Report On Conservation (Suman Lama - 073BAE246)

Tribhuwan University
Institute of Engineering
Central Campus, Pulchowk
DEPARTMENT OF ARCHITECTURE
REPORT
ON
CONSERVATION
Submitted By: Submitted To:

Suman Lama Prajwal Hada
073BAE246 Department of architecture
10th Mangsir, 2077

Conservation Report Department of Architecture | 2077
ACKNOWLEDGEMENT
I would like to express my special thanks of gratitude to Prajwal Hada, lecturer for Architectural
Conservation and Department of Architecture for providing this opportunity to expand
knowledge and broaden the horizon of conservation through this project.
I would like to thanks Tokha culture conserved area development committee for providing the
information. I am very thankful to the kind people of the sites whose coordination have led us to
many intangible findings and gather information required for this report.
Thank you
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Table of Contents
ACKNOWLEDGEMENT ..................................................................................................................... 2
Introduction to Conservation ......................................................................................................... 5
Objectives........................................................................................................................................ 5
Study methodology ......................................................................................................................... 5
Limitations and challenges.............................................................................................................. 6
LITERATURE REVIEW-BACKGROUND STUDIES................................................................................ 6
Introduction to pati..................................................................................................................... 6
Types of Pati ................................................................................................................................ 7
Construction styles of Pati .......................................................................................................... 8
CASE - FINDINGS AND DISCUSSION OF KWAKHALE PHALCHA/PATI, SAPAN TIRTHA MANDIR
AND BHAKHYA HITI ..................................................................................................................... 9
Kwakhale Pati................................................................................................................................ 11
Introduction/Description: ......................................................................................................... 11
Historical Background ............................................................................................................... 12
Social, cultural and religious importance ................................................................................. 12
Architectural style, Materials used and Construction Technology........................................... 13
Roof ....................................................................................................................................... 13
Material used: ....................................................................................................................... 14
Construction Technologies: .................................................................................................. 14
Floor space: ........................................................................................................................... 16
Wooden posts and meths ..................................................................................................... 16
Wall ....................................................................................................................................... 17
Inspection:............................................................................................................................. 19
Conclusion ................................................................................................................................. 21
Recommendation...................................................................................................................... 21
Drawings ................................................................................................................................... 22
Sapan Tirtha mandir...................................................................................................................... 27
Historical Background ............................................................................................................... 29
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Social, Cultural and Religious importance ................................................................................ 30

Architectural styles, materials used and construction technology .......................................... 30
Pinnacle (Gajur)..................................................................................................................... 31
Roof ....................................................................................................................................... 31
Descending Metal Banners- the pataka................................................................................ 32
Doors and windows .............................................................................................................. 32
Plinth ..................................................................................................................................... 33
Inspection:................................................................................................................................. 34
Bhakhya Hiti .................................................................................................................................. 35
Socio cultural importance ..................................................................................................... 35
Inspection:................................................................................................................................. 36
Conclusion ..................................................................................................................................... 37
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Introduction to Conservation
Architectural conservation describes the process through which the material, historical, and
design integrity of any built heritage are prolonged through carefully planned interventions. The
individual engaged in this pursuit is known as an architectural conservator-restorer. Decisions of
when and how to engage in an intervention are critical to the ultimate conservation-restoration
of cultural heritage. Ultimately, the decision is value-based: a combination of artistic, contextual,
and informational values is normally considered. In some cases, a decision to not intervene may
be the most appropriate choice.
Conservation is carried out on the basis of different values of the buildings. The values in
conservation are basically:
 Emotional value
 Functional value
 Cultural value
 Historic value
 Archaeological value
Objectives
This report is prepared for the study of information related to Architectural styles and
construction technologies of historical buildings. The purpose of this report is to demonstrate the
existing condition of the Kwakhale Hiti, Sapan tirtha Temple and pati, and to advocate some
necessary programs for the preservation. The report primarily concerns about pati located in
front of Taleju Temple, Tokha. And it briefly covers social, cultural, religious and historical aspects
along with the construction technology.
Study methodology
Our main goal was to collect information related to architectural style and construction
technologies; and document it. We basically made following three approaches during the
collection of data:
 Technical approach for Physical Survey: Used simple measuring tapes for the
measurement of plan, sections, elevations and other detail element. Mobile phones for
photographs and recording purpose.
 Communication for Socio-Cultural Survey: Verbal communication is one of the best way
to understand social, cultural and religious aspects during the survey or data record. And
it is one of the best way to gather information.
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 Secondary Data for Historical Survey: Use of secondary data of and on the field helped
us a lot to understand the type of work. Secondary sources like books, articles and online
research were prime source during the course.
Limitations and challenges

