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Vol 13 No. 02   July 2017



architecture CONCERT HALL Thimi , Madhyapur

BIG value for investing in the

Little Things: Seismic Damage Control

The Changing Face of

Nepali Walls Trending Interior Design Rubber Estate Mountain

Sri Lanka Preserving Nepal in

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Contents Volume 13 NO. 02 | july
















26 architecture Seismic Resistant Architecture

24 architecture Preserving Nepal in Lumbini

28 architecture Rubber Estate Mountain Sri Lanka

38 architecture CONCERT HALL Thimi , Madhyapur

64 art

The Changing Face of Nepali Walls

74 architecture

Sketching Architecture

80 from the shelf Asian Furniture

83 artscape

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48 interior Trending Interior Design


Volume 13 N 02 | july O.


Ashesh Rajbansh Editor-in-Chief

Ar. Sarosh Pradhan Director- Products and Materials

Madan Chitrakar

Frederick Langworthy

Asha Dangol

Ar. Pravita Shrestha

Contributing Art Editor

Madan Chitrakar Kasthamandap Art Studio Junior Editor

Shreya Amatya Sristi Pradhan Pratap Jung Khadka

Sanjeev Shrestha

Sapana Sapkota

Shreesha Nankhwa

Chaavi Vashist


Ar. Pawan Kumar Shrestha Subscription and Administrative Officer

Riki Shrestha

Contributing Editor

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

Pradip Ratna Tuladhar

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. Frederick Langworthy started his career in construction at around 15 years of age working for his father as an apprentice until he finished school. He has worked as a Fire Suppression Specialist for 5 years for the US government. He started and ran construction company doing Agricultural/ Commercial facilities and industrial maintenance for 40 years during which he returned to school for “Engineering Technicians “degree. For the last 15 years he have been a construction consultant for several INGO’s working in Nepal mainly in the health care sector.

Intl. Correspondent

Bansri Panday Samir Dahal

Director- Operation & Public Relation

Anu Rajbansh

SR. Business Development Officer

Debbie Rana Dangol Marketing Officer

Ruby Shrestha Legal Advisor

Yogendra Bhattarai

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. Sanjeev Shrestha is a graduate of Bachelors in Architectural Engineering from Central campus, Pulchowk/ IOE. He is currently practicing as an Architect in Metalwood Nepal, a design studio and workshop based in Saugal, Patan. In Metalwood he practices designing and construction of minimalist furniture, interiors, renovation and Architecture. He doesn’t really focus in any particular Architecture type but follows a tenet that one should be wise enough to use any material where it is most appropriate.

Financial Advisor

Sapana Sapkota has completed Diploma in Interior Design from UK, Bachelor in Interior Design and EMBA from Nepal. Some of her projects are Kedia Organisation (MonteCarlo, FloorMax and DAV), CG MVR of Hattiban, CG Hills of Hattigaudha, Simrik Airlines, NLG Insurance, BS Trade and many individuals’ residents.

Published by

Shreesha Nankhwa is an aspiring environmentalist with a penchant for writing. She is interested in sustainable living, alternative energy and creating a better future for the planet. Her works have been published in a number of magazines and publications in Nepal. She currently writes and edits blogs for IT companies while dreaming of trekking across the Himalayas.

Kiran Rajbhandary

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

Printed at Wordscape The Printer, 9851037750

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.

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


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Editorial I have always been fascinated by Mr. Bijay Basukala’s incredible sketching skills. While the sculptor and woodcarver might receive most of the credit for the successful restoration and replacement of a damaged or worn out artefact, the initial scaled sketch of the shrine acts as an essential reference figure and contributes a lot to the success of the final product. Mr. Basukala’s skill is irreplaceable, and I have spent a considerable amount of time observing and admiring his abilities while collaborating with the artist on numerous projects. The piece featuring his work, Sketching Shrines, should be of pertinent interest to the art community, and other heritage rehabilitation advocates as well. Similarly, it is quite impressive that the art and architectural community has been able to attract the general populace to its otherwise esoteric events. The Architectural Exhibition organized by the Architecture department of the Pulchowk Campus is one such example; the three-day event was indeed a congratulatory success, drawing huge crowds through its simple theme and amicable social events. Likewise, other events such as the National Exhibition of Fine Arts and the Model Making Workshop have made substantial strides in reducing the distance between the art, architecture community and the public. While some world leaders and big corporations might question the occurrence of global warming and climate change, the fact is that we are experiencing unprecedented temperature levels and urban dwellers are increasingly looking towards Air-Conditioners (ACs) to cool our homes and offices this summer. Since purchasing an AC involves a hefty monetary investment, the piece titled “Think Before Buying” does us all a favor by listing out essential things to consider before buying the perfect cooling machine to suit our houses and workplaces. Modern trends in interior design, the role of colors and hues in decorating a space and other discussions of unique and exemplary design styles have also been incorporated in this issue. I have constantly bemoaned the lack of an authentic Nepali monastery in the historically significant site of Lumbini. It was indeed an utter shame that other countries had built such marvelous works of native art and architecture at the Holy site, and yet a Nepali-styled Bihar had been absent. I am a little happier now that considerable progress is being made on the construction of the Mahabihar. But, we still need more efforts to preserve and restore our exceptional cultural heritage. Each of us ought to do our part.

Ashesh Rajbansh / CEO

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HOW MIND MEETS THE EYES “A PARADE TO ARCHITECTURAL REALM” The 11th National ASA Architectural Exhibition was successfully organized from the 2nd to the 4th of Ashad, with an overwhelming number of visitors and participants (approx. 15,000). This exhibition was a joint effort of the students of Architecture of Pulchowk Campus, with students of third year comprising the exhibition committee. The participant colleges in the exhibition included Thapathali Campus and Asian Engineering College. The exhibit’s theme, “How Mind Meets the Eyes” attempted to provide a voyage into the Architectural domain and offered an insight into how an architect’s mind meets the viewer’s eyes. The central idea of revealing the dynamics of any design, from an idea to a reality, and establishing

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a relationship of the philosophies, art, concepts, history, needs and emotions of people to the resulting architecture occurred throughout the event. The pre-events included Art Competition on the theme “Utopia: A Perfect World”, Photography Competition with the theme “The Hidden Geometry”, Design Competition with the topics, “Product Design” and “Portable Space”, Presentation Workshop on 19th Jestha, titled sponsored by Himal Steel, Model Making Workshop on 20th of Jestha, titled sponsored by Himal Steel, Seminar on Architectural Material Exploration entitled “Choices” on 27th and 28th of Jestha, titled sponsored by Himal Steel and Press Conference on 30th Jestha.


The exhibition acted as a common arena where students, lecturers, professional, and the public came together to comprehend and discuss the current architectural scenario in the country. The event focused on showing the shaping of architecture by converging different ideologies, thoughts and periods. It also included the research done by the students.

and bamboo with mud mortar, Rain Curtain, Prototype of earthquake resistant houses proposed by DUDBC, Models of Sustainable building designs (Earth-ship, ARCUS Center), Model of Organic fiber earthquake resistance house, Display of research and model of ‘Rotunda’, Research on Low-cost Housing and Life size model of Building in Confined Stone in Wall.

The display encompassed around four sub-themes: Architectural Intervention, Space Dynamics, In Sync with Nature and Reconstruction and Sustainability, with each sub theme displaying various projects were Namaste Pavilion, Hyperbolic Parabola, Parametric Landscape Design, Prototype Sustainable walls made of tire, bottles, wooden log

Moreover, the exhibition also focused on the display of students’ work in a stimulating manner to make it interesting to the general public. Selected entries of the design, art and photography competitions were also displayed in the event. The three-day event was honored with special attractions for each day,

targeting full promotion and attraction of maximum visitors. The Event started with an Opening Ceremony held at the Conference hall, followed by the inauguration ceremony headed by Prof. Dr. Govinda Raj Pokharel, CEO of National Reconstruction Authority. Also present were the Dean, Asst. Deans, Campus Chief, Asst. Campus Chiefs and other dignified personalities from IOE. An Acoustic Eve was organized as the main attraction of the second day which included performances from various students, singers and musicians. On the third day, a closing ceremony was organized to award the Batch toppers, Thesis topper and Design Competition Winners. The ceremony was followed by a cultural program. n

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Public Speaking Skills Enhancement


he presentation workshop conducted on 19th Jestha 2074 (2nd June, 2017) included 53 students from various Architecture colleges in Nepal. The workshop was facilitated by a team of three young enthusiasts known for their public speaking skills; Manish Khatiwada (Former Convener of Smart Club), Bibhas Uprety (Former Program Designer of Smart Club) and Keshu Khadka (Miss Teen 2012).

The sessions by the team included some theoretical presentations on public speaking skills, interactive games and confidence building activities. In addition to the session on Public Speaking Skills Enhancement, by the three facilitators, the workshop also included a special session by Associate Prof. Sangeeta Singh, who presented the participants about the presentation skills required by a student of architecture. n

2nd National Exhibition of Fine Arts 2074


epal Academy of Fine Arts (NAFA) organized National Exhibition of Fine Arts 2074 on 5th Asar, 2074 at Nepal Art Council, Babarmahal. This exhibition was inaugurated by Deputy Prime Minister and Education Minister Mr. Gopal Man Shrestha. In this event 35 people (artist, art writer and journalist) were honored and awarded.

