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Journey of the CEO of Fu-Wang Ceramic Teamwork Makes a Company Successful
A world where the demand for ceramic products is steadily on the rise, it takes innovation, commitment, and most importantly, a dedicated team to navigate the challenges and lead a company to success. Rafiquzzaman Bhuiyan, the Chief Executive Officer (CEO) of Fu-Wang Ceramic Industry Limited (FWCIL), has not only recognised this but also executed a vision that has propelled the company to new heights.
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An ode to a bold architectural narrative The New Travel East Restaurant
At the heart of any remarkable restaurant lies its design—a subjective blend of form and function. The design itself becomes a storyteller, weaving narratives of contemporary tradition. The walls, the textures, the colours—they all tell a story.
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Ceramic Expo Bangladesh-2022 Contribution of Foreign Co-Sponsors
Ceramic Expo 2022 was a remarkable event for the ceramic industry to explore new business opportunities for exhibitors and visitors. It was a 3-day-long event with more than 25,000 visitors and an excellent arrangement by the organiser, Bangladesh Ceramic Manufacturers and Exporters’ Association (BCMEA).
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BHAWAL RESORT: A Tranquil Heaven Outside Urban Chaos
Nestled amidst the lush rainforest, the Bhawal Resort of Bangladesh emerges as a green heaven where luxury meets tranquility, offering an escape to the serene beauty of nature. In the Bhawal Resort and Spa, one can discover the idyllic bliss that defines the new dimensions of luxury in the setting of nature. Surrounded by the exotic natural rainforest, the resort is the perfect place to rejuvenate the body, mind, and soul. Here the luxury intertwines the serenity of nature for an immersive back-to-nature experience.
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Rise of a Nation through Raghu Rai’s lens
On the occasion of the 75th anniversary of the Faculty of Fine Arts, University of Dhaka, the exhibition “Rise of a Nation” took center stage at the Zainul Gallery.
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Akij Ceramics Expands Retail Footprint with New Showrooms in Cumilla and Feni
Akij Ceramics, the leading brand in the ceramic tiles industry in Bangladesh, has recently opened two exclusive showrooms — one in Cumilla and the other in Feni. As a five-time recipient of the Best Brand Award and the Super Brand Award, Akij Ceramics consistently sets the standard for quality and innovation in the country. Its unwavering commitment to the “Promise of Perfection” resonates with clients across Bangladesh.
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Exploring Innovations at the BIID Expo
The Bangladesh Infrastructure Innovation and Development (BIID) Exhibition, held from May 9th to 11th, 2024 in Dhaka, gained significant momentum. Organized by ExpoNet Exhibition Pvt. Ltd at the Bangabandhu International Conference Center (BICC), this three-day event brought together industry owners, professionals, and stakeholders from various sectors.
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The Journey of Ceramics in Bangladesh
The origin of pottery in Bangladesh dates back to the later or post Mohenjo-daro and Harappa civilization and to the Indo-Aryan Vedic age, according to the research on ceramic earthenware and artifacts found after excavation of the ruins in Mahasthangarh of Bogura and Wari-Bateshwar in Narsingdi. Discoveries in Wari-Bateshwar included two millennium old potteries and terracotta. The potters then used traditional methods to make water vessels and sculptures for worshipping and as household utensils and showpieces. In the medieval age, the potters were popularised by the Hindu and Buddhist rulers and zamindars when they used to make statues of gods and goddesses, Buddha, plates, other aesthetical items and terracotta plaques in the temples and monasteries. The potters made everyday household items for sale in the local markets to earn a living. In the past century, the white clay deposits were first found in Mymensingh, Sylhet and Netrokona, the largest of which was discovered at Bijoypur of Mymensingh in 1957. Since the discovery of the white clay reserves in Bangladesh, the ceramic industry has come a long way. ‘Ceramic’ comes from the Greek word meaning ‘Pottery’. The journey of ceramics started through pottery and was initially only a mixture of inorganic, non-metallic clay which could be heated at very high temperature to make it hold its shape. Since then, mankind has found multifarious uses for this clay and the quality of the clay has been improved. Ceramic in this era has much hardness and strength, is heat resistant, is a good insulator, unreactive to other chemicals and long-lasting and hard-wearing. Among its many uses, the ceramics industry started in Bangladesh with just the manufacture of tableware and now covers four broad subsectors: Tableware, Tiles, Sanitary ware and Ceramic Bricks. A brief review of the journey of ceramics in Bangladesh is portrayed below. In 1959 the industry took its nascent steps with only one small tableware manufacturing plant in Bogura, Tajma Ceramic Industries Ltd. Tajma Ceramics is the first ceramic earthenware plant to produce porcelain tableware using traditional methods. In 1962, Mirpur Ceramic Works Ltd in Dhaka started to produce heavy clay products using German plant and technology and developed a reputation of manufacturing best quality ceramic bricks in the subcontinent. In 1966, Peoples Ceramic Industries Ltd, formerly known as Pakistan Ceramic Industries, located