SPACES Nepal NOV-DEC 2010

Art - Architecture - INTERIORS - ACCESSORIES

NOVEmber - DECEMber 2010

www.spacesnepal.com

RESORT REALMS

Interior Design Institutes in Nepal 7 Questions to ask before using

Ready Mix Concrete

When Solar gets Sexy Beds to Behold Price NRs. 100/-  IRs. 65/-

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38 Architecture The Rolling Greens

by Ar. Sushmita Ranjit Out of its 700 acres of forest at the Gokarna Forest Resort in Kathmandu, a 100 acres has been crafted into rolling green pasture for golf enthusiasts. Complimenting this landscape with the built forms designed by Indian architect Romi Khosla, and later by Design Cell of Kathmandu, the resort has been serving its visitors with multiple facilities of leisure.

46 Architecture Five Pebble Fish

by Ar. Tom Crees The Riverside Springs Resort at Kurintar lies on the banks of the Trishuli river, fairly in-between Kathmandu, Pokhara and Chitwan. The brainchild of five friends, which included the architect of the project, the resort is rather an end destination than just a restaurant for passing traffic.

Contents Vol 7 Issue 1 / November - December 2010

54 Architecture In the Heart of a Jungle

by Ar. Swati Pujari

Cover Photo : An Interior of one of the rooms at Gokarna Forest Resort Photographs: Ashesh Rajbansh Canon EOS 5D Mark II Av 6.3 ISO 800

Built in 1964, Tiger Tops, was initiated as a hunting lodge.

Today, it is a model of responsible conservation tourism.

Located inside the Royal Chitwan National Park, famous for the rare Royal Bengal tigers, the lodge was initially conceptualized after the original ‘Tree Tops’ safari lodge in Kenya.

72 Interior A Contemporary Lifestyle

64 Architecture

by Ar. Prabha Bajracharya The mock-up apartment at the Status Enclave apartments in Sanepa, Lalitpur, is a cut above the rest.

Although only a mock-up, the space planning, choice of materials, furniture and furnishings, speak volumes of the designer’s skill towards building an environment for a contemporary lifestyle.

A Seductive Ensemble

by Ar. Swati Pujari Tiger Mountain Pokara Lodge is a secluded and seductive paradise.

Located a few kilometres from Pokhara, the lodge surmounts a hilltop, 350 m above the Pokhara valley - the site selected by the founder of Mountain Travel Nepal, the late Col. Jimmy Roberts himself.

79 Analysis / Opinion Interior Design Institutes in Nepal

by Ar. Kalpana Bhandari The need for interior design was rarely, if not never, a necessity in Nepal since a decade back. Now, and although still limited to certain dimensions, the profession of interior design has been prospering as can be surmised by the number of interior design institutes opening shop in the country.

26 ACCESORIES

Beds to Behold

31 IN FOCUS

Ready Mix Concrete – Panchakanya Group

34 SOLUTIONS

When Solar Gets Sexy

91 Art

The Painter of History

by Richa Bhattarai Hari Prasad Sharma was born 75 years ago in a Newar community in Kathmandu. With an astrologer as a grandfather and a singer as a father, this warm and articulate artist has made it his life's aim to paint Nepal's glorious past and keep it intact for the future generations.

Volume 7 Issue 1

Letters

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

November-December 2010

Managing Editor / Editor Uday Sunder Shrestha, B.E, B.Sc.

Photography / Production Control Ashesh Rajbansh

Nepal Pavilion at Shanghai World Expo.

Consultant-Marketing & Sales Krishna Shrestha

The article ‘Shanghai World Expo 2010’ made interesting read, especially since the Nepal Pavilion, until the last day of the exhibition, recorded a substantial visitor’s attendance out of the total 70 million visitors to the Expo. Its attraction no doubt is primarily is due to the design of the pavilion. The article would have been more informative if it had mentioned the designer’s name.

Anand B. , Kathmandu

Contributions to the Interior section Being an Interior Designer, I am grateful to know that I can share my design ideas and sense with SPACES. Although, there are many subjects under interior design and architecture, I will try to compose some through my own experience! Thank you for informing.

Anuja Shilpakar, Interior Designer, Kathmandu

Assistant-Marketing & Sales Anish Shrestha, Pratima Bhandari Public Relations Prakash Bahadur Amatya

Editorial Assistant Swati Pujari, B. Arch.

Contributing Art Editor - Madan Chitrakar - Kasthamandap Art Studio

Contributing Editor

Accounts / Admin

Correspondents

- Darjeeling Hills Barun Roy - Delhi Ar. Jinisha Jain - Sikkim Ar. Chetan Raj Shrestha Rajesh Dali Ar. Bansri Pandey Ar. Kalpana Bhandari Ar. Sushmita Ranjit Ar. Prabha Bajracharya Richa Bhattarai

Design / Colour Separation Digiscan Pre-Press Naxal, Kathmandu. Phone: 4436817

Printed at Format Printing Press Hadigaon, Kathmandu, Phone: 4010160

Published by

IMPRESSIONS Publishing Pvt.Ltd. Kupondole, Lalitpur Post Box No. 227, DPO Lalitpur Phone: 5544606, 5526040

Distribution Kathmandu

East Nepal

R.B. Newspaper Traders, Kathmandu Ph: 4232784 / 4215652 / 4216658 Skypass Cargo (P) Ltd., Kathmandu. Ph: 4701293 Parbati Shrestha Naya Bazar, Dharan - 05 Ph: 025-5-21164/025-525118, Cell: 9842054110

Mid & West Nepal

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advertising & subscriptions Kathmandu IMPRESSIONS Publishing Pvt.Ltd.

Ph: 5544606, 5526040

email: market@spacesnepal.com Birgunj Kishore Shrestha, Hotel Kailash, Adarsha Nagar.

Ph: 522384, 529984. email: hotelkailash@wlink.com.np Dharan/ Parbati Shrestha Itahari/ Naya Bazar, Dharan - 05 Biratnagar Ph: 025-5-21164/025-525118, Cell: 9842054110

For SUBSCRIPTIONS Call Pratima or Anish at: 01-5544606 / 01-5526040 Email: market@spacesnepal.com Kupondole, Lalitpur

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SPACES is published six times a year at the address above. All rights are reserved in respect of articles, illustrations, photographs, etc. published in S P A C E S . The contents of this publication may not be reproduced in whole or in part in any form without the written consent of the publisher.

The opinions expressed by contributors are not necessarily those of the publisher and the publisher cannot accept responsiblility for any errors or omissions.

Those submitting manuscripts, photographs, artwork or other materials to SPACES for consideration should not send originals unless specifically requested to do so by SPACES in writing. Unsolicited manuscripts, photographs and other submitted material must be accompanied by a self addressed return envelope, postage prepaid. However, SPACES is not responsible for unsolicited submissions. All editorial inquiries and submissions to SPACES must be addressed to editor@spacesnepal.com or sent to the address mentioned above.

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Editorial Greetings from SPACES

- Art, Architecture, Interiors & Accessories!

Noticed the addition to our by-line?

Yes! We are changing with the times. Or maybe we’ve completed a full circle and found our way back.

If readers will remember, our first few issues went by the by-line, ‘Guide to Good Living’. The idea of the magazine thence was to incorporate ‘all things related to good living’ – meaning that for good living, not only architecture is important, but all that SPACE encompasses. Hence those earlier issues even had articles like ‘Tranquillity in your Room’ and ‘Man’s Best Friend’, both on the favourite domestic pets – the fish and the dog. Reactions to this, as expected were mixed; the negative ones being, “Is this supposed to be an architectural magazine?” and, “What has fish and dogs got to do with architecture?” Our answer then was “Yes, it is definitely an architectural magazine. But then again, doesn’t architecture deal with SPACE? Will architecture be complete without addressing the SPACES that it encompasses?” Our belief on this 6th Anniversary remains the same!

Hence as we embark on the 7th year of publication with this November-December 2010 issue, readers will find new additions to Art and Architecture – Interiors and Accessories.

Coming to the focus of this issue – Resort Realms. Sometime earlier, it was officially announced that 2011 be declared Nepal Tourism Year, which made us ponder as to how SPACES could contribute to this announcement. “How about connecting through the architecture of Resorts in Nepal?” was Swati, our editorial assistant’s suggestion. And that set the ball rolling. Identifying good resorts to feature was the next step, and who better to advise on it than Mr. Shyam SL Kakshapti, current Treasurer of Hotel Association of Nepal and the Chairman of Nanglo Pvt. Ltd. The list was long as we found out that there are many well designed resorts in the country. In addition, it was also important to identify the resorts according to the length and breadth of the country. Unfortunately due to many constraints we could not feature all, although we hope to do so in coming issues. Nevertheless, read on to get a taste of some of the best in the country.

Our ‘Analysis’ this time is on ‘Interior Design Institutes in Nepal’, a topic no one has really bothered to find out about, even though all of us are one time or the other connected with the subject of interior design. Read on to find out what our research team (comprising also of enthusiastic interns from Rato Bangla and Lincoln schools) dug up on their status and what a few architects and interior designers have to say on the topic.

And finally, elaborating on the additions to our by-line...

Editor's Note : Looking For A Platform?

• To publish your Architectural / Interior Design / Research Works.

• To explore your writing abilities on Architecture and Interior Design.

• To voice your opinion on Planning, Environment and Design Issues.

Write to editor@spacesnepal.com

While ‘Accessories’ focuses on the international ‘Kian’ brand of beds, ‘In Focus’ zeroes in on ‘Ready Mix Concrete’ of Panchakanya Group led by the innovative Pradeep Shrestha. The ‘Solutions’ section is carried on with a very interesting product featured in the article ‘Solar Gets Sexy’ – a product to ponder on by daring architects.

Yes! Change is inevitable in life. It is just that we have to focus on the positive parts to move ahead!

Until the next issue......

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Message From SONA

F

irst of all myself and on behalf of SONA, I would like to congratulate SPACES on the occasion of their 6th Anniversary Celebration and wish SPACES the very best of luck and success for their future endeavor. SONA is very much grateful to SPACES for regularly supplementing SONA’s views, activities and performance of architects in their magazine. Consequently, I would like to list here, few of the past major activities of SONA along with some planned events in the future.

• SONA-SPACES MOU (Memorandum of Understanding) in Aug 2010 to Promote Architecture and its Allies.

• SONA’S President with 14 Members delegation of Architects visited UIA 2010 Conference at Thailand on April 27, 2010, as Observer of the Conference from Nepal.

• Amendment in “Pratibadhata Patra” (for DUDBC Permit) for Building Permit of Apartment Buildings.

• SONA’S President appointed & invited as Jury Member for 19th AYA (Architect of the Year Award) organized & awarded by J.K. White Cement, India. SONA’S President visited Mangalore on Nov 27, 2009 for carrying out the Evaluation of Entries along with other Jury Members of AYA. On Sep 9, 2010, SONA’S President visited Chandigarh for the Award Presentation Ceremony of 19th AYA (Architect of the Year Award).

• Visit of SONA’S General Secretary, Ar. Debesh Raj Bhattarai on Aug 6, 2009 to Sri Lanka at SAARCH Conference, where the General Secretary also signed the Joint Declaration for formation of SAARCH Student Body.

• Visit of SONA’s General Secretary, Ar. Debesh Raj Bhattarai on Dec 2009 to Chennai, India, along with two Architecture Students for the formation of Student Body of SAARCH and recently in Lahore, Pakistan, in October, 2010 for the Student Jamboree.

• Visit to Ulaanbaatar, Mongolia by Vice President, Ar. Bishnu Panthi & Past President, Ar. Binod Neupane for attending the ARCASIA meeting on Aug 18- Aug 19, 2009.

