PRACTICUM

REPORT
BIBEK CHAUDHARY
THA076BAR011

2080/05/22
ACKNOWLEDGMENT
I want to extend my heartfelt gratitude to all the individuals
who have generously supported me during my practicum.
The time I spent at Gaatha was truly transformative, enrich-
ing both my architectural journey and personal growth. I feel
incredibly fortunate to have been a part of the Gaatha team.
I would like to seize this opportunity to express my profound
appreciation to Ar. Shuvam Koirala, Ar. Sadar Bhandari, Ar.
Shrinkhala Khatiwada, Er. Sharmistha Shrestha, and Srestaa
Bhattarai for their unwavering assistance and continuous
encouragement throughout my internship, pushing me to
deliver my best.
I also wish to convey my deepest thanks to Ar. Rajan Chandra
Prajapati, my practicum supervisor, for his valuable insights,
constructive feedback, and indispensable guidance through-
out my entire tenure.
OBJECTIVE
ABSTRACT
This report serves as the culmination of my practicum experience, under-
taken as a requirement for the 4th year 1st part of my Bachelor’s degree in
Architecture.
The practicum course is designed to offer Architecture students an in-
depth look into the realm of professional practice, allowing them to con-
front and comprehend the challenges inherent in the field. It affords stu-
dents the invaluable opportunity to collaborate with seasoned Architects
and gain firsthand exposure to the realities of the architectural profession.
The primary objective of this practicum is to bridge the gap between ac-
ademic learning and real-world application, thereby equipping students
with practical knowledge and a genuine understanding of the industry.
This report delves into the intricacies of the work environment at Gaatha,
outlining the various projects I had the privilege of participating in during
my tenure. These projects encompassed a wide range of activities, includ-
ing design development, working drawing preparation, market research,
and office administration. I trust that this report effectively communicates
all the pertinent details of my practicum experience.
Our primary objectives during this endeavor are multifaceted. Firstly, we
aim to acquire invaluable real-world work experience, fostering the de-
velopment of our professional competence. This entails not only honing
our skills but also engaging with genuine clients and crafting designs that
precisely align with their unique needs and aspirations. Additionally, we
are dedicated to expanding our skill set and bolstering our knowledge
base, ensuring that we remain adaptable and well-informed in our field.
Simultaneously, we aspire to cultivate a profound sense of self-assurance
in our own abilities, thus fortifying our confidence. Moreover, this jour-
ney offers us the opportunity to forge new connections, practicing and
enhancing our networking skills while broadening our horizons through
interactions with diverse individuals. Lastly, we recognize the significance
of collaboration, and we are committed to functioning seamlessly as inte-
gral members of a cohesive team.
OFFICE PROFILE CONTENTS

Gaatha, translating to “stories,” is an PROJECTS Page no.

architecture and design firm based
in Kathmandu started in 2019 by a NAGARKOT FARMHOUSE 9- 20
young group of architects with a com-
GUEST HOUSE 21-34
mon vision to redefine architecture
and design as a practice of crafting LANDSCAPE 35-46
stories of the relationship between RICE BAE 47-49
people, nature, and the built environ-
MANAVSEWA ASHRAM DHANGADHI 50-56
ment. Gaatha recognizes architecture
as a collaborative discipline between BALBIKASH KENDRA 57-70
diverse fields of practice. KATHMANDU MEDIA GROUP 57-70
RESIDENTIAL EXTENSION 77-82
The firm not only provides design and
engineering services but also volun-
teers on humanity based projects such
COMPETITION
as Manavsewa Ashram. The company
thrives on making community based ARC ASIA 83-89
designs and public empowering exe-
cutions at site. HEX

SITE VISIT
NAGARKOT 96-100
BHAISEPATI 101-103
MANDI KATAR 104-111

OTHERS 112-119

Contact Address : Patan Dhoka, Lalitpur

MARKET SURVEY
E-mail: studio@storiesofgaatha.com
Fun Friday
Team Members Field of Expertise EVENTS

Ar. Shrinkhala Khatiwada Residence design

Ar. Sadar Bhandari Rammed earth technology
Ar. Shuvam Koirala Interior
Er. Sharmistha Shrestha Landscape design
Srestaa Bhattarai Commercial design
Bibek Chaudhary
 FA R M H O U S E
N AG A R KOT

TIMELINE OF PROJECTS

9
 FA R M H O U S E

Location : Nagarkot, Bhaktapur

Site area :
Status : Ongoing
Involvement : Detail drawing of verandah roof covering,
Railing detail, Gate detail, Key plan of railing,Research of
roof material

My journey into the realm of architectural design began with the Nagarkot Farmhouse proj-
ect, marking my initial venture in this exciting field. This particular residential project pos-
sesses a distinct feature: it comprises two identical buildings, each with its own unique inte-
rior design, presenting an intriguing design challenge and a valuable learning opportunity.

At its core, this project was inspired by a central idea: to seamlessly embrace and incorpo-
rate the natural environment surrounding the site. Inside the farmhouse’s walls, my aim was
to craft an interior ambiance that not only resonated with but also elegantly mirrored the
external landscape, effectively blurring the boundaries between the indoor and outdoor
spaces. In this context, the indoor setting acts as a captivating reflection of the outdoor en-
vironment, where every nook and cranny of the interior space transforms into a harmoni-
ous extension of the captivating natural surroundings enveloping the Nagarkot Farmhouse.

10 11
 7'-4"

7'-4"

PLAN
7'-2"

7'-2"

0.55MM CGI4'-7"
GUTTER 4'-7"

4'-7" 1'-71" 4'-7" A

2
A
1"
1'-72 4'-5" 4'-5"

1'-0"
1'-0"
4'-5" 4'-5" 4'-7"
DECRA ROOFING
4'-3"
4'-3"
A
F:\GAATHA\Graphics and Social media\GAATHA logo\Gaatha_Logo_Small.jpg

1"
A WATER PROOF MEMBRANE A 1" 1
4'-12 A
7'-4" 1'-72
4'-12" 3'-4" 1" 1"
32 1 1
A 4'-7"
6MM WATER PROOF PLY BOARD A 4'-7" 32 8" 8" 8" 8" 8"8" 8"
8" 8"
8" 2"
8" 8" 9" 8" 8" 38" 8"
4'-5" 8" 9" 8" 32"

1'-0"

1'-0"
N (EXISTING) MAXIS WOOD FASCIA 1" 4'-0" 4'-0" 3'-4"
1'-72 TRUSS RAFTER (EXISTING)
7'-2"

1'-0"

1'-0"
A A A A 3'-1"
PLAN PLAN
4'-5" 4'-5"
A A
1.5" SQUARE PIPE WELDED TO CIRCULAR PIPE A A 3'-1"
8" 8" 8" 8" 8" 8"
8" 8" 8" 8" 8" 8" A

1'-0"
8"A A
A 8" 8" 8" 8" 8"
8" 8" 8"

PLAN
8" 8" 8"
PLAN A
A 3'-4"
A
7'-3" A
PLAN

1'-0"
7'-3"

1'-0"

1'-0"
PLAN 6" 6"
6"
6"
6" 6"
4'-3"
6"
6"
6"
6"
6"
6"
6"
6"
6"
6"
A 3'-1"

A 8"
4'-7"
8" 8" 8"
4" X 2" METAL HORIZONTA
8" 8" 4
A A 1" 3'-1" PLAN
3'-1"
PLAN
1"
4'-12 1" 1
1'-72
A 32 8" 32" 4'-7"

PLAN
8" 8" 8" 8" 8" 8" 8" 8" 9"
PLAN
PLAN2" x 2" SQUARE PIPE
4'-5"
8" 8" 8" 8" 8" 8"
8" 8" 8" 8" 8" 8" 4'-0" 1"
1'-72
TRUSS BASE (EXISTING) 2
PLAN
A 4'-5"

PLAN A PLAN A

4" X 2" METAL HORIZONTAL MEMBER 1" X 1.5" ALU MINIMUM CHANNEL

1'-0"
3'-1" A CSEB MASONARY WALL
4" X 2" METAL HORIZONTAL MEMBER A
A PLAN

1'-0"
MAXIS WOOD SOFIT
7'-3"
8"
C
4'-6" 6" 6" 6" 6" 6" 6" 6" 6" A8" 8" 8" 8" 8"
4" X 2" METAL HORIZONTAL MEM
DETAIL AT A 4'-6" 4'-6" 2" x 2" SQUARE PIPE
2" X 1.5" METAL PIPE
PAINTED MATT BLACK
4" X 2" METAL HORIZONTAL MEMBER
PLAN
PLAN
8" 8" 8" 8" 8" 8"
4'-6"
4" X 2" METAL HORIZONTAL MEMBER 2"GUTTER
0.55MM CGI x 2" SQUARE PIPE
4" X 2" METAL HORIZONTAL MEMBER 2" x 2" SQUARE PIPE
4" X 2" METAL HORIZONTAL MEMBER 2" X 1.5" METAL PIPE
PLAN
DECRA ROOFING
WATER PROOF MEMBRANE
4" X 2" METAL HORIZONTAL MEMBER
E L E VAT I O N
4" X 2" METAL HORIZONTAL MEMBER PAINTED
1" MATT
X 1" SQUARE PIPEBLACK
PAINTED MATT BLACK
4'-6"
6MM WATER PROOF PLY BOARD 2" x 2" SQUARE PIPE CSEB MASONARY WALL 1.5" X 1.5" SQUARE PIPE
4'-6" 3" x 3" SQUARE WOOD POST
2" x 2" SQUARE PIPE 1" X 1" SQUARE PIPE 4" X 2" META
TRUSS RAFTER(EXISTING) CSEB MASONARY WALLDECRA ROOFING 4" X 2" METAL HORIZONTAL MEMBER CSEB MASONARY WALL
4'-6"
CSEB MASONARY WALL 2" x 2"PCC
SQUARE
(1:2:4)PIPE WATER PROOF MEMBRANE
PAINTED
3" PCC (1:2:4) MATT BLACK 3" x 3" SQUARE WOOD POST
PCC (1:2:4)
4" X 2" MASONARY
METAL HORIZONTAL MEMBER PCC (1:2:4) 6MM WATER PROOF PLY BOARD 1.5" X 1.5" SQUARE PIPE 4" X 2" METAL HORIZONTAL MEMBER2" x 2" HORIZONTAL WOOD MEMBER
CSEB WALL
TRUSS PURLIN (EXISTING) 4" X 2" METAL HORIZONTAL MEMBER
PCC (1:2:4) MAXIS WOOD FASCIA TRUSS RAFTER (EXISTING) 2" x 2" SQUA
2" x 2" HORIZONTAL WOOD MEMBER
EXISITNG RETAINING WALL 2" X 1.5" METAL PIPE PCC (1:2:4) 4'-6"
PCC (1:2:4) PAINTEDEXISTING
3" PCC
MATT RETAINING
(1:2:4) WALL
BLACK EXISITNG RETAINING WALL
9'-10" EXISITNG RETAINING WALL PCC (1:2:4) CSEB MASO
4" X 2" METAL HORIZONTAL P
ME
2" x 2" SQUARE PIPE 1.5" SQUARE PIPE WELDED TO CIRCULAR PIPE CSEB MASONARY WALL 4'-6"
3" x 3" SQUARE WOOD POST
SHEAR WALL EXISITNG RETAINING WALL
1" X 1" SQUARE PIPE 4" X 2" METAL HORIZONTAL MEM
SHEAR WALL PCC (1:2:4) PCC (1:2:4)
CSEB MASONARY WALL PAINTED MATT BLACK 2" x 2" SQUARE PIPE
GUTTER EXISTING RETAINING WALL EXISITNG RETAINING WALL
E
ELEVATION
A 4.4
1.5" X 1.5" SQUARE PIPE 2" x 2" HORIZONTAL WOOD MEMBER

