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Introduction
Eclecticism is a nineteenth and twentieth-century architectural style in which a single
piece of work incorporates a mixture of elements from previous historical styles to
create something that is new and original. In architecture and interior design, these
elements may include structural features, furniture, decorative motives, distinct
historical ornament, traditional cultural motifs or styles from other countries, with the
mixture usually chosen based on its suitability to the project and overall aesthetic value.
The styles were typically revivalist, and each building might be mostly or entirely
consistent within the style selected, or itself an eclectic mixture.
Eclectic architecture first appeared across continental Europe in various countries such
as France (Beaux-Arts architecture), England (Victorian architecture) and Germany in
response to the growing push amongst architects to have more expressive freedom over
their work.
To a lesser extent Eclecticism appeared across Asia, as Japanese and Chinese architects
who had trained at American Beaux-Arts influenced schools, returned to produce eclectic
designs across Asia such as the Bank of Japan (1895) by Kingo Tatsuno. The so-called
Indo-Saracenic Revival architecture, which added details from traditional Indian
architecture, mostly Mughal architecture, to essentially Western forms of public
buildings and palaces, was an inherently eclectic style.

Japanese traditional Architecture

Traditional Japanese Architecture definitely has a distinct character and aesthetic like
gently sloping roofs, the extensive use of wood, and the elegant simplicity, elevated
slightly off the ground, with tiled or thatched roofs. Japanese homes looked quite similar
to homes built all across the world. Wooden houses featuring thatched roofs and
earthen floors were clustered in villages surrounded by agricultural land. Early shrine
buildings before the 6th century was often similar to ancient storehouses or residences.
Until the 7th century C.E., architects in Japan were heavily influenced by other Asian
nations and so a distinct style wasn't evident yet. However, what did emerge was
reliance on wood as a primary building material because of the lack of stone due to
volcanic activity and also wood's resistance to earthquakes.

Japanese eclecticism
Japanese eclecticism is an architectural style that emerged from the Eclecticism in
architecture movement of the late 19th and early 20th century, which intentionally
incorporated Japanese architectural and Western architectural components into one
building design. The style emerged in Yokohama in the 1853–1867 (Bakumatsu period)
and spread throughout Japan after the 1868 Meiji Restoration, and then to Asian and
Western countries during the expansion of the Empire of Japan. This architectural style is
characterised by both components of enlightenment Westernstyle architecture and
components of historically emblematic traditional Japanese architecture. The earliest
examples of Japanese eclecticism were built by the French government as part of the
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Japonism artistic movement's influence on French architecture. Buildings representing

this style are:

Fig: Kaichi School Museum Fig: Seika Restaurant

Architect of the era:

Tatsuno Kingo
Tatsuno Kingo (October 13, 1854 – 25 March 1919) was a Japanese
architect born in Karatsu, Saga Prefecture, Kyushu. Tatsuno studied
architecture at the Imperial College of Engineering where he was a
student of the influential British architect Josiah Conder, called "father of
Japanese modern architecture". After his graduation in 1879, Tatsuno
journeyed to London in 1880 attending courses at the University of
London. During his stay he worked at the architectural offices of the
Gothic Revivalist William Burges. Burges died in 1881 during Tatsuno's
stay, but before returning to Japan Tatsuno also took the opportunity to
travel extensively in France and
Italy.

Tokyo Station
Tokyo station, the broadly Neo-Baroque design
completed in 1914 is distinctive for its use of
extensive steel framing and red brick with
ribbed domes crowning the north and south
wings of the structure. Much of the original
steel framing was imported from England and
the sturdiness of the design enabled the
structure to survive both the Great Kantō
earthquake in 1923 as well as wartime
bombing and fires in 1945. A sympathetic 5-
year renovation of the 1914 structure was

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completed in October 2012, restoring the domed roof structures that had been a feature
of Tatsuno's original design.
Tatsuno also had a strong influence Japanese colonial architecture - especially in
Manchukuo. Connection with construction firms like Okada Engineering, the Association
of Japanese Architects or through the new Journal of Manchurian Architecture, helped
ensure that a particular architectural style, that popularized by Tatsuno, sometimes
called the Tatsuno style initially became the standard throughout Japanese Manchuria.
This involved a somewhat grand interpretation of the style of historical eclecticism that
was popular in contemporary Europe.

