Ceramic Bangladesh Magazine

      How Bangladesh’s Interiors Got Smarter, Greener, Better

      Over the past decades, Bangladesh’s interior sector has undergone a steady evolution. This progressive transformation in design trends and practices is significant across all sectors, including residential, industrial, healthcare, hospitality, retail, and commercial spaces.   Rapid urbanisation, economic growth, globalisation, cultural exposure, and growing concern for sustainability are the major forces driving the interior design shift.   Changing Residential Interior     As urbanisation accelerates, a gradual shift in housing typology has emerged. Traditional single-storey houses and bungalows are being replaced by denser urban structures and micro-apartments, particularly in major cities such as Dhaka and Chittagong.   As a result, residential units are now designed with more compact and efficient layouts. To maximise functionality, designers incorporate space-saving solutions, including wall-mounted shelving, built-in storage, and modular furniture.   As plots shrink and outdoor gardens become scarce, balconies and terraces are being converted into green oases that help bring nature indoors.   In terms of design styles, interior spaces now reflect greater diversity, ranging from minimalist and modern to contemporary and fusion. Collectively, these factors are redefining residential interiors as more functional, sustainable, and visually harmonious.   Shift in Commercial Design     In the early to mid-20th century, commercial interiors were formal and compartmentalised, with enclosed rooms and long corridors. Materials such as wood and marble were used to convey permanence and formality.   By the late 20th century, the rise in corporate culture and global trends led to the emergence of open-plan layouts. Rigid walls began to be replaced by glass partitions that fostered communication and a transparent working environment.   From the 2010s onward, corporate interiors started to prioritise sustainability and employee wellbeing. Concepts such as biophilic design and eco-friendly materials, including reclaimed wood and recycled components, are now being incorporated to improve air quality.   The Decathlon’s Dhaka office designed by Studio One Zero, is a perfect example of a workspace that blends nature and smart design seamlessly.   “What truly distinguishes the office space is its deliberate, sensitive incorporation of natural elements into an urban setting. We wanted the overall design to be meaningful and experiential” ,says Jafor Hoq, chief architect of Studio One Zero.   Embracing Tech-led Designs     Bangladesh’s industrial interiors—especially in RMG, tanneries, food processing, and other sectors—have drastically changed over the past 50 years.   Early factories were built with tight production floors, poor lighting and ventilation, and minimal worker amenities. As industries began to rise, manufacturers moved towards vertical integration (cutting, dyeing/finishing, warehousing, R&D/sample rooms).   This initiative introduced a major shift in industrial interiors; however, worker facilities remained basic.   The Rana Plaza collapse in 2013 led to a surge of inspections and safety retrofits, resulting in changes to fire safety systems, marked aisles, medical rooms, and improved workstation ergonomics.   New industries now increasingly integrate life-safety upgrades (fire doors, fire escape signage), clear zoning, and worker-welfare blocks (cleaner toilets, canteens, and childcare rooms). Energy-efficient LED lighting, water-saving fixtures, and other green building strategies are being adopted.   According to the Bangladesh Garment Manufacturers and Exporters Association (BGMEA), the country boasts 258 LEED-certified factories, including 109 Platinum and 133 Gold-rated facilities.   Institutional interiors in Bangladesh have also undergone significant transformation, shaped by both local and global design trends in architecture, technology, and educational philosophy.   Earlier universities featured classic, colonial-style architecture, such as the University of Dhaka. Over time, university interiors shifted towards creating more flexible and student-centric spaces.   Classrooms today are equipped with modern technologies such as multimedia projectors and smartboards. Moreover, charging stations and internet access points are being integrated into common spaces—libraries, lounges, and cafeterias. Sustainable design practices have become one of the most significant considerations over the decades.   For example, BRAC University has incorporated biophilic design principles, eco-friendly materials, and energy-efficient systems. The university adopts modern colour schemes and diverse textures, along with more student-friendly amenities that promote collaboration and creativity.   Hospitality and Public Spaces Blending Global Aesthetics     Early hotels (during the 1960s–1980s) in Bangladesh prioritised functionality over aesthetics, often shaped by a colonial-modern architectural approach. Interior layouts were formal, with minimal ornamentation and durable finishes such as terrazzo floors and simple wooden or rattan furniture.   In the 1990s–2000s, with the arrival of international brands, interiors shifted towards a contemporary design approach. Spaces became more refined, introducing upgraded amenities, grand lobbies and ballrooms, and heavy use of imported finishes and materials.   A significant example of a luxury hotel is the new Sheraton Dhaka, designed by Volumezero Ltd. It features grand lobbies and banquets, lavish dining venues, and premium materials and finishes.   From 2010 onwards, hotel and resort design began to blend local cultural elements with global contemporary styles. This includes the use of local craftsmanship, textiles, motifs, and artwork. Sustainable materials such as bamboo and jute, along with natural textures like wood finishes and earthy plasters, are now extensively used. Public spaces such as airports in the early period focused primarily on practicality and functionality. For example, the old Tejgaon Airport and early Hazrat Shahjalal International Airport (HSIA) featured simple layouts with limited amenities.   With gradual modernisation, airport interiors began to prioritise passenger comfort. Duty-free shops, cafés, lounges, and digital flight displays have been incorporated.   From the 2010s to the present, design has integrated modern efficiency with local art and aesthetics. Elements include modern amenities (digital signage, self-scanners), imported materials, and sustainable finishes.     A prominent example is HSIA Terminal 3, designed by architect Rohani Baharin. The design incorporates modern minimalism and local cultural motifs, highlighting clean, light-toned finishes, large open spaces, and high vaulted ceilings with an eye-catching floral geometric motif. Natural lighting is emphasised, reducing dependence on harsh artificial lighting.   Another prominent example in the transformation of public transport infrastructure is the new Cox’s Bazar Railway Station, designed by Volumezero Ltd.   The transportation hub has evolved from a functional terminal into a high-end passenger experience. “We aimed to depart from the traditional notion of railway stations being merely standard

