Architect Rashed and the Poetics of Practice
In the crowded clusters of Dhaka’s architectural offices—where every firm spoke in bold, predetermined tones—finding an original voice was never easy. For Architect Rashed Hassan Chowdhury, the journey began not with buildings, but with books and design experiments of all kinds. Encouraged by his elder brother to pursue architecture, he entered BUET carrying curiosity and a restless desire to make and learn. Even as a student, Rashed was never confined to one discipline. He moved fluidly between book design, graphic work, product design—anything that allowed imagination to unfold in tangible form. But the multiplicity of voices, the weight of tradition and pressure of trends, left him with a fundamental question: How does one discover one’s own architecture? Rashed’s answer, at least in the early years, was to do everything. His first role was as a researcher at BUET’s Green Architecture Cell, followed by a post as lecturer at the University of Asia Pacific. After office hours, he joined architects like Nahas Khalil, Marina Tabassum, and Mahmudul Anwar Riyaad on project-based work—each collaboration sharpening instincts and broadening vocabulary. And at night, in the chilekotha/attic of his brother’s office—with only a computer and printer—he began sketching the contours of his own practice. Sleep was rare, but happiness abundant. Eventually came the realization: energy without direction cannot sustain itself. “I was doing too much, but none of it was really going anywhere,” Rashed recalls. That reckoning pushed him to leave the safety of multiple jobs and commit to a singular vision. Out of that decision was born Dehsar Works—a multidisciplinary practice whose very name is simply the last-to-first spelling of “Rashed,” a gesture as honest and direct as the work it produces. Learning by Doing Dehsar Works is not merely an architecture office—it is a laboratory. For Rashed, design is not about formula but about process, about finding concept and clarity. “The design process excites me most. It still does, every single time,” he says. This philosophy is reflected in the kinds of projects he chooses and the way they evolve: adaptive reuse, experimentation with materials, finding beauty in imperfection, and above all, engaging with the everyday lives of users. The Blues Communications Office, a transformation of a warehouse into a bold new workspace, tested both his patience and creativity. The design called for a complex metal structure—one that contractors hesitated to take on. Instead of abandoning the idea, Rashed and his team decided to build it themselves. They formed a sister concern, aptly named Workshop, to execute the construction. Through trial, error, and persistence, they not only completed the project but also gained a wealth of knowledge about materials and making. Ajo Idea Space is perhaps the purest example of his ethos. Conceived as a café and gathering space, it was never meant to be a conventional air-conditioned box. Instead, it embraced openness, natural ventilation, and a certain looseness that invited people to linger. The pavilion-like structure, with its vaulted steel forms and porous screens, blurred the boundary between inside and outside. It embodied sustainability not as a checklist but as a lived experience: a place where people ate, conversed, and created in ways that felt organic. Another notable work is the Beximco Learning and Development Center, a lightweight, semi-circular hall framed with steel and clad in polycarbonate sheets. Here, the emphasis was on creating an affordable, sustainable, and flexible learning environment that could anticipate future uses. By designing with recyclability and climate responsiveness in mind, Rashed sought to redefine what corporate infrastructure could mean in Bangladesh. Similarly, the Artistry Marble & Granite Experience Center transformed an old warehouse into a gallery-like environment for natural stones. Rather than demolish and rebuild, the design preserved and reinterpreted the existing shell, reusing nearly half the materials. The result was a spatial narrative where light and texture interacted with surfaces, allowing visitors to experience stone not as a static product but as a dynamic material. Another iconic project of Rashed is Suvastu Rialto Tower, a contemporary commercial landmark in Dhanmondi. Developed by Suvastu Properties Ltd., the project embodies functionality, visibility, and refined contemporary design. Suvastu Rialto Tower is a 3-basement, ground plus 13-storey commercial building, developed on approximately 10 kathas of land. The vertical organization of the building efficiently accommodates parking, retail, and office functions, addressing both spatial optimization and urban density challenges. The architectural language of Suvastu Rialto Tower is distinctly modern, characterized by clean lines, transparency, and material contrast. The façade features a glass curtain wall system, combined with aluminium elements and contemporary detailing. The glass facades not only enhance the building’s aesthetic appeal but also maximizes daylight penetration, contributing to a pleasant and productive interior environment. A Philosophy of Effort Rashed is not shy about offering advice to the younger generation of architects. His words are sharp but encouraging: “Stop complaining and start enhancing your skills.” For him, the profession is not merely about constructing buildings but about learning by doing—whether in furniture, graphic design, or urban experiments. Bangladesh, in his eyes, is a land of vast opportunity, waiting for those willing to work with patience and integrity. “There is so much to do, but very few skilled people willing to put in the effort,” he says. The formal degree, while important, is not enough. Real growth, he believes, happens through curiosity, through the courage to try, to fail, and to learn. Toward a Different Future The story of Dehsar Works is, in many ways, the story of one architect’s relentless pursuit of authenticity. From a chilekotha room with a single computer to award-winning projects recognized internationally, the journey has been marked not just by structures built but by lessons learned. As Rashed continues to shape spaces that are adaptive, playful, and deeply contextual, he reminds us that architecture is less about monuments and more about moments: the