There is limitation of time period and ease of access due to the current pandemic situation due
to covid-19. Studies has been mainly concentrated on the architectural styles and construction
technologies of the structure.
This report includes some of the most basic form of data collection; however, high accuracy of
the data cannot be expected. Technical approach adopted were not advance enough, we
however have tried to minimize data errors. No doubt there were challenges during data
collection. But opportunity to learn should be equally acknowledged. Department of Archaeology
is one of the responsible governmental organization preserving and promoting important
historical artefacts; it should equally adopt more scientific and advance way of conducting itself
in the field of conservation and preservation.
LITERATURE REVIEW-BACKGROUND STUDIES

Introduction to pati
"Most of the current beautiful Newari architectures were built in Malla Period (13th -17th Century)
and they are said to be continuation and development of the Architecture Style and Construction
technologies from Lichchhavi Period (2nd -8 th Century). At that time there is no availability of
transportation facility like today. People used to walk for a long time to go from one to another
place. So, during their long walk, they need to take rest at certain places. Most of the Newars of
Kathmandu were a trader and they have to walk spending more than one night outside the
settlement. There is no availability of hotel and lodge, where they can eat food and spend the
night. So, they built and developed public structure like Pati/Phalcha, Sattala, and Dharmashala,
which can be collectively called 'Public Rest house'. " (Shrestha, 2012)
Pati, a Nepali word, originated from Sanskrit word "Pattika" also known as Phale or Phalcha in
Newari language, a more specific term for Dharmasala, refers to small rest houses. It is a simple
and most fundamental built form of rest house. Findings have mentioned their existence dating
back to Lichchhavi period. However, Lichchhavi patis do not exist anymore. It is assumed that
the appearance of the pati has not changed that much. Most of the remaining pati in Kathmandu
valley are built between the end of 16th to the middle of 18th century. An inscription describing
repairs and reconstruction of the pati were encountered suggesting them to be standing upon
the foundation of older structures. Along with the form, the function of the structure does not
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seem to have changed that much. Pati are found generally facing the street, pound/conduits/hiti,
ghat and temples. And people still use them for various social gatherings and activities.
Meanwhile, gaining pace of modernization and development have put them under huge threat
of degradation.
As mentioned above, the principal function is shelter, a place for people to rest, work and
socialize, and for the wayfarer to pass the night. "Besides these, it serves the closely interwoven
Newari society living in its neighbourhood, as a meeting place for games or social and religious
gatherings." (Korn, 2014)
"In Kathmandu, Patan and Bhaktapur hundreds of patis can be found and at least a dozen is
located in every village in the Kathmandu valley. They are found in association with all major
shrines, at all main intersections an alongside every trail, often situated close to a source of
water. However, patis are not only found in settlements but also exists widely at the approaches
to the settlements. Moreover, scattered throughout the countryside near roads, paths, and
crossroads, or near wells, ponds streams, and bridges, as well as being located alongside temples
and shrines.
There are no pati called as a Hindu pati or a Buddhist pati. Community or public patis has holy
image placed in the niche of the rear wall. The images are usually a group of god and goddesses.
Buddha, Indrayani, Narayana, and Krishna are images that are generally found. In Patan, at
fourteen patis, fragments of the chariot of Machhendra Nath like shafts or axles are kept. These
fragments are distributed among the communities as the chariot is newly built and faulty
components are replaced by new ones.
Machhendra Nath pati: There are altogether 14 patis where accessories of the chariot of Red
Machhendra Nath are kept. They are at Piche, Capah, Sakva, Dalachhen, Pilachhen, Thati,
Saugah, Yanamugal, Jawalakhel, etc. The one at Piche stores a shaft of the chariot and at
Jawalakhel stores a long wooden part of the chariot. Hence, the patis are designed to
accommodate these accessories and carry out Guthis activities." (Gutshow)
Types of Pati
Patis can be categorized as public and private in terms of ownership. Private pati are generally
owned by Guthis. The patis around temples are used for the performance of music and
performance of rituals activities.
"With the locations of Pati, it can be classified into two types: one is found in core area of cities
and settlement, which is mostly used by local people; another is found in outskirts of cities and
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settlements, mainly located beside the roads and routes, generally made to provide shelters for
traders and travellers." (Pokharel, 2012)
According to the shapes of floors, Pati can be further categorized as Rectangular, L – Shaped, T -
Shaped, U – Shaped, Curved, Circular, Square.
Rectangular Pati: Rectangular is the most common shape of pati. The longest pati seen is Kawale
Kotpati at Mangal Bazaar, has 32 bays. The shorter side is either single or double bayed. The
sides of the pati open in one direction to four directions. So, rectangular patis can again be
classified as one, two, three and four open-faced patis. The most common is the pati with three
open sides.
L-shaped Pati: The L - shaped pati is also one of the commonly found pati. It is generally lean to
pati resting on two sides of the building, has one bay width. In temple complex and water spout,
the pati at the corner of the boundary are L - shaped.
T-shaped Pati: The T - shaped pati is rare in the valley, is usually freestanding with a rear
elevation of a solid wall. The openings are in all three directions. The example of this kind is
Nakabhi at Nakabahil, Patan.
U-shaped Pati: The U - shaped pati is another rare kind of pati. It may be freestanding or lean-
to. The pati at Patan Dhoka in front of Ganesh temple and the pati at Kankeshwori in Kathmandu
are the examples of U - shaped pati. But, these cannot have seen now.
Curved Pati: There is only one curved shaped pati, which is located at Raj Rajeshwori ghat at
Pashupati. The pati is used for performing a ritual for the dead ones after the death in Pashupati
ghat.
Circular Pati: It is seen that patis have imparted their names to settlements. The circular pati at
Chhetra Pati is one example. It is believed that this pati looked like an umbrella (chattra). Another
example is Bhimsen pati, etc.
Square Pati: These are generally mandaps, another type of public building.
Construction styles of Pati

