Hybrid Architecture in Context of Kathmandu Valley (Writing Sample Rai Roby)

Tribhuwan University

Institute Of Engineering

Department Of Architecture

Pulchowk Campus

DIRECTED STUDIES

Topic:

Hybrid Architecture

In context of Kathmandu Valley

Submitted By: Submitted To:

Roby Rai Prof. Dan H. Kansakar

063 – B. Arch – 229 Ar. Sanjay Upreti

ACKNOWLEDGEMENT

I would like to express my sincere gratitude to the course instructor,

Prof. Dan Heera Kansakar and Ar. Sanjay Upreti, who let me explore

the dimensions in “Hybrid Architecture” in context of Kathmandu

Valley.

Lastly, I would like to express my thanks to Ms. Rumi Singh Maharjan

and Mr. Prana Shrestha for immense help and support during all the

period of preparing this report.

Thank You!!!

LIST OF FIGURES Figure 1 A typical newari house ..................................................................................... 4

Figure 2 A typical floor plan ........................................................................................... 6

Figure 3 Patan - Saugal Tol ............................................................................................ 7

Figure 4 Typical Development of Fenestration ............................................................. 7

Figure 5 Standard Accommodation ............................................................................... 8

Figure 6 Development of Building Height .................................................................. 11

Figure 7 Development in Different Phase ................................................................... 12

Figure 8The Cathedral of Vilnius (1783), by Laurynas Gucevičius ......................... 12

Figure 9 Columns and Details ..................................................................................... 12

Figure 10 Charlotte City Hall and the Mecklenburg County Courthouse .............. 12

Figure 11 Basantapur Durbar Square ......................................................................... 12

Figure 12A house at Kwalkhu ...................................................................................... 12

Figure 14 South Elevation ............................................................................................. 12

Figure 13 Front Elevation .............................................................................................. 12

Figure 15 Ground Floor Plan ....................................................................................... 12

Figure 16First Floor Plan ............................................................................................... 12

Figure 18 Top Floor Plan .............................................................................................. 12

Figure 17 Second Floor Plan ........................................................................................ 12

Figure 19 Section ........................................................................................................... 12

Figure 23 Entry porch .................................................................................................... 12

Figure 20 Niches ............................................................................................................ 12

Figure 21 Windows ........................................................................................................ 12

Figure 22 Ridge .............................................................................................................. 12

Figure 24 Ground Floor Kitchen .................................................................................. 12

Figure 25 Stair ................................................................................................................ 12

Figure 26 Facade ........................................................................................................... 12

Figure 27 Top L-R > A typical window, The courtyard with Toilet, The Classical Order, The Attic Space with Skylight, The Wooden Struts, The Roof ....................... 12

Figure 28 Roof ................................................................................................................ 12

Figure 29 Division of House ......................................................................................... 12

Figure 30 Top L-R clockwise > Staircase, Kitchen at Baiga, Niche, Backyard Courtyard, Ta-Khaa, Door Lock ................................................................................... 12

Figure 31 L-R>RCC Dog Legged Stair, Front Elevation, Light Well ........................ 12

Figure 33 Chuka ............................................................................................................ 12

Figure 32 Takhaa with Chuka ...................................................................................... 12

CONTENTS

Chapter-1 Introdcution…………………………………… 1

1.1.0 Introduction…………………………………………………………… 1

1.2.0 Need of Study……………………………………………..…………. 1

1.3.0 Objective…………………….………………………………..……… 1

1.4.0 Scope and Limitation…………………….………………………….. 1

1.5.0 Method of Study……………………………………………………… 1

1.6.0 Expected Output……………………………………………………… 2

Chapter-2 The Hybrid……………………………………. 3

2.1.0 Introduction…………………………….…………………………….. 4

2.2.0 Retro…………………………………………………………………... 6

2.3.0 Out there……………………………………………………………... 16

Chapter-3 The Case……………………………………… 18

3.1.0 The Case……………………………………………………………… 19

3.2.0 Namuna Ghar……………………………………………………….. 21

3.3.0 Prana’s Residence…………………………………………………… 27

3.4.0 Tandukar’s Residence……………………………….……………… 29

3.5.0 Maharjan’s Residence……………………………….…..…………. 31

3.6.0 Raj Bhandari’s Residence………………………………….……….. 32

Chapter-4 The Outcomes..……..………………………. 33

4.1.0 The Ease……..………………………………………………………. 34

4.2.0 The Findings…………………………………………………………. 35

Bibliography………………….……………………………………………… 37

Appendix….…………………………………………………………………. 38

Abstract:

Marsupial architecture has a long history of existence. It is so because people

have an eagerness for change in taste. They desire certain experiments to be

carried out with whatever is around; be its food, living style, fashion, music, art or

architecture.

The fusion of styles or ingredients would certainly bring newness. The newness are

sometime appreciated and at times rebuked. This is also one of the reasons

behind the creation of a new trend. So I would not step back to restate it “hybrid

practice is the father of invention.”

This study that I would be carrying out will cover the current marsupial

architectural trend in Kathmandu valley. This would concentrate on the hybrid

styles in architectural practice.

1

1.1 Introduction:

Hybrid architecture is an eclectic architecture. It is more valid to say that it is the

blend of a local/indigenous architecture with a foreign style. Foreign style won’t

just be a style from another county. It may be so, but it is rather a foreign as in

“not from the locality”. The use of certain design elements and planning practice

that originally belong to some other trend of architecture rather than the

particular traditional architecture is obvious in present situation. It might be

soothing and pleasing. It might be irrelevant and absurd at other time. To

understand the proper use and its justification would be the main target of this

study.

