Ceramic Bangladesh Magazine – Ceramic Bangladesh Magazine E-Publishing

Noubliez Pas Novera

THE WAYS NOVERA PLAYED WITH FORMS AND SHAPES ON HER BEST SCULPTURES HAVE AN INEXPLICABLE AURA THAT CAPTIVATES AND TAKES YOUR SOUL TO A SPACE THAT IS SOMEWHERE BETWEEN THE VAST ABSTRACT AND YET TANGIBLE. In August of 1960, on the ground floor of the Central Public Library building of the University of Dhaka, showcasing 75 of her artworks sculpted between 1956 and 1960, Novera Ahmed had her first solo exhibition titled “Inner Gaze.” This formidable exhibition arguably sparked the genesis of modern sculpting practice in both West and East Pakistan (now present-day Bangladesh). She was the first-ever sculptor from the undivided Pakistani region. Novera Ahmed was born on March 29, 1939, in Kolkata, British India, and on the occasion of her 85th birthday, this attempt is to reminisce about one of the finest artistic personages from this part of the world. Today, Novera’s importance is cemented in the history of art in this region, and it seems that she has a newly found celebrity status, especially amongst the younger generation of art enthusiasts, but for decades and even today, to a significant extent, Novera’s public repute mostly synonymizes as enigmatic. But Novera should not be important because of her public portrayal that branched from her peers: that she was a good-looking female artist of prodigal calibre who worked and lived independently as a divorcee in a patriarchal society; the way she did her buns and draped herself in black sari and curated her look as Baishnabi wearing Rudraksha garland and tilak on her forehead; that she used to exploit her male peers; that she had a sentiment because of the way she was gazed upon and which is why she eventually left Bangladesh; the list of such narratives that circulated her is pretty long. Novera is important because of her artworks; the quality of her artworks effortlessly transcends the tags she was associated with, which boxed her only as an eccentric rebellious character, undervaluing her art. The ways Novera played with forms and shapes on her best sculptures have an inexplicable aura that captivates and takes your soul to a space that is somewhere between the vast abstract and yet tangible. Novera used to travel around and gradually minimised her activity in the local art scene. Her complete disappearance from the scene in 1970 after she permanently moved to France eventually turned her into a myth. Later, she married the love of her life Gregoire de Brouhns in 1984. Although there is no concrete evidence regarding why she left, it is speculated that the key reasons are monetary and no recognition even from her peers. Belonging to a middle-class background, she almost single-handedly established a medium that was still very new in the region so there were not many commissions for her so she could continue her practice and earn a decent living. There was also an uncanny silence from her peers, which only fueled the collective negligence towards her. Even in the artist community, she was only remembered as an amateur female sculptor. In fact, for a while, it was even established that she was dead, and it was only in late 1998 after a brochure of her 1960 exhibition was found, that it catalysed the rebirth of discussions about artist Novera Ahmed. Although Novera studied in Europe and like many other artists, had that influence on her works in her earliest years, very soon she found her style. If we examine Novera’s available discography of sculptures and paintings, it resembles the wide array of subject matters she had her interests. Notably, in artworks from her formative years, it is very evident how much she was fascistically influenced by her roots. The way she took Bengali folk elements and ethereally blended them within her modernist approach of practice shows how revolutionary she was. Novera’s idea of using cement instead of large blocks of stone or wood, as they are scarce in this region, and sculpting such smooth cement sculptures, which is very difficult to accomplish, shows both her innovativeness and technical prowess. When she started traveling to Southeast Asia, she decided to collect scrap metal from the debris of the U.S. Air Force plane used in the Vietnam War and use it as materials for her newer sculptures at the time. For a long period, little to no care was taken to preserve most of Noveraís works that are in Bangladesh. In fact, for a while, it was even established that she was dead, and it was only in late 1998 after a brochure of her 1960 exhibition was found, that catalysed the rebirth of discussions about artist Novera Ahmed. She was also highly influenced by Indigenous and Buddhist themes; in fact, she once said that the form of the concrete structures of the Shaheed Minar (which she co-designed with another notable artist, Hamidur Rahman—a topic that still has loads of debate regarding who came up with the original idea) is inspired by the idea of an ascending hand of Buddha. The long list of her oeuvres includes works like Cow With Two Figures (1958), Serpent Nommé Désire (1972), Le Djinn (1973), Le Heron (1982), Le Baron Fou (2001), etc. In her France years, even after Novera was wheelchair-bound after a life-altering car accident, she continued working with her forever devotion and love towards art, till she was bedridden due to health complications when she was older and eventually passed away on May 6, 2015. For a long period, little to no care was taken to preserve most of Novera’s works that are in Bangladesh. The whereabouts of many of her works are yet unknown, and the ones that survived did so due to her patrons and private collectors. A collection of her works and memorabilia is at the Musee Novera Ahmed at La Roche-Guyon in northern France which was set up by her dear husband. Currently, only 33 of Novera’s sculptures are in the collection of the Bangladesh National Museum, and the gorgeous frieze that she