      BANKS BRUISED but Still Standing Strong for Manufacturing

        Bruised by inflation, foreign exchange volatility, and a surge in non-performing loans, Bangladesh’s banking sector has nonetheless held its ground — emerging as the country’s lone financial engine in a year of global and domestic disruption.   With the capital market still lacklustre, banks have shouldered the full weight of financing both government and private enterprise, keeping the wheels of development turning.   In 2024, the sector showed remarkable grit, navigating macroeconomic turbulence while maintaining liquidity and credit flow across industries. This resilience was not just structural — it was strategic. As investor sentiment cooled, the private sector leaned harder on banks, reaffirming their role as the backbone of Bangladesh’s economic recovery. Profits Surge as Six Banks Break Records     Performance-wise, several private commercial banks surged ahead, with six institutions — BRAC Bank, Pubali Bank, Jamuna Bank, Bank Asia, Shahjalal Islami Bank, and Dhaka Bank — surpassing their entire 2024 profit figures within just the first nine months of 2025 — a testament to operational strength and depositor confidence.   Combined, these banks earned Tk 7,411 crore from investments, mostly in treasury bonds — a roughly 70 percent increase from the previous year.   Moreover, BRAC Bank and City Bank crossed the Tk 1,000 crore profit mark in 2024 for the first time in the country’s banking history, while others recorded their highest-ever earnings. Sustainability Ratings Reflect Governance Strength     Recognizing this momentum, Bangladesh Bank named 10 banks and two non-bank financial institutions (NBFIs) as sustainable performers in its Sustainability Rating 2024. The banks include BRAC Bank, City Bank, Dutch-Bangla Bank, Eastern Bank, Jamuna Bank, Mutual Trust Bank, NCC Bank, Prime Bank, Pubali Bank, and Shahjalal Islami Bank. Among NBFIs, IDLC Finance and IPDC Finance retained their positions.   These 12 institutions were evaluated across five key indicators: the sustainable finance index, CSR activities, green project financing, the core banking sustainability index, and banking services coverage.   Banks with strong risk management, healthy capital adequacy, and low non-performing loans scored higher, while metrics like Tier-1 capital to risk-weighted assets, CMSME loan share, large-loan exposure, and agent banking reach added depth to the rankings.     The sector also saw moderate asset growth, with total assets rising 9.65% in 2024 to Tk 26,29,775 crore — reversing declines from 2021 and 2022, according to the central bank’s Financial Stability Report.   Liquidity remained sound, with the Advance-to-Deposit Ratio at 81.55% — well below the 87% ceiling — while strong deposit growth continued to fuel rising loan demand.   In a year defined by uncertainty, Bangladesh’s banking sector didn’t just endure — it evolved. With sustainability, profitability, and resilience converging, it has reaffirmed its role as the country’s principal engine of financial stability and growth. Governance: The Line Between Success and Struggle “Some banks in the banking sector have performed very well, while others have done quite poorly,” said Syed Mahbubur Rahman, CEO and Managing Director of Mutual Trust Bank.   “The main factor behind weak performance in some banks is governance — banks with better governance have performed better. Those where the Board of Directors interfered in day-to-day operations have not done well,” he said.   On the other hand, banks that followed proper corporate governance practices have consistently performed well, and their non-performing loans have remained within limits, he added.   The sluggish pace of NPL recovery has also contributed to the accumulation of NPLs.   Additionally, the Russia-Ukraine war, global tensions, local currency depreciation, and other domestic economic challenges are straining business operations and reducing borrowers’ repayment capacity — further accelerating the banking sector’s NPLs in Bangladesh, according to Bangladesh Bank’s Financial Stability Report.   Even though some banks have underperformed, the banking sector has made a major contribution to the economy — especially as the capital market remains small and its role in capital formation negligible, he said.   The bond market is also nearly non-existent. Since independence, industrialisation, employment, and per capita income growth have been supported 80–90 percent by the banking sector, directly and indirectly, he clarified.   Banks have facilitated letters of credit for trade, enabled remittance inflows, and provided refinancing during Covid-19.   From agricultural loans to start-up financing, the sector has stepped in whenever funding was needed. Most CSR spending in the country also comes from banks.   “The banking sector is definitely playing a significant role in overall economic activity,” he said.   “The banks are contributing to sustainable finance too,” added Rahman, also a former president of the Association of Bankers, Bangladesh (ABB).   Some banks are doing extraordinarily well in increasing their sustainable and green financing.   Toufic Ahmad Choudhury, a former Director General (DG) of the Bangladesh Institute of Bank Management (BIBM), said that although there were high NPLs in the banking sector “under the carpet,” which were not previously disclosed, the poor health of some banks is now clear. “This is a positive sign that the problem of some banks is now diagnosed.”   Most importantly, the central bank is focusing on the banking sector to ensure good governance in every bank. “It is another good sign that good governance is now being ensured across the sector,” he said.   Regarding the merger of five banks, he said that if new leadership can boost public confidence and the government does not interfere unnecessarily, only then can the banks be revived. Depositor Confidence and the Road to Reform Banking sector deposits registered an average annual growth rate of 7.69 percent by the end of 2024, compared to 10.15 percent the year prior, according to Bangladesh Bank data. Deposit growth slowed mainly due to high inflation and a confidence crisis in several banks.   Inflation in Bangladesh has hovered above 9 percent since May 2023, and stood at 8.36 percent in September 2025.   Among asset managers who invest in bank shares and analyse their performance most closely is Mir Ariful Islam, CEO and Managing Director of Sandhani Asset Management.   He said some banks saw significantly