Hybrid things may be interesting but it spoils the traditional beauty. We must

however reconcile the hybrid element and make the proper use of the outcome of

hybrid. It is not just a matter of refute. If practicing different styles at required time

help elevate the aesthetics and function too it is logical.

Hybrid things devalue the original treasure. This can be possible that eventually

the original architecture may get lost in the due course of time. This must be

checked that the original things do remain.

1.2 Objectives:

Whole objective of this study will be to interpret the practice of hybrid architecture.

It will embody the different fusions of elements and functions in these traditional

cities of Kathmandu valley.

1.3 Methodology:

The study was carried out with the literature review from different sources. The

direct observations done at different residences of Patan and Bhaktapur was

carried out. With few photographs and interview with the residents of the

respective house this report was prepared.

1.4 Expected output:

Understand the practice of marsupial architecture. If it is a need or is just another

experiment. And the areas of application shall be understood, if it’s just in the

case of use of design elements or it traces to the planning level too.

2

CHAPTER 1

THE

HYBRID

3

1.1.0 INTRODUCTION

The written history of Kathmandu Valley might not be as old as the real history of

this valley. It was introduced to the political map of South Asia in the mid 5th

Century AD under the Lichchhavi rulers. The history before the Lichchhavi rule is

not as vivid as that of Lichchhavi’s or later the period. However chronicles and

legends speak of many dynasties that ruled the valley way back before the

Lichchhavis. Kirats, Gopals and Mahispals also ruled the valley before them. So it

has a history of more than 2000 years back. Architecture flourished in every era.

However the Lichchhavi era is till date is spoken as “the golden period” of all

periods. So the architectural heritage of the Valley can be understood as of

development and rectification by each successive ruling group or dynasty.

The concept of introducing a specific style to any other architectural style is

referred to as the Hybrid Architecture. It may vary from the fusion of design

elements to that of planning system in a design. The history witnesses the change

in an architectural style. It may be in the form of introduction of design element or

that of planning system. It is also one of the main reasons for the creation of a

new style. In post-modern style, the elements from the past were borrowed from

the past and put into the modern buildings. This later became as an architectural

style. So hybrid is an intermediate style that relates two styles.

The hybrid concept at times may be useful but at times may also be useless or act

as neutral. The usefulness of the hybrid concept continues to bring more useful

changes to establish a new style while the useless endeavors will sooner or later

be out of use. The usefulness depends on either aesthetic value or the value of

usefulness.

The main disadvantage of hybrid concept may be overshadowing of the

original/aboriginal style. It is often seen in certain part of land/country that the

introduction of foreign elements/style shall usually dominate the aboriginal style.

But this is however a good changer for some context. Because the change that are

more efficient and more contextual to the changing lifestyle and environment are

automatically adopted by the users therein. The changes that are unavoidable

and are more pragmatic are certain to alter as per the requirement. The change

is only possible while there are alternatives. The alternatives that are suitable are

obviously preferred. The preference is guided by the change in living standard

and at times by culture as per the availability of resources. This will be justified at

the later part of this study.

4

1.2.0 THE RETRO:

1.2.1 HERE:

The architectural style that has lasted till now at Kathmandu valley is Newari

architecture. The successful and famous architectural style at the date of Malla

reign is what we all know now as Newari architecture. The architecture that is

famous and still cherished by the local inhabitants of Kathmandu valley till date.

The 13th to 18th century BS was the period of Mallas. During that period the

architecture of Kathmandu Valley flourished. The introduction of various Durbar

Squares was also materialized back then which are very popular and famous till

now. The architecture of that period was rich with respect to the architectural

aesthetic, lifestyle of that period, the culture then and that to that of the

architectural planning.

Introduction

Despite the ever changing lifestyle of Newar people upon the trial of time the

culture still subsists. Along with the live culture intravenously existing among the

Newar there is this indigenous architecture that till date lingers. The architecture is

rich and reflects the living standards, class, and living philosophy of the

inhabitants.

The average house is rectangular in basic design, generally 6 meters in depth,

while the length depends on the size and availability of materials. The range of

length varies from 1.5m to 15 meters. The normal length is 4-8m.

The characteristic feature of

Newari Architecture in

residence is the vertical

arrangement of rooms

independent of the house size.

The main reason for such

arrangement being security

concerns and need to use least

irrigable land for building a

house. Two storeyed house

belonged to poorer inhabitants

on the town’s fringes. Three

storeyed was a general occurring building. The four storeyed were in the center of

the town. “The uniform depth facilitates the building of additional houses on the

existing ones, to form blocks of houses. The extensions were of equal height, the

Figure 1 A typical newari house

5

depth being determined by that of the main house, and either the full depth of 6

meters or only half that depth was used.”1

Each family and every clan wanted to build one single house around a central

courtyard or Chauk that provided certain scale of security and privacy. Different

units made the four sides of a Chauk in most of the cases with the access to the

street through a gateway on the ground by at least one of the houses. “If the

Chauk is surrounded by one large unit, only vertical utilization of space still

applies, as in smaller units to separate room clusters, which, due to the symmetry,

size, location and heating facilities of the rooms impose vital component of the

house itself.”2 it served as a playground for the young ones, a washing area, a

grain grinding area and acted as sitting area, in the tepid area, useful for most of

the daily activities of the residing people. A single door or a low and narrow

gateway, which can be closed, acted as the access to the courtyard of Newari

house’s Vihara(Buddhist Monastery).

