Cubeinside Design bags DNA Paris Design Awards 2025
Cubeinside Design Ltd, a prominent Bangladeshi architectural and interior design firm, has earned international acclaim after being named one of the winners at the DNA Paris Design Awards 2025—an internationally sought-after recognition for architects and creative people. The award-winning project, Bait Ur Rayyan, is a small-scale mosque designed by Cubeinside, located near the banks of the mighty Arial Kha River in Bangladesh’s Madaripur. The Bangladeshi firm was the consultant for the project, built for the Rokeya Feroza Foundation on a land area of 7,346 square metres. Cubeinside says: “This particular design is an exercise of abstract interpretation of basic symbolism of Islamic architecture. Geometry has been the principal tool for this abstraction in terms of transforming both the form and spatial quality.” The DNA Paris listed Khandaker Ashifuzzaman and Shakhawat Hossain Rocky as the lead designers of Bait Ur Rayyan, which won the award in the Public Architecture category. The annual awards also mentioned Mehri Farnaz, Anis Khan Shanto and Abdullah Al Jaber as members of the mosque’s design team. About the mosque, it was noted on the DNA Paris website: “A human-centric approach created a space for community, keeping the scale sacred yet intimate, using local materials like red bricks, while lights played the most vital role to uplift the spiritual entity of this mosque.” “The concept of ‘Abstract Semiotics’ was applied in measurable mass and space, and other immeasurable aspects with a deeper perceptual level.” DNA Paris, which celebrates the best in global design from over 70 countries, recognises excellence in Architecture, Landscape, Interior, Product and Graphic Design, with entries divided into ‘Professional’ and ‘Emerging’ categories. The latter is reserved for outstanding student work. Farmani Group, a global authority in architecture, design and photography curation, in partnership with In Between, a Paris-based collective of creatives and thinkers, jointly organise the DNA Paris Design Awards. In addition to typology-based subcategories, the most distinguished entries across all five disciplines and both sections are awarded the Grand Prix—the highest honour of the programme. Recipients of the Grand Prix receive a trophy created by Studio Briand & Berthereau, designed to strike a balance between form and function, while addressing the financial and environmental constraints faced by every project. All submissions are evaluated by an expert jury of design luminaries. The jury committee is comprised of designers, editors and creatives who are devoted to true excellence in design. The juries come from different countries, including the UK, the USA, Spain, Argentina, Japan, Sweden, France, Kenya, Thailand, Brazil, Italy, South Korea, Hong Kong, Mexico, Greece and Saudi Arabia. The evaluation of entries is based on a range of criteria that are constantly adapted to current standards. DNA Paris has already announced all winners across different categories for this year, who will be honoured at an event in Paris on October 24. Written by Nibir Ayaan
For the Love of Language Nation and Literature
With a new sun, new authorities emerge, revitalising familiar spaces. The 40th Ekushey Book Fair 2025, themed “July Mass Uprising: Building a New Bangladesh (New Bangladesh Deconstruction),” featured over 700 publishing houses at the premises of Bangla Academy and Suhrawardy Udyan. The month-long fair was inaugurated by Dr. Muhammad Yunus, the Chief Adviser of the interim government on 01 February. The Amar Ekushey Book Fair, a fundamental element of Bangladesh’s literary heritage, returned this year with a striking and visually captivating transformation. Uniquely crafted stalls add an architectural charm that sets this year’s fair apart from the previous editions. Visitors are greeted with the richness of literature and an impressive array of architecturally designed stalls, each presenting a unique identity. The influence of the new government is evident in the fair’s structured setup, where each stall showcases unique aesthetics through bold shapes, intricate exteriors, and thematic designs. When visiting this year’s Ekushey Book Fair, the crowd was astounding. People of all ages turned the fair into a true celebration. The entrance was bustling with various food vans, and women and children were all dressed up. The Book Fair has never been this festive and crowded in recent years, even on working days. Whether for recreation or out of love for books, the fair should continue in this spirit for eternity, celebrating Bangla language and literature. Readers and visitors took a moment to admire the aesthetics embraced by publishers who dedicated extra time and thought to beautifully decorate their pavilions. One of the highlights of this year’s book fair is the pavilion by Iti Prokashon, titled ‘Ziar Bari’ (Zia’s House), named