Vol 13 No. 05 OCTOBER 2017
ART ARCHITECTURE INTERIOR
MYstic Mountain Folded in Prayer Neglected Heritage
WOOD TREATMENT DOT METHOD
HIMALAYAN ART FESTIVAL
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Contents Volume 13 NO. 05 | October
Wood Treatment Dot Method
Folded in Prayer
Neglected Heritage Yangal Hiti
The Heart Of The House : Kitchen
Importance of Color in Hospitality Business
64 from the shelf
Himalayan Art Festival
Nepal Mandala: A cultural study of the Kathmandu Valley
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Volume 13 N 05 | October O.
Ashesh Rajbansh Editor-in-Chief
Ar. Sarosh Pradhan Director- Products and Materials
Ar. Pravita Shrestha
Contributing Art Editor
Madan Chitrakar Kasthamandap Art Studio
Shreya Amatya Sristi Pradhan Pratap Jung Khadka Advisor
Ar. Pawan Kumar Shrestha Subscription and Administrative Officer
President - Society of Nepalese Architects Ar. Jinisha Jain (Delhi) Ar. Chetan Raj Shrestha (Sikkim) Barun Roy (Darjeeling Hills) Photographers
Pradip Ratna Tuladhar Intl. Correspondent
Bansri Panday Samir Dahal Intern
Soyana Nyachhon Director- Operation & Public Relation
SR. Business Development Officer
Debbie Rana Dangol
Kai Weise is a Nepali national of Swiss origin who has been working as a planner and architect in the Himalayan Region. Kai Weise has been facilitating the establishment of management systems for World Heritage properties and was involved in earthquake response and rehabilitation for the culture sector in Nepal and Myanmar. He is president of ICOMOS Nepal and fellow of the Institute of Advanced Studies, Durham University.
Asha Dangol is a contemporary Nepali visual artist. He is co-founder of the Kasthamandap Art Studio and E-Arts Nepal. He holds Masterâ€™s Degree in Fine Arts from Tribhuvan University, and has been creating and exhibiting his art since 1992. He has 10 solo art exhibitions to his credit. Dangol has participated in numerous group shows in Nepal and his work has been exhibited in different countries outside Nepal. The artist experiments with painting, mixed media, ceramics, installation, performance and video.
Chhavi Vashist is a Delhi- based Architect. She enjoys reading blogs & posts at blogger, WordPress, and some social networking sites too, which inspires her to write blogs. In past she had worked for a website: www.ebuild.in as an Interior Designing - content writer. She is also skilled in blogging, photography, travelling, event coordination, drafting, rendering, art & craft and model making.
Ruby Shrestha Legal Advisor
Rajina Shrestha is currently working full time for Marketing and Operations at Threadpaints Store, a moderated online selling platform. She is a also co-founder at Women Leaders in Technology (WLiT) and Vice-President at Women LEAD. She is a freelance writer and asks too many questions.
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Editorial As famous saying about our country echoes ‘Heaven is a myth, Nepal is real’, all agreed that the flora and fauna in this particular season is so mystic. People from all over attempt to live few blissful moments of their lives by encapsulating themselves with serene beauty of Nepal. Spending a day at ‘Mystic Mountain’ on nearby hills of Nagarkot was a kind of sacred experience. Bracing the hills, the building truly allows oneself to gratefully indulge into surrounding landscape. Yet, we’re concerned with current situation of many ‘artists’ of told and untold stories of Kathmandu. Especially after the 2015 Earthquake, chances increased of coming across to additional sites of irreversible loss of heritage. Not sure about direction the country, these ancient marvels are struggling to stand their ground, one such painful locate is ‘Yangal hiti’. Life goes on! Intrigued by the aroma of fresh food, we’re definitely bound to see and accompanied by other members of family. Kitchen is the only area of the house where many magic happen. Evoking fondest memories with our family, kitchen area stands the highest chance of mention among other areas of the house. Achieving harmonious environment for the project, the St. Scholastica’s mission hospital chapel in Philippines shows how architecture reacts to people. Inspired by the forms of roofs of adjacent houses, the wall planes of treated abaca bers is shaped by folding planes that come together as if folded in prayer. Colors can unconsciously but continuously be affecting the mood and state of our mind. There will be tones of colors, along with a design style, that projects the personality of the place and in turn will attract the right type of clientele. The use of lighting can add to or subtract from the overall colors of a room or from only those surfaces the light is meant to enhance. Lighting can transform your home and change the appearance of colors and textures. With the abundance of vast arrays of modern lighting options and products, we can always be positive and set the mood to enjoy our life fully. Enjoy!
Ashesh Rajbansh / CEO
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FOTILE Meet 2017 FOTILE, a high end kitchen appliance brand in China established in 1996 organised program on 24th September 2017 at Hotel Manaslu. The program was hosted by The Carpenter Hardware Center, the authorized distributor of FOTILE focuses on becoming a respectable first-class international enterprise. FOTILE a miracle brand, has won award for being the top 500 Asian Brand in 2014, has covered more than 45% market share of high end market. At FOTILE, their business is built on the foundation of product innovation and creating
kitchen appliances that are stylish and family oriented. The representatives of the comapany Mr. Wuwu Zhang and Ms. Xioweng Fu were presented at the premises. The main products of FOTILE include Range hoods (chimneys), hobs, ovens, microwave, sterilizer etc. FOTILE has cooperated with some international company to design products with a lot of research to offer best quality products. Carftman Furniture, Maxcore Incorporated, Creative Interior, Space Design Systems, Conception Interior , City Interior, and Oi Architect were some of the prominent guest. n
Orient bell Orient Bell Limited, established in 1977, with its largest manufacturing of ceramic and vitrified tiles has been on the forefront of innovation in home décor. The industry run by both father and son has become one of the versatile industries in the business. The company has been able to launch a chain of signature showrooms to display the complete product range by aiding retailers in concept selling and is privileged to be associated with the premier construction and consultancy agencies of the country. The products are mainly focused on innovation, aesthetic themes and textures which are very pleasing for the viewers. Orient bell has recently took a step forward and launched a new showroom in Kathmandu, Nepal with an exquisite collection of tiles to add a fresh and unique look to the working space and household. They emphasize in digital tile technology which has helped them in 14 / SPACES OCTOBER 2017
transplanting the aesthetic, contemporary designs and elegance of natural products like stone, sand, wood, marble, and on tiles. Mr. Madhur Daga, the managing director of the company, who believes in maintaining excellent services is delighted with the sales and marketing investments in Nepal. “This is a big step for the company and we have
expectations from the market in Nepal. I am sure the clients will love our collection” said Mr. Daga. Mr. Deepak Kumar Verma, the General Manager of Orient Bell Tiles Boutique and the team were very enthused about launch of their product in their neighboring country and has been expecting good sales from the new Orient Bell Tiles Boutique in Kathmandu and Pokhara. n
COSMIC SHADES Cosmic Shades, art exhibition by Sushila Singh showcased 32 pen and ink sketches on 23rd September, 2017 at Aaju art gallery in Sherpa Mall, Durbarmarg. This was her second solo exhibition with the use of black ink on white paper she has showcased the rich heritage of Nepal. Her illustrations are more than sheer lines and motions; it’s a piece of her heart which soulfully rejoices our heritage. “The historical images are both forms and medium for me, to make the abstract insights concrete — they are home to my lines,” Sushila says. In fine art, the term ‘pen and ink’ denotes a drawing technique involving the use of black and other colored inks which are applied to a support with either a dip pen or a reservoir pen. This traditional, flexible media has been
used by Western artists since ancient-Egyptian times, for sketches, finished drawings or ink and wash paintings. It is also one of the main mediums involved in book illustration and in Surrealist Automatic Drawing . “Heritage in Black and White 2010” was a great success that awarded her a lot of appreciation. After those 6 years, she has come with more stunning arts: more matured, deeper with philosophy; and much more vivid in architectural details of heritages. She relates the pen and ink sketches as positive energy of Cosmic Shades. The sketches were in the forms of historical images such as jatra, mandir, toran, rakshak or any details crafted on walls, doors, and gates and surrounding of architectural heritages. n
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Newars Contribution in Asian Art Newars are known for their vibrant culture and traditions, they have been the inhabitants of Kathmandu valley and its surroundings for long time. Newar community have always been so creative and its surroundings have an immensely influenced the art, architecture and culture of Nepal, Tibet and South East Asia. Newars have continued their old traditions; pride themselves as the true civilization of Nepal. Narash Shakya, an art historian by profession with a master's degree in Buddhist studies and arts conducted a discussion session about the influence of Newari people in arts which was held in Yala Mandala, Lalitpur."Traditionally speaking, the Newars have been practicing arts over centuries by observing the mixed culture of different communities that have entered the valley." said the facilitator of the program. The culture of each Newar diaspora town represents a unique sample of Kathmandu valley's core culture, reflecting the migrants' places of origin, cultural preferences and historical adaptation.