The similarity among the lifestyles of residents along with the common building

method and materials acted to bring uniformity in architectural style with some

superficial variations.

A house-depth of 6m could be inferred as a presence of spine wall, parallel to the

house frontage, dividing each floor into two rooms. The top-floor on the other

hand was divided by columns. Irrespective of the size of house the principle of a

central spine wall can be applied.

Easy prediction of possible functions of houses and activities of the residents

cannot be made with the basic similarity and uniformity of design. Even city and

rural village houses are too much extent similar-3 storeyed and pitched roof with

similar and common building materials like burnt brick and timber. There is not

as a distinct development of rural building style. The occasional goat or water

buffalo get sheltered on the ground floor while grain is stored in the upper floor

and hay anywhere convenient. Ground floor’s use as an open shopfront or

workshop with a row of twin columns is the most obvious.

The adoption of grouping houses into blocks around a central courtyard in rural

areas from that of the urban areas led to a population density similar to that of

the cities. This elevated the similarity between urban and rural architectural style

to more extent giving credence to reports that Newars were more inclined towards

trade and commerce and regarded agriculture as a necessary but secondary

1 The Traditional Architecture of Kathmandu Valley – Wolfgang Korn 2 The Traditional Architecture of Kathmandu Valley – Wolfgang Korn

6

occupation. The real difference occurred in the quality of materials and the

workmanship but the size together with the finish of the façade helped distinguish

buildings among themselves. E.g. Bricks may be sundried rough and simply

baked while some may be meticulously burnt for special purpose and others may

have smooth surfaces and were polished before firing. One of the distinguishing

features may be the ornately carved doors and windows. The crowning

achievement was the large living room window or San Jhya that supplied with the

street view on the second or third floor.

History

The historical information on private

dwelling is almost non-existent, in

contrary the only well documented

descriptions found are that of

religious buildings. 200 years ago

Father Giuseppe visited Nepal and

written a description about the

dwellings of Nepal:

“The houses are constructed of brick,

and are three or four storeys high; their apartments are not lofty; they have

doors and windows of wood, well worked and arranged with great

regularity”.3

It can be surmised the dwellings have not changed much as it appears the outer

appearance and usage of space of temples, palaces and monasteries has not

changed from at least early Malla times up to the end of 19th century.

The early pattern books that dealt with architecture outlining not only the rituals to

be carried out before and during the construction but also the basic plan of

building is the principle reason for the maintenance of traditional ideas.

Jayasthiti Malla (1380-1395 AD) established guidelines about the quality of

houses and their ranking for taxation purpose:

“Kasais, Podhyas, and Kullus were not allowed to have houses roofed with

tiles…Houses he divided into three classes: Galli, situated in a lane, Galli

bhitar, situated in a street; and shahar, in the centre of the city.

3 Guseppe, op. cit., p308

Figure 2 A typical floor plan

7

To estimate the value of houses it was determined how many Kha they

covered. For first class house a Kha was 85 haths (cubits) in circumference;

for the second class of 95 haths; and for the third of 101 haths.

To the four principal castes, viz, Brahman, Kshatri, Vaisya, and Sudra were

given the rules of Bastu-prakaran and Asta-Barga for building houses. The

ceremonies before laying the foundations were to be performed by

Brahmans if the owners of the building were Brahmans or Kshatris and by

Daivagyas, if they were of the Vaisya or Sudra castes”.4

Building style followed the traditional pattern as long as there was not contact with

western influence environment. The dramatic change to the white plastered

palaces, which had a neo-classical style of the West built 100 years ago, brought

the first major change in dwelling style for at least the richer section of the public.

With the rising influx of Western ideas at the beginning of second half of the 20th

century there was a change on the design of dwellings. With the limitations of

space within a block of house the urban settlements were just able to make minor

alteration. On the other hand, outside the dense settlement were able to use new

materials along with the Western Design and construction ideas. “The break with

tradition was so abrupt and harsh that over the last few years a positive trend has

emerged to find a “modern Nepali Style” and at least building materials, such as

brick, tile, stone and wood is again being used in many places as originally

intended.”5

Façade

Symmetry is

attained

where

possible in

the design of

façade. The

central axis

of a main

4 Wright, op. cit., p 183-184 5 Traditional Architecture of Kathmandu Valley- Wolfgang Korn

Figure 4 Typical Development of Fenestration

Figure 3 Patan - Saugal Tol

8

door or window, pairing of windows is done around the central axis on each

succeeding floor with the central window on each floor being emphasized with

intricate carvings and its size. If the ground floor is not used for shop, the façade

is maintained with simple low narrow door and perhaps with one or two small

windows on either side. If there is any irregularity in symmetry in the ground floor

the other floor levels are independently maintained symmetrical.

Two massive wooden planks bar the entrance door. The windows are generally

closed by a fine work of lattice wood works. Only few of the windows can be

closed completely with the heavy shutters.

San-Jhya is the most prioritized window in a Newari House. The use of this

window type at living room can be accentuated even in those of the poorer class.

The fact being this window types the most important means of communication to

the street other than the door. It is provided with window bench and latticed

window shutters that can be closed or opened.