in Tongi, Gazipur, started production using modern porcelain tableware manufacturing technology procured from Japan. They started exporting their products. In 1974, the country’s first non-heavy clay building ceramic plant came on the stream, Dacca Ceramic & Sanitary-wares Ltd. The company was the first to start production of sanitary ware at Tngi, Gazipur. In 1985, Monno Ceramic Industries Ltd transformed and revolutionised the exports of local ceramic products by branding Bangladesh ceramic products on an international level, using West European and Japanese plants and machinery. Monno Ceramic is the first industry to use ultra-modern technologies to produce porcelain tableware aimed at exporting worldwide. Later it added its bone china tableware unit also aimed at improving the exports of ceramic tableware from Bangladesh. In 1986, Bangladesh Insulator & Sanitary ware Factory Ltd. (BISF) started manufacture of ceramic tiles at Mirpur, Dhaka, with Czech machinery and technology. In the same year, Bengal Fine Ceramics Ltd, the first stoneware tableware manufacturer in Bangladesh, located in Dhaka, entered the domestic and international markets. In 1992, with the exponentially growing ceramic industry, a nationally recognised trade organisation of manufacturers and exporters of ceramic tableware, pottery, tiles, sanitary ware, insulator and other ceramic products was formed, called Bangladesh Ceramic Manufacturers & Exporters Association (BCMEA). In 1993, Madhumati Tiles Ltd. became the country’s first tile manufacturer to use modern German and Italian technologies to produce the latest standard ceramic tiles that domestic consumers see and use at present. In 1999, Shinepukur Ceramics Ltd. started production of porcelain and bone china tableware with Japanese, German and French machinery and technology. It earned a reputation for being one of the major exporters in Asia. Ceramic Industry Scenario (FY 2021-22) An industrial revolution has resulted in a burgeoning Ceramic Industry since the start of its journey with just one small tableware manufacturing plant. Today, there are more than 70 ceramic manufacturers in operation in the country with core products being tiles, tableware, sanitary ware and bricks. As the country experiences steady economic growth and urbanisation, the local demand for ceramic products too continues to grow. These ceramic bricks, tiles and sanitary ware have been used in several mega projects by the government to ensure overall infrastructural development. The growth trend is an indication of the industry’s potential to be one of the top foreign exchange earners. And the tableware made in Bangladesh, both Bone China and Porcelain, is famous around the world for its eminent quality and design. Here is a snapshot of Bangladesh’s ceramic industry: Quality Raw Materials: The exponential growth in the ceramic sector is owing to the high-quality ceramic products manufactured in Bangladesh. The ceramic sector has the availability of uninterrupted Sulphur-free natural gas and the latest cutting-edge technologies imported from Germany, which make our products shinier and more durable. The glaze and pigments are lead and cadmium-free and 100 per cent halal ingredients are used in the production process. The other factor in favour of the industry flourishing is the relatively low labour cost yet availability of skilled manpower. The direct manpower involvement in the industry is about 52,000 whilst the indirect involvement is over half a million. The industry is considerably compassionate towards the women and people with disability. The industry works to train women and physically challenged workers for inclusivity. Around 20 per cent of the workforce is highly-skilled women. Today owing to these favourable conditions, the industry is distinguished around the world. Investment: The total investment, both local and international, in the industry is about US$ 1.70 billion. The investment share of tiles is 62 per cent, tableware 23 per cent and sanitary ware 15 per cent. The sector has lured foreign investment mainly from China and the Middle East. These
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A Bridge to Prosperity – From Transport Connectivity to Economic Corridor
The opening of the Padma Bridge has created the scope for a new wave of investment in the country’s south and south-western region. The region’s easier road communications with the rest planned and tourism sector entrepreneurs are hoping for a business boom surrounding Kuakata sea beach and the Sundarbans. Thus, the bridge has offered a new economic corridor in the making. Economists and business leaders believe with remarkable improvement in road network though the bridge trade and business in the region would expand rapidly, raising the people’s income, creating jobs and eradicating poverty. The Padma Bridge is also expected to bring about a massive change in the entire economy. The Ministry of Road Transport and Bridges believes the economic corridor surrounding the Padma Bridge and its adjacent areas would increase the country’s GDP (gross domestic product) growth by 1.27 percentage point. The southern region’s economy will grow at a higher pace. Predicting a higher GDP growth for the Padma Bridge, the Asian Development Bank (ADB) said the rate of poverty reduction will be accelerated by 0.84 per cent every year. However, as many as 53 upazilas out of 133 upazilas in 21 districts on the south-western side of the bridge are of high concentration of poverty, according to Bangladesh Bureau of Statistics (BBS) poverty map. Another 42 upazilas are in the medium poverty risk category and 38 in low poverty risk category. Economist and chairman of Palli Karma-Sahayak Foundation (PKSF) Quazi Kholiquzzaman Ahmad said small entrepreneurs are more enthusiastic about the Padma Bridge and they should be provided with opportunity to make investment and various supports such as gas and electricity supply should be ensured at affordable costs. He observed that the bridge has jointed the southern belt with the rest of the country. The bridge will result in smooth transportation of farm produces from the region, according to Implementation, Monitoring and Evaluation Division (IMED) of the Ministry of Planning. It said farmers’ income will increase 15-20 per cent since direct connections between farmers and the market forces will be established. Transport sector insiders added the time for transportation of goods from Benapole to Dhaka would come down to 6-7 hours from 24-36 hours. The southern region was attractive for low-cost transport of goods by river routes but longer time and uncertainity in ferry services earlier discouraged the entrepreneurs from taking business initiatives. The Padma Bridge has now created the scope for big companies to come forward with investment projects in the region. The companies that have shown interest in setting up factories in the region include Sheltech, Pran-RFL, TK Group, Envoy Group, Hameem Group, Mir Group, Karim Group and Opsonin Pharma. Bangladesh Economic Zones Authority (BEZA) has unveiled a master plan on Padma Bridge that would directly benefit Dhaka, Khulna and Barisal divisions. It is taking steps to establish 17 new Economic Zones (EZ) in 21 districts of the three divisions. In the 1960s, Khulna became one of the few industrial hubs of the country but it has subsequently lost the glory. However, after the launch of Padma Bridge, Khulna is drawing attention of the investors. Abdus Salam Murshedi MP, president of Bangladesh Exporters’ Association (BEA) and former president of BGMEA said, “I definitely want to use this opportunity. I want to set up a new garment factory in Khulna. I also encourage others to invest in the region.” In fact in 2019, Sheltech Group established the country’s largest ceramics industry in the southern district of Bhola. The company invested more than Tk 7 billion taking advantage of local natural gas and cheap land with the hope of opening of the Padma Bridge in 2022. Now, Sheltech is also planning to set up a non-denim garment factory in Bhola, said Engineer Kutubuddin Ahmed, chairman of the group. “We are now looking for land to set up a ready-made garment industry in Barisal. After the inauguration of the Padma Bridge, investing in the south is the most promising one,” he added. Chini Tikri the inaugural murals the inaugural murals One of the two spectacular installations at each end of the Padma Bridge is its inaugural mural – which has been constructed by using 15,000 ceramic plates. The portraits of Father of the Nation tbreaking these 37 coloured plates into ‘Chini Tikri’. One was the dreamer of Padma Bridge and the another one is its implementer. As the ceramic plate is broken and made, it starts to sparkle when the sun shines on it. These ceramic plates are hammered and broken into about half a million pieces. Then different colours of the pieces are arranged one after one to create two beautiful portraits. Designed by architect Fazle Karim Shishir of Drishik, the two murals were created by artists Ashraful Alam Riaz and Didar Ul Alam. Both are graduated from the Fine Arts Institute of Dhaka University. The 90-feet-long and 45-feet-high mural at the Mawa end was done by Didar Ul Alam and the 72-feet-long and 36-feet-high mural at the Janzeera end was done by Ashraful Alam Riaz. They told Ceramic Bangladesh that at first the designer thought of making this mural with ceramic tiles, but later they chose ceramic plates of the highest quality considering the bright colour and durability. A total of 15,000 plates of 37 types of colours have been used here. Among them, 7 types of coloured plates are used to display black and white portrait of Bangabandhu. And 30 types of coloured plates are used to produce colourful portrait of Prime Minister Sheikh Hasina. All of these ceramic plates are customised. Because such a variety of colour plates are not usually produced by ceramic companies. Artisan Ceramics made 8,000 plates used in the Mawa end mural and Monno Ceramics made 7,000 plates used in the Janzeera end mural. This construction work was completed in two months by two separate teams of 50 people, working 24 hours a day, after last Eid-ul-Fitr. No bigger mural has been made in Bangladesh so far. Artist Ashraful Alam Riaz, Managing
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Architect Muzharul Islam
Beyond his role as an innovative architect, Muzharul Islam was characterised by humility and an unassuming nature. His consistent choice of traditional clothing and a preference for a modest lifestyle indicated a deep commitment to his craft rather than a pursuit of personal recognition. The simplicity and focus on perfection in his work underscored the profound impact of his architectural contributions, and the enduring prominence of his legacy in South Asian architecture speaks volumes about his unwavering dedication and passion. The roots of modernism in Bengal can be traced back to the Bengal Renaissance, a cultural and intellectual movement spanning the late 18th to early 20th centuries. This period witnessed a resurgence of liberal thoughts, intellectual exploration, and a reevaluation of traditional norms. The Bengal Renaissance played a pivotal role in reshaping ideas related to liberalism and modernity. During the British colonial rule, neo-classical and neo-gothic aesthetics significantly influenced East Bengal’s architecture, evident later on in East Pakistan