      A Carnival of Crafts and Community

      Dhaka’s winter evenings are about to take on a new glow as Aarong ushers in the return of its Winter Wonderland, an immersive showcase where rural women’s artistry meets festive joy, turning December nights into a living tapestry of culture and creativity.     Now in its second season, the month‑long festival is more than a carnival—it is a crafted journey into Bangladesh’s artisan heritage, blending music, food, games, and storytelling with the warmth of community celebration.   The event stretches across two vibrant spaces, each designed to immerse visitors in the story of Bangladeshi craftsmanship. At the Tejgaon Outlet Parking Lot, glowing gates open into a world of artisan stalls, DIY craft corners, food kiosks, and the aarong.com experience zone. Here, the main stage sets the rhythm for music and performance, while every stall tells a tale of the rural women whose hands weave, carve, and print the designs that define Aarong.   Terracotta Tales, meanwhile, offers a different flavour of festivity. Families will find carnival games, a dedicated children’s zone, and a curated menu of seasonal treats.   Unlike the Tejgaon site, this space welcomes visitors without registration, ensuring the carnival atmosphere flows freely between both venues.   The experience is designed to be more than entertainment. Every purchase, every photograph taken, and every beat enjoyed feeds back into the lives of the artisans who make Aarong possible. It is a circle of value, where celebration meets empowerment.   Late-night shopping adds another layer to the festivities. On event days, the Tejgaon outlet extends its hours until 11pm, inviting guests to browse curated collections that reflect the warmth and colour of the season.   Entry to the Tejgaon grounds requires online registration via Tickify, though Aarong Rewards and Club TAAGA cardholders enjoy automatic access. Presenting a card secures entry for the holder and a guest, making the carnival as inclusive as it is immersive.   With music, crafts, games, and food stitched together into one month-long celebration, Aarong’s Winter Wonderland is not simply an event. It is a reminder of how heritage can be lived, shared, and celebrated—one artisan story at a time.     Event Highlights Week 1: Pitha Utshob (December 4 & 5) Visitors can enjoy live folk performances and taste a variety of seasonal pitha at dedicated stations.   Week 2: Thanda Beats (December 11 & 12) The atmosphere will be filled with winter rave vibes under the stars, featuring music from some of the city’s top DJs.   Week 3: Fake Wedding (December 18 & 19) Guests can take part in a playful “biye-bari” experience, complete with a “Holud meets meme culture” zone. The staged wedding night will include henna, paan, bangles, and photo booths, alongside dance acts and live DJ sets.   Week 4: Concert (December 25 & 26) The season will close with star-studded live concert performances, bringing the month to a musical finale.   Every Week   The Aarong.com Experience Zone will showcase the newly refreshed aarong.com through interactive, fun, and style-led activities.   Artisan Meet & Greet sessions will highlight crafts such as nakshi kantha, pottery, block printing, jewellery, and jamdani.   Craft videos and demonstrations will show how heritage techniques continue to keep traditions alive.   Community Impact initiatives will support women artisans and local craftspeople.   Food and vibes will be provided through winter treats, festive snacks, and cosy hangout corners.   A dedicated kids’ zone will offer fun activities and games for children.   Written by Nibir Ayaan