PCC (1:2:4)
EXISITNG RETAINING WALL
ELEVATION 2" xCSEB MASONARY
2" SQUARE PIPE WALL
SHEAR WAL
ELEVATION
PCC (1:2:4)
3" PCC (1:2:4) ELEVATION
PCC (1:2:4)CSEB
MAXIS WOOD FASCIA
ELEVATION ELEVATION ELEVATION
PCCMASONARY
(1:2:4) WALL

ELEVATION SHEAR WALL

ELEVATION
1.5" SQUARE PIPE WELDED TO CIRCULAR PIPE TRUSS BASE (EXISTING) PCC (1:2:4)
EXISITNG RETAINING WALL
TRUSS BASE MEMBER(EXISITING) drawing title, SECTION EXISTING RETAINING WALL
1" X 1.5" ALU MINIMUM CHANNEL
ELEVATION
EXISITNG RETAINING WALL
SHEAR WALL

1" * 1.5" ALUMINIMUM CHANNEL

A project, NAGARKOT FARMHOUSE ELEVATION
SHEAR WALL
MAXIS WOOOD SOFIT
location, NAGARKOT
ELEVATION ELEVATION MAXIS WOOD SOFIT ELEVATION
ELEVATION
SECTION OF VERANDA COVERING CHANGUNARYAN - 5, NEPAL
DETAIL AT AELEVATION ELEVATION
drawing by, BIBEK CHAUDHARY, ELEVATION
checked by, AR. SADAR BHANDARI,
date, 2022.05.10 1'-2"

7" 2" 5"

I was given some interesting tasks related to the roof, railing, and gate. Firstly, I was responsi-
SECTION
ble for creating detailed plans for the verandah roof. This roof covering involved circular pipes,

2"
4"
1'-2"

3"
1'-0" PCC (1:2:4)
waterproof membranes, gutters, and maxis wood. While working on this, I had the opportuni- 1
1'-0"
5" 4" 4" 4" 52"
ty to learn how to install this type of roof covering. Additionally, I was in charge of procuring
4" 4" 4"

A 4.4
1'-2" 7" 2" 5"
51"
5" 4" 4" 4" 2 4" 4" 4"
2"
materials like fiberglass, which expanded my knowledge about sourcing construction materials.
1
5" 4" 4" 4" 52"
2"
2"

2"
CSEB MASONARY WALL
4"
4"

7" 2" 5" 1

2"
1 5 "

6'-6"
1 5" 4" 4" 4" 52" 5"
3"
2"

Shee
3"
2"

4" 4" 4" 2

4"
1 2" 2" 10"
4"
4"

5'-6"

2"
1'-0"
2"

4"
1
3"

3"
Sheet no
3"

PCC (1:2:4)

1"
Later on, I learned about keyplans and was assigned to createWALL them for the boundary wall
drawing
1" title, SECTION
2"

3"
12
CSEB MASONARY 1 CSEB MASONARY WALL 2

2"
5" 4" 4" 4" 52"
Scale

2"
3'-9"

4" 4" 4"

4"

4"

2"
CSEB MASONARY WALL project, NAGARKOT FARMHOUSE CSEB MASONARY WALL

5"
CSEB MASONARY WALL

4"
and gate. This task allowed me to understand the layout and design of these important ele-

2'-3"

3"
3'-0"
3'-0"

Scale. 1

5" 2"

3'-9"
2'-10"

3"
PCC (1:2:4)
3'-9"

10"

3"
location, NAGARKOT

3'-0"
10"

2'-0"
10"
3'-0"
3'-0"

10"
2"
CSEB MASONARY WALL
ments. I also worked on the specifics of the gate and explored various types of boundary walls. project. NAGARKOT FA

1"
10"
2"
2"

3'-9"
12
10" CHANGUNARYAN2"- 5, NEPAL
4"

DETAIL A
4"

2"

2"
2'-0"
CSEB MASONARY WA

10"

3'-0"
1
project. NAGARKOT FARM 10"
3"

Sheet no
3"

3'-9"
2" NAGARK
(1:2:4) location.
drawing by, BIBEK
1 CHAUDHARY,

4"

2"
CSEB MASONARY W

0"
3" PCC (1:2:4) 3" PCC (1:2:4) 2" 3" PCC (1:2:4) 3" PCC

3'-0"
2"
3" PCC (1:2:4) 10"

3"
3" PCC (1:2:4)
location. NAGARKOT

6'-6"
CSEB MASONARY WALL checked by, AR. SADAR BHANDARI,

0"
CSEB
3" PCCMASONARY WALL 3" PCC (1:2:4) RETAINING
EXISITNG WALL 10" drawing by. BIBEK C
SECTION walls had six different designs, each with varying heights and materials like
The boundary (1:2:4) 3" PCC (1:2:4) CSEB MASONARY WALL
Scale. 1/

5'-6"
3'-9"

3" PCC (1:2:4)

6'-6"
EXISITNG RETAINING WALL

5"
date, 2022.05.10
EXISITNG RETAINING WALL drawing
checkedby. by.BIBEK CHAU
1"

10"
3'-0"
3'-0"

2"
12

EXISITNG RETAINING WALL EXISITNG RETAINING WALL AR. SADAR

5'-6"
metal and brick. I created detailed drawings for these walls,
WALL which was a fascinating ex-
10"
10" EXISTING RETAINING WALL EXISITNG RETAINING WALL
2"

2'-0"

10"
11

EXISITNG RETAINING EXISITNG RETAINING WALL checked

project. by.
EXISITNG 3" AR.
PCC
RETAINING SADAR
(1:2:4)
WALL
NAGARKOT BHN
FARM
NEC
2'-3"

perience. Similarly, I worked on the gate’s details, where I learned about different siz-

2"
2'-10"

SECTION A- A
2'-3"

NEC NO :
SECTION A- A
2'-10"

location. NAGARKOT,
SECTION A-3" PCC
A (1:2:4)

0"
3" PCC (1:2:4)
SECTION used,
es of aluminum channels and the materials A- 3"APCC such
(1:2:4)
as soffit and metal. This whole ex- SECTION A- AA SECTION A- SECTION
A
EXISITNG RETAINING
" "

SECTION A- A EXISITNG RETAINING A- A

1
2

DETAIL dat
11

SECTION A- A WALL SECTION A- A drawing by. BIBEK CHAU

12

DETAIL A
date.20
perience enriched my understanding of architectural elements and their construction.
4"4"

EXISITNG RETAINING WALL EXISITNG RETAINING WALL checked AR. SADAR BHA
by. (1:2:4)
3" PCC

3"
3" PCC (1:2:4)
3" PCC (1:2:4)

3"
3" PCC (1:2:4)

SECTION A- A NEC NO : 2

SECTION A- A SECTION A- A EXISTING RETAINING

EXISTING WALL
RETAINING WALL
SECTION A- A EXISITNG RETAINING WALLEXISITNG RETAINING
date.202

Task performed: Verandha roof covering SECTION A- A Task performed:

SECTION A- ABoundary wall and fence design
SECTION A- A SECTION A- Adrawing)
(Refer to annex for the further drawing) (Refer to annex for the further
12 13
14 15
 E
RUNNING LENGTH = 148' 11"
"
61'9
TH=
NG
LE
CRUNNING

3'-
1"
D 7"
7"
4'-
7"

"
F
'4 RUNNING LENGTH = 77'3"
46
TH=
NG
LE
G
CRUNNIN

D
7"
7"
4'-

0"
1"
2' 2
=6
GTH
LEN
C UNNING
R

"
"7
4'-7
7"

B 0" 7"
'-
10
A 7"
4"
7'-

GATE

'4"
= 222
E NNING LENGTH 116'-1
"
RU

This key plan illustrates the layout of the boundary wall. It serves as a useful tool for identifying
the various types of walls positioned in different areas of the site, providing measurements in run-
ning meters. This information aids the contractor in determining the required length of materials
and estimating the overall material needed for constructing the wall.
KEY PLAN
Task performed: Key plan
(Refer to annex for the further drawing)
16 17
18 19
 What I learned?

First, I learned all about roof coverings, which are made up of different materials like gutters,
GUEST HOUSE
square pipes that are welded to circular pipes, waterproof membranes, and cement boards with
Decra on top. I also discovered materials like maxis wood and WPC.

Next, I explored boundary walls, especially during site visits. I found out how these walls can BOUDDHA
affect the surrounding landscape and learned strategies to address these effects. There are also
different types of boundary walls designed for various locations.

When I worked on gate details, I figured out how to attach soffits to aluminum frames. These
gates were quite large, measuring 14 feet in width with one panel spanning 7 feet. I also learned
about key plans and how they assist contractors during their work.