Glimpse of The Architectural Legacy of DWm4
DWm4 Architecture stands out as an innovative and visionary design studio, among the leading firms in the country. With its unwavering commitment to excellence, DWm4 has redefined the architectural landscape of Bangladesh through its creative and sustainable designs. Under the partnership of architect Mamnoon Murshed Chowdhury, architect Mahmudul Anwar Riyaad, and architect Shaoki Shamim, this renowned firm has been at the forefront of reshaping the country’s urban landscape with its innovative designs. In practice since 1995, DWm4 has been open to reshaping itself in terms of new design ideas, and also in management and operating strategies. Over the years, the practice has involved three separate and autonomously run units for architectural design [DWm4 Architects], interior design [DWm4 Intrends], and design-build projects [DWm4 Interprise]. While the founding partners, architect Mamnoon Murshed Chowdhury and architect Mahmudul Anwar Riyaad are involved in all three; the ID and Design-Build establishments have partners namely architect Daniel Haque and architect Arif Khan in chief executive and operating positions. In 2022, architect Shaoki Shamim joined DWm4 Architects as the third partner. All three architects had been members of the DWm4 team for a good number of years before joining as partners. With the younger generation coming on board, the vigour and architectural energy are strengthened through better mid-level management, enabling the practice to continuously make additions to its visions. The focus on re-structuring and evolution in DWm4 is based on the intent to produce designs of significance and relevance. While all projects follow the essential principles of being truthful to function, climate, structure, and aesthetics, they vary significantly so as not to be repetitive and predictable. For example, the architectural language is different in the office buildings like Bay’s Edgewater, Prime Bank Head Office on Gulshan Avenue, and Grameen Telecom Trust [GTT] Bhaban in Mirpur. The differences inherently are derived from site context and structural and functional prerogatives. landscaped precinct is created to bring tranquility to the context by appearing as an oasis to the pedestrians. The landscape is viewed from the interiors through the glass façade, and from the terrace formed by terminating the concrete portal on the 8th Floor, which is adjacent to the social spaces like the dining hall area, and daycare room. Another terrace facing East, adjacent to the Board Room on the 19th floor, is also a nod to the context as it provides a panoramic view of Hatirjheel. The design of Bay’s Edgewater celebrates the building’s location – accentuating the views from the interior spaces towards the sensual curves of the lake. At the same time, the layout does justice to its setting in a corner plot – separating the incoming traffic toward the more public café and gallery areas from the regular officegoers. Due to the careful attention to functional attributes, MEP, and BMS elements, after almost a decade of completion, the performance of the building is still stellar. The Prime Bank building is set deeper into the site as much as possible to be away from the maddening traffic of Gulshan Avenue. This was possible due to the site’s elongated shape. A 70-foot deep The Grameen Telecom Trust (GTT) project was designed on a partially built structure with fixed cores. By deleting one structural grid at the front and creating a water body at the place, the architects created a transcendent mediating space between the street and the double-height entry. Similarly, the very deep building floor plate was broken into two blocks by doing away with the middle parts of the floor slab by inserting a skylit atrium, which also ensured north-south airflow. The edges of the atrium are not static and shift in sections at different vertical levels. The facade is an intriguing composition of glass and concrete, creating a dynamic interplay of transparency and solidity. The patterns are inspired by organic lines of leaves and provide the building with a dynamic expression. The transparent glass sections allow natural light to enter the building, reducing the reliance on artificial lighting. About the project, architect Mahmudul Anwar Riyaad said, “We worked with the section of the building, which resembles a gallery. The ground floor lobby is dedicated to the people and space, encompassing a vast openness.” The building, designed in collaboration with architect Rashed Chowdhury reflects on people, progress, and emancipation. The field becomes more than just a patch of land; it becomes a symbol of joy, innocence, and a shared sense of community: In the typology of residential buildings, DWm4 has a large number of building projects that address the core concerns of natural light, ventilation, optimisation of space, and communicating with the context. Be it a single-family residence like the Reaz Loft in Khanpur, Narayanganj, or a multi-family building like Pohela Boishakh in Banani, Dhaka, these ideals find reflection in the designed forms. In Pohela Boishakh, the front landscape, the double-height drop-off area, and the lobby mediate with the street and creates a transition from public to private domain. The community space on the ground floor has a space that is designed as a café where residents come together and bond. The textures on the wall and floor are inspired by alpona motifs, reinforcing the spirit of Pohela Boishakh. The collaboration between the developer Signature 11 and DWm4 Architects ensured the seamless integration of architectural design and real estate development expertise, resulting in a remarkable building. The Reaz Loft stands as an incredible architectural achievement within the busy town of Narayanganj. This home on a very narrow strip of land, blends in with its surroundings and embodies modern living while paying attention to treasured memories of a special childhood field that is located in front of the loft. The elegant layout exhibits modernism with an emphasis on functionality and clear lines. As architect Riyaad explains, “Even though there was no room for horizontal deviations, we used our creativity to play with the building’s sectional elevations.” The structure stands as evidence of the designers’ keen eye for detail and commitment to creating spaces that resonate with the