in public structures symbolising power, the rule of law, and cultural dominance. Before the 1971 War of Independence, which resulted in the formation of Bangladesh, East Pakistan sought to establish itself as a liberal community. One significant architecture during this period was the Faculty of Fine Arts, which emerged as a modern marvel. This architectural endeavour intentionally steered clear of ornamental elements associated with Mughal or Indo-Saracenic styles. Muzharul Islam, the architect behind this significant structure, employed a conscious strategy in abstracting his design through a modernist visual expression. This deliberate approach aimed to rid the architecture of perceived political associations with instrumental religion. By steering clear of traditional and ornamental influences, he aimed to create a design that stood as a manifestation of secular ideals, distancing itself from the religiously charged politics that defined the era. In doing so, the Faculty of Fine Arts became more than just a physical structure; it became a visual and ideological statement, symbolising the pursuit of a secular and liberal identity for East Pakistan through its architecture. Indeed, Mr. Muzharul Islam’s influence extends far beyond his time, establishing him as the one of the most influential architects in the history of his country. His visionary contributions to architecture, coupled with his dedication to shaping the national identity through his work, have left an indelible mark. In 1964, at the pinnacle of his career, Muzharul Islam established the architectural consulting firm “Bastukolabid”. It marked a milestone, as it was the first architectural consulting firm in the East Pakistan. At that juncture, one who could have done his work solely for personal profit, he expressed the desire for collaboration with world-class architects. That period witnessed the notable involvement of the American trio — Louis Kahn, Paul Rudolph, and Stanley Tigerman — in architectural endeavours in Bangladesh. Muzharul Islam played a pivotal role in fostering this collaboration, recognising the need for visually and intellectually stimulating paradigms in the Bengali context. The partnership brought a global perspective to the architectural landscape and contributed to the enrichment of architectural discourse and innovation in this region. Muzharul Islam’s visionary dream was to elevate Bangladesh into a developed, alluring, and civilized nation through meticulous physical planning and control over every square foot of its territory. He aimed to craft a distinctive national identity that would set Bangladesh apart. Muzharul Islam, a fervent patriot who not only fought on the battlefield during the 1971 War of Independence but also contributed significantly to shaping the national identity through his endeavours in art and architecture, faced a disheartening period of neglect in the post-independent era. Following Bangladesh’s independence in 1971, Muzharul Islam found himself marginalised from government projects, a stark departure from his active role in the liberation movement. The reasons behind his sidelining were multifaceted, with a prominent factor being his steadfast commitment to Marxist and Leninist principles. This ideological stance placed him at odds with the establishments during that period. Despite his noteworthy contributions to the freedom of Bangladesh, Muzharul Islam experienced discord with the post-independence political landscape. This period of neglect serves as a poignant illustration of the complexities and challenges faced by individuals with unwavering ideologies in the aftermath of political transitions. In 1953, at the age of 30, Muzharul Islam designed the Institute of Arts and Crafts (Art College) building in Dhaka. It is recognised as the first modern building in Bangladesh. After completing the Fine Arts Building in 1956 and the National Library in 1958, it was being said that Muzharul Islam wanted to include other arts like music building, dance, and dramatics departments in addition to the architecture school besides the Fine Arts Building. Creating a total art complex would have expanded the scope of architectural education, breaking away from the traditional notion that architecture is solely rooted in science. If Muzharul Islam had succeeded in implementing his vision, it could have had a profound impact on architectural education in the country. The inclusion of diverse art forms within the same educational campus might have fostered creativity, collaboration, and a broader understanding of the cultural and aesthetic aspects of architecture. This holistic approach could have produced architects with a richer skill set, capable of not only designing structurally sound buildings but also creating spaces that resonate with cultural and artistic expression. Throughout the 1950s and 1960s, Muzharul Islam’s Six-B pencil and charcoal inspired designs like Falgudhara, building one modern architecture after another. Science Laboratory (BCSIR) building in Dhaka, NIPA Bhawan of Dhaka University, BADC Bhawan and Jiban Bima Bhawan in Motijheel, Rangamati Township, Chittagong University, Jahangirnagar University, the World Bank Dhaka Office, Mausoleum of National Poet Kazi Nazrul Islam etc. are modern architectures used as a tool to build a modern society. His most important work was born when the Governor’s Conference of Pakistan decided in 1959, under the President Ayub Khan, that Dhaka will be the second capital of Pakistan. The government decided to build a capital complex at Sher-e-Bangla Nagar, Dhaka. Muzharul Islam was given to design Jatiyo Sangsad Bhaban (National Assembly Building
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