Ceramic Bangladesh Magazine

You Actually Want to Hang Out in! Brutown’s Got a Funky New Friend: Say Hello to Nervosa.

For those who enjoy café culture, a delightful spot has opened its doors to Dhaka’s vibrant crowd. Nervosa is a cafe located on Siddheswari Road, Dhaka, at the edge of a bustling neighbourhood—just above Brutown, which has long been a favorite in the heart of Bailey Road. Why Nervosa The name, “Nervosa,” is a deliberate nod to the beloved sitcom Frasier, where a fictional coffee shop of the same name served as a backdrop for the characters’ daily lives. Sabeel Rahman, CEO and Proprietor of BruTown and Nervosa, explains his choice with a playful intrigue: “The question of ‘Why Nervosa?’ is what makes it captivating. It draws attention, it’s a memorable name.” Consider Nervosa as the upscale, fancy, artistic neighbor of the popular cafe, BruTown, finding its niche in the community. Behind the Scenes Rehnuma Tasnim Sheefa, the principal architect of Parti.studio elaborates on the design philosophy: “Every design develops from a concept or a vision and if for a restaurant or a cafe, the branding has its influence as well. For Nervosa, that concept was built on strong character and a vibrant color palette, designed to draw a younger crowd into the cafe, as envisioned by the owner. When working in a public realm like cafes, as an architect I also had to focus on the psychological impact a person would have with the colors and the characters.” The color palette evolved gradually. Pale Orange took precedence, aligning with the theme initially, with striking illustrations bringing life to the walls. To make the illustrations stand out, a monochrome backdrop was introduced for the floors, ceilings, and other walls, allowing the boldly patterned and colored furniture to shine truly. The exposed brick on some of the walls adds a touch of urban grit, while the wooden flooring brings warmth and texture; keeping them aligned with the basic pale orange color. The cafe culture in Dhaka thrives on connection. Comfortable seating arrangements encourage heartfelt conversations, from an upcycled plush couch perfect for intimate gatherings to communal tables fostering spontaneous interactions. Nervosa goes a step further with cozy bookshelves stocked with comics and novels, perfect for anyone who wants to settle in with a good read. Instagrammable Spots Several strategically placed elements aim to create visually captivating ‘Instagrammable’ moments. The journey begins at the entry staircase, where a whimsical illustration introduces the cafe’s personality. Upon entering, a prominent neon light sign immediately catches the eye. Inside, a one-of-a-kind waffle mirror greets you at the entrance for your mirror selfies with your friends. Track lights are incorporated here to highlight specific areas, making them ideal for photos. “You will also find the neon lights in different spots around the cafe”, shares Architect Sheefa. The use of neon lights is an interior design trend in restaurants targeting younger crowds, particularly Gen Z. They create a visually appealing and Instagram-worthy atmosphere, making restaurants more attractive to social media-conscious customers, to create a unique and memorable visual experience. illustrations that speak to you To add character to the interiors, the beams and walls are filled with vibrant illustrations. In the beam above the counter, the illustrated characters resemble the target audience of the cafe, and how they interact and behave. Describing the artworks, Mashqurur Sabri, the artist, shares, “Nervosa walls are a burst of young energy and Dhaka madness — messy, loud, and full of heart. The hand-drawn, sketchy art style mixes raw lines with pops of bold, chaotic color — think warm reds, electric yellows, moody teals — capturing the city’s wild rhythm. From buzzing rickshaws to rooftop chill scenes, it’s the city on caffeine — vibrant, warm, and wide awake.” “When I think of Nervosa as perceived by the public, I wish it to be known as the most happening place in Siddeshwari,” says the owner, Sabeel Rahman. The vibrant interior, the playful name, and the strategic use of social media-friendly elements all point to a well-thought-out strategy. Nervosa isn’t just serving coffee; it’s serving an experience. And if the initial buzz is anything to go by, it’s an experience that Dhaka’s café-goers are eager to embrace. Written by Samira Ahsan