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During this exhibition, Nepal Academy of Fine Arts (NAFA) recognized two renowned artists, Durga Baral and Rabindra Jyapu for their special contribution by honoring them with the title of “Arniko National Academy Honors of Fine Arts” as well as recognition by “Tamra Patra” (Plague) and Rs. 1,00,000 as cash contribution. The exhibition showcased altogether 458 artifacts (193 traditional paintings, 46 modern paintings, 43 traditional sculpture, 38 modern sculpture, 43 handicrafts, 39 folk creations, 23 photographs, 8 replacement arts, 13 cartoons) from 426 artists. Deputy Prime Minister and Education Minister Mr. Gopal Man Shrestha was very pleased with the organizer and the event and even said that, “Art is precious jewel and every citizen and nation has the responsibility to conserve them.” n

Model Making Workshop


ith the goal of promoting the model making culture in students of architecture in various colleges of Nepal, a team of three young architects – Ar. Niran Maharjan, Ar. Prakash Maharjan and Ar. Suyog Kayastha, facilitated a 4 hour long model making workshop on June 3, 2017. The workshop had 58 participants (19 from Pulchowk Campus, 12 from Kathmandu Engineering College and 27 from Thapathali Campus). Three major sessions on “Theories of Model & Modeling”, “Tips and Tricks of Model making” and “Hands on training” and activities ranging from live demonstration of different categories of architectural models to the hands on training of using Styrofoam and wall putty were conducted in the sessions. The participants were also shown and informed about the models made by Architects and professionals. It basically provided a motivation to the participants on adopting the model making culture from the college level. n

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Association of Students of Architecture(ASA) organized a seminar entitled, “CHOICES”, a seminar on architectural material exploration as pre-event of 11th National ASA Architectural Exhibition on 27th and 28th of Ashadh, 2074(June 10th and 11th) at Conference Hall of Pulchowk Campus from 10:30 AM to 3 PM. This event was supported by SPACES, Skylight Pvt. Ltd. and Ford. The seminar intended to present the basic introduction, characters and usability of various materials. The speakers talked about specific projects that glorify certain materials while presenting the possibilities of the same to the audience. Moreover, it also aimed to discuss the present scenario of materials choices in the reconstruction phase that the nation is currently going through. Prof. Dr. Sudha Shrestha was the host for the event. Mr. Trilokesh SJB Rana, Ar. Biresh Palikhe and Ar. Kai Weise were the presenters for the 1st day of the seminar with the topic “Introduction to Timber & Bamboo and Need for Hands on Material Exploration”, “Sustainable design with traditional building materials” and “Post Earthquake Rehabilitation and Management of Construction Material” respectively whereas Ar. Prabal Thapa, Santen O’Sullivan and Ar. Biresh Shah were the presenters for the 2nd day of the seminar with the topic “Choosing the Right Material”, “Benefits and Possibilities of Architectural Aluminium and Glass” and “Politics of Materials” respectively. Chief Guest for the overall event was Dr. Nagendra Bahadur Amatya (Assistant dean, IOE) and Coordinator was Sadar Bhandari (ASA Exhibition Committee, 3rd year).

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Armstrong Ceiling Solutions Seminar Insight Spaces Pvt. Ltd. which is a venture of CMS Group organized Armstrong Ceiling Solutions Seminar on 9th June, 2017 at Hotel Annapurna from 6:30 PM onwards with dinner and cocktail party. This event was attended by well known architects, consultants, interior designers, decorators, civil engineers, builders and contractors, project managers and stakeholders. The event was represented by Mr. Sandeep Goenka (Director of Insight Spaces Pvt. Ltd.) along with honorable

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guest from Armstrong Team, Mr. Anuj Garg, Mr. Vishal Sharma and Mr. Naresh Duble. The primary theme of this event was to provide information about the product- False Ceiling Solutions in Corporate Sector, Education Sector and Hospital Sector. Armstrong also performed interactive session through their informative presentation to provide huge amount of information about various designs and uses of false ceiling. CMS Group is one of the leading business organization dealing with construction finishing materials in Nepal. Insight Spaces Pvt. Ltd. is the venture of CMS Group which was established with the concept of introducing professional angles for interior designers and up-trend home decors into Nepali market. Armstrong World Industries (India) Pvt. Ltd. is a 100% subsidiary of USA based Armstrong World Industries.

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Preserving Nepal in

Lumbini TEXT : Shreesha Nankhwa photos : Sanu Raja Bajracharya

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ne of the first things we, as a nation, take pride in is that Nepal was the birth place of Lord Gautam Buddha. Lumbini, which is also included in UNESCO’s list of World Heritage sites, needs to be preserved and passed down to the future generations. The Lumbini heritage site is divided into three zones: the scared garden, the monastic zone and the Lumbini village. The monastic zone is a culturally rich area consisting entirely of Buddhist monasteries built by countries across the world, from Germany to Thailand, each built as per their unique artistic and architecture style and reflecting their own interpretation of Buddhist teachings. Hence, for a long time, it was a matter of national shame that Lumbini did not have a single monastery built by Nepal in the traditional Nepalese architecture. Thus, the Nepal Paramparagat Boudha Dharma Sangh was compelled to rise its voice and request the government for some land inside the monastic zone to build a Nepalese monastery and preserve Nepalese Buddhist traditions within Lumbini . “It was our belief that we need a monastery that reflects Nepalese art and culture inside Lumbini. We have monasteries from all across the world, yet Nepal is not represented there. This fact really bothered us and evoked a desire to see Nepalese architecture represented inside Lumbini.”, says Naresh Man Baracharya, architect and President of Nepal Paramparagat Boudha Dharma Sangh. “This Mahabihar is not just about religion, it is also about our nationality.” he says. “The slogan of our movement was “Nepal bhitra Nepal khoi” (Where is Nepal inside Nepal?).” he adds. “We are rich in terms of culture, history, art and architecture. Our brick, stone, wood, and metal art are famous across the world and is what amazes foreigners when they land in Kathmandu valley for the first time. Our national identity could be at risk lest we neglect our heritage’s preservation and continuance.”

The Mahabihar is still under construction and is funded entirely by private Nepalese donors. “Most of our modern roads, hospitals, bridges are built with funds from foreign countries. If you go to Teaching hospital or Bagmati bridge, you’ll find a plaque acknowledging the foreign donors who built it. If we had to add such a plaque in the Mahabihar as well, it would be shameful for all of us. So, it was very important to us that this monastery, which is also a symbol of Nepalese identity, is built without a single rupee from foreign funds. Not only will we not ask for funds from foreign donors, we won’t accept it even if offered. Foreign tourists are welcome to stay, eat and pray there, but the Mahabihar must be built entirely by ourselves “, he explains. “If you look at the old temples and palaces of the three Durbar Squares, we built them all on our own without any donations from foreign entities. If we could do it then, then we can do it now as well. We do have the capacity to build this Mahabihar with Nepalese funds” he further adds.

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The Mahabihar is being built in the traditional Newari style, with a square courtyard encircled by a two storey structure. The Mul Dhoka (Main Gate) is on the west side. The wood, brick and metal craft is reminiscent of the traditional bahils found in Kathmandu valley and will incorporate all the elements found in a traditional Bihar. Although the size, shape and design of the Mahabihar is traditionally Newari, the technology used will be modern to ensure its structural strength. Modern building materials and components will be used to make the building strong and earthquake resistant. “We have to incorporate modern advances in science and technology. For the sake of following tradition, we can’t be rigidly orthodox and conservative. So we will use modern technology while still preserving the Nepalipan of the monastery” Bajracharya states. Moreover, the Mahabihar is being built on the guidelines set by longestablished texts that lay out the process and procedures of building

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a traditional bihar .“There is a guiding text on building a traditional Bihar. It is called ‘Kriya Sanghraha’, written by Mahapandit Acharya (Bajracharya) Kul Dutta. It guides us on what to build, how it build it and in which order. It even gives us procedures on how to perform soil tests before building the bihar,” says Bajracharya. This article is formulated in conversation with Rev. Dr. Naresh Man Bajracharya who is the first Professor and founding Chair of the Central Department of Buddhist Studies at Tribhuvan University, Nepal. He is also the linage holder and the leading Priest of Newar Buddhism who has been awarded Fulbright Scholar in Residence (SIR) for 2009-10 by U.S. He is the author of many articles and books on Newar Buddhism. He has played a pioneering role in introducing Buddhist Studies discipline in Nepal and in revitalizing Newar Buddhism. Currently, he is the Vice-Chancellor of Lumbini Buddhist University in Lumbini. He is devoting his life in construction of a Nepal Vajrayana Mahaviahar (Nepalese Buddhist Monastery) in Lumbini master plan area as Project Chairman. The concept of Nepal Vajrayana Mahaviahar in Lumbini is originally of Dr. Bajracharya. All the Buddhist Ritual processes in pre and post foundation of the monastery are leaded by him.

The Nepal Vajrayana Mahabihar will not only serve a nationalistic purpose but a spiritual one as well. During Lord Budhha’s time, a Bihar was where Lord Budhha and his disciples stayed. They used to be very simple. It has since developed into an abode for Buddhist spirituality and spiritual activities. All the adornments in the bihar symbolize Buddhist education and philosophy,” Bajracharya explains. The Mahabihar will not only be a symbol of Nepalese Buddhism, but also a living monument. “We have plans to practice all spiritual activities that normally take place in a Bihar once it is completed. We want it to be a living building, not a museum.” Bajracharya states.