Three storeyed houses have an attic directly under the roof at the third floor. It is

mainly use as the kitchen and dining room.

In case of four storeyed house, the living room takes place on the third and

second floor with the kitchen and dining on the attic above. Skirt roof separates

the second and third floor from the exterior under which the San-Jhya is situated.

This infers the fixed position of San-Jhya in the center of the second storey on the

façade. The eaves of the skirt roof of a four storeyed house runs at the same level

as the roof of the adjacent three-storeyed houses.

“The lines of a simple

pitched roof are seldom

broken by garrets or the

like. Balconies and roof-

terraces on houses are of

a more recent origin.”6

Typical window style was

horizontal at earlier times

but with a squared lattice

opening at later time (c.a.

200 yrs) there came a

gradual change in the

6 The Traditional Architecture of the Kathmandu Valley-Wolfgang Korn

Figure 5 Standard Accommodation

9

design of windows to become a more vertical in form with the retaining of the

lattice work. The symmetry created by the prominence of the central window got

reduced to simple rows of windows during the process of the change. The less

ornate todays’ San-Jhya has however retained its original position/location. The

introduction of the trend of lighter and larger windows was done at the turn of the

century. The 60 cm wide and almost a storey high latticing of windows were

omitted. The San-Jhya was simultaneously replaced by the now current window

style; metal rail and shutter close off the vertical window openings.

The uneven number of windows at each storey was maintained whenever the

house’s length permitted it. The façade took on a more vertical appearance of

wall sections that was fractioned by storey height high windows.

Function and allocation of space

“A deciding factor for the utilization of different rooms in the house is its vertical

location. The size of the house is virtually irrelevant, as is the size of the familiar

the caste consideration. Despite variations in size and external decorations,

common principles of space utilization developed between all social groups.”7

Du Anga, a central wall, usually divides the ground floor (Chhyadi) into two

narrow rooms. There is a shop or workshop on the front part. The front wall is

replaced by a twin system of columns which opens the ground floor to the street.

Storage room, workshop that opens to the courtyard is the back room of the

divided rooms of spine wall. The central wall is never replaced by columns for

structural reasons.

Small windows admit light and air to the ground floor which is generally used as

a stable or store-room. External walls are provided with doors that helps direct

access between the courtyard and the street. Shops and workshops occupy the

ground floor that can be accessed by a separate corridor which leads to the

courtyard. Upper storeys can be accessed by a narrow staircase. Takha, a trap

door, is a two planks shutter that closes the stairwell. This system is generally

given at every floor level which is the result of earlier defense requirements.

Due to unavailability of protection against dampness, the ground floor was never

used as a living area. This floor is usually either tiled with bricks or covered with a

layer of clay. Shops had a well-ventilated wooden floor. The actual living space

and sleeping space began with the first floor (Matan=Middle Section). The two

rooms created by the central wall have either solid or light timber partitions

7 The Traditional Architecture of the Kathmandu Valley - Wolfgang Korn

10

depending on the size of the house. They formed sleeping quarters for family

members or for the married sons who remain in the parental home with their own

family.

The second-floor (Chota = upper layer) is the main living and family area in a

three-storeyed house. The central wall is here replaced by a twin row of columns

to make it a low hall. The front window, San-Jhya, and the other side window

helps to attain enough light and air on this floor. With relatively good lighting this

floor is preferred by many as favorite spot for different types of work. Near the

San-Jhya weaving loom is installed that is the common household at Newari

Culture. Villagers use this floor for cooking over open fire-places alongside a side

wall. The smoke however is not channeled away due to absence of chimney.

Phyata, the third storey is an unusual addition to the basic Newari House, which

generally comprises the ground floor, the first floor (middle layer) and the second

floor (upper layer). This fourth floor like the upper floor can be used as a large

family living room. It also may be subdivided in to other rooms as per need.

The family shrine and kitchen are placed in the attic space. The Baiga, half or

small space, is not accessible to the strangers and lower castes due to their deep

belier on their religious significance and classification of levels of caste back then.

However this still remains the problem at this period too at places and families.

This floor is not divided except for a rudimentary separation of the shrine.

Djhingati tiles are used at the roof. Dormer window gives lighting and ventilation

on this floor.

Extensions occur only for living and sleeping rooms. Eating and cooking remain

communal affairs involving the whole family.

In contrast to the extravagant facades, the interior furnishings and decorations are

very simple. Sukul, a straw mat, serves as a carpet durung day and for sleeping at

night. Carpets and blankets may decorate the floor which are reserved only for

seating on special occasions. The bedding of blankets and cotton rugs are rolled

up and stored in the morning. Wall recesses and wooden chests help store the

clothings and valuables. Makas, portable clay bowls, of various sizes are filled

with burning charcoal for heating the rooms. A stove for this purpose is unknown.

The kitchen is never used as a place for meeting. Gwakhan Pwas, a wall recess,

are available for placing varying sizes of clay or metal oil lamps that give light

during the dark hours.

Wooden chests or clay pots are used for storing stocks of rice and other grain.

Bamboo baskets hanging below the overhanging roof are used to store potatoes

11

and vegetables. Clay and brass pitchers are used as water utensils. The primary

source of fuel for heating was the wood carried into the town from the hills by

porters. Poorer people burned the dried cow dung.

Private and public wells, fountains situated in each sector of the town served for

supplying water for drinking and washing purpose.

The courtyard or the roof terrace or the street or even the place around the wells

and fountains served as the bathroom.