“Timber Tales” sparks a dialogue in wood and ink

The ongoing exhibition titled Timber Tales at La Galerie, Alliance Française de Dhaka, invites audiences to experience the collaborative journey of three emerging artists who explore memory, process, and material through the art of woodcut printmaking. Within the exhibition, a faint, earthy scent of wood and ink hangs in the air. Walking into the gallery, some might find themselves pausing longer than expected, tracing the grain of the wood, as if searching for their own stories between the lines. The exhibition features three artists—Rakib Alam Shanto, Shakil Mridha, and Abu Al Naeem—who express individuality through their woodcut prints. This contemplative exhibition is running from June 17 to June 25, 2025. Curated by the artists themselves, the exhibition reimagines the possibilities of woodcut as a medium. Here, the tactile intimacy of carved timber meets the visual language of reflection, nostalgia, and search. As you wander through the space, individual voices emerge. Shakil Mridha’s work, with its minimalistic yet profound geometric forms, feels like a contemporary ode to Bangladeshi folk art, skillfully abstracting familiar motifs. Rakib Alam Shanto’s large-scale black and white pieces command attention, a powerful revival of a classic tradition, showcasing his remarkable focus. And Abu Al Naeem’s pieces, often abstract, subtly reveal hidden figures, reflecting his continuous exploration of materials and techniques. Each artist, in their unique way, elevates woodcut beyond mere reproduction, transforming it into a medium of profound personal expression. And through that expression, each of their work reflects the heart of the creative process, where stories are carved into existence. At the heart of Timber Tales is a tribute to beginnings, to the mentor who shaped them, and to the space where it all began. Their acknowledgement of Professor Md. Anisuzzaman, whose generous guidance helped steer their vision, reveals the deeply collaborative ethos of the show. “This is where it all began—for the three of us,” reads a line from the exhibition note, underscoring the intimate bond between craft, community, and coming-of-age. In an era of digital immediacy, there’s something revolutionary about the deliberate slowness of woodcut. And the three artists have breathed new life into the ancient art of woodcut. More than just a technique, it’s a dialogue between human touch and natural materials. Each frame holds a deeper narrative of tireless dedication—the careful selection of wood, the precise cuts, the methodical inking, and the final, expectant press. Open to all and continuing until 25 June 2025, Timber Tales will leave visitors with more than just images on paper. In a city rushing to reinvent itself, the exhibition feels like a pause, a reminder of our roots with a sense of belonging—to the artists, to the materials, and to the timeless, meditative act of making. Written By Samira Ahsan

Timber Tales sparks a dialogue in wood and ink

The ongoing exhibition titled Timber Tales at La Galerie, Alliance Française de Dhaka invites audiences to experience the collaborative journey of three emerging artists who explore memory, process, and material through the art of woodcut printmaking. Within the exhibition, a faint, earthy scent of wood and ink hangs in the air. Walking into the gallery, some might find themselves pausing longer than expected, tracing the grain of the wood as if searching for their own stories between the lines. The exhibition features three artists—Rakib Alam Shanto, Shakil Mridha, and Abu Al Naeem—who express individuality through their woodcut prints. This contemplative exhibition is running from June 17 to June 25, 2025. Curated by the artists themselves, the exhibition reimagines the possibilities of woodcuts as a medium. Here, the tactile intimacy of carved timber meets the visual language of reflection, nostalgia, and search. As you wander through the space, individual voices emerge. Shakil Mridha’s work, with its minimalistic yet profound geometric forms, feels like a contemporary ode to Bangladeshi folk art, skillfully abstracting familiar motifs. Rakib Alam Shanto’s large-scale black-and-white pieces command attention, a powerful revival of a tradition, showcasing his remarkable focus. Abu Al Naeem’s pieces, often abstract, subtly reveal hidden figures, reflecting his continuous exploration of materials and techniques. Each artist, in their unique way, elevates woodcut beyond mere reproduction, transforming it into a medium of profound personal expression. And through that expression, each of their work reflects the heart of the creative process, where stories are carved into existence. At the heart of Timber Tales is a tribute to beginnings, to the mentor who shaped them, and to the space where it all began. Their acknowledgement of Professor Md. Anisuzzaman, whose generous guidance helped steer their vision, reveals the deeply collaborative ethos of the show. “This is where it all began—for the three of us,” reads a line from the exhibition note, underscoring the intimate bond between craft, community, and coming-of-age. In an era of digital immediacy, there’s something revolutionary about the deliberate slowness of woodcuts. And the three artists have breathed new life into the ancient art of woodcut. More than just a technique, it’s a dialogue between human touch and natural materials. Each frame holds a deeper narrative of tireless dedication—the careful selection of wood, the precise cuts, the methodical inking, and the final, expectant press. Open to all and continuing until 25 June 2025, Timber Tales will leave visitors with more than just images on paper. In a city rushing to reinvent itself, the exhibition feels like a pause, a reminder of our roots with a sense of belonging—to the artists, to the materials, and to the timeless, meditative act of making. Written by Samira Ahsan

