, Senegal, 2000 Curitiba, Brazil, 2002 Shenzhen, China, 2006 Bangalore, India, 2008 San francisco, USA, 2009 Istanbul, Turkey, 2011 Montreal, Canada, 2013 Nantes, France; 2015 Abu Dhabi, UAE; 2017 Melbourne, Australia. Human settlements from the ancient times in history have emerged as a response of mankind to fulfilling its basic requirements and adapting to nature and its diversity. Starting from the Paleolithic (stone age) ages human beings have gradually advanced changing not only the surrounding in which they provided themselves with shelter and comfort but also in the livelihood and consumption patterns using the great potential of the human mind which differentiated them from the other species on earth. With the industrial development and technological advancement creating


unlimited possibilities there has been a further shift in the livelihood and consumption pattern leading to societies largely depending on mechanized systems. In the process there has been a rapidly accelerating gap between the nature and man, and more and more exploitation of natural resources. The air and water pollution is increasing, waste assimilation is becoming more and more complex and burden some with the consumption pattern becoming more and more sophisticated and advanced. With the increasing population, the land is increasingly being occupied by the human species, expanding in all directions of the globe, driving all the other species to extinction in the process of exploiting the forests and agricultural land and disturbing the other natural ecosystems of the earth creating increasing number of urban ecosystems instead. With increasing globalization through improved technology, the impact of development on ecological systems have shifted from local to regional to global level threatening the survival of human beings. With growing realization of this increasing impact on a global scale there has been yet another paradigm shift in the recent years, in planning sustainable settlements and various approaches like the eco city, low carbon city, green city, smart city have been gaining global significance. It is obvious that urbanization cannot be curbed and cities are bound to grow in numbers and sizes. How we plan our cities and how we manage our urban ecosystems in relation to other natural ecosystems of the world will largely determine the survival or extinction of the human species.

During 19th century, the city planning principles have been guided by abundant use of nonrenewable energy (fossil fuel) combined with new technologies leading to improvement in the quality of life. Access to clean water, centralized sewage treatment, vehicular oriented streets promoting higher and higher speed, increased comfort levels with lighting and heating technologies and increased consumerism, and improved communication technology have been achieved as the society made speedy progress to modernism. The societies became developed leading to the so called developed nations and the developing nations aspiring to become developed nations. However the 19th century models of city planning have in retrospect been very unsustainable models, with over exploitation of natural resources and this realization have brought forward the paradigm shifts in the planning principles in the twentieth and the twenty first centuries focusing more on sustainability issues. “Sustainable development” has become the new paradigm in global efforts towards economic development since the Brundtland commission published a report “our common future” in 1987 which defined it as “development that meets the needs of the present, without compromising the ability of future generations to meet their own needs”. The United Nations conference on human development in 1972 leading to the Stockholm declaration on human environment was the first major international gathering that discussed on sustainability issues on a global scale. Since then there has been a number of efforts on a global scale focusing

on sustainability and climate change and there has been more concerns on considering the ecological approaches in human settlement planning. The Melbourne Principles for Sustainable Cities is one of the product of the United Nations Environmental Programme International Workshop on Building Urban Ecosystems held in Melbourne in 2002 which were adopted at the Local Government Session of the Earth Summit 2002 in Johannesburg, and known as Local Action 21 or the Johannesburg Call. The vision promoted by the ten Melbourne Principles is to create environmentally healthy, vibrant and sustainable cities where people respect one another and nature, to the benefit of all. Resolution on Sustainable Development Goals adopted by the General Assembly on 25 September 2015 includes 17 goals which has included all the key elements of sustainable development including fostering inclusive, safe, resilient and sustainable human settlements ( goal 11: Sustainable cities and communities). Since the earth summit sustainable development has gained recognition and been adopted by many prominent international organizations like the world bank, monetary fund, world trade organisation including the private sectors. The private sector has adopted it in the form of corporate social responsibility and several voluntary initiatives have been directed towards sustainable development including World Business Council on Sustainable Development (WBCSD), Global Compact, Equator Principles, Global Reporting Initiatives, and Extractive Transparency Initiative including international NGOs like WWF, Oxfam International and Friends of Earth.



Since Register several others have propagated the concept of Eco city, David Engwicht being one of them who published Towards an Eco-City (1992), (later as Reclaiming our cites and towns, 1993) in which he talks about how building more roads, shopping malls, gutting communities and increasing dense traffic, the city planners and engineers have greatly reduced effective human interaction. A city is “an invention for maximising exchange and minimising travel”. He advocates ‘eco-cities’ where people can move via foot, bicycles and mass transit and interact freely without fear of traffic and toxins . The five principles of an eco city according to Prof. Sudarshan Raj Tiwari are a) green city, b) wet city, c) cool city, d) disposability and e) living with other beings.


“Greening a city is about maintaining harmony with nature and its air, water and land cycles while at the same time using materials and methods that respect and work with nature. The other indicators of a green city are cool and processes that keep things moist, cool and green are natural ways to deal with present urban state which is dry, hot and grey. Thus humans can live in harmony with other life forms.” Several new paradigms in city planning have been propagated in achieving sustainable development on a global scale all of which having similar objectives such as eco cities, sustainable cities, healthy cities, safer cities, cities without slums, smart cities, energy conscious cities, clean cities, and green cities, healthy communities, appropriate

technology, community economic development, social ecology, the green movement, bioregionalism, native world views, low carbon city, zero carbon city, zero energy city, zero net energy city green capitalism, slim city, compact city, solar city etc. With commitments on global agenda on sustainability like the SDG goals, Habitat III agenda etc. the government of Nepal has shown a keen interest in the issues of sustainable development which is commendable. In the recent years planning initiatives in the context of Nepal is also seen to be guided to some extent by the principles of sustainability and concepts like food green cities and smart cities have been propagated. However there is a need to formulate proper guidelines as to how these concepts are implemented in the years to come.


JOURNEY WITH FURNEX Nepal Furniture & Furnishing Association (NFFA) is an umbrella organization of furniture and furnishing manufacturers, product importers, distributors, dealers and professionals, that seeks to lobby the government to implement industry friendly policies, and receive protection from unfair government treatment. FURNEX (Furniture/Furnishing Exhibition) is an annual exhibition of NFFA related to Furniture and Furnishing products. The main objective of the expo is to promote locally made and imported furniture and furnishing products as well as to provide information about available materials and services and to judge the quality of product that is being produced or imported in Nepal. SPACES Magazine has jointly collaborated with Nepal Furniture & Furnishing Association (NFFA) from the beginning. SPACES magazine has not only been the official magazine partner for the event, but also a publication partner for “Souvenir�, a magazine published solely for the expo and daily newsletters which are published during the exhibition catering daily activities of the event. The first FURNEX Nepal 2012, coordinated by Mr. Surendra Sharada, was organized from 27th September to 1st October 2012 at Bhrikutimandap Exhibition Hall, with 67 stalls showcasing furniture and furnishing


products and services. The event was inaugurated by the then Chief Secretary of the Government of Nepal Mr. Leela Mani Poudyal. The directory was published with the collaboration of SPACES magazine, the official magazine partner, was unveiled by the chief guest on that occasion. It was the first attempt of NFFA to conduct such a huge exhibition of Furniture and Furnishing. The event was a grand success that encouraged the association to take it further. After the grand success of first exhibition, the second Furniture and Furnishing Exhibition , coordinated by Mr. Rupesh Pradhan, was scheduled from 25th to 29th September, 2013. FURNEX Nepal 2013 was formally inaugurated by Mr. Shankar Prasad Koirala (former Minister of Finance). The Furnex Nepal 2013 Souvenir which was published on the occasion with the collaboration with SPACES magazine, official magazine partner of the event, was unveiled by the chief guest. Overwhelming participation of the exhibition made that event a talk of the town at that time.

