Ceramic Bangladesh Magazine

Author: admin

Spotlight Featured

Urban October 2025: IAB Organises Daylong Event, Three-Day Exhibition

The Institute of Architects Bangladesh (IAB) on November marked Urban October 2025 with a day-long celebration at its Multipurpose Hall, bringing together students, professionals, and policymakers to reflect on the future of urban design in Bangladesh.   Timed to coincide with World Architecture Day, World Habitat Day, and World Cities Day, the event began at 10:30 am with the opening of a three-day exhibition showcasing student urban design studio projects from architecture departments across IAB-accredited universities.     Participating institutions include Bangladesh University of Engineering and Technology (BUET), Bangladesh University (BU), BRAC University (BRACU), Chittagong University of Engineering and Technology (CUET), North South University (NSU), American International University-Bangladesh (AIUB), Ahsanullah University of Science and Technology (AUST), Khulna University (KU), Shahjalal University of Science and Technology (SUST), Dhaka University of Engineering and Technology (DUET), Daffodil Institute of IT (DIT), Southeast University (SEU), Stamford University, State University, and the University of Asia Pacific (UAP).   There was a roundtable discussion on “Shaping Cities: The Role and Future of the Urban Design Profession in Bangladesh” led by academicians.   The exhibition offers a glimpse into the next generation’s vision for Bangladesh’s urban future, with models and visualisations of cityscapes, transport corridors, and public spaces.   At 4:00 pm, the main programme commenced with a roundtable discussion titled “Interference to Planning: DAP”, led by Team Environment & Urbanisation from IAB’s 26th Executive Council.   The session addressed concerns surrounding the Detailed Area Plan (DAP) and its implications for sustainable development, zoning, and citizen engagement. The theme for this year’s World Cities Day — “People-centred Smart Cities” —guided the evening’s discussions. A documentary presentation highlighted month-long Urban October activities, including editorial seminars and conventions.   Experts and stakeholders then joined a panel discussion, followed by speeches from the chairperson, the chief guest. The event concluded with a vote of thanks.   Held under the banner of Urban October, the celebration reaffirms IAB’s commitment to shaping inclusive, resilient, and well-planned cities.   As Bangladesh continues to urbanise rapidly, today’s gathering serves as both a showcase and a call to action — urging architects to lead with vision, integrity, and public purpose.   The World Cities Day 2025 event ended with the distribution of certificates.   Programme Schedule:   Location: IAB Office   Date: November 1, 2025   Time: Exhibition: 10:30 am   Main programme: 4:00 pm   Written by Nibir Ayaan

