The mountainous land-locked Nepal has a lot of unique architectural perspectives to offer that are often not in the spotlight. The use of carved wood is one of them.
Culture Calling
A mere five-minute drive from Kathmandu International Airport brings me to my destination, The Dwarika’s Hotel, and, as soon as I enter the property, despite the late hour, I cannot help but notice the intricate wooden windows that are part of the facade here. I am ushered into my room, a junior suite, also done up tastefully with several wooden artefacts and I am lulled to sleep, tired from a long journey.
The next morning, as I am up early to the sound of birdsong, I head straight to explore the property and realise that the wooden architecture here has a fascinating story. The retreat was started by Dwarika Das Shrestha, who had collected several of these windows that were being discarded by old home owners as they built new structures. At one point he had so many pieces that he decided to build a home that eventually became the resort.
Interestingly, he also established a heritage and training workshop with three master carvers in the 1950s to ensure the tradition of wood carving does not fade away. These efforts have clearly paid off as the craft has now got a new lease of life.
Intricate Details
As I head for breakfast at Toran, the in-house restaurant that focuses on ingredients from their in-house farm and sample some hearty Nepali bada (a lentil pancake with fresh vegetables), it is impossible to miss the intricately carved wood panels in the restaurant. The best part is that every window here has a story — a set of three windows that belongs to three brothers.
While two had handed over theirs, the last brother was resisting it till he finally gave it up.
Stepping out for a small tour, I am first shown the piece de resistance — a 13th century window panel and door. “This is our oldest piece,” explains Rene Vijay Shrestha Einhaus, CEO, and grandson of the founder. “This craft is very specific to the Kathmandu valley and the surrounding areas of Patan and Bhaktapur and this architecture is non-existent outside the Newari community,” says Einhaus.
Workshop Cues
Patan Durbar Square
To understand the restoration work, I head to a workshop that is close to the property. This was established in 1960 by Dwarika Das Shrestha and the team is using the same equipment that was used back in the day for the restoration of these pieces. Here, they are also making some furniture and decorative artefacts like candle stands and more for the property.
“This architecture is being restored in two ways, attaching wood where required as well as working on the carving. We are building one more courtyard at our hotel so the craftsmen are working on the pieces on site,” says Einhaus. A large window masterpiece is available on site that is held together by ropes. There are segments that need to be restored as they have been eaten by termites. The carving is replicated as well so that the window’s symmetry is maintained. The wood is dark as it uses an oil that helps keep it preserved over centuries.
“The wood we use is sal and it grows in the plains and is used as it is a hard wood that does not weather easily. Also, the harder the wood, you could carve more intricately and, hence, we only use the same wood. For my grandfather it was the cultural connection that was very important,” says Einhaus. The remaining pieces will make their way to the new block that is being constructed.
Community Code
Interestingly, when I visited the durbar squares at Kathmandu, Patan and Bhaktapur, it was the exact same kind of architecture that was seen in almost all the heritage buildings there. What makes the architecture interesting is that the Newari community has both Hindu and Buddhist connections, which is also seen in the architecture. Walking through these towns, I am struck by the sheer magnificence of these structures. The figurative roof struts, which support the wide overhanging roofs of the old monasteries, are a common sight in the durbar hall.
“The wooden pillars, doors and windows are not only constructive components in the architecture of the Newar, but together with the roof struts, they are the elements in which craftsmanship and the ambition for perfect decoration is predominantly expressed. With the European influences in the Nepalese architecture in the late 18th and 19th century, window shapes changed not only from square to upright rectangle shape, but also the design of the windows turned to be simpler and the carving became flatter,” says author Heinrich Meyer in his book Kasthakala — The Art of Nepalese Woodcarving.
Making it Matter
A building at Kathmandu's Durbar Square
On my last evening at the retreat, I visited the in-house Krishnarpan restaurant for an authentic Newari meal and, once again, it was the architecture that struck me. With low wood and floor seating, this delightfully designed space also has a lot of wood architecture. As I tucked into a six-course meal of curated Nepalese fare enjoying the nuances of the cuisine, I could not help but wonder how Dwarika Das Shrestha’s vision has translated into a contemporary context for all to enjoy. Naturally, the souvenir that I picked up from this trip also had a wood connection — a small carved wood window artefact that will remind me not just of this trip but a slice of Newari architecture.
The property was reviewed at the invitation of The Dwarika’s Hotel