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      Spotlights

      ‘The Luminous Shade of Solitude’ – first solo exhibition by Azwad Ahmed

      Azwad Ahmed’s first solo exhibition, The Luminous Shade of Solitude, presented a compelling selection of his recent works exploring themes of silence, emotional restraint, and inner reflection.     The exhibition was inaugurated on December 18 and ran until December 24 at Gallery Chitrak. Ahmed’s work is subtle yet displays an evocative visual language. Through a restrained use of form, tone, and imagery, the artworks speak softly but with great impact, inviting viewers into deeper emotional and intellectual reflection.   “The majority of the work in the exhibition is more recent and is centred around two main series. The first was inspired by a painting done in 2016 named Moshari,” expressed the artist.   “This series was made using a technique that I developed through experimentation with acrylic paints and water. The process is reminiscent of childhood memories—watching raindrops slide across the windows of a moving car.”   Curated by

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      Gallery Plat-forms Hosts ‘Beyond the Veil’

      Gallery Plat-forms is hosting ‘Beyond the Veil’ – 3rd solo exhibition by M F I Mazumder Shakil. In this exhibition, the artist presents the ancient medium of woodcut in a fresh, contemporary artistic form. A total of 24 woodcut prints are on display which includes 8 large-scale works.     The exhibition began on November 9 and has now been extended until December 13, with visiting hours from 11 am to 8pm.   As noted by Gallery Plat-forms, in ‘Beyond the Veil’, Shakil revives the long-format woodcut to explore a world both intimate and exclusive. Through sweeping panels in amber, midnight blue, and stark monochrome, a woman emerges through fabric, fold and shadow.   The veil becomes a threshold rather than concealment, inviting us to see without seeing. Each cut and layer conjures the textures of cloth and memory, secrecy and freedom. Part portrait, part landscape of the unseen.   Beyond the veil transcends identity to question how we perceive, what lies hidden. Rooted in tradition yet distinctly contemporary. Shakil’s work reimagines the politics of visibility and expands the language of global printmaking.     “My work is primarily in printmaking – specifically woodcut. I begin by drawing on plywood or any other board, then carve the block using woodcut tools based on the distribution of light and shadow.   After that, I apply ink to the block with a roller through various processes, and finally transfer the print onto paper. Depending on the size, completing a single piece can take several months,” explains Shakil.   “I have participated in various exhibitions, art camps, and art fairs both in Bangladesh and abroad. In the future, I plan to organize solo exhibitions outside the country as well.   In recent times, young artists in Bangladesh have been tirelessly pursuing creative practice, and their works have already received significant recognition on the international stage.     However, the overall acceptance of fine arts within the country has yet to reach the desired level. I remain hopeful that with proper patronage and support, our artists will be able to present Bangladesh’s artistic heritage to the world with even greater distinction,” the artist further adds.   Mohammed Fakhrul Islam Mazumder, a Bangladeshi artist born in Comilla in 1989. He completed his M.F.A and B.F.A in Printmaking from the Faculty of Fine Arts at Dhaka University in 2016 and in 2014.   Mazumder has held two solo exhibitions— “Obscure Beauty” (GalleryChitrak, 2023) and “The Odyssey of the Soul” (Zainul Gallery, 2018). His art has been showcased widely across Asia,Europe, and Australia, including major exhibitions in Japan, China, Thailand, Korea, India, Nepal, and Bangladesh.   He has received numerous national and international awards such as the 26th Berger Young Painters’ Award (2022), Excellent Works Award, COP15 Global Art & Design Competition, China (2022), 2nd International Print Biennale Award, India (2021), and the Shilpacharya Zainul Abedin Award (2019).   Mazumder’s works are part of collections at the China Printmaking Museum, Ino-cho Paper Museum (Japan), Bengal Foundation, and Lalit Kala Academy (India). He has also participated in several artist residencies, including the Chitrashala International Artist Residency in India and Kali Artist Residency at Cosmos Atelier 71, Bangladesh.   Currently, Mazumder continues to experiment with layers of print, texture, and form to reflect the subtle interplay between the visible and the unseen. Through this exhibition, Shakil opens a new doorway not only to beauty but also to perception. His works, imprinted with the labor of hand-carved marks on solid wood surfaces, unfold into a poetry of light and shadow.   This exhibition is part of Gallery Plat-forms’ commitment to presenting Bangladeshi artists who bring together heritage and contemporaneity, offering them anew to the global stage.   Written by Tasmiah Chowdhury   Photo Credits Sarmin Akter lina Gallery plat-Forms