After the tremendous success of the second Furnex, the third Furnex Nepal 2014, under the coordination of Mr. Dinesh Agrawal was held from 26th to 30th August 2014. The event was inaugurated by the then Finance minister of Nepal, Mr. Ram Saran Mahat. Similar to the previous years Souvenir for Furnex Nepal 2014 was published on the occasion with the collaboration of SPACES magazine which was unveiled by the chief guest. Interior Design Competition (IDC 2014) was one of the major component of Furnex Nepal 2014, initiated by SPACES magazine and Nepal Furniture and Furnishing Association, and later supported by Pashupati Paints and Yeti Carpet. This event sought to interior designers working on this field as well as to promote the importance of interior designing. The final round of the IDC 2014 took place in FURNEX 2014 where the contestants were required to put up models of their designs, which were displayed at the stall of Pashupati Paints, title sponsor for IDC 2014, for public vote. The panel of judges had 75 percent of the mark and the remaining

25 percent were open to public votes. Coincidently, all of the winners were from IEC School of Art & Fashion. Although FURNEX was planned as a yearly event, it could not be organized in 2015 due to the unexpected national tragedy that occurred in April of that year. The blockade in the border was another reason that exhibitors were not ready to participate. But, the Interior Design competition did take place jointly collaboration with SPACES magazine. Aiming to provide a realistic scenario for the participants, the project theme for IDC 2015 was transitional restaurant design, with a theme fusing traditional elements and modern etiquettes, of BBQ Courtyard Restaurant and Bar, Jhamsikhel. The winners of the competition were declared and awarded at 17th AGM of Nepal Furniture and Furnishing Association .Ms. Lasata Shrestha from IEC College of Art and Fashion won the first prize in IDC 2015. Mr. Shrawan Thakuri and Mr. Pratik Lohani won second and third prizes from Kathmandu Engineering College respectively. The top three students received cash prizes along with certificates, silver trophies, dinner coupons of BBQ Courtyard Restaurant and Bar and gift hampers from Kathmandu Coffee.

The fourth edition of FURNEX was organized by NFFA from 2nd to 6th December 2016, coordinated by Mr. Suzil Shrestha, was jointly inaugurated by Mr. Pashupati Murarka (President of Federation of Nepalese Chambers of Commerce and Industries/FNCCI) and Mr. Rajesh Kaji Shrestha (President of Nepal Chamber of commerce). Alike previous year, the Furnex Nepal 2016 Souvenir was published on the occasion with the collaboration with SPACES magazine was also unveiled by the chief guests. This time, more than 30 percent stalls displayed international products. People could feel the event as an international label event.

from and will be greeted with more beautifully designed stalls than those of previous years. This time also SPACES magazine is the publication partner for the Furnex Souvenir. n

Past events experience has incentivized NFFA to bring a brand-new version of FURNEX Nepal 2017 this August. Starting from the 19th of August, this expo will run for five days, showcasing more of the exquisite furniture from Nepal and abroad. The organizers claim that the visitors will have some really competitive prices to choose



ASTHA committee, the event went well and the visitors were quite happy with the work of the participatory students. The event was mainly focused on Smart Nepal Thematic project competition, civil, model, hardware, software, and photography competitions, as well as a hackathon, and other academic project displays.

HEX 2017-

‘YATRA SANGA SANGAI’ Himalaya College of Engineering presented the first major College Exhibition featuring all engineering faculties. The HEX 2017- ‘Yatra Sang Sangai” witnessed innovative and ambitious works featuring different faculty students along with inter college competitions. The exhibition was organized by Himalaya Electronics and Computer club, Himalaya Civil Club, Himalaya Robotics Club and Architecture Students of Himalaya (ASTHA). The title sponsor for the exhibition was Lumbini Builders (P.) Ltd, the official paint partner was Asian paints and SPACES magazine was the official magazine partner of the event. According to the event co-coordinator of the exhibition, Mr. Aman Singh Rathore, who is also the president in


One of the major attractions was the Architectural Exhibition. Though the HEX exhibition was only initiated this year, the ASTHA exhibition has been successfully running for the past three years.The first-year students displayed their academic work such as classroom designs, contour models, and different forms using solid shapes, lampshades, and skyscrapers. The main attraction

was the “Big Football” that was made from paper using hexagons and pentagons. Another impressive attraction crafted by first-year students were the lampshades made of threads. The visible silhouette of the lampshade was splendid. Similarly, the secondyear students displayed a model of topographical map of Nepal, showing mountains, and large lakes. They also designed a housing plot named “072 Housing” and placed the residences which they had designed in an earlier semester. The second-years also displayed the photo inventory of Chitapur. Other major works of second-year students were the attractive sketches of temples that were destroyed in earthquake. Similarly, the third-year students displayed the

contemporary architecture attractions around the world. The light trails leading towards the displayed works were quite impressive. The greatest fascination of the event was “the Chandigarh planning”, with the portrait of Le Corbusier made with 20,000 toothpicks. There were academic school projects, commercial complexes and a photo booth themed on “De Stijl”, with miniature photographs exhibited by Ashish Shiwakoti. A World map model was also exhibited, showing architectural landmarks of the world on top of it. The event emanated an “architectural air”. The fourth-years, on other hand, displayed a topographical map of Khokana. The map introduced new strategic planning of Outer ring road and the “fast-track road” project. They also presented their academic projects of the convention center, which they designed in earlier semester. The thesis works of recent graduates were also shown. Overall, the event turned out to be one of the more comprehensive exhibitions which have taken place in Kathmandu.




On the occasion of 55th Engineers’ Day, Nepal Engineers’ Association (NEA) organized 2 days event on 17th and 18th July, 2017. On 17th July, Nepal Engineers’ Association (NEA) organized a seminar on “Engineers for Infrastructure Development at Local Level”. Er. Tapendra Bahadur Khadka was the master of the ceremony, Prof. Dr. Jiba Raj Pokharel was the chief guest, Er. Dr. Jagdish Chandra Pokharel, Er. Dr. Dinesh Chandra Devkota and Er. Dr. Govinda Raj Pokharel were the keynote speakers. Er. Dr. Chandika Prasad Bhatta was the technical committee chair.The program was divided into 3 sessions. In the 1st session, speaker spoke on Institution Development & Good Governance. Similarly, Technology Management & Development was talked about in 2nd session and Socio- Economic, Environment & Climate Change was discussed in 3rd session. On 18th July, 2017, NEA celebrated 55th Engineers’ Day at Nepal Academy Hall, Kamaladi. Inauguration Ceremony in this event was done by Honorable Prime Minister Mr. Sher Bahadur Deuba.Many recognized individuals were awarded during the event, Engineer. Dhruba Raj Thapa awarded with Distinguished Entrepreneurship Award, Architect Damodar Acharya awardedwith Outstanding Youth Professional Award , Nepal Electricity Authority awarded with Engineers’ Appreciation Award , Architect Dr. Sudha Shrestha awarded with Outstanding Woman Engineer Award, Engineer Iswari Man Pradhan awarded with Lifetime Achievement Award and Engineer Devendra Kumar Jha awarded with Martyr Er. Nawaraj Bista Memorial Award. Engineer Kulman Ghising was also honored in the event with the title of Best Manager. SPACES Magazine would like to heartily congratulate all the awarded personalities from different fields for their achievements.


KUART BFA EXHIBITION PROJECT 2017 Creative art is one of the most powerful communication mediums to express emotions and personal adventures. BFA Exhibition Project 2017, held at the Nepal Art Council,was an excellent platform for future of contemporary artists from Nepal, i.e., the graduating batch of Kathmandu University, School of Arts, Center for Art and Design. The efforts from the students is promoting a new artistic environment in Nepal. A wide range of expressive works were displayed at the gallery, such as product concept, graphic communication, installation, video, interactive video and paintings. The impressive jewelry designs by Bishesta Dhakhwa and Shreya Shrestha had a contemporary touch to it. They introduced cultural elements in the modern design as well, fostering the possibilities of a new trend in jewelry design. Shambhaw Maharjan came up with a graphic novel which depicts his illustrative process and techniques. A simple, yet an effective storyline made his work easy to understand. Similarly, SPARSHA, was another interesting addition to the exhibition, a braille book written for the visually impaired, Noorisha Singh’s design was splendid. Likewise, various design elements from Bungamati were combined in a simple idea that incorporated illustrative doodles and patterns by Alina Manandhar. She tried to portray the community and

its people. The series of overhanging lights, with intricate design patterns, inspired by the ancient Ankhijhyal concept,was another notable attraction of the exhibition project. Cultural vibrancy can be emotionally attached with the works by studio artists as well. The canvas cutout of Kanchan Tamang, reflecting the patterns from Tamang jewelry, depicted a novel concept. The dance of the Khaling Rai people was depicted by Raj Kumar Rai. Waas, the main festival was put in the center of the theme for his series. The use of ethnic fabrics to create immediacy and attachment was cleverly used to bring out reality. Moreover, Sarala Manandhar’s work contained the freedom of children’s imaginationas spontaneous drawings by children and realistic painting of toys put her work at a different level. The conceptual video of Raja Maharjan

makes usanalyze ourselves in the society reflecting our changing identity. A satirical piece, modern societal concerns were represented. Love for one’s birth place and its connection with oneself was displayed through the interactive 3D Art by Barsat Karki via a digital exploration of his hometown Chandranigahapur. Yunisha Shrestha, with her stop motion, tried to reveal her own experience of different phases in Nepalese society. Skilled and detailed brushwork composition of Nilam Bhurtel was also very admirable. The new generation is coming up with innovative trends and ideas in the Nepali art scenario. There is a lot of potential but endurance and continuity in working in this is essential as well. Our own rich culture and society are inspirational aspects for the artists, as was seen in the exhibition.



