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Book Review |
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Patan
Museum
–
The
Transformation
of
a
Royal
Palace
in
Nepal By Usha Ramaswamy Besides being a comprehensive book on its subject, it deals with several interesting issues, ranging from the controversial subject of architectural conservation, and the sustainability of projects of this kind in resource- crunched countries, to what architectural design is about. What degree of intervention is possible in a monument without changing the authenticity of its historic fabric? This overriding concern of conservationists and restorationists finds a unique and beautiful solution in the conversion of a royal palace in Patan’s Durbar Square to a museum of art. Patan Museum is a triumph in conservation, a work of art, a tribute to traditional Newar architecture and a testament to a man who has dedicated himself to preserving this tradition. Patan
Museum
–
The
Transformation
of
a
Royal
Palace
in
Nepal
is
the
fascinating
story
of
how
the
conversion
was
effected.
A
collation
of
articles
by
five
authors,
of
which
the
bulk
writing
is
by
the
architect
of
the
project,
Gotz
Hagmuller,
the
book
is
more
than
an
esoteric
architectural
treatise.
Its
diverse
but
related
interests
not
only
give
it
a
context
for
its
main
subject
but
also
heft
and
substance
for
a
wider
audience.
Further,
this
thoughtful
and
thought-provoking
work
is
supported
by
splendid
coloured
plates
-
photographs,
drawings
and
illustrations
that
would
well
qualify
in
themselves
as
art. Besides
the
issues
involved
in
restoration,
and
a
detailed
analysis
of
the
design
process
including
the
considerations
for
museum
design
in
general,
Patan
Museum
introduces
such
topics
as
the
mythical
origin
of
Nepal,
the
culture
of
Kathmandu
Valley,
sacred
urban
space
in
Asia,
the
traditions
of
Buddhism,
the
history
of
Patan
Durbar
Square
-
even
a
comparison
of
it
with
Josephsplatz
in
Vienna!
This
socio-history
and
cultural
insight
is
a
palimpsest
for
every
niche
and
every
beam
in
the
renovated
museum.
Mary
Slusser’s
informed
articles
on
Exhibition
Technology
and
Design
and
Traditional
Metal
Crafts
of
Nepal
make
the
viewing
of
exhibits
all
the
more
meaningful
for
this
knowledge,
while
Kanak
Mani
Dixit’s
lament
for
the
stolen
art
of
Nepal
is
a
sobering
reminder
of
how
the
museum
came
by
its
collection.
How
the
single
most
important
‘benefactor’
of
the
museum
was
the
criminal
world
of
idol-theft!
Musings
on
the
Patan
Museum
is
my
first
impression
of
the
museum,
a
sentimental
journey
made
years
ago,
before
I
knew
anything
more
than
that
it
was
on
Kathmandu’s
tourist
map,
but
that
moved
me
to
return
again
and
again. In
his
introduction
Hagmuller
explains
that
he
was
first
initiated
in
Kathmandu
Valley
architecture
and
its
spiritual
dimensions
by
Niels
Gutschow,
“…the
Newars
have
illuminated
their
townscapes
with
‘supernatural
lights.’
Presumably
these
lights
will
not
shine
anymore
in
cities
of
the
future.
It
is
up
to
us
to
seek
new
dimensions
in
the
twilight.”
The
semi-dark
region
between
shadow
and
light,
‘…seeing
architectural
niches
of
light
in
the
semi-darkness’
is
the
theme
of
Hagmuller’s
design
for
the
museum.
Considering
that
for
the
occidental
intellect
light
and
darkness
are
opposites
whereas
in
the
holistic
view
of
the
oriental
mind
it
has
no
distinct
borders
(darkness,
in
fact
is
beautiful
and
spiritual
-
Eastern
gods
dwell
in
darkness)
Hagmuller’s
adoption
of
‘semi-darkness’
is
a
departure
indeed.
When
deciding
how
best
to
light
the
museum
collection,
his
dilemma
was
whether
to
treat
the
exhibits
as
gods
or
art
objects,
how,
that
is,
to
reconcile
exhibiting
with
inhibiting.
Rejecting
the
hard
brightness
of
traditional
museum
lighting,
he
decided
on
mellow
incandescent
lights
that
are
closest
to
Eastern
oil
lamps.
Daylight
filtering
through
the
small
windows
and
lattices
would
illuminate
the
long
dark
passages
and
orient
visitors
without
subjecting
them
to
sharp
contrasts.
Earth
colours
–
terracotta,
ochre,
brown
-
would
deepen
the
sense
of
mystery
as
well
as
complement
the
rich
tones
of
the
exhibits. Central
to
the
book
is
how
Hagmuller
resolved
his
design
philosophy
to
fulfil
the
three
major
(and
sometimes
conflicting)
goals
for
the
restoration.
1)
To
repair
and
preserve
the
damaged
structure
2)
To
restore
its
historical
details
as
far
as
this
could
be
determined
by
research
3)
To
adapt
the
building
to
its
new
function.
And
of
course
how
he
responded
to
the
question:
What
degree
of
intervention
is
possible
in
a
monument
without
changing
the
authenticity
of
its
historic
fabric? Building
design
is
contextual,
and
the
original
palace
wasn’t
excepted,
says
Hagmuller
in
The
Setting.
Not
only
is
a
building
dictated
by
the
prevalent
architectural
trends
but
also
influenced
by
political
and
religious
beliefs.
Everything
inside
Asian
cities
was
regarded
as
sacred,
and
each
city
imagined
itself
as
the
centre
of
the
world.