They have produced art of pictorial form, stone images, and carving on wood, emboss on brass, cast in bronze, paint on plaster, molded terracotta and had made thousands of shrines within the valley for a long time period of time. As the Kathmandu valley developed its metalwork, architectural and artistic production, the trade networks linked the valley to hinterlands and Tibet. Historically speaking the Newars of Kathmandu valley are renowned painters who have crafted finest painting not just in the valley but also in far locations. The painting structure is unique and the shapes found in those paintings are usually round. They took their skills to faraway lands. Arinko who is one of the finest figure in the field of art, have contributed not just in Nepal but also in Tibet and China. Mr. Shakya shade light on the fact that his artistic legacy and innovation continued to influence Buddhist art at the Ming and Qing courts. Even now, the premium influence of Newar painting, sculptures could be found in Mustang and other himalayan region. So many Tibetan monasteries all over the world, in Ladakh and many parts of china especially Mogao and Yulin grottoes in Dunhung are thoroughly influenced by the Newari art. n
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News Some of showcased artworks were: 1.
he exhibition at Nexus from 22 August till 4 September 2017 is community originated artwork. When we talk about the community, we refer to two distinct public. One is the community of “local” and “international” artists who came together and built an artist community. Together they envisioned how the project could go forward. This artist community met with the second community, the one of Sipapokhare and the different groups that live there.
Our intention was not to simply make work about the community and village but instead to blend in with and engage with the people of Sipapokhare and Bungamati to learn from each other. In doing so, artists facilitated various groups such as mothers, teachers, adolescents and kids. Through sharing their skills they built the capacity of local people to engage in creative and artistic mediums and envision and imagine their lives and their future. At the same time, they shared unique and local perspectives of their lives, identities, challenges, strengths, hope and dreams and gave the artists a glimpse into what the realities of their lives really are. NeXus/LASANAA is not a conventional ‘white wall’ gallery, it is an unconventional, multi-purpose community space. Mainstream art is so often tied up with typical politics and media and only serves those who are already culturally empowered.
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Through using alternative space, NEXUS invites viewers to perceive art in different ways and explore art, not as a static object but as living and a way of life into itself. Blurring the boundaries, works of community groups from Sipapokhare and Bungamati as well as local and international artists were presented together in the exhibition. In this way, the spirit of collaboration and community has been the defining aspect of this exhibit as all artists, all forms of expression blend together. The highlight of this exhibit is a collaborative record of all the participants and their experiences which takes the form of a hand-printed book. n
Kunjan Tamang / Moona Pennanen: Work on ‘Water’: water surrounded by myths and Politics. In both local, national and international contexts. 2. Amrita Sen: Work on Fear, “Stories of the nature of Fear in Sipapokhare.” 3. Teachers and Students Group (facilitated by Amrita Sen, Ashmina Ranjit, Yajyu Manandhar, Keshab Raj Khanal) 4. Abhishek Shah: Video work “Images while searching for the “real Nepal.” 5. Book - Rebuilding Recaptured 6. Rabin Maharjan: “Architectural aesthetic” contrasting the traditional city with modern aesthetics. 7. Ashmina Ranjit / Shrawan Maharjan: Interactive art form using recycled clothes to make a net which can be used to create shade or bind people together. 8. Yajyu Manandhar (in collaboration with Hemmo Siponen & Kunjan Tamang): Sound work of children playing and children’s toys, recreating the sound using found metal objects. 9. Prakash Ranjit/ Dipti Sherchan/ Malashree Subedi/ Keshab Raj Khanal: Collaborative work in the comic book. Inspired by the story of a real girl’s life.
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Drift towards the realm of Transcendence TEXT : Samir Dahal â€ƒ Photo : A. Rajbansh
A woodland wonder in the mountains is a fairy tale retreat come true. A faraway mystical and enchanted land bestowed with the glorious castle: a gem amongst the hummock, Mystic Mountain holds true to its name. Mystical as it is named, the hillside shelter surpasses all needs, charming in its awe and catering to enrich all senses.
woodland wonder in the mountains is a fairy tale retreat come true. A faraway mystical and enchanted land bestowed with the glorious castle: a gem amongst the rubble, Mystic Mountain holds true to its name. Mystical as it is named, the hillside shelter surpasses all needs, charming in its awe and catering to enrich all senses. The delayed gratification, as the French put forth for the mirage of the eye, holds true for the perfect yet remarkable sensation as one approach the porch, hiding the majestic roofline from the driveway. The intricate interwoven boundary fence hints to the miniscule detailing exemplified throughout the place. A free standing wooden door, embroidered with plain glass on it periphery, greets the eye. And once inside, iAy, caramba! Look at that view. Spellbinding panoramic view right through the lobby towards the vista. The glass walls look out into the distant and not even the soothing subtle colors and textures can hold back the view of the endless peaks.
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In Mystic Mountain, where Architecture and nature merge into a living environment, the pleasure of living in a pristine timberland environment is materialized. The staggered hexagonal cube concept, a pivotal architectural form generator, encapsulates new pleasures of hospitality and design merged down to the earth. Expression of structural stone retaining walls hints to a gentle reminder of carved out volumes while bringing in the exterior to the interior adding confusion to the nature of space. Architects Sanjay and Romi take pride overtaking the challenges to cater all amenities of design and uniting into one singularity. The hospitality facilities are connected through a seamless network of organized spaces and paths. Facilities and accommodations are not housed within individual buildings, but distributed and overlapped through each level of the site, helping to amplify moments of interactions between disciplines. Two distinct buildings characterize the view alignment as well as respect privacy while the floating connecting bridge introduced enhances the journey through the spaces.
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With boundaries blurred, the introduction of greens (creepers) to soften the landscape to the hotel architecture unites one with the nature. The combination of communal spaces and gardens epitomizes the spirit of the property, providing quality and tasteful living amidst clever landscaping that comply with the conventional notions in hillside designs. The buildings and its individual rooms are aligned with the valley as well as respecting site contours.
