Residential

Civic

Landscape

Commercial

Design Competitions

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SWAY a fall of a feather, captured in the essence of space
An event occurs in nature daily, amongst others, the drift of wind gently carrying a feather fallen from a winged body. If one were consciously aware to notice such an event at any time, they were to know the character of such a motion in space. We ask for a few seconds of your time to trace through your memory and remember the motion of a light feather gently gliding with the support of wind in the space. We would call that a serene and silent display of ballet in mid-air. And this almost-poetic movement of a feather in space, that sways, and dances in a fluid rhythm until it touches the ground is the core philosophy of our design for this academic and multi-functional institution. In the physicalizing of this design idea; the variations of connectivity in a space at a moment in time is what the swaying behavior of a falling feather resembles. Fluidity under the guidance of a space is how the design captures the essence of a learner&rsquo;s journey under the guidance of an institution. This core idea has been an inspiration for developing a place that allows interactive and collaborative spaces for the exchange of ideas among the learners and professionals of today and tomorrow. In Nepal where traditional academia is defined by functionality, hierarchy, and, indoctrinated discipline our design approach challenges it with a futuristic idea of academia that values individuality, physical and mental well-being, and subtle order through diverse interactive spaces, common forums for the students, faculty, and professionals, and architecture that ignites lightness, curiosity, and ease.
We have proposed the ground level, the corresponding underground and upper level as well as the pre-existing outdoor ground of the Xavier Academy as an inter-connected public forum we have named the combination as &lsquo;The Xavier Forum&rsquo;. This variety of interactive spaces along with the renovated landscape is designed as a place for recluse and relationship-building for students and faculty. We have vertically punctured the ground to create a multi-functional hall that can be used as a gallery, discussion hall, library, or exhibition space with an ample amount of ambient natural light and ventilation using a series of voids and skylights. All the indoor and outdoor spaces in the forum are visually connected. Furthermore, identifying the individuals&rsquo; need for a private learning place where they can enjoy being on their own amongst the crowd, we have designed a pavilion within the lush green landscape of the Xavier Forum.
Physically, the sturdy mass of the Xavier forum composes the base of the building, which looks distinct from the rest of its facade; mimicking the feather&rsquo;s final resting state on the ground with this monolithic presence. However, what looks bold and heavy on the exterior is fluid inside with carefully positioned skylights and openings representing a sense of elegant movement within the enclosure. With the Forum, we have tried to address the current narrowness and lack of openness in the existing XA building.
We have limited vehicular access towards the eastern section with surface bus parking however, there is a defined landscape connection for walkways and emergency exits. The western section is designed as the main connecting walkway with generous space dedicated to outdoor circulation. In both internal and external planning and circulation, we have given special attention to designing connecting spaces that feel open, safe, and interactive for individuals of all abilities on each level. We have proposed a separate, but equally inviting, entry point on the ground floor for the rentable spaces that connect directly to their floors.
We realize that the forum and the labs on the upper floors will be used by the entire academy, including students in the pre-existing building. Thus, to manage smooth mass gathering and mass circulation during peak hours, we have created multiple break-out spaces outside labs that can be used as recess lounges for students/teachers or can be used as VIVA examination areas, or simply as a space for a brief interaction with classmates and teachers before or after lab hours. These little spaces truly uplift the user experience in the building. Classrooms on each level have the flexibility to become one big interactive hall allowing more possibilities for joint learning. We have added more semi-open spaces around the classroom premises that will have the students get out of their classes and interact more, brainstorm ideas, read, and relax, in a well-ventilated well-lit space. To ensure that the teaching and non-teaching faculty also get the same user experience as the students, we have created semi-outdoor well-being and leisurely spaces for them on the fifth level with their own pantry facility and interactive lounge. We have designed the board meeting hall that provides an interactive layout for meetings, gatherings, or discussions and offers extra spaces for new means of communication and delivery.
On the ninth floor is a general cafeteria that can cater to a mass of 128 individuals at a given time. This semi-open area is for activities of common dining, and group gathering, and a place for the students and faculty to have a good time all while enjoying the serene view of the majestic hills and views of the bustling urban core of Kathmandu. Furthermore, this space can function as a spill-out zone for events hosted at the large multi-purpose conference hall above which holds a capacity of 225 pax. The multipurpose hall is an iconic skylit hall with angular ribs running perpendicular through the entire length of the hall. We have planned adequate spaces for backstage functions, services, maintenance, VIP seating lounges, and circulation in and outside the hall. For the rented floors, we have designed open floor plans that vertically connect through a single spine of an open circular staircase- offering the rental spaces the same user experience of fluidity and movement as the rest of the building. The plans are flexible to be rented out by a single organization or by multiple.
While the core design concept carries the &lsquo;sway&rsquo; of a feather falling, the feather's physical features conceptualize the building's facade. We have taken the strands of fiber within the feather as an inspiration for vertical metal louvers of varying sizes. These aren't just attractive elements but help control the building temperature from the harsh southern daylight. Furthermore, we have planned for these louvers to be dynamic by adding ball-bearing at joints which help the louvers sway with the wind casting dynamic shadows inside the building during daytime. This character also provides a sense of enclosure from the external surroundings in the semi-open terraces. The building adopts passive and active sustainability features with the provision of natural daylight seeping in and airflow circulating throughout for passive cooling of common spaces utilizing the rooftop to house large solar panels for clean energy.