Patis are built of materials like traditional bricks, timber, mud mortar and stones. The layout
consists of a rectangular brick platform raised about 60 cm from street level and covered with
wooden floorboards. The front is always post and lintel construction and side walls also have
same construction system. The rear wall is of solid brickwork, about 30 cm. The eaves are of
purlined roof either directly on the rear and side walls or the post and lintel construction, or the
sleeper wall in between the ground floor and attic space between wooden joist and rafter,
whereby an intermediate storey is created, the space of which is inaccessible, or forms part of
the roof space. This intermediate, low room moreover seems to serve as a mere external design
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feature since, as in the case with other buildings, the roof is preferably not placed directly above
the function room. The timber elements such as horizontal members, Lakanshi (base plate),
Dhali (rafters), Meth (brackets), Nina (lintel/beam) and Tha (vertical posts) are used. Most of the
decorations are done in the bricks and timber members – capitals, posts and eaves boards.
Inclined struts are tied to the base plate to one side and to the ridge piece or against the wall on
another side. The roof of a free standing Pati is a pitched saddle roof, simple hipped roof or lean-
to the roof (Pati abutting another building). Considering span, king post has also been used to
support the roof. Later rafter batten boards are placed following mud and tiled roof. Aenpa are
used for roofing and stones are frequently used.
CASE - FINDINGS AND DISCUSSION OF KWAKHALE PHALCHA/PATI, SAPAN TIRTHA