Spotlights

An Artist’s Meditative Take on the Textile Crisis

On 10th October, Bengal Shilpalay’s Quamrul Hassan Hall made room for Yasmin Jahan Nupur’s solo exhibition to breathe in silence. Silence that carries the weight of unspoken resistance, forged over decades. Each corner is equipped with different kinds of soft sculptures and artworks, woven and drawn with bare hands. These sculptures will urge you to zoom in, squint, and at times, resist touching and feeling their texture. The space is surrounded by a variety of installations, including tapestry, jamdani woven in a grid-like matrix, a golden net made of zari threads, Bangla phrases stitched in muslin fabric, and hand-drawn textures and patterns. The sculptures, made from gentle materials like thread and wool, celebrate their natural malleability and softness. Her meticulously executed works on paper using only pen and watercolor draw viewers into their quiet depths. In contrast, Nupur’s brass sculptures defy expectation, transforming rigid metal into forms that

Architectural Design Contest Launched to Redesign Dhaka Residential Model College

A nationwide architectural design competition has been launched to transform the campus of Dhaka Residential Model College (DRMC), one of Bangladesh’s most prestigious educational institutions. The initiative, jointly organised by the Institute of Architects Bangladesh (IAB) and DRMC, calls for proposals to design a ten-storied academic building that will serve as a modern educational hub for over 3,000 students. The competition aims to address long-standing infrastructural challenges at DRMC, which currently operates in two shifts due to a shortage of classroom space. With most of its buildings dating back to the 1960s, the college’s facilities are no longer adequate to meet the demands of its growing student body and evolving academic programs. A Legacy in Transition Established in 1960, DRMC spans 52 acres in Mohammadpur and accommodates approximately 6,000 students across various academic levels. Initially governed by the Central Government of Pakistan, the institution underwent several administrative transitions before being placed under the Ministry of Education in 1972. Despite its autonomous status and historical significance, the college’s infrastructure has aged considerably, prompting the Board of Governors (BOG) to approve a major upgrade during its 162nd meeting on June 26, 2025. The new academic building will be constructed on a 3,000 sq.m site currently occupied by a grassy football field. According to the competition brief, the structure will be a reinforced concrete (RCC) building with pile foundation, designed to accommodate students from classes 9 to 12. Facilities will include a cafeteria, exam halls with 800 seats, modern toilets, and parking provisions. Competition Details and Design Vision The competition, launched on October 5, 2025, is a single-stage open call for Bangladeshi architects. It seeks innovative, sustainable, and contextually responsive designs that integrate seamlessly with the existing campus. Architects are encouraged to use local materials and environmentally friendly technologies, with an emphasis on rapid construction techniques and low future maintenance costs. Design considerations outlined in the brief include: climate responsiveness and passive cooling, universal accessibility, integration of landscape and open spaces, cultural and contextual relevance, interconnectivity with existing academic buildings, energy efficiency and future-readiness The building’s shape may follow an I, U, hollow box, or full box configuration, with each floor serving distinct academic and administrative functions. The ground floor will house parking and essential services, while upper floors will include classrooms, laboratories, faculty offices, and student amenities. Organisers and Eligibility The competition is jointly organised by IAB and DRMC. Eligible participants must be regular IAB members with at