Institutional Complex

Sway

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Private Residence

Suburban Home

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The site neighborhood is within a walking radius of the Boudhanath Stupa and reflects Tibetan architectural influence. A few monasteries and prayer junctions are nestled in the neighborhood, creating a sense of spirituality on site. The site lies on a newly growing commercial corridor in a residential neighborhood, creating a perfect opportunity to build mix-use residential and commercial real estate.
Thus, the project is planned to maximize storefront and commercial rental space while also providing private residential spaces. The site is connected to the main commercial corridor on the NorthWest where the commercial block is planned, giving it more visibility and direct access. Similarly, the secondary road on the East which is more residential in use is used to access the apartment block creating privacy and separate access. The whole property has been planned with a basement parking accessible by both commercial and residential parts, undisturbed and secured from each other by internal partitions. The property is a single-standing volume that gets separated into commercial and residential blocks by a central courtyard, and a light well that brings in natural daylight inside the internal spaces, and also helps in passive air circulation throughout the building.
We have designed the facade of the building to showcase a fusion of exposed brickwork with the Tibetan architecture style exhibited around Bouddha. This style includes rectangular motifs, a white stucco band with cornices, and stylistic trapezoidal openings. The street facade volume is topped to maximize visibility and also consists of trapezoidal punctures for openings, which is a contemporary take on the Tibetan style of windows. The volume breaks with a full-height glass curtain wall to the west followed by a recessed brick volume continuing from the northeast to the south side. The eastern facade continues the brick theme, and the elevation is somewhat symmetrical around a central brick volume. This facade incorporates balconies, and the central volume is divided by an internal circulation corridor and balcony with vertical louvers for proper air circulation. The volume provides a humble interaction with architectural features dominant in Bouddha, all merged with exposed brickwork in the facade, giving a sense of warmth in the streetscape without overpowering the nearby monastery.
The Commercial block is designed as an open-plan rental space on each level. The ground floor is interactive with a fully glazed storefront suitable for cafes and restaurants. An entrance lobby connects with the upper levels as well as the central courtyard. A small green patch between the property line and the storefront creates a buffer, introducing vegetation and contrast against the brick facade.&nbsp;
The residential block at the rear of the site has three apartments on each floor: two 1BHK and one 3BHK apartment. Each apartment is planned to receive some natural light during the daytime. Common circulation staircases and lobbies connect all the apartments. The 1BHK apartments are planned linearly from north to south, facing east and southwest so that each apartment faces the open street. The 3BHK apartments face west so that the bedroom faces south, and the interior spaces utilize light well and western setback for light and ventilation. A multi-use hall is provided on the rooftop accessible from the residential side.
Green spaces are provided wherever possible, in the setbacks, within the courtyard, and with planters on the balcony/terrace.

Mixed-Use Commercial

Brick Exposure

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Sarangkot

Hotel

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ManavSewa Ashram provides domestic and institutional care and services to people across Nepal who have been deprived of social inclusion, facing mental health conditions and societal challenges, whether in rural or urban contexts, isolated by their families for mental health conditions, victims of social crime, or simply in need of help and care. This is all made possible through the collective efforts of volunteers, people with good faith, community and government support, and a group of dedicated officials of the Ashram. Simply put, it is a place to call home for all those in need. Overlooking the Lamjung mountain range and surrounding hilly landscape, the site lies on a scenic trail from Besisahar to Ghalegaun in Lamjung. The facility is planned to accommodate 100 residents with a male-female-child ratio of 40-40-20, along with Jestha Nagarik Manomanjan Kendra, an elderly care facility for 50 senior citizens with well-facilitated living and medical services.
Rammed earth technology has been used, inspired by vernacular aesthetics and material usage, creating an environment that promotes sustainable practices and a healthy lifestyle within the establishment. Locally sourced building materials and resources have been utilized from the initiation to the operation of the facility for better sustainability in the energy and resource management. Multiple interactions with local communities have taken place since the initiation of the project, focusing on the subject of vernacular ideas and ways of living in such hilly settlements, to better understand the human values, connection with the natural surroundings, and identity of the place. Among those interactions were also those with stakeholders and officials under the supervision and collaboration of experts in related fields of natural building practices and engineering to introduce better building solutions while promoting new ways of designing and using locally available building materials and resources.
Both the facilities are segmented mid-section through the site, with the Ashram planned to the north side and the elderly care facility towards the south while sharing common facilities such as the kitchen, medical and physiotherapy services, and some of the pocket open spaces. The overall planning is inspired by the settlement pattern and its planning in a stepped hilly terrain and vernacular aesthetics, in which the color and material of the buildings and surroundings blend with the warm and grey tones of the landscape. The functions have been categorized according to the privacy of respective areas via stepped planning on the terrain, with administrative, immediate medical and isolation care units on the lowermost levels, while the upper levels are occupied with residential, multi-use areas, and pockets of open space. The design takes advantage of smaller open land to imitate the narrow connectivity and flow of different spaces, as one would find in a typical traditional settlement of the hilly area. The elderly care facility is more interactive with the public as it requires less surveillance compared to the controlled environment of the Ashram and comprises a community hall for communal gatherings and events, provision of sleeping quarters, meditation and multi-use pavilions, along with a community library where one can come and learn about the local culture and landscape. The planning and management of the establishment allow such a cooperative relationship between Ashram and elderly care, creating a shared atmosphere.
Amidst the slowly degrading trend of architecture and practice in the hilly region of Nepal, this design sets an example in modern-day architectural practice to follow in the coming future in the Lamjung region. Ultimately, it will contribute to the larger community. This healthcare establishment also has the potential to become a communal and touristic heritage site, preserving the very vernacular characteristics of the Lamjung region with the introduction of natural building practices in the form of rammed earth. The design aims to create opportunities and share skilled resources with the surrounding communities to promote the concept of natural building practices and healthier habitable spaces in the present-day context of the hilly landscape of Nepal.