Additionally, I had the chance to do illustrations, create realistic renders, and build models.
In the process, I gained valuable skills using software tools like Photoshop, Lumion, Vray, and
SketchUp

20 21
GUEST HOUSE

Location : Boudha, Kathmandu

Site area :
Status : Ongoing
Involvement : Working drawing set

The main idea of the building was inspired from the prayers’ flag of Buddhism. The concept of
prayer flags is woven throughout the guest house’s design, creating a sense of spirituality and
mindfulness. These colorful flags are thoughtfully placed both inside and outside, invoking a
sense of peace, unity, and blessings for all who stay here.

In summary, the one-story guest house with its open-plan design and prayer flag theme offers
a serene and spiritual retreat for guests seeking tranquility and connection with nature. It’s a
place where one can relax, meditate, and find inner peace while surrounded by the beauty of the
natural world.

22 23
 WEST ELEVATION

SOUTH ELEVATION

INVOLVEMENT

In this project, I was responsible for creating a comprehensive set of architecture drawings,
known as working drawings. These included various plans like the overall site plan, floor finish
plan, internal dimensions plan, furniture plan, reflected ceiling plan, and the roof plan. Addition-
ally, I worked on elevations, which are drawings showing all sides of the building, and sections,
which are detailed views of the structure cut through.

Through the process of creating these working drawings, I gained an appreciation for their
significance and how they guide construction workers. I also learned the importance of making
these drawings clear and understandable to the workers on site. These working drawings are
different from municipal plans used for legal purposes.

Creating these drawings taught me which plans are essential and how much detail is needed to
ensure effective construction. It also encouraged me to think critically while designing spaces
and how to harmonize them with the surroundings.

Furthermore, I had the opportunity to prepare a Bill of Quantities (BOQ) for the building, detail-
ing all the materials and quantities required for the civil works. This experience provided valu- PLAN
able insights into the construction process, material quantities, and cost estimation. SCALE: 3/16” = 1’

Task performed: Working drawing Task performed: Working drawing

(Refer to annex for the further drawing) (Refer to annex for the further drawing)
24 25
26 27
 A A' A B

A A' A B

NORTH

NORTH

This floor finish plan that in- This is a reflected ceiling plan, 4 4

cludes various types of flooring specifically showcasing the loca-

for different spaces like the liv- tions of curtain boxes and a ceiling
B B
4 4

ing room, bathroom, bedroom, void designed to accommodate a

and lobby. The choice of floor skylight.
B B

BEDROOM

GUEST HOUSE
15'-6" x 12'-8"

materials plays a crucial role in 3 3

defining the character of each WARDROBE

space.
3 3

SHOE
SHELF

Additionally, I developed a MAIN

ENTRANCE
2 2

section drawing that illustrates UTILITY

+

the building’s division into

GENERAL
STORAGE
2 2

six sections, both inside and

outside. This design concept FRIDGE
SHELF
TO BE SPECIFIED

TO BE SPECIFIED

extends from the interior to the OUTDOOR

CONNECTION
TO BE SPECIFIED
C C

exterior. In this section draw-

TO BE SPECIFIED

TO BE SPECIFIED

ing, you can observe several C

ACCESSWAY
C

openings, which set this design

1

1 1

PERIMETER
GARDEN

CEILING PLAN
FLOOR PLAN A A' A B
Sheet no. A-002
Scale. 1/8"=1'
project. GUEST HOUSE
REFLECTED CEILING PLAN
REFLECTEDlocation.
CEILING PLAN
BUDDHANILKANTHA
A A' A B
KATHMANDU, NEPAL

FLOOR FINISH FLOOR PLAN

drawing by. BIBEK CHAUDHARY
checked by. AR. SHUVAM KOIRALA
BLACK PAINTED MS PLATE TO BE FIXED AROUND
THE PERIMETER TO PREVENT WATER LEAKAGE;
W6 W7
WATER PROOFING IN JOINTS
NEC NO : 2481 'A'
A A' B
FLOOR FINISH PLAN CEMENT PUNNNING TREATMENT MIXED WITH
12 MM THK. TOUGHENED GLASS ANCHORED TO ISB
date.2023.05.26
WATERPROOFING CHEMICAL
50MM X 50MM METAL SECTION

WATERE PROOF MEMBRANE CEMENT PUNNNING TREATMENT

ISB 50 X 50 X 2.9 MM MIXED WITH WATERPROOFING
CHEMICAL AND APPLICATION OF
PAINT
(PAINT - ASIAN PAINT 8285 (MINESHAFT)
BUILDING HEIGHT
2" SCREEDING (1:2:4) +13' 8"
RCC SLAB (1:1.5:3)

D5 W4 W3 D4 2" SCREEDING (1:2:4) PARAPET LEVEL

+11' 9"
1 12 MM THK. TOUGHENED GLASS 2 3 4 METAL SHHET ACTING AS GUTTER ROOF LEVEL
ANCHORED TO ISB 50MM X 50MM CEMENT PUNNNING TREATMENT MIXED
METAL SECTION WITH WATERPROOFING CHEMICAL 12MM THK. GYPSUM BOARD FALSE CEILING AND APPLICATION OF PAINT +10' 8.5"
TREATED WITH PUTTY AND MATTE WHITE PAINT (PAINT - ASIAN PAINT 8285 (MINESHAFT)
WATERE PROOF MEMBRANE C
CEMENT PUNNNING TREATMENT MIXED WITH
WATERPROOFING CHEMICAL AND
ISB 50 X 50 X 2.9 MM [PAINT - ASIAN PAINT L152 (CREAMPIE)]
B.O. BEAM LEVEL
APPLICATION OF PAINT 2" SCREEDING (1:2:4)
BUILDING HEIGHT
+13' 8"
+9' 2"
[PAINT - ASIAN PAINT 8285 (MINESHAFT)]

A RCC SLAB (1:1.5:3)

B
2" SCREEDING (1:2:4) PARAPET LEVEL
+11' 9"
METAL SHHET ACTING AS GUTTER AND ROOF LEVEL
APPLICATION OF PAINT +10' 8.5"
[PAINT - ASIAN PAINT 8285 (MINESHAFT)]

B.O. BEAM LEVEL BRICK MASONARY WALL

+9' 2"

12MM THK. GYPSUM BOARD SURROUNDING TRUSS

TREATED WITH PUTTY AND MATTE WHITE PAINT
[PAINT - ASIAN PAINT L152 (CREAMPIE)]

BRICK MASONARY WALL GUEST HOUSE

+6"
PLINTH LEVEL

PLINTH LEVEL
+6"
PLINTH BEAM
+3.5"
PLINTH BEAM
+3.5"

GROUND FLOOR GROUND FLOOR

± 0' 0" ± 0' 0"

FLOOR FINISH
[TILES-TO BE SPECIFIED]
FLOOR FINISH
[TILES-TO BE SPECIFIED]
2" SCREEDING (1:2:4)

3" PCC SLAB (1:2:4)

2" SCREEDING (1:2:4)
2 " BRICK SOILING

COMPACTED EARTH
3" PCC SLAB (1:2:4)

2 " BRICK SOILING

1 2 3 4

SECTION THROUGH A-A

COMPACTED EARTH

SCALE : 3/16"=1'
A A' B Shee
CEMENT PUNNNING TREATMENT MIXED WITH
SECTION THROUGH A-A
12 MM THK. TOUGHENED GLASS ANCHORED TO ISB 50MM

SECTION THROUGHC-C
C-C
Sca

SECTION THROUGH
WATERPROOFING CHEMICAL AND X 50MM METAL SECTION
APPLICATION OF PAINT project.
[PAINT - ASIAN PAINT 8285 (MINESHAFT)]
ISB 50 X 50 X 2.9 MM location. BUDD
KATHM
2" SCREEDING (1:2:4) BLACK PAINTED MS PLATE TO BE
FIXED AROUND THE PERIMETER drawing by. BIBEK
TO PREVENT WATER LEAKAGE; checked by. AR. SHU
WATERPROOFING IN JOINT

Task performed: Working drawing Task performed: Working drawing

DRIP EDGE Sheet no. A-007 NE
PCC CAPPING (1:2:4)

SECTION
METAL SHHET ACTING AS GUTTER AND WITH PAINT APPLICATION
APPLICATION OF PAINT

(Refer to annex for the further drawing) (Refer to annex for the further drawing)
[PAINT - ASIAN PAINT 8285 (MINESHAFT)]
[PAINT - ASIAN PAINT 8285 (MINESHAFT)]
project. GUEST HOUSE
location. BUDDHANILKANTHA

28 29
KATHMANDU, NEPAL
drawing by. BIBEK CHAUDHARY
12MM THK. GYPSUM BOARD FALSE CEILING
TREATED WITH PUTTY AND MATTE WHITE PAINT
DETAIL AT A DETAIL AT B checked by. AR. SHUVAM KOIRALA
NEC NO : 2481 'A'
1
[PAINT - ASIAN PAINT L152 (CREAMPIE)] SCALE: 21"=1'-0" SCALE: 2"=1'-0" DETAIL AT C
3
date.2023.05.26
SCALE: 8"=1'-0"
 ^dZd WĂŐĞϮ

BILL OF QUANTITIES LEGAL

This document has been prepared by Gaatha, the designated consultant,
project. GUEST HOUSE as an officially authorized and validated document intended solely for the
client. NGAWANG YESHI LAMA client's use, and must not be subjected to any unauthorized alterations or
modifications.
date. 2023.08.25

ABSTRACT OF COST

Item no. Description of works Unit Quantity Rate Amount Remarks

NAME D1 D2 D3

1 EARTHWORKS
1.1 Site clearance and Mobilization Works
Clearing and grubbing the site for construction by IN 1" 2"
2" 2" 2"
2"
IN 2" 2"
2"
2" 2"
IN
2" 1'-5" 2"
2"
1'-5"
2"
2" 11" 8" 2'-1" 11" 2" 1'-8" 1'-8" 1'-8"
removing 150mm thick top soil including bushes, small
trees, levelling of undulated ground, shorting and
stacking/storing selected top soil for reuse in
landscaping works, disposing unsuitable materials from OUT OUT OUT
site, etc., all complete as per drawings, specifications and
instructions of the Engineer.
sq.ft. 985.9 2.00 1,971.80 PLAN PLAN PLAN

1.2 Earthworks in excavation

Excavation in foundations in all type of soils for
foundation, trenches, footing, pits etc. to the required
depth including dewatering by manual or mechanical IN IN IN

means etc. as per specifications with all contractor’s own

machinery and equipment's, providing crossing of track,
shoring, strutting, timbering and buttressing with
appropriate materials and all such measures necessary to OUT OUT OUT
retain in position the sides of the foundation pit and
including refilling the excavated material with watering, 1" 2" 2" 2" 2" 2"
2"
2"
2"
2" 2" 2" 1'-5"
2"
2"
1'-5"
2"

ramming, leveling the site and disposing off the BEAM LEVEL
2" 9" 9" 2'-1" 11"
BEAM LEVEL
2" 1'-8" 1'-8" 1'-8"
BEAM LEVEL

2"
2"

2"

2"
+9' 2" +9' 2" +9' 2"
surplus/unusable earth to outside the construction

2"

1'-3"

1'-4"
1'-2"
premises, etc. all complete as per drawings,

2"
1"
specifications and instructions of the Engineer.