• Future Events: a) International Conference on Mission Green Nepal in year 2011. b) Construction Material Exhibition.

We shall be keeping track of all the major activities of SONA and our fellow Architects will be updated in the future issues of SPACES.

Ar. Swarup G. Koney President – SOCIETY OF NEPALESE ARCHITECTS (SONA), Thapathali, Kathmandu

Contributors Ar. Tom Crees presently works in a practice that focuses on the design of schools in Australia and currently is submitting a design competition for a high school in Canberra. After an assignment as Project & Design Manager in the Middle East for the National Security Screen of Qatar, working purely as an architect again is very satisfying. With roots in Darjeeling, Tom has a number of notable projects designs to his credit in Kathmandu, Nepal, some being the ‘Church of The Assumption’ (http://www.spacesnepal.com/archives/jan_feb08/ the_church.htm), the ICIMOD new HQ complex, the UN Common Premises, the Empire Heights and others (tomcrees@tpg.com.au) www.spacesnepal.com

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Sandeep Giri is the President of Gham Power, fastest growing solar company in Nepal, using the #1-ranked American solar PV technology.

Mr. Giri lives in San Francisco, California (USA), where he helped launch several technology companies, including a software company in Kathmandu. When his Nepal office was impacted by the load-shedding crisis in Nepal, he decided to launch Gham Power with American collaboration, providing quality solar technology for Nepali homes and businesses at affordable prices. Mr. Giri holds a Master’s degree in Computer Science and a certificate in Solar Energy from University of California at Berkeley. (sandeep@ghampower.com)

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News and Happenings Prashanta Scholarship Awards September 17, 2010, Kathmandu

A scholarship award ceremony was held at the Srijana College of Fine Arts in which Arpita Shakya from the Bachelor’s level and Kuldip J.B. Gurung from the Intermediate level, and both from Srijana College of Fine Arts, were presented with cash prizes as well as art materials. The prize is awarded to the art student of Tribhuwan University, topping the final year of the respective level. An exhibition of the previous winner, Megh Bdr. Limbu, was also held in the same occasion.

While the Prashanta Scholarship Awards was set up by the Prashanta Memorial Society to promote and encourage young artists in Fine Arts, the Society itself was founded in 1999 in the memory of late Prashanta Shrestha, the founder of Kasthamandap Art Studio.

Rivers of Pilgrimage September 17 - October 1 2010, Kathmandu

An event held at the Nepal Art Council entitled ‘Rivers of Pilgrimage’ showcased photographs of holy rivers of Nepal and India, as a celebration of the culture of devotion towards the rivers that have been the bases of cities and civilizations, their degradation in present era; as well as bringing together the vision of photographic geniuses of the two countries. Inaugurated by the Ambassador of India to Nepal, Mr Rakesh

Sood, the program highlighted the religious importance of rivers like Bagmati, Ganga and Jamuna, the ancient cultural centres like Panauti and Varanasi, and also the ecological insight towards the importance of these rivers in life.

With three photographers from Nepal- Kishor Kayastha, Laxmi Prasad Ngakhusi, and Bijay Gajmer, and three photographers from India - Prashant Panjiar, Dinesh Khanna, and Ravi Agarwal, the exhibition addressed 10 photo stories captured by each photographer.

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NEWS and HAPPENINGS

3rd REMA Course Concludes 24 September, Kathmandu

Brihat Investments Pvt. Ltd. (BI), in affiliation with Thai Real State Business School (TREBS), has for the third consecutive year, successfully conducted the Real Estate Marketing Agent (REMA) Course from September 19 - 24, 2010.

With the primary objective to bring about positive changes in the construction world

and with an emphasis on the 3 RE’s - Real Estate Investment, Real Estate Partnering for Entrepreneurship and Real Estate Marketing Agents - the trainees are guided on ethical business deals in the land and housing sector.

this session with the 19 trainees. The closing ceremony was held on 24th September 2010 at the Radisson Hotel in the presence of Mr. Ichha Raj Tamang, Chairman, NLHDA & President, Civil Homes Pvt. Ltd., among other invitees.

Dr. Sopon Pornchokchai, a Real Estate expert from TREBS Bangkok, Mr. Om Rajbhandary, Chairman of BI & CEO of TCH (The Comfort Housing), along with other professionals, bankers, and other concerned authorities took part in

Experts involved in the training were Mr. Om Rajbhandary, Dr. Bhaikaji Tiwari, City Planner at the Kathmandu Valley Development Committee, lawyer Rudra Pokhrel, TCH's senior Advocate Mr. Sushil Kumar Chapagain, architect Prathana Vaidya of TCH, Purnima Rajbhandary CEO of BI, coordinator Ms Sabita Joshi, DGM of Himalayan General Insurance Mr. Sushil Bajracharya, CEO of Prisma Advertising Mr. Ranjit Acharya, Director of Care Construction Mr. Gautam Pradhan, and Dr. Sopon Pornchokchai.

Both the buyers and sellers eventually benefit if transactions are undertaken by such trained individuals as such ethical practices promote genuine valuation of the property as well as eliminate related hassles for the buyer.

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NEWS and HAPPENINGS

13th ASA Architectural ExhibitionExperience through the Fourth Dimension Oct 01-Oct 03 2010

With the quest to explore the fourth dimension - time, the13th ASA architectural exhibition has been a must visit event to followers of architecture. Prior to the exhibition titled ‘Expression through the Fourth Dimension’, an art competition was organised on 25th September in Patan Durbar Sqaure, with the theme ‘Scenario around Patan Durbar Square’, with pencil and water colour as the medium.

For a visitor, the entry to the exhibition block was quite a surprising maze - a little deserted walk on unmanaged bushes and then through a cave to move around Stonehenge, and then approach to the

summer pavilion with display of paintings and a stepped pyramid just before it. Yes, time did make sense to have seen a Stonehenge and then

‘Berger Rangey Haat’ winners announced 27 October 2010, Kathmandu:

Berger Jenson & Nicholson (Nepal) Pvt. Ltd organized a press meet to connect to its consumers and award the winners of “Berger Rangey-Haat Offer” promotional scheme. The scheme that was launched on August 23rd to last until November 16th 2010 has consumers claiming a diamond necklace, eight Sony 22” LCD TVs, 8 MIDEA Microwave Ovens, and lakhs of cash prizes. The scheme was structured to receive a scratch card with every purchase of Berger Paints worth over Rs 4,000 and a chance to win the bumper prize - a Pulsar 220cc motorbike, unclaimed until present.

a pyramid. The approach to the wing was from its back entry, which showcased some really well crafted models exemplifying the different styles of architecture of the world. The Egyptian pyramid, the Greek Acropolis, the Roman Colosseum, the Mayan architecture, Angkor Vat of Hindu Architecture, Sachi Stupa of Buddhist architecture, Taj Mahal of Muslim architecture, Salisbury Cathedral of Christian. It probably encrusted the timeline that one pictured outside the block. The compilation being appreciable, the exhibits were however there in the 11th and 12th ASA exhibition too.

Other sections were different era of architecture, from Art Nouveau to De Constructivism, with some remarkable architects and pioneers of contemporary architecture. Assimilation was a good effort, but it left the visitors to assume their own understanding as the story were not narrated. And directed to the research area, a student did enlighten on

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the traditional architecture and issues of construction.

However, the models of Patan Durbar Square and Kathmandu Durbar Square did little justice to fill up the research area. However, landscape section did have some information and talked about eco roof, a new concept that can promote the essence of living conditions especially in a country like ours. The other places to visit were the thesis works by recent architecture graduates.

Overall the 13th ASA Architectural Exhibition did house a lot of architecture that we have today, but probably with lesser innovations of the time. The exhibition was an expression but could have been more fascinating for someone who has been to the exhibitions in previous years.

Nevertheless in the midway of the five year program, if the third year students could manage to organise this kind of a program, proper guidance by seniors and the department could add to it.

ASA exhibition is a good way to learn, for the known and unknown of architecture.

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Accessories

Beds to Behold – from KIAN, Malaysia

With showroom and manufacturing facilities in Malaysia and China, Kian is a total furniture solutions provider catering to the commercial and residential sectors since 1983.

While Kian products are available in more than 100 countries worldwide, in Nepal they are available at the Emporios showroom at Teku, Kathmandu. Here we look at some of the beds that Emporios has to offer.

General: • Kian uses rubber wood as the base material for all its products.

As rubber wood is grown industrially in Malaysia, it is reasonably affordable in the international market. Furthermore, the wood is perfectly seasoned, leaving no chances of it cracking at a later stage.

• Size: • King size: (6 x 6.5) feet • Queen size: (5 x 6.5) feet • Price Range: Rs. 65,000/- onwards (inclusive of side tables)

Model: Amanpuri

Style: • Modern, simple, straight line design with a very rustic touch.

Special Features: • Amanpuri is a resort in Thailand by the international Aman Chain known for its hospitality and design (India has three, while Bhutan has five). This bed was designed especially for the Amanpuri Resort at Thailand. www.spacesnepal.com

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Amanpuri

Shandao

ACCESSORIES

• It comes in two styles – four poster and normal bed.

Material: • Rubber wood as base material.

• Rough wood oak veneer finish

Model: Cameron

Style: • Low floating bed with a traditional theme but in a modern design.

Special Features: • Tropical feel, yet not very traditional nor specific in terms of style. Mix this with a Nepalese theme, eastern or oriental theme, or use it in a modern room.

• Warm, woody, natural material type of feel Material: • Rubber wood, faced with oak veneer.

• The cane at the headboard is from Indonesia. It’s weave pattern is in a modern 90 degree, bypassing the traditional hexagonal design normally used for tropical furniture.

Model: Shandao

Style: • Ming Dynasty design Features: • The name itself reminds you of ancient China • Everything is solid wood including the drawers • Comes with co-ordinated wardrobes which can be used individually as a decorative piece in a different room setting Material: • Natural rubber wood without any veneer facing.

Cameron

Model: Marliyn

Style: • Retro design, recreated from the past to give that nostalgic feel of the 60’s during which time leather was used heavily in modern furniture, Special Features: • Specific design – the room has to be designed accordingly to match its style.

• Option of black or white colour.

• Very comfortable since it is padded on all sides.

Material: • Rubber wood as base material.

• Padded on all sides with good quality leather or PU (Polyurethane).

• Riveted with leather buttons.

Marliyn

Further information: Tel: 977 1 4104522, 4104523 www.emporiosnepal.com November-December 2010

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PANCHAKANYA GROUP

INFOCUS

7 questions to ask before using

Ready Mix Concrete Text: Ar. Bansri Pandey

Concrete is the largest consumed material in the world after water. As of a 2006 study conducted by United States Geographic Service, about 7.5 cubic kilometres of concrete is made each year – more than one cubic meter for every person on Earth.

To meet this large demand of concrete, it needs to be produced in bulk. Thus, taking the advantage of scale and efficiency of mechanical mixing. Ready Mix Concrete was patented in 1903 in Germany. But due to the lack of transporting means, the concept was not sufficiently exploited till 1926 when the first transit-mixer was born. The first delivery of ready mix concrete was made in1931 in Baltimore.

“We have always been the pioneers for introducing the innovative construction materials in Nepal.” Says Mr. Pradeep Kumar Shrestha, the MD of Panchakanya Group, “People used to organize parties and cook food too at home. But these days, they go to a hotel and order a ready catering service for a hassle free and quality service, for which they are even ready to pay a little extra. Ready mix concrete too is at this stage.”

The initial production plant setups used difficult production systems with a lot of manual labour.