There are two kinds of heritage that we must preserve: tangible heritage, which includes the building and the design and craftwork that goes into it and intangible heritage, which includes the rituals, festivals and traditionas that we follow. The monastery is trying to preserve and give life to both those aspects of Buddhism. The Mahabihar will also facilitate those who want to stay and study Buddhism at its premises. This plan includes building a Dharmashala where people can stay, eat and sleep while learning Buddhism. “Everyone is welcome to stay and study there. We won’t discriminate in terms of caste, religion, gender or race. Anyone who is interested and eligible will be taught about the life and teachings of Buddha.“ says Bajracharya. “In the future we are planning to start a Vajrayana institute, where interested students can learn and practice Buddhism. In our traditional bihars, more religious rituals and practices take place rather than teaching and learning about Buddhism. But in the Vajrayana Institute, interested people can learn about and practice Vajrayana Buddhism to the extent and depth that they want to,” he adds. Building a Nepalese Buddhist Monastery in Lumbini is a crucial first step towards preserving our culture, history and identity. Perhaps in a few years time, our dear readers will also be able to visit and stay at the Nepal Vajrayana Mahabihar and learn more about Buddhism. Until then, all we can do is support and encourage such prodigious efforts to preserve our culture and identity.

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Rubber Estate Mountain

Sri Lanka correspondence : samir dahal

Design Approach Located within a picturesque landscape in Horana (approximately 4 km off the town), the house lies on a sloping hill, bordered by a breathtaking Rubber estate mountain. A working couple currently occupy the space.

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 


 +11'-0"



 


 






Concept and Approach The residence has been designed to complement its natural and serene surroundings. The slope of the site has been preserved by creating a grass terrace that runs along the slope. 

The interior spaces use a material combination of timber, steel and glass to capture a lightness of character in the upper floors, while a solid rubble wall stabilizes the structure. This rubble wall, built of debris taken from the site, sits at a random pattern that cultivates an earthy quality to the lower level, also simultaneously blending in with the existent rubble segments in the ground. Details such as the subtle edges of water in the pond at the lower level visitors’ seating area, and the transparency through the light staircase, gives a peaceful ambiance.

 

 +0'-9"

 


+0'-0" -

The relaxing living space shares a lightweight, floating quality. Moreover, glazing in both the dining and living room allows a sense of transparency and openness with the surrounding countryside. Salvaged timber and glass has been used to construct adjustable louvers and thin screens in the master bedroom, TV room and gym. Cement floors and soffits frame the tranquil views of the outside, with visual clarity. The spaces are naturally ventilated, along with provisions for ample natural light to enter the interiors.

Project Information Project Name: Residence at Horana Location: Horana, Sri Lanka Project Floor Areas (sq ft): 2800 Project Cost: 18 million Construction Duration: 15 months

Client: Mr. & Mrs. kannangara Consultants: Architect: Nadun S Saputhantri Engineer: Wasantha Kumara Contractor: SAE Engineering

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BIG value for investing in the

Little Things:

Seismic Damage Control

TEXT & photos : Frederick Langworthy, Simons Foundation Construction Project Consultant, Nepal

As I introduce this subject I need to relate a truth that I have learned in my years of work here in Nepal and a lesson that should be taken away from here as valuable for life. “If you desire to bring about change, show them how it will benefit them and many times you will have a convert.” Many times, when seismic activities are discussed, a factor of fear is used to try to push the agenda. Let’s look at the hard facts and how solving construction problems or implementing some small measures can bring big returns in a post-seismic event.

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he easiest approach to any problem is to use a teammany eyes and minds help get the problem out of the box and allows a reshaping of ideas and standing concepts. A team approach in the business of architecture includes the client, engineers and architects, working together to achieve the final product at a reasonable cost and time frame. Now, an added feature of projecting the life expectancy of the building should also be added to the project. It has been recognized for years that buildings often outlast their usefulness in the range of intended function i.e. factories, hospitals. Similarly, many are also retro-fitted and can begin life fresh and new. Calculating the value of a structure over a given time brings into perspective the construction costs and adds value to every project. In the Kathmandu Valley, it is not a case of IF a major earthquake will happen, it is a given that the earth continues to reshape itself and the Kathmandu valley. Therefore, it is only a question of when. Today, tomorrow, ten years from now, this uncertainty means we need to construct strong buildings today. Let us look at a couple of aspects of how to keep a structure engaged in the intended use after a seismic event. First, there are two categories that are to be considered: structural and nonstructural, let us look at the structural first:


1) Structural- those things which are directly incorporated into the building and contribute to its support and rigidity. They must flex or restrain the structure in the moments introduced to it by unintended loads [this is why seismic engineering becomes important, these temporary yet severe loads will either be handled by the structure or they will destroy the structure]. The list consists of columns, beams, struts, slabs in many combinations and configurations. It is the art of combining them that poses an architectural challenge, of bringing beauty to these components and reflect the personality of the client or facility. The engineer in this team specifies the required materials and configurations needed to produce the restraint to match what the architect has envisioned for those shapes. Before the engineer can prescribe, he needs a clear understanding of the site, aspects such as soil type, water table levels, adjacent structures and the types of foundations that they have (this will influence how the soils will react) and in which seismic zone is the project situated.

around you or paying to remove the debris and asking your friendly architect and engineer to repeat the design and spend money while losing income and customers. The laws of economics shows that time and time again replacement costs always exceed the initial investment! It is indeed the little things that make the difference!

The added cost of a few restraining rings and a bar or two in a column and beam, matched with an extra inch of concrete in a slab, a couple of inches in depth of columns and beams could make the difference between going back to work in a couple of days and earning money and serving those

2) Non-structural components: Once a structure is completed, it will be divided into areas for specific uses. These divisions can be involved in the structural integrity of the building. Therefore, these walls are considered as nonstructural and must be designed to flex independent of or in conjunction with the structure as it moves. This too can be separated into a couple of areas A) exterior walls B) interior partitions. We

Many times, I hear the frustration of engineers and architects, about clients that want a project but prefer not to pay for the proper investigations to determine design strengths required for a seismically sound building. As we look at the life cycle of the structure, it becomes cost effective if spread over many years and the investment gains in value. Having a structure that can and will function post quake can make a difference to a company’s profitability, the impact on the community, and the lives and families of those that staff the facility.

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see more and more of building exteriors clad in glass and ACP panels here in the Kathmandu valley. How often are proper clips used to allow for structural movement independent of the exterior skin? Large glass windows for display set in aluminum frames without room to flex with the structure can and are dangerous as glass has limited flexure. Many projects use special features to adorn the exterior of their buildings giving that personal but, how often are seismic considerations taken in selecting the anchors to be used? Brick and stone, used in Nepal abundantly, are great materials; they are strong, appealing, and readily available. Yet, they have some inherent problems that need to be addressed. Being less ductile than other materials, special care 34 / SPACES July 2017

needs to be undertaken to offer the best survivability chances in a seismic event. Attention to brick joints, reinforcings placed at specified locations and anchored into the columns with proper strength and class of mortar specified is also imperative. Most mortars used here are based on regular cement, therefore not designed to bond to the brick as a specifically designed mortar can. Dr. Beall’s “Masonry Design and Detailing for architects, engineers and contractors” is an excellent resource to supplement the Nepali’s vast knowledge in masonry construction, contributing to the enhancement of seismic-safe structures. Regarding interior partitions, many architects still persist on specifying 4” brick, a practice that is cheap but is also

damaging and deadly during a seismic activity. The practice of adding a small rcc layer at given heights would help when it bonds well to the brick. The ratio of height to width does not meet the seismic code. Similarly, the practices of bricklaying used in the exterior spills over into the interior and the walls seldom have strong joints and the bricks tend to be of a cheaper, low quality that crumbles under a very low compression load. Thus, walls constructed between columns and subjected to lateral movements of an earthquake are destined to fail in a very low magnitude event. This failure also contributes to the damage of interior equipment as well as posing injury hazard to the occupants. Several alternatives are available in the market. I tend to prefer the substitution


of metal studs and gypsum, ply board, cement board, or combinations, all at a slightly higher cost, but which is far more functional in the design process and has a much greater survivability rate in higher amplitude quakes. These materials are considered “green� building materials and can be recycled like brick, yet with less impact on the local environment. Brick is usually dumped and used as a base material, which by its very nature does not lend itself to being solid. It will break down and compress, allowing for settling and cracking later. A major advantage is the fact that there is no need to chip or channel into the brick, which reduces the strength in the wall. This allows the introduction of other trades [electrical/plumbing] at a much earlier stage in the construction process. This advantage allows pushing the schedule without affecting the quality of the project. Manufactured board materials are more consistent in thickness than plaster; therefore, a uniform setting of boxes and fixtures can be determined at the beginning and carried through the whole project. Most equipment in a building is placed after the initial structural construction is completed, therefore very less consideration is given to proper anchoring. These items become mobile in an earthquake and damage themselves and other equipment and staff in the area. Objects like bookcases, computers, filing cabinets, machinery need to be anchored for the safety of other items, staff and residents. Considering all the general information given here, we as Architects, Engineers, and Consultants need to approach a project with the idea that we MUST sell the client on a safe,

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strong, and cost effective structure. As professionals, our attitudes to seek alternative materials, and methods to satisfy our clients’ needs will go a long way in uplifting our profession. Many organizations have offered studies and assessments of our buildings, we also all know firsthand the costs of doing this work after the fact. Our clients need to hear these numbers. Only after a person has all the information can an intelligent decision making processes begin. We should no longer be simple architects, engineers and consultants but we must wear the hat of a salesman as well, selling our

services and their future in stable, well functioning buildings! Hopefully, as professionals, we can show the building client that: 1) we have their safety and best interest at heart as we practice our profession 2) We are as interested in their profitability as they are 3) That we will look at the total picture to develop a design and implement a project that they will be proud to say is theirs after an earthquake, as they begin to function while others sort through rubble and look for ways to regain their business.