Toilets were not located in the house which was considered an unclean place.

Instead small children used the street or any open place. The men and women

sought segregated public latrines. Narrow alleys hidden away behind walls served

this purpose of latrine for the elders. Every town district or the fringes of the bigger

settlement used to have this sort of place. River banks also served as the ablution

area for all people.

Figure 6 Development of Building Height

Early Malla Late Malla 18-20th Cent Modern

14-16th Cent 16-18th Cent

One room deep Two room floor plan Modern

Floor plan const.

Mid of

Techniques

16th cent

Horizontal increase in Urban Density

Vertical increase in Urban Density

12

Figure 7 Development in Different Phase

13

1.2.2 OUT THERE:

“Neoclassical architecture was an architectural style produced by the neoclassical

movement that began in the mid-18th century, manifested both in its details as a

reaction against the Rococo style of naturalistic ornament, and in its architectural

formulas as an outgrowth of some classicizing features of Late Baroque. In its

purest form it is a style principally derived from the architecture of Classical

Greece and the architecture of Italian Andrea Palladio. In form, neoclassical

architecture emphasizes the wall rather than chiaroscuro and maintains separate

identities to each of its parts.

Intellectually Neoclassicism was symptomatic of a desire to return to the perceived "purity" of the arts of Rome, to the more vague perception ("ideal") of Ancient Greek arts and, to a lesser extent, sixteenth-century Renaissance Classicism, which was also a source for academic Late Baroque architecture.

High neoclassicism was an international movement. Though neoclassical

architecture employs the same classical vocabulary as Late Baroque architecture,

it tends to emphasize its planar qualities, rather than sculptural volumes.

Projections and recessions and their effects of light and shade are flatter;

sculptural bas-reliefs are flatter and tend to be enframed in friezes, tablets or

panels. It’s clearly articulated individual features are isolated rather than

interpenetrating, autonomous and complete in themselves.”8

The buildings that are inspired by the classical architecture of ancient Greece and

Rome are described as Neoclassical architecture. The buildings that fall under this

category are likely to have some or all of these features:

Symmetrical shape

Tall columns

Triangular pediment

Domed roof

8 http://architectworlds.blogspot.com/2010/08/neoclassical-architecture.html

Figure 8The Cathedral of Vilnius (1783), by Laurynas Gucevičius

14

Its most distinctive feature would be the lavish use of columns, usually Corinthian.

Often features a classical pediment entry with an entablature above the cornice

line. Many Neoclassical buildings have windows grouped in twos or threes, with

the main floor having semicircular arched windows.

Figure 9 Columns and Details

Figure 10 Charlotte City Hall and the Mecklenburg County Courthouse

15

CHAPTER 2

THE

CASE

16

2.1.0 THE CASE

The changing architecture of the Kathmandu Valley is not a sudden one. The

change is slow and everlasting one. It may be due to several reasons. The main

influence for the change can be understood as the western influence in the early

1860s. When Jung Bahadur Rana left to visit Britain in April 1850 and returned in

February 1851 he was much inspired with the architectural style at UK. After he

attended the opera and the races at Epsom he brought back a taste for

neoclassical architecture that still persists in many areas of Kathmandu Valley

today.

Basantapur Durbar Square has neoclassical buildings within its boundary. Garden

of Dreams, Ananda Niketan, Singha Durbar and Durbar High school are other

distinct examples that belong to the neoclassical style. This bondage of

architectural style was then seen in the residential scale too. Now we see that

many Newari house has elements that belongs to the Neoclassical style. The use

of white plaster with pilaster or even order that belongs to the neoclassical style

can still be seen that came into practice after the return of Jung Bahadur Rana

from UK.

“Modernization began to dawn on

Kathmandu with the opening of the Bir

hospital, Nepal’s first, in 1889, the first

piped water system, limited electricity and

the construction of the Singh Durbar.” 9

9 Nepal by Joe Bindloss, Trent Holden, Bradley Mayhew

Figure 11 Basantapur Durbar Square Figure 12A house at Kwalkhu

17

In the past the first floor, second floor were place for family room and bedrooms. Now it can be seen that the first floor and second floor may also be used as kitchen or any other purpose like rental space, shop etc. Back then there used to be a superstition of caste and creed, which still persists, and has not been abolished and forbidden and closed planning was preferred. Now as the time swung and philosophy of life changed, people started opting open planning system. Kitchen may be in the first floor or even ground floor so that it will be easy to greet the guest at home. They won’t have to struggle to get to the top floor to prepared dishes and serve at the other floor.

The roof is another distinct style in Newari Architecture. The symmetrically pitched

roof with Jhingati Tiles is a beauty. Now the use of these tiles is limited to very few

places. The more famous RCC roof is getting more common to the owners. Other

replacement for the tiles is the use of CGI sheets, which is cheaper than RCC

structure. However the use of Jhingati tiles is still prominent at some places and to

limited families.

Eventually the living standard of the people also came to change with respect to

time. The people who were busy in agriculture and animal husbandry started

business and other earning ways. Urbanization was much higher. Centralization

was in peak. People were exposed to more than normal and usual day to day

earning methods. This is the main reason for the change in the planning pattern

of the house at ground floor. The chhyadi that was used as store house and

refuge for the animals were now converted into shops after alternatives and new

possibilities for earning their living. The problem of dampness could later be

resolved as the introduction of modern and advanced building materials. Thus at

places the ground floor is not just used for shops and store but also for bedrooms

or rooms for rent.