A stunning display of architectural grandeur, welcoming students

We are all familiar with the Dhaka University and its grandeur. Even now, when major infrastructures shroud the beautiful campus, its thousands of students still enjoy a little retreat among greeneries in, for example, Muktamancha or Suhrawardi Udyan. The same can also be said for all public universities. It’s on one such campus where BUET alum Khandaker Ashifuzzaman Rajon, Principal Architect of Cubeinside Design Limited, studied architecture. Of course, Rajon’s idea of a campus vastly differs from that of private university students. Thus, when tasked with designing a campus for Southeast University (SEU) well within the hustle-bustle of Dhaka, Rajon had to tumble down all his cards and think of fresh ways to give the students of Southeast University some taste of his own campus-going experience. The project being the permanent campus came with the additional worry of how to design the structure that would inspire students to enrol just looking at the place years, even decades, after its novelty factor has worn off. But before we go further into Rajon’s and the Southeast University permanent campus story, allow us to tell you what it is about all private universities competing to move to their permanent campuses. Competition here is particularly good, as all private universities want a permanent campus that is the most student-friendly while being attractive. UGC, the University Grants Commission, recently stipulated that all private universities, without fail and exception, move to a permanent campus that facilitates students with open space, interactive classrooms, and all the amenities that university students abroad enjoy from a campus. So, that triggered the mass relocation of private universities to actual campuses in place of stuffy buildings. Rajon opened his story with the mandatory 50% open space policy in the rulebook for building a new permanent campus. “The idea of a cubic volume in the centre of the campus came from this rule. I wanted the rest of the structure to look over the open space as the centerpiece of the campus. As a by-product, a central courtyard would help dissipate light and aerate its surroundings, like the classrooms, for example. However, the Board wasn’t initially unanimous about the central open space idea, but it was up on completion that they saw my vision behind this design choice, and this later became everyone’s favorite part of the entire campus,” began the architect. But beyond the Board’s stamp of approval, the campus just had to be completed and made fully functional within a very limited window of time, set by the UGC. If you happen to be a current student of SEU or have even visited the place, you may have taken a moment’s pause and thought of how it was even possible to erect an edifice as such in such a constricted amount of time. This is where the seasoned, but young, architect’s ingenuity just begins. If my memory serves well, I remember seeing in the popular cartoon show “Popeye: The Sailor Man” Popeye stacking floors upon floors of a skyscraper with steel I-beams, all in one shift, of course with the help of his special formula spinach, but steel I-beams were the actual hero that allowed for construction at such mind-boggling speeds. I am not inferring that Rajon got his hands on Popeye’s spinach, but being the well-bred architect that he is, he knew that I-beams would be an ideal instrument in his race against time. He explained how: “All the brick and concrete facades of the entire complex give it the impression of an RCC (reinforced cement concrete) structure, but its basic skeleton is made of I-beams. This bought me time! I-beams, like Lego, just have to be joined together using nuts and bolts without trading modern looks for time or structural integrity, but we did trade off some extra money to be able to complete construction in time.” The mission he had in mind to let light dance around the entire complex with the help of a central open space was a massive success. As the structure was shaping up rather quickly, it was instantly visible that the same campus took on different faces because of the changing sunlight that entered at different angles at different hours of the day. As a creator, the play of light and shadow had Rajon all emotional when he laid eyes upon the outcome. “The place would change its look at the change of each season too,” he said. “A few of my acquaintances who study at SEU find the campus quite photogenic. As climates change, they post photos and reels of different parts of the campus on their social media, and from there, I get to observe, from an onlooker’s perspective, how the most important beneficiaries of the campus—who are the students—are lovingly accepting it and are also low-key boasting it on their socials.” All this is to say that a structure made exclusively out of complex mathematics and engineering can also evoke emotions when made with the human angle in the mix. Ever since the permanent campus opened its doors to students in early 2023, the entire place teems with students in any direction imaginable. Not only is that the proper utilisation of space, but it also points towards the inevitable fact that students love their new campus. Everyone is doing what a student does: going in and out of class, singing, laughing, teasing, playing with classmates between classes, and most importantly, enjoying their newfound freedom in such a capacious facility that can house over 12,000 students at once! The former campus building is in the backyard of the new campus. It will be demolished soon and replaced by a new building to house the School of Engineering. It is to be designed by Cubeinside Design Limited as well. “But looking at the design of the new building and the one we just completed, no one will be able to say that the same architecture firm was behind the drawing board of the second one; it’s that different from the