1"
1'-3"
2"
CLEAR GLASS

1'-3"
2"
5'-7"

8'-4"

5'-7"
WHITE TRANSULENT

1'-3"
GLASS

cu.ft. 1,578.1 22.00 34,718.86

2"
1"

1"
2'-8"
1.3 BACKFILLING OF EARTH

2" 1'-4"

2" 1'-3"
Filling with earth or mixed soil stacked at site in 150mm

2"

2"
PLINTH LEVEL PLINTH LEVEL PLINTH LEVEL
+6" +6" +6"
thick layer under floor and at foundation covered area ELEVATION ELEVATION ELEVATION
including watering, ramming, consolidation and dressing TYPE FIXED WINDOW+ PIVOT GLASS DOOR SLIDING DOOR + FIXED WINDOW SLIDING DOOR

as per drawing, specifications and satisfaction to site

ALUMINIUM
MATERIAL/FINISH ALUMINIUM ALUMINIUM
ALUMINIUM
FRAME ALUMINIUM ALUMINIUM

engineer all complete. GLASS CLEAR GLASS CLEAR GLASS + WHITE TRANSULENT GLASS CLEAR GLASS

QUANTITY 1 1 1
GROUND FLOOR
LOCATION GROUND FLOOR GROUND FLOOR

Cuft 793.1 15.00 11,895.80 HARDWARE BY MANUNFACTURE OWN SPECIFICATION BY MANUNFACTURE OWN SPECIFICATION BY MANUNFACTURE OWN SPECIFICATION

2 SOLING WORKS
2.1 Brick soling works ELEVATION
Providing and laying one layer flat brick soling including
watering after soil compacting using appropriate
mechanical compaction means with all contractors
materials, handling, placing etc. all complete as per
drawings, specifications and instruction of the Engineer.
The complete item including all lead & lift.

sqft 952.5 112.00 106,674.83

3 CONCRETE WORKS
3.1 PCC(1:3:6) Works
Here is a detailed building opening schedule that includes
This is solely the Bill of Quantities (BOQ) for the civil
information about the materials used, the quantity of each
works. This BOQ provided me with valuable insights into
type, as well as plans, elevations, and opening diagrams.
the process of calculating the quantities of various materi-
als required for construction.

Task performed: BOQ Task performed: Working drawing

(Refer to annex for the further drawing) (Refer to annex for the further drawing)
30 31
32 33
 What I learned?

This project held significant importance during my internship period, primarily involving the cre-
ation of working drawings. It was a valuable learning experience where I gained insights into the
intricate process of producing construction drawings for building projects. I acquired the skills
needed to create various types of plans.

Additionally, I learned the art of crafting comprehensive working drawings for elevations and
sections, ensuring clarity and ease of understanding for the construction team on-site.

Delving into the creation of a Bill of Quantities (BOQ) was another enlightening aspect of this
project. While preparing the BOQ, I gained a deep understanding of the step-by-step building
process, as well as how quantities and costs impact both clients and the overall construction
process.

Furthermore, I acquired knowledge about generating opening schedules and how to provide
this crucial information to contractors.

LANDSCAPE
SAURAHA

34 35
LANDSCAPE

Location : Sauraha, Chitawan

Site area :
Status : Conceptual
My involvement : Conceptual

This project revolves around the landscape design for a hotel in Sauraha, currently in its
conceptual phase. Unlike hotels typically situated in the bustling center of Sauraha, this one is
uniquely located near a village area. The central concept of this project hinges on the integra-
tion of the main building with the surrounding landscape.

The project is aptly named Hotel Aikawa, which signifies the connection and affection be-
tween two rivers. This concept is artfully reflected in the design, particularly in the form of a
pond that symbolizes the union of these two rivers.

Participating in this project, especially in its conceptual stages, has been a truly distinctive ex-
perience for me. It’s one of the first landscape projects I’ve been involved in, and it has signifi-
cantly broadened my perspective on perceiving and analyzing spaces in a different and more
critical light.

36 37
DESIGN PROCESS

UNDERSTANDING THE REQUIREMENT SITE AND SURROUNDING

This project revolves around the landscape design for a hotel situated in Sauraha, cur-
The client’s specific request is to depart from the conventional hotel experience and
rently in its conceptual phase. Notably, this hotel is positioned in close proximity to a
create a distinct landscape that incorporates essential features such as a beer garden, a
village area rather than in the heart of the bustling Sauraha main district. The local Tharu
photogenic zone, a reading area, and even an ice cream station. Additionally, there’s an
community surrounds the hotel. However, it’s noteworthy that the hotel’s architectural
interesting twist in that the public should have access to these amenities. Furthermore,
design doesn’t draw direct inspiration from its immediate surroundings. Instead, it stands
the design can draw inspiration from Japanese culture, as per the client’s suggestion.
as a five-story structure, a departure from the typical architectural style found in the
nearby village. Thus, a significant challenge lies in how to enhance the overall aesthetic of
the building through landscape design.

SURROUNDING

38 39
 INITIAL IDEAS INITIAL IDEAS
When the concept of landscape design crossed my mind, my thoughts gravitated
toward the idea of pavilions that cater to a diverse range of users, including adults
and various age groups. I also considered the significance of employing pots of
different sizes within landscape design, recognizing their pivotal role in shaping
the environment, each size serving a unique function.

As part of this project, I had the opportunity to visit Sauraha, Chitwan, where I received valuable lessons in
site observation. I learned how to carefully assess the surroundings and make note of the various interac-
tions between different elements.

During this phase, I created sketches to illustrate the zoning of different spaces based on the existing condi-
tions. I divided the site into four major zones, taking into account the site’s characteristics. These divisions
included the reading zone, private zone, beer garden, and entry area. The entry area was expected to be the
most crowded, as it serves as the gateway for many visitors.

The zoning was strategically planned from the most crowded to the least crowded areas, keeping in mind
that the hotel is a place for relaxation. Additionally, I conducted research on identifying various focal
points within the site. Focal points are key attractions in specific locations, designed to capture the atten-
tion and enjoyment of visitors. I believed that visitors to the park and garden would appreciate simple focal
points that engage their senses and provide enjoyment.

For instance, in the quietest corner, which is the northeast part of the site, where cultivated land surrounds
it on all sides, I envisioned a serene space where people could unwind, read, and relax while being close to
nature.

40 41
RESEARCH CLIENT MEETING
Date 2023 july 30
Time 4 pm
Nature Physical
Location Sauraha, Chitwan
P r o j e c t / To p i c Landscape

Meeting introduction
FOCAL POINTS IDEA
T h e m e e t i n g w a s c a l l e d b y t h e c l i e n t , To s h o w t h e
site and talk about the requirement of the projects.

Meeting agenda

1. Introduction/brief overview of the project

2. Discussion of the probabilities for the project

Meeting attendees

1 . Te a m A

Client

2 . Te a m B

A r. s h u v a m ko i r a l a
Bibek chaudhary

42 43
44 45
 What I learned?

First and foremost, I gained valuable insights into client interactions. I learned the im-
portance of actively listening to the client, taking careful note of their requirements, and
comprehending their needs and desires.

Secondly, I developed a keen eye for observation, realizing that composition plays a piv-
otal role in design. This understanding was honed during our site visits, where I learned
to appreciate how well-composed elements exist all around us.

In the realm of landscape design, I discovered the significance of respecting the site’s
context and crafting our design in response to it. This involved the thoughtful infusion of
the client’s emotions into the project.

Additionally, this project also introduced me to the world of Photoshop and its various
techniques, expanding my skill set in digital design tools.

RICE BAE
PATA N

46 47
RE-DESIGNING RICE BAE
ORIGINAL INITIAL IDEA
Location : Patan, Lalitpur
Status : Ongoing
Involvement : Design
This project is about the small changes in the design layout of the kiosk of the
eatery. I was assigned to make simple design changes. This stall is located in food
court to offer foods. According to client, The requirement was to make small
changes which can make the design look good and attract more customers.
From my experience of helping to revise and design the existing facade of Rice
Bae, eatery at a food court at Patan, I gained a deeper understanding of design
principles, such as balance, proportion, scale, symmetry, and color theory. These
principles are crucial when creating an aesthetically pleasing and functional facade.
Through the design process, I learned about customer preferences and expectations
regarding the overall look and ambiance of a food court eatery. It also exposed
me to various architectural constraints and regulations that need to be considered
when designing like the limitations imposed by the existing structure. Designing
a facade requires creativity and innovative thinking to make the eatery stand out
and attract customers. I explored various design concepts and solutions to achieve
48
FINAL IDEA
In the finalized design concept, I made several specific modifications. Firstly,
I reduced the size of the menu, making it more compact. I also introduced
some greenery in the form of plants. Below the menu, I incorporated wooden
battens for added visual interest. Additionally, I integrated neon lights that
are visible from the street, potentially serving as an eye-catching feature to
attract customers. These neon lights convey a unique food stall quote.
During this design process, I constantly pondered how to effectively attract
customers and anticipate their reactions. This necessitated extensive re-
search on my part. What I gleaned from this experience was the ability to
think critically, such as considering what would happen if animals visited the
space instead of people, and whether it would be possible to serve them. This
exercise also taught me the importance of contemplating worst-case scenar-
ios.
49
 M A N AV S H E WA A S H R A M

M A N AV S H E WA A S H R A M
DHANGADI
Location : Dhangadi
Status : Ongoing
Involvement :Municipal drawing

Manav Shewa Ashram is a charitable organization or ashram that focuses on hu-

manitarian and social service activities. It typically offers support and assistance to
underprivileged and marginalized individuals or communities. The specific services
and programs provided by Manav Shewa Ashram can vary but often include edu-
cation, healthcare, vocational training, and support for basic needs like food and
shelter. These ashrams aim to improve the lives of those in need and promote a
sense of social responsibility and compassion within society.