The
mental
image
of
the
city
was
a
mandala,
a
scale
model
of
the
universe,
and
religious
buildings
were
projections
of
a
cosmic
order.
Cities
had
defined
borders
that
still
hold,
spiritually
guarded
by
concentric
external
rings
(or
by
converging
spirals).
This
cosmic
structure
of
urban
spaces
is
preserved
despite
the
original
boundaries
being
rubbed
out
by
urban
sprawl,
primarily
because
of
the
religious
processions
that
till
today
proceed
on
their
original,
defined
route
around
shrines
and
landmarks.
To
understand,
and
specifically
to
design
in
such
spaces,
one
must
step
back
into
time,
and
understand
the
intensely
religious
rules
that
governed
them. Religious
rules
translate
to
the
practicalities
of
building
design.
In
Patan
Museum,
lost
details
such
as
roof
overhangs,
balconies,
doors
and
windows
required
a
great
deal
of
research,
design
and
work
with
craftsmen
to
get
them
historically
correct.
This
approach
to
finding
the
historic
‘truth’
of
the
building
has
been
much
debated
upon.
In
Asia,
the
ritual
of
repair
and
rebuilding,
and
not
the
authenticity
of
the
materials
used
is
the
essence
of
preservation.
However,
according
to
international
guidelines
for
preservation,
replacement
design
‘by
conjecture’
is
condemned
as
falsification
of
historic
evidence.
The
imitation
of
a
traditional
design
pattern
or
even
the
reconstruction
of
lost
building
elements
within
a
given
historic
setting
is
not
only
condemned,
but
rejected
outright.
Each
indispensable
new
component
‘must
be
distinct
from
the
architectural
composition
and
must
bear
a
‘contemporary
stamp’.
If
applied
in
Nepal
that
would
have
justified
interposing
a
balcony
with
concrete
balusters,
and
a
corrugated
tin
roof!
In
some
instances
in
Patan
Museum
where
modern
technology
was
unavoidable,
as
for
example,
the
steel
sections
for
the
new
arcade
in
the
museum’s
rear
wing,
the
adherence
to
these
guidelines
was
criticized
–
and
this
in
spite
of
the
beams
harmonizing
with
the
whole.
Hagmuller,
one
gathers,
would
have
deemed
it
barbarous
to
pass
concrete
balusters
as
an
honest
solution,
but
would
have
considered
it
a
tragic
travesty
to
dress
up
the
steel
beams
to
make
them
look
like
the
original
timber.
His
solution
was
not
a
compromise
but
a
creative
resolution. Something
astonishing
happened
in
the
course
of
executing
the
project.
UNESCO
made
an
about
turn
and
banned
contemporary
construction
materials
in
Nepal
-
the
very
condition
it
had
earlier
enforced!
The
consequences
of
such
a
draconian
statute,
i.e.,
disallowing
concrete
and
steel
even
in
foundations
and
invisible
ring
beams
of
endangered
old
buildings
in
earthquake
prone
Nepal
was
inconsiderate,
to
say
the
least.
The
last
concrete
slab
for
such
a
purpose,
at
the
Patan
Museum
in
1995,
was
already
in
violation
of
the
edict,
and
cast
clandestinely
over
the
weekend!
But,
says
Hagmuller,
and
the
exterior
is
none
the
worse
for
it.
Indeed,
the
incorporation
of
several
‘modern’
features,
including
semi-cylindrical
window
walls,
openings
of
varying
sizes,
and
alcove
protrusions
enliven
the
façade.
A
new
rhythm
emerged
in
the
original
score.
Since
doors
and
windows
are
a
‘building’s
eyes,
ears
and
mouth’,
through
which
a
building
can
achieve
a
human
dignity,
and
their
‘structured
and
poetic
arrangements’
are
full
of
hidden
meaning,
an
almost
abstract
notation,
like
that
of
sheet
music,
facades
can
be
read
as
well
as
seen.
The
rear
elevation’s
new
rhythm
is
a
faint
echo
of
Rana
architecture,
a
deliberate
post-modern
touch,
in
deference
to
the
earlier
dictate. And finally, do such projects have a sustainable future? Shaphalya Amatya’s synoptic essay on the beginnings of conservation in the Kathmandu Valley establishes the early involvement of the Austrian Government and Austrian individuals in the detailed inventory of Kathmandu Valley’s monuments and cultural sites. Plans for restoring Patan Museum had begun as early as in 1982, and the Austrian Government largely funded the project since Nepal allocates limited funds for culture and related activities. The problem is that even though public museums in this part of the world generally have low standards of maintenance and security, and appeal neither to local people nor the foreign visitor used to higher standards, they are conceived as non-profit educational institutions, depending on government grants for their operation. Thus maintaining and operating a museum of international standards is impossible unless it can sustain itself. Patan Museum is the first cultural institution in Nepal that was granted the status of a semi-autonomous public corporation rather than a government office. The restoration and installation of the museum served as a start-up capital but the sale of tourist tickets will remain its main income. Additional sources of revenue include a café, gift shop, a guest studio apartment, and a gallery and the open arcades for temporary exhibitions, another gallery for lectures, and the main courtyard for cultural performances. Patan
Museum
–
The
Transformation
of
a
Royal
Museum
will
not
only
foster
an
understanding
of
the
absorbing
behind-the-scenes
drama
of
a
successful
historic
restoration
but
also
arm
the
reader
to
look
for
and
appreciate
the
finer
points
-
architectural,
historical
and
social
context
-
of
any
heritage
building
or
urban
space. To a newly opened eye nothing will ever appear the same as before. Patan Museum is certainly an eye-opener. |