MANDIR AND BHAKHYA HITI
Figure 1: Location of the tokha in Google map
An old village with many tales wrapped within its gallies, Tokha holds historical, cultural, and
religious significance. Located five kilometers from Budhanilkantha, this ancient village still holds
on to its historical roots as it progresses towards modernization, with education helping in its
development.
The name Tokha (or Tukhya) comes from two Newari words, “Tu,”meaning sugarcane (referring
to the production of chaku—a quintessential in Newari sweets such as yomari—made from raw
sugarcane juice), and “khya,” meaning field. The village of Tokha once had an abundance of
sugarcane, and with most of the raw materials for this delicacy available, it became renowned
for its chaku, as well. The production of which was high in this agriculture-based village, especially
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in the winter months, since this delicacy provided heat. Some houses may still have the
traditional tools to make this delicacy, though now people have adapted to more convenient
methods of production.
Before the name of this village was Tokha, or Tukhya, it was first known as Jaipur, but the name
changed to Laxmipur after a monk came into the village and received many goods from there. In
a burst of generosity, he exclaimed that every house in the village would be blessed by Laxmi,
the Hindu goddess of wealth and prosperity.
Along with delicious chaku, Tokha is also known for its many temples and festivals. Along with
the many temples scattered across the village, there are also important festivals like the Bisket
Jatra of Tokha. It is celebrated from Baisakh 1, the first month of the Nepali year, to Baisakh 5, to
celebrate the Nepali New Year. Another interesting celebration would be the Sapan Tirtha Mela,
which also occurs in the month of Baisakh (April/May). The lake at Sapan Tirtha is a collection of
waters from the rivers of Dudhmati River, a white water river, and Keshabmati River, which is
said to have healing properties that heal all skin ailments. So every year, people gather to bathe
in the waters of Sapan Thirtha. Along with these temples, other shrines you can visit are
Gokarneshwor, Dharmeshwor, Sapan Vinayak,and Bajrayogini, all of which are mentioned in the
Hindu holy books.
Along with having such religious importance, Tokha also plays a major role in the history books,
as it holds an abundant and prosperous ancient background. A popular area in the Lichhavi
period, Tokha once had the first central jail in the country, holding the most infamous criminals
within its walls. Additional to that, Tokha has served an administrative purpose during this period,
with places such as Bhootkhel, a large ground said to be haunted by ghosts, as an army training
ground. Now, this area is often visited by families and groups of people for picnicking, or is used
by farmers to graze their cattle, but during ancient times, this place was considered to be a source
of tantric spiritual power. It is said that, in medieval times, Tokha acted as a fort against the
attacks of neighboring kings, such as the attack of King Jaya Dev who had attacked the fort to
loot its gold. This is shown in the geographical structure of the village itself, especially in the old
habitat on the northern side of Tokha, where the Taleju Temple stands.
In addition to the many important political events that have occurred in Tokha, one of the most
memorable ones would be the imprisonment of Queen Riddhi Laxmi of Parthi Bendri, who was
imprisoned by her own son Bhupalendra after the issue of his father’s murder. In the context of
historical battles, the Tokha court, which is now a part of the Taleju Temple, played a major role
in many battles that occurred here. As a fort that has been highly sought, Tokha has seen many
political disputes—from political coups to being a refugee haven to those exiled—play out
throughout the course of history.
Another interesting fact about this ancient village is that it is one of the many villages that is on
the Friendship Highway between Kathmandu and Tibet. This route has played an important part
in the history of trade, and before the development of other roads, you couldn’t travel through
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this route without going through Tokha. This route still exists today, though they are many other
options available, as well.
A village that has played a pivotal role, it is now slowly developing into a bustling town, with an
increment in the number of settlements. Despite this, you can still see rice paddy fields and old
houses
as you walk along the roads. A perfect getaway from the bustle of Kathmandu, this place is best
enjoyed on foot, as you can take in its charm and beauty at a leisurely pace. Even after the onset
of urbanization, you will still find charms of the old habitat, with old houses and small shops still
standing, and temples, ancient public water taps, and paddy fields spread throughout the village.
A thing to keep in mind is that roads are still very narrow, and even though jeeps will not have
much trouble, large vehicles like buses will experience some difficulty.
Kwakhale Pati
Introduction/Description: (Location, Site context, Brief description, Deities, Sect, Architecture
Style, Surrounding Context, Inventories)
Kwakhale pati is located in front of the Taleju bhawani temple, tokha. Since it is located infront
of the Taleju bhawani, this pati holds the cultural significance to the residence of tokha. And the
open spaces infront of the pati is in utilization of the residence for their daily life activities.
Figure 2: Front facade of the kwkhale pati
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Historical Background
Most of the current beautiful Newari architectures were built in Malla Period (13th -17th Century).
At that time there is no availability of transportation facility like today. People used to walk for a
long time to go from one to another place. So, during their long walk, they need to take rest at
certain places. Most of the Newars of Kathmandu were a trader and they have to walk spending
more than one night outside the settlement. There is no availability of hotel and lodge, where
they can eat food and spend the night. So, they built and developed public structure like
Pati/Phalcha, Sattala, and Dharmashala, which can be collectively called 'Public Rest house'.
As explained above the necessity, the major importance of Pati is to provide shelter for travellers.
Newar society being closely connected (interwoven) with one another, Pati also serves as a
meeting place for social and religious gatherings.
The main importance of kwakhale pati derives from the existence of the Taleju mandir in the
area. Taleju temple is one of the most important historical monument in tokha from religious and
cultural perspective.
There is no exact date, when kwakhale pati is constructed. But it was renovated at 2075-76 BS in
collaboration with DOA, Mul Nayek and the locals.
Social, cultural and religious importance

