Ceramic Bangladesh Magazine – Ceramic Bangladesh Magazine E-Publishing

TRAVEL BACK TO THE ROOT WITH JATRA

For now, you forget that you are in Dhaka city and go back to the rural roots. Thankfully, Jatra has made it possible in this city. Amidst the rigid and chaotic city life of Dhaka, if you need a break, miss the rural natural vibe, and want to have a warm and cozy time with a vegetarian meal in a colorful, mesmerizing rural Bengal ambiance with folk music, then surely “JATRA” is the place to visit. Imagine, on a moonlit night, you’re sipping tea under the sky, and a mesmerizing flute is blessing your ear; the breezy sound of the thatched roof plays along with the music. You look around and see the mud-textured wall, bamboo trees, fences, and traditional local art everywhere. For now, you forget that you are in Dhaka city and go back to the rural roots. Thankfully, Jatra has made it possible in this city. Amidst the rigid and chaotic city life of Dhaka, if you need a break, miss the rural natural vibe, and want to have a warm and cozy time with a vegetarian meal in a colorful, mesmerizing rural Bengal ambiance with folk music, then surely “JATRA” is the place to visit. Jatra was created in the year 2000 in Banani by artist and musician Anusheh Anadil to highlight Bangladesh’s folk arts and crafts. Harmony with nature is one principle philosophy of Anusheh. In Bengali, Jatra means ‘journey.’ The people and culture of Bangladesh are vibrant, and everywhere the “Jatra” is visible, that vibrancy and harmony are visible. The art and music lounge of Jatra is “Jatra Biroti.”. In 2023, Jatra was relocated a few buildings away, close to their previous address. The design is done by the “Roofliners_studio of architecture” in association with “Charuta” as the construction partner. Late Ar. Rajib Ahmed, Ar. Tesha Sarawat, and Ar. Monon Bin Yunus played an important part in the design of “Jatra.” They have shared their journey of designing “Jatra” with us. Ar. Tesha Sarawat said, “We are connected to Jatra from the very beginning. As a designer, as a friend, as an acquaintance, we contain the philosophy as well. The harmony of nature and human beings is the philosophy of Anusheh. We also believe that this helped us design the place. Jatra was a fun project. Guidelines were there; also, there was full freedom of designing. The experiment was there too. Adding, eliminating, and adapting from the mistake was the design principle that we’ve followed. We have got a building with a field. We have designed the entry in a welcoming way so that any passerby feels like entering the place without even realizing when they have entered. The performance space is seen from the road. Jatra wants to go closer to people and wants to take people closer to nature. It was all kept in mind while designing.” The main challenge was that the building was very small and congested when they got it. Small rooms, one door, like an old residential house. Also, the structure was brick. So they couldn’t break wherever they felt like. It was impossible without expert engineering advice. Eng. Mashroof Kabir was there, who advised on where to break and where not to, keeping the structure stable. In this way, the whole place became like an interconnected floor. So that, when you go inside, you become confused about the entry and exit, like a maze. Which is strategically good for a showroom design and is intentionally done in this way. The thatched hut, with a mud-textured wall with traditional ìPuthi artî throughout the wall continuing up to the roof in some places, bamboo seating, and a small ìgamchaî patterned flag with cozy and warm light, ensures very selective usage of interior detailing and the right execution of the concept of distinct rural Bengal ambiance. “One big multipurpose hall was added later; one structure of mango wood was added. One kitchen of the restaurant was added on the roof. Structurally, the building was two-and-a-half-storied. It was not very fragile itself. But the addition we were supposed to do could not be mistaken. No technical mistakes could be made while modifying. Keeping the permanent part, many things would be added to the design journey that we have decided on at the beginning of the design. Then we did this. It’s continuing. Every year something will be added. That is the journey. Jatra Biroti is the restaurant part, but the whole philosophy is jatra”, said Ar. Monon bin Yunus. It was just a building with a field. Old, but not very old. There was a plinth in the front, which is the hall room now. The plucked structures are not very permanent. Mango wood, hemp (Shaun), and tin are the types of materials that are used. The hall room is an important function but gives the vibe of a temporary structure. Plus, “jatra biroti,” the restaurant part has an extension on the ground floor, which is also of mango wood structure and hemp (Shaun). The restaurant part also continues on the roof and the top roof. Some interesting elements, like blocks and dice of blocks, are used on the roof. The old staircase is also there as an exhibit. Reusing almost everything from the old “jatra” is seen everywhere. The thatched hut, with a mud-textured wall with traditional “Puthi art” throughout the wall continuing up to the roof in some places, bamboo seating, and a small “gamcha” patterned flag with cozy and warm light, ensures very selective usage of interior detailing and the right execution of the concept of distinct rural Bengal ambiance. The courtyard, or “Uthan, is the most original and core architectural element of every rural Bengal homestead. This courtyard is the main attraction of “Jatra Biroti,” surrounding which is all the thatched-roof lower seating area in a small raised plinth with bamboo-silted woven curtains and colorful artworks. The idea behind it was to recreate a traditional courtyard of the delta. To build a warm, inviting