Read More
Spotlight Regular

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

Read More
Spotlight Regular

CUET to Host 3rd International Conference on Green Architecture

The Chittagong University of Engineering and Technology (CUET) will host the third International Conference on Green Architecture (ICGrA 2025) from December 4-5 this year, bringing together more than 100 scholars and thousands of professionals to explore sustainable design and community-scale environmental responsibility.   The conference will be jointly organised by the Green Architecture Cell (GrACe) and the Department of Architecture (DoA) of Bangladesh University of Engineering and Technology (BUET) and Chittagong University of Engineering and Technology (CUET).   Themed “Healthy Buildings on the Path to nearly Zero Emission Communities (neZECom),” the event will examine the relationship between building-level well-being and broader sustainability goals.   The Bengali interpretation of neZECom, “Reduce self-need,” reflects the conference’s ethos: a low-emission future begins with mindful consumption and responsible environmental behaviour.   Building on the success of its earlier editions in 2017 and 2018, ICGrA 2025 continues a legacy of fostering awareness and collaboration on sustainability in the built environment.   The conference venue, CUET’s Department of Architecture, lies between the Bay of Bengal and the Chittagong Hill Tracts, offering a scenic setting for dialogue and discovery.   The conference is supported by a wide network of collaborators, including the Institute of Architects Bangladesh (IAB), Bangladesh Institute of Planners (BIP), the ZEMCH Network at the University of Melbourne, and architecture departments from DUET, KUET, RUET, KU, SUST, MIST, and Dhaka University,   alongside institutional partners such as the Bangladesh House Building Finance Corporation (BHBFC) and alumni associations from BUET and CUET.   Prof. Dr. Md Ashikur Rahman Joarder of BUET is chairing the ICGrA 2025 and Prof. Dr. Sajal Chowdhury of CUET is the conference secretary.   The 2025 edition will feature keynote addresses, paper and poster presentations, exhibitions, cultural events, and the publication of proceedings. Selected papers will be considered for publication in indexed journals.   Five parallel workshops will be organised on separate topics as part of the third ICGrA 2025.   Each workshop will be led by distinguished faculty members from BUET and CUET, offering participants the opportunity to engage directly with experts in the field.   Workshop Topics and Leaders   • Thermal Comfort Led by: Prof. Dr. Khandakar Sabbir Ahmed, BUET Focus: This workshop will delve into strategies for achieving optimal thermal conditions in buildings, addressing passive cooling, material selection, and climate-responsive design to enhance occupant comfort and energy efficiency.   • Acoustics Led by: Prof. Dr. S. M. Najmul Imam, BUET Focus: Participants will explore acoustic performance in architectural spaces, including noise control, sound insulation, and design techniques for creating healthy auditory environments in residential and public buildings.   • Daylighting Led by: Prof. Dr. Md. Ashikur Rahman Joarder, BUET Focus: This session will examine the role of natural light in building design, covering daylight simulation, visual comfort, energy savings, and integration of daylighting strategies into architectural planning.   • Environmental Experience Design (EXD) Led by: Prof. Dr. Sajal Chowdhury, CUET Focus: The workshop will introduce participants to user-centred environmental design, focusing on sensory experience, spatial perception, and psychological well-being in built environments.   • Computational Building Information Modeling (BIM) Led by: Md Mizanur Rahman of BUET   Registration Details Date: December 5, 2025 Time: 10:00 AM – 4:00 PM Venue: CUET, Chattogram, Bangladesh Early Bird Registration (per topic): Tk 5,000 (by October 31, 2025) Regular Registration (per topic): Tk 7,000 (by November 15, 2025)   Seats are limited, and participants must complete a separate registration for each workshop they wish to attend. Individual registration is allowed for any of the four topics.   Awards will be presented for Best Paper, Best Presentation, and Best Poster.   Topics for submission span health and well-being, green buildings, zero energy and emissions, community and lifestyle, user-centred design, climate resilience, decarbonisation, circularity, life cycle assessment, energy efficiency, vernacular architecture, retrofitting, conservation, innovation, policy, materials, methods, water and waste management, safety, and pedagogy.   Organisers say ICGrA 2025 aims to drive practical action, inform policy, and strengthen academic and professional collaboration across disciplines.   Written by Nibir Ayaan

Read More
Spotlight Regular

Architect Irteza Ameen to Deliver Fall 2025 Lecture

The Department of Architecture at Bangladesh University is set to host the third lecture of its Fall 2025 series, spotlighting the power of visual storytelling in design.   Titled “From Concept to Composition: Building Visual Narratives,” the session will feature Architect Irteza Ameen, founder of the multidisciplinary studio Design Commune. This lecture marks the 14th instalment of Chorcha, the department’s signature platform for architectural discourse. Ameen will guide audiences through the evolution of design thinking—from the spark of abstract ideas to their transformation into spatial compositions where form, material, and graphic language converge to express identity and intent. Drawing from a rich and varied portfolio, Ameen will demonstrate how visual storytelling functions not only as a design tool but as a communicative language—shaping how we interpret, inhabit, and emotionally connect with space.   Ameen, a Bangladeshi architect and designer, is known for his seamless integration of architecture, graphic design, and user experience. His studio, Design Commune, operates at the intersection of built form and cultural narrative, crafting works that are both contextually grounded and visually articulate. His notable collaborations include archival and publication projects on three of Bangladesh’s architectural luminaries—Architect Muzharul Islam, Architect Bashirul Haq, and Professor Shamsul Wares—as well as a wide array of architectural, interior, and exhibition design ventures. Through his practice, Ameen exemplifies a rare synthesis of architectural rigour and graphic precision, producing designs that resonate with character, clarity, and cultural depth. Event Schedule: Date: Saturday, November 1, 2025 Time: 3:30 pm Venue: Room 101, Department of Architecture, Bangladesh University.   Written by Nibir Ayaan