JOURNEY FROM BHOTAHITY TO KIRTIPUR BFA Exhibition project titled “Journey from Bhotahity to Kirtipur�, was held from July 27 to August 2, 2017 at Nepal Art Council, Babarmahal.The group exhibition is a graduation exhibition, the first of its kind at Tribhuwan University, Faculty of fine Arts, Lalitkala Campus. The participants of the exhibition are the first batch of graduates of the newly established four years program of Bachelor in Fine Arts, which began in 2012.The exhibition showcased works of around forty recent graduates. The project was initiated by the students themselves. Having gone through a lot of traumatic experiences, such as losing the campus building in Bhotahity from the devastating earthquake in 2015, attending college without concrete


classrooms, and graduating from a college whose entity was questioned, the students took this exhibition as an opportunity to prove to themselves the skeptic. After the earthquake, the entire campus team were deciding whether to continue classes and at what location. Confusions and obstacles ran amok as classes were sometimes run in TU Canteen, and sometimes on the lush green TU grounds. Despite these troubles, everyone remained optimistic, and the resilience shown by professors and students was commendable. The exhibition showcased the skills and creativity that were pursued during the four year program.The works displayed collectives of paintings,

printmaking, digital art and installation. The paintings varied from traditional works to contemporary ideas. A few painters like Pradeep Pal Saud depicted the aftermaths of the earthquake. Begul Dhakal dedicated his painting to the late artist and professor Arjun Khaling. Some artworks were exploration of their own memories and feelings while others revealed abstract forms to interpret their inner thoughts and imaginations. Artists like Renu Shrestha and Pranaya Shrestha showcased digitally inspired artworks. The only sculpture displayed was made by Dineshwor Mahato. While there are many other more established graduation shows, the first attempt from students of Lalitkala campus will hopefully set a trend as well.



‘Between the two Worlds’ TEXT & photos : Ashmina Ranjit

JUNE 27TH “‘Hi Ashmina. I’m in the US now. Dealing with some issues with my sinus infection and some surgery to take care of it. Please don’t say anything to anyone about this since I don’t want to worry anyone. I’m slowly recovering. How are you.’ ‘Hope you are getting better… Why is it taking so long. Hope nothing serious’ ‘I ended up getting infected with meningitis in the hospital here.. which has been the reason why it was so terrible… headaches and three weeks in hospital. Again shocked that US hospitals have these infections. So the recovery was from meningitis.’ JUNE 29TH ‘Thanks. Need the positive energy for the recovery.’ JULY 9TH ‘Meningitis that left me in a bad shape. Let’s talk on Skype next week. Weekend is good.’” …………….



That weekend never came and the next I heard of Dina was on the 25th of July. A post on Facebook by a mutual friend informed me of her death. I could not believe my eyes and asked Laura, also a friend of Dina’s, to read it aloud to me. Laura suggested I call Dina’s home and I reached Dina’s relative, Tashi, who confirmed it. I had to call Tashi back three times because I could not accept it. Then, I tried to call Dina’s husband, Bivhakar. Dina believed that they were made for each other, not only for this life but that they had been together in previous lives and would be together again in their next lives to come. With such a strong bond and partnership, I worried about how he was coping. When Tashi confirmed Bibhakar had called home, I was relieved. It was then that my own grief started to sink in. I don’t remember my first encounter with Dina. Our fathers were both artists and friends. Our families brought us together, but our shared interests and passions in art connected us even more deeply.

Serendipitously, Bibhakar’s father was my father’s flatmate when they both first came to live in Kathmandu. Somehow this strengthened Dina and my relation to each other. Whenever we were together, we would talk about a range of subjects: personal issues, family, art, the development of Nepali art and the art community that we are both so passionate about. For both of us, art was a way of living. Though our modes of expression were slightly different, since I was a practicing artist whereas Dina was an art historian, we still shared a mutual love for art, and considered it equivalent to life itself. Our occupational differences actually enhanced our conversations, as we were able to challenge each other and add new perspectives.



Dina was one of the proudest daughters – not only a proud daughter of her parents but also a proud Nepali daughter. As most people know, her father, Lain Singh Bangdel, was one of Nepal’s most prominent artists. Dina drew inspiration from her father. Like Dina’s own life path, he was both an insider and an outsider, who always felt his real home and identity was rooted in Nepal. Dina always talked about coming back to Nepal, and how she wished to preserve and continue the legacy of Lain Singh Bangdel’s work as a part of a broader history of Nepali art. I remember Dina telling me of her mother, who is now more than 90 years, who came from a village when she was thirteen. It was her mother’s first time wearing chapals (slippers) after she came to Kathmandu. She spoke with a sense of strength about her mother, who then went on to become a head nurse at the Maternity Hospital for 33 years. Though Dina may not always have been there physically for her mother, she was always there to support her and often encouraged her to write about her life experiences. Dina’s choice to have both a family and a robust professional life was undoubtedly inspired by her mother’s achievements. I have witnessed what a compassionate and dedicated mother Dina was with her children, Neal and Deven. She could balance being their friend as well as being a stern parent when it came to them taking responsibility for their


actions. Like her own mother, Dina was a constant support and caregiver, not only to her children, but to many others as well. She shared her love with many kids, including my own child, Aba, who calls her ‘Dina Aunty’. Her ability to be soft while also being assertive was one of the wonderful aspects of Dina’s personality. If something angered her, she would often say ‘Rai ko rish aauncha malai ta’ (Rai’s being known for their anger.) I have met with many of her students both in Nepal and abroad and their shared reverence for her is immediately obvious. She was devoted to her students, always encouraging them to think critically and pushing them to achieve the best of their abilities. She always gave it her fullest, and saw others in the same way as well.


Dina existed between worlds, living and working abroad yet having a strong sense of identity and bond with Nepal. She spoke many languages and lived outside Nepal for half her life but she never got rid of, and even talked with pride about her Nepali accent, the index of her origins. Dina accepted the post of chair of the Art History department at Virginia Commonwealth University in Qatar largely because of its proximity to her home. In Qatar, she observed and learned about another unhappy aspect of her country – the vast number of Nepalis who labored in Qatar and sent money back to their families. She became more involved in the inevitable struggles of labor migration, and tried to address this in her work.

Dina was ambitious in all aspects of her life. She always managed to engage in several personal and professional projects at once. Her expertise was unusually varied, having vast knowledge of both traditional and contemporary art. Her wish was to bring Nepali art into dialogue with a broader, global art community. Traditional and contemporary Nepali art and artists were not merely peripheral examples of ‘Third World art,’ Dina professed, but living traditions in intellectual conversation about art both inside and outside of Nepal. Because of this, Dina was a key mentor and subject for me when I began my work about what it means to be a ‘diasporic Nepali’. I remember walking through an auction house in New York, where we witnessed Nepali artifacts selling for extraordinary sums while Dina

explained in detail the history of the objects. I was also involved in a project with Dina in Qatar, where she had worked for the last 5 years of her life, about how artists might engage the theme of migration.