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      Glimpses from 75-95

      Titled “Phire Dekha/Re See,” the ongoing exhibition at the capital’s Kalakendra is comprised of the most heavyweight line-up of artists in a single group show in this gallery’s journey so far. Although a young gallery run by the veteran Wakilur Rahman, Kalakendra has already cemented its place as a hub for regular exhibition-goers of Dhaka, and its latest exhibition is another beautiful stroke in its canvas.   Kazi Rakib, Deepa Haq, Dhali Al Mamoon, Dilara Begum Jolly, Nisar Hossain, and Shishir Bhattacharjee, Saidul Haque Juise, Fareha Zeba, Ratan Mojumdar, Habibur Rahman, Ruhul Amin Kajol, Lala Rukh Selim, Towfiqur Rahman, and Wakilur Rahman—if you are an enthusiast of the Bangladeshi art scene, you are at least familiar with a few of these names from this stellar list of Bangladeshi artists. These names, whether as a promising back-in-the-day or established artist, as a respected teacher for generations of art students, or as a curator, are all notable in their own ways in a detailed history of the Bangladeshi art scene. Growing up in a country where there is a mass tendency of collective amnesia towards the importance of archives and still no organized/proper practice of museum and gallery culture, if you have ever wondered what the art of some notable names looked like when they were at your and your Charukola friends’ age, “Phire Dekha” provides you a glimpse.   The show gathers these fourteen artists, whose works once characterized the visual rhythm of postwar Bangladesh. The display, which runs from 1975 to 1995—an era marked by instability, transformation, and fragile hope—does not attempt to rebuild history but rather to reflect on it through the lens of art. Those two decades were more than just years on a timeline; they were a line of reckoning. Bangladesh, yet learning the lexicon of its freedom, was seeing seismic worldwide shifts—the demise of socialism, the growth of neoliberal dreams, and the gradual disintegration of collective idealism.   These factors undoubtedly influenced how artists thought, created, and responded to their surroundings. The show makes no conclusive statements about that age; rather, it creates a contemplative space between history and present, memory and method, inviting visitors to rediscover what art previously possessed and what it continues to disclose.   “Re See” is curated without the weight of theory or curatorial rigor, instead assembling pieces of real experience rather than a predefined theme. All of the participating artists were young art students in the years following the Liberation War. Some were members of collectives such as Dhaka Painters or the Somoy Group, while others forged their own paths of discovery. Their works together provide a mosaic of artistic and emotional progress, a portrait of a generation that used color, form, and gesture to express its times.   The exhibition features paintings, sculptures, prints, sketches, and mixed-media pieces, the majority of which are from the artists’ personal archives. The mix of mediums—etchings, acrylics, watercolor, and assemblage—reflects the restless search for words that marked Bangladeshi art throughout those decades. “We seldom get to see the works that shaped our contemporary practice,” he observed. “Between 1970 and 1990, the political and cultural landscapes of our country changed dramatically, and those changes inevitably entered art. The young artists of that period absorbed both global and local influences, reinterpreting them through their own materials, symbols, and languages. Many have since matured into leading figures, guiding the next generations of creators,” said art historian and critic Professor Abul Mansur.   These words capture the essence of “Re See”; it is not nostalgia but an act of rediscovery, an artistic archaeology of thought and feeling. The exhibition runs daily from 4 p.m. to 8 p.m. until November 15 at Kalakendra. Written by Shahbaz Nahian      

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      Bangladesh’s Largest Travel Expo Begins Thursday

      The 13th edition of the Biman Bangladesh Travel & Tourism Fair (BTTF) 2025 opened Thursday morning at the Bangladesh-China Friendship Conference Center (BCFCC) in Dhaka, marking the return of the country’s largest international tourism expo.     Organised by the Tour Operators Association of Bangladesh (TOAB), the three-day event runs from October 30 to November 1 and is expected to draw tens of thousands of visitors, including over 2,000 trade professionals.   The fair is open daily from 10:00 AM to 8:00 PM, with an entry fee of Tk 50 per person. Students, freedom fighters, and July war heroes are granted free entry, ensuring inclusive access to the event.   This year’s fair features participation from more than 120 local and international organisations, showcasing their products and services through around 220 stalls and 20 pavilions.   Among the international participants are national tourism boards, airlines, tour operators, hotels, resorts, travel agencies, financial institutions, and healthcare providers.     Twenty international hospitals are promoting medical and wellness tourism, reflecting the growing interest in cross-border healthcare travel. Biman Bangladesh Airlines is the title sponsor of BTTF 2025, joined by IHG Hotels & Resorts as the gold partner and bKash as the payment partner, with cashback offers available for visitors purchasing entry tickets via bKash.   Spanning 60,000 square feet, the exhibition is divided into four themed halls—Celebrity, Carnival, Harmony, and Milky Way—designed to facilitate targeted engagement between exhibitors and attendees.   The layout includes dedicated spaces for B2B sessions, seminars, country presentations, cultural performances, and documentary screenings on Bangladesh’s tourist attractions, offering a comprehensive platform for both commercial exchange and public interaction.   The opening ceremony on Thursday was presided over by Md. Rafeuzzaman, president of TOAB, and formally inaugurated by Lutfe Siddiqi, special envoy to the chief adviser on international affairs, who served as chief guest.   Md. Taslim Amin Shovon, director (trade & fair) at TOAB, delivered the welcome address, while Mohammad Yunus, director (media & publications), conducted the programme.   Friday’s programme includes a B2B networking session, multiple seminars, and a roundtable discussion, while Saturday will feature a grand raffle draw and the closing ceremony. Daily cultural shows and sideline events are expected to enhance visitor engagement.   TOAB, which has been organising BTTF annually since 2007, aims to position Bangladesh as a competitive player in the global tourism market.   With 751 active members, the association regularly participates in international fairs such as ITB Berlin, WTM London, and FITUR Madrid, and collaborates with the Ministry of Civil Aviation and Tourism, Bangladesh Tourism Board, and Bangladesh Parjatan Corporation.     According to organisers, BTTF 2025 is designed to promote both inbound and outbound tourism, with a special focus on niche segments including culinary, cultural, leisure, cruise, and adventure travel.   Business and corporate travel also feature prominently, alongside medical tourism, which has seen increased demand in recent years.   Distinguished guests at the inauguration included Saima Shahin Sultana, chairman of Bangladesh Parjatan Corporation; Naila Ahmed, joint secretary (tourism-1 branch) of the Ministry of Civil Aviation and Tourism; Dr. Md. Shafiqur Rahman, managing director and CEO of Biman Bangladesh Airlines; Md. Mainul Hasan, additional IGP of Bangladesh Tourist Police, and Nuzhat Yasmin, CEO of Bangladesh Tourism Board, alongside TOAB advisors, directors, and steering committee members.   Written by Nibir Ayaan