As explained above the necessity, the major importance of Pati is to provide shelter for travelers.
Newar society being closely connected (interwoven) with one another, Pati also serves as a
meeting place for social and religious gatherings.
Since it lies in the premises of taleju temple. Prominent rituals and festivals of tokha starts from
this area, which withholds large number of people and activity at the time. At gaijatra and
indrajatra, this area becomes a center for the rituals.
Any types of communal discussion programs are organized in this area. And the pati is allocated
as the host space. Providing space for conducting various cultures and traditions are the most
important, otherwise, kwakhale pati serves as connecting space between the different societies
of Newars. It is also a place where Newar women can do their daily social activites in group.
Devastating Gorkha Earthquake happened on 25th April 2015 and some part of kwakhale pati was
affected. However, after the renovation it is serving the community in the healthy manner.
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Architectural style, Materials used and Construction Technology

While visiting to study the architecture style, materials used and construction technology of
kwakhale pati, a glimpse of indigenous art and culture can be clearly seen. Although the building
materials and style was imported from bhaktapur at the renovation phase.
Kwakhale pati is the rectangular type of pati. It has three bays at front part (i.e. four no. of
wooden posts) and open in three facades.
Roof
The roof is covering the building structure to provide shelters from the sun, rain and weather
effect. Being salient features of Newari Architecture, slope roof with certain projection protects
the wall of brick and mud mortar from the rain (because Kathmandu valley encounters a huge
amount of rainfall) and intense sunlight. A different structure according to functional use has
various types of Roof. Generally, a two-way slope with ridge above the longitudinal centerline
and certain projection is a common type of roof used above building structure inside Kathmandu
valley.
Figure 3: Roof view of the pati
Kwakhale pati is the two way sloped roof without the ridge. Most of the roofs of Pati are
supported with inclined struts (Tundals). But, kwakhle pati has no struts at its roof.
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Material used: Roof of kwakhale pati is built using wooden joists, rafters, mud bed and Aenpa is
laid over mud bed.
Aenpa: Wooden ply are laid on the rafters over the purlins over which is laid a layer of clay onto
which Aenpa tiles are pressed in an overlapping manner with one another.
Kopus: These are used at ridges and edges of the roof.
Kunpas: They are the bird-shaped tiles used in the corner at the junction of
the eaves.
Figure 4 Rooster figure

in the kunpas
Construction Technologies: Roofs of kwakhale pati is made of compiling
frame of wooden beams, rafters, trusses and posts fixed together, covered with wooden ply and
a thick layer of mud over which small interlocking Aenpa tiles are laid.
It consist of two hips and three eaves with rectangular footprint. The rafters (musins) having a
size 75mm X 75mm of the roof meets at the central point in the rear wall.
Figure 5: structural elements ( beams, joists, rafters, purlin)
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Figure 6: rafter load distribution to the joist
Figure 7: dhalin, nina, mehths and wooden locks
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Floor space: The floor of Pati is constructed over raised platform. The purpose of raising the
floor of pati is to over-look roads, ponds, and streams. The floor space of kwakhale pati is raised
about 630 mm from the ground level. The floor of pati is covered with brick paving. The wooden
post is rested on 250mm wide and 90 mm thick stone.
Wooden posts and meths

Woods are not only used as a decorative element in Nepalese Architecture but also richly used
as a structural element to bear and transfer the heavy load. Generally, a prime structural element
made of wood used in Nepalese Architecture is "Post", which is known as Than in Newari
language. These posts are made of strong hardwood like sal. The body of the wooden post is
divided into three parts –Meth, Tha, and base. "The long peg (Sa) extending from post passes
through meth, into wooden beams (Nina) and holds the three structural elements in position."
(Korn, 2014)
The span between posts is determined by a number of bays, generally odd in number. Use of
twin posts at same places can be found. Highly carved posts are found in temples, the carvings
bear motifs of the deity and Kalash, while posts of houses and patis are carved with decorative
motifs and floral characters. The posts system is used in combination with load-bearing walls.
The posts were heavily decorated on top halves. The usual carvings on posts consist of jewel or
beading relief, which is a common and striking feature. The design of brackets is varied. Usually,
they are curved in the lower part with carvings of complex shapes including animals, floral and
leaf motifs.
Figure 8: corner post(tha) and corner