least eight years of professional experience and compliance with the Dhaka Mohanagar Imarat Nirman Bidhimala, 2008. Registration, which requires a Tk 2,000 fee, is open from October 5 to October 11, 2025, at the IAB office in Sher-E-Bangla Nagar, Dhaka. Each participant will receive a unique registration code and may submit only one proposal. All submissions must maintain strict anonymity, with documents marked only by a blank square box and the registration number. Any breach of anonymity or direct contact with jury members will result in disqualification. The design competition is going to be launched on October 5,2025, inviting participants to register by October 12. A query session will open on October 13, and all inquiries will be addressed by October 15. Participants must submit by November 20. Jury Deliberation will take place in November 22 to December 9, followed by an exhibition scheduled for December 9 to December 10, 2025. Submissions must include conceptual sketches, detailed plans, elevations, sections, renderings, and a physical model. Reports on design concepts and estimated construction costs are required in sealed envelopes. Digital copies must be submitted via DVD or pen drive. The brief also requires labelling with the 14-digit registration number and a blank square box. The jury panel comprises five distinguished members: Brigadier General Mohammed Zaber Hossain, PhD – Principal, DRMC, Moshiur Rahman – Acting President, Old Remians Welfare Association, Ar Jalal Ahmed – Principal Architect, JAARCHITECTS, Ar Patrick D’ Rozario – Principal Architect, Synthesis Architects Limited, and Ar S.M. Nazimuddin Payel – Associate Professor, Architecture Discipline, Khulna University. The jury will evaluate entries based on innovation, contextual relevance, sustainability, and feasibility. Their decisions are final and binding, with results to be announced during the exhibition. Awards and Future Engagement The competition offers substantial monetary rewards and professional recognition: First Prize: Tk 2,50,000 and a certificate, Second Prize: Tk 1,75,000 and a certificate, Third Prize: Tk 1,00,000 and a certificate, Special Mentions (3): Tk 25,000 each and certificates, if awarded by the jury. The first-prize winner will be formally appointed as the design architect for the project, subject to compliance with IAB’s Code of Ethics and Professional Conduct. The appointment will follow Rule 111 of the Public Procurement Rules 2008, with consultancy fees set at 6% of the total construction cost (inclusive of AIT, exclusive of VAT). If the first-prize winner is disqualified, the second or third-place winners may be considered. A New Master Plan for DRMC The competition is part of a broader master plan revision for DRMC’s campus. The existing master plan, which did not account for new academic buildings, is being restructured to accommodate future growth and integration with existing facilities. Key components of the revised master plan include: vertical extension of Academic Building-3, extension and renovation of Kudrot-E-Khuda and Joynul Abedin Houses, construction of a duplex principal residence, a G+6 vice-principal residence, renovation of the boundary wall, upgradation of the water distribution system, and installation of a 500 KVA electric substation These developments aim to modernise the campus while preserving its legacy and enhancing operational efficiency. Legal and Ethical Framework Participants must adhere to the competition’s legal and regulatory principles. The organiser reserves the right to cancel the competition, in which case entries will be evaluated and prizes awarded. However, none of the submitted designs may be executed without the architect’s consent. In such cases, the first-prize winner will receive three times the prize money as compensation. DRMC will retain ownership of submitted documents until results are published. Entrants will retain copyright but grant DRMC a perpetual, royalty-free licence