Lamjung

ManavSewa Ashram

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Chitwan

Aikawa Garden

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Sanepa

Private Apartment

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Initially, the landscape was established as a pond for irrigation purposes, which had a self-regenerating water source. It progressively developed with the addition of a Shivalinga statue at the center of the pond, with unpaved circulation walkways all around it. This area has been used both as a religious worshipping place and as a social space for ManavSewa Ashram and the surrounding communities.
The concept of the landscape has evolved from the initial days of development to the establishment of ManavSewa Ashram. It has now become a landscape that provides a meditative environment rooted in natural biodiversity, with spaces for rejuvenation, knowledge exchange, ideas, and healthier lifestyle adaptation, all around the pond. This progressive ripple around the pond has been the core concept of the project's design and planning. The landscape is distributed all around the pond in specified zones. The eastern perimeter has a dense vegetation of native species, with the landscape evoking calm and contemplative walkways, accompanied by semi-open pavilions, a multi-purpose open-air theater, resting spots, and a multi-use meditation hall. The western perimeter comprises semi-open pavilions, a souvenir and story gallery relating to ManavSewa Ashram, a mini-scale public library for all demographics, where one can learn and share knowledge on humanity, healthier and holistic living, ethnic culture, biodiversity, and much more. There is also a vegan cafeteria for the public to visit the park, and a public restroom for the park, which complies with universal design standards, providing safe and comfortable toilets and other sanitary facilities for all individuals. The central part of the pond has been designed to have a Jaldhara sculpture, accompanying the pre-existing Shivalinga, which is accessible by the bridges on either side.
Natural building practices have been incorporated into the design through the use of rammed earth, as Hetauda, the project location, has an abundance of good quality building materials like stone and earth, which have been primarily used. This promotes sustainable, natural building practices and is the first of its kind in the Hetauda region, which will ultimately attract the public and raise awareness about natural building solutions in Nepal.
The landscape offers a variety of experiences, ranging from learning about native species to attending open-air free speech and interactive workshops on various subjects, to simply taking a break and enjoying the natural setting, far from the city center. Visitors can learn about the stories of ManavSewa Ashram and experience a dynamic landscape offering both joyful and meditative atmospheres, all around the static composure of water. At the end of their visit, they will feel rejuvenated and content, rather than tired.

Waterside Pavilions

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Community Learning Center

Bal Bikas Kendra

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Kantipur Media Group

Corporate Holding

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"शान्त" (Shant), meaning "calm," was the client's primary request for a family home designed in accordance with the ancient practices of Vastu Shastra in the heart of Birgunj city, a modern industrial/business hub in the Terai region of Nepal. The location faces south, with the main entrance on the southeast and the building designed on the east side. The principles of Vastu Shastra have been considered in the planning of various spaces and their flow.
Primary circulation and central spaces are planned around a courtyard to allow for natural light and ventilation in Birgunj's hot climatic zone. The living room has a continuity of nature from the exterior landscape as the courtyard extends to an outdoor dense garden on the northern patch of land. The ground level is planned to provide natural daylight interior from the skylight while having sufficient cross-ventilation from the northern side through corridors and the central courtyard towards the dining space to the south and circulating to upper levels as well. The upper levels are connected to the courtyard for a sense of openness and connectivity. Upon entering, one experiences the grandeur and clarity of the central courtyard, which has an extended clear height around which an open plan of living, kitchen, and dining spaces is comfortably planned, embracing the connection inside while also extending to the garden on all sides. Circulation from the central space around the courtyard leads to the upper spaces where there is a more private family room for private gatherings. The room overlooks the central courtyard as well as the lawn to the east side. This split level allows for a higher floor-to-ceiling height of central space. The kitchen is planned to the southeast while a secondary kitchen is to the southwest, connected by a common family dining room opening to the central court and southern garden. The sleeping quarters for guests/grandparents are pushed towards the southwest for privacy. A puja room is located next to the living room towards the east side. The bedrooms on the upper level are planned to have their own bathroom and closet space along with a balcony. The laundry and fitness room are located on the top floor. The south-facing bedroom is designed with a latticed brick wall pattern, commonly known as Jali, as well as a cavity wall for insulation. Louvered openings bring in the play of light inside while screening harsh sunlight during the daytime. There is a small outdoor pavilion/hall to the northeast closer to the entrance for office purposes and gathering events. The property has controlled access for pedestrians, vehicles, and service purposes as well at the entrance.
The interplay of linear volumes made of brick, plaster, and textured concrete, along with green planters that provide a natural contrast to the facade, adds warmth to the built volumes, which is a unique yet familiar architectural style of the area. The family had envisioned the project to be more than just a well-crafted built structure; they wanted it to become a home, and the interplay of these elements evokes a sense of belonging. The brick Jali patterns create a perforated volume that breaks into the solid mass, and natural light and shadow have been well-considered to provide a variety of experiences inside. A mandala pattern is embedded on the walls of the entrance, and all these small details contribute to a sense of belonging and ultimately create a space that feels like home.