Nepali architecture
Nepali architecture is noted for its originality and magnificence. Nepali architecture can be
studied under three categories:

Pagoda style
Pagoda style is supposed to have begun in 13th century. Pagoda architecture is multi-
storied. Its roofs, originally made of gold, bronze or brass, get narrower from the lower
to the higher and the top is usually a golden gajur (pinnacle). The ground on which
building is made, is little raised with some carved steps decorated by images on the both
sides. Tundals are important elements which contain beautiful carving at three levels:
trees and trailers on the top, deities in the middle and human beings or animals on the
bottom. Doors that are on all sides and windows have wooden carvings and further
decorated by torans and arches. Pagoda style of architecture developed most in the
malla period. Pashupatinath, Nyatapola, Dattatraya and many more are constructed in
this style.

Stupa (Chaitya) style

The stupa is basically Buddhist style of architecture. It is a hemispherical dome that
keeps pinnacle with Buddha’s eyes painted on the outside. Umbrella like disc round the
central single pillar represents nirvana (salvation). Stupa style is supposed to have been
introduced in Nepal by Indian king Ashoka in the first century BC. Bouddhanath,
Swayambhunath, Charumati are the examples of this style of architecture.

Summit (Shikhar) style

Summit building is roofless with several towering and tapering tops with golden
pinnacles. Stone is the original construction material. When bricks are used for walls,
doors are carved in the stones. Wood is rarely used. In Nepal, this style of architecture
was popular during the 17th and 18th century. Krishna mandir of Patan, built by king
Siddhi Narsingh Malla is a typical example of Shikhar style.

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Dome and Mughal styles are also used in Nepali architecture. Several temples and
houses in Nepal are also built in Buddhist dome style and Islamic Mughal style. Janaki
temple is a magnificent temple built in Mughal style.

Eclecticism in Nepal
Nepal has preserved an expansive variety of architectural styles, all linked by similarity of
constructional pattern and materials, integrated into a homogeneous complex by their
underlying purpose. There was an extensive use of Bricks; Sun burnt and kiln on wooden
posts and beams, intricately carved wooden windows and doors. Symmetry was a
preference i.e. axial and radial. Eclecticism in Nepal started after the visit of rana prime
minister to European countries. Rana were attracted toward the European art and they
started to build their palaces in European styles.
In the modern period, architecture began to be influenced by European architecture.
During the Rana Period, for the first time, the 19th Century western monumentalism was
brought to Nepal. Building, mostly palaces were built in the Neo-classical style that
borrowed elements from the Greek and Roman Architecture. Kishor Narsingh Rana and
Kumar Narsingh Rana were the two main Engineers of the time.

Modern Architecture in Nepal starts from about the time the Saraswathi Sadan (2000
B.S.) was built, which is a milestone in the history of Modern Architecture in Nepal. It was
designed by Bed Prasad Lohani, the first to introduce concrete structure in Nepal.
Ranjana Hall (2009 B.S.) is another building. He played with variety of elements in his
buildings like; RCC, RBC, dome etc. His buildings are simple, functional and structurally
stable.