18

2.2.0 Namuna Ghar

Location : Bhaktapur

Style : Traditional Newari

Architecture

Storey : 3 storey building

Age : 150 years

Renovated : 1999-2001

Architect : Rabindra Puri

The Namuna Ghar is 150 years old

traditional building that epitomizes the

traditional architectural features and

technologies of the ancient town of Bhaktapur. This three storey building

constructed from bricks, wood, stone and various tiles is in fact a renovated form

of a traditional Newari farmhouse using traditional passive technologies along

with modern passive features. Characterized with beautifully carved pillars,

wooden windows and a pitched tiled roof along with an open space on the top

floor, the house is indeed a model hose depicting most of defining characteristics

of Newari architecture, as per suggested by its name.

Namuna Ghar had been neglected for a long time, until Mr Rabindra Puri

decided to buy and renovate it. Having a great passion for Newari architecture,

Mr Puri believed that he needed to set an example in order to convince other

home owners to restore their houses, rather than to demolish and rebuild. For his

effort, the Namuna Ghar bagged a UNESCO Asia-Pacific Heritage Award.

The house was totally neglected and it was in a very bad state. Nobody lived in

the house for ten years and there were rumors that the house was haunted. It was

used as a chicken farm for the last five

years before it was restored. The house has

been restored in its original shape, reusing

most of the materials. The weakest part of

the house had to be demolished and

rebuilt in traditional style. It was a major

challenge to save all the wooden frames,

windows and bricks and the workers had to

be repeatedly told to be very cautious. Only

very few materials and materials for

modern facilities, like the bathroom, are

new. For the interior decoration traditional

and local materials have been used. The

Figure 14 Front Elevation

Figure 13 South Elevation

19

restoration methodology was totally traditional. Some modern earthquake

resistant measures have been also adopted. The area is 259.21 square meters

but the house is built in an area of 84.8 square meters and there is a garden and

a lawn in front of the house.

2.2.1 Indoor Space Planning

With the location, orientation and shape of the building is the consideration of the

interior space distribution. Habitable space is occupied and the greatest heating

and lighting requirement is arrayed along the south faced of the building. The

walls of the most usable space like bedroom, kitchen, dining occupy both the

south wall and the north wall which is useful for both winter heating and summer

cooling. The room arrangement has

helped in maintaining natural air circulation from the outer atmosphere.

Rooms are arranged vertically, in four storey and rooms arranged as

Ground Floor – Verandah, Chidi and Bathroom

First Floor – Living (With Fireplace), Guest Bedroom cum Study

Room

Second Floor – Main Living Room, Master Bedroom, Toilet/Bath

Third Floor – Family Room, Kitchen/Dining, Terrace

2.2.2 Floor Height

Floor height of the rooms is maintained minimum so as to avoid any extra air

volume than required. The span of the timber is also the limiting factor in the

determination of the floor. It has a floor height of 6’-6” at ground floor and 6’-2”

at first floor, 7’-6” at second floor. On the average the floor height can be

considered as 6’-6”.

Figure 16First Floor Plan Figure 15 Ground Floor Plan

20

2.2.3 Construction Technology – Materials Used

Materials used in the Nanuma Ghar are not different from those found in any

ordinary traditional Newari houses. Bricks, surkhi (air breath), cement, mud, stone

and wood are the main materials used in the house. Basically wood and clay

products are used as building materials. Tiles are widely used for roofing. Almost

all structures are built with bricks in mud mortar and wood has been used for

openins and flooring. These materials have high heat absorption property or have

low thermal conductivity. Timbers used prevents the heat exchange between two

floors and mud plaster and brick helps to retain heat given by solar radiation and

re-emit same to inside at night time. The combination of materials helps to

maintain indoor temperature in comfortable range.

2.2.4 External Wall Texture & Colour

The external wall surface of the building is exposed brickwork. So it has rough

texture and dull color which helps in maximum absorption of the sunlight. Lime

Surkhi is used as binding material. In some part, cement mortar can be also seen

used to some extent. The lime surkhi is also used in some portion of the wall. This

requires no additional treatment and the color of the wall seems to get brighter

and brighter as the years pass.

2.2.5 Roofing

Roofing is done by Jhingati tiles

with nailing or clipping above the

wooden rafters. Other materials

used are mud tiles, mud and

wooden rafter. These all materials

have high insulating properties.

So they help in reducing heat gain

Figure 17 Top Floor Plan Figure 18 Second Floor Plan

Figure 19 Section

21

/heat loss. However, during the renovation period, plastic sheets were laid on top

of wood to prevent moisture seepage. It was recommended but is not an original

part of traditional architecture.

2.1.7 Openings

Timber is extensively used for all doors and window, which are decoratively

carved. This is the most common feature and most recognizable feature of

traditional Newari Architecture. All the window size is almost same in the building.

The windows are slightly kept at angle to allow the maximum light inside the

building. The windows on the south face will allow the maximum sunrays inside

the building.

2.2.6 Finishes

The ground floor is finished with stone paving. Burnt (telia) brick, which is

comfortable both in summer and winter season, are used on upper floors as

flooring materials. The telia bricks are polished with oil for more shininess. The

bricks are made in the nearby surroundings and are easily available.

The lattice windows, Tiki jhya, Chappa Jhya, Ku Jhya, San-Jhya, Ga Jhya, Biman

Jhya etc were some of the famous windows used in a residential building.