Involvement

Managament of sheets of all municipal drawing, Correction in the municipal

drawing like Electrical, Sanitary, Architecture, Structure

50 51
 Task performed: Municipal drawing Task performed: Municipal drawing
(Refer to annex for the further drawing) (Refer to annex for the further drawing)

A-03 A-03
W1 W1
W1
2 2 W1

This municipal drawing rep- A-10 WC

A-10 A-10 A-10
WC
resents my work, although W1 W2A
W1 W2A A/V1
A/V1
N
I didn’t manage to include W1
W1 STAFF W2 W1
W2A STAFF W2 W1
all the elements initially W2A
W2
BATHROOM
BATHROOM

W2
planned. However, I did in- W2 W2
A/V1 W2
A/V1

W2
A-9 A-9 A-9 A-9
corporate columns and ex- A/V1
A/V1 STORE
pansion joints into the de- W2A
STORE
10'8"x4'0" VERANDAH
10'8"x4'0"
W2A VERANDAH W2
sign. Additionally, I received W1
W1 W2
W1
W1

feedback and a review of the W1

WC
W2 W1
WC
9'10"x9'10"
W2 KITCHENETTE
KITCHENETTE
10'8"x5'0" A/V1
9'10"x9'10" A/V1
municipal drawing since I A-8
10'8"x5'0"
A-8
A-8 A-8
didn’t have the opportunity W2
W2
to complete it as originally WC
W1
WC
9'10"x6'0" W1
W1
9'10"x6'0" W1
intended. W1 W1
BODY HOLDING
BODY HOLDING W2
AFTER DEATH W2
AFTER DEATH W2
W2 9'10"x10'2"
9'10"x10'2"
A-7 A-7 A-7OFFICES A-7
OFFICES
W2
W2
W1 W1 20'10"x22'6"
W1 W1 20'10"x22'6" W1
ELECTRICAL W1 W1
ELECTRICAL W1 ROOM W1
W1 ROOM
9'10"x10'0"
9'10"x10'0"
A-6' A-6' A-6' A-6'

W2 A-6 A-6 A-6 A-6

W2 LVL ±0'0"
LVL ±0'0"
W2
W3 W2
W3 1 A-03
A-03 3 A-03 3 1 A-03 W3
W3
WALL LEGEND WAL

A-5 A-5 A-5 W1 RAMMED EARTH WALL 14" THICK A-5 W1

PHYSIO-THERAPY HALL W2 W2
PHYSIO-THERAPY HALL W2 W2 SOLID CEB BLOCK WALL 6"THICK
33'8"x20'4"
33'8"x20'4" W1 W1 W1 W2A
W1 W1 W1 W2A SOLID CEB BLOCK WALL 6"THICK
UPTO 7'0" HEIGHT
W3
W3 OPEN PATTERN CEB BLOCK
12"THICK WALL
A-4 A-4 A-4 A-4 CO
CO CONCRETE

W1 W1 OFFICES W1
W1 W1 OFFICES W1
1 1 20'10"x33'8" 20'10"x33'8"
1 W1 1
A_05 W1 A_05
A_05 A_05
A-3 A-3 A-3 A-3

W1 W1 W1
W1 W1 W1
10MM SHERA BOARD LOUVERS
COUNSELLING ROOM 10MM SHERA BOARD LOUVERS
COUNSELLING ROOM W1 AT BALCONY
W1 20'10"x9'10" AT BALCONY
20'10"x9'10"
Owner

A-2 A-2 A-2

Owner
MANAV SEWA ASHRAM
A-2
Signature

STAIRCASE W3 STAIRCASE
STAIRCASE STAIRCASE DN
LVL -1'6" LVLW3
±0'0" DN CONSULTANT
LVL -1'6" LVL ±0'0" SHRINKHA
SHRINKHALA W3
ARCHITECTURE DESIGN AND CONSTRUCTION pvt. ltd.
WC W3 BU
WC 9'6"x4'9"
BUILDING TYPE LOCATION
9'6"x4'9" W2 PUB
W2 VERANDAH PUBLIC BUILDING DHANGADHI
VERANDAH W2
W2 PLOT NO. AREA

A-1 A-1 A-1 A-1

25-12-3-2.98
D
RAMP

6"Ø INCLINED HOLLOW DESIGN BY CHECKED BY

RAMP

6"Ø INCLINED HOLLOW W2

BLOCK A
1:12

BLOCK A W2 STRUCTURAL STEEL POST Ar. A

BLOCK A
1:12

BLOCK A STRUCTURAL STEEL POST Ar. Asmita Shakya Ar. Sadar Bhandari NEC : 2
GROUND FLOOR PLAN A-A' A-A FIRST FIRST FLOOR PLAN NEC : 2087 Architecture A NEC : 2481 Architecture A
GROUND FLOOR PLAN A-A' A-A A-BAREA- 2379.37 SQ.FT.
A-C A-B A-C FLOOR PLAN A-A' A-A AREA- 2379.37 SQ.FT.A-C A-A' A-A
A-B A-B A-C
AREA- 2379.37 SQ.FT. AREA- 2379.37 SQ.FT. DWG. TITLE SHEET NO.
AREA- 2809.02 SQ.FT.(WITH COVERED VERANDAH) AREA- 2809.02 SQ.FT.(WITH WALL AREA- 2809.02 SQ.FT.(WITH COVERED VERANDAH) ARCHI
AREA- 2809.02 SQ.FT.(WITH COVERED VERANDAH)
WALL FINISH PLAN
COVERED FINISH PLAN
VERANDAH)
SCALE-3/32"=1'-0"
ARCHITECTURAL PLANS
AR_A-02A
SCALE-3/32"=1'-0" SCALE-3/32"=1'-0" SCALE-3/32"=1'-0" SCALE : AS SHOWN
SCALE :

52 53
 B-6 A-1 A-2 A-3 A-4 A-5 A-6 A-6' A-7 A-8 A-9 A-10

TO ROOF A N
+26'2"

CORRUGATED METAL ROOF

MSA DHANGADI
BRACKET
ADMIN

OFFICES

FIRST FLOOR LVL Full

+10'4" RECEPTION

COMPRESSED EARTH WALL

RAMMED EARTH PEIRS

W / REBAR WAITING LOUNGE

PLINTH LVL Full

±0'0" VERANDAH

CLAY TILE CRUB FINISH

ELEVATION 1 DISPLAY DISPLAY
VERANDAH

SCALE-3/32"-1'0"

DISPLAY
SOUVENIR

A-10 A-9 A-8 A-7 A-6' A-6 A-5 A-4 A-3 A-2 A-1
AREA
B-6
ELEVATION
DISPLAY

TO ROOF A

+26'2"

CORRUGATED METAL ROOF GROUND FLOOR FIRST FLOOR

N Sheet no. A-006

BRACKET
3
Scale. 32"=1'

LEGENDS project. MSA DHANGADI

location. DHANGADI , NEPAL
WC
FIRST FLOOR LVL Full SYMBOL DESCRIPTION
drawing by.

+10'4" STAFF checked by. AR. SADAR BHANDARI

BATHROOM
Ceiling fan 42" NEC NO : 2481 'A'

date.2023.06.07
RAMMED EARTH PEIRS
W / REBAR
CEILING FAN PLAN - B BLOCK
STORE
PLINTH LVL Full
CEILING FAN PLAN
VERANDAH
±0'0"
CLAY TILE CRUB FINISH
WC ELEVATION 3
A-A A-B A-C SCALE-3/32"-1'0" KITCHENETTE

TO ROOF A
+26'2"
WC

TO BEAM
+20'8" BODY HOLDING
AFTER DEATH Owner
Signature
OPEN MATERIAL LEGEND MANAV SEWA ASHRAM
BEYOND
RAMMED EARTH WALL 14" THICK
CONSULTANT
OFFICES
SOLID CEB BLOCK WALL 6"THICK SHRINKHALA ARCHITECTURE DESIGN AND CONSTRUCTION pvt. ltd. VERANDAH
FIRST FLOOR LVL Full ELECTRICAL BUILDING TYPE LOCATION

+10'4" ROOM OPEN PATTERN CEB BLOCK WALL 6"THICK PUBLIC BUILDING DHANGADHI
PLOT NO. AREA

CONCRETE 25-12-3-2.98
DESIGN BY CHECKED BY

Ar. Asmita Shakya Ar. Sadar Bhandari

NEC : 2087 Architecture A NEC : 2481 Architecture A MEDICINE CENTER
PLINTH LVL
±0'0" DWG. TITLE SHEET NO.

ELEVATION 2 ELEVATION
AR_A-03
SCALE-3/32"=1'0" SCALE : AS SHOWN

STUDIO

CORRIDOR CORRIDOR
MEDICINE NURSING STATION
WC WC STORE

PHYSIO-THERAPY HALL

OFFICES

Owner
Signature
LEGENDS
MANAV SEWA ASHRAM
COUNSELLING ROOM DESCRIPTION MOUNTING HEIGHT
SYMBOL CONSULTANT
GROUND FLOOR
SHRINKHALA ARCHITECTURE DESIGN AND CONSTRUCTION pvt. ltd.
1200mm ABOVE FFL FOR BED
6/16 A UNIVERSAL PIN POWER SOCKET
300mm ABOVE FFL FOR OTHERS
BUILDING TYPE LOCATION

STAIRCASE PUBLIC DHANGADHI

STAIRCASE DN
PLOT NO. AREA
FLAG STONE
25-12-3-2.98
WC DRAWN BY CHECKED BY

VERANDAH
DURGA CHAUDHARY Ar. Sadar Bhandari
NEC No.: 2481 Architecture "A"
DATA AND TELE PLAN
GROUND FLOOR FIRST FLOOR
DWG. TITLE SCALE DATE SHEET NO.

POWER SOCKET LAYOUT - A BLOCK ELETRICAL DRAWINGS 3

32"=1'
28/03/2080 A002

POWER SOCKET LAYOUT

Task performed: Municipal drawing Task performed: Municipal drawing

(Refer to annex for the further drawing) (Refer to annex for the further drawing)
54 55
What i Learned?