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      Business Insights

      REHAB Fair 2025 begins in Dhaka on Dec 24

      The housing sector in Bangladesh is preparing for its biggest annual showcase as REHAB Fair 2025 opens its doors on December 24 at the Bangladesh China Friendship Conference Center (BCFCC) in Dhaka.     Running until December 27, the fair promises to bring together developers, financiers, and buyers under one roof, offering a rare chance to explore the breadth of the country’s real estate industry.   With 220 stalls, the event is designed to highlight the scale and diversity of the housing market.   Four diamond sponsors, seven gold sponsors, 10 co-sponsors, 14 building materials companies, and 12 financial institutions will take part, reflecting the sector’s growing reach.   The announcement came during a press conference at the Cirdap auditorium in Dhaka, where REHAB President Md Wahiduzzaman outlined the fair’s significance.   Senior leaders, including Liaquat Ali Bhuiyan, Mohammad Akter Biswas, and other directors joined him, underscoring the collective effort behind the event. For Wahiduzzaman, the fair is more than a showcase.   He described REHAB as the government’s key partner in infrastructural development, stressing its role in ensuring safe housing for present and future generations.     The president emphasised fairness and equality in housing opportunities, calling for policies

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      AkijBashir Group has entered into a strategic partnership with the Infrastructure Development Company Limited (IDCOL)

      In a major step toward sustainable industrial growth, AkijBashir Group has entered into a strategic partnership with the Infrastructure Development Company Limited (IDCOL) to promote energy efficiency and renewable energy across its operations. The collaboration, formalized at an event held at Sheraton Dhaka, marks a significant milestone in advancing green industrial practices in Bangladesh.     AkijBashir Group has been funding several sustainability projects in the last couple of years through its Energy Efficiency and Rooftop Solar financing programs funded by IDCOL. These projects have enabled the deployment of industrial rooftop solar capacity of more than 90MWp, of which over 60MWp has been deployed and has become one of the largest solar portfolios in the private sector in Bangladesh.     One of the highlights of the joint venture is a pioneer project of Janata Jute Mills Ltd. in Boalmari, Faridpur, that will become the first in the world to be a fully operational jute mill using renewable energy by the first quarter of 2026. In the long-term sustainability, the Group targets to produce a renewable energy of 1,000 MWh every day by 2027.     During the event, AkijBashir Group Managing Director, Mr. Taslim Md. Khan, and IDCOL Executive Director and CEO, Mr. Alamgir Morshed, emphasized the role of collaboration in the development of the future of the low-carbon industry. AkijBashir Group is determined to be 100% renewable in all its manufacturing plants by the year 2030, which is in line with its vision Beyond Tomorrow- impetus on sustainability, innovation, and industrial perfection.

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      World Investor Week rings the bell on financial fraud awareness

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

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      Bangladeshi Hotels, Resorts Win Big at South Asian Travel Awards 2025