Bangkok to host ASEAN Ceramics & Stone 2025 expo

Over 200 international companies and brands from the ceramics and natural stone sectors are set to convene at the ASEAN Ceramics & ASEAN Stone 2025 exhibition, scheduled to take place from October 15-17 this year at the IMPACT Exhibition and Convention Centre in Bangkok. Organised by MMI Asia, the regional arm of Messe München, in partnership with Asian Exhibition Services (AES) Ltd., the event is expected to attract more than 4,000 trade visitors. It will also facilitate over 400 buyer-seller connections, aiming to generate meaningful connections and commercial opportunities for companies across the region and beyond. Industry professionals can register for free, making the exhibition highly accessible to businesses of all sizes. The 2025 edition also marks a significant milestone with the official debut of ASEAN Stone in Thailand. This dedicated segment is being launched with the backing of Confindustria Marmomacchine, the Italian association representing the stone machinery and natural stone industry, and the Mining Council Industry Thailand (MICT), which is expected to bring an influx of global exhibitors to the Thai capital. Running alongside ASEAN Ceramics, which celebrates its ninth edition this year, the co-located exhibitions position themselves as Southeast Asia’s leading trade platform for sourcing the latest innovations, materials, machinery, and services in both the ceramics and natural stone industries. While ASEAN Ceramics covers the full spectrum of white-ware, heavy clay, and advanced ceramics manufacturing, ASEAN Stone will focus on cutting-edge tools, technologies, chemicals, and raw stone materials shaping the natural stone industry. The dual event enjoys strong backing from a wide network of industry associations and government bodies, reinforcing its status as a cornerstone trade fair for the region. Notable supporters include the Department of Industrial Promotion (DIPROM), Federation of Thai Industries, Ceramic Industry Club of Thailand (FTI-CICT), and the Thai Ceramic Society (TCS). Additional international support comes from ACIMAC (Italy), CCPIT – Building Materials Sub-Council (China), Vietnam Building Ceramic Association (VIBCA), and the Bangladesh Ceramic Manufacturers & Exporters Association (BCMEA). Conferences, Knowledge Sharing, and Cultural Elements The exhibition will commence with the ASEAN Ceramics & ASEAN Stone Conference, themed “Pioneering a Sustainable & Innovative Future for Ceramics & Stone in Southeast Asia.” The conference will bring together over 30 experts, speakers, and panelists to explore the future trajectory of these industries. Sessions will address themes such as sustainable production, digital transformation, regional competitiveness, and the role of advanced materials in future-ready infrastructure. Adding depth to the programme, exclusive pre-event factory tours will be hosted by leading Thai manufacturers Crown Ceramics and The Siam Refractory Industry Co., Ltd. These tours are designed to give attendees an insider’s look at state-of-the-art manufacturing processes, innovations in energy efficiency, and the real-world application of materials and automation in ceramic production. A key feature of this year’s event is the ASEAN Ceramics & Stone Talents Hub, an initiative aimed at bridging the gap between academia and industry. The Talents Hub will offer an important platform for companies to engage with emerging professionals, recent