Through this project, I gained a valuable understanding of the distinction between Municipal
drawings and Working drawings. Municipal drawings must adhere to the scale recommended
by the local authorities, while Working drawings can vary in scale as long as they remain legi-
ble for the construction workers.

Furthermore, during the layout phase, I had the opportunity to explore various types of plans,
including electrical plans, fan layouts, CCTV plans, smoke evacuation plans, and data and
telecommunications plans, which provided me with a comprehensive view of the project’s
technical aspects.

BAL BIKASH KENDRA

LAMJUNG

56 57
 BAL BIKASH KENDRA

Location : Chandi Dhada, Lamjung

Site area :
Status : Ongoing
My involvement : Working drawing

In the hilly regions of Nepal, communal activities often revolve around gathering spots
known as ‘chautari.’ This particular site features a large tree that serves various purposes. It
serves as a space for community learning and daycare facilities, known as the Balbikash Ken-
dra, situated in Lamjung. The design also incorporates elements of a community center.

The architectural approach for this project prioritizes the use of rammed earth as the pri-
mary building material, drawing inspiration from the construction style seen in Manavsewa
Ashram buildings in Lamjung. Notably, the site’s placement along a community pathway
encourages interaction among community members.

58 59
 EAST ELEVATION

PLAN

INVOLVEMENT

This project stands out as a pivotal experience during my internship. It afforded me the oppor-
tunity to delve into the intricate processes involved in creating working drawings, particularly
in the context of working with rammed earth as a construction material.

Throughout this project, I meticulously crafted a comprehensive set of working drawings,

encompassing plans, elevations, sections, electrical and sanitary details, illustrations, realistic
renders, and opening specifics.

Being a structure constructed primarily with rammed earth, this endeavor provided me with
invaluable insights into the application of this material in building construction. I gained a deep
understanding of the integration of rebars within the rammed earth process, a crucial aspect
of its structural integrity.

Moreover, this building was designed with community needs in mind, which influenced the
spatial planning to ensure a harmonious fit for its intended purpose.

SOUTH ELEVATION

60 61
62 63
 A B C D Lalitpur, Bagmati Province, Nepal
studio@storiesofgaatha.com
www.storiesofgaatha.com

X
A-253
1 3 4
14950

4600 4305 6045 All dimensions

and are to be re
NORTH
Information pro
4600 1500 3200 2100 4000 with other relev
GENERAL NOTES and electrical d

All dimensions are in millimeters (mm) unless noted otherwise ROOF LEVEL Any area men
and are to be read not measured in the document. indicative only.
+7120 mm
Information provided in drawing should be read in conjunction Discrepancies f
with other relevant architecture, structure, mechanical, plumbing attention in writ
0 and electrical drawings provided.
Provided drawin
Any area mentioned within the drawing are approximate and
indicative only. Architecture d
12MM CEMENT BOARD WITH MULTIPLE COLOR ON FRONT drawings for le
116 5205 530

2500 1165
INSULATION FACE SURROUNDED BY Discrepancies found in drawing should be brought to architects construction.
5 2 WHITE PAINT ON TWO SIDES attention in writing immediately before commencement of work.
W7 W8 AND ABOVE
(PAINT : ASIAN PAINTS L152)

4 4
Provided drawings in the sheet are not to be scaled.

800 600
Architecture drawings to have precedence over structural
drawings for levels and dimensions during site application and TRUSS PAINTED MATTE BLACK
2150

(MATTE BLACK PAINT TO MATCH THE METAL

A construction.
W9 A FRAME, ALUMINIMUM FRAMES, BEAM
A-251 REST AREA A-251 EXTERNAL PAINT)
DN T.O. R.C.C. BEAM
006
DN +4725 mm
-350 14.36 SQM 1 " THK TREATED HARDWOOD FASCIA

1025
+ 1550
3800

3800
6" UPVC GUTTER PAINTED
TO MATCH WITH FASCIA BOARD COLOR

FLOOR BELOW
2100

±0
TREATED PINEWOOD RAFTER EXTENSION

3 3
8500

8500
HULAS H-SPAN METAL ROOFING
5600

5075

5075
1770

1770

5
537
AIR GAP
1 " THK TREATED HARDWOOD FASCIA The drawings, d
2975

2975
WATER PROOFING SHEET
B.O. RCC BEAM LVL are the intellec
Copyright Act
12 MM THK INSULATION ROLL
+2200 mm modification, re
A-252 W12 A-252
herein is strictly
B B
FLOOR BELOW LEGAL
WATERPROOF PLYWOOD, CONNECTION SEALED WITH WIRE MESH, 6" UPVC GUTTER PAINTED TO MATCH per the act.
ACRYLIC WALL PUTTY, WITH FASCIA BOARD COLOR
The drawings, data, information and formatting contained
PRIMER herein
APPLICATION, WATER PROOFING FINISH

2 2
±0
are the intellectual property of Gaatha and protected by the AND PAINT METAL RAFTER EXTENSION
2600

Copyright Act 2002 of Nepal. Any unauthorized copying, (PAINT- ASIAN PAINTS L152)
modification, revision, reproduction or distribution of the content WATERPROOF PLYWOOD, CONNECTION SEALED WITH WIRE MESH,
BAL
1275

1275
herein is strictly prohibited and may be subject to penalties as ACRYLIC WALL PUTTY,
3235 per the act. PRIMER APPLICATION, WATER PROOFING FINISH

1000
5100 AND PAINT
750

1 1
(PAINT- ASIAN PAINTS L152)

GROUND FLOOR
W11 W11 W10 project CHA
±0
50 3750 BAL BIKASH KENDRA

116
5

A PR
21
116

5
5100 1375 2000 2325 2000 3100 3235
location
CHANDIDANDA,BESISAHAR,
PROVINCE - 4,LAMJUNG
INTERACTIVE SPACE
A
4600 4275 6075 sheet no. -350 mm

15900 A - 002.0 200 MM BLACK SKIRTING FLUSHED

WITH WALL WITH BLACK GROUT
HULAS H-SPAN METAL ROOFING
(TILE : KAJARIA CRACKLE NERO WITH MATTE FINISH
scale WATERPROOFING TO BE APPLIED ON ADHESION
TO THE WALL SURFACE)
AIR GAP
ROCKWOOL INSULATION 1:100
M
A B C D
MS steel framing to fix board FLOOR FINISH
VAPOUR BARRIER
drawing title WATER PROOFING SHEET
X 75 MM P.C.C SLAB (1:3:6)
A-253 12MM CEMENT BOARD FLOOR PLAN 50 MM CEMENT SCREEDING
12 MM THK INSULATION ROLL
STONE MASONARY WALL
75 MM P.C.C. SLAB (1:3:6)
client 150 MM STONE SOILING WATERPROOF PLYWOOD, CONNECTION SEALED WITH WIRE MESH,
CEMENT BOARD WALL MANAVSEWA ASHRAM 150 MM STONE SOILING
ACRYLIC WALL PUTTY,
PRIMER APPLICATION, WATER PROOFING FINISH
A
DETAILS AT A drawn by AND PAINT NEC
COMPACTED EARTH (PAINT- ASIAN PAINTS L152)

BIBEK CHAUDHARY
checked by

MEZANINE
MEZANINE FLOOR
FLOOR PLANPLAN
SECTION THROUGH X-X X-X
Ar. SHUVAM KOIRALA
NEC Reg. [ 2430 ARCHITECTURE "A" ]

FLOOR AREA: 14.36 SQ.M. date

SECTION THROUGH
2023.07.19
AUTHORIZATION

signature

All di
and a

Inform
with o
signature seal
and e

Any
indica

Discr
atten

Provi

Archi
E D C A drawi
const

This set of working drawings includes essential elements such as plans, elevations, and sec- ROOF LEVEL
+7120 mm

tions. Notably, the project features a distinctive 14” rammed earth wall construction with
both vertical and horizontal rebars. Additionally, the rebars extend through the sill and lintel
beams, a practice unique to Nepal due to earthquake considerations. In contrast, this method HULAS H-SPAN METAL ROOFING

AIR GAP
T.O. R.C.C. BEAM
+4725 mm

is less common in other countries with lower seismic activity. WATER PROOFING SHEET

12 MM THK INSULATION ROLL

WATERPROOF PLYWOOD, CONNECTION SEALED WITH WIRE MESH,

ACRYLIC WALL PUTTY,
PRIMER APPLICATION, WATER PROOFING FINISH
AND PAINT
(PAINT- ASIAN PAINTS L152)
The d
are t

The section drawing provides valuable insights into the building’s height levels, foundation Copy
modif
herei
per th

details, roof truss configuration, and the presence of a mezzanine floor within the central
RAMMED EARTH WALL
MEZANINE FLOOR
+1550 mm

space. 50MM RECESS ON MORTAR ON FACE

STONEWORK MORTAR TO CONTINUE
ONLY AFTER 50MM (2") INSIDE FROM FACE GROUND FLOOR
±0

INTERACTIVE SPACE

-350 mm

200 MM BLACK SKIRTING FLUSHED

WITH WALL WITH BLACK GROUT
(TILE : KAJARIA CRACKLE NERO WITH MATTE FINISH
WATERPROOFING TO BE APPLIED ON ADHESION
TO THE WALL SURFACE)

FLOOR FINISH

50 MM CEMENT SCREEDING

75 MM P.C.C SLAB (1:3:6)

150 MM STONE SOILING

COMPACTED EARTH

SECTION THROUGH A-A

SECTION THROUGH A-A

Task performed: Working drawing Task performed: Working drawing

(Refer to annex for the further drawing) (Refer to annex for the further drawing)
64 65
 Patan Dhoka-03, Lalitpur, Bagmati Province, Ne
studio@storiesofgaatha.com
www.storiesofgaatha.com

NORTH

Strip light besides bottom chord of truss

GENERAL NOTES
All dimensions are in millimeters (mm) unless noted oth
and are to be read not measured in the document.

Information provided in drawing should be read in c

with other relevant architecture, structure, mechanical
and electrical drawings provided.

Any area mentioned within the drawing are approx

indicative only.

DN Discrepancies found in drawing should be brought to

attention in writing immediately before commencement

DN Provided drawings in the sheet are not to be scaled.