Interplay of Volumes

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Beautiful things are best when they are brief. The very notion best put together to brief transience of life. For the living, to be able to help the deceased pass on is a great act of salvation. Gaatha got the opportunity to design and propose such space in the form of a facility in the foothills of Swayambhunath Stupa, a UNESCO-listed World Heritage Site. The location already is a fully operating cremation ground for specific cultural groups of Tamang and Gurung people where the process takes place in a traditional manner of burning with firewood in semi-open pavilions. At around the phase of the global pandemic COVID-19, there came a need for such a facility. Also, an electrically operated system creates lesser carbon emission and takes less time allowing efficiency in the process.
The ritualistic practices, in the modern day, have lost their essence in some sort due to convenience and accessibility such that the process of carrying the body to the cremation platform, supposed to be a final rite and journey to be carried out by both the living and the deceased, is now performed to a very near reach by a vehicular medium. Along with this, the families and close ones related to the deceased who come there in a time of grief and contemplation, do not get to contemplate the event due to unmanaged public spaces and circulations, ultimately causing chaos around. To address the situation, the design is inspired by the Buddhist concept of gardens within the landscape as a medium to become a threshold of transient beings. Coherently sequenced as three gardens, Udhyana (उद्यान), namely, Prasthan (प्रस्थान) Udhyana; arrival for one, departure for the other, Bodhi (बोधि) Udhyana; contemplative spaces and Shokh (शोक) Udhyana; grieving and departure, the journey for both the living and the deceased is well-organized taking in reference all the necessary spaces and elements to be incorporated in the planning after having multiple interactions with locals and practicing priests/lama on the right way of conducting the very ritual.
The very idea of life form is an energy and the elements of nature being the whole of all existence, the crematorium is embraced by a planned fabricated landscape with selective native vegetation, symbolizing the impermanence, from the entrance to the cremation hall which includes open as well as semi-open spaces for one to be in the moment of grief, all including ample green areas to aid the spatial experience. Also, the majority of the built structure is made of rammed earthen walls on the surface level providing warmth in a shelter while the facility also includes a cornea-donation service and provision of mortuary located underground. Necessary facilities of administration and in-house management with sanitary rooms are designed along with necessary technical rooms needed for the electrically operated system within the underground and surface level creating no disturbance in primary activities.
The interplay of light in the building and open spaces along with the critically analyzed nature of each space to have a respective ambiance, the design takes on a minimal approach in creating a series of connected sacred and contemplative spaces. While providing comfort and accessibility, there has been no compromise in making a place where events would require to be rightfully following and fulfilling all rituals. For the public mass right outside the crematorium, where pedestrian movement occurs in abundance from early morning, it appears like a few floating slabs amidst the park as seen from the road level, creating a safe and undisturbed architectural experience in and out.

Electrical Crematorium

Udhyana

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Gaatha is the local partner for this project which is being done in collaboration with a New York-based design firm Sharon Davis Design (SDD) and Nepal-based design and construction firm Sustainable Future Nepal (SFN) where SDD created the main conceptual design of the buildings and landscape and SFN did the technical design and construction. It is home to Manav Sewa Ashram, a service and care refuge for people facing homelessness due to mental health conditions and different societal challenges in Nepal. The project is divided into two facilities; a residential care home and a learning center open to non-residents with a capacity of 200 people, and 100 people respectively.&nbsp;
The facility is constructed using locally sourced earth and stones in rammed earth construction technology. Rammed earth buildings are environmentally sustainable and substantially reduce the energy consumption for active heating and cooling.

Jhapa

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ManavSewa Ashram provides domestic and institutional services to people throughout Nepal who have been deprived of social inclusion, facing mental health conditions and societal challenges in both rural and urban contexts and are isolated by their families due to mental health conditions, victims of social crime, or in need of help and care. These services are provided through the collective efforts of volunteers, people with good faith, community and government support, and a group of dedicated officials of the Ashram. Simply put, it is a place to call home for all those in need. The Ashram is situated on the outskirts of the core Biratanagar urban area, amidst large farm fields and local settlements of Bargachhi. The land is comparatively compact and segmented by a park designed for the Ashram, with the facility designed to accommodate 200 residents, including volunteers and caretakers.
Inspired by the vernacular characteristics of courtyard planning in Rana Tharu settlements, the design incorporates multiple blocks around common central open spaces and visually open corridors that provide safe and monitored access to the open space for all the residents of the Ashram. Such pockets of green spaces are connected with semi-open connections for visual linkage as well as proper airflow throughout the circulating areas within the building blocks. Most activity areas, including dining, kitchen, administration, and multi-function spaces, have been planned around the ground level for ease of activity management and surveillance. The built volume has blocks planned in a progressive manner, from front to rear, to minimize psychological intimidation and the grandeur of the building for new residents and visitors, creating a balance between the built and open space of the park within the facility. Within this interconnected volume, privacy and circulation, along with residential areas for in-house staff, male and female residents, and children, have been carefully planned, with isolation care units and provision of medical rooms planned within the ground level. The children's care facility comprises an open study and learning area with access to an open terrace overlooking the landscape to the east, as well as the central courtyard. As the children need a presence of an elder group to constantly take care of them, the staff's residential area lies adjacent to their facility on the same floor. The presence of courtyards and clear corridors allows every space within the structure to have a well-ventilated and naturally daylight atmosphere throughout the day.
The Ashram has a park named Kabir-Vatika, after a notable figure. It is an explorative landscape with varieties of native vegetation and water bodies, contributing to the micro-climate of the place to a certain extent. The park is accessible to the public as well as the residents of the Ashram, ensuring a safe and friendly environment for everyone. The facility has been planned with a bio-gas plant and a rainwater harvesting system for better sustainability of resources in the longer run.
The design incorporates exposed brickwork throughout the volume, with brick dust, commonly Surkhi, mixed with lime as plaster for external application on exposed brick wall surfaces. This represents the warmth of Tharu settlements of the region, while also capturing the local craft skills of Tharu culture on floral and characteristic motifs as an aesthetic as well as cultural representation of local communities. The residential neighborhood of the Rana Tharu community belonging to that place has a welcoming character and social threshold, with a space that allows interaction and pause designed in their entrance to a private household. This identifying characteristic has been translated in the design, with the entrance gate and reception block not just being a property barrier but also a welcoming threshold for Ashram and surrounding green farm fields.