Basically, it is our job to sell that we can find BIG VALUE for investing in the LITTLE THINGS.

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CONCERT HALL Thimi , Madhyapur TEXT & photos : Sanjeev Shrestha

BACKGROUND Music produces beauty of form, harmony, and expression of emotion. A musical performance given in public, typically by several performers or of several compositions is called a Concert. The indoor space designated for performing such concert is called a concert hall. A concert hall is a cultural building with a stage which serves as a performance venue and an auditorium filled with seats. Concert halls typically also contain orchestral rehearsal rooms. Many larger cities have both public and private concert halls. Particularly in smaller cities with fewer alternative venues, concert halls may also be used to accommodate other activities, from theatrical performances to academic presentations and university graduation ceremonies.

THE PROBLEM AND CONTEXT Nepal is rich and diverse in traditional performing arts and culture. Spaces like Dabali or indoor spaces like hall in palaces were the place where performances were done. As the art form (music) flourished the demand for performing spaces proliferated. An effort has been made to bring together public in one place to enjoy such art forms as many multipurpose auditoriums been built in the Capital. A dedicated space for musical performances is however not yet been addressed. Tourism on the other hand is the main source of remittance to Nepal and a concert hall would just assist the business. Many international performers are invited to perform in

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front of large number of right audience but the problem has always been right space and right acoustics. A concert hall with the absolute requirements would bridge that gap.

PURPOSE OF PROJECT / PROJECT DESCRIPTION The chief objectives of this research are enumerated below, • To have a designated Auditorium for Concert purpose only which has not yet been initiated in the country • To design a concise and effective model to facilitate musicians and music seekers with a good taste of music. • To bring together concert goers at one place where they can enjoy every kind of gigs whether that be cultural or traditional or something nonnative without much hassle. • To provide a fully functional space for music learners. • To boost tourism sector by providing a platform to let aliens know about our cultural practices and musical art. • To Promote Power of Architecture in enhancing music. Hence, this concert hall will house a single auditorium for enough audiences that no auditorium ever had in the capital. The Hall will provide a designated platform for orchestral performances of many national and international bands.


Besides the prime purpose, the design will also facilitate space for preprograms before the concert, an exhibition space that will showcase art and artifacts reflecting music all over and an outdoor performing space for informal programs. The complex will also facilitate a space for learners. A music school within

the complex would complement the idea of having performing space for teachers and learners.

SITE INFORMATION The proposed site is located in Madhyapur, Thimi near Hanumante river bank at Katunje and is accessed by an 8m wide non-metalled road

which comes around at 330 m distance from the Araniko highway crossroad. This makes site around 78 m away from the highway. The site lies in a commercial zone as set by Kathmandu Valley by- laws and has an area of about 14220 SQ. M. (28 ROPANIES) with a flat terrain. The environment is serene and unwanted

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highway noise is well buffered by the row of houses adjacent to the highway making it advantageous in terms of better acoustic environment and buffer from urban noises. Although the site is a bit rural than City cores, Banks, Hospital, Department Stores are within 1km distance. Siting cultural building like concert hall in Madhyapur (Central District) will be beneficial for the people there and from around the valley in terms of approachability and planning wise. The hall will be one of its kind in the country and will define a new cultural centre for the valley. This will ultimately act as catalyst for developing Katunje area.

SITE ANALYSIS DIAGRAM CONCEPT AND DESIGN DEVELOPMENT The main purpose of the research is to bring about artists, visitors, students and teachers to the same ground to produce favorable blend of space to foster communication between them. This demanded a single complex to be designed where all the functions are composed.


To back this up architecturally I took reference of Music as I am to design a music box. Music and Architecture share similar characteristics. As Renaissance Architect & Philosopher, Leon Battista Alberti says,

Hence, I set to design a building using interpenetrative functional volumes. The product that way followed characteristics like Rhythm, Proportions and DYNAMISM (more visible) in every possible elements that I used. To support this, I took “STRIPS” an element from one of the famous musical instruments “GRAND PIANO”. This element is used from building façade to interiors, from floor to ceiling repetitively thereby creating a sense of being in a musical box.

Musical terms such as rhythm, texture, harmony, proportion, dynamics, and articulation refer both to architecture and to music. And the famous saying “Architecture is a musical composition is hence justified.

Skewing geometry of the building has made it monumental in terms of Architecture and Structure. The skew angles of the boxes serve to enliven the space thus formed.

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MASTERPLAN ZONING AND BUBBLE DIAGRAM First of all, avoiding much vehicular circulation I fixed my main entrance to the site. The proposed building is then put to eastern side of the site. This made two things possible. One is, the building will now enjoy the vantage views of Hills and Hillocks of Bhaktapur on the horizon. Next is, doing this has moved the complex way from the Araniko Highway that runs parallel to the diagonal of the site, thereby reducing the risk of Noise Hazard from the highway. Finally, to give that elaborative a sense of arrival a Grand avenue is created in the axis of Main entrance and entry plaza of the complex.


INTERNAL PLANNING One enters the site with a grand Pedestrian entrance that leads them directly to the Drop off Plaza placed in the visual axis overlooking the reflection pond that falls in the left of the grand avenue. The entrance itself is grand cantilevered high-tech cabled structure that provides the visitors a sense of arrival.

Bubble Planning

The Ground Floor The ground floor welcomes visitors with a double height atrium where one can visually connect to activities in the upper floors. The reception area (to the right) and waiting area (to the left) are secluded keeping the traffic minimum. The space is enough to contain visitors during concert purposes. Snacks counter and cloakrooms lie within the lobby along with a music gallery (commercial – sale of music instruments and books) where people can engage themselves. Masterplan

Northern Part of the floor is used by music school with facilities of conference halls for 132 people, music classrooms and recording studios. To facilitate informal performances an OAT is positioned in the north. The cafeteria where both group of people meet is located within the ground floor that enjoys west sun and beautiful view of the pond and the landscape. It also features an outdoor eating space.

The Upper floors The Auditorium starts from the first floor. The Front of house (foyer space)

I wanted my design to be public oriented. To fulfill the cause, a lot of space (approx. 80%) of space is dedicated to public. A large open central landscaping is imposed in the design that is undisturbed by the vehicular traffic (made fully pedestrian sensitive). The parking spaces is thereby pushed towards the site perimeter. July 2017 SPACES / 41


Bird’s eye view – Southwest

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is at the south that’s open to the top. It features 3 grand staircases that rise double height leading visitors to three of the main floors’ foyer. To enhance the visitors experience I’ve provided a full glazing to the South, West and little bit of East façade to enjoy the views of the horizon during evening shows. The high glass facade over the foyer has a dominant role in the views of the building from the south and west. The exterior of the concert hall becomes diffuse as night falls. The large timber wall of the auditorium in the foyer is illuminated and the building takes on a completely different character. The interior becomes the façade. It shows how interdependent the interior and exterior of the building are. Also Since the building is huge use of glazed façade has somewhat reduced the mass (bulkiness) of the building. The preconcert area in the second floor facilitates press conferences and preconcert talks where a double height spillout semi open space at the western part of the same floor has let the visitors feel the air before, during and after the concerts. As most of the formal concerts happen during evening or night people might want to have their meal there before they get back to home. Provision of dinner court has just served the purpose for 150 guests.

Grand Cabled – Cantilevered Entrance

Reflection Pond view – Northwest

The Back of house is in the Northern part with a separate entry and equipped with a passenger and freight elevators. The music school uses two floors and the rest is used by green rooms, VIP rooms and office spaces. Music Gallery

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The Auditorium

Foyer from Southwest corner

Foyer from Entrance Door

The hall is designed for 1500 people that includes stage area for 75 musicians. The skew angles of the interior shape is directly adopted from the exterior skews. The layout of the hall is a product of mixing a shoebox and surround shaped. This type of design enhances visitors experience as it breaks the dull monotony of audience facing the stage as it does in conventional concert halls and would put people closer to the performers and creates a sense of community and shared experience. There are altogether 3 balcony tiers including a VIP balcony. The main balconies are moved from a perpendicular verticality way from the stage. This has reduced the volume of the auditorium (risk of sound decay reduced) and steepness of the tiers. Following this design the main stairs that connect the floors doesn’t fall on the same line thereby creating a visual interaction between the stairs. The interior follows stripe design that is used throughout the exterior. The undulating timber boards ceiling and walls enhances the diffusion of sound and symbolically depicts as the sound source originating from the stage.

LIGHTING, ACOUSTIC AND VENTILATION CONCEPT Lighting As the complex is huge, lots of portions (especially in the center of the complex) remain darker. Therefore functionally spaces like Classrooms and office spaces that needs more light in contrast to spaces like corridor, store Music School - OAT

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rooms and cloakrooms are placed in the perimeter of the building complex that avoids massive use of artificial lighting. However to facilitate deep penetration of light into the building curtain walls have been provided in the important facades of the building. To minimize glare and heat into the building complex I’ve proposed the use of Low-emissive glass (Sun control glass) or glass having Low Shading coefficient that stops infrared and UV rays from entering into the building. One special feature is the lighting of the stage area in the Concert Hall. Normally, concert halls are always dark, as they have no access to daylight. Ten so-called light pipes (Sun Dinner Court

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Auditorium – from terrace seating

Tubes), each with a diameter of over 1 meter, ensure that the concert hall receives sufficient daylight. The interior of these light pipes consists of a highly reflective steel lining which augments natural light to such an extent that a unique spatial atmosphere is created when the sun shines, filling the space with brilliantly intense, yet

evenly distributed daylight. When the weather is cloudy, the pipes provide diffuse, shadow-free daylight, too, thus conjuring up various moods and effects inside. During the White Nights in summer, when the sun sets briefly, evening concerts can take place in daylight. The intensity is regulated with the use of low voltage dimmer. Besides

achieving an optical effect, daylight illumination also has a practical purpose. No artificial light is needed for orchestra rehearsals largely taking place during the day, thus considerably saving energy costs. Moreover, since it is a multi-purpose venue, the Concert Hall is also suitable for congresses and festive events held during the day.