Brac University’s New Eco-friendly Campus: A Blend of Nature and Innovation

As you travel from Rampura to Badda in Dhaka, the imposing concrete structure in Merul Badda is hard to miss. Initially, it might seem like an industrial or commercial complex due to its sheer size on just 7 acres of densely populated land. However, its true purpose as a university is revealed once you step inside. The ‘triple height space’ design allows for free access to light and air, featuring long escalators connecting various parts, amphitheater-like stairs, and several ‘urban windows’ at the top. The building eschews unnecessary glitter, embracing the raw form of brick and concrete both inside and out. The carefully arranged garden adds a touch of greenery, making it an inviting space for students without any sense of grandeur. Inspired by the Sundarbans ecosystem, Brac University’s new campus seamlessly blends nature with architecture. Designed and constructed by experts from Singapore, China, and Germany, this campus in Merul Badda, Dhaka, stands as Bangladesh’s first eco-friendly and sustainable inner-city campus. Last February, Brac University’s new campus was inaugurated with the theme “In the call of green, the call of the future.” Tamara Hasan Abed, Chairperson of the Board of Trustees of Brac University, highlighted the university’s commitments to academic excellence, cultural prosperity, and environmental conservation. She also spoke about the university’s goals and plans to promote a holistic educational experience through environmentally friendly activities, local performances, and discussions. Founded by Sir Fazle Hasan Abed, Brac has always distinguished itself through various creative and innovative initiatives. Over the past two decades, Brac University has achieved significant milestones in higher education, research, and international competitions. Despite this, the lack of a permanent campus was a major limitation. Although there was a residential campus in Savar, it was only available to students for one semester. All other educational activities were conducted in multiple multi-storied buildings in the Mohakhali area. The new Merul Badda campus now provides a permanent, eco-friendly, and sustainable space for all students. Designed by the r e n o w n e d S i n g a p o r e – b a s e d architectural firm WOHA Designs Pte Ltd., Brac University’s new campus is a marvel of modern architecture. Key figures involved in the project include Professor Fuad Hasan Mallick, Dean of Brac University’s School of Architecture and Design; Zainab Farooqui Ali, Chairperson of the Department of Architecture; and Project Architect Shafiqul Islam Suman. This 13-story building with three basements is designed to accommodate around 15,000 students, reflecting a commitment to environmental consciousness. The design allows natural light and air to flow freely, featuring state-of-the-art facilities. Cutting-edge technologies such as cross ventilation, a hybrid thermal management system, and aerodynamic fins ensure optimal airflow. The greenery covering the building enhances the oxygen supply, while the hybrid cooling system maintains clean air in classrooms, helping students stay focused for longer periods. Impressively, the building saves 40% of its energy by reducing reliance on air conditioning. The campus sits on a transparent reservoir, with rain chains installed to collect and store rainwater, which is used to irrigate the building’s plants, and any excess fills the reservoir. Additionally, the campus boasts an advanced sewage treatment plant for waste management. This energy-efficient design uses a total of 5.5 megawatts of electricity, with 25% sourced from solar panels on the roof. For a facility of this size, this is considerably efficient compared to the usual 8 to 10 megawatts typically required. The interior of this aesthetically pleasing building is mostly open space, encouraging student interaction, extracurricular activities, and co-curricular engagements. Design considerations also include universal accessibility standards, ensuring ease of movement for people with special needs or disabilities. The new campus is not only a hub of academic excellence but also a beacon of sustainability and innovation, paving the way for future educational institutions in Bangladesh. Tamara Hasan Abed, Chairperson of the Board of Trustees of Brac University, emphasized the inspiration behind the eco-friendly campus and the educational philosophy of Brac University’s founder, Sir Fazle Hasan Abed. She explained that Sir Abed envisioned a university where education and free intellect would harmonize with nature. This new campus, a blend of nature and modern architecture, aims to teach future generations to think differently about life. She also highlighted the importance of innovation and creativity in urban development to protect nature. This campus will set a benchmark for students, planners, and stakeholders in urban planning and e n v i r o n m e n t a l conservation. Acting Vice-Chancellor Professor Syed Mahfuzul Aziz expressed his determination to develop Brac University’s new campus as a laboratory of knowledge and science. He stated, “We aim to develop this new campus of Brac University as a laboratory of knowledge and science. We expect that we will develop this university as a flagship university of Bangladesh by providing quality research and high-quality education. We are working towards that goal.” Professor Dr. Fuad Hasan Mallick, Dean of the School of Architecture and Design at Brac University, mentioned that discussions about building a permanent campus began after the establishment of Brac University in 2001. Several discussions with Sir Fazle Hasan Abed led to the selection of Merul Badda as the site for the new campus. One challenge was finding such a large land area in Dhaka, and Sir Abed wanted the campus to be located in Dhaka itself. In 2009, Sir Abed started planning the campus’s construction and selecting who would build it. He aimed for a world-class and exemplary campus that students could be proud of. The responsibility of designing the building was given to Singapore-based firm WOHA, known for their environmentally friendly designs. Sir Abed also appointed legendary Bangladeshi architect Bashirul Haque as an advisor for the project. Once the functional program for the campus was determined, the draft was finalized with key figures, including the dean and chairperson of the university. Fuad Hasan Mallick then visited the WOHA office in Singapore to discuss the campus’s design, and they developed a scheme.