Bargachhi

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An urban retreat, Nagarkot is a popular destination near Kathmandu where people go to escape the summer heat and enjoy the freshness of the hills. It carries a rich traditional architectural heritage and features a diverse agricultural landscape. In 2019, Gaatha got an opportunity to create a twin residential farmhouse in this picturesque location. The design is Gaatha&rsquo;s take on contemporary architecture on a hilly landscape in Nepal.&nbsp;
The project sits on terrain facing mountains and hills to the north, capturing the view of Kathmandu valley in the distance, and also has a community temple to the immediate west side. Having a good knowledge of the site and its surroundings, the main idea behind the design was to create a place that exudes serenity while also being a part of a traditional neighborhood. Nagarkot has numerous settlements scattered throughout the hills that have a common characteristic of open frontward spaces in a typical traditional house. Therefore, the design of the farmhouse was planned to have a similar character of flow and connection of open spaces and built mass put together, despite being in a gated-secure environment and being private property. The farmhouse is tucked into the hilly landscape and incorporates a split volume in the structure that follows the stepped terrain of the land. The volume is designed with maximum glazing and light materials to bring clarity and lightness to the structure, so the mass would sit coherently with the sloping landscape. A central lawn with a stepped garden accompanies the twin farmhouse. The split volume is designed so that the living room extends outwardly to a veranda while the internal space has a central water courtyard that connects the open-plan kitchen and dining area. A central staircase acts as a backdrop circulation of the central court leading to the upper level, which has two bedrooms with private balcony space. Both houses have a backyard that provides a safer place in terms of wind and openness for family gatherings and private events. The backyard connects to the rooftop, where the landscape can be enjoyed in full grandeur.
The interior design, done in collaboration with an external team of interior designers named Coconut Groove Interiors headed by Ms. Maple, has a warm finish throughout, with naturally lit spaces all around. The central skylight drops all the way to the lower water court, bringing nature into the volume and giving a sense of free-flowing internal space expanding towards the external surrounding. All the rooms and circulation spaces frame the distant landscape and immediate gardens, offering a variety of experiences within the house.

Farmhouse

Intersection

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In today&rsquo;s fast-paced society, art can allow a brief slowness to the haste. Just as how the cultural practices of Nepal exhibit one or a group of people allowing a moment of slowness at a place of worship, the example here being stone slabs (carved and inscribed) and religiously significant plants (that lie in various routes throughout neighborhoods), urban spaces also need such characterizing places in the form of parks, squares, rest pavilions, and transit stations of daily commute to sustain art and daily life.
Here, two solid monoliths positioned in different perspectives represent the stone slabs and stone artifacts present in open public spaces as a place of worship in Nepali society while the long flat slab of roof has a lattice-patterned puncture resembling the traditional lattice windows namely, &ldquo;Aankhi-Jhya&rdquo;, as a poetic connection of light and shadow that a tree holds with ground. The structure has a bold white presence amongst the hustle of urban commute stating a context like nowhere else as a subject of identity and sense rather than replicability. The monoliths are textured with a rough plaster pattern to symbolize the randomness of life moving around a single static object, directly relating to the daily urban movement. Information boards and panels arranged vertically showcase transit and network information with a digitized system for future integration along with braille signs for accessibility. These panels allow advertisements and public notices to be displayed in an appropriate scale and location in urban bus stops thus setting an example for the exaggerated presence of advertisements that we see today. Furthermore, few seating arrangements around the monolith and safely buffered public seating arrangements recessed inside SankhaDhar Park provide multiple seating choices in the area.
The proposal simply presents an idea of translating the connection of rich practicing and existing heritage of plants and stones that are JUST PRESENT and SERVING LIFE, as a shelter and as a company in public spaces, here presented in an urban bus stop near SankhaDhar Park in Kathmandu.

Urban Bus Stand

Life Trail

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ManavSewa Ashram provides domestic and institutional care and services to people across Nepal who have been deprived of social inclusion, facing mental health conditions and societal challenges, whether in rural or urban contexts, isolated by their families for mental health conditions, victims of social crime, or simply in need of help and care. This is all made possible through the collective efforts of volunteers, people with good faith, community and government support, and a group of dedicated officials of the Ashram. Simply put, it is a place to call home for all those in need. Amist the farmland surrounding the industrial city of Birgunj, the site lies in the great plains of terai region. The facility is planned to accommodate 100 residents with a male-female ratio of 50-50, along with Humanity Learning center, a residencial training center for 50 people.
Rammed earth technology has been used, inspired by vernacular aesthetics and material usage, creating an environment that promotes sustainable practices and a healthy lifestyle within the establishment. Locally sourced building materials and resources have been utilized from the initiation to the operation of the facility for better sustainability in the energy and resource management. Multiple interactions with local communities have taken place since the initiation of the project, focusing on the subject of vernacular ideas and ways of living in such settlements of terai, to better understand the human values, connection with the natural surroundings, and identity of the place. Among those interactions were also those with stakeholders and officials under the supervision and collaboration of experts in related fields of natural building practices and engineering to introduce better building solutions while promoting new ways of designing and using locally available building materials and resources.
The facilities are planned in such a way that the two can exist seperately or in coherence as per requirement. Sharing the common areas like parking, hall and entry pavilions, both the facilities are designed to be administered by the Ashram team. Considering the hot and humid climate, the traditional courtyard planning has been opted with buffer corridors that further protect the indoors from the harsh summer sun.
Amidst the slowly degrading trend of architecture and practice in the terai region of Nepal, this design sets an example in modern-day architectural practice to follow in the coming future in the Birgunj region. Ultimately, it will contribute to the larger community. The design aims to create opportunities and share skilled resources with the surrounding communities to promote the concept of natural building practices and healthier habitable spaces in the present-day context of the terai landscape of Nepal.