Acoustics The Auditorium is centrally located in the building wrapped in other functional spaces that act as well buffer from outdoor noise entering the building and indoor noise coming out of the hall. The auditorium itself has wall cavities for the purpose in addition. The reverberation time is fit for the concert purpose. The use of timber boards in walls and ceiling, carpet over felt on floors and upholstered seats the hall’s liveness has been enriched.

Ventilation The Auditorium uses “Displacement Ventilation System” which a low level supply of cool fresh air from below the Typical Interactive Music Classroom

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seating and heated air suction from the ceiling. This system facilitates the superstructure (with Air Handling Unit the top floor) whereas Basement and Ground floor uses high level supply of air (AHU in the basement). Double skin façade is the interesting part of the ventilation system design that contributes to reducing overall heat again of the building. “The double-skin facade is a system of

building consisting of two skins, or facades, placed in such a way that air flows in the intermediate cavity. The ventilation of the cavity can be natural, fan supported or mechanical. In cool climates the solar gain within the cavity may be circulated to the occupied space to offset heating requirements, while in hot climates the cavity may be vented out of the building to mitigate solar gain and decrease the cooling load. “

The design however uses a natural ventilation system (best for country like Nepal where load shedding is prevalent) with operable windows in the interior façade and air inlet fins in the outer skin. The outer skin is a toughened glass glazing whereas interior is a double glazing. The cavity is around 750mm allowing space for cleaning and maintenance. The double skin is used in western and southern facades which is exposed to sunlight to the maximum. July 2017 SPACES / 47

With rising incomes across the world, people are willing to spend liberally to design the interiors of their homes and workplaces. New trends can be seen in the interior design industry, especially the revival of some traditional trends and designs that focus on simplicity and the increasing use of green or eco-friendly materials.

Natural Products: As the world becomes more aware of the effects of human activity on the environment, many recycled products will be eco-friendly as well as stylish interior decorations. The flood of natural materials like clay, Cork, Wooden bark designs and terracotta tiles will be used more extensively. If you do not want a traditional style, then glazed or matte Finish tiles for walls or floors is a great way to add charm and personality to your interiors.

Stainless Steel: -

Trending Interior Design TEXT : Sapana Sapkota

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Innovators believe that polished stainless steel is slowly making its way in the headlines in the interior design world. Although stainless steel has been for a long time, the next trend will probably not be white or brushed metal, but a sleek black. Black stainless steel stands out and looks classy and sophisticated.

Upholstered Bedheads: Upholstered bed with headboards are simply gorgeous! These beds have forever been decorated in high-end houses, but now has become more accessible to the public due to lowering prices. The upholstered headboard rooms feel luxurious and if you haven’t converted to it already, now is the time to update your boring beds with this fantastic version.

Lattice” Jali”: Patterns and Texture are an interior designers’ best friends and one of the more famous patterns is the lattice “Jali”. From Mughal forts to Rana palaces, lattice has been around for a few centuries now. We just love different styles and elements that blend art and architecture of ancient periods. Today’s Lattice comes in various materials which can be of MDF, Corian, WPC, wrought iron etc.

Wicker (woven furniture) world: Organic, rugged woven textures are also making a comeback in our homes. Enjoy reeds, rattan, jute, cane, seam and bamboo furniture as lighting and decorative pieces.

Wooden ceiling: A wooden ceiling is a great alternative to custom woodwork, which can be unreliable and can increase the project cost as well. In the various types of holes and finishes - from actual wood dishes to exotic species- a wooden ceiling can be a beautiful addition. Wooden ceiling are available in different forms, such as Teak finish and Mica finish. Currently, different ceiling materials are made available by branded companies like Armstrong.

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Geometrics in ceiling: Your goal should always be to build a house that seems queued, and an easy way to do this is through using different types of patterns. We will see informal geometrics that were used in ancient cultures, from Africa to Europe to Asia. But, their modernization will involve utilizing simple lines, geometric designs and triangles.

Designs on the Wall: The resurgence of the wallpaper can also be seen these days. In addition, materials such as cork and terracotta might make a comeback and marble should continue to dominate the scene. In 2017, we see different customized wall designs implementing materials with a wooden touch, such as 3D wall panel, gypsum wall art etc.

Interior trends with Our experts: Interior designers and related experts look forward to a more organic and ‘tribal’ design to our homes. These trends depict a recurrence of old cultures as well as the acceptance of eco-friendly designs.

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Right Moves

Smart Choice for ACs Summer keeps getting more unbearable every year (thanks, Global Warming) and if you were thinking of upgrading to an Air Conditioner (AC) this year, we have your back! At Right movessmart choice, we take care of all the mumble jumble research to help you make a smart choice.

Air Conditioners are undoubtedly more complex than a ceiling fan and entails a huge investment of money, space, and electricity. They also usually last for 10 years, so you don’t want to end up with a model that becomes obsolete too soon. Your new AC will cost you anywhere from 40,000 to 2.5 lakhs. This depends on the capacity, type, and brand you go with. The capacity, measured in tons, will depend on the area of the room you’re trying to cool down. However, quite a few more things can affect the capacity need for your room. Your ceiling height and whether your room gets sunlight, for instance, can change your calculations up to 10%. Also, if you live in a hotter area, it is advised to pick an AC of a higher capacity. Commercial spaces might require up to 4 tons of AC or multiple ceiling ACs. Most distributors and retailers will help you figure this out as a service. While ton is the widely-accepted unit of measurement, some providers also use British Thermal Units (BTUs). One ton is equal to 12000 BTU/hr.

hand, is split into two parts and mounted indoor and outdoor on the same wall’s opening. Hence, it is more expensive than a window AC. A 5-star Window AC has the same energy efficiency as a 4 star Split AC. Split ACs also have energy efficient technology of inverter ACs and make much less noise.

a year, it is wiser to buy at least a 3-Star rated AC. If you use it for 5 to 7 months, you should opt for a 5-Star rated AC.



The second biggest payment you’ll make in exchange for cool air will be for energy consumption. Most products you’ll find in the market come with a Star rating of 5 being the most efficient and 1 being the least. (Image). To find out how efficient a model is, look at the EER(Energy Efficiency Ratio). This is the model’s capacity (in BTU) divided by the power consumption in Watt-hours. So, more the EER, less the consumption.


If you are concerned about the power consumption, go for inverter ACs that might cost a little more in capital investment but will save up to 45% of your electricity bill. While regular ACs work on their peak capacity, inverter ACs will adjust power usage as per the temperature of the incoming air.

A window AC is slid into window openings and is an older and cheaper technology. A split AC, on the other

We recommend that if your AC usage is 8 to 10 Hrs. a day for 3 to 4 months

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An AC basically takes air in, cools it, and exhales it to the room. This process creates heat which is discharged outside in the form of hot air. If your AC comes with a heat pump, reversing this process can keep your room warm and saves 35% more energy than regular heaters during winter.

BRAND Most stores in the country sell both Chinese as well as other international brands. The Chinese machines usually cost less for the same features and offer the same warranty as the international brands.

EXTENDED FEATURES Look for extra features that are model specific and add value to the product. These features could include noise and air control, use of Wi-Fi control, and dehumidification, which can enhance AC experience.

A data released by Bureau of Energy Efficiency of India in 2017 showed the following difference in power consumption (in kWh) for 16oo hours for Air Conditioners of various tonnage and star ratings:

Area (in sq. ft)

1 ton

1.5 ton

2 ton


3 Star Non Inverter






5 Star Non Inverter





1 ton

3 Star Inverter





1. 5 tons


2 tons

4 Star Inverter




5 Star Inverter




MAINTENANCE A poorly maintained AC is 10-30% less effective and lasts less than the standard 10 years. Also, repair costs can be expensive, but can be avoided entirely if you just know how to take care of your machine. The first thing to note about AC care is cleaning the filters. Most air filters are

washable with mild soap and water. Underneath the filter are evaporator coils. To keep your AC strong, you might want to vacuum them and the condenser coils at the back of the AC. Regular dusting of vents, and straightening bent coil fins are essential maintenance tasks as well.

Use CFLs! CFLs not only save more energy than regular bulbs, but also emit less heat for the same amount of light. Less heat means less cooling expenses.

