Archium gives rugged stone walls to a radio broadcasting station in Nepal

Thick walls made from locally sourced stone frame courtyards and corridors at this radio broadcasting station in the Nepalese town of Jomsom, designed by Korean studio Archium (+ slideshow).

Nepal Radio Broadcasting by ARCHIUM from South Korea

Architect Kim In-cheurl of Seoul-based Archium developed the building for the Mustang Broadcasting Community (MBC), a radio station launched last year to serve residents and visitors in the remote Mustang region of north-west Nepal.

Nepal Radio Broadcasting by ARCHIUM from South Korea

Situated on a ledge close to the banks of the Kali Gandaki River, 3000 metres above sea level, the building was designed to utilise locally available materials and labour.

Nepal Radio Broadcasting by ARCHIUM from South Korea

To protect employees and guests from the strong winds prevalent in the region, the building is enveloped in walls made from a local stone called gneiss that also helps the radio station merge with the surrounding landscape of rock-strewn mountains.

Nepal Radio Broadcasting by ARCHIUM from South Korea

Tall walls punctuated by small glazed openings line the edges of a paved pathway, creating a sheltered entrance to the site.

Nepal Radio Broadcasting by ARCHIUM from South Korea

Influenced by the arrangement of vernacular houses, the building’s meeting rooms and broadcasting facilities are organised around courtyards that allow natural light to reach glazed walls and windows.

Nepal Radio Broadcasting by ARCHIUM from South Korea

An antenna rises from the centre of the largest courtyard and is surrounded by strings of colourful flags.

Nepal Radio Broadcasting by ARCHIUM from South Korea

Cement columns support the ceilings of cloisters surrounding the courtyards, helping to shield the interiors from direct sunlight.

Nepal Radio Broadcasting by ARCHIUM from South Korea

Some of the rooms are lined with the same substantial rocks used for the external walls, while others feature walls constructed from tightly packed smaller stones. A chunky stone slab supported by wooden legs also creates a robust natural desk in one of the studios.

Nepal Radio Broadcasting by ARCHIUM from South Korea

Stools carved by hand from solid tree trunks furnish several of the rooms, which are paved in the same irregular stone slabs used for the outdoor spaces.

Nepal Radio Broadcasting by ARCHIUM from South Korea

Wood was used for window frames and doors to provide a warm and tactile contrast to the imposing stone surfaces that form the walls, floors and ceilings.

Nepal Radio Broadcasting by ARCHIUM from South Korea

Photography is by Jun Myung-jin.

Here’s some more information from Archium:


Himalesque, Jomsom, Nepal

Himalesque in the plateau of Nepal and against its backdrop of unlimited nature, was another solution to the local climate conditions. The local traditional boundary markers are constructed from spaces with a thick outer skin, in order to solve the condition of a plateau in a lump. I paid attention to the deconstruction of the thickness of the boundary wall I divided of enclosed space which is separated from the outside according to functions.

Nepal Radio Broadcasting by ARCHIUM from South Korea

A gap can be created in between the stone wall blocking wind and the glass wall, forming inner space. Site conditions facing strong winds with changing directions, from rainy seasons to dry seasons, and environmental conditions require that a cool, unheated space is maintained, in spite of the extreme daily temperature differences, reorganised by contemporary methods with local materials.

Nepal Radio Broadcasting by ARCHIUM from South Korea

The small garden in between the separated walls open up a space seemingly destined to be confined by a softening wind and full light exposure, making a gap to establish its relationship with nature.

Nepal Radio Broadcasting by ARCHIUM from South Korea
Ground floor plan – click for larger image
Nepal Radio Broadcasting by ARCHIUM from South Korea
Roof plan – click for larger image
Nepal Radio Broadcasting by ARCHIUM from South Korea
Section one – click for larger image
Nepal Radio Broadcasting by ARCHIUM from South Korea
Section two – click for larger image
Nepal Radio Broadcasting by ARCHIUM from South Korea
East elevation – click for larger image
Nepal Radio Broadcasting by ARCHIUM from South Korea
North elevation – click for larger image
Nepal Radio Broadcasting by ARCHIUM from South Korea
West elevation – click for larger image

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Infrared Photography of Nepal

Le photographe new-yorkais Sean Lynch a voyagé au Népal en septembre dernier et nous offre ainsi des superbes photographies en infrarouge. Avec un rendu unique, ces clichés teintés de surréalisme donne à Annapurna, le sommet de l’Himalaya, un nouveau visage. A découvrir dans la suite.