But after 1934, scientific controlled production systems were introduced. At these plants, the cement was delivered in bulk containers which were lifted off the delivery lorries and emptied into bins by opening a gate at the bottom of the container.

Long, high conveyors were used to elevate the aggregate to a height that allowed them to be stored above the weight scales and to be gravity fed as required. All materials were brought to hopper, from the weigh-hopper to mixer and from mixer to delivery vehicle. Computers and electronics were used to control each step of production.

The acceptance and growth of Ready Mix Concrete from 1950 onwards was remarkable in UK and USA. Nepal too took a leap into this growing industry four years ago when Panchakanya Group introduced Ready Mix Concrete for Kathmandu.

Ready Mix Concrete has its benefits as well as limitations. It is mostly preferred over on-site concrete mixing because of the precision of the mixture and reduced work site confusion. However, using a pre-determined concrete mixture reduces flexibility to manage site conditions and resources.

Thus, before we form our own conclusions, let understand this new technology of the concrete industry, with the following 7 questions:8

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INFOCUS The graded aggregate and sand is dropped into the weighing machine, lifted to the mixer where the cement, admixture and water is added, mixed, and then dropped into the transit mixer.

The pump lifts and pours the concrete to the construction level/area.

8 1. What is Ready Mix Concrete?

Ready Mix Concrete (RMC) has cement, aggregates, water and other ingredients, which are weigh-batched at a centrally located plant.

The concrete is then delivered to the construction site in transit mixers which are trucks fitted with rotating drums for carrying concrete. This concrete is in plastic condition which requires no further treatment before being placed in position to set and harden. At the construction site, it is placed by pumping with concrete pumps which can pump up to 100m horizontally and 20m vertically at the rate of 30cum/hr.

2. What are the advantages of RMC? n n n n n n

Better quality concrete is produced under a controlled environment.

Elimination of storage space for basic materials on site.

Elimination of procurement / hiring of plant and machinery on site.

Wastage of basic materials is avoided.

Labour associated with production of concrete is eliminated.

Noise and dust pollution at site is reduced.

n

Concrete's limited time span between mixing and placing means that readymix should be placed within 90 minutes of batching at the plant. Sometimes, due to lack of management, the site staff is not well-prepared to lay the concrete immediately after the RMC pumping setup is ready, which causes damage to the concrete mix due to delay. Similarly, if the manufacturers delay the process of connecting the pumping equipments and pipes on site, the concrete mix is damaged due to delay. Thus, site staff as well as the manufacturers should be pre-informed and well-managed to take the best advantage of RMC.

4. What are its benefits over site- mix concrete?

Parameter Quality Wastage on site Labour Required Time Required for Concreting (for approx. 1500Sqft) Storage of raw materials

3. What are the limitations of RMC?

Site Mix Varying 4-16% 20-30%

Ready Mix Consistent Nil 5-7%

6-8hours

2-3hours

Space Required No space in site required on site

The materials are batched at a central plant, and 5. How is the quality ensured? the mixing begins at that plant, so the travelling Different tests for fine aggregates, time from the plant to the site is critical over longer coarse aggregates, water, fresh distances. concrete, hard concrete and for n Transportation on roads with heavy traffic admixtures are carried out for the and narrow widths has been one of the major preparation of the concrete in a well limitations for RMC to be used in Kathmandu. To equipped laboratory. Trial mixes are overcome this limitation, most of the times RMC carried out and tested to ensure that is delivered during night time when the traffic each and every batch of concrete coming out of the plant meets the is not a hindrance. But this requires additional parameters of the client's management of resources and labours on site to lay the concrete during night shifts. requirements. n

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6. What is the minimum quantity that can be purchased?

Normally, the minimum capacity of a transit-mixer is 5cum. Thus, any construction of using more than 5cum can use RMC on site. However, using it on sites which has bulk requirement of concrete increases the efficiency and reduces the cost of RMC.

7. Is RMC expensive?

Comparing with a good quality site mix concrete, it is observed that RMC costs about 10-15% more. But at the same time, the saving of time and assurance of quality is higher than the site-mix concreting. Thus, the cost of RMC needs to be weighed considering the site situation and the quantity of concreting required.

Panchkanya Group Always Ahead, Always First

Panchkanya Group of Industries is the first in the country to establish Ready Mix Concrete plant in Kathmandu. Known for innovative products and state-ofthe-art technologies, the Panchkanya Group which began in 1971, is a leading industrial and trading establishment of Nepal. Dealing with various products like Steel, Ready Mix Concrete, Bitumen, Plastic, Pipes, Wires & nails, etc, the Group has created its own brand name in the country.

For more information : www.panchakanya.org

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Solutions

When

Solar gets

Sexy Text & Images: Sandeep Giri

A

common perception amongst architects regarding solar photovoltaic (PV) is to hoist rectangular solar panels somewhere on a building roof and integrate wires to building’s electrical mains. Doesn’t sound very sexy, does it? Instead, let’s not think of solar PV as a separate system like air conditioning or water heating. This is where Building Integrated Photovoltaic (BIPV) solar comes in, to start thinking of solar PV as a building material that also happens to produce electricity.

Viewed through this lens, all of a sudden solar opens up a wide range of applications that not only result in environmentally friendly building designs, but also introduce new realms of aesthetics. Smart and sexy?

Very much so, just look at these examples.

Traditionally, Solar PV has been a silicon-based industry since silicon-based panels provide the maximum efficiency (typically 16 to 18%) in converting light into electricity. These are the typical panels you commonly see on rooftops, which are manufactured by putting silicon-based solar cells under a glass substrate and connecting them in series. However, aesthetically these panels have their own unique look, which may or may not blend in with your building design. As such, they are best installed on the rooftop, where they are less likely to intrude with the building façade.

In the last ten years or so, a new technology has taken over the solar PV industry by storm. This technology started by depositing thin layers of amorphous silicon (A-Si) on a glass substrate, thus called “thin film” technology, and it is also a lot less expensive. www.spacesnepal.com

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© Curtain Wall with Konarka Power Plastic®

Windows to the World of Energy

November-December 2010

© Solar Tent with Konarka Power Plastic®

© Carport with Konarka Power Plastic®

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Solutions

San Francisco Bus Transit with Konarka Power Plastic® by Ryan Hughe

The downside is that thin films are much less efficient and take more space and weight (A-Si starts at 6%, and although newer technologies using CIGS or CDTe are approaching 12%, they tend to be more expensive). The upside is that thin film has a better appearance since it looks like tinted glass, and it also allows the flexibility of adjusting the transparency of the glass. This has given rise to a new industry of using solar thin film-laced glass panes for your building windows.

Another cost-effective approach for installing solar on the roof (and also on top of tents or any stretchable surface) is to use flexible solar rolls.

These rolls utilize solar thin film “printed” on top of flexible yet durable material, which makes it very light, and extremely easy to transport and install.

All you need to do is unroll them on top of your roof surface and attach either using adhesives or tie-ins, and these flexible rolls essentially hug the surface they are installed on.

BIPV Window Glass Panes with Solar Strips or Blended

This brings us to the latest and greatest in BIPV – organic solar PV material that not only rolls but is great on stretchable surfaces. “Organic” means using carbon-based PV material instead of siliconbased, and the advantage is that they don’t need sunlight to fall perpendicular on them to produce energy (as required by silicon-based panels). Even though their conversion efficiency is less than both crystalline and thin film panels (currently around 3%), they are great in low-light conditions, and they make much better use of reflected light. As such, they start producing electricity at full capacity much earlier in the morning, and go later into the evening – increasing the overall productivity.

You are going to have windows in your building anyway. Why not go the extra mile and use BIPV windows? Of course, you have to consider the added cost, but you also need to consider the electricity cost offset by the BIPV windows. Ultimately, it becomes a matter of environmentally-friendly design. BIPV windows take your building a few steps closer to achieving zero-energy design concept.

A Powerful Roof over Your Head

John F. Kennedy once said – “the time to repair the roof is when the sun is shining”. This couldn’t be truer when it comes to solar PV as a roofing material. The first approaches in this area have been actually taking the silicon-based monocrystalline panels and using two transparent glass substrates on both sides to frame them.

The result is a great-looking roofing material that will give your sun room or building porch or awning a stunning look, while generating electricity at the same time.

Other approaches for solar roofing include solar tiles which involve either coating tiles with PV material (similar to thin film deposited on glass), or attaching solar cells on top of flat tiles. www.spacesnepal.com

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Flex your Organic Solar Muscles

But it is their flexibility that enables designers to cut and attach them to any type of surface.

A recent example is the “wave design” roof implemented on top of public bus stop shelters in San Francisco: You can further extend this approach and apply the flexible solar PV “strips” on any stretchable surface like window or door awnings, large beachstyle umbrellas, parking lot shades, tents, etc.

Since the material is extremely light, it lends itself to create lightweight structures that produce shade in the outdoors and generate energy at the same time.

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Parting Thoughts

Beautiful architecture needs to combine both art and science. Aesthetics matter as much as underlying technology. Form matters as much as functionality. Just like an artist’s repertoire is enhanced by artistic tools such as instruments and colors palette, an architect always benefits from having access to wide array of building materials. It is no surprise that the energy crisis in Nepal has necessitated designing buildings that are not only extremely energy efficient, but also lend themselves to electricity production on-site. Solar PV technology has already proven itself in this regard as an extremely effective technology in terms of rooftop energy production. With BIPV, solar PV goes into the realm of building materials, where you now have solar PV as windows glass panes, roofing material, or just plain flexible material with which you can build electricity-producing surfaces in any imaginable dimensions -- bringing the sexy back in your building design with BIPV. Editor's Note: All solar products cited in this article are available from Gham Power. For further information, please contact Sandeep Giri at sandeep@ghampower.com, or call Gham Power at +977 01 4004545

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Architecture

“Wonderful surroundings…

Interesting architecture…..

Enchanting”

The

Rolling Greens Gokarna Forest Resort

T

he above comments are some of the many enthusiastic remarks in the guest’s comments book at the Gokarna Forest Resort. And as expressed, the place is indeed worth a visit. Located North-East of the Kathmandu Valley and a stone’s throw away from the hustle and bustle of the city, the place sweeps you deep into the thick tranquil forest as soon as you overcome the congestion and traffic of Chahabil. The Resort has more to offer though, and since the last decade, it has been serving its visitors with multiple facilities of leisure. A secured and well oriented den for a relaxed sleep, an indoor swimming pool and Spa for rejuvenating the body and soul (added later in 2003 AD), invigorating walks amidst the thick forest experiencing some hundred different types of flora, and a number of fauna like spotted and barking deer, common rhesus monkeys, wild cat and pangolin - all finally complimenting the feel of swinging your hands in one of the world’s most luxurious games – golf!

Text: Ar. Sushmita Ranjit

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Then and Now

Spread over 700 acres of Forest Reserve, it is the only intact forest of the Valley representing what existed over 500 years ago. The soaring trees are up to 200 years old (one was used as the backdrop in the film ‘Little Buddha’), and dozens of religiously significant shrines and temples like Ban Devi, Gokarneshwar Mahadev, Kanti Bhairab, Naag Isthan, Mahat Kuldevta, Poudel Kuldevta and Dhungana's Kuldevta can be found within its compounds, signifying its richness in cultural, environmental and biological diversity. Traditionally, the forest was known

as Rajnikunj and was the private Royal hunting grounds of the Kings of Nepal. In 1862 AD, Jung Bahadur Rana, the first Rana prime minister of Nepal, constructed a brick wall encircling the forest to protect its ecology and biodiversity, parts of which still exist today.