Figure 9: tha, meth and nina connection
meths
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There are 6 wooden post in the pati. They all were at good condition since it was renovated
recently. All the decorative wooden elements were imported from the bhaktapur as there is no
wood craftsmen in the area. The post are of size 165mm X 165mm X 2060mm high including the
wooden meth.
Figure 10: corner post and meths carving Figure 11 meth carving
Wooden meth used in kwakhale pati is also beautifully decorated. There are two full meth and 6
half meths due to the corner post. The size of the meth is 915mm long and 165mm wide.
Wall
Most of the pati is built with the same construction technologies. The load transferring from roof
to ground are through the mixing of the frame-structured type wooden post and load bearing
wall. Generally, pati has the front, as well as two sides, opened colonnaded space and backside
with a massive wall made of brick with mud mortar.
Likewise, kwkhale pati also has a wall of thickness 330 mm, on its backside. The wall is made of
normal baked brick, called ma appa, of size 230mm X 150mm X 60mm, with mud (surkhi lime)
mortar. The wall seems to be built continuing from the foundation of pati, and it is constructed
to the height of 2235mm above the ground level. The rear wall supports the rafters and joist of
the roof and is of height 3500mm. Though every building structure is dedicated to the god and
goddesses in Newari culture, the niches at the central front part of the rear wall. And there seems
to be the gap at top of the central niches.
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Figure 12: NIche in the rear wall

Figure 13: Post resting on stone base
Figure 15: nina joints Figure 14: wooden locks of dhalin with the
vertical post and meth
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Inspection: (Existing conditions, Damage inspection, Walls, Roofs, Floor spaces, Timber
elements, Other elements)
Kwakhale pati being public type old structure, it is one of the most important identities of
Nepalese Architecture. Due to the renovation done recently, the structure is in good condition.
And the pati is being utilized for various cultural and religious purposes of the residents.
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S.N. Description Materials Condition Remarks

overall good condition but vegetation Needs
1 Roof Aenpa
are starting to grow maintenance
kopus overall good condition
good condition, the figure depicts a
kunpas
rooster
2 Floor Space terracotta tile good condition
white spots are visible in the surface of Needs

3 Plinth Wall ( ma appa)
bricks maintenance
Structural
4 Dhalin good condition
Timbers
nina good condition
meth good condition
than good condition
Bricks with mud white spots area visible in the surface of Needs
5 Rear Wall
mortar bricks maintenance
Figure 17: present condition of the pati ( front view) Figure 16: present condition of the pati ( left side
view)
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Conclusion
The public rest houses, which are built for practical purposes like to provide shelters for travelers
and pilgrims, are our heritage. It brings the art, culture, and civilization of our society.Architecture
is such type of identity, which can be seen and describe easily by everyone. Nepalese Architecture
is the perceptible and visible identity of our nation. Hence, all structure needs to be preserved
and conserved.
Kwakhale pati provides space for social, cultural, and religious activities. With the rapid
development and urbanization, the public open spaces and structures are being encroached day
by day. In this technical century, people need to co-operate and connect each other. A public
structure like pati can provide the connecting space for people to interact each other and
provides opportunities for communal bonding. It can demonstrate the beautiful way of living.
After the observation, I can say this pati has socio-cultural bondage with the residents. Any types
of communal activities are done in the premises of the pati and taleju temple. Since, the
renovation and reconstruction was done recently in 2075-76 BS, there isn’t any noticeable
damages in the structure. Although there are few things to be maintained like, white patches in
walls, vegetation growing in the roof. And it is responsibility of the authority and the locals
themlself.
Recommendation
There are few recommendation from the conservation perspective fot the kwakhale pati. They
area as follows:
 The authorities should take proper responsibility of the repair and maintenance program.
 The repair and maintenance program should be scheduled and done regularly.
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Drawings
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Figure 19: Plan of the pati

Figure 18: meths plan
Figure 20: dhalin Plan

Figure 21: lower nina plan
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Figure 23 upper nina plan

Figure 22: rafters plan
Figure 24: purlin plan
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Figure 27: wooden ply over the purlin Figure 25: roof plan
Figure 26: left elevation

Figure 28: section
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Figure 29: front elevation
Figure 30: 3d visualization of the structure
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Sapan Tirtha mandir