Birgunj

Manavsewa Ashram

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Dhangadi

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ManavSewa Ashram provides domestic care and institutional services to people all over Nepal who have been deprived of social inclusion, and facing mental health conditions and societal challenges, whether in rural or urban contexts. The Ashram also assists those who have been isolated by their families due to mental health conditions, victims of social crime, and those who need help and care. All of these services are provided through the collective efforts of volunteers, people with good faith, community and government support, and a group of dedicated Ashram officials. In short, it is a place for those in need to call home. The facility is located in the village of Gramthan in Biratnagar and is surrounded by vast open farm fields and local Tharu settlements. The secluded, safe, and humble community makes the location ideal for providing care and services to a planned occupancy of 150 individuals, along with caretakers and volunteers. A local stream flows through the site and has guided the design principles in terms of planning and flow of spaces.
Multiple community interactions on topics such as locally available materials, generational skills and knowledge of using locally available building materials and construction techniques, bamboo and timber crafts, local vegetation and bio-diversity, socio-cultural identity, and the vernacular essence of the place have led to program and design discussions with Ashram officials and local personnel on site. Observations of traditional Tharu settlements in the region and the corresponding lifestyle of that specific Terai region of Nepal have also informed these discussions. This collaborative process has resulted in site and land management ideas on flood management, privacy, and functional planning of proposed programs based on external site factors. The design incorporates the abundant use of bamboo and locally sourced timber, along with earth and thatch, as primary building materials. The design also incorporates the identity of the region through the use of the rammed earth construction method. Utilization of these resources from the initiation to the operation of the facility provides better sustainability in energy and resource management.
Functionally, administrative areas and public spaces with harvest gardens are planned for the northernmost stretch of the site, where the main entrance to the facility is also located. Common services such as dining, kitchen, multi-use spaces, and open areas for Ashram residents have been planned centrally to improve surveillance and circulation. A community hall for events and interaction, a souvenir shop with products made by the Ashram residents with love, and management facilities, along with a private residential block for in-house staff, have been planned for the northern part to segregate the private areas from the public areas. Residential and care facilities are limited to the south side, with a well-separated environment for male and female residents. The isolation care unit is planned near the security post for surveillance. Pockets of coherent open spaces with clear visual perspectives of the outer fields and internal surroundings have been planned for the residential area. Elderly residents have their rooms near the central pavilion for ease of access, while the entire residential area has its own privacy and accessibility. Physically challenged residents need not reach upper levels and have free-flowing access to the landscape. The central pavilion is designed in an elliptical structure that looks both inwards to the courtyard, allowing activity and natural air circulation throughout, and outward to the fields, giving a sense of vast green open space around the major activity area. These types of care facilities should be well thought out, not just in terms of functional requirements and planning, but also in terms of how they interact with people from a visual perspective. The design has a humble take on the local vernacular style of sloped roofs and the use of earth, thatch, timber, and bamboo, making the place familiar for new residents and less stressful on how their environment looks, ultimately giving them a sense of being at home.
Serving the community's needs of promoting local crafts, materials, and technology with a common space for exchange and interaction, the project also reaches out to the exterior surroundings in the form of a community hub, souvenir station, and an organic harvest farm. The project, thus, provides opportunities and events for sharing skilled resources with the communities around and promoting the concept of natural building practices and healthier habitable spaces in the harsh climatic conditions of the Terai region of Nepal. The facility also has an establishment adjacent to it proposed as Senior Citizen's Village, which has a provision of care services to facilitate the Ashram occasionally. The elderly there would have the opportunity to provide services and care to the Ashram in their respective ways. Also, the interactions helped in collecting knowledge from the locals regarding native vegetation species and ways to create a self-sustaining biodiversity that would also contribute to the microclimate of the place.

Gramthan

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Bedroom Interior

Neutral Nest

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Riverbanks hold great significance in the growth of any civilization, carrying deep social, cultural, and religious values, particularly in Hindu society. The project is situated on the Singhiya riverbank in Biratnagar, where there already exists a temple complex comprising several Hindu deities' temples. The complex currently serves both as a place of worship and a social space for visitors, especially during morning and evening hours. In such a context, redeveloping the complex into a much more diverse and interactive landscape that continues to the riverbank would allow people of all ages and cultures to experience a socio-cultural space regardless of their religious beliefs. They can be part of practicing the ancient Hindu culture of Aarati in the evening on the riverbanks, spend time in a calm and meditative environment, or just sit and watch the world go by.
The complex segments outward to the riverbank with planned walkways and pavilions organized throughout the landscape, extending to a series of stepped platforms all the way to the river, serving the function of observation during the evening prayer ritual, Aarati. Open seating arrangements offer multiple privacy buffers at any time of the day, and the steps allow connection to the river, which is intensively used by women on the occasion of Chhath-Parwa, a Hindu festival. Over the course of multiple interactions and observations of the location, many tangible and intangible aspects of the place inspired the process of design and development. One crucial observation that influenced the design was a coherent resemblance of colonnades found in the structure of a Hindu temple and pavilion with the arrangement of trees in a forest, creating a diverse yet unified experience within the same landscape. This idea was followed up by documenting stories, historical events, and significant illustrations representing the context of the place with rich cultural and religious notions, all within wooden posts used in the pavilions. In the current times, one can hardly get to know or observe such heritage in modern architecture.
The Terai region of Nepal is vibrant with colors, which lend a unique identity to various aspects of the community, including food, fashion, and cultural demonstrations. During earlier times, it was a common practice to collect water for multiple purposes in huge clay pots from the rivers. However, such practices are hardly seen today, which directly relates to the pollution of natural water sources. To pay homage to the identities of the place, the landscape includes a Kund, a stepped water collection pit, with clay pots depicting local crafts arranged around the walkways and pavilions. Thoughtfully planned architectural lighting makes the complex lively during the evening event of Aarati and creates a safe and comfortable space for everyone. The major structures are safely setback from the bloodline of the region in case of monsoon flooding, which remains quite common in this region. Almost all the previously inaccessible open spaces are now a part of a larger complex, fully accessible and consisting of native vegetation species planned in abundance to provide a more habitable public space within the temple complex. The landscape also offers flexible spaces for various cultural events, festivals, gatherings, and other authorized events at different times, making it a place for everyone.
The project aims to captivate the governing authorities and the general public regarding public space management and the cleanliness of natural water sources. It reaches out to the larger community of the place in an impactful way.