Read More
Spotlight Regular

FORM.3 Architects Wins Holcim Foundation Awards 2025

FORM.3 Architects and team have been honored with a Regional Award in the Asia Pacific category at the Holcim Foundation Awards 2025. The firm has won the prestigious award for their project: ‘Conservation of Old Dhaka Central Jail History, Historical Buildings & Development of Surroundings Area’.     The project reimagines a historic jail site in Old Dhaka as a vibrant public realm, merging adaptive reuse, passive design, and local craft to create a culturally rooted and economically viable model for sustainable urban renewal.   From the team of Form.3 Architects, the historical site served as a fort from 𝐩𝐫𝐞-𝐌𝐮𝐠𝐡𝐚𝐥 𝐞𝐫𝐚 before it turned into a jail in 𝟏𝟕𝟖𝟖 (and Lunatic asylum later) by the Britishers, and continued to serve as jail till 2016 after 𝟐𝟐𝟖 𝐲𝐞𝐚𝐫𝐬. Every brick in the compound whispers the tale of Dhaka’s origin — echoing the rise and fall of a region etched in time.     The new developments around the historical conservation area are intended to create 𝐩𝐮𝐛𝐥𝐢𝐜 𝐨𝐩𝐞𝐧 𝐬𝐩𝐚𝐜𝐞𝐬 𝐰𝐢𝐭𝐡 𝐜𝐢𝐯𝐢𝐜 𝐚𝐦𝐞𝐧𝐢𝐭𝐢𝐞𝐬 such as car parking, wider roads with footpaths, proposed new roads, parks, children’s parks, conserved waterbodies, experiential waterfront walkways, mosques, playgrounds, food courts and restaurants, traditional shops, a gymnasium, a swimming pool, a cineplex, and multipurpose spaces — all within one of the most densely populated neighborhoods in the world.   The Holcim Foundation Awards are the world’s most significant competition celebrating sustainable design and construction — spotlighting projects that are reshaping the built environment and driving transformation across the construction sector.     Founded in 2003, the Holcim Foundation has led the global movement for sustainable design and construction, guiding the global building industry with its visionary initiatives.     “This year’s 20 winners use the right materials in the right places, bring communities into the process from day one, and design with nature as an ally. The projects are inspiring because the solutions they offer are replicable and implementable – they set a credible path forward for industry,” says Laura Viscovich, Executive Director, Holcim Foundation.     The Holcim Foundation for Sustainable Construction has announced twenty winning projects for the 2025 Holcim Foundation Awards, spanning Asia Pacific, Europe, Latin America, the Middle East and Africa, and North America with a prize pool of USD 1 million.   An event will be held in Venice on November 20, 2025, to showcase all the winners, with a global live stream for the worldwide audience.   Photo Credit City Syntax

Read More
Spotlight Regular

Rezwan’s floating school wins Unesco Confucius prize

Bangladeshi architect Mohammed Rezwan’s solar-powered floating schools have received the Unesco Confucius Prize for Literacy 2025, one of the world’s highest honours for advancing education and lifelong learning.     The Chinese government sponsors this award, said a press release.   Among hundreds of nominations worldwide, Unesco selected three winners: Bangladesh’s Shidhulai Floating Schools, Ireland’s Learn with NALA eLearning, and Morocco’s Second Chance School and Inclusive Education Program.     The 20th award ceremony was held on September 27 in Qufu, Shandong Province, China, the birthplace of Confucius.   Rezwan accepted the trophy and certificate on behalf of his organisation, Shidhulai Swanirvar Sangstha, which launched the world’s first floating school in 2002. Growing up in Chalanbeel, he saw how annual floods forced schools to close for months.   His simple yet transformative solution was to take schools to the water. Today, solar-powered boats serve as classrooms, libraries, and training centres that keep learning alive even when villages are submerged.   Unesco praised the initiative for “delivering literacy education to marginalised learners in flood-prone regions through locally rooted innovation.”   The Shidhulai floating school programme has now been replicated across Bangladesh by other NGOs and inspired similar projects throughout Asia, Africa, and Latin America.   The Bangladesh government has incorporated Rezwan’s floating schools into the National Adaptation Plan 2050.     “Education is not only about reading and writing,” Rezwan said. “It is about fostering peace, equality, and resilience. With literacy and knowledge, our youth can build a future where no disaster prevents children from learning.”   A photo series titled “Boat Schools of Bangladesh — Future That Floats” is on display at the French National Museum of Immigration History’s Migrations and Climate exhibit in Paris through April 5, 2026.   The TRT World documentary “Bangladesh Turns Tide on Climate Change with Floating Schools” is a finalist for the Save the Children Global Media Awards 2025. Rezwan’s work is also featured in Julia Watson’s book Lo–TEK: Water, which highlights 22 contemporary TEK-based innovations worldwide.   Source: The Daily Star

