Ceramic Bangladesh Magazine – Ceramic Bangladesh Magazine E-Publishing

Reviving Our Roots A Journey of Abu Sayeed M. Ahmed From Legacy To Leadership

While many architects push the boundaries of innovation, there have been some who charted a different course. Instead of focusing solely on creating the new, Architect Dr. Abu Sayeed M. Ahmed turned his gaze to the past—reviving forgotten monuments and ancient buildings. A pioneer in conservation architecture, he has dedicated his life to protecting and restoring the architectural jewels of Bangladesh. For Dr. Sayeed, preserving heritage is not just about safeguarding structures; it’s about understanding who we are and how the past shapes our identity today. From restoring historic mosques and colonial buildings to leading the Institute of Architects Bangladesh as president thrice in a row and serving as the elected president of ARCASIA on an international level, his contributions have earned him both national and global recognition. As an educator and author, his efforts in heritage protection continue to inspire future generations of architects. Dr. Sayeed’s legacy as a guardian of Bangladesh’s architectural treasures makes him an enduring force in both the past and future of the nation’s architectural identity. A pioneer in conservation architecture, he has dedicated his life to protecting and restoring the architectural jewels of Bangladesh. For Dr. Sayeed, preserving heritage is not just about safeguarding structures; it’s about understanding who we are and how the past shapes our identity today. From the Water’s Edge: A Childhood in Comilla Long before the architectural world knew his name, there was a young boy in Comilla, Bangladesh, who spent his days by the waterside, watching the reflections of ancient trees shimmer in the lights and ponds. In this quaint town, the city’s water bodies—like Dharmasagar and Rani’s Dighi—were more than mere landmarks; they were playgrounds, gathering spots, and the backdrop to countless moments of childhood joy. Football games often ended with a refreshing dip in the cool waters, and laughter echoed across the banks, blending with the gentle sounds of nature. That little boy, Abu Sayeed M. Ahmed, found joy in simple things like drawing intricate sketches, building models, and creating Eid cards. His love for the technical precision of his creations grew in the quiet corners of his home and school, unknowingly laying the foundation of his future as an architect. Abu Sayeed’s fascination with design was nurtured by his father, Abdur Rashid, a principled educator, and his mother, Helena Begum, whose warmth and love kept the heart of their home alive. The roots of his curiosity about history and architecture grew deep in the soil of Comilla, where he first learned to see beauty in the details around him. Even as a student at Comilla Zilla School and later Comilla Victoria College, Sayeed stood out. His involvement in Scouting allowed him to explore Bangladesh’s landscapes, meet people from different walks of life, and develop a strong sense of leadership. By the time he graduated in 1976, these experiences had shaped his collaborative spirit and a love for discovery—qualities that would define his career for years to come. His bond with his architecture batchmates was legendary. Known as the “batch of talents,” they shared a camaraderie that extended beyond classrooms. From organizing grand tours across India and Bangladesh to planning picnics, Sayeed often emerged as the natural leader. His ability to bring people together flourished during these years, and the friendships he built remain strong to this day. In 1983, he graduated with a Bachelor of Architecture, ready to leave his mark on the world. Stepping Into a New World: The BUET Years In 1976, Abu Sayeed entered BUET’s Department of Architecture, a choice that marked the beginning of a transformative chapter. Life at BUET was unlike anything he had known. Sharing dormitories with students from other disciplines introduced him to diverse perspectives. While his engineering peers were deep in equations, Sayeed and his classmates were sketching, brainstorming, and working late into the night on design projects. The Architect Emerges: Early Projects at ECBL Sayeed’s first professional step was joining the consultancy firm ECBL, where he worked for four years. It was a period of intense learning and growth. He became involved in landmark projects such as the Bangabandhu Hall of Dhaka University, Nagar Bhaban, the Air Force Academy in Jessore, and the Dhaka Cantonment’s central mosque and library. These projects gave him firsthand experience in balancing design with functionality. His natural f lair for leadership and meticulous approach to detail made him an asset to the firm. However, Sayeed knew his journey was far from over—he dreamed of exploring new horizons. A New Chapter in Germany: Rediscovering Bangladesh In pursuit of higher education, Abu Sayeed M. Ahmed embarked on a bold journey to Germany to pursue his master’s degree in architecture. Before leaving, he received two meaningful gifts—one from Lailun Nahar Ikram, the Managing Director of ECBL, who gifted him $1,000, and another from Prof. Abu Haider Imam Uddin, a colleague at ECBL, who presented him with the book Islamic Heritage of Bangladesh by Dr. Enamul Haque. Little did he know, this book would become a faithful companion in his new chapter abroad. The transition was anything but easy. Sayeed had to learn German from scratch, adapt to a foreign culture, and navigate a competitive academic environment. He lived in a hostel with students from all over the world, and conversations inevitably turned to his homeland. “What makes your country special?” his peers would ask. At first, Sayeed found himself at a loss for words, unsure of how to convey the richness of Bangladesh’s heritage. But then, the book he had been gifted came to his mind. The book Islamic Heritage of Bangladesh became his bridge to the world. He started to share Bangladesh’s architectural treasures—the Sixty Dome Mosque, the Small Sona Mosque, then the Paharpur Monastery, Mahasthangarh, and so on. His peers were astounded. “Bangladesh has a heritage this rich?” they asked, their eyes wide with surprise. They had never imagined that such ancient, awe-inspiring architecture existed in a country they often perceived as impoverished. These moments sparked something profound in Sayeed. He realized