Out of its 700 acres of forest land, 100 acres have now been crafted into resort buildings and rolling green pastures for golf enthusiasts.

Complimenting this landscape with the built forms, the architects have played a major role to ensemble the boutique hotel - preparing a tryst with life and nature.

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The architecture of Gokarna Resort is primarily reflected by the main building following distinct elements of the traditional Malla architecture, but with an utter transformed language.

The warm and inviting lobby with a view towards the internal courtyard - all reflecting elements of the traditional Malla architecture.

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Architecture

The Rolling Greens

The golf course is one of the main attractions of the Resort and one would expect it to be seen as one approaches the main building. But no. It is accessed beyond the Spa and as one walks down the footpath through the dense foliage, the verdant green opens out suddenly and is a sight to behold after a fresh shower of rain. Fitting snugly into the surrounding forest, this 72 course, eighteen holes golf course was designed by David Mclay and James Kidd of Turf-grass Management, under the direction of Gleneagles Golf Developments.

Supporting the golf course, the Club Restaurant comfortably fits in a hundred guests at one go. Especially and purposefully designed for the Golfer, the restaurant overlooks the green pastures of the golf course. The ambience of this restaurant along with the forest view is quite unprecedented, being in such proximity to the urban setting of the Valley. The indoor seating and the outdoor airy sit outs is segregated by full length glass partitions - a transparent screen breaking up and inviting the beautiful landscape to mingle with the otherwise rather mundane interiors.

Blending the Old and the New

Uniquely, the Hunters Lodge in the resort is a historical building being over 120 years old. Functionally, it then housed the shikaris who accompanied the royal family members during their hunting trips to the forest. It has now been restored into a restaurant and bar and is opened on special occasions. This is the only senior building and is flanked by a uniquely growing amala (gooseberry) tree, which adds to the historical aura of Gokarna.

The resort boasts of trees more than 150 years old. This particular tree was used as one of the special settings in the movie ‘Little Buddha’.

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Averaging an area of 33 square meters, rooms in the Rana Retreat are wide with oversized bathrooms, resembling the style of Rana Durbars.

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Typical courtyard planning of the Malla architecture is adopted with towering temple-like structures , exposed brick facades, carved wooden colonnades and decorative windows.

Besides the Hunters Lodge, all the new buildings in the resort have been built taking into account minimal intrusion into the landscape and preserving major full grown trees and vegetation.

Whereas the basic space planning and building design of the main block was commissioned to the Indian architect, Romi Khosla and his team (Group India), its construction was carried off in 1996 by CE Construction Pvt. Ltd., based in Kathmandu.

Architect Khosla’s general concept bases itself on the traditional Nepalese architecture from the Malla period (1200-1769A.D.). The resort therefore is in sharp contrast in terms of the building complex reflecting the vernacular touch of Nepal on one hand, and on the other hand providing a complete contemporary luxury for tourist adventure.

The courtyard view rooms encloses a pleasant garden with a couple of ancestral trees.

All facilities housed within the different groups of buildings compliment to a certain degree in form, texture and style. The only thing that the latter added buildings contradicts the earlier ones is the simplification in the language of architecture that has been used by the architects, November-December 2010

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The Hunter’s Lodge being over 120 years old, then housed the shikaris accompanying the royal family members during their hunting trips to the forest.

The Spa including the indoor swimming pool designed later by Design Cell contradicts the earlier ones in the language of architecture, but nevertheless compliments to a certain degree in form, texture and style.

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to define some transformations from the past, yet traversing by some common lines as a visionary extention connecting both past and present. These are however a combined effort of different consultants at different stages.

First, through the architect, Romi Khosla for the master plan and the main block, and thenafter, Design Cell Pvt. Ltd. for the Spa including the indoor pool, master plan improvements, an extension of 50 rooms, the Golf Club House and other supporting facilities.

The architecture of Gokarna Resort is primarily reflected by the main building, following distinct elements of the traditional Malla architecture, but with an utter transformed language, probably inspired by the

transformed Patan Museum. The typical courtyard plan, the towering temple-like structures at the corners, exposed brick façades, carved wooden colonnades and decorative windows crowned by huge overhangs of hipped roofs reckons a lot about Nepal’s native style. To elaborate, architect Khosla improvises on the traditional elements using a combination of metal and wood, typically noticeable on the columns and the windows. Comprehensively, the entire resort complex is an emulation of the form and space belonging to Nepal’s traditional architecture but with a contemporary twist and simplification to obtain a precise and trendy atmosphere.

Acknowledgement: • Mr. Daman Pradhan, CEO, Yeti Holidays • Mr. Saral Pradhan, RDM, Gokarna Forest Resort

The restaurants lie in the main part of the complex with different settings of interiors presenting an aura of royalty.

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As the water flows over the rock slide into the feature pool, the bamboo wand echoes the memories of the 'five pebble fish'.

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Five Pebble Fish A Riverside Springs Resort Story Text: Ar. Tom Crees

Living your Dreams

It was an ordinary day when my friend Shyam K asked me to come to a meeting with Kishore P, Mukundha S, Mahendra S and himself, not forgetting spotter Pushpa T. They wanted to build a restaurant to cater to the tourist bus trade plying between Kathmandu and Pokhara. I stepped in as the architect and the fifth partner.

The very first site visit sent my mind whirling as my spirit touched the ground. Where most rural development projects are stilted by distant or non-available water sources, a perennial spring busily gushed clear, sparkling, mineral water underfoot. The myriad possibilities could barely constrain themselves. The perfect set was there awaiting theatre. Back in Kathmandu I spun out visions to my partners.

© Tom Crees

Everyone needs a bit of magic in their lives now and then. This sometimes takes the shape of a special place, which once having encountered, forever remains an inspirational touch stone.

For a child, it is the spirit of nature swirling ever close, creative and safe, cocooned by kindness and peace. For an adult, it is where the troubled and anxious world is stopped at the gates and you gain respite to regroup, unwind, and even dream.

Two strong axial spines act as ordering devices to tie the resort ‘pieces’ together into the landscape.

The barren, rock strewn, thorny plateau was a blank canvas – a perfect set awaiting theatre.

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Rather than just a restaurant for passing traffic, I saw the location as an end destination. Almost central to Kathmandu, Pokhara and the Chitwan valley, an inspirational location awaited. My colleagues were quick to grasp the vision, and arose to the spirit of entrepreneurship to do something challenging. Riverside Springs Resort (RSR) eventually set its own precedence in the leisure and resort industry in Nepal, with more dreams for the future .

Although some said that it was too far off from the road, events like the wishing well were placed along the path to make walking an exploration.

It all fell together at this special Kurintar site. The barren, rock strewn thorny plateau edge falling away to a wide river beach was a blank canvas. My partners gave me free reign to write the brief and to interpret it. Their enthusiastic encouragement, participation and support took us from phase to phase, creating delights after delights in this special location. The partnership was rich with resources of entrepreneurship, good horse sense, local expertise ignited with a thirst for something not done yet in ‘modern’ Nepal.

Five Pebble Fish

The place for the restaurant was obvious and pre-ordained, although some said it was too far from the road, “... older folk will find the walk too steep ...” some commented. Like precious stones on a necklace, I placed events along it to make walking an exploration. Mr Tamang, the manager, said he has not had any complaints about the approach! And as a sequel ‘spin off’ to the nearby Mankamna experience, a sympathetic fantasy, a fairy tale wishing well is one of these. The instructions for its use took the form of a small poem I wrote, etched on two brass plates affixed onto the well.

“Khoi tha? Yan-tha chaina rai cha tha hou?” (Where is it then, it is not here?) - designed by nature, the restaurant and river suddenly unfolds at the ‘gazebo where paths cross’.

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The ‘grand stair’ leads down to the Palm Court and on to the island pool below.

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Almost central to Kathmandu, Pokhara and the Chitwan valley, the restaurant is rather an end destination than just for passing traffic.

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Two strong axial spines act as ordering devices to tie the resort ‘pieces’ together into the landscape. The main axis starts at the Entry gazebo at the car park, and ends at the great tree over the spring; with ‘precious stones’ of the “wishing well” and the “gazebo where paths cross” placed in between. This main approach axis coincides with a natural existing drainage channel of the plateau above. Designed by nature, the berms on either side provide a screen which ends in an element of surprise. “Khoi tha? Yan-tha chaina rai cha tha hou?” (Where is it then, it is not here?), new-comers have been heard to remark as they step out of their vehicles onto the plateau above. The restaurant and the river remain hidden until the restaurant suddenly unfolds in front of you at the “gazebo where paths cross”.

Protection from the hot sun was needed to work an idea that was an inspiration into reality! With three masons, six helpers, twenty labour, many cases of chilled beer, we pushed, pulled, rotated, lifted, lowered and formed a rock slide ending in a feature pool. Twenty-one days later the water was allowed to flow, and the bamboo wand tapped out it first echoes at the RSR. The berm on the opposite side of the steps was planned for a cascade of roses - ‘Rocks and Roses’. The graceful curve of the final stair run added a truly graceful touch to the composition; which had not been planned but was a result of close site work, staying vigilant for opportunities during the construction for that “extra mile” that were not conceived at the drawing boards.

The secondary axis starts from Cabin No 1 and ends at the tree at the far side of the Trisuli River as it passes through the centre of the restaurant building. It leads down the ‘grand stair’, over the rock pool, past the reception, across the small court, down the dragon steps, onto the Palm Court, to the railing edge and ‘vois la’, a full panorama of the magnificent wide, river and the landscaped, island pool greet. The weather vane on the central lantern came from London and some of the locals call it “Bhalay Kothi”. (Rooster mansion) The entry steps were planned as a straight decent. While dressing its foundations, the workers came across huge boulders that they proceeded to break up just as I happened on site.

These were God sent “nuggets” which I immediately stopped them from breaking up, as my friend Navin Kakshapati (RIP) the builder arranged a huge canvas sail over the site on request.

The outdoor seating at the restaurant with gushing waters of the Trishuli river as background music.

The secondary axis starting from Cabin No 1 leads down the ‘grand stair’, over the rock pool, past the reception, across the small court, down the dragon steps, onto the Palm Court, to the railing edge and ‘vois la’, a full panorama of the magnificent wide, river and the landscaped, island pool.

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© Tom Crees

The berms in front of each cabin creates privacy as well as ‘wind deflecting’ 120Km / hr gusts that funnel up the valley occasionally that would otherwise lift the thatch off the roofs of the cabins.

© Tom Crees

A ‘conventional’ pool would be out of scale and improper to the context. It had to be as big as the site would allow.

The bamboo from my home took many months of cajoling to take root and establish in this hot environment. We collected coloured pebbles from the beach and laid them as a mosaic in this feature pool. As the beer took effect, I set five, ’pebble’ fish into the mosaic; one for each of the directors who made Riverside Springs possible. A few ceramic figures completed the finishing touches to watch over this little fantasy world. Then we planted trees and flowering shrubs on the barren landscape and shaped it around the buildings.

Swimming in the Formwork

The swimming pool has its own story. The expanse of the valley is large; your arms reach out to embrace it, as the gigantic ‘hills’ rise high on either side. A ‘conventional’ pool would be out of scale and improper to the context. It had to be as big as the site would allow as I dreamed and sketched. The left hand, river facing, concave ‘edge’ was formed around a magnificent Bair tree that stood there.

It had a big branch that I envisioned stretching over the pool. I could imagine little kids splashing into the pool from it. The quick sketch was estimated at Rs 18 million.