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To compensate for a 7-storey height mass, the Mystic Mountainâ€™s design utilizes nestled hexagonal shapes stacked and staggered on either lateral plane to reduce the visible mass, while complementing alongside the natural gradient of the hill, an exploration that merges landscape with high-density serviceability. By negotiating guidelines and the relationship between softscape and hardscape, extensive terraces have
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been built into each succeeding level to create more airiness accessible to each of the residences. At each subsequent floor level, extensive gardens extend from the room units, serving as deep communal balconies. Besides functionally providing shade and buffer, these stepped terraces connect the unitsâ€™ living spaces, allowing for use as social spaces while drastically reducing the visual colossal mass of the structure.
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A number of techniques in design and fabrication are explored to provide a blend of experiences by which the Mystic Mountain evolves around the user. To better convey movement through space, we can use a series of changing perspective views, as English architect and urban designer Gordon Cullen did when he coined the phrase Serial Vision to describe what one might see and experience as one walks through a sequence of spaces in Mystic Mountain, spatial arrangement- garden elements as well as the superstructure â€“ serve as focal points for the reorientation of the visitor along various axes of travel; leveling to different intensities to vary visibility of the surrounding to the vista. In fact, the spaces are designed to holistically adopt the notion
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of improved human experience and address their functional requirements, the overall character of the spaces and quality for inhabitants are harmoniously enhanced. The complexity of the movement channels a sensory journey that can bewilder an individual to lose themselves in the process. Many have set off wandering within the building complex, often losing their sole intention yet still being mesmerized with the different revelations Mystic Mountain has to offers. Whether walking down from the lobby to the view deck beyond the bar, overlooking to the infinity pool and gardens that lay few levels down, or pacing towards the room units through the bridge, into the rooms, levelling at any vertical instances with corridors and spillages; shafts of natural lighting are employed to vary visibility yet offering amusement in confusion.
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The iconic steep slope roof, feature acting as a beacon to passerby, hosts an exquisite fine dining and cafe, all wooden and subtle earthen textures that augment the view beyond, with a collection of event pavilions of outdoor dining seating with water feature of the infinity pool at eye level that seems to extend to the horizon. Altogether, the complementary roofline extended from the main unit to the adjacent structures, gives a distinct character and a feature to the overall structure.
Architects: OutrĂŠ Design Design team: Sanjay Shrestha, Romi Shrestha, Nayan Shakya, Hisila Tuladhar, Rashmi Maharjan Structural Design: Rajesh Bhochhibhoya MEP: Technocraft Pvt Ltd Main Civil Contractor : CE Construction Pvt LTd Interior Contractor : House of Interiors
In the design of these hilltop extravaganza, a multitude of contemporary lifestyles and desires are encapsulated- luncheon on the deck ridge, dining high on cloud 9, a lazy Saturday afternoon slouching in the green balconies, parties on garden decks and open air ofuros. The architects widely focus on these activities, amplified by the subtle combination of clear glass, earthen textures: a chic and modern design yet with a hint of nostalgia with ligneous finishes and handwoven ratten, sukul extensively used throughout the space. A respite from the city into an oasis of calmness, Mystic Mountainsâ€™ unique design and execution is the epitome of an exclusive luxury designed to maximize comfort, space and privacy. n
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Folded in Prayer TEXT & Photo : WTA Architecture+Design Studio
Northern Samar is one of Philippinesâ€™ 10 poorest provinces, where 65 percent of their entire population lives in the rural areas. As such, Pambujan is a rural town in this province with a population of only 32,000. In 2009, due to a lack in proper health care facility, the Diocese of Catarman, Northern Samar, appealed to the Benedictine Sisters of St. Scholasticaâ€™s Priory for assistance in building a mission hospital.
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he birth of the mission hospital is in fact a boon to the neighboring setting. The Chapel of St. Benedict and St. Scholastica is formed by folding planes that come together as if folded in prayer as praying hands or a kneeling figure, this abstract form creates a hopeful seeking mood appropriate to the setting. A form that is in fact inspired by the roofs of adjacent houses, the Chapel is a familiar space to the locals made intriguing by an unfamiliar scale. The inner hospital courtyard is a small chapel purposely serving as worship and prayers of patients and the sisters. The chapel takes the form of bent plates folded towards a towering cross, bowing as if in prayer; form reminisces to the fold in a prayer. An intriguing fact is that the roof is also the walls: roof and wall are synonymously as one, and the whole structure is in fact a one continuous mass. The wall planes are made of treated abaca fibers called â€œalmacanâ€? wrapped around a lightweight steel structure. The structure itself is a sculptural skeleton of relatively soaring proportions. It rises at the center and tapers to its four corners reaching out to the edges of the courtyard. The entry portal as well as the back of the altar is bordered by a pair of stained glass windows that successfully creates a mirrored imagery between entry and ascension. As a vital part of every church in this religiously devout Catholic country, the chapel serves as the heart of the entire compound and it is around this prostrate form that the daily activities of the hospital goes on. And as one goes through the hospital or even as one arrives, one will always see the sleek wooden cross pinnacle held up high by the praying hands of the chapel.
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WTA Architecture+Design Studio WTA Architecture+Design Studio believe in and practice architecture that is socially relevant. Architecture that relates to the community, promotes urbanity, and develops society. As architects and designers, they are often tagged as technical or artistic professionals. They believe in humanity and they are the curators and proponents of the urban realm, who are involved in the business of creating places. Places that live and breathe, places that are a critical part of people’s lives and play a vital role in defining their sense of self and community. The boards for Museo Del Prado Outdoor Exhibit (September cover feature) and The St. Scholastica’s Mission Hospital have been shortlisted in the World Architecture Festival, revolving around the theme of Social Architecture. Social Architecture is the design philosophy of the firm. “Social Architecture” is architecture that creates with communities in mind. It operates more in the manner of discovery and exploration, rather than breakthroughs and invention. It promotes qualities that create a gentler and more harmonious pace of societal development than the peaks and troughs of triumphalist achievement. They believe in promoting this as a studio with the idea that humanity’s story must, more and more, be socially inclusive than selectively exclusive. In every project they ponder on the future and always strive to define the spaces that they create and develop. They believe in design process requires a constant stream of dialogues and critiques in an atmosphere where open ideas can be shared, an environment that cultivates intense desires to constantly search for better and brighter solutions.
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The St. Scholastica’s Mission Hospital Commisioned by SCTAN Foundation Inc. Donated by St. Scholastica Hospital Pambujan Inc. Design Firm: WTA Architecture+ Design Studio Design Team: Arch. William Ti jr. Arch. Arvin Pangilingan Arch. Christian Eduardo Arch. Kia Andawi
The chapel projects to serves as the escape or the source of the people, celebrating a festive emotion yet having the sense of lightness to attain balance in the user’s emotion. The St. Scholastica’s chapel also focuses on a responsive and openness approach; liberating the project beyond its wall to the immediate environment. St. Scholastica’s Mission Hospital Chapel wants to give emphasis to
human scale, where in, it shows how architecture reacts to people and how users react with the Architecture. Having a human scaled design concentrates on where a human can reach and where a human can feel the architecture. Having a coherent design gives an expression of a kind of design that is bold and solid. It is consistent with its context and intent, and its main goal.