Although Dina always had her own ideas, she was a collaborative worker. We had always discussed a place where artists and intellectuals could come together to create a cultural hub. She was one of the founding members of Nexus, our artists’ community space, and one of the board members of LASANAA, an artists’ collective. It is not surprising that Dina coined the name ‘NexUs’, given that she is an individual who naturally enjoys connecting people. She embodies the spirit of NexUs as a compassionate collaborator and connecter, who thinks of art as a means to advance society. Although Dina is no longer a click or a call away, she is still a large part of my personal life, a prominent part of the ‘us’ in NexUs, and her influence in Nepali art will undoubtedly continue to exist and grow.








TEXT : Pratap Jung khadka photos : Pradip Ratna Tuladhar


ituated in a secluded and tranquil Budhanilkantha neighborhood that overlooks the northern hills of the Valley, a modest mud house seems almost out of place after passing other contemporarystyled, concrete residences in the area. Upon entering the Matoghar, the term for a mud house in Nepali, on a humid summer morning, I realized that the temperature inside the house was much cooler. I naively dismissed the coolness for an inconspicuous airconditioner, only to find out later that


the real cause was something much subtler, and inherent to the house’s structure and design. Hemendra Bohra, the conceptual father and instigator of the Matoghar project, revealed his long-time interest of designing and living in a sustainably constructed abode. Indeed, the Matoghar premises embodies modern residential virtues of sustainability, climate responsiveness, simplicity and earthquake resilience. The Harvard educated environmental engineer’s

research on sustainable building practices led him towards an ancient building concept, called rammed earth. Rammed earth walls are constructed, as the name suggests, by literally ‘ramming’ together layers of soil. The Bohra residence was constructed from rammed earth constituting approximately 85% of the local sandy soil, 7% of pulverized red soil(for color) and 5% of gravel. The monolithic load-bearing walls are thick, and have a high thermal mass that prevents the walls from


overheating in the summer and letting heat escape in the winter. This feature is one of the reasons why the house felt so cool on a hot, summer day. Rammed earth houses are also highly carbon efficient, as it uses a naturally occurring, almost infinite resource: soil. The transport of materials is rendered obsolete as well when the primary material used is the soil from the site itself. While it is true that not all kinds of soil are amenable to ramming and some sites might need soil from elsewhere, using naturally available soil is undoubtedly better for the environment than firing up brick and cement kilns.

Matoghar also utilized simple building techniques used in masonary structures to make the structure earthquake resilient. Bohra referenced the New Zealand rammed earth building code to assure for seismic resistance. For instance, to make the length of the house less than three times its width, it was divided into three sections. Similarly, an appropriate distance was maintained between the

doors and windows from the corner where two adjoining walls meet, which is the most vulnerable part of a house during seismic activity. Moreover, the gable walls made of sun dried bricks were reinforced by wrapping in welded steel mesh. Vertical and horizontal reinforcement in the monolithic walls add to the structural integrity. Indeed, these preventive measures ensured that the Bohra residence remained





intact after the recent earthquake, in stark contrast to popular opinion that waive mud houses as structurally fragile. Apart from the high thermal mass of rammed earth, a passive solar design system was also used to regulate the temperature within the interior of the house. Prabal Thapa, the founder of Prabal Thapa Architects and the official designer of Matoghar, describes it as a “climate responsive architectural concept”. The technique involves harnessing the energy and angle of the sun during the varying seasons to trap heat during the winter months and avoid heat during summer. For example, the house deliberately faces south, and the overhang from the roof is of a calculated width such that the summer sun casts a shadow on the southern façade, which prevents the walls from getting directly heated. Similarly, since the angle of the sun is comparatively lower during the winter months, the overhang lets the winter

sun to enter the interiors through the large double glazed windows. Because the southern side is more conducive towards better lighting and heating, the living rooms and bedrooms are placed on this side while the bathroom, kitchen and laundry room are placed on the northern side. While the UPVC windows help to prevent heat loss during winter, the small windows

near the roof on opposite sides of the house provide a cross ventilation system and a cooling mechanism. Other engineering and design tricks, such as a ventilation of the roof, the use of bamboo as a faux ceiling, the use of XPS sheets and radiative aluminum sheets as roof insulators, have also been employed to regulate the house’s internal temperature.





These efforts have definitely produced excellent results, as the data collected by Mr. Bohra depicts average summer and winter temperatures of 23°C and 16°C respectively and winter diurnal temperature range of only 3°C inside the house. As a seasoned environmentalist, Mr. Bohra employs a steady stream of green technologies to minimize and recycle waste, conserve energy, and become self-reliant. The household is completely self-sufficient on electric power and water supply, since it generates ample electric power from the sun, and harvests rain water, along with having a well. Mr. Bohra goes further in minimizing household waste as he has installed waste water recycling systems as well. Wastewater is treated using a baffled septic tank and a reed bed, and is reused to water the numerous vegetable and fruit

plants in his property. The plants in the reed bed on nutrients from sewage and other waste to llive and thrive, while secreting a clean effluent. Similarly, a natural swimming pond gives a wild character to the premises. Lotus and other water plants covering nearly half the surface area of the pond absorb nutrients from the water and provide shade. The “semi-wild landscape”, as Mr. Bohra likes to describe it, also consists of a rabbit farm to harvest organic meat, and hens for eggs, and numerous vegetable and fruit plants. Mr. Bohra declares that the entire process involved a lot of individual research and the project moved forward mostly through trial and error, since it was the first time that rammed earth was used in a modern house in Nepal. Indeed, a rammed earth

technology of sorts has been utilized in Upper Mustang for centuries, but they lacked the modern elements of seismic resistance, and insulation. Mr. Bohra experienced great challenges in training the laborers to obtain the desired result as well, as construction workers are mostly trained in building concrete houses. Matoghar and its premises, epitomizes the use of modern science and architecture to create an environmentally sustainable, selfreliant and comfortable ecosystem. The successful construction of his residence has led Mr. Bohra to start his own building company using rammed earth, called Matoghar, Rammed Earth Builders. Rammed earth technology is also gaining momentum inside and outside the Valley, and Mr. Bohra is excited to see this ancient technique flourish again.






MANGOSTEEN Correspondence : Samir Dahal



CREATE IDENTITY IN DIVERSITY Southeast Asia: a rich cultural hub, multitude of islands and diverse ethnic and culture, where the diversity shapes up a unique architectural entity, how can we (DDAP architect) have our identity despite such diversity? One approach method induced is by solving Herman Hertzberger’s Warp & Weft theory which states that each city or region has their own patterns like fabric constructed by weft yarn and warp yarn. The place where we build our environment is part of the fabric with its pattern and texture. So, if design abandons this pattern, it surely can’t be fitted to its pattern and will create chaos. This concept is transcribed by DDAP Architect into the design process, producing an interactive and communicative design with its distinctive concept, space, proportion, material, and building mass. Henceforth, DDAP Architect hopes to disclose a distinct design identity, not only from the finished product but also from subsequent progressive design processes. This form of approach is a construing of the spirit of the place, also known as “Genius Loci”.



PROJECT DESCRIPTION: Mangosteen Villa is located in the North part of Ubud, 5 minutes to Ubud Central by drive. Limited to 300 square meters, the project demanded maximum utilization and a sense of satisfaction to the owners as well as to the designers under limited investment. The site presented challenges not only in terms of its limited size but also in terms of DDAP’s interpretation to site and context and adaptation of local character of Ubud and its surrounding neighbours into the design. Subsequently, a need of creative use of the space by maximizing the number of rooms harmoniously tailored to the


functioning of a boutique hotel was at play with utmost concern to privacy and aesthetics. The initial design process started with mapping on the regional context. DDAP adapted the typical housing of Ubud, the Balinese traditional pattern of using a courtyard as the main centre of the building mass. The courtyards repeated in each successive cluster. However, the infinitesimal site area limited the courtyard planning and surrounding masses with hindered wind flow of the Southeast thwarted the design approach.