after Ziaur Rahman, a prominent army chief, freedom fighter and politician who served as the sixth President of Bangladesh from 1977 to 1981. A key figure in the country’s War of Independence, Zia’s name has often been sidelined in public discourse and textbooks due to the agendas of the previous autocratic regime. In contrast, Onnodhara Prokashon transformed its pavilion into a representation of the Bangladesh Parliament House. The sight of these two distinct symbols coexisting on the same ground truly captivated visitors. Afsar Brothers gave their pavilion a harmonious blend of heritage and functionality, making it an inviting space for book lovers while paying homage to Bengal’s rich architectural traditions. The structure follows a half-timbered design with exposed wooden beams and white infill panels, resembling classic Bengali rural or zamindari house styles. Other notable mentions include Bishwa Shahitto Kendro, which transformed its pavilion into a two-story BRTC bus structure, paying homage to its Moving Library. Bhashachitro Publications adopted a minimal, monochrome palette, giving the pavilion a simple yet elegant look. Bengal Books chose a wooden pavilion, creating a soothing atmosphere for buyers with its well-decorated books and thoughtful lighting. The Puthiniloy stall featured a book-structured roof, while Gronthik designed its stall to resemble a mud house with bamboo. Shaishab Prakash’s stall is shaped like a whimsical castle, inviting readers into a world of children’s literature. These creative designs add a unique visual and conceptual dimension to the fair, making it not just a place for purchasing books but also for cultural and artistic appreciation. The best pavilion design goes to Batighar, designed by artist Shahinur Rahman. The triangular front featured a stained-glass-like panel with motifs from Nakshi Kantha and Patachitra, reflecting Bengali folk art. Inside, a red dome element, inspired by a Chhoto Sona Mosque, highlighted local heritage. The steeply pitched roof with exposed red clay tiles resembled traditional Bangladeshi huts. For its artistic excellence, Batighar won the Kayum Chowdhury Memorial Award for best pavilion in this year. Sadly, the kids’ section lacked vibrancy, with limited space for children to explore and freely roam around. However, a few stalls, including Shoishob Prokash, Mayurpankhi, and EKRI MIKRI, did a decent job of capturing the attention of young visitors. Shoishob Prokash transformed its stall into a castle-like structure, Mayurpankhi adhered to its palette with subtle adjustments, and EKRI MIKRI added a creative touch by placing a horse for children to play on, making the stall an engaging and fun experience for the little ones. This year, the fair included 66 more stalls than the previous year. 99 publishers were located at the Bangla Academy premises and 609 at the Suhrawardy Udyan area. There were 37 pavilions in total, with one at the Bangla Academy premises and 36 at Suhrawardy Udyan. The Little Magazine Corner had been set up in Suhrawardy Udyan, with 130 stalls. In the children’s corner, 74 institutions had been allocated. The fair also featured daily seminars and cultural programmes in the evening, and a special “Children’s Hour” held every Friday and Saturday from 11am to 1pm. As part of the Amar Ekushey celebrations, various children’s competitions, including art, recitation, and music, were organised. The fair had four entrance points: TSC, Doyel Chattar, MRT station, and Engineering Institute. Director General of Bangla Academy Mohammad Azam and Member Secretary of the Fair Management Committee Sarkar Amin said to Ceramic Bangladesh that the fair was entirely polythene and smoking-free, with security provided by the Police, RAB, Ansar, and various intelligence personnel. All participating institutions sold books on a 25% commission basis. The academy published 43 new books and reprinted 41 books for this fair. A total of 3,300 new titles were published in this Book Fair 2025 and Bangla Academy stall alone sold books worth Tk 61 lakh. Several awards were presented at the fair, including the Chittaranjan Saha Memorial Award for the best publisher, the Munir Chowdhury Memorial Award for artistic excellence, and the Rokanuzzaman Khan Dadabhai Memorial Award for children’s literature. These awards recognise the contributions of publishers and authors to the literary and cultural landscape of Bangladesh. Written By Fariha Hossain
Brac University launches design competition to reimagine community spaces