Introduction/Description: (Location, Site context, Brief description, Deities, Sect, Architecture
Style, Surrounding Context, Inventories)
Sapan tirtha mandir lies in the northen part of tokha. The lake at Sapan Tirtha is a collection of
waters from the rivers of Dudhmati River, a white water river, and Keshabmati River, which is
said to have healing properties that heal all skin ailments. The main entrance to the mandir is
oriented towards south.
Figure 31: Sapan tirtha vinayak mandir
Historical Background
Legend has it that, centuries ago, on the northern side of Kathmandu lived a king who had seven
daughters. The king was famed for his wisdom, moral characteristics, and brilliant political tactics.
One day, he called his daughters and asked them to tell him the characteristics of men they
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wanted to marry. Four of them expressed their desire to marry someone who was rich, handsome
and physically strong. The other two said they were not ready for marriage yet. However, the
youngest princess said she would marry anyone her father chose for her. The king, jokingly, told
her to spend the rest of her life with a physically disabled beggar who lived near a pond.
To everyone’s surprise, the youngest princess decided to marry that man as a mark of respect for
her father’s words. After getting married, they started living together near the pond itself. The
pond was a confluence of two different rivers, Bahu Mukhi Ganga and Dudh Mukhi Ganga. One
day, the princess was out in search of food and, while waiting for his wife, the disabled man
noticed a grasshopper with no limbs jumping into the pond and coming out of it all healed.
Wanting to test the magical powers of the water, he asked the villagers to push him into the pond
and he too came out healed. Ever since then, people have believed that bathing in that pond will
heal all ailments and make your wishes come true. Being grateful for such miracles, the people
there built a temple for Goddess Sapana Tirtha, a name given to a Goddess who made dreams
come true.
Social, Cultural and Religious importance

On the first day of the Nepali calendar (Baisakh 1), many people line up to take a dip in a holy
pond in Tokha in Kathmandu and the locals, for the next four days, celebrate ‘Sapan Tirtha Mela’
when the entire village joins in on the celebration with a ‘rath yatra’ (chariot ride), prayers, and
fests. The water in the pond is believed to have healing properties and people bathe there to rid
themselves of their ailments and pray to Goddess Sapana Tirtha.
Sapan Tirtha Mela is an important ritual for the locals of Tokha. This common belief that the pond
and the Goddess can make our wishes come true is what binds the residents of tokha.
Every year Tokha residents prepares for the festival. While the youths will be preparing for the
concerts to be held during the festival, the elderly people of the village will take care of the rituals.
There is even a ‘guthi’ in place with more than 100 members who are managing the logistics of
the festival. They will also be responsible for managing the crowd on the main day of the festival
with help from police officers, scouts, and local club members.
Architectural styles, materials used and construction technology

Currently the mandir is being demolished for reconstruction process. We can see the deity being
covered by temporary structures and its parts are placed in the premises of the mandir. Although,
the structure wasn’t present at current, I managed to study the temple in its undemolished state.
Architecture style of sapan tirtha vinayak mandir is a typical tiered temple.
30 | P a g e
Pinnacle (Gajur)
The pinnacle (Gajura) is the topmost part of the temple. It is symbolically the most significant
part in the temple. The size and shape of the temple, as well as the deity to which the temple is
dedicated, determines the style of the pinnacle. Generally square plan temples have a single
pinnacle and rectangular plan temples have more than one pinnacle.
Since the plan of the sapan tirtha vinayak mandir is square. It has a single pinnacle.
Figure 32: gajur
Roof
In temple, the roof is one of the elements which give it a unique appearance not only because of
its general form and repeated sloping surfaces, but also because of individual ornamental and
symbolic elements attached to it.
The roof of sapan tirtha binayak mandir is made from the copper plate. But the plate was colored
with brick red color and the ribs are colored in yellow color.
Figure 33: roof
31 | P a g e
Descending Metal Banners- the pataka

The long metal banners called dhvajas or patakas, which descend from the pinnacle down past
the edge of the lowermost roof edge, are equally important from a religious and decorative point
of view. These long ropeways of connected metal petals are said to be a kind of pathway for the
gods to descend towards earth from heaven. This banner itself is not considered to be an
essential temple attribute.
Figure 34: the pataka
Doors and windows

There are no any windows present in the photos. And at the place of the doors, we can see there
are metal channel gates.
Figure 35: showing the door of the temple
32 | P a g e
Plinth
The plinth is the base of temple which sets it apart from its immediate environment. We cannot
see the typical raised plinth in the temple. But the platform where the temple stands is elevated
from the ground.
Figure 36: plinth level of the temple from ground
33 | P a g e
Inspection: (Existing conditions, Damage inspection, Walls, Roofs, Other elements)