Hence, a more subtle context approached led to the discovery of the existing courtyard and Mangosteen which was later incorporated as the extension of the courtyard. The resulting was an amalgamation of the L-shaped building essence with the distinct landscape: reflection of local Balinese tradition. The Citrus Tree Villa Mangosteen takes the combination of the industrial design with traditional architecture and local materials, transcribed into 16 rooms, a breakfast pavilion and a swimming pool. DDAP also created








DDAP ARCHITECT PRINCIPAL ARCHITECT : Dirgantara I Ketut .ST,MT DESIGN MANAGER : Yuni Utami Ni Kadek .ST,Mds MARKETING MANAGER : Frida Suryadjaya .ST,MM STUDIO LEADER : Banyu Priautama ST, MT ARCHITECTS : Gusti Agung Saputra, Iwan Adi Parwata, Widhiarsana, Artha, Kris Fortuna

DDAP architect studio was established by Dirgantara I Ketut, S.T.M.T (Dirgantara Dirgent) and Yuni Utami Ni Kadek, S.T.M.Ds (Uni Utami). Dirgantara and Uni both earned their Bachelor degree of Architecture from Udayana University and later continued their study at ITB (Institut Teknologi Bandung) for the Master Degree. After graduation, Dirgantara worked at U-Consultant International Singapore Pte. Ltd for 2 years, handling large-scale urban projects mostly based in China and India. Meanwhile, Uni worked at CAMS Design Pte. Ltd, Singapore handled a lot of interior design projects for 3 years. In December 12th 2014, they both decided to start on their own with a firm setup in Bali, Indonesia as a home office (SOHO) in Dirgantara’s house located at Jalan Sugriwa Ubud, Bali. In May 23rd 2016, their studio office was officially in operation and has since become the official address for DDAP Architect. In May 30th 2016, Uni’s colleague Frida Suryadjaya, S.T.M.M joined DDAP Architect who previously worked on a lot of architecture and interior design projects in Singapore. DDAP Architect is an architecture consultant based in Bali which primarily focuses on architecture and master plan projects. Apart from mainstream architecture practices, DDAP is also actively participating in international design competitions.



in as split mass in appearance and takes minimal part as an ambiguity to the courtyard. They are designed with a combination of wood and rustic iron with hanging industrial bulb light above.

the plunge pool, pretence of elongated swimming pool without actually adding burden on the investment. The Citrus Tree Villa Mangosteen is an extensive adaptation of the rich Balinese architecture. As Ubud Bali designs reflect natural and organic materials producing a harmonious synthesis with the environment, the Citrus Tree Villa is entirely built of natural materials. Brick wall, concrete block, roof thatch, natural stone, teak wood are used as common material but are repeatedly placed in a different manner, as in the patterns of the local character. The installations of the materials are repeated throughout the Villa, from walls to ceilings and to floors rather in unconventional styles,

but showing overlays on either side as the brick stone on natural stone laid down on the landscapes. Each details with gears, inner workings and raw materials are left in plain view adds flavour to the exposed dynamics of the natural materials used in the construction. In addition, the walls use repeated local concrete blocks with square motif which creates artistic and changing shading effects every hour at the corridor, resulting in unique visual environment and sequential spatial experience for the guests. The corridor are designed with dark tension with LED light positioned hidden inside the electrical conduct PVC pipe. The staircase is placed

There are three typical characteristics of the rooms and the guests can either choose from family rooms to deluxe to twin bed rooms. All rooms provides simple cotton fabric and the most basic colour palette, with unfinished textures in concrete wall, exposed brick walls facade, raw pipes for hanging clothes and selected natural woods. The opening door designed with the straight shape of teak wood. All rooms have balcony spaces for the upper floor and all rooms provide an unobstructed view towards the courtyard with the swimming pool and bale. The rooms are arranged in a single-loaded concept, allowing an open air and natural light penetrating into the corridors. A minimalistic approach to the traditional Balinese architecture style, the Citrus Tree Villa Mangosteen is a triggered epiphany to the realisation of more is more with less is more.

Address: Jalan Sriwedari 14 Tegallantang, Ubud, Bali, INDONESIA Architect : DDAP Architect Architect’s team : I Ketut Dirgantara, Yuni Utami, Banyu Priautama Year of commencement: 2013 Year of completion: 2015 Cost of project (in IDR): (IDR 3.500.000.000) Built up area: 400 SQM Floor area : 1100 sqm


hxf“ gful/s Toxf“ gful/s 48 / SPACES AUGUST 2017




ROOM TEXT : Soyana Nyachhyon






room is a portion of space within a building or other structure enclosed by walls. That is how a room is typically described. However, for me, “it is my bubble of imagination where happiness is like child play. The moment I leave this bubble, it lets out the light of the rainbows of my life, and makes way for reality to slither back in”. It’s a place where I could spend hours doing anything I want and be whoever I want. This room is no ordinary room, it is the place where my imagination and creativity flourishes. It is a magical place where I can see people but they cannot see me. It’s not just a portion of space covered with four walls or a corner I retire for the day in. It is my shelter protecting me from the outer world. I like to think that a room speaks a lot about its owner. That is why I have shaped it into who I am. My room is like my diary, it holds several memories, both good and bad, keeping it safe even if I forget what its context was. Just like how an artist or a poet who immortalize their feelings and experiences. I like to think of my room in the same manner. The faded white curtains with patterns of exotic leaves bring stalks of light

every morning while shielding me from the chaos of the world outside. The curtains remind me of the forest even though I have never been to one. The peek-a-boo of the light playing across my room reminds me of the way I was brought up; light and darkness exist in the world, only the former is worth paying attention to. Before I got my room to myself, my brother used to occupy it. He loved the ocean blue walls. I kept it around until my college days. Now the colors have changed along with me. People describe me as a tomboy who loves to do all sort of things that boys do. But the shades of the purple lilac of my walls speaks of the other side of me, which is soft and pure with just a dash of wildness. To the people it may look like any other shade of color, but it is who I am on the inside. My favorite corner in the room is where I have my cupboard with a bulletin board propped next to it. I like to pin up my artsy stuff. I might not be that good at it but that’s how I keep myself occupied. It also holds a few of my favorite quotes, and a bunch of other doodles I make when I am utterly bored in class. It is nothing fancy and I was not a fan of it to begin with. But we have been able to establish a deep bond.



Below the board resides my small sofa. I affectionately call it “The Thinking Chair”. It is complete with an uber comfy blanket. This is where I spend most of my days. Actually it is perfectly complements rainy days. All I need is a hot cup of coffee, a novel to read, and occasional peeks out into the world to appreciate the celestial shower. I keep all my books and souvenirs in a treasure chest. I am not exactly a


person who is like, “okay, let’s finish this book now in one sitting.” Rather, I love to collect them. Well, maybe I will eventually read those books, but that someday is yet to come. I should probably work on that. The treasure chest is filled with books ranging from the Twilight series to Sidney Sheldon. These were either gifted to me or I had forced my sister to buy them. I had a friend who used to be done with a book overnight and loved collecting them. I guess I picked up this habit

from her. The souvenirs that I have collected so far are all precious to me. However, my favorite one lies in the heart of the treasure chest. It is an old roll camera gifted by my uncle when he returned from Russia. That old piece is priceless. I would never dare trade it for anything else. It represents my love for photography, even though I have not been able to use it till date. My mom hates the Christmas lights that I’ve turned into a photo gallery. I


kept those lights up a year ago but it does not work anymore. So I just repurposed them into a hanging photo gallery. My mom says it is something that only hipsters do, but the pictures that hang from those lights are priceless. I wish I could relive the moments when those pictures were taken. The only thing my room doesn’t have is a clock. Well I used to have one but the sound that it made every hour made me so annoyed that I refused to keep any other clock in my room. The purple dream catcher that hangs on the wall compliments the lilac shade and I’ve been told that it helps to purify the haunting dream that I usually have. I was not exactly a fan of it but I bought it anyway and it somehow it works. It lies above my bed and I wonder about the feathers which are attached to it and think about where they came from. A bed is one of the most comfy places for almost everyone. It is a place where I can doze off and dream about unicorns and Charlie’s Chocolate Factory. When we all suffered from the tragic earthquake and had to take shelter in tents, my bed was the only thing I missed the most. And when it was safe enough to return home I couldn’t be any happier just to see that rectangle of wood and mattress. When I was little I was afraid to sleep alone in my bed, thinking there was a monster under it but in reality it just had some boxes of old board games and toys. Now it’s been my saviors from exhausting days where I can forget about my day and wake up with good vibes. Sometimes it’s my personal Movie

Theater where I watch series of movies with no end, forget about my sleep and be totally hung-over from a lack of sleep and an oversaturated sense of movie references. The last thing to my room is the door, the magic door which brings me into this utopia of mine. Before a month or so I had dedicated my door to be a Hall Of Fame door, as any other teenager had I guess, posters of their favorite band, singer and some more sketches I drew in high school. But I got utterly bored of it and made

it into a graffiti door. The whole idea came to me when I was studying for my finals. Ideas just seem to have a way of creeping into mind when you have to stay put and study. I started sketching a peephole into the nature and the wild, an image I always dream about. It still is a work in progress as the details are taking a bit longer time than I had expected. Or maybe I’m just procrastinating, but regardless the half done door, this bubble is my bubble and it is a bubble of happiness for me!.