LG Air-Conditioners with Dual Cool Inverter Technology This iconic Dual Cool Inverter Technology in the latest range of LG ACs, makes it more energy efficient and complies to the latest ratings. The two rotors in the compressor results in less vibration and noise. The variable tonnage technology controls the compressor speed and adjusts cooling. It automatically increases cooling to reach the desired temperature faster and then reduces the tonnage for energy savings. Faster Cooling Micro Dust Protection Filter Least Noise Output Energy Saver On/Off Timer Sleep Mode 10 years warranty on Compressor Auto Clean Free Installation Contact: 1-660- 010-0211

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Role of color in Interior How to achieve your taste TEXT : Ar. CHHAVI VASHIST

Color plays a significant role in our everyday life. Different color schemes used in interior designing, called chromo therapy, can be eye soothing and enhances our mood.


olor is a visual language, which is understood by everyone. It influences the atmosphere and can brighten up our spirits instantly. You can revamp your home by adding a splash of color shades, vivacious tint and tones, or soothing hues in distinct furnishings. Every color can change its character when its lightness and saturation is reformed. By selecting the right color, you can create elegance, warmth and tranquility. To establish a balance in decor, colors can be modified in three ways - active, passive and neutral. But, before choosing the color palette, a correct assessment of the space should be carried out. You need to figure out of environment you wish to achieve from a space, and can range from warm and relaxing to dynamic and energetic. The colors you pick should be either coordinating or contrasting with each

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other. At times, even monotonous color schemes can be fascinating! Hues like yellow, pink, and violet work wonders to create a radiant aura. To make the space elegant, pastel pink can also be incorporated as it helps inject the space with brightness and also reflects natural light. Similarly, yellow is a bright color that makes any space exciting, lively and happy. Upholstery fabrics in shades of blue are soothing. Additionally, you can also team up neutrals with bright colors to harmonize your decor. Furnishing in shades like ochre, amber, sepia, and russet is great to perk up your home. Purple is a rich color which creates a welcoming and formal ambience. Shades of green is refreshing and natural, and can provide sensous pleasures, whereas red and black are stimulating shades and should be used in fewer doses.


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The juxta-positioning of different material and elements with the principles of interior designing is always challenging. An additional trick to glam up your rooms can be the use of some vibrant colored accessories, like playful cushion covers, textural contrast accent pieces, pretty faux flowers, artificial plants, and classy vases Adding vibrant paintings and artifacts can also work wonders.

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How to pick a perfect color palette for your home? Analyze the current upholstery pattern that you have; choosing the colors from the existing upholstery patterns can help you selecting your palette. Decorate a room from light to dark shades. You can try putting up a dark shade on the floor, medium shades on walls, and light tones on ceiling. To make the task easier 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.

Try the use of a color wheel and select an analogous color scheme. Analogous colors are next to each other on the color wheel. For example, a blue and green color scheme can make your space relaxing and calming. Go for denims shade sofas added up with some citrusy accents such as perky bright yellow pillows or accessories.

There are a lot of neutral, yet trendy shades available in the market. Grey can be paired with florescent shades or with pastel palette to get a warm or cool appearance. Rely on black and white. This dynamic duo never goes out of style. You can create a compelling color story by just adding a metallic color to your space.

For a high drama hue, you can also add a small pop of black color. Black lampshade or a black color flower vase can define the space.

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Balance your white walls and floor by featuring a monochromatic shade. For example, add cherry color or green saturated shades. Follow the rule of three. Any space can be perked up by sticking to three shades of color. For example, in a cherry red bedroom, saturated shades of sunny yellow, navy blue and grass green can make you feel fresh and preppy. Add interest by using cool blue draperies with cream walls and dark brow floors. A soft cream rug and brown zebra print fabrics are always trendy. Make a statement with rich, saturated deep hues. Two toned furnishings and draperies can be introduced to your

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spaces. To give a luxurious look, the cream shade can be combined with dark grey or purple colors. Traditional furniture can be put together with dark rugs, cream fabrics, gold and red cushion covers. An eclectic color scheme is a bold statement on its own. The faux-fur rug and collected furniture can give a rustic edge to the design. Mediterranean inspired elegance can be achieved through dramatic interior architectural elements. The space can be kept simple, yet refined, with a royal touch of Spanish flair furniture.

Tips and Tricks • Start by picking the color for the biggest, centrally located room. • Paint the boldest color first. • Try to build your palette with shades of same hue. • Plan a strategy when picking colors for open spaces. • Work on upstairs and downstairs spaces separately. • Common spaces/public spaces/ connecting spaces should be kept neutral. White, beige and greige shades are foolproof choices. • Test your potential palette. Before you choose a palette, check and narrow down your choices by painting swatches in a specific area. • Understand and undertone the base color- white.

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Photo: Pradip Ratna Tuladhar


The Changing Face of

Nepali Walls TEXT : Madan Chitrakar

An ideal and a comparative example of changing Wall Art in Nepal


sight hard to escape a visitor’s eye in any big city of the world today is the presence of huge exotic art forms in the facades or the exterior walls. In diverse shapes and sizes, it may be found in the form of a decorative mural or a graffiti with a political slogan or even serious classy frescoes – depending upon where, why and how they are being created. But its presence has become so overwhelming it has come to stay as a present day urban culture. Of late however, it has also been used as a symbol of free expression: or as a handy tool to protest in an artistic form. But in the earlier times, when it first appeared in the big cities of the West, the culture to paint on walls had had certain and more serious motives – that resulted in the historic classic frescoes.

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Photos: Bijaya Maharjan


A medieval mural from a Buddhist Vihara – now completely demolished after the Great Earthquake, 2015

Often such works did merit in the annals of the art history as well. But in the recent times, this new culture to paint on the public space has filtered down to a new level that; even people with no love for art whatsoever, are seen using it as an easy tool: often to serve petty interests or to convey a chosen message in the public. And no wonder today that, as the ‘Wall Art’ has begun to lose its earlier esteem it has begun to be described as “Street Art”- rather than an art in a mural form. But for sure, at the same time, it has led to the birth of a new visual culture – expanded to the present global scale. And the streets of Kathmandu also remained no exception to it. Thus the Nepali murals - once a proud and an integral part

‘Door’- a typical example of a modern day wall-art

of the glorious Art tradition has slowly begun to embrace onto this new culture.

Art in the Nepali Walls In the Nepali Art, wall paintings – the murals, has had remained very historic. It had played an important role in its growth and the evolution. Scholars of Nepali Art history agree that the roots of the Painting tradition lie in the wall paintings or the murals – along with the famed illuminations and the covers of holy Buddhist texts – notably ‘Asta sahasrika Prajnaparamita’. To this date numerous Buddhist Vihars and Bahis of Kathmandu Valley stands testimony to this truth. Although

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Photo: Bijaya Maharjan


An exquisite fresco work – depicting Lord Bhairav at Chandeswori Temple, Banepa. An age old tradition dictates that the image is repainted fresh in exactly the same style and manner at every regular interval of time since the hoary times – late medieval times.

today many of these historic sites are in a sorry state of dilapidation – due to wears and tears of nature or gross neglect, in many of the Vihars earlier marvels of Nepali Wall Art can still be clearly seen. And one can easily surmise the state of high accomplishments reached during the early period of history. In many of these medieval facades of historic monuments, the painted imageries almost always depicted the chief deities from Mahayan Buddhist faiths. In addition, depiction of minor demigods or animals as either the devotees or the attendants is also quite common. Stylistically, these murals are so well done with skilled workmanship and full understanding of the iconographic details. Also, and unmistakably, these sacred murals clearly narrate the strong influence it received from the Pala School of Eastern India which thrived during early medieval times (9th to 11th century).

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As said earlier, the motives behind these great artistic marvels, has essentially been the then widely prevalent Mahayan Buddhist faith. In other words, religious faiths had had remained the main motives behind the art. However in the later times, by 18th and 19th century onwards, Newar Art witnessed a gradual shift in the wall murals. Secular subjects were found in many of the Newar houses in the Kathmandu Valley. The rich and elite Newar families were found to add exquisite well painted – oval shaped frescoes in their houses. It is usually in the open spaces between the two windows. In many of such murals the imageries ranged from the patron deity of the family, depiction of religious shrines of their faith or even fancy depiction of scenes of palatial buildings. Stylistically but, it essentially followed a mix then prevailing ‘Pauva’ School and the simplicity of ritual art.

Art The images reveal two different motives – although painted in earlier times. Photos: Bijaya Maharjan

Images of five celestial Buddhas found in a state of neglect at a Buddhist Vihara, Jhwaha Bahal, Kathmandu.

A scene from an imaginary palace courtyard.

The great shrine of Swoyambhunath, Kathmandu.

The lower frescoes are painted - primarily as part of the house embellishments whereas on the top is essentially an integral part of religious motives.

Thus the Nepali murals - once a proud and an integral part of the glorious Art tradition has slowly begun to embrace onto this new culture.

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An excellent example of a contemporary Wall Painting, compound walls of British Embassy, Kathmandu.

Shifting Wall Art

And as a result, what transpired later was the emergence of enthusiastic young art students who came forward to counter this evil visual culture. They then and there determined to use their skills to transform the ugly walls into their creative space – the canvas. It resulted in a popular art with message of peace, love and development. One could see creative art forms – depicting message of peace and development along with the Nepali skylines, landmarks like Buddhist Stupas and temples.

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Photo: Bijaya Maharjan

Nepali Art witnessed an epochal shift and a visible change in the wall Art during the late eighties of the last century. It came as a spontaneous reaction or a response to a wild craze prevailing then to ugly slogan writings on the public spaces or the walls. Let it be added here that Nepal then went through a great turbulent times – a period of great political discontent and unrest. To express or ventilate the anger against the establishment, the public- specifically the activists in particular had resorted to use every public space to scribble ugly slogan writing contest. As a result, rampant abuse of every available space had become. The entire city walls had turned into a dirty canvas or virtual bin for worst ugly forms.

A graffiti with a slogan by artist Sudip Balla. The writing reads as ‘I love my country’.

Photo: Pradip Ratna Tuladhar


mural work – to convey a meaningful visual message. It was designed and created accordingly. It depicted Lord Hanuman carrying entire Mt. Sumeru – a mythical mountain full of medicinal herbs, among others in it – reflecting ancient oriental medical science. Designed and executed in colorful pieces of mosaic tiles by well reputed artists from India, to this date the mural stands as an exemplary piece of Wall art in Kathmandu. And in the very recent times, another friendly country – the Great Britain, wished to convey a public message of peace and friendship, it is found choosing their long winding wall as a canvas. In the compound walls of British Embassy in Kathmandu, one can enjoy a huge meaningful art – a composition with motifs from

A modern mural in mosaic tiles at Bir Hospital, Kathmandu.