FROM UP ON MAJESTIC HILLS FROM UP ON MAJESTIC HILLS THE PICTURESQUE BEAUTY OF RESORTS

Discovering A Gem Like Sairu, Amidst The Serena Hills Of Bandarban, Will Feel Like Uncovering A Hidden Treasure. The Experience Will Be Nothing Short Of Magical, Blending Natural Beauty With A Sense Of Tranquility That Only The Mountains Can Provide. Sairu is a contemporary eco-resort that blends modern luxury with natural harmony. Designed with sustainability in mind, it incorporates local materials like stone and bamboo to create a rustic yet refined aesthetic that seamlessly integrates with the surrounding environment. If given a choice between the beach and the mountains, I wouldn’t hesitate to pick the mountains. Exploring mountainous terrain has always been a source of joy for me, and discovering a gem like Sairu, amidst the serene hills of Bandarban, felt like uncovering a hidden treasure. The experience was nothing short of magical, blending natural beauty with a sense of tranquillity that only the mountains can provide. The resort is around a 40-minute drive from Bandarban town. Upon entering the compound of Sairu, the f irst thing that will grab your attention is how everything looks in place and blends effortlessly with the surrounding topography. There is not a single element or structure you will find there that is off-putting. To the entrance left of lies the the reception and dining area, nestled beside a tranquil water body. From the hanging balcony of the eating zone, the panoramic view of the towering hills and the Shanghu River is breathtaking, offering a visual feast that captures the essence of Bandarban’s serene charm. To the right of the entrance, cottages are arranged in terraced layers along the hillside, accessible only via steps. For those less accustomed to physical activity, the steep climb might feel challenging, especially with frequent trips. However, the effort is well rewarded with changing, picturesque views at every turn. Mini golf carts are available for transporting luggage and assisting individuals with disabilities. At the hill’s summit lies the infinity pool and jacuzzi, offering unparalleled vistas. Rest stops throughout the resort invite you to pause and enjoy the stunning beauty of Bandarban. Long ago in Bandarban, a Mro princess named Sairu fell in love with a prince from a rival hill tribe, defying tribal rules. Their secret meetings ended tragically when the prince was forced into an arranged marriage. Heartbroken, Sairu disappeared into the hills. The resort is named after this story, with “Sairu Point” marked by entwined trees on a hill, symbolizing their love. The Sairu Hill Resort draws its name and logo from this legend, preserving its memory for visitors to honor. Sairu is a contemporary eco-resort that blends modern luxury with natural harmony. Designed with sustainability in mind, it incorporates local materials like stone and bamboo to create a rustic yet refined aesthetic that seam lessly integrates with the surrounding environment. The cottages at Sairu are thoughtfully priced, offering options tailored to your preferred view. Each cottage features a private balcony and a spacious washroom with a unique, nature-facing concrete bathtub—a rare luxury in the country. The rooms are generously sized and adorned with colorful jute rugs, bamboo curtains, and furniture crafted from tree logs. A standout piece is the giant coffee table, made from a single slice of a tree trunk. Modern amenities such as toiletries, skincare essentials, laundry services, and safes ensure a comfortable stay. The culinary excellence of the resort is also a notable mention if you are into local cuisine. Their downhill restaurant provides all kinds of meals and offers both à la carte menus with diverse cuisines and buffet options. Open to all visitors, not just guests, it welcoming provides space a for anyone looking to enjoy a meal amid the serene surroundings. There is also a badminton court in another part of the downhill. The resort’s design and execution were spearheaded by DOMUS, a renowned architectural consultancy in Bangladesh, with Principal Architect Mustafa Ameen envisioning a “less is more” approach. The master plan was crafted to respect the natural terrain, with structures elevated on steel stilts to preserve the contours and existing trees left untouched. Additional greenery enhanced the landscape, ensuring harmony with the surroundings. Maximizing panoramic views, the design integrates modern luxury with environmental sensitivity, with the only major alteration being the driveway carved into the hill. Water was sourced from a spring 1,200 feet below, showcasing remarkable ingenuity. The mornings at Sairu are invigorating, with a gentle breeze whispering through the trees, while nighttime transforms into a magical spectacle, as the starlit sky casts an enchanting spell, leaving visitors in awe. Once you are inside Sairu, you will not feel the need to go elsewhere, as the tasteful setup with modern amenities will you amazed. But, yet, if you have plans to keep explore the surroundings, Sairu will arrange that for you. You can rent a jeep or CNG from them and explore the nearby tourist attractions like Nilgiri Mountain. Written By Kaniz Supriya