Light & Color






Lighting & color can make a big difference in the interior design of your home and good lighting enhances better visibility as well as providing better security and a sense of comfort in the family or among the users. Lighting enhances the mood and ambience in the space while color balances the overall feel of the space. There is a wide range of lighting fixtures available in the market, with different color, types, styles, shapes and sizes to choose from. The interior lighting and color scheme adds an appeal to the overall decoration of the space. It does not only make your place functional, but also provides you the best ambiance that you are looking for. You can fix the light fixtures in your room walls, ceiling and even floor and make your area look more beautiful. Here are a few room interior light and color ideas, which you can try to sum up a sparkling touch to your spaces and décor it as living heaven. One of the most important things that you need to realize before choosing the lighting options for room interior lighting is that there are two types of options- Natural and Artificial light.

• The play with natural light can be done during the day time. And, on the other, hand artificial light can be played at any time. • The artificial light can be produced with different fixtures with selected shades of colors as per the requirement & condition of space. • By various direct & indirect openings/windows in the space the natural light can be introduced to the spaces, which is pocket friendly also, while artificial lighting can be used to provide a deeper hue, creating a mesmerizing long lasting impact on the spectator.



There are various types of lighting lamps and fixtures that are well designed to provide a cool warm white light in the room making them quite suitable for interior lighting purposes. If chosen, properly the fixtures can create a wonderful look. With warm or cool vibrancy of colors and richer shades of light reflections you can achieve perfect look. The market is flooded with huge range of art light fixtures, and endless

variety of lamp bulbs like Incandescent bulbs, halogen incandescent bulbs, Florescent tube, LEDs, HP mercury vapor, High pressure sodium, Low pressure sodium bulbs etc. You can select the type of bulbs or standalone lampshades as per your use of space, respective color scheme, style, purpose and budget. When planning and designing interior lighting for a space, it is necessary to consider the functions of the space as each lamp with colorful hue is designed with features that make them appeal to the requirements of different spaces. LED lights can be quite versatile for use in interior lighting. Here above, the lights focus randomly on the wall mounted wooden cabinet, and in adjacent image the colorful chandelier hanging in the centre, complementing the evening dark sky and its surroundings, giving magic touch to the space. Living rooms often need bright light with fixtures that make the entire room look spectacular. The beam of lights used on the ceiling board creates such a magnificent interior lighting. One has to opt lighting fixtures with respect to the activities and theme of Interior



designing. For example, if you are readoholic you will require bright focused light in your room. Here in above pictures you can find a complementary color scheme room with highlighting wall which are enhanced by focus lights. Another click is about the staircase, lights here are not only providing sufficient lighting for public spaces but also giving a feel of royalty for some special occasions and events. Recessed Lighting with selective color combinations of interior lighting is suitable for larger spaces where impressive lighting is required. Here, the hanging lights in the kitchen reinforce the interior lighting enhancing the activities of cooking, serving and cleaning with special focus on breakfast counter.



When planning on doing interior lighting, it is good to take time and gather sufficient information on the kind of lighting fixtures and lamps that can give you the feeling and appearance you desire. Use of thematic quality bright light can create such a magnificent look in a room and a spectacular interior ambience. The design completely transforms the feeling and look. Here, monochromatic color waves on walls and radial pattern in ceiling are being played with, providing the sitting space - the perfect ambience. One common factor with interior lighting is the fact that a wide variety of lighting fixtures are available in market which has large panels of lighting and the smaller downlights. One good thing with this kind of lamp is the fact that they are dimmable so the quality of light can be adjusted as desired. The interior lighting design below looks spectacular with very bright white light in the room. A golden chandelier paired up with multicolor traditional ceiling. Such artistic touch works amazing in Pooja room/Holy spaces.


To achieve a mesmerizing interior the designer has to play with color and lights simultaneously as Lighting plays an important role to embed beauty to the room. Where, color gives a warm, enthusiastic, energetic, dynamic or relaxing, calming, serene, romantic, formal etc. feel to the space. The colors you pick should be either coordinating or contrasting. You can add different effects to the room with lighting styles. The artificial lighting can be used to change the environment of your room and make it perfect according to your choice. You can even play with different color artificial lights. This will


make the look of your room more miraculous. The interiors of your room will speak up a new language after you decide to go for artificial lightning. Interior decoration elements such as lamp shades can also be added for sufficient lighting and aesthetics. You can choose between traditional or modern or as per theme. Use of accent lighting also has a great way of improving the outlook of a space by highlighting the features. Use of indirect lighting for interior lighting purposes has a way of relaxing the atmosphere making it suitable for relaxation after a tiresome day. This is not only a spectacular design but also helps in reducing the brightness of the light. Having lighting evenly distributed in the spaces with some on the ceiling and some on the walls and the candles creates such a unique interior lighting where every space in the room feels well filled with sufficient light. The color of the lampshades here can also enhance the overall appearance of the room by making the room look spectacular.

When coloring your room, you can add interest by using cool blue draperies with cream walls and dark brow floors. Contemporary shades can create a relaxing space. A soft cream rug and brown zebra print fabrics are always trendy. Focus the light on focal points, the areas that you wish to highlight. The interior lighting design above shows the seating area well focused with lighting that ends up drawing attention to the area. You can also try using color changing light curtains which you can add fun to your space.The kind of fixtures used look cool and elegant with the lightings hanged on the walls creating such a cool interior lighting design. A combination of recessed lighting with spotlights enhances the architectural features of the exterior making the design look elegant and classic. The grey highlighted textured walls with a classic designed chandelier make the simple space pop out. Black & white never goes out of trend.





The type of bulb you use can alter the colors in a room, too. • Incandescent: The warm, yellow-amber light of these bulbs will make reds, oranges, and yellows more vivid, while muting blues and greens. • Fluorescents: This flat and cool light enriches blues and greens. • Halogens: These white lights resemble natural light and make all colors look more vivid. Using halogens would make the shift from daylight to artificial light less jarring. • Compact fluorescent lights (CFLs): CFLs can produce either a warm white, neutral, or bluish-white light. • Light-emitting diodes (LEDs): You can buy warmer or cooler LEDs and even “smart” LED bulbs whose color you can control wirelessly.

Color plays a significant role in our everyday life besides this fact, color schemes used in interior designing is a known virtue called chromo therapy which can uplift the human psyche and mood of the spaces. Natural light work wonders to the space during day time.




Use color wheel. You can try analogous color scheme. Analogous colors are the colors which are next to each other on the color wheel. Example: blue and green color scheme can make your space relaxing and calming, add definition to the space by a simple chandelier.

Try dark shades to decorate your space. You can also try putting up dark shade on floor, medium shades on walls, and light tones on ceiling, just like God’s creation of earth, trees and sky color. To add dramatic touch you can also use downlights and standalone lamps. To make the task easy you can try using the rule 60-30-10 while decorating the space. 60% of the color can be bright or dominant, 30% can be secondary colors and 10% can be accent color in your space. Go for denims shade sofas added up with some citrusy accents such as perky bright pink pillows or accessories. Proportionate the size of lighting fixtures with the space dimension to add pop up of lights. A timeless trend is black and white theme. This dynamic duo never goes out of style. You can create a compelling color story by just adding lights by sides of the bathroom mirror; to avoid shadow on face ceiling lights has to be added to the story. There are lot many neutral trendy shades available in the market. Grey color can be paired with both kicky colors/ florescent shades or with pastel palette to get warm or cool appearance. Follow the rule of three. Any space can be perked up by sticking to three shades of color. For example, in a cherry bedroom, saturated shades of sunny yellow, navy blue and grass green can make you feel fresh and preppy.