Transforming Time Embracing The Journey of designing a mother’s courtyard to a community courtyard
Architecture as a profession starts with untold responsibilities, especially from the day an architect realizes their observation about the surrounding necessities. The story of Architect Rafiq Azam starts somewhere there when the young and enthusiastic artist started his architectural school at the Bangladesh University of Engineering and Technology (BUET). Uncertain about coping with architecture, his subconscious mind always wandered towards art school. Being born and brought up in the old town and surrounded by its culture, the young Rafiq developed a lateral mindset. The results of his learning reflect on his work even after 30 years of practice as a Principal Architect with his team, Shatotto architecture for green living. From the fond memories of childhood and presently looking back to the missing pieces built the urge to refurbish the old Dhaka with a better story. But it all started with a sudden step on the realization of responsibility that he felt to hold the memories of his family, his mother, and their childhood ambiance, back when he was a third-year student struggling to survive architecture school. After the demise of his father, they wanted to rebuild their house. His mother and her affectional emptiness of giving away her memories with her husband and adapting to a new built environment made him courageous enough to start his first design project, their residence in Lalbagh, Dhaka. The only requirement from his mother was a garden and an “uthan” (courtyard), like the one they had in their old house, where she could walk around and re-live her nostalgia. The first of its kind, he designed a courtyard on the second floor of a building, gifting his mother the patch of green to cherish. Almost after 30 years, he did similar for the people of Rasulbagh, a small community in Lalbagh, Old Dhaka. He designed a communal park collaborating with the Dhaka South City Corporation, that is more like a courtyard gifted to the built community. According to Rafiq Azam, architecture is not just drawing and construction but more about a merging point of nostalgia and new memories. His inspiration for sticking to architecture, lastly, was to create for the mother, the soil, and the country. As he says, “I learned architecture from my mother.” But this journey was not easy and short. The dedicated practice and research over the last 30 years, the showcase of persistence in public domains, developed trust in people. This reliance helped him influence a struggling community like Rasulbagh to revive and celebrate life. His vast experience allowed him to execute his ideas in a way that was widely accepted and even celebrated by society. ‘Architecture’s main focus should be to improve human life, working with the environment and its habitat. It should not only be limited to accommodating the luxury of elites but that of the public as well. That is how a kinship develops. ‘Urban spaces need to improve in the name of development, not just mega infrastructures; otherwise, the quality of human life will not be enhanced. And I have always been on a mission to bring a positive change,’ expressed Rafiq Azam. Rafiq Azam’s practice has always somewhat had its roots in Old Dhaka. Earlier in his career, the wandering mind wondered about the high-thorny boundary walls of the city. He questioned the level of mistrust and hatred that people built over time. From the culture of the old town, the houses had “mer” (plinth) for people to sit and mingle, at times with mud coolers filled with water to offer the passers-by. Dhaka was a city of love and respect; it was about bonding and mingling. The answer to this subconscious dystopia was to break the boundary walls down and oppose the convention. The practice of using glass boundaries to dissolve the visual barriers between the dwellers started. “The words ‘Kancher Deyal’ from the name of Zahir Raihan drama have inspired me to think about how a boundary can be made fragile and transparent. Hence, I started implementing them in the apartment buildings by adding plantations and benches for the passers-by. I took it as an experimental process to observe the interaction of the society,” he explained. In 1998, Rafiq did his first solo art and architecture exhibition in New York. “People and critics appreciated my arts- a few even bought. However, for architecture, I mainly received praise for my ability to draw to international standards. The architecture was not something extraordinary, but rather the approach was very American. While I was coming back, I wrote in my diary, ‘I am coming back with hope and frustration. I realized the need to learn about my own country and how to incorporate that into modern architecture. Much of my foreign learning had to be unlearnt, which was tough. I felt myself to be intellectually corrupted,” recalled Rafiq Azam. With this thoughtful shift of learning and unlearning, his urban and modern architecture went through an evolution. The gathered knowledge about Bangladesh, its geographical and climatic contexts, history, and culture started influencing his architecture. He showed his clients how to reminisce their childhood, just as he did with himself while designing his residence. His western drawings started getting a layer of Bengaliness, influences of poetry and literature. The rooms were no more spaces with four walls but rather got a concept. ‘Goshsha Ghor’ (a space to release anger), ‘Bristy Ghor’ (a space to enjoy rain), ‘Swimming Pond’ with ‘Ghatla’ (rural ponds with shorelines), Jongla’ (sprawl of shrubs and bushes), all these conceptually structured his architecture in better ways. A lot of pivotal points shaped his journey. Rafiq had learned a great deal from Glen Murcutt, who spoke more about nature, history, heritage, and its association with human life. “His advice was to touch the earth lightly. Architecture is a part of nature, and the alliance between two should always be maintained,” he added. Reflections of his learnings are observed in his translation of imagination into spaces. He connected the dots without the interference of foreign