Other individuals who have played significant role in the development of Modern
architecture in Nepal are:
Prabhinga Man Singh Pradhan, Shankar Nath Rimal, Robert Weize, Shiva Raj Panta, Ganga
Dhar Bhatta, Bhubaneswar Lal Shrestha.
• Prabhinja Man Singh designed Amrit Science Campus; structure by S. N.
Rimal.
• Vrikuti Mandap (2015 B. S.) by Shiva Raj Panta
• RNAC Building by Bhubaneshwar Lal Shrestha
• Post Office Building, Sundhara by Indian Cooperation Mission

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2019 batch (2nd sem)
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Architects
Shankar Nath Rimal
The eldest son of Devendra Nath Rimal And Sita Devi, Shankar Nath Rimal was born on
1st March 1935 in Tangal, Kathmandu. He joined Nandiratri School, Naxal for his pre-
primary education and Durbar High school for Secondary level education. Shankar Nath
joined Engineering despite the family’s wish for him to be a doctor. He received
Colombo Plan for Electrical Engineering and later shifted to Civil Engineering. He
graduated from Calcutta University in 1957.He started professional work as assistant
Engineer in the public works department.
He spent his life on creative domain which led him to the threshold of perfectionist. He
spared time for creative works in the form of sculpture and painting in water colour, oil etc.
The paintings are rather abstract and fresh with bold use of colours. His sketches contain
minute details. He has also expressed his emotions in some of his miniature sculptures. He
has displayed his skills in other specialized fields such as Project Writing, Structural Details,
Working Drawing and Landscape Design. He also reshaped our national Flag to proportion.
His works include Gateways, Hotels, Industries, Public Buildings, Institutions, Museums,
Library, Auditoriums, Temples and numerous Residences. Some of his works are:
• Sahid Gate, first of his works: memorial arc Nepal Smarak Dwar - 1958
• Narayanhiti Royal Palace - Engineer In charge of construction (1961-
1972), in which Mangal Sadan, Nanigung and Darbar Parisar are his own
creation.
• Hotel Soaltee, Kalimati – 1962, along with G. D. Bhatta
• Royal Nepal Academy, Kamaladi - 1964
• Hotel Everest International, New Baneshwor - 1969
• Tikapur Town Planning
• Janakpur Cigarette Factory - 1964
• Yagna Shala Building, Pashupati Nath Temple Complex
• Taragaon Cultural Tourism Centre

Sahid Gate Everest Hotel

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His philosophy
• Spiritual Quality in designs
• Heterogeneity over homogeneity
• Redefine Nepali Architectural Space
• Use of Modern Technology
• Faithful use of elements
• Emphasis on purity of form
• Cost Effective

His Views
• One must be fully engaged in his work to be successful
• Originality comes from philosophy, which is also essential to achieve
sustainability
• Architecture is an applied art; point where art and science meet to form a
different new
• Planning, Aesthetic and Structure should be given equal importance; without
Planning it cannot be functional; without Aesthetic it cannot be satisfactory and
without structure it will fail.
• Better locally available materials with local workmanship while use of modern
material should be in a simplified way.

Ganga Dhar Bhatta

He was the First Nepali Architect (B. Arch Degree, from India). Upon Completion of
bachelor degree (1961), he joined Bhawan Vibhag (the Department of Building) as an
assistant Engineer. At the time there was no position for architects. He drew the first
Kathmandu Valley Map based on the photographs taken from Plane. He later dropped
architectural practice and completely engaged himself in Poultry farming

His philosophy
• Architecture and Society should go hand in
hand
• The ingredients of a good building are:
Honesty, Sincerity, Seriousness and Hard
work.
• Form should satisfy function
• Building should respond to its surrounding
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2019 batch (2nd sem)
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His some of the notable works are:

• Police Club Building, Exhibition Road
• Rastrya Panchayat Building
• City Hall, Exhibition Road
• Secretatiat Building
• Library Building
• Godavari Botanical Garden
In his designs, we can find typical Nepali architecture feeling with some essence of
contemporary modern architecture. He used to mashup the modern and vernacular style
which makes his design stand out in that period. The pagoda style roof resembles the
vernacular architecture whereas the decorative columns resembles the Greek, roman
architecture.

Carl Pruscha
About
Carl Pruscha was an Austrian Architect and was assigned to prepare the master plan of
Kathmandu Valley (60s), influenced architectural trend in Nepal. He helped to recover
the lost methodology to unite techniques and Discipline in construction. He made aware
the bond between Architecture and Urban Planning. He made great attempts in merging
his buildings into the surrounding physically, while he intentionally avoided any features
suggestive of Nepali architecture, yet managed to design buildings in harmony with the
place.