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Momo Tour: On the search for Tibetan dumplings in the winding streets of Kathmandu

Momo Tour


by Jennifer Miller What do buffalo meat and Snickers bars have in common? They’re both fillings in beloved Nepali and Tibetan dumplings called momos. The dearth of Nepali restaurants in the US has kept the momo under the dumpling radar, but in Nepal it’s considered something of a national food….

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Travel Photography

Coup de coeur pour le talent du jeune photographe Lukas Kozmus originaire de Berlin. Il a réalisé plusieurs longs voyages en Inde, au Népal ou encore en Indonésie. Ce dernier en a profité pour réaliser des séries et des clichés magnifiques à découvrir dans la suite de l’article et dans la galerie.

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Eric Valli Photography

Focus sur Éric Valli, un photographe et réalisateur français. Un travail superbe axé sur des séries autour de l’Himalaya, du Moyen Orient et du Népal en vivant au sein même des populations locales. Des rencontres, des portraits ainsi que ses clichés pour le National Geographic sont à découvrir dans la suite de l’article.

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The Bigfoot Project

NYC artist Bruno Levy introduces street art to Nepal

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Boasting a variety of talent across multiple mediums including painting, sculpture, photography, music and video, Bruno Levy‘s work has been exhibited in some of the America’s most influential museums, from the Guggenheim to the SFMOMA. The Paris-born, NYC-based artist—newly fascinated by cross-cultural differences—recently spent five months living and working in Kathmandu, Nepal in an effort to bring beauty to a stark landscape foreign to Western influence.

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Upon encountering a culture in flux, besieged by communist propaganda and forced cultural views, Levy was compelled to begin painting his own pieces in the Nepalese capital this summer. For what he dubbed the “Bigfoot Project,” the artist took to the streets, using high-profile city walls as a canvas to inspire the locals rather than to interject his own foreign views. Included in his efforts were painted murals and an experimental sculpture that seemed to capture the city’s curious spirit. We caught up with Levy to pick his brain about the project, from inspiration to execution.

Why Nepal?

Kathmandu is a city in transition, modernizing rapidly, trying to catch up with the rest of the world. It’s somewhat raw, dirty and open. The concept of public space there is different than in the West. Although Nepal has a rich and amazing culture of craftsmanship, the concept of creative art is still very new. So I wanted to share some urban culture in an effort to make Kathmandu a bit more beautiful and inspire other people to express themselves.

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Is Nepal generally free of un-commissioned street art?

This is very new. Graffiti does not exist. So it’s not legal or illegal, making it a perfect place to just play. There were a handful of tags in more hidden parts of town and Space Invader visited Nepal and left his mark, but for the most part it was out of the general public’s eye.

What inspired the “Bigfoot Project” name?

The Bigfoot is really elusive, abominable snowman. So I just started painting feet all around the city, BIG FEET. Also in Hinduism feet have a certain stigma. Feet are dirty or impure, yet the feet of gods or gurus are special.

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How did the Nepalese people respond to the art?

The first reaction was curiosity: “why are you doing this and what does it mean?'” Most people have never seen anything like this and cannot understand why someone would paint a wall for free or for fun. Once people realized that there was no political agenda, they reacted with complete enthusiasm and support. They helped paint, an old man blessed me for cleaning the walls and the statue was even given offerings and worshipped. Newspapers and magazines wrote some stories. Soon local kids started forming groups and painting.

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Describe the Bigfoot Project’s transition from street paintings to sculpture.

The paintings are part of the bigger project to share street art culture through all possible mediums. When that started picking up, and locals kids started painting, I thought it was important to introduce a new medium for a new way of public expression. The sculpture took a little over a month of 10-hour days. I had not made papier-mâché since kindergarden, so there was definitely a learning curve.

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What were you trying to say with the larger street paintings?

The character with the money coming out of his head or “dreaming of dollars” was painted on the oldest government college’s wall. It was a statement about the corrupt politicians in Nepal and the future of the students. The mural of the character plugged to the TV was painted across the passport agency, where around 200 Nepalis a day wait for their passports, with idealistic visions of moving and working abroad. I wanted to make a statement about the impact of television and media. Most paintings have stories, but my main drive was to make the walls more beautiful rather then impose my foreign views and to explore some concepts of repetition that are so prevalent in urban art.