Achieving harmonious environment for the project consider not only itself but also its surrounding. To create a complimenting environment, The St. Scholastica’s Mission Hospital Chapel plays the material of ‘Amacan’ (a woven abaca fibers), stained glass, metal, stone, wood, and with a play of light to have this distinct and strong Filipino character. n
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THE HEART OF THE HOUSE :
KITCHEN TEXT : Soyana Nyachhyon
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he kitchen really is where the magic happens. In a typical Nepali household, the kitchen are the heart of the house where one can find the flavors dancing from one corner to another. This is where we spend our happiest moments and where we find the joy of being a family. For a typical house worker, the kitchen is a play station where he/she explores the symphonies of flavors. For the new generation like us the kitchen doesn’t mean a lot as it means to the old generation. But what people don’t realize is that the kitchen itself can become a wonderful play station for both parents and the children. The equipment and utensils can become the weapons to create new things which bring happiness to all the people around you. The kitchen is given more priority these days as it is the soul of the house. Proper color, lighting and the interior are given more thoughts. But in the past, especially in Newari Families, the kitchens were made out of mud and bricks. The place was big and the whole attic was filled with the laughter of near and dear ones. The smell and fumes of spicy Newari dishes also vanished into air upwards rather than being confined in the house itself. They used wooden stool also known as pidka to have lunch or dinner. It’s where the food was worshipped, the food were prepared in small clay pot on the top of open fire.
As a kid I was influenced by lots of Disney movies, one begin “Beauty and the Beast”and thought that the china clay pots,cups and the saucer truly had a life, and used to play with them thinking they would actually come to life and start singing “BE OUR GUEST” while my mom used to cook delicious food for us hungry bears. The china cups and bowls are always fascinating thing when it comes to talk about kitchen. A whole cupboard is dedicated to fragile items. In a Nepalese family these utensils are only used while the guests come visit our place. Those fragile china cups are very precious as it holds the memories of our family. Some of it were gifted and others my parents brought with them when they travelled. Even though its just a cup, but inside the cup there are flowers as if someone had scattered a bouquet and it had tumbled into separate blossoms, falling in a full circle around the inside.
The kitchen that I grew up with always had subtle features to it. As the house was built in my grandfather’s era, it lacked modern touch of distinctive color patterns and furniture as well as the touch of Newari style but the yellow walls that engulf the overall place with brown colored furniture; accompanied by a sink where the most of the ugly battle of a day are fought which makes it whole.
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The blossom doesn’t seem to be pasted on the surface like stickers which appears to be caught in motion. And now, these cups reminds of those old times my father relives in. The size of the kitchen is enormous, the well-lit lighting creates a warm ambience, plus the morning sunlight from the windows that surround the kitchen area makes it look less gloomy. “Meals and Memories are made here”. The flaming stove is placed on the marble kitchen counter where the magic happens. The counter top made of charcoal color always looked clean and neat, even though a messy battle between spices is held everyday. The stove is accompanied by a small microwave oven and rice cooker. The horizontal space has been the liveliest place of all time as the people at home share the fondest memory of gathering together and cooking mo:mo cha with lots of laughter and a sprinkle of gossip . The space has been mostly occupied with cupboard, big enough to fit a 5 yrs old like in the movie Narnia but in this case you will find porcelain pots and spices of different colors. The cupboard looks old but truthfully speaking it has been growing more rustically handsome as the day goes by. Next in the line comes the cherry blossom refrigerator stands tall while hiding all the good chocolates, cookies and keeping the vegetables and the greens fresh for us to consume. As it is located in one of the corner of the kitchen it seems like a portal that will take you to another dimension but you will find a chilled glass of milkshake after a long tiring day. Moving along one can notice the 40 / SPACES OCTOBER 2017
marble floor, which looks elegant and creates a sense of sophistication that maintains the appearance. The black colored tiles balances the yellow colored walls, radiates the fall vibe. My fondest memories of spending time are at the patio of the kitchen garden door where I used to sit on and watch my parents take care of the organic vegetables. As the door is at the end of the kitchen, it gives a feeling of being attached to the nature and surrounding. The kitchen is adjoined with the dinning area. The space makes it easier to move around from one point to another.
The dinning table is where almost every kid I suppose have cried just because the homework’s were tough and the food didn’t tasted like it was supposed to. Once it used to be a huge table, just like in Harry Potter movies surrounded by variety of food and cheerful people but now, the size of the table has been reduced enough for four people to dine in. This area is where after a long tiring day the family gathers and enjoys their meal as a happy family. “Kitchen should be designed around what’s truly important-food, fun and life, it’s a place where memories are homemade and seasoned with love”. n
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YANGAL HITI TEXT & Photo : KAI WEISE
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athmandu has infinite stories to tell. There are many layers of history stacked on top of each other. Each time one of these layers is peeled off, another appears below. It is possible to walk the narrow streets and through the courtyards over and over again, and each stroll becomes a new experience. New monuments and shrines seem to appear which must have been overlooked previously. These images mingle with the kaleidoscope of colours, shades, scents and impressions. The city transforms with the seasons. The scenes change depending on the time of day, highlighted by the angle of sunlight or the evening lighting. However there are certain locations that stick to oneâ€™s mind. It might be because it is particularly impressive. In other cases it is because of its historical significance. There are also the painful memories of places that are forgotten, neglected to fall into decay. The irreversible loss of heritage is painful. One of the such place is Yangal Hiti. I only recently came across this site when a Sanskrit scholar from Austria, Dr Nina Mirnig kindled my interest for stone inscriptions. Showing concern for the state of stone inscriptions in the Kathmandu Valley, particularly after the 2015 Gorkha Earthquake, she proposed a detailed survey of these inscriptions and the preparation of an inventory with detailed documentation. In connection with these discussions I was told of the sorry state of ancient Lichhavi inscriptions at Yangal Hiti. I truly was depressed when I saw these wonderful pieces of Lichhavi artifacts lying half covered in grimy water, overgrowth and garbage. Looking into books on heritage of Kathmandu one finds that this Hiti or water conduit facility was already in a bad state in the 1970s. It was however restored in 2011 by the municipality which supposedly ensured water flowing from the spouts. I got to Yangal Hiti after walking from Basantapur to Freak Street, the haven for the hippy tourist of the 1960s and
1970s. This area has clearly changed since then and the street has been named after Pandit Nishthananda Bajracharya, an activist of the Nepal Bhasa movement against the Rana regime in the early 20th century. Yangal Hiti is located just before one gets the now partially dismantled palace of Bhimsen Thapa at Lagan. From the main road one can enter into a dilapidated gate and the Hiti is located to the left hidden behind some trees and bushes. Right behind the spouts is an enormous concrete building which would have cut off any existing link to a water source. The state of the Hiti is deplorable. Yangal is important as it symbolizes part of a Licchavi settlement in the area that is now Kathmandu. Yangal Hiti is said to have been built in the 6th century CE. This is part of a very early settlement history within the Kathmandu Valley of which there is still a lot of information lacking. The inadequacy of our knowledge of the early built history of the Kathmandu Valley was again highlighted when it was found that the foundations of Kastamandap, which was originally thought to have been built not earlier than the 10th century, was actually three centuries older. Clearly more research is required into the pre-Malla period of the Kathmandu Valley.