Brac University’s Department of Architecture, in collaboration with Elite Paint Bangladesh Limited, has announced a student design competition titled Architecture for Unity: Redesigning Community Spaces. The initiative invites architecture students to reimagine public spaces as inclusive environments that celebrate cultural diversity and foster meaningful interaction. The competition is exclusive to students enrolled in Brac University’s Department of Architecture and aims to empower future architects to design with empathy, inclusivity, and sustainability at the forefront. Designing for Diversity and Dialogue According to the official brief, participants are tasked with redesigning a community space—either real or hypothetical—that encourages cross-cultural engagement. The goal is to transform such spaces into vibrant hubs where people from different backgrounds can connect, collaborate, and celebrate shared humanity. The design criteria are both ambitious and socially grounded. Proposals must reflect the cultural richness of the community they serve, integrating elements that honour various traditions while promoting inclusivity. Spatial flow is a key consideration, with layouts expected to guide visitors through the space in ways that encourage movement and exchange. Functional diversity is also central to the brief. The redesigned spaces should accommodate a range of activities—from social gatherings and collaborative projects to quiet reflection—allowing individuals to engage in meaningful ways. Aesthetic appeal, while not the sole focus, remains important. Organisers are looking for innovative architectural techniques and visual storytelling that inspire curiosity and wonder. Sustainability is a non-negotiable component. Students must embrace environmentally responsible design principles that minimise ecological impact, including thoughtful choices in materials, lighting, and energy use. Submission Requirements and Format Participants must submit a comprehensive design proposal that includes conceptual sketches, spatial layouts, and explanatory notes. The drawing submission must be formatted as one A0 portrait sheet in PDF, with a resolution of 300 dpi and a maximum file size of 15 MB. In addition to the visual material, students are required to submit a text document—also in PDF format—describing the idea behind the project, its inspiration, tentative outcomes, and materiality. The written component must not exceed 500 words. All submissions must be in English. File names should follow a strict format: Student’s Name_Student’s ID_Enrolled Semester (e.g., Akibur Rahman_16208023_Fall 2023). Both the drawing and the text document must be uploaded via the designated online submission link before the deadline. Key Dates and Deadlines Registration Deadline: September 1, 2025 Submission Date: October 11, 2025 (by 5.00pm) Jury Date: October 26, 2025 Results Announcement: November 10, 2025 Students can register via the official link: https://forms.gle/ecZtUpRBmVo1jC7M7 Final submissions must be uploaded to: https://forms.gle/z5zhNK88uvH5ncU49 Awards and Recognition The competition offers substantial incentives. The first prize winner will receive BDT 50,000 and a certificate. The second and third place winners will be awarded BDT 25,000 and BDT 15,000 respectively, along with certificates. However, organisers stress that the real reward lies in the opportunity to contribute to a broader conversation about architecture’s role in social cohesion. “This is an ideas competition,” said a faculty member from Brac University’s Department of Architecture. “We’re not asking students to build anything physically. Instead, we want them to think critically and creatively about how architecture can serve as a tool for unity.” Industry Collaboration and Real-World Impact Elite Paint Bangladesh Limited’s involvement adds a layer of industry relevance to the competition. Known for its commitment to sustainable and community-focused projects, the company’s collaboration with Brac University signals a shared vision for inclusive urban development. “This is not just about buildings or parks,” said a spokesperson from Elite Paint. “It’s about creating spaces where people from different backgrounds can come together, share experiences, and build a sense of unity. We believe architecture has the power to shape social behaviour, and this competition is a step towards that vision.” Student Response and Anticipation As the submission window opens, anticipation is building across the Brac University campus. For many students, this competition represents a chance to showcase their design philosophy, engage with pressing social issues, and contribute to a vision of Bangladesh where public spaces reflect the country’s rich cultural mosaic. “We often talk about unity in abstract terms,” said one third-year architecture student. “This competition challenges us to make it tangible—to design spaces where unity is not just an idea, but an experience.” Architecture as a Bridge Between Cultures With its emphasis on cultural celebration, spatial intelligence, and environmental stewardship, Architecture for Unity is more than a student competition. It is a call to action for the next generation of architects to build not just structures, but bridges—between communities, cultures, and futures. Written by Nibir Ayaan