Back in Kathmandu, Kishore’s eyes sparkled as all complimented the proposal. My partners enthusiastically instructed me to have it built immediately but we could only afford half the budget! The knee jerk suggestion to make it smaller was met with a firm, “ .... Tom, we want it exactly as you have drawn it .... please find a way .... .” Back at my studio, a brain storming session pointed to an ‘in-between’ scenario, which could be achieved for around 8 million if we could ‘temporarily’ forego the inner concrete lining of the pool for a few years. Without the ‘lining’, we could brick line the retaining wall's edges and finish with render and paint which would be good for about five to eight years! The funds would eventually have to be found for the concrete lining. I personally took charge of the footing consolidation and the waterproofing, and fourteen years later, all are still swimming in the form work!

The design considered all genres of swimmers. The baby pool has its own water supply and drain off so that ‘accidents’ from littlies does not mix with the main pool water. The pool precincts are www.spacesnepal.com

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The design of the swimming pool considers all genres of swimmers. While the colonnades delineate the changes of levels, the baby pool has its own water supply and drain off so that ‘accidents’ from littlies does not mix with the main pool water.

Architecture

While the thatch roof cabins located above the restaurant were part of the original design, the tents overlooking the Trishuli river is a later addition to the resort.

‘learner’, ‘intermediates and bar’, ‘leisure area’, and the ‘dive pool’. The colonnades delineate the changes of levels as well as forming a ‘wall’ through which people move between these zones. The shy find cloister within these colonnades or along the island edges. The island is also reached by a six inch deep, submerged walk way. Even traditional ladies may slip their sandals and walk to the island in participation while more liberated husbands and children take on the full options.

We talked of catwalks being built over the water from the island for evening fashion and music nights in the RSR in the winter months. We even talked about planning a ‘Woodstock’ event with a tented city across the main river beach and mega sound systems for a long weekend music festival!

Maybe it could still be locked into a Nepal Tourism promotion one day in the future yet!

A Place to Pause and to Dream

The walks to the cabins have delights and memories of its own. Two old, knurled trees on the site were retained to enhance the walk, ‘slipping through’ them with a lamp to light this little bower after dark. A place to pause. The berms in front of each cabin creates privacy as well as ‘wind deflecting’ 120Km / hr gusts that funnel up the valley occasionally that would otherwise lift the thatch off the roofs of the cabins.

The story of the RSR is an unfinished one. We talked about shared accommodation bungalows along the cliffs, a meditation centre, a golf course, a competition tennis ranch, a “Go-cart” circuit, a “water world” and ”dream on”.

In Nepal, the high mountains and the tropical Terai have considerable opportunities, which have been found by entrepreneurs, with facilities well provided for. However the charms of the magical river valleys have been overlooked.

Himalayan waters are readily available and reachable at the foot and fold of every mountain, which perhaps has made most blasé towards these special places. RSR refocuses attention to these romantic places that are the stuff of dreams. These are places which are easily reached and are places were all may rest, recuperate and play. RSR is a place that I call special as I include it among the fond places that I frequented often in the annals of my mind. I hope it will be a special memory to others as well .... ...

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In the Heart of a

Jungle Text: Ar. Swati Pujari

Tiger Tops Jungle Lodge, Chitwan www.spacesnepal.com

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Built in 1964, Tiger Tops was initiated as a hunting lodge, or at least a facility from where hunts took place. But today, as we look into the history of the establishment, the organization is - as in the words of Mr. Marcus Cotton, Chief Executive Officer and a hunter turned conservationalist - a model of responsible conservation tourism.

From Tree Tops to Tigers

Mr. Dhan Bhahadur Tamang, Chief Naturalist involved in the lodge for the past 42 years has an interesting story regarding Tiger Tops. Contrary to what its name suggests, Tiger Tops was not purely based on what the area, now Chitwan National Park, is famous for - the rare Royal Bengal Tigers. Instead, the lodge was initially conceptualized after the original 'Tree Tops' safari lodge in Kenya and coincidentally, the concept adapted its way perfectly into the site of Tiger Tops as well.

Located inside the Royal Chitwan National Park, the river Rapti was initially right next to the site, giving all the more reason for the buildings to be as they are built - on stilts.

The lodge initially started with only four rooms and the first two buildings of the lodge, the Thulo Bungalow and the Simal Bungalow which now accommodate twenty guest rooms, are built using local indigenous materials - wood, bamboo and dried elephant grass.

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Dried elephant grass, locally known as khar is a very popular and unique building material in these areas. Named elephant grass as they grow high enough to cover an elephant in their wilderness, this plant when fully grown and properly dried provides the locals with a very strong material that can be weaved into walls or thatched as roofs.

Both the bungalows are built on top of wooden Sal (Shorea robusta) posts some 4 metres high. The open ground not only provides ventilation channels, but also helps protect the rooms from the omnipresent wildlife.

The Simal Bungalow was so named as it wrapped itself around a Simal (Bombax)Tree.

Although the tree itself is now dead, it has not been completely chopped off. The tree has been adapted as a sculptural penetration into the building ending at the top floor level as a platform forming a coffee table, adding to the naturalistic appeal of the tree as well as that of the bungalow.

The dining house or the Gol Ghar is an inspired building combining the Tharu architecture from the Terai plains and styles from African ‘Bomas’. As its name suggests, the Gol Ghar is a circular building with stone walls and a thatched roof over wooden supports, and comprises a multi-functional space for a dining hall, bar, utilities and an outdoor verandah.

Incidentally the verandah showcases a story of its own. In the company’s quest for wildlife conservation, they had discouraged the locals from bringing their cattle inside the national park. A row of cowbells hanging from the eaves of the corridor is a reminiscence of the lodge's initiative, where the reward for every cowbell removed from a cattle grazing inside the park was Rs. 10.

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Architecture

The Gol Ghar, inspired by the Tharu architecture of the Terai and the style of the African `Bomas', is a multi-functional space comprising of a dining hall, bar, utilities and an outdoor verandah.

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The curved corridor of the Gol Ghar leading to the rest rooms with its stone walls and elephant grass thatched roof strongly exemplifies the traditional building materials and style.

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Rooms are simple, clean and basic, and the entire power requirements for electricity and water heating runs on solar power.

Befriending the Jungle

Conservation and minimal impact have been important aspects for the company.

Buildings, including the stone walled Gol Ghar that predate the establishment of the park in 1973, are all non-permanent and can be dismantled. The Tiger Tops organization started with a mission to utilise tourism as a means of funding conservation research and community development and continues to be an important part of the community in terms of wildlife preservation and social projects.

Environmentally speaking, Tiger Tops has always been ahead of the crowd. The entire lodge runs on solar power, for both electricity as well as hot water. The hot water supply runs on solar energy for most of the year, but in extreme winters, a combination of firewood and rice husk briquettes are used as an alternative. The food served at the lodge also comes from their organic farm located outside the national park.

Many of these initiatives started as a necessity.

Due to the very fact that the lodge was located in the middle of the jungle, it was important to be self sufficient in many ways. With time, these necessities became policies and Tiger Tops evolved as the country's first conservation tourism organization.

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The river Rapti was initially right next to the site, giving all the more reason for the buildings to be as they are built - on stilts.

Living inside a jungle – The experience of a life time!

A typical day at the Tiger Tops starts with an early morning wake up knock at the door, heralding an exciting day ahead. The lodge provides a number of ways to experience the surrounding jungle, be it on elephant back, jeep or boat safaris or even on a nature walk, whichever suits the guest. Every outing is accompanied by experienced naturalists who help not only to spot the animals, but also inform the guests about the wide varieties of plants and animals found in the park. Tiger Tops is the only lodge to require a rigorous examination to attain the coveted title of naturalist.

Tiger Tops also has a tented camp, some 7 kilometres away from the lodge. The tented camp, with twelve tents overlooking the Reu River Valley, provides not only an outdoors experience at the jungle, but also lets one view the wildlife from right in front of their tents.

All in all, a visit to the Tiger Tops Jungle Resort is a complete experience of living inside a jungle, surrounded by elephant grass instead of concrete walls and waking up to the sound of the birds and the fresh air blowing down the Reu! Acknowledgements: • Ar. Prabal Thapa, Prabal Thapa Architects, Kathmandu, www.prabalthapaarchitects.com.np • Mr. Marcus Cotton, CEO, Tiger Mountain Nepal, www.tigermountain.com • Mr. Yadav Bantawa, GM, Tiger Mountain Nepal www.spacesnepal.com

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Architecture The Simal Bungalow wraps itself around a Simal tree, which though is now dead, has now been adapted as a sculpture ending into a coffee table on the top floor. (see picture below)

Tiger Mountain Nepal (www.tigermountain.com) was established with the merging of its two founding organizations, Tiger Tops and Mountain Travel Nepal, both of which were formed in the early 1960's. A pioneer in responsible conservation tourism in Nepal, the properties comprising Tiger Mountain provide its guests with an experience of taking ‘One Step Beyond’ in Nepal. Some of the organizations that function under Tiger Mountain Nepal are Mountain Travel Nepal, Tiger Tops Jungle Lodge and Tented Camp, Tiger Tops Tharu Lodge, Karnali Jungle Lodge and Camp, Tiger Mountain Pokhara Lodge, Himalayan River Exploration and Adventure Travel Nepal.

Through its years, Tiger Mountain has been able to develop a sustainable tourism policy which ensures nature conservation as well as minimal impact to the surrounding community. The facilities within the Tiger Mountain Group strive for minimum use of resources as well as reuse and recycling of materials as far a possible. The lodges also inform their guests about the surrounding environment and community and the guests are encouraged to respect the same. The organization is also associated with numerous other organizations, both social and conservational, and has in turn received numerous awards and recognition, both for their hospitality and corporate social responsibility. Tiger Mountain is, in its true nature not a tourism organization but rather a conservation organisation supported by tourism.

Khar (dried elephant grass). a unique an popular building material in this area, is weaved into walls or thatched as roofs.

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A Seductive

Ensemble Tiger Mountain Pokhara Lodge Text: Ar. Swati Pujari

Tiger Mountain Pokhara Lodge is what can only be described as a secluded and seductive paradise. Located 14 Kms east of Pokhara, the lodge is on a hilltop, 350m above the valley.

As you enter the lodge, walking up a series of stone steps, the first sight simply takes your breath away. A beautiful terrace or Nepali Aagan with a slate-clad floor, complimented by the natural greenery sprouting from the slope below, and beyond it – the iconic Machhapuchre or the Fish Tail - right within the frames of the doorway Itself!

Keeping things ‘not too visible’

The site, selected by Late Col. Jimmy Roberts, the founder of Mountain Travel Nepal, was part of the Royal Trek established for the Prince of Wales in 1980. The 30 ropanies (1 ropani = 508.7 sq. m.) site is now an ideal destination for people who wish to enjoy a perfect sense of peace and tranquillity within natural surroundings, providing a spectacular location for viewing the Dhaulagiri, Annapurana and Manaslu ranges along with the Macchapuchre Peak. Tiger Mountain Pokhara Lodge has 13 individual bungalows, each with one or two rooms in the local style and architecture, and with its own private entrance, through a 'Pidi' or a balcony. Keeping things simple and basic, a common dining area and hall with a fire place and a bar completes the lodge.

The natural vegetation in the area also attracts some 250 species of butterflies and 300 species of birds. For those who wish to explore more of the surroundings, walks are organized daily, which focus on culture, wildlife, birds, or just plain exercise. www.spacesnepal.com

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Architecture

The Lodge has 13 individual bungalows in local style and architecture , constructed using locally quarried hand dressed stone on mud mortar.