      Bangladesh’s hospitality sector received a resounding endorsement on the international stage as several leading local hotels, resorts, and tour operators were honoured at the South Asian Travel Awards (SATA) 2025, held at the Cinnamon Grand in Colombo.     The glittering ceremony, widely regarded as one of the region’s most prestigious events in the travel and tourism calendar, brought together top-tier organisations from Sri Lanka, India, the Maldives, Nepal, Bhutan, and Bangladesh. A total of 53 Gold Awards and 113 Silver Awards were presented across a range of categories, recognising excellence in service, innovation, and guest experience. Bangladeshi winners spanned multiple categories, reflecting the country’s growing reputation as a destination of choice for regional and international travellers. Award Winners from Bangladesh Baywatch: South Asia’s Best New Hotel and South Asia’s Leading Beach Resort HANSA – A Premium Residence: Leading Designer Hotel/Resort Holiday Inn Dhaka City Centre: Leading City Hotel Intercontinental Dhaka: Leading Luxury Hotel Momo Inn: Leading Family Hotel & Resort and Leading Convention Center Award Platinum Grand: Leading Boutique Hotel Platinum Residence: Leading City Hotel and Leading Budget Hotel Radisson Blu Chattogram Bay View: Best Eco-Friendly Hotel Radisson Blu Dhaka: Leading Airport Hotel and Leading Meeting & Events Sayeman Beach Resort: Leading Wedding Hotel/Resort Sayeman Heritage: Leading Heritage Hotel/Resort The Palace Luxury Resort: Leading Palace Hotel The Peninsula Chittagong: Best CSR Program, Leading F&B Hotel, and Leading Business Hotel The Westin Dhaka: Leading Wellness and Spa Hotel/Resort Bangladesh Tour Group (BTG): South Asia’s Leading Inbound Travel Agent and Best Promotion Campaign in South Asia Travel Classic (Pvt.) Limited: Leading Travel Agent – Outbound Winning awards in different categories was no easy feat. Each submission underwent a rigorous selection and evaluation process. The SATA 2025 Awards were presented to organisations that embody excellence in service delivery, innovation, sustainability, leadership, and overall industry impact. During the evaluation stage, 60 percent of the marks came from the professional judges’ report cards, with the remaining 40 percent from online public voting. Judges scored submissions based on multiple criteria: service excellence, innovation and improvement, customer satisfaction, sustainability and responsibility, operational excellence and safety, sales and revenue performance, leadership and team development, and industry contribution. This year, SATA placed particular emphasis on sustainability, cultural authenticity, and digital innovation. “SATA brings together over 300 delegates from across the South Asian region to celebrate the best of South Asian hospitality brands,” said SATA President Ismail Hameed at a press conference held during the event. He added that international establishments such as the Taj Mahal Palace, as well as brands from Nepal and Bhutan, which are unique in their own right, took part in this year’s show. “From travel agents’ associations to hotel associations to tourism boards — all are part of SATA,” Hameed said. He noted that South Asian destinations hold great tourism potential, offering everything from cool weather and beaches to mountains, heritage, history, culture, food, and delicacies. Md Mohsin Hoq Himel, Secretary of the Bangladesh International Hotel Association (BIHA), who attended the event, said: “BIHA has been working with the South Asian Travel Awards in Bangladesh.” Under the overall guidance of Hakim Ali, founder of BIHA, the association has participated in the prestigious event every year, he said. Through this platform, BIHA aims to highlight the service standards of Bangladesh’s local hotels and resorts, showcasing their uniqueness and distinctiveness alongside other regional hotels, Himel added. “This year, every Bangladeshi hotel and resort has achieved remarkable positions. We extend our heartfelt congratulations to all the award winners.” According to representatives of Bangladesh’s hospitality sector, this international recognition will further advance the country’s tourism and hotel industry in the global market and strengthen Bangladesh’s brand image worldwide, he said. The first edition of the South Asian Travel Awards began in 2016 and has been organised by Highrise every year since, with the support of multiple associations and tourism bodies from across the South Asian region, according to the SATA website. The annual search for South Asia’s most outstanding travel organisations spans a month each year from March to April, calling upon industry professionals to name their preferred travel suppliers in the region who have risen above the competition and surpassed expectations, it read. “The awards programme continues to serve as a platform for nations to come together, not in competition, but in celebration of shared triumphs and brilliance.”   Written by Nibir Ayaan

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      Ceramic Bangladesh

      Testimonials

      “Timber Tales” sparks a dialogue in wood and ink

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

      Royal (Vietnam) selects SACMI technology for a new slab line

      The heart of the order is the new Continua+ 2180, equipped with cutting-edge digital decoration solutions     Following installation of the new SACMI Continua+ 2180, Royal (Vietnam) becomes the first Asia-Pacific group to equip itself with SACMI technology for on-surface and through-body slab decoration. Moreover, the line is digitally coordinated with Deep Digital solutions, supplied here in an all-round configuration: two DHD digital wet decorators and a DDG digital grit-glue decorator.     The new line will allow Royal to expand its range by creating new products with unmatched three-dimensional ‘material’ effects, all the strength and durability of ceramic, and a look that mirrors the aesthetics of natural materials. This important investment decision was not motivated by the innovative forming and decorating technology alone: equally crucial was SACMI’s ability to supply the complete plant, from body preparation (with two spray dryers and relative spray-dried powder conveying/storage systems) to firing in a high-efficiency roller kiln. Already strongly positioned on international markets, Royal has now – with SACMI – taken quality in these high-added-value segments to the next level. For example: the manufacture of ceramic countertops and furnishing accessories, with all the advantages Continua+ has to offer in terms of versatility, productivity and fully flexible control of size and thickness, in coordination with all the digital devices on the line.