Spotlights

In Search of the Mangrove Goddess

Exploring the Sundarbans’ cryptic mangroves may be a weird, larger-than-life experience. When danger occurs in this wide wilderness, instinct frequently prompts one to seek spiritual protection. In such cases, the Sundarbans’ guardian spirit—Bon Bibi or Bono Bibi—is invoked. Bon Bibi is revered by the local forest dwellers as the divine guardian of the region’s treacherous environment. From April 4 to April 20, the Kalakendra gallery at the capital’s Lalmatia featured “In Quest of Bono-Bibi,” a mixed-media solo exhibition by artist Saidul Haque Juise. Juise, known for his precise craftsmanship, bright masks, and three-dimensional compositions, returned with a solo display following a long absence. Bon Bibi’s mythology is unique in that it combines both the Islamic and Hindu traditions, and it is commonly held that invoking her name in times of crisis promises divine assistance. The stories related to Bon Bibi are woven in a rich tapestry of mythology, which prodded

‘Kromosho’: Beyond ‘Belonging’

In the middle of the 2000s, a young Munem Wasif started sifting through Old Dhaka’s veins with his aged friend Zenit—a mechanical artifact from the Soviet era. His 2012 photography masterwork “Belonging,” which would revolutionize visual storytelling in Bangladesh’s art scene, was the culmination of a journey that began with this. Similar to the constantly flowing dark waters of Buriganga, which has seen Dhaka undergo changes, Wasif’s own artistic endeavors have veered through several stages throughout time. His work has continuously pushed audiences to look past the obvious, from “Seeds Shall Set Us Free” to “Collapse.” But despite all of these adventures, one thing stayed the same: his strong, unwavering bond with Old Dhaka. Munem Wasif is doing a solo show in Dhaka after nearly 16 years. Titled “Kromosho,” the show is currently ongoing at the capital’s Bengal Shilpalay. Tanzim Wahab served as the exhibition’s curatorial advisor, Iftekhar Hassan as a project assistant, and Dehsar Works as the architectural designer. It is open to everyone and will end on May 31, 2025. “I felt like something was lacking as soon as ‘Belonging’ was released. I felt that I just got the surface of the people and their celebrations; I couldn’t reach the core of their daily existence, the ‘life’ of Puran Dhaka. That’s when I thought of creating “Kheya”l. This exhibition is like a testament to my last two decades of transformation,” remarked Wasif when asked about “Kromosho”. The opening at Bengal Shilpalay was buzzing with energy as art lovers gathered to witness what promises to be one of the most memorable exhibitions in recent times. The exhibition unfolds like a carefully composed symphony in three movements. Starting from Wasif’s ethereal black-and-white photographs from the ‘Belonging’ era, now in dialogue with new color works from ‘Stereo.’ This juxtaposition creates a fascinating tension between past and present, memory and reality. At ‘Kheyal,’ the filmic meditation about what pulses through Old Dhaka’s veins. At ‘Shamanno’ and ‘Paper Negative,’ the installations blend documentation with imagination, challenging our perceptions of what is real and what is remembered. From a critical viewpoint, Old Dhaka represents a ticking time bomb—overcrowded and decaying, it’s an ugly relic of our greed and collective neglect. But Wasif’s work reveals depths hidden in plain sight: the “life” amongst all these. Beyond the obvious chaos lies a world of hidden poetry. This is what ‘Kromosho’ captures so brilliantly—not just images of a place, but its very essence. The exhibition becomes a mirror, asking questions about what we preserve and what we discard in our relentless march toward modernity. In an age of rapid urbanization and cultural amnesia, Wasif’s work serves as both archive and elegy, reminding us of some stories that cannot be captured through cameras or words. To experience its truest essence, you have to be there in flesh and psyche. As visitors move through the gallery, they’re invited not just to see, but perhaps to introspect. In this sense, ‘Kromosho’ transcends being merely an art exhibition; it becomes a conversation, a homecoming, and, most importantly, a call to witness.