TIPS AND TRICKS • Use lighting and decoration for a first impression. • Choose the size the decorative fixtures, with respect to room size. Do not choose heavy light fixtures if you have a small room. • Remember that stairways and halls must have good general lighting for safety. You can try floor lights or any monochromatic color to complete the look. • Use matching wall sconces to complement the hanging foyer fixture. • Use recessed lighting to light a general area. • Try recessed lighting or track lighting to make a room come alive by accenting artwork, wall washing, or grazing. • Create a focal point with lighting. • Use a chandelier or pendant for general lighting. A chandelier looks more elegant in common spaces such as entrance lobby, living and dining rooms.


• Illuminate your special home objects, architectural detail, or food presentation areas with track or recessed lighting. • Try CFL Lighting as it is pocket friendly. • Choose fluorescent lights to provide that missing ambient lighting. You can try this is your gardens, terrace or exterior of your home too. • Go with decorative fluorescent fixtures centered over a workspace. • Use under cabinet lighting to help prevent shadows on the counters, while adding critical light to the workspace. • Mount one light fixture over and sides of the mirror to light a bathroom/powder room. • Use decorative fixtures are used along pathways, on walls and posts, and entrance foyers. • Lantern-style fixtures look amazing on terraces, passages, and entrances. • Use functional and fun lighting for exterior. • In nurseries and kid’s rooms, remember night lighting.



BFA Graduation Shows

FUTURE BECKONS HERE TEXT : Madan Chitrakar photos : Bijaya Maharjan

Modern Nepali Art today is vibrant with amazing diversity in features. There has been a continual growth in new arrivals – the art and the artists. At the same time, the diversity in expressions also has grown in the same proportion – as if a mosaic of diverse thoughts and styles lay harmoniously in a common canvas. Contents wise as for example, if at one end of the spectrum there’s visible emphasis to the thoughts like common human emotion to artistic response to ongoing events with least regard for the academic norms – and at the other end, there’s also the presence of artists keen to glorify or are strongly inspired from the earlier art forms. Such art




forms are essentially rooted in the cultural past. Stylistically too, the story is no different. If more open minded artists are for the ‘Sky is the Limit’ spirit - in choosing their space and materials, some are still religiously in love with the academic fundamentals and the conventional tools. Put together however, it presents a picture of ever growing composite modern Nepali Art. And it is worth adding here that this amazing freedom has remained and is a part of the ongoing global trend. But an ability to understand the spirit and achieve so does not appear out of the blues. It entails and is achieved only after following certain purposely - designed academic drills. Only the institutions of higher learning in Art can provide the needed mentoring, ambience and the platforms to the aspiring artists or the art students. GARDEN OF SUBLIMITY (PAINTING) BY PRANISHA GURUNG FORMS OF INTANGIBILITY (PAINTING) BY BISHAL MAHARJAN

To be sure, therefore, the success and achievements Nepali Art has made in the recent times in its entirety, owes it all to the Art institutions of higher learning. And as part of their annual academic calendar, all the Art Institutions in the recent times have begun to showcase in public whether their new fresh graduates have been able to understand the new spirit of art and are able to express it in the idiom they are expected to do. And such annual Shows have been aptly described as the ‘Bachelors of Fine Art – BFA – Graduation Shows.’ BFA – Graduation Shows 2017 As described in earlier lines, this year 2017 has remained no different. In the recent times, all the three Art




From this perspective, the three recent Shows have remained of profound importance in the making of Nepali Art in future. In fact, as such Shows unfailingly reckon the course the future Nepali Art would be taking, the Shows has also offered an occasion to make a comparative judgment of all the concerned institutions as well. Genre wise, all the three institutions stated above offered and naturally showcased the works from Painting, Sculpture and Graphic Communications. Again, KU Centre for Art &

institutions of higher learning – KU-Centre for Art & Design, Hattiban; Sirjana College of Fine Arts, Uttardhoka and Lalitkala Campus under Tribhuvan University appeared in a row showcasing their respective BFA Shows. In this regard, KU-Centre for Art & Design has remained a front runner. It has a definite advantage with a longer experience in organizing similar Shows. Thanks to the early vision of the KU Centre for Art, it has had the privilege to pioneer this noble academic culture – way back in 2007. It is only this year the rest of the institutions has realized the unavoidable importance and has decided to follow it. As is well known in international practices, Graduation Shows has always been an unfailing window to judge the level of understanding and achievements made during the academic period by the aspiring graduates. Moreover, it has also remained an occasion to evaluate not only the students but also marks whether the concerned faculty has remained up to the mark and are able to disseminate the needed academic message to the students.





Design has remained a pioneer in BFA program in some respects. It has had the privilege to initiate the earliest BFA program in Graphic Communications in its regular academic program from the very beginning. Moreover, in the Painting also it has had taken a very liberal view in allowing the students to explore independently. Unlike in the other institutes, KU Centre for Art & Design provided a studio based academic exercise. As a result, works from the genres provide visibly more matured look and impression. And it provided a great diversity in each genre as well. The highlights in Graphic Communications included an educational materials for visually impaired audience innovated by Noorisha Singh. In creating product design as well the students succeeded in captivating the viewers with jewelry design by Bishesta Dhakhwa to trendy lampshades created by Kiran Shrestha. Both the products were found inspired from motifs and forms from earlier Newar art tradition. Not to mention the beautiful paper products by Alina Manandhar. Apparently, she innovated the project highly inspired from Bungmati town – a town greatly devastated during the deadly quake of 2015. In the Studio Art category, some of the notable works were found created out of the canvas. Puspa Parajuli’s ‘Quest’- an installation created with tent like form, proved very mystic yet popular amongst the viewers. Meticulous laced work on canvas




by Kanchan Tamang remained very impressive. In the conventional forms, interesting collages made with local textiles by Raj Kumar Rai and a series by Sarala Manandhar based on the children art remained very innovative. It has provided interesting examples how there’s no limit in exploring creative form. It proved really proved imaginative. Yunisha Shrestha‘s new media works with painting stands beautiful as the persona of artist herself. In organizing a BFA- Graduation Show, Sirjana College of Fine Arts is a new comer. This is the debut occasion. Yet it has managed to maintain a very competitive edge. Sirjana showcased in the works from all the three genres – Painting, Sculpture and Graphic Communications. Although the College has had been running the BFA program in Painting and Sculpture for the last couple of years, the Graphic 68 / SPACES AUGUST 2017







Communications has been introduced very recently. But the late entry has not disappointed the viewers. Apparently, the College laid more emphasis on the Visual Communications and thus the part of Product Design remained comparatively poor. Nonetheless, it has managed to compensate with good Design works. It conveyed a message that rich design aesthetics is instilled in the students’ mind. Speaking in short, the design meant for print advertisements, have remained the forte of this group. When the works were put on display, viewers mistook for sponsored advertisements. The array of their works entailed choosing of own products to creating corporate identity to the creation of sales promotional tools. It technical task included conceptualizing the desired message to image and message development and so on. Their works belied a fact that this is the debut Show. All the students came out with marvelous photographs of respective chosen products. While Subhas R. Tamrakar has chosen walking shoes and designer Suzina Maharjan innovated a beverage with a Newari name – complete with own package design. Similarly, while Ujen Maharjan’s choice of cookies for promotion Bikki Maharjan’s promotion of locally made pen have proven very impressive. And no less impressive is in the Painting genre too. An amazing presence of diverse forms and style has conveyed a message that the boys indeed have come of the age. Print works with local theme by Sunil Lama has added unexpected charm in the collections. Prithvi Raj Bogati’s mixed media works too proved an out of the box work. Delicate renderings by Pranisha Gurung and emotional works Kreetika Pradhan, both found to be very interesting. Surprisingly, the works of Sculpture too demonstrated unbelievable understanding of contemporary thoughts. So is the works Anmari Tamang.



Regardless of all the relative success and accomplishments, a fact still remains that it’s no time to be satisfied. For all the Programs included are still in a state of fancy and there are lots of challenges to the respective managements. There’s no way the Colleges can afford to remain complacent. First and foremost, to all the Art institutions there is the absence of proper physical space to deliver the desired education. And secondly, there also exists a great challenge to man the right faculty in place to be able to deliver. But the modest achievements made provide a great sense of hope.