The buildings are constructed using locally quarried hand dressed stones on mud mortar with timber elements. Besides the main building, the use of reinforced concrete is kept to a judicious minimum. The balconies and pidis are lined with timber posts that support a sloping timber roof finished in local slate. Roof loads are transferred to the bearing walls using Sal wood trusses. While most of the buildings are left un-plastered, exposing the stone work, some are finished with local red mud, blending perfectly with the surroundings.

Interestingly, the architecture of the buildings adapts to the local architecture but are modified to suit the functional needs of a tourist lodge and also to address added safety and durability requirements. For instance, the thatched roofs are replaced by slate and discreet reinforcement for earthquake resistance is accounted for. It is interesting to note that almost all materials used in the construction were locally sourced, and all tools used were hand tools. Interior decoration is minimal, simple and uses local artefacts and design themes. Furniture was designed and made in Kathmandu

by Alternative Furniture and paintings were specially commissioned from a leading British artist. Traditional Tibetan rugs were supplied by Nepal Carpet Industries. The construction, which took place through 1997-98, utilized over 300 labourers and 40 craftsmen, and quite a few of them are now involved in the management and operation of the lodge.

A major concern during the conception of this design, as architect Prabal Thapa recalls, was that the entire complex should blend in with the surrounding, and the buildings not be too visible nor obstruct each others’ view. www.spacesnepal.com

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Interior decoration is minimal and simple, and uses local artefacts and design themes

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Architecture Keeping things simple and basic, a common dining area (opposite top) and hall with a fire place a bar (this page) and a sit out overlooking the valley below ( opposite below) completes the lodge.

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As night falls, and amidst the sounds of insects, the warm light of the lanterns guide you along the stepped terrain.

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The infinity edge swimming pool with a spectacular view of the majestic Himalaya

With the buildings being modelled after the ‘15 haat’ village houses, and as the lodge does not have an actual fence demarcating its boundary, it is interesting how one can simply walk through the facility only to end up at a real nearby village house! Also with careful placement of the buildings along the slopes and the high fertile vegetation of the area, the lodge is definitely not too visible. Standing at a higher ground level one can only see the roofs of the building, which in turn blend in with the surrounding, giving them a natural rustic appeal. The complex was initially conceptualized by American architect Philip Beck, which was further designed and detailed through its construction by architect Prabal Thapa from Kathmandu.

On the crown of the hill that forms the core of the site, is located a small but interesting swimming pool. On a clear afternoon one can enjoy a cool dip along with a spectacular view of the majestic Himalaya reflected in the pool’s waters through use of an infinity edge. The mountains appear so close, you could perhaps smell the snow if you tried!

Tourism and Conservation

Keeping with the principle of Responsible Conservation Tourism followed by Tiger Mountain Nepal, the lodge manages waste through bio-degradation and even the water at the pool is treated using electrolysis instead of chlorine based cleaning agents. The use of chemicals is monitored as a part of Nepal's first Responsible Tourism Audit system. Water is supplied from a spring 325 m below, and all laundry is done at a half way level. Efforts are in hand to source simpler and ecologically benign cleaning materials.

An early photograph of architects Philip Beck (right) and Prabal Thapa during the construction works.

Energy intensive resources such as TVs and air conditioners are completely banned. A strong Community Support Partnership provides advice, funding and mentoring support to community based and led development initiatives. Food supplies are locally sourced and organic wherever possible, including from the Lodge’s own organic gardens.

A typical day at Tiger Mountain Pokhara Lodge starts with a wake up knock on your door. As you wake up and open the door, your morning tea awaits you at the entrance balcony accompanied with early morning mist and a spectacular view of the valley below and the mountains beyond. As the day progresses, you can choose between a wide range of activities – a nice walk through the village, a relaxing massage or a cool dip in the pool, all set to give you an experience of comfort and seclusion. As night falls, the romanticism of the place is highlighted as you take a walk along the stepped terrain amidst the sound of the insects and the dimly lit lanterns flickering to guide you along the rustic pathway to your room.

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Interior

A Contemporary

Lifestyle Text: Ar. Prabha Bajracharya

For a happy life, a peaceful mind and an enlightened soul, the surrounding environment plays a very important role. A similar environment - peaceful yet vibrant, simple yet modish and cozy yet spacious, is provided at the sample apartment of Status Enclave Apartments in Sanepa, Lalitpur. Designed by Ar. Sanjay Lal Shrestha, the contemporary apartment displays the designers planning and aesthetic skills. The apartment houses three bedrooms, a kitchen, dining, living, and a cosy study area. All rooms are marked with a unique style differentiating one from other in many ways; be it the colour or the furniture, the ceiling or even the wall paper. Ar. Sanjay Lal Shrestha shares that he has tried to harmonize the layout with the space, creating an interrelation between the furniture, ceiling and walls, so that they all act as a single unit. Neither of these elements can be estranged from each other.

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W

ithout going into any fanfare, the entry into the apartment immediately bursts open to a large open living–cum-dining space. A black chaise sofa emphasizing the apartment’s contemporary theme makes a bold statement besides defining the limits of the living space within the interconnection of the living and dining areas. The use of different carpets under each units too visually segregate these spaces beautifully. The living space further connects to the outside environment through a balcony. While both ceiling and wall are in continuation with each other. Secondary walls here are kept simple in an enriched off-white colour, brightening up the interior and creating a stronger appeal on the main wall. Lighting is provided through hidden fixtures and slits to avoid glare and give a floating effect.

The dining area, a continuation of the living room, stands ideal in its own elegance and boldness. The alternate black and white chairs at the dining table match perfectly with the black and golden alteration of pictures on the wall. This colour theme continues with the black knitted lamp hanging from the false ceiling - the only direct light in the living cum dining area.

A small showcase at the corner of the wall fulfils the need of a storage space for crockery if required. The full height mirror next to the showcase conveniently reflects light and it is intermediated at its middle, restricting people from viewing their own image, thereby contributing to creating an illusion of another room to exist next to it - marvellously maximizing the virtual lateral length of the room. In continuation with each other, secondary walls here are kept simple in an enriched off-white colour, brightening up the interior and creating a stronger appeal on the main wall.

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Interior The study area, visible in warm light contrasting to the bright living cum dining, is another visual focus on entry to the apartment. The glass partition helps to make the study private and at the same time be visually connected to the common area beyond.

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Interior The master bedroom is positioned at the north-west corner of the apartment. With a colour scheme of a combination of black and its adjacent shades, black, unlike its usual dark and dull effect, highlights the bedroom with its boldness and maturity. The dominating red colour of the abstract picture on the wall adds a sensual beauty to the master bedroom, sophistically embracing this unique combination.

Other bedrooms in the apartment are also provided with interesting colour schemes – one with a royal yellow base and a slight pale wall paper décor, and the other – the children’s bedroom, in a bright blue colour theme.

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Interior

Adjacent to the dining space is the kitchen - the most moderate room in the apartment, but focusing on a clean and sleek appearance.

The kitchen counter is finished with white granite which is a rather unique approach. The custom designed glass cabinets above the kitchen counter highlights the transparent cleanliness. The kitchen is also provided with a small balcony which can be used as a kitchen garden making it complete in itself.

There is no other way than to cherish the experience of being surrounded by the perfect blend of decoration with comfort in this apartment. The peaceful environment and soothing vibes given by the apartment are immeasurable. The effect of the thought and knowledge put in this apartment makes this place – a complete home.

Project details l Client : Lifestyle Lousing Pvt Ltd. l Design team: Sanjay Shrestha, Romi Shrestha, Pragya Pradhan l Main contractor: Jha and Sons l Ceiling and Paint works: Fixit Pvt Ltd l Built in furniture work: Homemaker Pvt Ltd l Loose furniture: Chinese imported l Modular Kitchen: Optima Kitchen (Selin Pvt Ltd) l Sanitary wares and fitting: Kohler (Bajra and Bajracharya) l Light fixtures: Massive, Eglo Lights (Light Gallery) www.spacesnepal.com

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ANALYSIS

Interior Design Institutes in Nepal Text & Compilation: Ar. Kalpana Bhandari Research: Amrusha Shrestha, Krisha Shakya, Snigdha Bhatta, Preema Ranjitkar, Suraj Karmacharya Architecture prevails in every civilization, but what can be recorded is its practice in different times by different people. Nepal entered modernism in the Rana regime while rest of the world was departing from it to explore post modernism. Despite adaptation of lot of styles from other places, we have identified it as our modern architecture, though traits remain apparently unoriginal. In response of the prospering architecture around the world, we are educated with what might seem different than ‘the architecture’ of the rest of the world. Narrowing the vision, the usual interior layout practice in architecture schools is actually designing for interiors-a reason that lot of architects are also into interior design. Also, there is little awareness of the institutes where the major education is the detailing, or art of ‘beautifying spaces’- the interior designing. This science of detailing has taken quite a while to analyze the prospects in our market, or are we there yet?

Background

The need for interior design was rarely, if not never, a necessity in Nepal since a decade back. While the lavish interiors of Rana palaces built in the past showcase ideas borrowed from the West, the Malla palaces on the other hand exude extraordinary craftsmanship. Both of which were not the works of interior designers then, but rather an expression of what the owner felt. It is for a fact that people treat their space in the way they visualise it – irrespective of whether it 'fits' into the context or not. Even today, interior design is sought mostly in official and commercial areas than in residential projects. Nevertheless, the profession is prospering within the past few years, although it is still scaled down and limited to certain dimensions, which among other factors, could be the effect of the level of education available on interior design.

Architecture is closely associated with interior design and it would not be wrong to say that they co-exist. The technicalities of designing have prospered both in architecture and interior design, and along with the number of architecture schools opening in the country, it is but natural that the need of interior design institutes also be a part of the whole process. In the following pages we will see what interior design institutes have to offer in this regard- when and how were they started, and their performance with and without architectural context.

When and how?

One of the first interior design institutes Lakhotia Institute of Art and Designing (LIAD), officially started in 1997; a branch of its parent company in Kolkata. Offering a two-year-course in interior designing, the institute also runs fashion designing programs. Later, Kantipur

Part of a residential building designed by Prakash. B. Amatya (of SPADECO, a local architectural firm)

Institute, International Institute of Fashion Design (INIFD), IEC School of Fashion and Art, and few other institutes opened in the valley, offering varied levels of courses, the duration ranging from 3-5 months to 3 years, corresponding to pre-academic qualification of SLC to high school (+2 or equivalent) respectively. These institutes also run other allied programs, probably to sustain themselves, where Bachelor in Business Administration(BBA), Bachelor in Hotel Management and Fashion Designing are most common.

Some of these institutes are affiliated to the interior design institutes outside Nepal and claim to have their standard and curriculum as set by its parent institute. Kantipur Institute, a 6-year old interior design institute is affiliated to Purbanchal University, the only institute recognized by a national university.

Awareness: opt or just?

The most reckoning fact about the interior design institutes in Nepal is that, although the course duration ranges from 3-5 months to 3 years, each graduate is considered to be an interior designer. Nevertheless, whatever the level of qualification may be, the graduates from Nepal and abroad, have found this industry booming, especially in places of urban interests, malls, office complexes, and restaurants.

The awareness amongst the common people has increased to newer heights and people have started to realize the importance of assimilation of tangible objects that tune into intangible spaces.

Interiors are more than living spaces, because they are an identity to one’s cultural arena. Therefore, the institutes offering short 3-5 months courses and releasing the graduates into the market create a risk of providing dual identities to living spaces.

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Analysis

It is always necessary to bind practice to certain norms. If the quality of interior designing has to be optimized, then a prior step of polishing the education system in interior designing institutes is of utmost importance.