Celebrating Hamiduzzaman Khan

From 31 January to 15 March, the first-floor gallery of the capital’s Bengal Shilpalay transformed into a mesmerizing display of incredible sculptures and paintings. Titled “Hamiduzzaman Khan,” the spectacular exhibition organized by Bengal Arts Programme honored the life and works of Hamiduzzaman Khan, one of Bangladesh’s most distinguished sculptors. The inauguration took place on Jan 31, graced by the presence of artist and art writer Mustafa Zaman; the director general of Bengal Foundation, Luva Nahid Choudhury; prominent Bangladeshi-Spanish artist Monirul Islam; and architect Mustapha Khalid Palash. Neatly curated by the esteemed Mustafa Zaman, the exhibition was a visual diary of Hamiduzzaman’s lifelong dedication to modern experimental art, which provided visitors with a profound insight into his artistic journey. Some pieces were delicate and intricate, while others were monumental and commanding. His use of geometric abstraction and semi-abstract forms is a testament to his imagination and craftsmanship. The artist has spent decades exploring new artistic dimensions. His ability to transform objects into unique sculptural forms has captivated art lovers even beyond borders for decades. The exhibition at Bengal Shilpalay featured quite a big collection of his artworks, showcasing his talent across multiple mediums including metal and stone sculptures, watercolor paintings, and acrylic paintings inspired by his sculptures. It also showcased some of his sketches, exhibition catalogues, and books on his art. The curator, Mustafa Zaman, praised the artist’s innovative approach to form and structure. He remarked, “Hamiduzzaman sir has consistently delved into the essence of objects, transforming and redefining their shapes in extraordinary ways. His creations showcase decades of dedication and artistic exploration, reflecting a deep commitment to pushing boundaries and reimagining possibilities.” Zaman highlighted the artist’s ability to blend tradition with experimentation, resulting in works that are both timeless and groundbreaking. Hamiduzzaman’s art, he noted, stands as a testament to his relentless pursuit of reinterpreting the familiar into something profoundly unique and thought-provoking. Prominent architect Mustapha Khalid Palash, a guest at the inauguration, shared his admiration, saying, “His simple yet deeply impactful works remain a source of inspiration. This exhibition beautifully celebrates his artistic legacy, offering younger generations a chance to reflect on and reconnect with their cultural roots. It’s a tribute to his enduring influence and a reminder of the power of art to bridge the past and present.” Born in Kishoreganj in 1946, Hamiduzzaman Khan studied at Dhaka Art College (now the Faculty of Fine Arts, Dhaka University) and was mentored by legendary artists like Zainul Abedin, Abdur Razzaque, and Mustafa Monwar. He transitioned from painting to sculpture, pioneering sculpture parks in Bangladesh and leaving behind an impressive legacy. Some of his most popular sculptures include “Shangshaptak” at Jahangirnagar University, “Flying Bird” at the World Bank Dhaka office, “Jagrotobangla” in Brahmanbaria, “Freedom” at Krishibid Institute, and “Peace Bird” at TSC. Expressing his gratitude, Hamiduzzaman Khan spoke about his journey as an artist. “Creating modern experimental artworks in various mediums has been my passion for many years. It hasn’t always been easy, but I am grateful for the support of my peers and art lovers.” The great artistic mind further added, “I am almost 80 years old, but I want to continue making art as long as my mind and body permit!’

Materials Symposium: Pioneering the Future of Materials Science Through Innovation and Collaboration