Singhiya Riverfront

Aarati

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Located in the posh residential neighborhood of Baluwatar in Kathmandu, the concept for redesigning the interior for residential purposes was to incorporate a Neo-classical sense into a contemporary design style. The client's possession of a collection of Neo-classical furnishings evoked the concept that the design incorporates in the central living room, creating an interior living space that blends elements from the past and present.
The central hallway connects the main entrance to the common living space and leads into the dining area. A centrally located linear staircase connects the penthouse's living space with the central living room while providing ample natural daylight coming from the penthouse. The apartment consists of three bedrooms, all luxuriously fitted with private attached sanitary rooms. The penthouse has open and semi-open terrace arrangements with a private living room and a kitchenette. The bedroom on the top floor penthouse comes with an extended closet room with lavish sanitary finishing and a gym with supporting amenities of sanitary facilities, all arranged on the top floor penthouse. The penthouse also has private access along with a connection to the apartment below.

Penthouse Interior

Neo classical

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Dhumbarahi

Residence Extension

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INSPIRATION FROM BIRENDRANAGAR/ SURKHET VALLEY
Birendranagar, the vibrant heart of Surkhet Valley, is a city where tradition and modernity coexist in harmony. Our design for the Ghantaghar Park draws inspiration from the city&rsquo;s rich cultural and natural heritage, reflecting its unique characteristics. Birendranagar is steeped in traditions, such as the captivating Deuda dance, a significant cultural expression that fosters community bonding and celebration. The city is home to revered temples like Kakrebihar, Sidhapaila, Lati Koili, and Deuti Bajai temples, which are vital to the city&rsquo;s spiritual landscape. Birendranagar&rsquo;s local urban biodiversity includes native flora such as Sal trees (Shorea robusta), Asna (Terminalia alata), and Khair (Acacia catechu), alongside birds like House sparrow, Common Myna, Spotted Dove, Bulbul, Robin, Rufous Treepie, etc offering a sanctuary for both people and urban biodiversity. The annual Sidha Paila Mela is a festival that brings the community together and encourages communal activities and festivities. Our design for Ghantaghar Park is a tribute to Birendranagar&rsquo;s cultural richness, spiritual depth, and natural beauty, creating a space where the community can gather, celebrate, and thrive.
DESIGN DIRECTION
If buildings and roads are the body of a city; parks and open spaces are its soul. One can judge how equitable a city is by judging the status of its parks and sidewalks; judging how tolerant a city is towards its informal vendors and by how sensitive it is about the wellbeing of its grassroots population- the socially marginalized and the economically disadvantaged. This is exactly what we have tried to achieve with our proposal of the Greater Ghantaghar Park; a prototype for a truly inclusive and sustainable urban park in Nepal. Each of our design decisions has been guided by these two core principles, which don't just take an Anthropocene approach to design but also consider the well-being of the ecology and the urban biodiversity. Now what does it mean to be &lsquo;inclusive&rsquo; and &lsquo;sustainable&rsquo;? And how does a planner/architect translate it into a public park/plaza? Below, we have identified subtopics under our core principles that go into the detail of the physicalization of our design principles.
1. MOBILITY To promote sustainable, inclusive, and active modes of mobility, we have given the best access to walking, cycling, and buses/rickshaws with protected cycle lanes, wide designated walkways, and tactical urbanism to separate modes of mobility on site. Furthermore, we have prioritized bicycle parking over motorbikes and car parks (design cycle parking at better proximity inside the park compared to motorized vehicles). Similarly, we have designed a bus stop that opens up into the park and a designated rickshaw parking stop next to the plaza.
2. FLEXIBILITY We want our public spaces to be fluid. We have designed multiuse spaces that can transform between uses seamlessly and can simultaneously host a range of activities. Ex: Our public forum is an open canvas for leisure, physical activities, social interactions, public exhibition, activism, art, and expression.
3. ECOLOGY We have saved all the existing roadside trees in the proposed design. Furthermore, all the new plantations are local to the area and are home to the local urban biodiversity. This is an intent we have replicated in the selection of grasses, shrubs, and trees. To mimic the natural environment, we have used the layering technique in the plantation. Finally, we have the legacy of the existing Gulmohar trees on-site (that have established an identity of their own among the locals) and thus proposed plantation of flowering trees such as Gulmohar and Jacaranda throughout the site that will add a touch of color all to the park all year long.
4. SUSTAINABILITY We have practiced sustainability by using native plants that need minimum care, prioritizing active modes of mobility and mass transit systems, use of locally sourced materials where possible, and promoting the local economy by providing a designated space for the local haat bazaar. Finally, we have carefully mapped the trees about the seating spaces, walkways, and bike lanes about the sun path for temperature control. Economic sustainability: We have proposed paid parking areas for cars and motorbikes, fixed stalls, and rentable areas that will be a generous revenue source for the city. We also envision the temporary stall spaces for informal vendors to be formalized with a permit system.
5. INCLUSIVITY As our core design principle, our design is Inclusive, Gender friendly, and Age-friendly. We have actualized this by designing wide walkways, bollards, and green barriers to protect walkways along road corridors, designing non-slip walkways and smooth pathways suitable for walking canes and wheelchairs, placing tactile paving, ample gender-friendly washrooms with breastfeeding and childcare areas, designing handrails and backrest for the elderly and designing wheelchair-friendly park seating.
6. SAFETY/SECURITY We have actualized this by Planning ample lighting for the dark, user-friendly navigation through the site, avoiding dark hidden spaces, placing emergency poles throughout the site, placing security booths at major intersections, and placing surveillance cameras where needed.
7. IDENTITY The design is a reflection of the identity of Birendranagar. The use of carved Stones throughout the site reflects the heritage of craft from monuments like the Kakre Bihar temple. The use of urban social spaces along the street promotes the local street food culture. Similarly, allowing for a wide cycle path that is designed to fit push carts and planning for a rickshaw stand are some techniques we have used to protect the identity of the city.
8. CONTEXT SENSITIVE We realize that our site doesn&rsquo;t function in a vacuum. Thus, we have carefully identified the surrounding context, usage, and how these functions interact with our site and designed the park functions and features accordingly as can be seen in the zoning map and the masterplan.
9. PHYSICAL FITNESS Our park is designed to promote cultures of walking and biking as mentioned before. Furthermore, we have also planned for multifunctional activity spaces like a Sports ground, outdoor gym, open spaces for yoga and group exercise events, and children's play area.
10. MENTAL WELL-BEING Some specific interventions to achieve this design principle: Natural sound barriers using greenery and green mounds, ample green spaces, temperature control with shading, layering plantation to mimic a natural green environment, use of organic shapes, calming colors, placing water elements, and soothing ambient sound of birds and waterbody throughout the site.
11. EXPRESSION The Urban Forum is designed to welcome any form of expression be it art, philosophy, skill, or ideology. Thus, we have strategically placed it at the busiest intersection that interacts simultaneously with the commuters from the bus stand, the plaza, the city corridor, and the university. Such spaces are an essential requirement for a democratic society where every individual has a right to express themselves. We have also placed multifunctional open-air theatres, and interactive group seatings throughout the site. Furthermore, our wide walkways and open spaces throughout the site can be an interesting place for art exhibits and performances.
12. LOCAL ECONOMY We want to ensure that the park benefits the economically marginalized by providing a designated market for the local farmers and producers, by providing space for informal vendors who promote local food culture, and by designing wide cycle lanes that accommodate push carts to recognize these vendors as an integral part of of the city&rsquo;s local economy. Furthermore, we have strategically placed the local produce Haat Bazaar next to the car and bike parking zones and major city walking and traffic corridors to ensure that their business gets the maximum traction and footfall.