Read More
Spotlight Regular

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

Read More
Spotlight Regular

Prof Rafiq Azam to Headline DNA Paris Design Awards 2025

Prominent Bangladeshi architect Professor Rafiq Azam is all set to join the 2025 edition of the DNA Paris Design Awards—one of the most important design awards worldwide—as a keynote speaker.   The internationally renowned architect, born in Old Dhaka, Bangladesh, is scheduled to participate in the show beginning on October 24 this year.   He is widely recognised for his unique approach to green architecture, which weaves together tradition, nature and mysticism.   Rafiq Azam, founder of SHATOTTO—an architecture firm dedicated to green living—draws inspiration from Bengali poets and mystics, while incorporating artistic influences from global masters. His designs place particular emphasis on light, shadow, water and air.   With more than 30 years of experience, Professor Azam has received a number of international accolades, including the 2025 ULI Asia Pacific Awards for Excellence, the CAA Robert Mathew Lifetime Achievement Award in 2022, the ARCASIA Gold Medal, the LEAF Awards, and the UIA & UN-HABITAT Awards in 2022.   His work and perspectives have appeared in leading publications such as TIME Magazine, The New York Times and CASA Vogue.   As a visiting professor at BRAC University, Professor Azam supports emerging architects through the Rafiq Azam Travel Bursary programme.   The DNA Paris Design Awards, where the renowned Bangladeshi architect will deliver a keynote speech, celebrate the best in global design from over 70 countries.   The annual awards recognise 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.       The DNA Paris Design Awards are organised by the Farmani Group, a global authority in architecture, design and photography curation, in partnership with In Between, a Paris-based collective of creatives and thinkers.   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.   The 2025 edition’s project submission early bird deadline began on December 13, 2024, while the regular deadline ended on May 9 this year.   However, the late final deadline was extended until May 23 of the current year.   The entry fee for professional project submissions in the architecture, interior, landscape and product categories was 350 British pounds, while it was 100 British pounds for the graphic category.   For students, the entry fee for every category was set at 75 British pounds.   DNA Paris has already announced the winners for this year, who will be honoured at an event in Paris on October 24.   This year, Bait Ur Rayyan—a project by Cubeinside Design Limited, a Bangladeshi architecture firm—has emerged as one of the winners of the DNA Paris Design Awards in the Public Architecture category.   On the DNA Paris website, Khandaker Ashifuzzaman and Shakhawat Hossain Rocky are listed as the lead designers of Bait Ur Rayyan, with Mehri Farnaz, Anis Khan Shanto and Abdullah Al Jaber named as members of the design team.   Written by Nibir Ayaan

Read More
Business Regular

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.

Read More
Business Featured

AkijBashir Group and MHM Properties Ltd. Partner to Enhance Premium Living Experiences in Bangladesh

AkijBashir Group has signed a strategic partnership with MHM Properties Ltd. to strengthen collaboration in providing premium building material solutions and enhancing customer value in Bangladesh’s real estate and construction sectors. The Memorandum of Understanding (MoU) was signed on October 14, 2025, marking a significant step toward integrating design excellence, innovation, and quality in modern living spaces.       In the deal, MHM Properties Ltd. will promote and sell the top brands of AkijBashir, namely, Akij Ceramics, ROSA Sanitaryware, Akij Particle Board Mills Ltd., Akij Door, Akij Bathware, and AkijBashir Glass using its own network and outlets. The partnership is expected to provide the tiles, sanitaryware, bathware, boards, doors and glasses, as a one-stop solution in the world-class quality and design of their products, with the aim of having a trusted partner.     Directors of MHM Properties Ltd. Mr. Mahmudul Hasan Tonmoy, Director, Akij Ceramics Ltd. Mr. Mohammed Ashraful Haque, General Manager, Sales, and AkijBashir Group Chief Operating Officer were the signatories of the MoU.     At the signing, Mr. Khourshed Alam remarked that we are happy to collaborate with MHM Properties Ltd. in order to increase the outlets of the various product lines of AkijBashir. This alliance is indicative of our mission to combine design, innovation, and quality to augment living standards in the contemporary setting in Bangladesh.     Mr. Mahmudul Hasan Tonmoy also added that this is a joint venture that we want to add more value and ease to our customers as we provide a broad spectrum of high-end building materials and finishes that are both fashionable and timeless.       The partnership brings a fresh start, and combining expertise and innovation, the coalition will define exquisite, sustainable, and inspirational homes throughout Bangladesh.