POETRY IN BRICKS: In Memory of BASHIRUL HAQ

Poetry in brick – is how a happy client described the house that Bashirul Haq had designed for them. This short write-up is an effort to describe this poetry and the process by which it was created. Bashirul Haq (1942-2020) had the good fortune to grow up in an idyllic rural environment, where he, unbeknownst to himself, imbibed how people could live in close harmony with the environs, where human habitation merged seamlessly with its surroundings, without disturbing it in any way. The eastern region of Bangladesh, and Brahmanbaria in particular, where his village lay 6 miles away from the town, is notoriously overpopulated. But from afar, from a car or a bus, the landscape is not crowded by people, and villages are tucked away behind clumps of trees, by paddy fields or water bodies. This is the simple living style that Bashirul Haq, as an architect, tried to adapt and express in his urban buildings. Architecture and architects in Bangladesh are carrying on the quest that Bashirul Haq was on—to find a grammar and an idiom of building that speaks to our landscape, that carries on our building traditions, yet is modern and contemporary, and responds to the needs of its users. Bashirul Haq used to describe his life as a series of happy coincidences. Most prominent amongst these coincidences, he felt, was his choice of profession. He discovered that designing buildings could be a profession as he sat browsing the USIS library as an intermediate student at Dhaka College. This set him out on a search for where he could pursue this subject. BUET had yet to start its department, and this led him to the National College of Arts (NCA) in Lahore and to apply for an interwing scholarship. This was a great career move, as the NCA was in search of a local architectural idiom. Trips to Mohenjo Daro and Harappa organized by the department, studying Mughal building traditions, and being housed in a building that embodied Indo-British architecture, students were encouraged to explore their modes of expression. This early training was honed at the University of New Mexico, where he went for his postgraduate studies. The adobe building patterns there further honed the young architect’s search for design practices that spoke to the environment and a sense of history and tradition. Returning to Bangladesh in 1977, Bashirul Haq felt that he could translate this training and preparation into practice. He began with small projects, and the ‘poetry in brick’ mentioned earlier was a house built for Justice Abu Sayeed Chowdhury. From the beginning, he chose brick as the construction material of choice. It sprung from the soil—nothing else could be more indigenous than brick, he would claim. Brick had a long history as a building material in the region, and he felt that the color of the brick and the green surroundings were in total harmony. His brick buildings were distinctive, but it meant that they appealed to a selective group of clients. However, he stuck to his design principles and always tried to combine the local with the modern. The cost of building was a big concern. In his more institutional buildings, such as the BCIC building, he would look for ways of cutting costs without compromising on aesthetic quality. Glossy materials were not part of his designs. Even the high-rise buildings are quite quiet—they do not draw attention to themselves in any way. The site is used to orient the building as much as possible with its environs. He was a purist in many ways and did not believe in using brick as surface cladding but as the actual structural material. He would emphasize the maintenance-free nature of brick, which does not need to be repainted or plastered. He spent long hours in making this material more resilient to weather conditions, to make it waterproof, or to prevent the salinity that tends to seep through. Architecture and architects in Bangladesh are carrying on the quest that Bashirul Haq was on—to find a grammar and an idiom of building that speaks to our landscape, that carries on our building traditions, yet is modern and contemporary, and responds to the needs of its users. Brick remains prominent in the architectural design practice in the country. This preponderance of brick has led, we are told, to great atmospheric pollution. Bashirul Haq would contend that ethical brickmaking processes would minimize this degradation and had a calculation regarding carbon emissions in the production of brick versus that of cement, where the brick was better. He also thought that more efficient methods of production had to be devised, minimizing the effects on climate. He was interested in building with mud and had designed a mud building, which sadly remains unbuilt. Reinforced bamboo was another material that interested him. He had prepared a book on cyclone-resistant housing in the coastal belt of Bangladesh. This book contains a detailed description of a house in the Cox’s Bazar region, which had withstood the great cyclone of 1991. Bashirul Haq was a thoughtful and creative person who believed that buildings should blend into the existing landscape, rather than stand out as monuments that define the landscape. In today’s world, with environmental issues at the forefront, this is a good architectural principle. Written by: Professor Firdous Azim Photo credit: Al Amin Abu Ahmed Ashraf Dolon | Prantography

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.