Editorial

Issue of June 2017

Jul 10, 2017 |

Sukra Sagar was much of exemplary to divulge the silent stories is yet another art that seldom seen shining. At the pinnacle of safeties at archeology and history, Nepali and Newari linguistics, history, photography, art, architecture, culture Sukra Sagar was rather reluctant to publicize his work. Before the nation knew much about, we lost him in May 2017. The feeling of his absence might be diluted over time but the vague emptiness will remain forever.

Architecture should speak of its time and place, but yearn for timelessness - Frank Gehry

For Nepal, getting shaken and stirred by seismic activities has indeed become a habit that’s hard to forget. A natural phenomenon that became more of a disaster with ever increasing man-made structures, Nepal ranks 11th position at earthquake risk and has suffered massive loss of lives and property over time. Practicing the modern scientific approach can lead towards minimizing the damage. It’s the preparedness of seismic resistance architecture that can lead towards minimizing the damage. Same is true for rebuilding Nepal for next earthquake as it is known to all that a large earthquake is inevitable. Most challenge is faced by the traditional residential buildings and heritage monuments with vernacular aesthetics that represented the identity of the country and carried the value of history and culture of over 2,500 years. Though the overall concern of the cities in Nepal after the April 2015 earthquake did not resemble the picture of earthquake stricken cities but of a normal one with visibly intact cityscape, paying attention on need for declaring policy on building Earthquake safer cities has become ever more urgent.

Clever interplay of volume with solids and void, the idea of a large open and breathable space for a densely populated, unplanned area are prominent in the functional design of ARANNYA BILASH in Mirpur Shawrapara, Bangladesh. A challenge in itself with the urban crawls extending to the locality, interplay of plaster and brick with extended greenery from the ground up to the roof level for a nature lover’s delight with birds and insects added more lifeline to the structure. The project has been well received amongst the technical crowds and the engineering novices for its righteous use of open spaces within the site.

The human evolution has always been fascinated with colors either with naturals in early years or with more vibrant hues in present time. The distinctive characteristics of each hue is therefore associated with the values, notions and entities of each culture thus resulting the development of color symbolism. The beauty of our world lies in the uniqueness of the cultural diversity. Surprisingly red is often used to indicate danger or caution, it is also a universal representation of love and romance. The beauty of our world lies in the uniqueness of the cultural diversity, but interestingly symbolic interpretation of the same color may vary between diverse cultures and festivals. The tranquil essence that one can feel with the fusion of materials like iron, concrete, wood, clay and bricks, along with soft leaves and colorful innocent flowers at Zen Bristro & café is a wonderful example of interplaying the feeling of colors in interior design.


Sugauli Treaty - concluded between Britain and Nepal in 1816 still remains a glaring example. The eventual ripples that emerged to bring number of new monumental shifts in the entire gamut of Nepali cultural outlooks, in particular - in shaping the future evolution of the Art & Architecture of the country then after. ‘Nepal- Britain bicentenary Exhibition’ show probably remained the first vivid visual narratives of events that led to earliest openings of many new avenues in Nepali life narrated in visuals. The arrival of Brian Hodgson in Kathmandu to join the British legation in the early 1820s. He unintentionally, proved an earliest catalytic agent of a far reaching change in Nepali painting. A phenomenal beginning not intended to achieve then - drawings were made based on or under the direct supervision of a European eye - as a result the works revealed the earliest notion of perspectives of proportion in the annals of Nepali Art history. Not intended to achieve then, it is hard to conceive today how complex scenes were created with full sense of perspective and proportion at that early stage. Over the years, today Nepali painting has had made many long strides.

Ashesh Rajbansh / CEO


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