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Some prominent experts of Kathmandu Valley such as Gautama Bajaracharya and Mary Slusser have mentioned Yangal Hiti in their publications. The site is also included in the Protective Inventory prepared by the team lead by Carl Pruscha in 1975. Slusser mentions while referring to Vajracharya that “although the name Yangala must have endured till at least the mid-seventeenth century it has now been eclipsed”. The name of course still exists linked to the Hiti and even the neighbourhood. The etymology of the name Yangala is however unknown. The Protective Inventory mentions that the history goes back to the 7th century CE during the Licchavi period. It is mentioned that three inscriptions are found from this period though there is some confusion with the content and the location map is wrong. This should however not divert us from the fact that the Protective Inventory clearly found this water conduit facility to be of great importance. Dr Nina Mirnig specially sent me references to the three inscriptions. “In earlier publications, the latest of those being the edition of Dhanavajra Vajrachārya (Licchavikālakā Abhilekha) in 1996, three stone slab inscriptions were recorded in Yangal Hiti. Two of these were issued by the minister Jisnugupta und the Licchavi king Bhīmārjunadeva. One is dated to samvat 64 (i.e. 640 44 / SPACES OCTOBER 2017
CE), the other is of unknown date. The third inscription is by the Licchavi king Narendradeva dated samvat 67 (i.e. 643 CE)”. Dr Mirnig further comments that of the three, “one is lost and a black-and-white photograph is preserved in D. R. Regmi’s Inscriptions of Ancient Nepal (1983). A comparison of the preserved inscription text with that recorded in the edition of 1996 shows increasing damage and loss of letters”. In respect to the content Dr Mirnig explains that “all three inscriptions contain administrative edicts relating to the area of ‘aksinakolīgrāma’’, a toponym that appears to refer to this area in Southern Kathmandu and first features in a private donative inscription (samvat 452, i.e. 530 CE according to śaka reckoning) issued during the reign of the Licchavi king Vasantadeva who reigned approximately between 506 and 532 CE”. My own observations during the past four visits to Yangal Hiti show a totally neglected water conduit facility. There are three decorative stone spouts on the eastern side. Before the monsoon, the conduit basin only had a bit of water and it was possible to see the numerous stone artifacts scattered around. These included the stone Licchavi inscriptions but also small chaityas, a lingum, a bull and various statues including those of Lord Vishnu
and his consorts. Numerous statues would have been removed from some other location since they have free stone tendons which would have been used to fix them to some base. The Hiti also had numerous niches along the side walls which included various statues including Vishnu and Ganesh. Since the monsoon rain, the conduit basin is partially filled with water and is overgrown with vegetation and most of these statues cannot be seen.
Palace Museum once it is rehabilitated. Such Licchavi inscriptions and stone artifact are too important to allow them to deteriorate, whatever the circumstance might be. If required stricter legal provisions will need to be passed by the government to guarantee protection. Yangal Hiti and its stone artifact must not be left to deteriorate!. n
There is a reference that Yangal Hiti was privatized during the Rana period but it has again been recovered. Clearly an ownership feud seems to exist which might be the very cause for the total deterioration of the facilities. It is ofcourse ominous that one needs to enter through a gate to get to this public facility. Whoever might be the owners, it is absolutely a disgrace that these invaluable objects are being allowed to deteriorate. Yangal Hiti must be carefully cleaned and documented. Each of the items must be studied and their origins should be identified. An effort must be made to find the lost Licchavi inscription and the remaining two must be carefully maintained. If not possible to ensure their safekeeping, 3D documentation must be carried out and the original should be replaced by a replica. The original could be safeguarded in the Hanuman Dhoka OCTOBER 2017 SPACES / 45
Importance of color in
Hospitality Business TEXT : Ar. CHHAVI VASHIST
Hospitality businesses include service-oriented projects such as hotels, motels, guest houses, bars, restaurants, lounges, spa design, tourism etc. It is a project type that not only offers some of todayâ€™s most refreshing interior designs, but is a proposal that defines luxury & set its own stimulating parameters.
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A lot of people cannot analyze the relation between color and the mind , body and emotions. Unconsciously, each color affects the mood and state of mind differently. Some colors boost enjoyment, other gives a sense of pleasure. Therefore, restaurants, spas, hotels and other hospitality businesses must be very choosy with the use of colors in their decoration. You can also use color to create a stylesuch as traditional, contemporary, modern, transitional, tropical or country. Summarizing, color can control moods and feelings. It help form attitude- including attitudes like brand recognition and brand loyalty. You can use color to emphasis architectural elements or specify spaces such as opening up any area with bright shade, clean tones or making a room more intimate with soothing, subtle tint and tones thatâ€™s why you can use color to set a tone or
To set that first impression, the entrance lobby of any hospitality space, should be well designed with unusual appealing aesthetic. The importance of entrance lobbies is more, as more of formal talk happens there. Besides, the welcome, this particular multi-use area needs to be planned technically strong. The lobby is used as waiting area also thus; this segment should provide both inmate and social zones. The creative layout of furniture comfort and space functionality both are required to be achieved. The extravagant features in present hospitality market include indoor waterfalls, green walls, large chandeliers and multimedia sections etc. The color combination of the rooms and material selection plays a vital role. Amazing patterns can be designed over ceiling, walls and flooring. Modern or traditional upholstery can be used to remodel the space and uplift mood and human psyche. Among the white double heighted pillars, the pop out of blue & orange colored column emphasis the elegance of lobby.
mood- from romantic to exotic, to upbeat or playful. To attract the visitors, and setting some everlasting memories or impression on the guests, the designer has to pick the colors wisely and tastefully. Modern spaces have cleverly adapted the rapid social changes with more innovative and creative ideas. The hospitality interior trends are capable to give highly personalized experiences. The transformation of accommodation units and rejuvenating areas into a place with striking highlighting design feature is a challenge for owners and interior designers. Here, are some new twists and configurations of hospitality industry that will set your vacation goals.
One of the Seven Wonders of the World: The Taj Mahal is famous for its color change! The appealing aesthetic of this monument grabs everyoneâ€™s eyes for its beauty. The Taj Mahal reigns supreme as one of the most recognizable and iconic images of India. Its delicate minarets, gracefully curved archways and ice cream scoop domes have led many to make the pilgrimage to stand at its entrance and wonder at its grandeur. It is made up of exceptional quality marbles, precious and semi-precious stones. This structure in unique in every perspective. The amazing surface of the marble changes its color at different timings of the day. The variation in color at time of sunrise, noon, evening and full moon night is marvelous. Itâ€™s pinkish in the morning, milky white in the evening and golden at night when lit by the moon.
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The cool side of the color wheel is reminiscent of the variegated colors. Use of sea foam green and aqua blue colors is not only refreshing but also have a psychological advantage. These cool hues visually drop the temperature a few degree. A swimming pool is the ultimate amenity. It is a strong aesthetic element of hospitality industry; this is the focus of entire landscape planning and design. The blue waterfall feature, steam and spa, lighting, material selection, adjacent sitting space under the green trees and plants give a truly decadent experience. To add a perk, lemony yellow or red color can be used in nearby furniture or fixtures.
The combination of yellow and orange always grab attention. For high drama hue you can also add small pop of green color. A vintage of red furniture makes the space more cohesive. This analogous color scheme of warm orange, golden yellow, and lime green creates a spicy space that is ideal for lively gatherings. The deep neutral flooring provides a rich backdrop for the intense color. The color palette starring red, yellow and orange hues from the warm side of color wheel is always a right choice for festivities and wedding functions.
The exterior view portrays the grandeur of Mysore Palace (Karnataka, India) which has an amalgamation of energetic color combinations and architectural styles. The multistorey building is built with fine gray granite and the deep pink marble domes. The sprawling courtyards, gardens surrounding this exotic architecture are a visual treat. The famous wedding hall inside (kalyana Mantapa) is a grand octagonal shaped room with multi colored stained glasses arranged in geometrical patterns. The room is full of royal painting which illustrate the royal procession from the bygone years. The strikingly embellished and finely chiselled doors lead one to richly and elegantly ornate rooms. The exquisitely columned Durbar Hall, the solid silver doors, the finely incised mahogany ceilings and many other embellishments of the palace make one spellbound while giving an idea of the exuberant lifestyle of the royals.
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Blue and yellow are trendy florescent color combinations look warm and balanced. Blue color is versatile and is perfect for modern interior design in any season. This color scheme creates cheerful and sunny atmosphere. Turquish carpets add glamour to the space. A bright yellow-blue rug livens up the entire space, and balances out the large area by red and purple furniture.