Greater Ghantaghar Park

Linear Play

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The primary concept of re-designing the pre-existing blank wall within the property was to deliver an experience of warmth and lushness while passing through the driveway. The design consists of two parallel walls, one made of rammed earth fully exposed and treated well for external exposure, while the other is left blank with creeper plants adding a dense green visual. The contrast between the warm color of the earth wall and the green plants allows the user to experience the variety while passing through, either by foot or by means of a vehicle.

Fence Design

Driveway

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Today, professionals in science and technology are no longer limited to a workspace of their own. Competitive technology has reached mass diversity globally and these workspaces should offer a space that promotes healthy collaboration between professionals and learners. Furthermore, interaction with the space is equally important as the environmental aspects shape one's behavior at any given time. A well-lit, ventilated, and comfortable place to think and relax can bring about cognitive enhancements in the workspace, whether for an individual or a group. This proposal follows a similar concept in the form of a cafe. The space is not just a cafe outdoors encapsulated within the landscape but also an arrangement of multi-functional indoor and outdoor workspace and creative dots that offer users the choice to be free on how they choose to interact.
The design revolves around a central co-working hall that connects visually and functionally with the surrounding outer workspaces in cases of mass collaboration. The design of the central hall is such that upon movement of the exterior panels, each outdoor workspace becomes one private table for activities catering to isolated working space, having a coffee with a book from the library, a quick pod session, or simply sitting back and observing. Locally available Nepali fabrics used as screens, blinds, and ceiling covers have been used for interior privacy, light control, and heat control from the metal roofing. A few steps away the space offers a semi-open pantry with a library for users to interact with. The planning incorporates a restroom accessible to users without any physical discomfort. The same goes for accessibility of all amenities within the cafe where even the landscape has been leveled with the built area for ease of access to all.
Outdoor space has been left as open in significant amount compared to the built-form allowing more breathable and visually clear contexts for the users. Rather than approaching with a big scale of mass for the cafe, the design has a balance with the greater void. This has resulted in the interior feeling light and connected with nature outside. Selective species of vegetation available locally in the region will enhance the overall look and feel of the place all of which respond to the design, functionality, and climatic features throughout the year. With planning comprising circulations that connect with all the amenities and greeneries, users can experience a sense of community working together in a common space within the caf&eacute;.

NAST Innovative Cafe

Fluid Space