With the aim of connecting academia and industry, the Bangladesh University of Engineering and Technology (BUET) hosted the Innovation in Materials Research – Connecting Industry and Academia (IMR-CIA 2025) symposium on February 22, 2025. The one-day event, held at BUET’s Academic Council Auditorium, brought together leading scientists, engineers, and industry pioneers to explore advancements in materials science and their real-world applications. Chaired by Dr. Fahmida Gulshan, Professor, Department of Materials and Metallurgical Engineering, BUET and co-chaired by Dr. Muhammad Hasanuzzaman, Associate Professor, Department of Nanomaterials and Ceramic Engineering, BUET, the symposium was organized by a distinguished committee of Materials Research Centre, BUET, composed of experts in the field of materials science. The chief patron of the organization is Prof. Dr. A.B.M. Badruzzaman, Vice-Chancellor, BUET. The symposium was presided over by Dr. Fahmida Gulshan. It commenced with a welcome speech by Dr. Muhammad Hasanuzzaman. Prof. Dr. A.B.M. Badruzzaman, gave his speech as the chief guest. A plenary speech was then delivered by Prof. Dr. A.S.M.A. Haseeb, Head, NCE, BUET, Bangladesh. The event featured experts from both academia and industry, who shared insights on the latest breakthroughs in materials science, manufacturing innovations, and strategies to foster collaboration between research institutions and corporate enterprises. The symposium focused on four major themes, each representing a crucial area in modern materials research: Steel: With sustainability in focus, discussions delved into emerging high-strength steels for automotive and construction applications, innovations in steel recycling and green steel production, and advanced corrosion-resistant coatings. Ceramics, Glass, and Cement: Industry leaders highlighted advancements in energy-efficient manufacturing, AI-automated process optimizations, product diversification and waste utilization strategies for economic and environmental benefits. Semiconductors: With the global chip shortage still a concern, speakers discussed the challenges in semiconductor scaling, the role of advanced materials in next-generation electronics, and sustainable manufacturing practices. Additive Manufacturing: Experts showcased breakthroughs in 3D printing for industrial applications, material characterization, and AI-enhanced manufacturing processes, emphasizing its potential to revolutionize supply chains. Renowned experts from leading organizations and academic institutions delivered keynote speeches on groundbreaking advancements in materials science and manufacturing. They were – from Intel Corporation. USA – Dr. Zakir Ahmed, Research Scientist, Intel Labs; Dr. Md Waliullah Khan Nomani, PTD Module and Integration Yield Engineer, PTD; Dr. Shaestagir Chowdhury, Principal Engineer; Dr. Syed Samsul Amin, Principal Engineer & Packaging Architect. Other honorable speakers included Dr. Kafil M. Razeeb, Principal Scientist and Team Leader, Tyndall National Institute – Cork University, Ireland; Prof. Dr. Syed Ansar Md. Tofail, Head, Physics, University of Limerick, Ireland; Mr. Mohammad Zahirul Hoque, Director, Q.C. Metallurgical Laboratory, Inc, IOWA, USA; Dr. Ehtsham-Ul Haque, Assistant Professor, Dept. of Physics, University of Limerick, Ireland; Dr. Nazmul Alam, Principal Research Scientist (Retd.), CSIRO, Adjunct Professor, RMIT University, Australia; Dr. Md Zakaria Quadir, Associate Professor, School of Civil and Mechanical Engineering (CME), Curtin University, Australia; Dr. Qumrul Ahsan, Vice-Chancellor, University of Asia Pacific, Bangladesh; Dr. Sheikh Manjura Hoque, Head, Materials Science Division, Atomic Energy Commission, Bangladesh. The symposium also hosted specialized panel discussions featuring leading academics and industry professionals in the steel, ceramics, semiconductor, additive manufacturing fields. Steel Industry Panelists included Dr. Sazzad Ahmed, Associate Professor, MME, CUET, Bangladesh and Mr. Md. Saiful Islam, Deputy General Manager, Research and Development, GPH Ispat Limited, Bangladesh. From Semiconductor Industry Panel, Dr. Mainul Hossian, Associate Professor, EEE, DU, Bangladesh and Dr. Kafil M. Razeeb, Principal Scientist and Team Leader, Tyndall National Institute-Cork University, Ireland gave their speech. Additive Manufacturing Panelists included Dr. M. Tarik Arafat, Head, BME, BUET, Bangladesh, Dr. Md. Jalal Uddin, P. Eng., Director, BITAC, Bangladesh, Dr. Md Zakaria Quadir, Associate Professor, School of Civil and Mechanical Engineering (CME), Curtin University, Australia. The Ceramics Industry Panelist was senior journalist Mr. Anwar Haq, Head of Brand, Communication & Corporate, Pa-Wang Ceramic Industry Ltd., Bangladesh. And, the Entrepreneurship Panel was comprised of Engr. Md. Fahim Rahman, Head of Operations, METTALLIED, Bangladesh. The symposium also served as a platform for young researchers, with a competitive poster competition drawing entries from students across multiple disciplines. The top ten posters received recognition awards, while the top three submissions were awarded BDT 25,000, BDT 15,000, and BDT 10,000, respectively. This initiative provided an incredible opportunity for young researchers to showcase their work and gain insights from seasoned professionals into the evolving landscape of materials science. A recurring theme of the symposium was the urgent need to strengthen partnerships between industry and academia. Speakers emphasized that collaborative research, workforce development, and industry-driven projects are crucial to accelerate technological progress. Case studies from companies like Intel Corporation and GPH Ispat Ltd. demonstrated how industry collaborations have turned theoretical research into practical applications. With its blend of insightful discussions, expert panels, and student engagement, IMR-CIA 2025 successfully established a precedent for future collaborations between academia and industry. At its core, this was more than just a symposium—it was a call to action for the next generation of innovators. Speakers emphasized the need for young minds to embrace cutting-edge technology, think beyond conventional boundaries, and actively contribute to scientific advancements. By fostering collaboration between industry and academia, the event aimed to create an ecosystem where students, researchers, and professionals can work together to drive transformative change in materials science and engineering. As Bangladesh moves toward an innovation-driven economy, the knowledge shared at this symposium is expected to play a crucial role in achieving sustainable advancements in materials science and manufacturing.