According to the status of the owner and the affordability of a particular style of

window, the house used to have the pure form of wooden intricately carved

windows in a traditional house. However now the use of modern materials such

as iron grills, bars etc. are used. The use of French, Jalousie windows and various

other forms of windows can be seen in different house that has a traditional style’s

base.

Usually there used to be two thick layers of load bearing walls in traditional

architecture. The use of this system is not so popular today. The frame structure

system is in use today or a composite system is adopted.

Figure 21 Niches Figure 22 Windows Figure 23 Ridge Figure 20 Entry porch

22

“Another interesting feature worth a mention is the innovative fusion of modern

and traditional construction methods. The house built with dual structural system;

a structural frame with concrete column and beams, wrapped with thick load

bearing walls, made with mud mortar like in olden times, is designed to test the

time. As the concrete loses its strength, the lime-mortar construction will gain and

replace it, keeping the house standing for a longer period. Climatically too, the

mud mortar construction naturally keeps the house cool in summer and retains

the heat in winter. It seems, no effort was spared for the construction of the house,

as the best hands were hired to do the detailing. The construction was

meticulously done by local craftsmen from Bhaktapur who were given specific

instructions not to spare in quality. The woodwork alone shows the results.”10

10 ECS Nepal-“A Newari House Reborn”, article by Srijan Joshi

23

2.3.0 Prana’s Residence

Located near the Tapa Hiti, this aged old Newari House belongs to a Shrestha

family. With the successive generation and increasing family size the house has

still been sheltering a big family size of 12. The residing person, Prana Shrestha,

states that the house has been serving three generation family. The Grand

Mother, Uncle, Father and himself.

Elevation: This house has a Neo-Classical touch. With the Corinthian Column’s

semblance on the corners of the house, along with white colored external finish

reminds of a Neo-classical House like Ananda Niketan. The windows used are

also as that of the later part of the Rana Dynasty.

Planning: The use of ground floor as kitchen and dining is a deviating uses that

from of a typical Newari house. This floor is generally used for storage. But this

has been practiced as this provides ease to the grandmother of the family. She is

old and won’t like to stay at the upper floor against the difficulty of climbing up

and down time and again. A bed room is also provided on the ground floor for

grandmother. The store is also provided on the other half of the floor.

The courtyard has a Toilet on the southern corner. The building being on the

northern and western part. The plinth is of layer of brick. The rooms are again

coated with a fine finish of cement punning over the concrete bed that covers the

bricks. This helps damp proofing and makes life more livable on the ground floor

too.

The staircase is a triple flight open well staircase.

The landing area has a niche on the wall that supports it. That

has a functional role of storing things temporarily. Or at older time it used to be a

place to keep the lamp.

The first floor has a Baithakh room that is normally closed and is opened at times

of festival and ceremony. The second floor has bed rooms and more circulatory

Figure 26 Facade Figure 25 Stair Figure 24 Ground Floor Kitchen

24

space. The third floor has also a bed room and a Living Room. The top floor used

to be kitchen area but now has been turned into a Bed room with a pantry where

Prana Shrestha lives.

The attic space is a store at present. A third of the house has a RCC flat roof,

while the two third has a traditional pitched roof with Jhingati tiles. The attic space

is dark so a skylight is also provided with a translucent fiber sheet on the mid part.

The doors and windows are wooden and resemble the

traditional windows and doors. But the struts are not of the

traditional style. The windows resemble the later period of

Rana Style.

Figure 27 Top L-R > A typical window, The courtyard with Toilet, The Classical Order, The Attic Space with Skylight, The Wooden Struts, The Roof

25

2.4.0 Tandukar’s Residence

Elevation: Exposed brick with Tiki Jhya has retained the traditional look of the

Tandukar Residence at Mangal Bazar. The long survived traditional home has

been divided among the three brothers. The division took place vertically. The

elevation gets separated with the different door colors, while the upper part is

same brick exposed walls with intricately carved lattice windows. The building

looks like the Malla Period Traditional House.

The rise to an apartment system but in a vertical division is a common practice

among the Newar Community. But at a point this can’t be divided. Then takes

place the floor wise division of the vertically divided house too.

Planning: Mr. Baikuntha Tuladhar has a shop at the ground floor. A store and a

toilet also has been placed on the ground floor. They have a kitchen along with a

bed room at the second floor. This is because of his eldest son (married) who has

a different kitchen than his family. His house has a kitchen at the top floor too.

The first floor is used as living room. The third floor has bed rooms. The top floor

is a kitchen once more. The roof is flat and is a CGI made with timber rafters and

purlins. The other divided part has however a pitched roof of CGI.

They have a single flight wooden staircase of 8” riser and tread each. The floor

height is 6’-4” in average. Wooden shuttered door and lattice windows beautify

the house. They have special lock at their house. Niches are provided at places

around the staircase and the circulation area.

Mr. Tuladhar has a traditional type of door. It has also the kind of lock system that

was used in the past. They call it “Khawa” which is a lock and “Kway” (literal

Figure 29 Division of House Figure 28 Roof

26

meaning-bone) which is a key. The mechanical manipulation of the key and lock

is fascinating.

They have a courtyard at the backyard. It is small in size. It is about 8’ x 8’ with a

washing area. The plinth of the ground floor is that of mud mortar. The modern

technologies and building materials has not been used there. It maintains the

traditional architecture to some extent.