graduates, and technical specialists. It’s also a response to the growing need for skilled talent across materials science, design, and engineering within Southeast Asia’s fast-growing ceramics and stone sectors. Celebrating the region’s cultural roots, the event will also showcase live pottery-making demonstrations led by expert artisans from Bangkok and Nakornratchasima. These demonstrations, which use locally sourced clay, aim to highlight Thailand’s long-standing ceramic heritage, blending tradition with the creative possibilities of contemporary design. Science, Academia and Industry Collaboration Running concurrently with the trade exhibition is the International Conference for Traditional and Advanced Ceramics (ICTA). Organised by the Thai Ceramic Society (TCS) in partnership with the National Metal and Materials Technology Center (MTEC) and Chulalongkorn University’s Department of Materials Science, the ICTA conference will bring together over 15 universities and top regional researchers. The conference is expected to serve as a platform for sharing cutting-edge scientific research, university–industry collaboration models, and the latest advancements in materials technology, ceramics chemistry, and industrial sustainability. With academic and industrial stakeholders under one roof, the ICTA underscores the exhibition’s role as more than just a trade event — it is a convergence point for innovation and intellectual exchange. International Participation and Technology Highlights The 2025 edition will host an impressive range of global exhibitors, reaffirming the event’s international appeal. From the ceramics sector, major players include Siam Cement Group (SCG), ECT-KEMA, MCS Portugal, AKW (Amberger Kaolinwerke), Saint-Gobain Formula, Izawa Pigment, Guzman Minerals, Sedlecký Kaolin, Siam Technical Ceramics (STC), and MUNGYO, Gilfair, and Rajasthan Mining & Minerals. In the natural stone sector, some of the most recognised names confirmed for the show include AKEMI, Breton, Pedrini, Tenax, Italdiamant, Diabu, Chim-Italia, and Abra Iride. The natural stone industry will be equally well-represented by top-tier names including AKEMI, Midwest, Diabu, Simec, Breton, Pedrini, Tenax, Abra Iride, Chim-Italia, Italdiamant and many more — showcasing cutting-edge technologies, materials, and solutions that are shaping the future of the industry. Together, these companies represent the cutting edge of product development, fabrication technologies, surface treatments, and sustainability in materials sourcing. The event will also spotlight national pavilions from Italy (Confindustria Marmomacchine), China (CCPIT), and Thailand (TCS), as well as a dedicated EU Pavilion, which will feature the best of European ceramics and stone innovation. Attendees can expect to see a wide array of breakthrough technologies, including: 3PowerFlow Centrifugal Pump – a compact, high-efficiency pump designed for spray-drying in ceramic manufacturing, presented by Certech Group. HiCAST – a high-performance gypsum mould system for industrial-scale ceramic casting, showcased by MUNGYO. LK LAB Store – a pioneering mobile robotic warehouse system for managing slab-shaped products, developed by LK Lab. BT Master – an advanced modular system for inspecting and controlling the quality of bricks and tiles, from Ibea GmbH. Quartz Powder – high-purity silica powder with exceptional thermal stability and smooth surface finish, offered by Puresil India. Arabescato Corchia – a