In between the walls

has played a significant role in the architectural scenario of Nepal. Challenges and criticisms prevailing, the standardized institutionalization of architecture is somewhere responsible for its prosperity. Besides, architecture is also a product of the history of art, a study of the chronology of its development and the reasons behind it, including the adaptation and the concepts behind them. If an architect creates space, he believes to have visualized space within, from where the interior designing would just begin, which is probably the reason that architects practice interior design and in most cases probably would do justice to it.

With the present curriculum in the institutes lacking a proper and standard set of norms, resulting in varied and substandard ‘graduates’, IDEA could be one body which could play an important role in its standardisation. This can set a certain quality control over the professional practice in Nepal in the long run.

On the other hand, interior design is about in-between the walls, which if addressed individually, might do an injustice to the built environment of the building - which is one of the reasons for the differences arising between the architect and the interior designer. The interior design institutes do educate the permutations and combinations of interiors, but they definitely need a direction and identify styles of ‘fit-in context’, the idea of ‘inside out’.

Interior Design Association of Nepal (IDEA) was established with an aim to bring together all the interior designers of Nepal.

However, the association has been rather inactive at present and the interior designers have lesser to opine about being its member.

Architecture versus Interior Design

Even though architecture and interior design are two different practices professionally, they do have a certain co-relation to one another as both work towards the end result of a ‘planned and aesthetic space’. Hence in general, most architects naturally practice interior designing as well. What justice the architect does to interior design is an aspect depending mainly on the quality, and probably his/her experience. It can be said that architectural practice sincerely took off in the country only about 15 years back, and ever since, it

Here and there

The quality of education in interior design varies greatly between Nepal and abroad - India being the closest. Studying outside Nepal does provide students to obtain more exposure to the global scenario. The belief that education is better in other parts of the world as compared to that in Nepal hence naturally prevails and is a predominant criteria for a designer’s selection, in spite of many institutes established in the country being affiliated to other institutes outside Nepal.

A residential building incorporating traditional elements and style, reflecting preferences of the owner.

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Analysis The J Bar designed by Sonia Gupta, an Interior Designer from India

Conclusion

The interior design institutes should not only be established with the aim of producing local designers, they should also meet the standards that would make them as competent as those practicing in the global context. These institutes require improvisation in terms of curriculum, academic qualification, recognition and norms of practice. Interior designing practice is a lot about what we learn prior to what we see, and thus learning should definitely be improved. We are not saturated by education itself, but we do need purify it to know what we are doing.

Three interior design institutes of the Kathmandu Valley were surveyed to analyse their education standard, background of interior designing in Nepal, and the present context and performance in the market. registration sake, a second name - the Creation, was given.

Year of Institute Location Affiliation KI: Established in 2004, but proposal was in 2000. Nabin Kumar Establishment Joshi is the syllabus planner.

Lazimpat, INIFD-The Creation 2006 INIFD India Kathmandu LIAD: LIAD is a branch from India that started in 1997 here in Kantipur Hotel Kathmandu.

New Baneswor, Purbanchal Management and Interior 2004 5) What are the various career options students can choose after Kathmandu University Design College (KI) graduating from your institute?

Kupondole, LIAD 1997 LIAD Kolkata INIFD: This really depends on the students and their intention for Kathmandu joining the class, along with their work ethics. Some just join the 1) What are the courses offered (Diploma/Degree)and the course for general knowledge about interior design. These types duration? of students tend to lose interest by the end of the course. There INIFD: Short term Diploma courses ranging from 3 to 5 months are some dedicated students who have gone abroad for further duration. In addition, 1 year or 2 years diploma courses depending studies, while others get job placements in Nepal as interior on the choice of the student. instructors, free-lancers, and such.

K I: 3 years Bachelor program.

KI: Some pursue further studies abroad. Some work here in LIAD: 2 years course consisting of three levels. Basic Level furniture factories as interior designers. Some freelance too.

(6 months), Diploma Level (6 months), and Advanced LIAD: Most people work in designing kitchens, bathrooms, and Level(1 year). other interiors. There are a few that go on to work as freelancers.

2) What is the number of students in each class and number of 6) Are students from outside the Kathmandu Valley/country enrolled at your graduates till date? institute?

INIFD: 7-8 students in the 1 year course; 4 students INIFD: About half the students are from outside the Valley. There (presently) in the 2 year. About 50-60 students have are students that come from Dharan and Jhapa. However, these graduated in total since 2006 are mostly those who are settled in Kathmandu and don’t come to KI: An average of 20 students in each class. Almost 35-40 Kathmandu soley for the sake of getting an interior degree. graduates till date KI: Lots of students from outside the valley.

LIAD: Presently 25 students.

LIAD: There are people who do come from outside the valley, but it is 3) What facilities does the institute offer the students that very rare. attract them the most?

7) Does your institute have branches at any other place?

INIFD: The institution has an outstanding reputation with INIFD: There are a total of 180 INIFD centers in total. a very tough curriculum. Students are attracted by the K I: No high international standards the institute offers. After LIAD: There are branches in India and the UK. The Kathmandu course completion, there are lots of chances for jobs and Institute is one of the branches. internships. Also, its affordable.

8) What age groups of students mostly attending the interior designing course in your institute?

KI: Mainly it’s a bachelors program - 3 years. In terms of the course, our syllabus is from outside (India). Our teachers are INIFD: There is no age trend, the minimum requirement is SLC-pass. also professionals and experts in the field (architects).

KI: Most of the students enrolling in the institute are18-20 LIAD: The institute has short semester courses, so a lot of years old. Pre-academic qualification is High School (i.e. +2 or housewives join to get a diploma in a short amount of time. equivalent).

People who want to take a different route and try something LIAD: No specific range. Most of them are aged between 15 to 35. new join the institute.

9) Does your institute offer any courses besides interior designing?

4) What is the history behind the foundation of your institute?

INIFD: Yes. Fashion Design is offered besides Interior Design.

INIFD: The Incentive Group of Companies in Nepal applied KI: Hotel Management, BBA, and BHCM. to INIFID in India and got a chance to start the institution LIAD: Fashion Design is offered besides interior design. in Nepal. The reason it is called “The Creation” in Nepal Contacts: is because the administration realized the difficulties in INFID: info@nifdnepal.com; 01-4435957, KI: khmc@wllink.com.np; 01-4780564 government procedures to call it “INIFID”, therefore for LIAD: liad_ktm@yahoo.com; 015547506 www.spacesnepal.com

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Interior Design Institutes

Anju Malla Pradhan (AMP) Architect, The Design Studio, Kathmandu; Bachelor in Architecture, Jadavpur University, Kolkata (1993).

Usha Sharma (US) Interior Designer, Akriti International, Kathmandu; Diploma in Interior Designing, IEC, Kathmandu (2008).

Peanu Shrestha (PS) Interior Designer, Creative Spot (P) Ltd, Kathmandu; Diploma in Interior Designing, Kristal, Institute of Professional Management, Kathmandu (2002).

OPINION

Shristi Pradhan (SP) Interior Designer, Arch Design And Dimensions (P) LTD, Lalitpur; Bachelor in Interior Designing, Mangalore University, India (2002).

A review of the interior design institutes in Nepal.

A set of questions was forwarded to some members of Society of Nepalese Architects’ (SONA), Interior Design Association (IDEA), architects and interior designers, for their opinion on these institutes, the education they provide, the standards of education and practice, and role of the association in these institutes.

What is your opinion on the condition of interior design institutes of Nepal?

How do you find the education in these institutes in Nepal?

SP Institutes are sprouting up. Few years back the interior design institutes were offering a one year diploma course (2 hours a day) which was not sufficient to practice interior design. After opening degree course, the scope of interior design has increased. Though I used to teach in one of the institutes, I am not truly satisfied. The courses and also the course duration of one year is not sufficient to practice designing.

PS The condition of interior design institutes is good enough at present. As far as education is concerned, these days bachelor’s courses in Interior Designing have developed the education a lot more as compared to our time. Back then the course was packaged in a very short period such that we had a lot of pressure while studying Interior Designing. On the other hand, one couldn’t afford time and money due to lack of professional security. For instance, I am one of the very few designers of my batch still continuing ‘Interior Designing’ as the main stream career. But these days, the scenario is changing.

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OPINION

US Interior Design institutes in Nepal are still in the developing stage. They haven't been able to successfully deliver the exact courses for Interior Design and focus on the detailed knowledge that a student requires to be a designer after graduating. Only the academic qualification and certificate is not enough.

some books for reference and some software. The books and the tools used in these software won't produce quality designers.

AMP The condition of interior design institutions is definitely improving in the context of Kathmandu valley from what it was around eight years back, when I taught the 3rd batch of students at “Exterior Interiors”, at the Bluebird complex. With the establishment of their own association, the profession seems to be flourishing. As far as residential projects are concerned, clients are ready to spend lavishly on interiors.

There are a few institutes in Nepal for interior design. The education in these institutes is limited to some randomly selected subjects. The institutes themselves are in a confused stage as to what subjects to offer to the students.

The education system is limited for providing students with

Do you think that there are good career opportunities for interior designers in Nepal? What are the advantages and disadvantages of graduating from Nepal and abroad, say India?

SP Nepal is opening to interior designing. An increasing interest in interior design and awareness of its benefits increases demand for designers. Clients are increasingly using the services of interior designers when they plan new additions, remodel and update the general décor of their home, offices etc. Designers with formal training or experience in green or energy efficientdesign in particular are expected to have better job prospects due to increased interest in this area. Good designers can be born anywhere.

PS I am optimistic towards interior designing in the coming days. As cities are growing, space is getting smaller day by day. People

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are compelled to adjust in smaller spaces, whether it be a personal residence, a commercial area or an office - willingly or unwillingly.

Therefore professional consultation can be fruitful for users to obtain maximum utilization out of the minimum space available.

The advantage of graduating from Nepal is the ability to learn on the designing techniques based on the circumstances of Nepalese culture. And of course the education is much more economical as compared to that abroad. One can start with lower expectations and can grow up step by step, enjoying the work and learn at the same time. I don’t see any disadvantages in graduating from Nepal.

OPINION

US For a developing country like Nepal, interior design is a good career opportunity. There are numerous commercial buildings, housing, corporate houses, banks etc. being developed every day. New concepts are being introduced for construction and designing. People have understood the aesthetic values not only for their houses but for their workstations too.

Graduating in Nepal gives the students less opportunity to explore. The inadequate resources and technology lack the education system behind it and the institutes in Nepal haven't been able to create that ambiance. Graduating in the same subject from abroad or India obviously gives students more chances to explore with larger spaces for experimentation. However, graduating in India and practising in Nepal eases the designers work due to cultural similarities.

AMP First and foremost we Nepalese suffer from this branded and tag mayhem. Is it good or otherwise? What counts is the end product- either it’s good or you just don’t like it. It’s for the user to decide. The abroad factors definitely have airs about them, confidence level is better and they have a wider exposure for sure, but then again even the locals get maximum exposure due to our beloved internet etc. What is necessary is knowledge about local products and what’s available in the market including the level of workmanship available, not forgetting the aptitude to create good and viable designs.

Have you worked with an architect/interior designer? Can you share you experience regarding the same?

SP No, only interaction.

PS Yes, I have worked with some architects and I really had good experiences working with them. I had the opportunity to sharpen my knowledge regarding the details of constructions, and with the combined efforts we were able to rectify all the minor errors that usually occur due to lack of coordination between the Architect and Interior designer.

US No I haven't worked with an architect. I would definitely like to work with them and understand interior designing from an architect's perspective.