Architecture drawings to have precedence over

drawings for levels and dimensions during site applic
construction.

Furthermore, I had the opportunity to contribute to the project by creating the electrical plan 4M

and sanitary drawings. The electrical plan involved strategically placing lighting fixtures along
the truss and determining the layout for power sockets. In addition to this, I meticulously
developed an opening schedule for the project. LEGAL

The drawings, data, information and formatting contain

are the intellectual property of Gaatha and protect
Copyright Act 2002 of Nepal. Any unauthorized
modification, revision, reproduction or distribution of th
herein is strictly prohibited and may be subject to pe
per the act.

Additionally, I worked on various sanitary plans, though it’s worth noting that the exact lo- project

cation of the water tank had not been finalized. Nonetheless, I planned and incorporated the BAL BIKASH KENDRA

positioning of water supply pipes to accommodate the future placement of the water tank
location
CHANDIDANDA,BESISAHAR
PROVINCE - 4,LAMJUNG
sheet no.

E - 002.0
Strip light besides bottom chord of truss LEGEND scale
1:60
Ceiling hung LED pendant lamp
drawing title
Ceiling-mounted globe fixture lamp LIGHTING PLAN

Wall-mounted light fixture client

F.F. to Electrical point = 72" MANAVSEWA ASHRAM
LED strip cove light drawn by
LIGHTING PLAN AT UPPER CEILING LEVEL upward facing LED Focus light
BIBEK CHAUDHARY
checked by
F.F. to Electrical point = 40" Ar. SHUVAM KOIRALA
NEC Reg. [ 2430 "A" ]

date
2023.07.19
AUTHORIZATION

NAME D1 D2 D3
Patan Dhoka-03, Lalitpur, Bagmati Province, Nepal
studio@storiesofgaatha.com
www.storiesofgaatha.com signature

TO SOAK PIT IN IN IN
2900 945

50 100 900
NORTH
50 600 50
50 600 50 600 50 50 600 50 40 865 40
50 810 40
TO SEPTIC TANK
GENERAL NOTES
All dimensions are in millimeters (mm) unless noted otherwise
and are to be read not measured in the document.

UP S Information provided in drawing should be read in conjunction

with other relevant architecture, structure, mechanical, plumbing OUT OUT OUT
and electrical drawings provided.
110mmØ

W Any area mentioned within the drawing are approximate and

indicative only.

PLAN PLAN PLAN

50mmØ

Discrepancies found in drawing should be brought to architects

DN attention in writing immediately before commencement of work.

UP Provided drawings in the sheet are not to be scaled.

DN Architecture drawings to have precedence over structural

drawings for levels and dimensions during site application and
construction.
110mmØ

50mmØ

WC MFT

HS
WT
IN IN IN

WB

OUT OUT
LEGAL

WB The drawings, data, information and formatting contained herein

are the intellectual property of Gaatha and protected by the
Copyright Act 2002 of Nepal. Any unauthorized copying, PLAN PLAN PLAN
modification, revision, reproduction or distribution of the content
herein is strictly prohibited and may be subject to penalties as
per the act.
50mmØ

project 2900
950

BAL BIKASH KENDRA

50 50 50 50

50 600 50 600 50 600 100 600 50 900

50 850 50

LINTEL LEVEL 50 800 50 LINTEL LEVEL

50
+2300
location LINTEL LEVEL +2225

750

650
+2000
CHANDIDANDA,BESISAHAR,
PROVINCE - 4,LAMJUNG

50
sheet no.

P - 001.0

2300

2225
2000
LEGEND

1550
SN SYMBOL
scale PLINTH LEVEL PLINTH LEVEL PLINTH LEVEL
±0 ±0 ±0
1:60
drawing title
SOIL AND WASTE PIPE PLAN
CW CW CW CW

client
MANAVSEWA ASHRAM
drawn by
BIBEK CHAUDHARY ELEVATION ELEVATION ELEVATION
WC checked by
Ar. SHUVAM KOIRALA TYPE FIXED WINDOW+ PIVOT GLASS DOOR SINGLE LEAF DOOR DOOR
WB ALUMINIUM WOODEN
NEC Reg. [ 2430 "A" ] MATERIAL/FINISH WOODEN
ALUMINIUM WOODEN
HS FRAME WOODEN
WOODEN DOOR WOODEN DOOR
date GLASS CLEAR GLASS
MFT

SOIL AND WASTE

2023.07.19 QUANTITY 1 1 2
AUTHORIZATION
S HARDWARE BY MANUFACTURER'S OWN SPECIFICATION BY MANUFACTURER'S OWN SPECIFICATION BY MANUFACTURER'S OWN SPECIFICATION

WATER PIPE LAYOUT

W

signature seal

Task performed: Working drawing Task performed: Working drawing

(Refer to annex for the further drawing) (Refer to annex for the further drawing)
66 67
68 69
What i Learned?

Throughout the course of this project, I acquired a deep understanding of the construction
techniques involving rammed earth materials and the structural considerations associated
with such construction methods.

Moreover, I gained valuable practical experience in the creation of comprehensive working

drawings, including those for electrical and sanitary systems. Additionally, I became proficient
in developing opening schedules, focusing on the finer details.

This project also honed my ability to design with a keen response to community needs and
considerations. Furthermore, I delved into the intricacies of roof design and gutter systems,
further enriching my architectural knowledge.

K AT H M A N D U M E D I A G R O U P
K AT H M A N D U

70 71
K AT H M A N D U M E D I A G R O U P

CABINET
WA L L S H E L F

CHAIR

CABINET LAMP BOX

Location :Thapathali , Kathmandu

Status : Ongoing
My involvement : Interior render,
Furniture detail
This project involves the interior renovation of a corporate office, specifically focusing on the
CEO’s office. My responsibilities included meticulously detailing the dimensions of the furniture
within this space. Additionally, I undertook the creation of interior renderings, highlighting spe-
cific areas of the project for visualization. CORNER SHELF

Furthermore, I played a role in selecting an appropriate rug for the interior, a decision informed
by thorough market research and analysis.
CORNER SHELF
C O N S O L E TA B L E

72 73
74 75
What i Learned?

I acquired valuable insights into the use of Vray software, particularly in the context of interi-
or design. This learning experience included understanding the intricacies of interior design
and how Vray can be effectively utilized for this purpose.

Furthermore, I gained proficiency in creating detailed dimensions for furniture items, which
can later serve as crucial information for their construction.

I also explored the diverse range of office furniture, each designed with distinct purposes and
functionalities in mind.

RESIDENTIAL EXTENSION

DHUMBARAHI

76 77
 RESIDENTIAL EXTENSION
8'
8'-8" BATHROOM
BEDROOM

Location :Dhumbharahi, Kathmandu

Status : Ongoing 16'-5"
12'-5"
My involvement : Illustration for the TERRACE

meeting
EXISTING
As part of this project, I had the responsibility of crafting plan illustrations for client presentations. SPIRAL
STAIRS

Additionally, I was tasked with providing a comprehensive analysis of various construction mate-
rials, including AAC, EPS, brick, and cement board, complete with their respective advantages and STAIRS
disadvantages.
7'-2"
8'-10"
I also undertook the design of three plan variations, offering the client different options to consider. ENTRY
STUDY

Moreover, I conducted in-depth market research to determine the cost associated with using AAC LIVING AREA

13'-4"
in the project. 12'-3"
CORRIDOR

1 (B)
Top Floor
PRELIMINARY PLANNING
1 (A)
8'
8'-8" BATHROOM
BEDROOM
8'
8'-8" BATHROOM
BEDROOM
15'-4"

12'-5"
16'-5"
TERRACE 12'-5"
TERRACE

EXISTING
SPIRAL EXISTING
STAIRS SPIRAL
STAIRS
3'

STAIRS STAIRS

LIVING AREA
12'-3" 7'-2" WALK-IN CLOSET
8'-8" 8'-10"
ENTRY
ENTRY 8'-10" LIVING AREA
7'-2"
STUDY
14'-1"
14'-4"
CORRIDOR

7'-7"
CORRIDOR

12'-3"

1 (A) 2(A)
Top Floor PRELIMINARY PLANNING
Top Floor

78
2 (A) 79
PRELIMINARY PLANNING
 MATERIAL CEMENT FIBER BOARD

Pros
AAC BLOCK
-Excellent impact resistance
Pros -Resists insects
-More cost-effective than wood, brick and
-Faster Construction stone
-Light Weight -Available in pre-painted material and takes
-High Strength paint and stain very well
-Earthquake Resistant
-Precision Cons
-Workability and Flexibility
-Pest Resistant -Heavy, Compared to other materials
-Expensive
Cons -Brittle
-Environmental impact
Not Suitable for Load-Bearing
Brittle in Nature
Prone to Cracks
Plastering issue
BRICKS

Pros
EPS
-Durability
(Expanded Polystyrene)
-Thermal Insulation
-Sustainability
-Economical
-Low Maintenance
Pros

-Fast and Efficient Construction

-Light weight and Economy
-Fireproof Cons
-Hanging Loads And Stickability
-Heat Preservation -Time consuming construction
-Sound Insulation -Very Less tensile strength
-Cleaning brick surfaces is a hard job
Cons
-Rough surfaces of bricks may cause mold
growth if not properly cleaned
-Low Bearing Capacity
-Since bricks absorb water easily, therefore,
-Poor Combustion Performance
it causes fluorescence when not exposed to
-Not Environmentally Friendly
air
-Potential Defects In Manufacturing
-Problem in wiring
-More susceptible to water absorption

80 81
What i Learned?

Throughout the course of this project, I had the opportunity to acquaint myself with
various construction materials such as AAC, EPS, cement fiberboard, and bricks. I delved
into understanding the dimensions and characteristics of these materials.

In the realm of illustration, I gained proficiency in using Photoshop, enhancing my skills

in digital representation. Similarly, during the presentation phase, I learned the art of
composition and how to craft concise and minimalist presentations for effective commu-
nication

COMPETITION
ARC ASIA
Designing a Future-Ready Community Responding
to the Most Challenging Social Condition

TO P 3

Team Members

Bibek chaudhary
Dikshya maharjan
Krisha rauniyar
Ashmita dangol
82 83
NISARGA

LIBRARY

Around 34,593 children (1-17 yrs) are living and working in brick kilns all over the
country. Each brick kiln has 409 labors among which 152 are children. Out of them 99
kids are eager to get education while only 12 of them are able to get proper education.
This problem is being overlooked although there are laws regarding child labor in the
brick kilns.