Business Insights

Akij Tableware Announces Bangladesh’s First Food Plating Reality Show, “Art of Plating: Season 2” Offering 20,00,000 BDT in Prizes

Following the overwhelming success and audience acclaim of its first season, Akij Tableware is proud to announce the return of Bangladesh’s first-ever food plating reality show, “Akij Tableware Art of Plating,” with the launch of its second season. The show aims to discover the nation’s most talented food plating artist, with the winner taking home a grand prize of 10,00,000 BDT. In addition to the grand prize, the competition offers substantial rewards for the runners-up. The first runner-up will receive 5,00,000 BDT, while the second runner-up will be awarded 3,00,000 BDT. Furthermore, the top 30 contestants will be honored with a variety of prizes, including crests, certificates, culinary courses, and exclusive dinner sets from Akij Tableware, culminating in a total prize pool of 20,00,000 BDT. Commenting on the initiative, Chief Operating Officer of AkijBashir Group Md. Khorshed Alam shared, “After receiving an enthusiastic response in season one, we have expanded this season to encompass a broader audience, uniting plating artists from all corners of Bangladesh. Our goal is to present the unique culture and storytelling embedded in food plating art to the world and enrich this creative field.” The highly anticipated reality show will be broadcast on NTV, Channel i,

Business -Of Verdant Backdrop Red Brick Surface and A Memorial Of Pride.

Architecture, in its own language, has the power to narrate stories, forge distinctive perspectives, and evoke profound emotions. The National Martyrs’ Memorial in Savar is one of those powerful architectures that bear the history and bravery of the nation with its grandeur and glory. Located in Savar, an industrial hub on the outskirts of Dhaka, the monument stands tall as an emblem of reverence, embodying the nation’s profound gratitude to those brave souls who made the ultimate sacrifice in the pursuit of self-determination for the Bengali people. After taking a short tour around it, visitors can’t help but feel a sense of awe and pride as they contemplate the nation’s immense history and resilience. The vast landscape, the luscious greenery surrounding it, and the soaring height of the establishment will remind of its relative insignificance in the grand scheme of things. The month of March in Bangladesh is a time of remembrance and reflection. For millions of Bangladeshis, Independence Day is a day of extraordinary sentiments, containing both happiness and grief as the country earned its sovereignty 54 years ago at the cost of 3 million lives. Three phases of construction: The National Martyrs’ Memorial is designed by architect Syed Mainul Hossain (1952-2014). With a distinguished jury, including architect Muzharul Islam, a national design competition for the monument took place in 1978. (The previous attempt didn’t yield any satisfactory results.) Among 57 contenders, the young 26-year-old architect Mainul emerged victorious with his standout design. The inception of the project dates back to 1972, marking the acquisition of approximately 110 acres by the government. Of this expanse, 84 acres were dedicated to the construction of the main complex, while the remaining land was set aside for a verdant land-water greenbelt. The initial phase saw the creation of access roads, laying the foundation for subsequent development. In the second phase spanning from 1974 to 1982, significant infrastructural elements such as mass graves, helipads, parking facilities, and pavements were meticulously established. Finally, the third phase in 1982 witnessed the realisation of the main monument, along with the establishment of the greenbelt and a cafeteria, concluding the completion of this national monumental endeavour. The main monument was built by Concord in 1982 in only 89 days. In 1988, architect Syed Mainul Hossain received the Ekushey Padak, one of the highest civilian honours of the country, in recognition of his profound contribution to Bangladesh’s cultural heritage. A sneak peek into this architectural marvel: The central structure of the National Martyrs’ Memorial comprises seven pairs of triangular shapes, each representing pivotal events that propelled Bangladesh towards its independence. Starting with the outermost and shortest triangle, the structures progressively increase in height, leading up to the innermost peak. This architectural metaphor symbolises the nation’s ascent despite formidable challenges. The monument is made of concrete, in contrast with the rest of the structures and pavements, which are made of red bricks. Its design offers a multifaceted viewing experience, presenting a symmetrical pyramid-like formation when observed from afar. However, closer inspection reveals a dynamic interplay of angles and perspectives, inviting visitors to explore its intricate details firsthand. Notably, the surface of the structure is intentionally uneven, mirroring the tumultuous journey towards freedom and independence. This tactile representation serves as a poignant reminder of the sacrifices made and the resilience required to overcome adversity. The whole campus is adorned with trees, walkways, an artificial lake, and a cafeteria. Interplay of numbers: Numerology serves as a hidden vital factor behind the intricate design of the National Monument, reminiscent of ancient architectural wonders like the Athenian Parthenon, where numbers were revered as the essence of aesthetic perfection and cosmic harmony. At the heart of this establishment lies the mystical number 7, symbolising the seven pivotal movements that shaped Bangladesh’s path to independence between 1952 and 1971. The first of these 7 historical contexts is the language movement of 1952. This was followed by the United Front elections of 1954, the Constitution Movement of 1956, the Education Movement of 1962, the Six-Point Movement of 1966, the People’s Uprising of 1969, and then the final victory through the Great Liberation War of 1971. However, these 7 pillars or the number 7 also have different implications if we look at them from different facets. For example, among others, the Language Movement in 1952 contains 5+2=7; December 16, the day of independence in 1971, has 1+6=7; and there were 7 Birsreshto (war heroes) who sacrificed their lives for the cause of liberation. Written Kaniz F. Supriya

Business – Smart Fire Safety is a must for SMART BANGLADESH.