Smart Choice for Pipes & Fitting Your house’s plumbing is basically like your body’s nervous system. Everything is connected in one way or the other, and leaks can be extremely harmful. Piping and fitting is thus a serious business with usage of materials that can survive high pressure and high temperature as well. If you were looking to take some tasks of plumbing yourself, buy the right material, or wanted a second opinion than your plumber, we got your back! At think before buy, we take care of all the mumble jumble research to help you make a smart choice.

Materials and Type Your house will have multiple pipe lines for multiple purposes. Every household piping starts from the common government line to bring water to your compound and then to the water tank and respective taps. There’s another line from waste collection to the sewage line. The multiple purposes also require multiple kinds of pipes. Galvanized Iron(GI) pipes used to be a popular choice. But since they’re expensive as a material and equally expensive to make, they are being replaced. HDPE High-density polyethylene (HDPE), Chlorinated polyvinyl chloride (CPVC), unplasticized


polyvinyl chloride (uPVC), and polypropylene random copolymer (PPR) pipes come much cheaper, do not get rusted, and have a longer life. GI pipes still cover 10% of the market today. Since pipes in streets need to survive high pressure like from automobiles running on them and other surroundings, they are still found in some of the public water supply units and government projects.

However, since HDPE pipes have a high strength to density ratio, all recent government projects including the Melamchi Khanepani Project have been using HDPE pipes instead. They can resist the high pressure as city street pipes. Most rural areas also use HDPE or GI pipes. All HDPE pipes used in these projects are made in Nepal have a Nepal Standard approval. For your house, when you connect the street pipe to your compound, you are required to use strong GI or HDPE pipes. However, your HDPE pipes need not be NS certified and can be made of recycled materials. While NS certified HDPE pipes sell for NRs. 225 per kg on average, the recycled ones start from as low as NRs. 90/- per kg. Once the pipe reaches your compound, you separate your water lines into two parts- The incoming pipe (for clean water to the tank and then to


Raw Materials, Manufacturing and Brand Piping and Fitting has a huge market in Nepal. HDPE pipes 300 crores PPR pipes 125 crores (70% of the market) CPVC pipes 30 crores (20% of the market) uPVC Pipes 70 crores Galvanized Iron pipes (10% of the market)


respective taps) and the outgoing pipes (for waste water from sinks, rainwater collection, and other pipes connecting to the sewage). UPVC pipes, also known as PVC pipes in the market, are used for outgoing pipes that collect water from the house to the compound or the sewage pipes. It’s strong and resistant to chemical erosion. However, they cannot be used to transmit drinking water. CPVC or PPR pipes are used for incoming pipes to transmit water from water supply sources to the tank and to respective taps. CPVC pipes are fairly new in Nepal while the PPR pipes have been manufactured in Nepal since almost 15 years. CPVC pipes are held together with glues and a little more expensive from the PPR pipes that are held together through heat fusion.

Fittings Fittings are parts used to connect pipes. They come in different angles and types to serve different purpose connections. These connectors are assigned a gender as Male(M) or Female(F). The F is generally a receptacle that receives or holds an M. Few most common kinds of fittings are: (a) Elbow: They’re shaped like human elbows that usually come in 90° or 45° joints and are further categorized by length and diameter of the pipe. A 45° elbow, also known as short radius or regular elbow has same diameter as the pipe while a 90°, also known as long radius or sweep elbow is 1.5 times the pipe diameter. (b) Coupling: They are straight connector that come in two types. Regular coupling come with a ridge in between to ensure

both sides are inserted in equal amounts. Slip Coupling comes without this ridge. (c) Union: The union is the same as Coupling, except it comes in three parts( union nut, tail piece, and thread piece) that can be unfastened for future repairs. (d) Tee: Shaped like the letter T, it is the most common pipe fitting used to combine or divide the flow. The two ends are called the run and the branch line connection in the middle is called the bull. (e) Reducer: These fittings are used to fit two pipes of different diameters. While GI pipes need metal fittings, other plastic pipes can use either plastic or metal fittings depends on where it is required. Mostly, sinks and bathrooms use metal while the rest of the joints use metal.


While the pipes are processed and manufactured in Nepal, their raw materials are not made in house. Panchakanya Group, one of the largest manufacturers, brings its raw materials from Sesikui Chemicals in Japan with National Sanitary Foundation Certification for their CPVC pipes. Nepatop produces PPR pipes, HDPE pipes, CPVC pipes and UPVC pipes with raw materials from South Korea, China, Malaysia, and Soudi Arabia. Considering how installing pipes and fitting is a long term investment that might require regular servicing, it is always recommended that the user not only know the raw material and standard the product has passed, but also the kind of brand it represents. Choosing a brand can come from asking your engineers, relatives, to your local customer feedback. Certification The Department of Food Technology and Quality Control has laid out standards for the production of these pipes with requirement as specific as the width of the pipes. The ones that pass these standards get an NS stamp which is a mandatory requirement for governmental water supply projects. Other certifications you can look for is the Indian Standard(IS) certificate approved by the Government of India. HDPE pipes require an NS-40 certification while the uPVC require an NS 206. Neither CPVC nor PPR pipes have gotten any direction for Nepal certification yet.


Most of us build houses once in a lifetime. The pipes that go inside the walls and tiles might not make the first impression but as the nervous system of your home, they require careful selection with reliable quality and brand. Think before buying and make a smarter choice!





of the Celestial Gallery

This is not a Book Review; this is just an effort to conveying information to the readers on rare and valuable books on art and architecture. This column aims to give a helicopter view on such books and thus presents the excerpts and illustrations either from the preface, introduction, jacket or main contents of the book from the shelf. This book was kindly provided by Mandala Book Point, Kantipath, Kathmandu (Tel. 4227711).



he charismatic young prince who later became known as the Buddha, the Awakened One, left his home and inheritance to go forth into the world in search of a solution to the human predicament. His iconic journey changed the world forever, and many of his spiritual insights are being verified today in the fields of neuroscience, psychology, and quantum physics. This volume, a collaboration between the celebrated Himalayan artist Romio Shrestha and Buddhist scholar Ian Baker, reveals the dazzling trajectory of Siddhartha Gautama’s life and teachings and the power of art to awaken us to realities that fervently require our collective attention. The Buddha’s enlightenment exposed the limitations of religious beliefs founded on external sources of salvation. In place of dogma and exclusionary faith, Buddha revealed a path of compassionate action and inner transformation by which all beings could be brought to nirvana, a state of pure consciousness, transcendent of the ego and free of suffering. Each Buddha image is thus a doorway into a new way of being human. Gautama Buddha urged each individual to see beyond the limiting illusion of a separate self and to act, based on that realization, to liberate the world from the ignorance, greed, and aggression that fuel human suffering. No spiritual message has ever been so radical or so urgent.They urge us to shift our awareness to embody our own infinite nature and, in so doing, to become all that we can possibly be. As the Buddha stated, we are all potential Buddhas. This sumptuous volume is a guidebook into that ever-present reality. Siddhartha Gautama, the Sakyan prince who was born in what is now Nepal in approximately 563 B.C.E.



FIGURE COMPOSITION Prashanta Shrestha’s paintings do not capture the realistic figures. He expresses his own inner emotions and feelings through unusual images and distorted colors. His figures are dominated with voluptuous strokes and lines. Spontaneous gestures of brush strokes make his compositions more dynamic. Also his distinct and bold textures give his paintings more gravity and strength. ASHA DANGOL

Prashanta Shrestha was born in 1968 in Sankhu, was the youngest son of Gauri Narayan Shrestha and Laxmi Shrestha. He established Kasthamandap Art Studio in 1994 along with his colleagues. He passed away at the age of 31 in 1999. He had 5 solo exhibitions in Kathmandu and had participated in more than 20 group shows in Nepal and in Bangladesh. He was awarded Consolation Prize in the National Art Exhibition in 1996.



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SPACES Nepal AUG 2017  

Art-Architecture-Interior Design-Accessories based Magazine

SPACES Nepal AUG 2017  

Art-Architecture-Interior Design-Accessories based Magazine