By early nineties of the last century, the walls of Kathmandu began to witness a new and a phenomenal shift. What began as a protest on ugly slogan writing, now ‘Wall art’ began to grow as an art with multiple motives. And no wonder it began to manifest with multiple positive messages. A glaring example is when a new building of Bir Hospital was completed with the assistance from India a huge vertical wall was specifically designated for

Photo: Pradip Ratna Tuladhar

As this new culture on walls began to get more popular by every other day, it also began to attract the attention of the big institutions including the foreign organisations. They began to mull using wall art for their own interests and the purposes. Big NGOs and INGOs were seen funding young artists to create long and huge wall art – with a community development messages like child labor, cleanliness campaign and so on.

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Photo: Bijaya Maharjan

Photo: Pradip Ratna Tuladhar


‘The Festivity’- Labim Mall, Pulchowk, Lalitpur - a collective work of young artists Bijaya Maharjan, Suresh Yonjan and Sudeep Balla.

Newar art like ‘Makar’ and other elements juxtaposed with the landmarks from Great Britain. It is understandable the motives behind these works are essentially to promote peace and friendship. For visual forms have had always been powerful than the words. But what has remained amazing and more encouraging to find is that even new commercial establishments are found interested in incorporating new modern forms as mural in their exterior facades. A latest example is a futuristic rendering of traditional chariot of Red Machhendranath – deity widely popular, in Patan in the front façade of Labim Mall located in the main street of Lalitpur. They have made sure that their Mall possess a futuristic work as a hallmark of their building and thus commissioned a reputed artist and designer Bijay Maharjan to do it. Here Bijaya is seen capitalizing the popular image of the chariot to root his wonderful design so as to fit in the designated vertical open panel.

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A huge indoor mural at Academy of Culinary Arts, Lagankhel, Lalitpur.

Yet another work of Bijaya worthy of mention in this regard, is a portrayal of a traditional door of a Newar house in the most realistic manner. Here he, as an artist, created a realistic door on an exterior wall complete with a stepping platform with a well piled stone slabs. Many viewers were found mistaken the wall art as a real door. Conclusively speaking for sure, ancient art of painting on walls in Nepal has definitely shifted to an undeniable new visual culture. To any art enthusiast, it is indeed welcome news. Today, one can clearly notice by every passing day, there are new modern forms on the walls of the city landscape. Thanks are mainly to the continual growth of higher education in Fine Arts. What has prompted the Nepali young artists is the inspiration they received from the wild popularity of graffiti and meaningful wall art during the days of Berlin Wall. And one should not forget the amazing emergence of great British artist Bansky as the father of modern Wall art.

Somany Ceramics Ltd.

Kathmandu, Nepal Mobile: 9841325986 Email: Website: July 2017 SPACES / 71

architectural art digest

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architectural art digest

Brief Introduction about Anuj Kale AKA Leewardists, in his own words I was an avid reader of comic books during my childhood and always used to buy them from the nearest store every weekend. My father, who is also an architect, inspired me to go into and explore the world of architecture. The Architecture coursework helped me to visualize my ideas and to look at things critically. I gradually realized, however, that my heart was in comics and my mind was in architecture. The coursework went hand in hand with what I wanted to do, but at that time, I did not know that I would be doing something like this. I used to look at the storyline, the colors and the way the figures were portrayed. Even today, my shelf is filled more with more comic books than architectural books. In a way, architecture is like producing and writing comic books. A different world is created and characters are fitted into it, just like the design process of buildings. The most critical and important part of my life was when I was enrolled in a Masters program in Urban Design from CEPT. The college and the course helped me to look at buildings and designs critically, and made me appreciate how complex cities are. Also by the end of the program, I had participated in several international workshops in Japan, France, Netherlands and Russia. This helped me to gain insight regarding the international way of practicing Architecture and Urban Design. In short, the overall experience was enough for me to think of starting my own venture. My immediate office experience took place in Mumbai under an Urban Design firm. I used to get a lot of time for myself during work and I dedicated a good chunk of it to practice my comic making skills. The one year I spent at the firm contributed towards my decision to

leave the office and establish my own startup company about making comics on urban design and architecture. I left my office in 2014 and started a comical blog. I got a decent response, of course, firstly, from my friends and relatives. I named it Leewardists, because I and my architect friend wanted it to be philosophical. A hill has two sides – the wind ward and the leeward side. The Windward side is always the good side because it gets the wind, rain and sunlight but the Leeward side is the bad side of the hill, or the ‘not good to look at’ side of the hill. So, the leeward side of the hill is a metaphor for trying to change the leeward side of the hill as well as that of other cities and architecture in general. I was aiming to shed more light on the leeward side of Architecture through my comics. I used to draw about complex, urban issues. It was not receiving that much attention but it was enough for me to continue it further. The struggle was quite real for the first year and I did not make any money from Leewardists. I also gave lectures and presented about Leewardists to most universities and offices for free so that it reaches out to more people. But that did not stop me from continuing because I was highly motivated about the work I did. I also read a lot about upcoming artists on the internet who draw and post on social media. Artists like ‘The Oatmeal’, ‘Awkward Yeti’, ‘Owlturd Comix’ and many more were my inspiration. After a certain time, I was certain that my comics were proceeding in a piecemeal way. I had to think of one unifying element for my comics. And that is where the Architect/ Urban Designer part of me came into life. I spent almost 2 to 3 months designing a main character, constantly improving

and asking for feedback from friends, so that the character would be able to associate and connect with every architect in the world. The Architect became a medium of spreading awareness about architecture, and also a source of laughter and light hearted issues. The character was gradually spreading to all corners of the world and was finally noticed by the online magazine ‘ArchDaily’. They were so impressed by the idea that they told me instantly that they would like to publish my comics on a regular basis. This was a big recognition boost for me and the Architect and there was no stopping us since then. Next, I was featured on a couple of online Indian magazines, Elle Décor Italia, World Architecture Community and in several Zonal Nasa Magazines. The transition was so quick that I was offered to come and speak about Leewardists and my comics on various events around India, including the Annual NASA at Jaipur. I grew from 9,000 Followers (Facebook + Instagram) in Dec 2016 to 70,000+ followers today, which includes a 50% international follower base. The international following is so strong that they publish my comics in many languages from their respective countries. Such love from my admirers keeps me more motivated than by the money through my work. I have also received sponsorship funds for my comics, with which I intend to open an online merchandise store for architects and designers. Leewardists is what it is today only because I never stopped. I never doubted myself, ever. And, I always worked towards excellence and quality. People often ask me if Leewardists is a side job. I always smile and say that this is everything I do.

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Architecture TEXT : pratap jung khadka

drawings : Bijay Basukala

As the sun shines brightly on the edifice of the Krishna Mandir on a humid, summer day, stonemasons can be seen around the temple, working tirelessly, and recreating the intricate designs of the ancient structure. As a part of the rigorous reconstruction and rehabilitation activities within the Patan Durbar Square, the compound behind the Patan Architectural Museum is also abuzz, with woodcarvers, traditionally known as Shilpakars, busy working on their elaborate craftwork. A visitor can almost feel like travelling back to the time of the great Malla kings, when similar activities were prevalent across the Kathmandu Valley.

Top: Patan, Kirtimukha above the fountain of Bhandarkhal, dated c. 1650 Bottom: Bhaktapur, Chonga Ganesh Dyochen, airborne musicians (gandharva) on a capital-bracket, dated c. 1750

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Patan, Jvalavali Chaitya at Bakunani in Hakha, dated 1831

A slight figure can be seen overseeing the work around the site, providing constructive criticism and advice to the craftsmen. Bijay Basukala, asides from overseeing the dexterous team, is a prolific sketch artist, whose primary job is to draw almost perfect sketches of the damaged and worn out artifacts from the temples and shrines across the Square. While the handiwork required to fix, or replace the artifacts is left to the respective experts, observing and referencing the sketches is essential to the success of the final product. The sculptor, the stonemason and the woodcarver refer to these detailed sketches to produce an almost identical copy of the wornout artifact. For relics that only need mild adhesive relief, the sketches also provide valuable insight for their proper convalescence.

Mr. Basukala employs an elaborate procedure to sketch out the shrines. Careful observation is naturally key, and the foremost step of the process. Secondly, exact measurements of the shrines are taken to ensure proper scaling of the drawings, another vital step to confirm the successful recreation of the final product. Carrying a drawing board to create rough sketch drafts, he employs a constant 1:5 reducing scale to guarantee consistency. The drafts play a vital role in warranting a pictureperfect sketch, as can be seen in the pictures. Mr. Basukala is proficient in three different techniques of scale sketching, namely ‘site’, pencil and ink sketching, used as per the situation and need. He only ever sketches freehand, almost never utilizing rulers and other devices. The passionate artist’s sketches of intricately carved

wooden columns, ceilings, windows and other stone sculptures adorns his workspace, along with the actual artifacts, deriving constant inspiration from the artists of yore. Interestingly, the fact that no documentation regarding the procedures for creating these ancient artworks exists speaks volumes of the challenges that Bijay, and the men working under him, are facing. Legend has it that the Malla kings had indeed led efforts to document their artists’ modus operandi, but the raids that followed the invasion of Kathmandu Valley by Prithvi Narayan Shah and his troops had destroyed all of it. While Mr. Basukala humbly postulates that his and his peers’ incredible skills are hereditarily acquired- the caste system had laid out specified works to certain

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Bhaktapur, Vatsala temple, Elevation West, dated c. 1700

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Patan, Sulima Square, strut of the 13th century Ratnesvara temple

Patan, Darbar Square, column of the Mandapa, c. 15th century

Bungamati, panel flanking the doorway of the shrine of Bungabahi, c. 11th century

Patan, Ibabahi, lintel end right of the principal doorway, depicting a pair of airborne musicians, dated 14 27

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Bhaktapur, blind window of the Harishankara temple near Taumadhi Square, with a bust of Hari (Vishnu) and Shankara (Shiva) in the central niche, mid 17th century

castes, and the old Shilpakars and Basukalas have passed down their skills through many generations-the artists today still deserve much recognition and praise. Indeed, it is a sad affair that these rare skills are fading into oblivion as modernization and unemployment strangles the country and youths leave the nation in the hundreds every day.