The LEGENDS OF CERAMIC INDUSTRY IN BANGLADESH

The ceramic industry in Bangladesh boasts a rich heritage and has produced several legends known for their significant contributions to ceramics and overall company formation. The industry has grown substantially over the past few decades, establishing itself as a leading sector in the country’s economy. In 1992, with the rapidly growing ceramic industry, a nationally recognized trade organization of manufacturers and exporters of ceramic tableware, pottery, tiles, sanitary ware, insulators, and other ceramic products was formed, called the Bangladesh Ceramic Manufacturers & Exporters Association (BCMEA), under the leadership of many of these ceramic legends. Here, we highlight some legendary leaders and key entrepreneurs who have been instrumental in the journey of the ceramic industry in Bangladesh. These pioneers have laid the foundation for the thriving ceramic industry in Bangladesh, which now covers various subsectors such as tableware, tiles, sanitary ware, and ceramic bricks. Their legacies continue to inspire future generations of ceramic entrepreneurs and professionals. Mohammad Abdul Jabbar Known as the pioneer of the ceramic industry in Bangladesh, Mohammad Abdul Jabbar founded Tajma Ceramic Industries. His contributions laid the foundation for modern ceramic manufacturing in the country. The story of Tajma Ceramic Industries Ltd is quite fascinating. In 1958, the ceramic industry took its nascent steps with only one small tableware manufacturing plant in Bogura. Mohammad Abdul Jabbar, instrumental in promoting and advancing the ceramic factory in Bangladesh, was the Managing Director of the company until his death on May 7, 1985. Tajma Ceramic Industries, recognized as the oldest modern ceramic manufacturing plant in Bangladesh, marked the formal beginning of the ceramic industry in the country. It was the first ceramic earthenware plant to produce porcelain tableware using traditional methods. Tajma played a crucial role in pioneering porcelain tableware production using advanced technology for its time, inspiring many other manufacturers to follow suit. Ariff Wali Mohammed Tabani In 1958, Mirpur Ceramic Works Ltd in Dhaka began producing heavy clay products using German plant and technology, gaining a reputation for manufacturing the best quality ceramic bricks in the subcontinent. The late Ariff Wali Mohammed Tabani, known for his contributions to Mirpur Ceramic Works, played a key role in its evolution. Tabani was the founding Chairman and Managing Director until his death on December 7, 1990. Currently, the company manufactures various types of unglazed tiles and has established two more ceramic companies, Khadim Ceramics and Sunshine Bricks. Both Mirpur Ceramic Works Ltd. and Khadim Ceramics Ltd. have been synonymous with ceramic-based construction materials, manufacturing a comprehensive range of products including blocks, bricks, ornamental screens, claddings, pavers, roofing tiles, and floor and wall tiles, along with the necessary mortars. These materials have been pivotal in landmark projects nationwide, showcasing the group’s commitment to quality and innovation. Md. Abdul Hai Mohammad Abdul Hai was a visionary entrepreneur who founded the country’s first ceramic sanitaryware company, Dacca Ceramics and Sanitary Wares Ltd., in 1969. He embarked on a revolutionary journey in the ceramic sector with the aim of advancing the country through innovative ceramic products. Despite facing political unrest and significant challenges during the Bangladesh Liberation War in 1971, which led to the destruction of the factory and the loss of materials, Abdul Hai was determined to rebuild the company. After the war, he successfully revived the company in 1974. Dacca Ceramics became the country’s first non-heavy clay building ceramic plant and started the production of sanitaryware in Tongi, Gazipur. Under his leadership, the company grew to become a leader in the country’s ceramics industry, known for its high-quality, durable, and cost-effective products. Abdul Hai’s dedication and resilience played a crucial role in shaping the success of Dacca Ceramics, leaving a lasting legacy in the industry. Mr. Hai passed away on December 21, 1995. Ansar Uddin Ahmed A key figure in Peoples Ceramic Industries, Ansar Uddin Ahmed significantly contributed to the industry through innovation and quality control, helping the company gain a strong foothold in domestic market. In 1966, Peoples Ceramic Industries Ltd, formerly known as Pakistan Ceramic Industries and located in Tongi, Gazipur, began production using modern porcelain tableware manufacturing technology from Japan and started exporting their products. The late Ansar Uddin Ahmed, a respected entrepreneur, inspired many in the field. He was the Managing Director of Peoples Ceramic Industries and Standard Ceramic Industries Ltd and passed away on August 17, 2005. He served as the first President of BCMEA from 1992 to 2002, revolutionizing the export of local ceramic products Rashed Mowdud Khan As the Managing Director of Bengal Fine Ceramics Ltd, Rashed Mowdud Khan advocated for sustainable practices and modern technologies in ceramic production, enhancing the global reputation of Bangladeshi ceramics. In 1986, Bengal Fine Ceramics Ltd, the first stoneware tableware manufacturer in Bangladesh, entered both domestic and international markets. The late Rashed Mowdud Khan was a prominent figure in ceramics, known for his artistic and technical expertise. He served as the first General Secretary of BCMEA from 1992 to 2002 and President four times from 2003 to 2009. He passed away on January 9, 2011. Iftakher Uddin Farhad Mr. Iftakher Uddin Farhad was the Chairman & Managing Director of FARR Ceramics Ltd and served as the President of BCMEA in the 2011-13 session. Established in 2005, FARR Ceramics is a manufacturer and exporter of Euro Fine Porcelain tableware. The company began as an export-oriented business in 2007, producing hard porcelain tableware for both international and local markets. Located in Gazipur, Bangladesh, the plant is equipped with state-of-the-art European ceramics manufacturing technology from Germany and Italy, and decal printing technology from Japan. FARR Ceramics currently exports to 31 countries, from North America to Europe, the Middle East, and India, with a monthly production capacity of 2 million pieces. Mr. Farhad passed away on December 25, 2012. Golam Sabur Tulu The founder of Madhumati Tiles Ltd, Golam Sabur Tulu introduced advanced technologies and designs in ceramic manufacturing, significantly impacting the market in Bangladesh. He was a visionary entrepreneur who made significant contributions to the ceramic industry.

TRAVEL BACK TO THE ROOT WITH JATRA

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.