Brac University launches design competition to reimagine community spaces

Brac University’s Department of Architecture, in collaboration with Elite Paint Bangladesh Limited, has announced a student design competition titled Architecture for Unity: Redesigning Community Spaces. The initiative invites architecture students to reimagine public spaces as inclusive environments that celebrate cultural diversity and foster meaningful interaction. The competition is exclusive to students enrolled in Brac University’s Department of Architecture and aims to empower future architects to design with empathy, inclusivity, and sustainability at the forefront. Designing for Diversity and Dialogue According to the official brief, participants are tasked with redesigning a community space—either real or hypothetical—that encourages cross-cultural engagement. The goal is to transform such spaces into vibrant hubs where people from different backgrounds can connect, collaborate, and celebrate shared humanity. The design criteria are both ambitious and socially grounded. Proposals must reflect the cultural richness of the community they serve, integrating elements that honour various traditions while promoting inclusivity. Spatial flow is a key consideration, with layouts expected to guide visitors through the space in ways that encourage movement and exchange. Functional diversity is also central to the brief. The redesigned spaces should accommodate a range of activities—from social gatherings and collaborative projects to quiet reflection—allowing individuals to engage in meaningful ways. Aesthetic appeal, while not the sole focus, remains important. Organisers are looking for innovative architectural techniques and visual storytelling that inspire curiosity and wonder. Sustainability is a non-negotiable component. Students must embrace environmentally responsible design principles that minimise ecological impact, including thoughtful choices in materials, lighting, and energy use. Submission Requirements and Format Participants must submit a comprehensive design proposal that includes conceptual sketches, spatial layouts, and explanatory notes. The drawing submission must be formatted as one A0 portrait sheet in PDF, with a resolution of 300 dpi and a maximum file size of 15 MB. In addition to the visual material, students are required to submit a text document—also in PDF format—describing the idea behind the project, its inspiration, tentative outcomes, and materiality. The written component must not exceed 500 words. All submissions must be in English. File names should follow a strict format: Student’s Name_Student’s ID_Enrolled Semester (e.g., Akibur Rahman_16208023_Fall 2023). Both the drawing and the text document must be uploaded via the designated online submission link before the deadline. Key Dates and Deadlines Registration Deadline: September 1, 2025 Submission Date: October 11, 2025 (by 5.00pm) Jury Date: October 26, 2025 Results Announcement: November 10, 2025 Students can register via the official link: https://forms.gle/ecZtUpRBmVo1jC7M7 Final submissions must be uploaded to: https://forms.gle/z5zhNK88uvH5ncU49 Awards and Recognition The competition offers substantial incentives. The first prize winner will receive BDT 50,000 and a certificate. The second and third place winners will be awarded BDT 25,000 and BDT 15,000 respectively, along with certificates. However, organisers stress that the real reward lies in the opportunity to contribute to a broader conversation about architecture’s role in social cohesion. “This is an ideas competition,” said a faculty member from Brac University’s Department of Architecture. “We’re not asking students to build anything physically. Instead, we want them to think critically and creatively about how architecture can serve as a tool for unity.” Industry Collaboration and Real-World Impact Elite Paint Bangladesh Limited’s involvement adds a layer of industry relevance to the competition. Known for its commitment to sustainable and community-focused projects, the company’s collaboration with Brac University signals a shared vision for inclusive urban development. “This is not just about buildings or parks,” said a spokesperson from Elite Paint. “It’s about creating spaces where people from different backgrounds can come together, share experiences, and build a sense of unity. We believe architecture has the power to shape social behaviour, and this competition is a step towards that vision.” Student Response and Anticipation As the submission window opens, anticipation is building across the Brac University campus. For many students, this competition represents a chance to showcase their design philosophy, engage with pressing social issues, and contribute to a vision of Bangladesh where public spaces reflect the country’s rich cultural mosaic. “We often talk about unity in abstract terms,” said one third-year architecture student. “This competition challenges us to make it tangible—to design spaces where unity is not just an idea, but an experience.” Architecture as a Bridge Between Cultures With its emphasis on cultural celebration, spatial intelligence, and environmental stewardship, Architecture for Unity is more than a student competition. It is a call to action for the next generation of architects to build not just structures, but bridges—between communities, cultures, and futures. Written by Nibir Ayaan