Figure 30 Top L-R clockwise > Staircase, Kitchen at Baiga, Niche, Backyard Courtyard, Ta-Khaa, Door Lock

27

2.5.0 Maharjan’s Residence

Elevation: It is located in the street of Patko. The front view is supported with the

Rana Period windows, not that of Lichchhavi or Malla period. However the Newari

Architecture can be seen in the elevation too. With the exposed brick and the shop

at the ground floor, it provides the Newari Architecture look. The Baiga has a

Kashin (Pali) in front of it to support more about its Newari Architecture. The

windows are of wood but not those like the San-Jhya and others.

Planning: First floor has a shop, store and a toilet. The damp proof concrete floor

is used on this floor. The staircase at this ground floor is a dog legged concrete

type. The stairs on the rest floors are a single flight wooden stair. The undressed

and visible service pipe runs through the inter storey landing from the top floor to

the ground floor and then to the drainage. Each floor is a hall like room with

partition of ply boards among the different rooms on same floor.

The second floor is used as living room. The third floor is used for two bedrooms.

The top floor is a kitchen with a verandah in front. Usually there used to be a

courtyard in a cluster of house. This might have been a mandatory system of

building a house back then. This is not in practice at this moment. In the same

building of Mr. Maharjan they instead have a light well that serves for the

penetration of light into the rooms. The courtyard used to serve the same back

then. But the efficiency of the light-well that is constructed at this house is not as

that of the courtyard for sure.

Figure 31 L-R>RCC Dog Legged Stair, Front Elevation, Light Well

28

2.6.0 Raj Bhandari’s Residence

Design Elements: Mr. Nigendra Rajbhandari has the horizontal door at the stairs

that serves as the securing device between floors. It is known as “Ta-Khaa”. The

horizontal door has a locking system that is known as “Chuka” of traditional type.

But an extra modern locking system is also provided in the same place along with

“Chuka”.

Figure 32 Chuka Figure 33 Takhaa with Chuka

29

CHAPTER 3

THE

OUTCOME

30

3.1.0 THE EASE

The reason may vary from a case to case for the alteration of design. For various

reasons the change are at times reasonable. Similarly the changes of materials

are reasonable. With the advent of new materials, more reliable and economic

materials replace the older one. The use of traditional locks for example is

replaced by the modern modular locks. These are more easy to use and easily

found in the market now.

It is not only in the case of locks. Modular doors are replacing the traditional

doors. The availability of suitable wood and that of wood carvers are less now.

The easily available modular door of plywood, metal locks is the main reason

behind the use of these things.

The ease of frame structure has led to the practice of frame structure rather than

load bearing. At the early time, the thick brick masonry was the only choice.

Moreover the walls helped in thermal insulation and sound insulation. With the

advent of materials and technologies that help insulation of sound and heat the

choices are thought over. The damp-proofing has helped a lot to make the

ground floor more livable. Else used for store and animal rearing room now can

be used as shops or even a room to live in. The damp-proofing has helped a lot

to make spaces more livable. Then the lifestyle of people was different, living

standard was different, materials available were limited and different but now the

scenario is different with the industrialization in period between then and now.

Thanks to the advent of materials for making life more livable now.

A traditional house has a niche provide at different places in order to fit in and

place a lamp. These niches are still provided in different places. A space is

provided at the side of the stair that may be used to place stuffs that are mobile.

These spaces are still intact. The usefulness of these niches and voids are

unavoidable. So these parts are still in practice

The planning system was more closed type. Now the adoption of open living style

can be seen. Kitchen may be on the lower floors. In order to serve the guests that

arrive at home it is more feasible if it is in the lower part of the house. With living

room next to the kitchen, it would be easier for the resident to see that the

bedrooms are more private.

Most of the house has a Toilet on the ground floor. With some house having it on

the other floors too. People have developed sense of personal hygiene and they

believe and know that open defecation may lead to epidemics. This is the main

reason that they started incorporation toilet in their house. Toilet provided in the

31

same residential blocks has for sure helped keep the area healthy. Without which

would bring various air-borne diseases.

3.2.0 THE FINDINGS:

Foreign influences, however, have recently introduced Western-Style furnishings.

Electricity and kerosene have simplified the tasks of cooking and lighting.

In the cities particularly in Kathmandu, private latrines on the ground floor of

buildings are becoming popular now, because of the improved water supply.

Outside influences inevitably change the lifestyle of the people. These and the

availability of modern building materials alter the previous ideas of house design

and are reflected in a preference for rectilinear structures unadorned by the

traditional wood carvings and special bricks, which together with the use of bright

colors instead of the natural brick and wood, change the appearance and

function of the house. As a result the traditional architecture, not only confined to

residential buildings, but also to temples, palaces and monasteries, is losing its

special character. Unhappily under these modern pressures the typical Newari

dwelling is now rapidly becoming a building style of the past, especially in the

Westernized city areas.

The time changed and so did the taste of person in respect of the aesthetic value,

lifestyle, culture and planning forms. So adoption of various styles took place.

32

BIBLIOGRAPHY:

Traditional Architecture of Kathmandu Valley- Wolfgang Korn

ECS Nepal-Keshab Poudel…Kathmandu’s Architectural Heritage

ECS Nepal- Shrijan Joshi…A Newari house Reborn

Nepal by Joe Bindloss, Trent Holden, Bradley Mayhew

Wikipedia.org

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APPENDIX

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