Patan. Anecdotal evidence suggest that similar efforts have been relatively absent in Kathmandu and Bhaktapur, which is an utter shame. Kathmandu Valley Preservation Trust (KVPT), the remarkable communal spirit in Patan, and foreign donor partners are mostly to be credited for the progress in the reconstruction of the heritage site.

Nevertheless, it is still a welcome sight that such prodigious efforts to restore and rehabilitate our exceptional cultural heritage is being pushed in

Basukala mentions that rehabilitation of the monuments was already in motion before the earthquake; in fact, the project has been around for

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ten years. The Taleju tower that was damaged during the earthquake had been reformed before the incident but alas, it fell prey to the disaster. Bijay believes that it is imperative that the other “Malla kingdoms� of Kathmandu and Bhaktapur also commence the extremely essential task of restoring our cultural heritage, our pride, our identity. The artist is ready to provide his expertise, other stakeholders in such projects ought to come together and learn from the spirit of the incredible people of Patan.

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From the shelf

Asian Furniture

A Directory and Sourcebook


urniture ,the apparatus of domestic life, was intended for a sedentary role, not for travel. It is one of history’s minor ironies, therefore, that furniture has led almost as peripatetic an existence as any other aspect of social dispersion. It has travelled far and wide, influenced whole cultures, cross-pollinated others and evolved unique geographical styles as a result of its exposure to outside influence. For centuries the two terrestrial equivalents of oceanic currents kept the European and Asian worlds circulating in largely separate gyrations, only occasionally spilling across each other’s outer peripheries through the voyages of Arab traders and penetrations by Mongol invaders. Furniture, tending not to be readily stowed on heavily laden dhows, or strapped across the saddles of nomadic horsemen, was generally left behind. Not until the western world commenced its increasingly large- scale incursions into the east, from the fourteenth century onwards, did furniture figure in the accessories that went along for the ride. Europeans venturing into the Orient, to establish their colonial outposts, were reluctant to wholly abandon their habitats, furnishings and lifestyles, no matter how unsuited these might prove in hotter climates. So they took it all with them, including entire wardrobes of clothing that might have been comfortable in Lisbon, Madrid, London or Amsterdam, but were distinctly not so in tropical temperatures. If the heavier items of furniture were less readily transportable, they found local craftsmen to imitate the general forms and dimensions, leaving them free to extemporize with the lesser particulars. Hence developed that glorious miscellany of hybrids that constitutes the gallimaufry of Asian furniture, to which this portfolio is humbly dedicated.

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From the shelf

Each of the eight countries covered here developed its own particular designs, as unmistakably distinctive as its flag or anthem. Rather than simply succumbing to practical necessities, Asian designers created pieces of furniture as works of art. Today these diverse pieces are treasured by collectors worldwide, from Manhattan lofts to London apartments, as well in the countries where they originated. The examples featured in this book have been drawn from private collections, antique dealers and museums around the world and are organized by country and then by type: chairs, armoires, tables, chests and more. Each piece has been specially photographed and is described in detail, and the relations between the various periods and styles are explored. The texts have been written by experts from the eight countries represented in the book, making this volume not only a sumptuous overview but also a peerless reference work that will be an indispensable part of any collector’s library.

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Vijay Thapa creates the painting with the expressionist style. In his paintings the forms and colors create the harmony and motion. The viewers are free to explore their own feelings and perceptions. Thus, his paintings suggest the depth through the use of geometric forms like circle, triangle, rectangle and parallelogram with the various layers of mixed colors and textures. Asha Dangol

Born in Nawalparasi (1943), Vijay Thapa did B.F.A. from Banaras University India in 1965. Former Academician of Nepal Association of Fine Arts, Mr. Vijay Thapa has credit of 17 solo exhibitions and numerous group shows in Nepal, China, Japan, Russia, Bangladesh, South Korea and Tibet. He received the best painting award in International art exhibition in NAFA in 1970, First Prize in National Art Exhibition in 1980, Rastrya Prativa Puraskar 1999 and Suprabal Gorkha Dakchhin Bahu in 2001.

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Connects 23 Aditya Hardware Enterprises Pvt. Ltd. Tripureshwor, Blue Star Complex Room no. 522 Ph: 9851007818 E-mail: 54 Airtech Industries Pvt.Ltd 1st floor, Sharda Complex, Panchayan Marg, Thapathali Ph: 977-1-4219999, 4101605, 9801022129, 9841204315 E-mail: 37 Artex Pvt. Ltd. Thapathali (Abhiyan Building) Ph: 977-1-4218274 E-mail: Website: 63 Asian Paints Nepal Balkumari, Lalitpur Ph: 977-1-5203045 E-mail: Website: 23/54 ATC Pvt. Ltd. 336/21, Ganesh Man Singh Path-2 Teku Road Ph: 977-1-4262220 E-mail: 88 Berger Jenson & Nicholson (Nepal) Pvt. Ltd. Berger House - 492, Tinkune, Kathmandu Ph: 977-1-4466038 E-mail: 84 Bridge Tech International Pvt. Ltd. Tutepani, Satobato, Chapaganu Road Ph: 977-1-5151171, 5151822 E-mail: 51 CG Electronics Gorkha Complex, Minbhawan Ph: 977-1-4106530, 4106652 22 Communication Corner Pvt. Ltd. (Ujyaalo 90 Network) Ujyaaloghar(Behind Central Zoo) Jawlakhel, Lalitpur Ph: 977-1-5000171 13 Everest Bathware Gairigaun, Tinkune Ph: 977-1-4480680 E-mail: 86 Foto Hollywood Civil Bank Building Kamaladi Ph: 977-1-4169060 Website: 05 Furniture Land Store Pvt. Ltd. Blue Star Complex Tripureshwor, Kathmandu Ph: 977-1-4224797 55 Himal Refrigeration & Electrical Industries Pvt. Ltd. Gusingal Chowk, Sanepa Ph: +977-1-5520123, 5520260 E-mail: 79 International Electronics Concern (P.) Ltd. Harati Bhawan, Putalisadak, Kathmandu Ph: 977-1-4421991, 4422107 E-mail: Website: 11 Insight Spaces Private Limited Tara Bhawan, Teku Ph: 9802015888, 977-1-4100235, 4100236 E-mail:

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87 Marvel Technoplast Pvt. Ltd. Heritage Plaza-II, Kamladi, Kathmandu Ph: 977-1-4169122/123 E-mail: Website: 06 Nagarik - Nepal Republic Media Pvt. Ltd. JDA Complex, Bagh Durbar Ph: 977-1-4265100, 4261808 E-mail: 15 Navin Distributor Pvt. Ltd. A.T. Complex, New Plaza, Putalisadak Ph: 977-1-4428196, 4430785 E-mail: Website: 85 Nepa Top Organization Samakushi, Kathmandu Ph: 977-1-4354117, 4363548, 4387901 E-mail: Website: 02 Parth International 4th Floor, Central Business Park, Thapathali Ph: 977-1- 4245342, 4101504 E-mail: Website: 84 Pest Control Nepal House no. 1607, Baburam Acharya Marg, Old Baneshwor Ph: 977-1-4492285 E-mail: Website: 04 R. I. P. L. International Pvt. Ltd. Teku Road Ph: 977-1-4270730 09 Reify Artisans and Projects Pvt. Ltd. Paud Road, Near Chandani Chowk, Pune - India Ph: +97-20-2528 6014 / 15 E-mail: 19 Rohi International Near Ganeshsthan, Kuleshwor Ph: 977-1-4271760 21 Skylight Pvt. Ltd. Naxal (Opp to Police HQ), Kathmandu Ph: 977-1-4423851 E-mail: Website: 71 Somany Ceramics Ltd. Kathmandu Ph: 9841325986 E-mail: 03 Status Trading Pvt. Ltd. Ratopool, Kathmandu Ph: 977-1-4420661, 4420647 82 Subisu Cable net Pvt. Ltd. 148 Thirbum Sadak, Baluwatar Ph: 977-1-4235888 E-mail: Website: 07 Technical Associates Services P. Ltd 1st Floor, Abhiyan Building, Panchayan Marg Thapathali, Kathmandu, Nepal Tel: 977-1-4219999 E-mail: 21 Tvilum Nepal Sarda Marg, Naxal, Bhatbhateni Ph: 977-1- 4413454 08 Worldlink Communication Pvt. Ltd. Jawalakhel, Lalitpur Ph: 977-1-5523050 E-mail: Website:



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marvel ko naya

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Profile for SPACES Nepal

SPACES Nepal JULY 2017  

Art-Architecture-Interior Design-Accessories based Magazine

SPACES Nepal JULY 2017  

Art-Architecture-Interior Design-Accessories based Magazine