To bring this social issue in the limelight, we have taken this specific problem andpro-
posed a possible solution. Taking into account the proximity of brick kilns and no. of
childlabors, we have selected JAGATI,BHAKTAPUR as our site.We have proposed to
turn a place where the children are over-worked into a hub for children’ssafety, free-
dom and happiness through education. We utilized the existing unused brick kiln asour
focal point where the children have access to all the resources they need. Surrounding
thatcentral entity, we have placed classes for children aging from 1-15 yrs.

The place where their dreams were suppressed, becomes the place where their future
will be nurtured. Upon the entry of the site we have redesigned the former brick chim-
ney into a public library, that further guides our design. Then, placing the other spaces
around it, we have connected the inner spaces to the outer environment. The sunken
space around the library was visualized to be a multipurpose space where children can
OUTSIDE
interact, play, learn and express.
84 85
86 87
88 89
 PAV I L I O N

COMPETITION
HEX

Location : Balkumari, Laltipur

Involvement : Design development, Illustration, Post production

The main of the pavillion is to respond the site. Involvement

It is located in domar balkumari. This was al-
ready a public space which we build across the I was invovled for the design idea and and
mandala. Its like responding the existing site. illustration of this pavilion. we were ask
to design the place without the phone and
Although we didnt win the competition but wehow he people can communicate without
get to know how to respond to the surround- the digital world.This was a very intrest-
ing and how people interact in those places. ing challenge for us how the people would
Team members communicate.
Bibek chaudhary
Dikshya maharjan
Krisha rauniyar
90 91
92 93
94 95
 FA R M H O U S E
SITE VISIT

I had the opportunity to visit a site nestled amidst the hills of Nagarkot on two separate occasions, each
serving a distinct purpose. During my first visit, my task involved calculating the railing area along the entire
length of the site to estimate the primer and paint requirements. It was during this visit that my supervi-
sor imparted valuable lessons on the importance of meticulous note-taking, organizing information under
different sections, which proved incredibly beneficial. Furthermore, I was introduced to the intricate world of
landscape design, learning to observe and analyze various elements.

On my second visit, my objective was to measure the gate’s length as part of my responsibilities involving gate
and railing details. During this phase, I had the privilege of witnessing contractors assess the placement of
windows within the building, providing me with additional insights into the construction process.

96 97
 ROOF COVERING SIDE ELEVATION

98 99
 B H A I S E PAT I H O U S E
SITE VISIT

STAIRCASE ANOTHER BUILDING

100 101
 For our interior project focused
on renovating the kitchen in
Bhaisepati, we visited Heittch, a
notable destination for cabinet
selection. Our visit to Heittch
was particularly significant as
it marked Nepal’s first 24-hour
open showroom, offering a
diverse range of cabinets, hing-
es, modular kitchen setups, and
various wardrobe options.

The different dawer sizers we

were looking for was of 7 inch
and 14 inch.
K I TC H E N

Location : Bhaisepati, Kathmandu

My involvement : Site visit, Material resaerch, Kitchen
measurement, Brain stroming for RATES
new idea,

Skill learn

Design, quick thinking

During this site visit, I underwent valuable training in honing my critical thinking skills and the ability
to make swift decisions. It felt akin to a brainstorming session, and I was immersed in researching and
evaluating cabinet options specifically tailored for the kitchen.

102 103
 Location : Mandikatar, Kathmandu
My involvement : Site visit, Site measurement

As part of this renovation project located in Mandikatar, the

construction and renovation work was in progress. To facilitate
the planning process, a detailed room plan was required. Our
team was dispatched to the site to carry out precise measure-
ments. We meticulously measured various aspects of the site,
including the bedroom wardrobe and other smaller rooms. The
detailed drawing is provided below for reference.

R E N O VAT I O N
M A N D I K ATA R

SITE VISIT

2'-2"
1" 1"
3'-22 1"
3'-32
2'-10" 7'-72 1'-7" 6'-11"

2'-8"
7'-7"
LEVEL
-10"

1"
12'-02
LEVEL
±00"

9'
1"
9'-22
1" 3'-8" 7'-11"
9'-112 3'-7"

1'-2" 5'-4"
LEVEL

8'-7"
±6"

MEASUREMENT DRAWING

104 105
 I was assigned the responsibility of sourcing materials for
a rug to be used in interior design. After careful consid-
eration, I opted for a combination of materials, including
nettle, hemp, and cotton. To gather these materials, I went
to the Himalayan Everest fabric , where I collected various
fabric samples specifically for interior design projects. The
photos I’ve provided showcase these samples, highlighting
the varying percentages of nettle, hemp, and cotton materi-
als used

MARKET RESEARCH
NETTLE AND HEMP

NETTLE/COTTON 100%NETTLE HEMP/COTTON

WIDTH 26” WIDTH 26” WIDTH 31”
RATE: 850/m RATE:1000/m RATE: 850/m

HEMP/COTTON 100% HEMP HEMP/COTTON

WIDTH 40” WIDTH 30” WIDTH 40”
RATE: 950/m RATE: 850/m RATE: 950
106 107
 PANCHANKANYA

Light gauge steel is referred to as cold formed

steel since it is produced by rolling steel without
the use of heat. This results in steel frames that
are light in weight but high in tensile strength. The
frame is coated with a zinc alloy that completely
covers the steel surface and protects it from the
environment’s corrosive impact.

Benefit

1. Fastest construction technology

2. Seismic safety and fire resistivity
3. Pre-Engineered building with high tech
4. software
MARKET RESEARCH 5. Cost effective
6. Environment friendly
7. Buildability
LGS 8. Energy efficient
9. Portable construction
10. Light in weight and safe

Price:

Rate per kg. : 285

Rate per sq. ft. : 105

Excise Duty not inclusive in the above rate.

13% VAT additional

108 109
 We were invited to visit their experience cen-
ter which was about the window frame made of
aluminimum and i got to learn abou t the different
types of aluminimum they provided and their pros
MARKET RESEARCH and cons.

ALUMINIMUM FRAME

110 111
 The term "skirting" likely comes from the fact that the board or panel runs along the base
of an interior wall, where it meets the floor, and "skirts" the edge of the floor. The word
"skirt" has been used in the English language for centuries to refer to a garment that hangs
down from the waist and covers the legs. The use of the term "skirting" for the board or
panel that covers the joint between the wall and the floor is a natural extension of this
concept.

P R E S E N TAT I O N
Nosing” refers to the projecting edge or lip of a stair tread (the flat, horizontal surface you
SKIRTING AND NOSING step on when using stairs). The nosing is often designed to be slightly extended beyond
the riser (the vertical part of the step), providing a safer and more comfortable surface for
people to step onto when ascending or descending stairs.

112 113
TOPIC
Before the office hours, we would start our day
at 9 a.m. with brainstorming session which was
an open discussion platform for us interns to
put forth queries related to architecture. This
discussion has only widened my knowledge and
the way I have started viewing design

Daily one hour session on how about-

1. Thesis
2. Report writing
3. How to design
4. How fund can be collected by Municipality?
5. VAT Bill and TAX

THESIS

It is summary of five years of architecture

education and knowledge. It is about
providing solution through design than
focusing on the end product. Be conscious
that “You are creating a disturbance in the
EVENTS
world, so choose the disturbance you want

MAD
VAT

A Value-Added Tax (VAT) invoice is a document

issued by an accountable person. A VAT invoice
sets out the details of a taxable supply and all
related information as prescribed by VAT law.
to create.” There is no right way to do a
thesis, there is your way.

Municipality fund

tax collection, code enforcement, application

fees, bond issuance, utility fees, and prioritizing
economic development

114 115
MAD

Mountain Architecture Dailouge by SMA was an architectural exhibition event and

also architectural dailouge. The event aimed to foster architectural dialogue and
exchange between pioneers of architecture from Nepal and various places around
the world. In the event i got an insight on the importance of considering cultural and
regional influences in architectural designs in Nepal and other mountainous areas
worldwide. Understanding the local context and traditions is crucial in creating
sustainable and contextually appropriate structures.

Given the sensitive nature of mountain environments, the event might have focused
on sustainable and eco-friendly architectural practices. This could include discus-
sions on using local materials, passive design strategies, and renewable energy
solutions. It was an excellent platform for architects to collaborate, share ideas, and
learn from each other’s experiences.

I gained insights from pioneers in the field, both from Nepal and abroad, which
broadend my perspective as an aspiring architect. Listening to discussions and
presentations, I learned about the unique challenges faced by architects working in
mountainous regions and the innovative solutions they’ve developed to overcome
these challenges. Being part of such event was highly inspiring to foster my creativ-
ity. Hearing success stories and seeing remarkable projects ignited new ideas and
approaches in my own architectural practices.

My involvement in this event was to make A3 sheet and render of the Balbikash
kendra

116 117
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S TO R I E S O F G A AT H A CONCLUSION

Completing this report has allowed me to relive the 110 days of my internship, and I can con-
fidently say that this period will remain etched in my memory forever.

Becoming a part of the team, even for a relatively short time, has had a profound impact on
me. It has ignited my passion, deepened my thoughtfulness, expanded my network, and made
me more open-minded. During my tenure, I had the opportunity to experience a professional
work environment, which was distinct from the projects we undertake as students. On my
very first day, I was introduced to the ongoing projects at Gaatha, and I was genuinely im-
pressed by the remarkable work they were doing. This initial exposure filled me with enthu-
siasm and a strong sense of purpose for the days ahead.

My first project, the Nagarkot farmhouse, provided me with valuable insights into the de-
sign process, emphasizing the integration of architecture with nature and the importance of
detailed drawings. Collaborating with my mentor during brainstorming sessions significantly
improved my approach to tackling design challenges. Additionally, working on an interna-
tional design competition alongside my fellow intern boosted our confidence and prepared
us for future national and international competitions. The brainstorming sessions opened up
new perspectives for me and allowed me to participate in various events, where presenting
my work was an incredibly enriching experience.

I am immensely grateful to my extended family, Team Gaatha, for their unwavering support,
guidance, belief in my abilities, and their dedication to helping me reach my full potential.
While this report captures the essence of my 110 days, there are undoubtedly many more
chapters left to write in my journey with Gaatha.

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