His philosophy
• Architecture is a response to a higher need
– man’s need for shelter and his need to
satisfy definite spiritual impulses along with
physical shape.
• Great respect for climate and adaptation of
building to the landscape.
• Adopted simplicity in construction and used
technology within the grasp of the local
workmanship.
• A timeless architectural vocabulary, one that cannot be dated by stylish feature.

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2019 batch (2nd sem)
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His works:
• Centre for Economic Development and Administration (CEDA) building at
Tribhuvan
University (T.U.), Kirtipur
• Taragoan Resort, Bauddha
•
Taragoan Meuseum
Introduction:
Taragaon is a museum located in the premises of hyatt regency. Carl Pruscha, an Austrian
architect built it almost 45 years ago. The museum focuses primarily on conserving and
documenting the research undertaken by the wave of expatriate artists, architects,
photographers.

History
The history, planning and development of the Hotel Village Taragaon is closely linked to the
unique personality of a single, dedicated person, Angur Baba Joshi.

When she was 25, she and her husband received a scholarship under the Colombo Plan. She
went to Oxford to complete an M.A. in political science, while her husband studied physics
at Glasgow.
In Oxford she had an experience that left a lasting imprint on her future life: once, when
she told somebody that she was from Nepal, she was asked where in India that was. Ever
since then, she has felt committed to promoting the identity of her country and to
bringing what she calls “Nepaliness” into her projects.

The impulse to promote “Nepaliness in the tourism industry” prompted Angur Baba to
initiate a new project in 1968: the construction of a hotel that deliberately exhibits
“Nepaliness.”In 1969 His Majesty’s Government compulsorily acquired a large tract,
around 350 ropani (ca. 178,000 square metres), of almost unproductive land between
Chabahil and Bauddha through a proper notification in the Government Gazette. In 1970
Angur Baba happened to meet Carl Pruscha, an Austrian architect serving as an advisor
to the Town Planning Once under a United Nations Development Program (UNDP)
project. Pruscha voluntarily supported her efforts and designed the hotel village.In 1971
construction began and the entire complex was inaugurated on the 25th of September,
1974, in the presence of Queen Aishwarya Rajye Lakshmi Devi.

The name of the hotel village, Taragaon (tara = star), refers to the bright “stars” in the
sky. The hope was, as Angur Baba wrote in 1974, that the village “will shine like a star in
the sky.” It was built with the intention of being “a welcoming and comfortable bungalow
village devised for fascinating encounters with Nepalese people, culture and landscape,”

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2019 batch (2nd sem)
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in which, “modern architecture is combined with the traditions of Nepalese culture and
way of living.”

About building
The Taragaon complex includes seven unique arch vaulted brick buildings separated by
brickpaved quadrangles. The museum space was displayed with bare wall and empty
floor to experience the regular enclosed volume in terms of architectural materiality and
space. Before it was turned into the hotel, the complex served primarily as a hostel for
foreign visitors, scientists and artists who were interested in the cultural wealth of the
country and wanted to stay longer in the valley. These houses were joined together and
built around a central courtyard, and community, the very fabric of Newar culture, was
manifested in the architecture.

Architect Carl Pruscha used the local material i.e. brick through out the building which
retains the feeling of nepali architecture. In the building he used the dome shapes which
resembles the roman architecture. The building does not have exact geometric shape.
Architect try to play with the shape of the building which was the result of influence of
deconstructivism. Taragaon museum is the great example of eclecticism in Nepal.

Samrat Tyata
2019 batch (2nd sem)
B.A in Interior Architecture
Architecture Culture and History 1432 Page 9
 IEC COLLEGE OF ART & FASHION
Affiliated with Limkokwing University of Creative Technology

Samrat Tyata
2019 batch (2nd sem)
B.A in Interior Architecture
Architecture Culture and History 1432 Page 10