The mandir was demolished for the purpose of reconstruction. Every parts of the temple are
being kept in the safe place. The bricks and marbles were placed at the premises. But we can see
from the ongoing process of reconstruction of sapan tirtha binayak mandir, the architecture is
also being revised. As there was no any level rise up for the platform of the mandir but the
reconstruction process includes the raised plinth with the traditional newari ma appa . Since, I
couldn’t got chance to speak with the authorities i couldnot gather the imformation about the
reconstruction process.
Figure 37: present condition of the temple
Figure 38: present condition of the

water spout
Figure 39: the reminiscence of the temple
Figure 40: on going construction of the temple in new architectural

style Figure 41: marbles from old state of temple
34 | P a g e
Bhakhya Hiti
Introduction/Description:
‘Hiti’ is a Newari word which means Dhungedhara. Hitis are the water supply system used in
traditional Newari settlement. Bhakhya hiti lies on the northern side of the bhookhel, tokha. The
importance of the hiti comes from the presence of cremation area at bhootkhel. As it was
believed, one should bath in this hiti after the cremation of the dead body.
The hiti lies around 6m below fromt the road level. And the circulation is given by the stairs.
Figure 42: Bhakhya hiti
Socio cultural importance

Locals say that the name of the place was coined because it's said that bhoot, or ghosts, came to
play there, and khel means play, or game, in Nepali. Between the temple and the football ground,
the dead are cremated on the open ground sans any roof or structure whatsoever. Though there
are no clear borders, markings, or lines drawn, spots are designated for cremation of the dead
on the basis of their caste. Infants below two months of age are not cremated, but buried. And
after every rituals of the cremation , people believed to bath in bhakha hiti before reaching to
their homes.
35 | P a g e
Inspection: (Existing conditions, Damage inspection, Walls, Stone spout)

The hiti is in poor condition due to lack of proper maintenance. The stone spout is damaged and
concrete patches are pasted to hold the damage. Maybe the consequences of the urbanization,
water sources dried for the hiti and authorities allocated boring water for the hiti.
Figure 43: damaged stone spout

Figure 44: staircase access to the hiti
Figure 45: Niche with statue and inscription
36 | P a g e
Conclusion
Nepal is culturally very rich country. And we can see the influence of culture in spaces, places and
buildings. It is one of the reason Nepal is being recognized over the world. So to preserve the
historical value conservation is most necessary in context of Nepal. Conservation practices would
help the present and future generations to gain knowledge about the origin of the culture and
its true norms and values. Also the ancient construction techniques and materials in context of
buildings.
37 | P a g e

Report On Conservation (Suman Lama - 073BAE246)

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Tribhuwan University

Submitted By: Submitted To:

10th Mangsir, 2077

Social, Cultural and Religious importance ................................................................................ 30

Limitations and challenges

LITERATURE REVIEW-BACKGROUND STUDIES

Construction styles of Pati

CASE - FINDINGS AND DISCUSSION OF KWAKHALE PHALCHA/PATI, SAPAN TIRTHA

Figure 1: Location of the tokha in Google map

Figure 2: Front facade of the kwkhale pati

Social, cultural and religious importance

Architectural style, Materials used and Construction Technology

Figure 3: Roof view of the pati

Figure 4 Rooster figure

Figure 5: structural elements ( beams, joists, rafters, purlin)

Figure 6: rafter load distribution to the joist

Figure 7: dhalin, nina, mehths and wooden locks

Wooden posts and meths

Figure 8: corner post(tha) and corner

Figure 12: NIche in the rear wall

S.N. Description Materials Condition Remarks

2 Floor Space terracotta tile good condition

white spots are visible in the surface of Needs

Figure 19: Plan of the pati

Figure 20: dhalin Plan

Figure 23 upper nina plan

Figure 24: purlin plan

Figure 26: left elevation

Figure 29: front elevation

Figure 30: 3d visualization of the structure

Sapan Tirtha mandir

Figure 31: Sapan tirtha vinayak mandir

Social, Cultural and Religious importance

Architectural styles, materials used and construction technology

Figure 32: gajur

Figure 33: roof

Descending Metal Banners- the pataka

Figure 34: the pataka

Doors and windows

Figure 35: showing the door of the temple

Figure 36: plinth level of the temple from ground

Inspection: (Existing conditions, Damage inspection, Walls, Roofs, Other elements)

Figure 37: present condition of the temple

Figure 38: present condition of the

Figure 39: the reminiscence of the temple

Figure 40: on going construction of the temple in new architectural

Figure 42: Bhakhya hiti

Socio cultural importance

Inspection: (Existing conditions, Damage inspection, Walls, Stone spout)

Figure 43: damaged stone spout

Figure 45: Niche with statue and inscription

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