AMP I did happen to work with an interior designer in one of my very early projects. It was the interior of a restaurant. What I saw lacking was the knowledge about available market products and practical solutions to limited budget. She came up with pretty good ideas which couldn’t materialize due to budget constraints. A condition we have to deal with too often. Anyway, if both professions are to prosper, best is to form a good team first and then to deal with projects on mutual understanding, not deterring from the goal of obtaining clients satisfaction on one hand and creating the best to one’s abilities.

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OPINION

There are architects who also practice interior designing. Do you think architects are creating lesser opportunities for interior designers? What do you think are the pros and cons of an architect practicing interior designing?

SP Yes. Though interior designing is a part of architecture, it has more depth and should be treated as an individual subject.

Interior designing is an art for detailing. Interior designers are given lesser chance than architects.

PS No. Architects have certain limitations while practicing interior designing. For instance, they can bring the technical solutions like designing a structure and planning its space, but the final touch has to be done by the Interior Designer.

Re-designing has to be done after understanding the personality, psychology, and philosophy of the clients. The detailing of colour tone, fabrics, design of furniture, floorings, curtains, pictures, paintings, showpiece, etc., have to be done by interior designers.

think out of the box will be noticed. That person could be an architect, an interior designer or someone from a completely different path, say an artist.

AMP I don’t think so; definitely not. We visualize the entire space right from the beginning. A good design, functionally as well as aesthetically well conceived finally pays off. We cannot start on any project without considering the furniture placements, power points, lighting, etc., which are part and parcel of architecture as well as interiors. So where is the demarcation? Where do we stop, and they start? The ultimate is either we work together right from the start, or we deal with the full package, which I feel is a better option.

US I don't think architects are creating lesser opportunities for interior designers. Anyone who is creative enough and express their ideas in an innovative way can create a healthy competition, with or without the formal qualification.

The practice depends on the amount of research done individually. Those who can understand this and can

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An architect practicing interior design definitely results in a full package of any project from conception to materialization. Can anything surpass that? But this should not be done forcefully though. One should have an eye for colour combinations, furniture designs, as well as all the other details. Though the mushrooming furniture houses seem to have helped in easing this aspect, but at times it pays better too.

OPINION

Are you a member of IDEA/SONA? To Interior Designers- The role o f IDEA is not so remarkable in present context. Do you think this explains the condition/situation of interior designers in Nepal?

To Architects- How do you think the role of an architect should be to bring together architecture and interior designing?

SP Yes. IDEA should make guidelines for practicing interior design and provide license to work like other associations do and should bring all designers under one roof.

PS I have not yet become a member of IDEA formally, but I am a well wisher and have participated in the activities conducted by them. At present, IDEA does not seem to be so remarkable, and I think it is due to the lack of proper networking and interactions between the professionals and another thing that I noticed during the AGM is that the participation of senior designers was very low. I don’t think this truly projects the condition of interior designers in Nepal because designers are individually established on their own.

US No I am not a member of IDEA.

I can't tell if the role of IDEA has been able to explain the condition of interior designers in Nepal, but there are still

few people who haven't exactly understood what an interior designer does. Moreover interior designing and interior decoration is taken as a similar term.

AMP I’m a member of SONA only. From a layman’s point of view, the architect creates space or designs a house and an interior designer fills it with life and converts it into a home.

In several of my own projects, clients hire interior designers once the structure and finishing is done, i.e., including flooring and bathroom furnishing. Then in walks the interior designer and without any consultation with us turns all the layouts upside down creating mayhem with all the wireworks and window placements. The odd part is that clients don’t seem to complain much after seeing all the 3D’s and rendered drawings. Sad part is at times they run off with all the credit.

Should I say after all, this is Nepal? We should strive better to change the situation, and for clients who can afford it, better sign a deal on the entire package right from the start.

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The

Painter of History Text: Richa Bhattarai

Imagine an era in Nepal way back before you were born, and then try to paint it . It might sound difficult, if not impossible, but there is an artist who manages to achieve it .

Early days

Born in a Newar community in Gafaltole of Lagan, Sharma was so enamoured by the rich Newari culture that he chose to reflect it in his paintings. He considers his artistic skills to be God-gifted, because no one else in this family had this talent. "During that time, art was limited to Newars," he informs, "We had other occupations. My grandfather was an astrologer and my father a singer. But since my earliest years, painting attracted me. I would draw something, erase and try again." The real turning point was when his father saw him

drawing a snake during Naag Panchami, the holy festival of snakes . His father took the drawing to the Ranas, the rulers of that time. They praised Sharma and offered him coins as reward. "I was barely five or six years old ," Sharma recalls fondly, "and those coins were worth a lot. That was how my artistic journey began."

Soon after, his father took him to Jeev Ratna Shakya, a noted painter , and requested him to place Sharma under his patronage. "There, we spent days studying objects, cultural heritages and

landscapes to reproduce them in paper," Sharma shares his reminiscence, "I was supported by my family, specially my father, who unfortunately passed away in 1948 A.D. " It is evident that Sharma's family has been his biggest support system from childhood to date. It is heartwarming to notice that details of his exhibition and paintings are being looked after by his daughters, daughter-in-law, and his son. Thinking back on his early days, Sharma continues, "I kept up with my formal studies and completed rudri from Darbar High school."

After this adorable revelation, he continues with his biography. "I learnt a lot by copying the paintings of B. K. Mitra published in an Indian magazine, Kalyan," he says, "but I knew that I had to get professional training.

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modernization has taken away the significance of these artefacts, and the present generation does not know their importance. I just want to show our future generations what Nepal is - how it has been built, not by rulers but by artisans

So I joined Juddha Kala Pathshala which was under the Technical School established by Juddha Shamsher in the place where Lalit Kala Campus stands today. We were taught water colour, pencil sketch, and imitation of objects." Sharma studied there for five years and completed his Kala Kaushal, equivalent to SLC. "

continue his further education had not dimmed.

He joined the ninth standard in Mahendra Praudh Sikshya. His determination made him pass SLC in second division and joined Mahendra Ratna Public Campus, then in Basantapur. But his aim to complete his school level education had been fulfilled, so he did not continue his studies after that.

Getting Professional

Instead, he turned his attention towards painting, particularly life-like sketches in water-colour and oil. To this day, he remains interested in drawing matters of everyday life. He is specially devoted to sketching the Licchavi and Malla era of Nepal, a time period from the ancient to the medieval. On being asked why he chose this field, he answers, "I am fascinated by art and architecture of the period. The temples and spouts, jatras and festivals have all been handed down from that Golden era. When I was young, all of this was beautiful and well-preserved.

But modernization has taken away the significance of these artefacts, and the present generation does not know their importance. I just want to show our future generations what Nepal is - how it has been built, not by rulers but by artisans ."

It was 1958 A.D. by then, and young Sharma felt that it was time to take up a job. The Design Section of Gharelu Sana Udhyog Bikas was looking for an artist, so he applied there. He was selected and trained by Amar Chitrakar, under whom he learned commercial art, logo and calligraphy. He earned a stipend of Rs. 75 per month, and his work there was so good that he was even awarded the first prize by the then King Mahendra. This contract was extended for one more year.

Talking further on his career, "The Chhauni National Museum was looking for a painter. I applied and got appointed. My task was to paint the introduction of rare artefacts. I got paid eighty rupees per month."

He seems passionate about his art, and his attempt to preserve the heritage through art. At the same Then, Sharma applied for the post of a painter time, he appears appalled at the government's in the National Airlines Corporation (then RNAC) indifference. "Changu Narayan temple is the oldest where he was queried by a Bengali on what temple. Every portion of it is filled with exquisite the primary colours were. "They are red, yellow Nepali art that can never be duplicated. But it is and blue," the smart painter answered, "if we falling apart and no one cares to conserve it." mix them, we can get any other colour." The Whatever others may be doing, Sharma is faithful towards his aim. For this, he first studies history interviewer was impressed, and Sharma got the job and worked there for the next twenty-six books, visits temples and old heritage sites, obtains years and eight months. Meanwhile, his will to old pictures." www.spacesnepal.com

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visitors, we are filled with a feeling of awe. Similarly mesmerizing is the image of Arniko, our very own Balabahu, leaving on his artistic mission to China. There are paintings of the Kumari entering her new home, of king Jayaprakash Malla playing dice with Taleju Bhawani; of Prithvi Narayan Shah and Junga Bahadur Rana.

Commercialization of art may be a good income source, but art will be at its best only if you carry it on for its own sake I talk to historians," he adds, "I make it a point to collect as much information as I can. I make a lot of visits to the Kesar Library, which has rare historical documents. After that, a certain image of that era appears in my mind, and I try to bring it out on paper.

It takes a lot of effort to accumulate all facts and interpret them."

An example is the painting where Taleju Bhawani is playing dice with the king. He has executed a myth into art. And it took three attempts to come up with the final piece." I was dissatisfied until I studied about Malla weapons from museums, and included them as well as the shriyantra into the sketch," he reveals with satisfaction.

Art for art’s sake

Sharma also specializes in paintings detailing day-to-day life : a Jyapu couple, a farmer, a nagini (woman offering manicures), a gubhaju (faith healer), a potter.

Nothing misses his watchful eye, no detail is spared. It is a treat for every Nepalese, though he is particularly adept at displaying Newari heritage. It is no surprise that ex-Mayor Keshav Sthapit complimented him, "You, as a Brahman, have done what a Newar couldn't." It was Sthapit who coordinated Kathmandu Metropolis and Himal Association to arrange for an exhibition of Sharma's paintings in 2002. Titled 'Kathmandu Valley Down the Ages," Sharma's paintings were published in book form later. Before that, in 1973 A.D., he had a solo exhibition in NAFA art gallery. He has participated in seven joint exhibitions and held four single exhibitions till date.

Being humble yet

Even after achieving this success, and his paintings being widely acclaimed, Sharma remains humble . "My paintings are a blend of art and culture," he proudly says, "They are history. So I cannot put a price on them anyhow. It depends on their rarity, their finish.

Some visitors are so overwhelmed by my art that they are willing to pay any price. However, my greatest reward is not price but the satisfaction I gain when people like my paintings. The money I earn from the sales will go to charity." He offers postcards at much reduced prices for those who cannot afford his paintings.

He is one of those rare beings extremely content with his life.

"What's there to be greedy about?" he counter-questions. "I have a wonderful family, a great talent, so many admirers. God has given me everything.."

However, he is sad that this dedication towards the craft is lacking in the present generation, "They are quite educated, which is good.

Studies are essential to understand the intricacies of art. However, these educated youth lack patience. They come to me, learn for a few months, then get tired and stop coming." As for the art institutes booming everywhere, and the commercial value of art, he opines, "Commercialization of art may be a good income source, but art will be at its best only if you carry it on for its own sake."

Sharma steers clear from abstract and modern painters. "I do not understand them much," he accepts with childlike frankness, "My favourite artists are John Constable, Gitto, and Leonardo Da Vinci. Among our artists, I am partial to Chandra Man Maskey, Tej Bahadur Chitrakar and Balkrishna Sama." He seems highly attracted to Sama's personality. "Studying his paintings changed my view towards life," he agrees, "I pray to God that in my next birth, I should be a painter like Sama, poet like Lekhnath, and On being queried how much it takes for him to complete a painting, philosopher like Shankaracharya." he ponders a bit, "Sometimes it takes five months, sometimes up to a year. For example, the Kailashkut palace took me a year."

Well, no one knows about the next birth, but we can be assured His sincerity is most evident in this particular painting. He has of one thing – Hari Prasad Sharma, through his dedicated amalgamation of history, culture and religion in art, has proved recreated the huge legendary palace of king Anshuvarma in his canvas. Looking at the vast hall where the king is welcoming his himself to be an exemplary artist in this birth.

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