Vibrant color lighting and unique environment for guests create appealing draw for the space. Here, the impressive back bar feature and colorful illuminated bottle display create a high-impact focal point for the bar area. The custom carpet pattern is emulating moving water and adds comfort to the seating area. The specialty dĂŠcor highlighted with LED lighting and smartly used neon lighting custom finish provides the greatest visual impact for the finished elements.
Natural colors are always classic that never goes wrong. When these vibrant tint and tones are paired with wooden table of featured color, they make the complete look modern and sophisticated. The hospitality industry cherishes the variety of vibrant color themes, to create interest among the different cultured people. n
Pink and blue are the colors replicating youthfulness and romance. The stronger shades of purple-pink add extravagant and charming accents to neutral off white, light grey or beige backgrounds. This trendy color theme goes well for bars and spas. One can play with textile and dĂŠcor accessories textures to add striking visual effect.
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WOOD TREATMENT DOT METHOD A Pilot Project to Enhance the Material that to be used in Reconstruction Architecture San Frontiers – Nepal. TEXT : asf nepal
After the devastating earthquake on April 2015 & May 2015, Nepal has been progressing in a positive direction as much of the Government and Nongovernment Agencies are focused on the Re-constructional projects. Reinforced Cement Concrete Buildings are restricted to the urban area of the country due to economy, accessibility, practicality etc. Still in the rural area, we can see the use of traditional vernacular architectural buildings which seems more comfortable as per the use, climatic condition, geographical feature etc. It has been understood that if designed and constructed properly, these traditional materials could be used to construct an earthquake resistant building. Not just technically, socially as well, it is better to use these traditional materials to construct a new earthquake resistant building in future. Timber is one of the traditional material which is found in ample amount in rural area. ASF- Nepal is working on the pilot project to treat the timbers environment friendly way so that these could be used as one of the crucial materials in building construction in rural areas.
ABSTRACT ASF-Nepal carried out the pilot project on the “Wood Treatment” to enhance the use of the wood as a sole product to be used in the “Build Back Better” reconstruction project. As a part of project, especially in rural areas, use of logs / timbers / woods has been prioritized by different organization and agencies. Use of seismic band has been made mandatory in most of building cost issued as a part of re-construction. Use of timbers as seismic band is the tradition practice which has been promoted by latest norms and standards. To make sure that the timbers used in such a crucial elements is long lasting and is not affected by termites, DOT wood treatment has been the most economical method.
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Wood in its natural state has been a reliable construction material since the beginning of civilization. However, because wood is a natural, organic material, it is at risk of bio deterioration in certain circumstances – for example, in wet conditions or in area with a high termite hazard. Wood can be protected from attack by pests with preservative treatment. Environmentally – DOT is an appropriate choice to protect wood from destroying carpenter ants, beetles, termites and decay fungi.
USE OF TIMBER
Traditionally and culturally, timber has been used in our life-style from the shelter home to funeral fuel. So we can ignore the use of the timber in our lifestyle as well as building construction though the use of timber has been restricted due to various reasons such as environmental affects, un-practical etc. With development and modernization, use of timber at present scenario has been limited to only in rural areas. Timber as a fuel has been controlled by different Governmental and Environmental Agencies however timber as a building construction is still effective in rural areas. There are various parts in the building where timber can be used and even more effectively. Generalized areas where timbers are most commonly used in the rural area are as follows: 1. Timber Post (vertical Columns – especially in the porch area) 2. Timber joint / panels for the floors for the diaphragm 3. Timber Truss and purlins for the roof 4. Timber Staircase 5. Timber Doors & Windows 6. Horizontal Sill & Lintel Bands 7. Seismic Timber joints at corners
IMPORTANCE OF TIMBER TREATMENT:
Architectural San Frontiers – Nepal, is also a pioneer organization working in reconstruction program. Better than working in the similar field as other organization, ASF-Nepal chose a unique topic “Timber Treatment” so as to focus on the use of accessible product in the rural area. It is well known fact that termites, ants, bugs and decaying fungi are the major
threat for the timber. These insects feed on the timber and destroy the age of the timber ultimately destroying the building. Good building materials are the backbone of earthquake resistant structure so the timber that we recommend to be used in the Re-construction need to be free from infect as far as applicable. DOT treated wood can be used for all interior works which are placed above ground and out of contact with liquid water. When used in weather protect exterior environment, treated wood must be continuously and properly protected with a minimum of one coat of primer and two coats of exterior paint. Cultural Treatment: As mentioned above as well, fuel wood is the main source of cooking in the rural part of the country. In addition, cooking with the smoke has been our tradition as well as culture. Fortunately, smoke has been one of the traditional and cultural treatment technologies which we have ignored as we moved on to urbanization. The wood used inside are mostly treated with smoke which keeps the termites, bugs, ants and decaying
fungi away from the wood ultimately increasing the age of the wood. Previously, Chromated Copper Arsenate (CCA) was the most accepted and popular form of treatment procedure throughout the world. After ban of few substances within the chemical, Chromated Copper Boron (CCB) was brought to practice through which DOT treatment technology was derived.
Unlike other wood preservatives, sodium borates remain water soluble. This means the chemical is mobile in the wood and can diffuse throughout the wood if enough water is present. For this reason, DOT treatment typically provides a deeper shell of protection than other preservatives. DOT treatment is as effective as wood preservative. Although low in toxicity to mammals, DOTs are toxic to decay fungi and a broad spectrum of wood destroying insects, including carpenter ants, wood boring beetles etc. The mode of action is not fully understood, but borates appear to disrupt the digestive process of the insect, causing it to starve.
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LIMITATION: Though various experiments are being carried out successfully, there are few limitation on DOT treatment which need to be listed prior to use: a. It is better to have pressurized treatment which is generally used in Europe. b. The treatment does not kill â€œcarpenter antâ€? which do not feed on timber. c. The ratio of the chemicals in the solution is not stabilized. It depends on the type of wood and harvesting time period. d. It is not recommended to be used in exterior wood as the chemically could be easily leached. It would be better to add an exterior paint. e. Higher the moisture content in the wood, better the result. f. Harvesting time to treatment time need to be controlled.
GENERAL APPLICATION INSTRUCTIONS: The lumbers are soaked in the preservative as an aqueous solution. Depending on the end use, the borate pressure treated wood may also be dried after treatment. Borates have been proven effective against all known wood destroying organisms (Carr, 1959; Barnes et al., 1989). DOT has been used to protect historic wooden structures and artifacts. INFRASTRUCTURE REQUIREMENT: i) Treatment Pond: The most important item in the DOT treatment is the treatment pond. The treatment pond could be constructed of concrete, timber, etc. but the most significant part is that the pond needs 54 / SPACES OCTOBER 2017
to be water resistant. Proper water proofing mechanism is to be carried out so that the chemicals inside the pond do not leak and the exterior water do not percolate inside. Sheds to cover the pond is also required. The shed is provided to ensure that no rainwater or any other un-required agents enter the pond. These can be made as per requirement.
sheet could be used which shall cover the treated timber for couple of days as per requirement. iv) Chemicals: The quantity of chemicals depends on the solution that is planned to prepare and the concentration of the solution as well. The chemicals that are required are as follows: For Solution: Boric Acid, Borax, Water
ii) Storage Area: Ample amount of storage area is required. The areas could be classified as pre-treatment area and post treatment area. The size and space could be determined as per the amount of the wood consumption in the area. Other factors such as population, consumption ratio, availability of space etc. plays its role.