Business Insights

In a major step toward sustainable industrial growth, AkijBashir Group has entered into a strategic partnership with the Infrastructure Development Company Limited (IDCOL) to promote energy efficiency and renewable energy across its operations. The collaboration, formalized at an event held at Sheraton Dhaka, marks a significant milestone in advancing green industrial practices in Bangladesh. AkijBashir Group has been funding several sustainability projects in the last couple of years through its Energy Efficiency and Rooftop Solar financing programs funded by IDCOL. These projects have enabled the deployment of industrial rooftop solar capacity of more than 90MWp, of which over 60MWp has been deployed and has become one of the largest solar portfolios in the private sector in Bangladesh. One of the highlights of the joint venture is a pioneer project of Janata Jute Mills Ltd. in Boalmari, Faridpur, that will become the first in the world to be a fully operational jute mill using renewable energy by the first quarter of 2026. In the long-term sustainability, the Group targets to produce a renewable energy of 1,000 MWh every day by 2027. During the event, AkijBashir Group Managing Director, Mr. Taslim Md. Khan, and IDCOL Executive

AkijBashir Group and MHM Properties Ltd. Partner to Enhance Premium Living Experiences in Bangladesh

AkijBashir Group has signed a strategic partnership with MHM Properties Ltd. to strengthen collaboration in providing premium building material solutions and enhancing customer value in Bangladesh’s real estate and construction sectors. The Memorandum of Understanding (MoU) was signed on October 14, 2025, marking a significant step toward integrating design excellence, innovation, and quality in modern living spaces. In the deal, MHM Properties Ltd. will promote and sell the top brands of AkijBashir, namely, Akij Ceramics, ROSA Sanitaryware, Akij Particle Board Mills Ltd., Akij Door, Akij Bathware, and AkijBashir Glass using its own network and outlets. The partnership is expected to provide the tiles, sanitaryware, bathware, boards, doors and glasses, as a one-stop solution in the world-class quality and design of their products, with the aim of having a trusted partner. Directors of MHM Properties Ltd. Mr. Mahmudul Hasan Tonmoy, Director, Akij Ceramics Ltd. Mr. Mohammed Ashraful Haque, General Manager, Sales, and AkijBashir Group Chief Operating Officer were the signatories of the MoU. At the signing, Mr. Khourshed Alam remarked that we are happy to collaborate with MHM Properties Ltd. in order to increase the outlets of the various product lines of AkijBashir. This alliance is indicative of our mission to combine design, innovation, and quality to augment living standards in the contemporary setting in Bangladesh. Mr. Mahmudul Hasan Tonmoy also added that this is a joint venture that we want to add more value and ease to our customers as we provide a broad spectrum of high-end building materials and finishes that are both fashionable and timeless. The partnership brings a fresh start, and combining expertise and innovation, the coalition will define exquisite, sustainable, and inspirational homes throughout Bangladesh.

World Investor Week rings the bell on financial fraud awareness

A global initiative to promote investor education and protection is underway as World Investor Week 2025 runs from October 6 to 12, led by the International Organization of Securities Commissions (IOSCO). Now in its latest edition, the campaign aims to raise awareness about the importance of financial literacy, responsible investing, and the protection of investors in an increasingly digital and complex financial landscape. The global campaign features participation from securities regulators, exchanges, financial organisations, and educators across six continents, with events tailored to national and regional contexts. Activities include public awareness drives, webinars, training sessions, and outreach campaigns designed to help investors make informed decisions and guard against fraud. A flagship feature of the campaign is the “Ring the Bell for Financial Literacy” initiative, held in collaboration with the World Federation of Exchanges (WFE). Stock exchanges around the world symbolically “ring the bell” to demonstrate their commitment to investor education and market transparency. Focus on Fraud, Digital Threats, and Investor Awareness This year’s programme includes a strong emphasis on the emerging threat of digital fraud, particularly those involving artificial intelligence and online scams. On October 7, U.S. regulators including the National Futures Association (NFA), FINRA, and the Commodity Futures Trading Commission (CFTC) hosted a webinar titled “Deconstructing to Disrupt Fraud”, which was a two-part event featuring Dr. Arda Akartuna. The session explored how AI technologies are being weaponised by fraudsters, and how regulators and investors can respond with vigilance and education. In Indonesia, the national financial regulator Otoritas Jasa Keuangan (OJK) is hosting a regional webinar on October 9 titled “Empowering Investors: Invest Wisely and Stay Safe from Fraud and Scams.” The event features speakers from IOSCO’s Committee on Retail Investors and will discuss practical strategies to improve retail investor protection. Investor education for older adults is also a priority in this year’s campaign. In the United States, the CFTC, FBI, and AARP have partnered on outreach aimed at Americans aged 50 and older, focusing on helping them identify and avoid scams. The organisers report that over 250 participants registered for this dedicated session. Global Backing and Institutional Support World Investor Week is supported by a wide range of international partners, including: The World Bank OECD G20 Sustainable Stock Exchanges (SSE) Initiative International Financial Reporting Standards (IFRS) Foundation European Fund and Asset Management Association (EFAMA) These partnerships reinforce IOSCO’s broader mission to promote not only awareness, but also long-term behavioural change among investors and institutions globally. As the global standard-setter for securities regulation, IOSCO collaborates closely with the Financial Stability Board (FSB) and the G20 to ensure that investor protection remains a key pillar of global financial integrity and stability. Building Resilience in a Complex Investment Landscape With financial markets rapidly evolving due to digitisation, AI technologies, and cross-border investment platforms, retail investors are exposed to new complexities and risks. World Investor Week serves as a timely reminder of the need for robust financial education, stronger regulatory safeguards, and proactive public engagement. As the campaign continues through October 12, organisers hope to empower individuals with the knowledge to navigate risks, detect fraud, and contribute to more resilient financial markets across all levels of society. Written By Nibir Ayaan