      Akij Tableware Art of Plating: Season 2 Crowns the “Plating Maestro”

      The curtain has drawn on the remarkable journey of Akij Tableware Art of Plating: Season 2, the pioneering reality show that reimagined tableware as a medium for creative expression and showcased the artistry of modern plating. Following weeks of intense competition, visually striking presentations, and exceptional culinary performances, the grand finale—held on May 16, 2025—served as a fitting conclusion to a season defined by innovation and excellence. Md. Golam Rabby emerged victorious as the champion, taking home the Plating Maestro title along with BDT 10,00,000 along with a professional plating course, national media exposure, and an exclusive Akij Tableware dinner set. The competition was fierce, with equally impressive performances by the runners-up: Iffat Jerin Sarker, awarded Plating Icon (1st Runner-up), received BDT 5,00,000; Dr. Rawzatur Rumman, crowned Plating Maverick (2nd Runner-up), won BDT 3,00,000; Homayun Kabir and Nawsheen Mubasshira Rodela, honored as Plating Masterminds (4th and 5th place respectively), each received BDT 1,00,000. Hosted across Banglavision, RTV, Deepto TV, and streaming on Chorki, Akij Tableware Art of Plating: Season 2 captivated audiences nationwide with its unique blend of tradition and innovation. Contestants turned beloved dishes into visual and gastronomic masterpieces, judged on aesthetics, technique, and culinary understanding. Akij Tableware Art of Plating: Season 2 redefined how we experience food—elevating it from everyday necessity to a dynamic, visual art form. The show celebrated creativity, precision, and innovation, turning each plate into a canvas where flavor met form. Throughout the season, contestants pushed boundaries, transforming ingredients into stunning, story-driven presentations that delighted both the eyes and the palate. More than a competition, this season launched a new movement in culinary expression, inspiring audiences to rethink how food is seen, served, and appreciated. And the journey isn’t over—a new season is coming soon, promising fresh talent, bold ideas, and next-level plating artistry. To stay updated on what’s next, follow www.aop.com.bd and join the evolution of food into a true visual experience.

      View more

      “Timber Tales” sparks a dialogue in wood and ink

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

      Royal (Vietnam) selects SACMI technology for a new slab line

      The heart of the order is the new Continua+ 2180, equipped with cutting-edge digital decoration solutions     Following installation of the new SACMI Continua+ 2180, Royal (Vietnam) becomes the first Asia-Pacific group to equip itself with SACMI technology for on-surface and through-body slab decoration. Moreover, the line is digitally coordinated with Deep Digital solutions, supplied here in an all-round configuration: two DHD digital wet decorators and a DDG digital grit-glue decorator.     The new line will allow Royal to expand its range by creating new products with unmatched three-dimensional ‘material’ effects, all the strength and durability of ceramic, and a look that mirrors the aesthetics of natural materials. This important investment decision was not motivated by the innovative forming and decorating technology alone: equally crucial was SACMI’s ability to supply the complete plant, from body preparation (with two spray dryers and relative spray-dried powder conveying/storage systems) to firing in a high-efficiency roller kiln. Already strongly positioned on international markets, Royal has now – with SACMI – taken quality in these high-added-value segments to the next level. For example: the manufacture of ceramic countertops and furnishing accessories, with all the advantages Continua+ has to offer in terms of versatility, productivity and fully flexible control of size and thickness, in coordination with all the digital devices on the line.

      Akij Tableware Art of Plating: Season 2 Crowns the “Plating Maestro”

      The curtain has drawn on the remarkable journey of Akij Tableware Art of Plating: Season 2, the pioneering reality show that reimagined tableware as a medium for creative expression and showcased the artistry of modern plating. Following weeks of intense competition, visually striking presentations, and exceptional culinary performances, the grand finale—held on May 16, 2025—served as a fitting conclusion to a season defined by innovation and excellence. Md. Golam Rabby emerged victorious as the champion, taking home the Plating Maestro title along with BDT 10,00,000 along with a professional plating course, national media exposure, and an exclusive Akij Tableware dinner set. The competition was fierce, with equally impressive performances by the runners-up: Iffat Jerin Sarker, awarded Plating Icon (1st Runner-up), received BDT 5,00,000; Dr. Rawzatur Rumman, crowned Plating Maverick (2nd Runner-up), won BDT 3,00,000; Homayun Kabir and Nawsheen Mubasshira Rodela, honored as Plating Masterminds (4th and 5th place respectively), each received BDT 1,00,000. Hosted across Banglavision, RTV, Deepto TV, and streaming on Chorki, Akij Tableware Art of Plating: Season 2 captivated audiences nationwide with its unique blend of tradition and innovation. Contestants turned beloved dishes into visual and gastronomic masterpieces, judged on aesthetics, technique, and culinary understanding. Akij Tableware Art of Plating: Season 2 redefined how we experience food—elevating it from everyday necessity to a dynamic, visual art form. The show celebrated creativity, precision, and innovation, turning each plate into a canvas where flavor met form. Throughout the season, contestants pushed boundaries, transforming ingredients into stunning, story-driven presentations that delighted both the eyes and the palate. More than a competition, this season launched a new movement in culinary expression, inspiring audiences to rethink how food is seen, served, and appreciated. And the journey isn’t over—a new season is coming soon, promising fresh talent, bold ideas, and next-level plating artistry. To stay updated on what’s next, follow www.aop.com.bd and join the evolution of food into a true visual experience.

      View more

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