For Quality Control + Testing: Salicylic Acid, HCL Acid (34%), Turmeric, Ethanol
iii) Plastic Cover: For the diffusion procedure, the treated timbers need to be properly covered so that no external environmental connection is there. For such procedure, a high gauge plastic
Dilution: For the preparation of the solution, Boric acid and Borax is used in the ratio of 2:3 in 28 kg of water. For the treatment of 1 cu.m. of wood, quantity needed as Boric acid 2.33 kg, Boric acid 3.525 kg, Water 32.9 kg.
STEPS in DOT TREATMENT: The method consists on soaking the wood pieces into a prepared solution for a proper impregnation. For an easier and reliable process, a soaking tank is required.
Diffusion: It is during this phase that the solution penetrates deep inside the wood through osmosis. Drying too fast can result in a bad diffusion process, which means only the surface gets treated. Therefore, the wood pieces are wrapped in a waterproof plastic right from the moment when they come out of the soaking tank. The wood must then stay wrapped at least 48 hour.
Temperature of 20-30 degree Celsius is desirable. Soaking: The wood pieces are put in the tank carefully so that it does not damage the plastic. Each batch of wood is soaked for at least 30 minutes. After 15 minutes, the wood is turned. Thereafter, second batch of wood is soaked and treated. Dripping: Some wood laths are put over and across the tank and the wood pieces are laid over them, after removing them from the tank, so that they might drip back into the tank. The dripping is done for about 3-5 minutes and proceed to stocking. Stocking: The treated wood is laid over a flat surface, separated from the ground by some wood laths and slightly apart from each other. When stocking another layer, 1â€? gap should be left.
Quality Control: To set up quality control, it is necessary to determine the penetration and retention of the wood preservative. For this, samples from the stock have to be cut at certain length exposing crosssection. The cut ends will be sprayed with a mix of Dye and Revealer. The wood parts where the preservative has penetrates becomes red, but those where there has not been proper diffusion remain with woodâ€™s original color.
- Fire Resistant - Water Resistant - Least Toxic to humans - Environment Friendly - Cheaper - Easy to understand and use.
Store in a dry place. Do not store where children and / or animals may gain access. Wastes resulting from the use of this product may be disposed of on site or at an approved waste disposal facility.
DOTs are especially good wood preservatives for the protection of wood from decay fungi and a wide variety of insects, including all species of termites. The single drawback is that they can also be readily leached from wood under certain conditions. n
REFERENCE: Ahmed, B.M., French, J.R.J and Viden, P. 2004. Evaluation of borate formulations as wood preservatives to control subterranean termites in Australia. Holzforschung 58 (4) 446-454. Barnes H.M., T.L. Amburgey, L. Williams, and J. Morrell. 1989. Borates as wood preserving compounds. The status of research in the United States, Internat, Res. Group on Wood Pres., IRG / WP/3542. Campora C.E. and Grace, J.K. 2007. Foraging Behavior of the Formosan Subterranean Termite (Isoptera: Rhinotermitidae) in response to borate treated wood. International Research Group on Wood Preservation. IRG/ WP 07-10605. IRG Secretariat, Stockholm Sweden. Carr D.R. 1959, Boron as a Wood Preservative, Record of the Annual Convention of the British Wood Preserving Association. Dickinson, D.J. 1996. Remedial treatment; in situ treatments of historic structures. In: First Annual Conference on Wood Protection with Diffusible Preservatives and Pesticides, p. 87-90. Forest Prod. Soc., Madison, Wis. Llyold, J.D. 1998. Borates and their biological applications. International Research Group on Wood Preservation. IRG / WP 98-30178. IRG Secretariat, Stockholm Sweden. Tokoro, M and Su, N. 1993b. Oral toxicity of TIM-BOR, Bora-Carea, boric acid and ethylene glycol against the Formosan subterranean termite and easter subterranean termite. International Research Group on Wood Preservation. IRG/WP 93-10045. IRG Secretariat, Stockholm Sweden. Tsunda, K., Byrne., A., Morris, P.I., Grace, J.K. 2006. Performance of borate-treated lumber in a protected, above-ground field test in Japan. International Research Group on wood protection. IRG / WP 06-30395. IRG Secretariat, Stockholm Sweden. www.asfnepal.org
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HIMALAYAN ART FESTIVAL TEXT : SOYANA NYACHHYON
- Arts Nepal, an online art gallery established with the aim to promote contemporary Nepali arts, organized Himalayan Art Festival from 7th to 11th September 2017. Contemporary artworks, prints, sculptures,installation and photographs were displayed at Nepal Art Council in the capital. The exhibition was organized to celebrate the sixth anniversary of EArts Nepal. “GharGhar ma kala” was
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the main purpose of the fest which targeted local individuals and Nepali co-operate houses to invest in local artist. The festival was also conducted to respect senior artists as well as to encourage new upcoming artists. Contemporary Nepali arts share mystical, magical, symbolic and anthropomorphic features from early religious paintings and sculptures. Furthermore, they share the
concepts of religious harmony, and reconciliation of individual self and cosmic being, sacred and profane from early art forms. The paintings on display ranged from the cozy and nostalgic such as Ranjan Pant’s Terai landscape to Pramila Bajracharya’s painting where she portraits her loneliness and sense of loss. The painting by Erina Tamrakar focused on women and their relationship which convey a strong commentary
on society and surrounding. Another artist, Ragini Upadhyay whose paintings were intertexual for she takes from fables and oriental myths renders religious tolerance and the space for woman in Nepali society. The first piece that caught my eye as I entered the hall was the painting Culture II from Madan Chitrakar’s collection “The Vanishing Heritage”, an artist who creates both abstract and figurative painting. His paintings create a sense of pride and makes viewers aware of the Nepali culture capturing the medieval sculptures and architectures of Kathmandu valley. Touching upon a similar theme is artist Uma Shankar Shah, who incorporated the graphic work forms and contents of early Nepali religious and folk arts. In Shah's painting abstraction of nature in simplified form, dominated by the recurrent images from the realms of philosophy, mythology can be found. A painting named Concentration by Sangee Shrestha which reminded me of cable phone recharger. She had me
used geometric shapes - particularly rectangles, squares and polygons suggesting the depth and dimension. She attempts to dig out the human hypocrisy and gives stress to the value of inner feeling like love, hate, joy and jealousy. Dealing with the feminine theme, Bhairaj Maharjan also portrait the secret and intimate moments of women in a most lyrical way that touched the viewer's eye. He also executed wonderful landscape with the setting of primitive life to the changing modern civilization. Asha Dangol, whose work combines tradition with the contemporary, myths with the touch of reality. His paintings are shocking and dreamy at the same time. One of his work with the image of deities, incorporating beast like bulls, may remind people of demon and his lover. He mixes human and nature with imaginary mythical worlds which creates nostalgic memories of carefree childhood.