A three-day 9th International Fire Safety and Security Exhibition-2024 concluded with a focus on bolstering Bangladesh’s fire safety measures and aims to reduce fire risks, utilise modern equipment for safety, and raise awareness among the mass people. In the expo held on February 17-19, the people engaged in the industry underscored the need for amending the Bangladesh National Building Code (BNBC) 2020 as part of ensuring preventive measure of fire incidents and maintaining fire safety compliance in factories, housing and public infrastructure including mega projects. Held at the Bangabandhu International Conference Centre (BICC) in Dhaka, the expo was organised by Electronics Safety and Security Association of Bangladesh (ESSAB) in association with Bangladesh Fire Service and Civil Defence (BFSCD), Fire Fighting Equipment Business Owners Association of Bangladesh (FEBOAB), Federation of Bangladesh Chambers of Commerce and Industries (FBCCI), Bangladesh Garment Manufacturers and Exporters Association (BGMEA), Bangladesh Knitwear Manufacturers and Exporters Association (BKMEA), Bangladesh Textile Mills Association (BTMA), Dhaka North and South City Corporations, the Ministry of Commerce, and the Ministry of Home Affairs. More than 100 organisations from 30 countries including the USA, the UK, EU, China, India, the United Arab Emirates, and other Middle East countries took part in the expo. And more than 15,000 local and foreign visitors visited the expo. Salman F. Rahman, Private Industry and Investment Adviser to the Prime Minister, inaugurated the expo on February 17 while Fire Service and Civil Defence Director Brigadier General Mohammad Main Uddin, FBCCI President Mahbubul Alam and BGMEA President Faruque Hassan were present, among others. Brig. Gen. Main Uddin informed a seminar during the expo that the Fire Service and Civil Defence (FSCD) received 22,300 fire incidents per year but last year it was increased to 28,703 while on an average 150 deaths are recorded every year. In these incidents, an average loss was Tk 368 crore each year and the loss amounted to around Tk 793 crore last year. About 36 per cent fire incidents was caused by electricity last year, he added. Architect Iqbal Habib said using technology harnessing data from every level is a must to monitor and manage city infrastructure to build smart city and provide facilities to citizens. He also said if the soft copy of the building design is on the device, it will reach the fire fighters at the premises within a second. The PPP model will ensure smart safety and security solution to make sure that fire incident would not take place. Investment required for boosting the industry: With the expansion of industrialisation, the demand for fire safety and security equipment is rapidly growing in Bangladesh. But the country is still highly dependent on imported products. Industry insiders say Bangladesh has to depend on around 95 per cent import of the products. So, the country has a scope of attracting a huge investment, and also export the products meeting domestic demand for around Tk 15,000 crore market, if investors get adequate policy support from the government. ESSAB Safety Excellence Award 2024: A total of 13 organisations have been awarded at the expo for ensuring building code compliance and fire safety measures in residential, industrial, commercial buildings. Among them, Rancon Artisti Residences stood first in the residential building category, while Sheltech Rubynur stood second, and Concord Shapla third. In the Commercial Building Category, Shanta Forum, Concord MK Heritage and BGMEA Complex received the award as the First, Runner-Up and Second Runner-Up. Six companies jointly won the excellence award in the Industrial (RMG) category. Among them, Glamour Dresses Ltd. and Designtex Knitwear Ltd. were named the top winners. Tasniah Fabrics Ltd. and SQ Birichina Ltd. came next, followed by Sterling Denims Ltd. and Silken Sewing Ltd. Besides, BM Container Depot Ltd. received the award in the industrial other category. ESSAB also gave special recognition to five fire service personnel for their brave role in fire fighting and rescue operations. They are Deputy Assistant Director of Fire Service and Civil Defence Department Md. Faisalur Rahman and Mohammad Safiqul Islam, Senior Station Officer Md. Nazim Uddin Sarkar, Warehouse Inspector Md. Zahirul Islam and Fire Fighter Alhaj Miah. PPP required to explore untapped market: ESSAB: The ESSAB Secretary General, Zakir Uddin Ahmed, said the sector is important to protect people’s lives and properties from fire and earthquake incidents, and ensure sustainable economic development. So, what are needed include significant awareness, regular checks of the fire safety equipment, and use of quality materials. Mr. Zakir, also Chief Executive Officer of ZM International, stated that PPP is required to explore the untapped market. “We are ready to help investors here. So, policy assistance is the main issue to bring more investment. To create awareness, he fires safety issue should be included in textbooks,” he said adding that high import duty on the products is a key challenge in the industry. In this context, the government should provide all necessary facilities such as policy support, duty cut, and incentive so that investors come to invest in the sector.