Except from the paintings, the exhibition also showcased various contemporary pieces of sculptures which were abstract and unique. The pieces portrayed the struggle of human life and the flow of shapes in continuum creates a movement and rhythm. According to the coordinator Asha Dangol, the festival was appreciated by many of the young as well as professional artist. People seemed to be pleased by various artworks as it revived many sentiments. He wishes to continue the annual festival once a year for the further promotion of Nepalese art and artists. Many senior artists such as Uttam Nepali, Shashi Shah, Batsa Gopal Baidya, Shashi Kala Tiwari, Kiran Manandharand young contemporary artists such as Hitman Gurung, Meena Kayastha, Prithvi Shrestha, Sushma Shakya, Saurganga Darshandhari, Sheelasha Rajbhandari and others also displayed their works. n
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Right Moves Smart Choice for
Ever noticed how a quick evening coffee is safest idea for a good date? While caffeine is definitely a lifesaver, some due credits go to Kathmandu’s cozy café culture and their beautiful lighting system. Lights can be widely unprioritized in design but they bring out the best of every space and help you comfortably set into a mood. If you grew up in a traditional house like I did, your idea of residential room lighting could be one tubelight and a few other bulbs. However, the industry and market has taken a giant leap in the recent few years. At Right MovesSmart Choice, we’ll take care of all the mumble jumble research to help you make a smart choice. 60 / SPACES OCTOBER 2017
Natural Lighting When designing a space, talk to your architect about how they plan to make the best use of natural light. Sunlight usually represents healthy, and cheerful mood. Moreover, they make colours appear rich and vibrant. A balance of natural light evenly distributed from two or more directions helps reduce shadow. This means your eyes will get less tired of looking at something. Natural light source from the south is warmer while the north is cooler. Natural light can however, be unpredictable. When there is no cloud cover or screening at the window, it can come off as intense, resulting in the amount of brightness that can lead to irritation and fatigue.
Incandescent, Fluorescent, and Halogen lights were the first players in the market of artificial lighting. Today, Incandescent and Halogen lights are almost extinct and Fluorescents(TubeLights) are largely out of fashion. CFL bulbs, that even found space in Govt campaigns last decade for saving upto 70% energy from their ancestors, are discouraged today for their mercury content and the consequent disposal problem. Most new lights you will find in the market today are LEDs. They come in different capacities, colors, and effects depending on what you choose. They are the most energy efficient choice you will find today all the while looking the most chic! LED lights, can be purchased from unreliable brands for much cheaper
than market rate. However, note that these lights might not be free from harmful UV/IR rays. When choosing lighting and placement, come up with a light goal first! What’s the mood you want to set in the room? What is the functionality of the room?
Warm and Cool Lights Warm Concentrate
Warm lights are usually recognized by their yellowish color and help you calm down. They are widely popular in Europe since they give a warm feeling to the recipients. Cafés, hotels and other places that mean to help you relax. Places like Bedroom and Living room that don’t need you working could use warm lights. Warm lights are also the reason why you might have splurged on that piece of clothing that looked flattering on you in the store. These lights have a way of making things look nicer than they would in natural light. It’s however, important to note that excess warm lights make it harder to read and/or concentrate. White/ Blue light helps you energize and concentrate. At work stations and kitchen where you need to concentrate, cool lights are recommended. They’re also more popular in hot regions like the Terai as they radiate a cooler feeling in the room. Since the same space might be used in different times for different purposes, multiple lighting is a new concept that has been getting rapidly
adopted. The same fixture of light can give you different degrees of light in click of a switch; or in the near future through smart control through your phone.
Direct and Indirect Lights
Direct lights shed light downwards to a certain scope or in lamps through translucent shades, spreading light in all directions. Indirect lights come from concealed sources of lights and hits the room indirectly. This could be installed inside the false ceilings, with bulbs directing to the ceiling or wall of the room and bouncing light back, or lamps with opaque shade with an opening only at the top. Lighting (lights and wirings included) used to cover around 10% of your room decor and design cost. This cost can reach from 15-20% today but saves enough energy to cover the cost within 2 years of installation.
Customization and Needs
Your lighting needs do not have to come out of a playbook. As per your use and need, find your lighting goals and talk to your designer/electrician. There are a few things however, that can help you point out your needs.
1. Your front entry should be lit with moderately sufficient brightness. Too less can be dangerous and too much can be seen as disturbing. You could also use a sensory lighting if you’d like to know whenever someone’s entering your house. This can largely depend on where you live and how your neighbours/ security is like. 2. A few rooms in your house can use multiple light sources for most functional use. While your bedroom might feel better with warm lights to relax, your
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bedside lamp could have cool lights to help read better. In Kitchen, under counter lights can provide great task lighting. Find what parts of your house might need extra set of lights so you don’t have to carry a torch everytime you’re there.
spaces light up only when they sense motion. This saves up a ton in energy wastage. Many residentials are also on the way of moving to smart lighting where they can control their lights(and other electric appliances) through their smartphones remotely.
3. If you have a kid in the house, it might be a good idea to install night lights that will keep them from being scared and for you to walk in the room without waking them up.
Choosing the right kind of lights will subtly but effectively bring elegance, tranquility, and warmth to your house. After functionality and space, go design shopping that suits the overall theme of your house. It’s a good thing you’ll find too many choices of design in the market to be spoilt with!. n
A lot of big commercial buildings have started adopting to Sensory and Automation such that corridors and
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architectural art digest
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From the shelf
”IN PRESENTING A BRILLIANTLY CONCEIVED AND FRESH INTERPRETATION OF NEPALESE ART AND HISTORY, MARY SLUSSER REEVALUATES AND CORRECTS OLD SOURCES, PROVIDES A WEALTH OF NEW MATERIAL, AND SHOWS CLEARLY WHERE ADDITIONAL RESEARCH WILL BE MOST REWARDING.” — John T. Hitchcock, University of Wisconsin
In these volumes Mary Slusser has documented and illustrated the origins and evolution of the remarkable Nepalese civilization that evolved in the Kathmandu Valley — known for much of its long history as “Nepal Mandala.” The author’s narrative, 600 plates, 29 ﬁgures, and 9 detailed color maps grew out of more than a decade of research. She studied and photographed the sculptures and shrines, mapped the old cities and traced their longfallen walls, attended festivals, and collected legends and folklore.
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Because of religious conservatism she could not excavate, but thanks to centuries of isolation that ended only in 1951, “surface archaeology” proved a very rewarding substitute. Equally rewarding were Nepali language sources, impeccable studies heretofore neglected by Western scholars. Using them, it was possible to bring to light a political history that agreed with what art and anthropology revealed - a cultural continuum at variance with the political history familiar in Western languages. Dr. Slusser’s meticulously researched work represents the ﬁrst comprehensive interpretation of the
cultural history of the Kathmandu Valley since Sylvain Levi’s seminal study almost a century ago. Mary Shepherd Slusser holds a doctorate in anthropology and archaeology from Columbia University. n
This is not a Book Review; this is just an effort to conveying information to the readers on rare and valuable books on art and architecture. This column aims to give a helicopter view on such books and thus presents the excerpts and illustrations either from the preface, introduction, jacket or main contents of the book from the shelf. This book was kindly provided by Mandala Book Point, Kantipath, Kathmandu (Tel. 4227711).
Architectural ART DIGEST
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Slip Culture Prithvi tried to blend the new tendency on our changing cultures. In this painting, his two figures are stitched and symbolized as two cultures. As we adopt new cultures and trends that have affected seriously in our daily life but still in reality, we live in own culture and we never forget our existence and truth.
Asha Dangol Prithvi Shrestha Founder of Bindu, space for artists, Prithvi Shrestha, a visual artist has received several awards for his outstanding performance in art. He was awarded from the World Bank South Asia Region and the World Bank Art Program USA 2012, and was awarded by Araniko Youth Award in 2017. Prithvi has credit of four solo shows and has participated in several group shows and exhibitions in Nepal, America, Dubai, Bangladesh, India, Germany, Finland, Japan and China. He has participated in artist workshop in Sutra art center 2003, residencies in Britto art trust 2012, and Porapara a space for artists 2008, Bangladesh. He was one of the participants in the 13th and 15th Asian Art Biennale, Dhaka, 17th NIPAF Asia Performance Art Series 2014 Japan and recently had participated in NIPPON international Performance art Festival 2017 Japan, Kathmandu Triennale 2017 and International Performance Arts Festival, Kunming China.
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Art-Architecture-Interior Design-Accessories based Magazine