Read More
Spotlight Featured

An Artist’s Meditative Take on the Textile Crisis

On 10th October, Bengal Shilpalay’s Quamrul Hassan Hall made room for Yasmin Jahan Nupur’s solo exhibition to breathe in silence. Silence that carries the weight of unspoken resistance, forged over decades. Each corner is equipped with different kinds of soft sculptures and artworks, woven and drawn with bare hands. These sculptures will urge you to zoom in, squint, and at times, resist touching and feeling their texture.     The space is surrounded by a variety of installations, including tapestry, jamdani woven in a grid-like matrix, a golden net made of zari threads, Bangla phrases stitched in muslin fabric, and hand-drawn textures and patterns. The sculptures, made from gentle materials like thread and wool, celebrate their natural malleability and softness. Her meticulously executed works on paper using only pen and watercolor draw viewers into their quiet depths. In contrast, Nupur’s brass sculptures defy expectation, transforming rigid metal into forms that appear almost supple. As one takes a closer look, they can find the artist’s sheer brilliance of witty and powerful juxtaposition of delicate threads and robust objects.     One of the guests at the opening, globally famous architect Marina Tabassum, who won Aga Khan Award twice, reflected on the powerful presence of silence—describing it as an equally vital element in architecture, a space everyone strives to reach, yet few truly achieve in the process of creation. She observed that Nupur’s works embody that very quality, carrying a quiet strength despite being crafted from simple materials like strand and wool. The softness of Nupur’s sculptures and the intricacies of her work, in fact, carry a more concrete and unsettling truth—illuminating the fading textile legacy of Bengal. Behind these delicate forms lie the stories of countless artisans unable to continue their craft, disrupted not only by economic pressures but also by colonial legacies and ecological changes.     A powerful installation in the exhibition was a dazzling hanging burqa. While the traditional burqa symbolizes modesty and concealment, Nupur reimagined it as a three-dimensional form embroidered with gold and silver zari threads—not as a symbol of elegance, but as a testament to distressed endurance.   Nupur’s professor, Abul Monsur, recalls how her gentle demeanor during her time at the Fine Arts Institute, CU, fooled him into perceiving her as rather fragile. Her quiet resilience and unwavering devotion to her craft beneath that delicate surface only proved him wrong over time.   Yasmin Jahan Nupur not only hails a heavy portfolio of glorious works but also became a household name in the international galleries. This second solo exhibition is Nupur’s careful documentation and a commitment to preserving the vanishing heritage of Bangladesh’s textiles. As visitors walk through the gallery, they are compelled to stop, gaze, and ultimately begin to unravel the silences behind each piece. “Even though the voice may be muted or just a soft whisper (mridu shor), the visitors must take the time to truly listen,” quotes curator Tanzim Wahab.   “Unravelling Silence” is on view until November 22, every day from 4 to 8 PM, except Sundays, at Bengal Shilpalay.   Written by- Fariha Hossain

Read More
Spotlight Regular

Architectural Design Contest Launched to Redesign Dhaka Residential Model College

A nationwide architectural design competition has been launched to transform the campus of Dhaka Residential Model College (DRMC), one of Bangladesh’s most prestigious educational institutions. The initiative, jointly organised by the Institute of Architects Bangladesh (IAB) and DRMC, calls for proposals to design a ten-storied academic building that will serve as a modern educational hub for over 3,000 students.     The competition aims to address long-standing infrastructural challenges at DRMC, which currently operates in two shifts due to a shortage of classroom space. With most of its buildings dating back to the 1960s, the college’s facilities are no longer adequate to meet the demands of its growing student body and evolving academic programs. A Legacy in Transition Established in 1960, DRMC spans 52 acres in Mohammadpur and accommodates approximately 6,000 students across various academic levels. Initially governed by the Central Government of Pakistan, the institution underwent several administrative transitions before being placed under the Ministry of Education in 1972. Despite its autonomous status and historical significance, the college’s infrastructure has aged considerably, prompting the Board of Governors (BOG) to approve a major upgrade during its 162nd meeting on June 26, 2025. The new academic building will be constructed on a 3,000 sq.m site currently occupied by a grassy football field. According to the competition brief, the structure will be a reinforced concrete (RCC) building with pile foundation, designed to accommodate students from classes 9 to 12. Facilities will include a cafeteria, exam halls with 800 seats, modern toilets, and parking provisions. Competition Details and Design Vision The competition, launched on October 5, 2025, is a single-stage open call for Bangladeshi architects. It seeks innovative, sustainable, and contextually responsive designs that integrate seamlessly with the existing campus. Architects are encouraged to use local materials and environmentally friendly technologies, with an emphasis on rapid construction techniques and low future maintenance costs. Design considerations outlined in the brief include: climate responsiveness and passive cooling, universal accessibility, integration of landscape and open spaces, cultural and contextual relevance, interconnectivity with existing academic buildings, energy efficiency and future-readiness The building’s shape may follow an I, U, hollow box, or full box configuration, with each floor serving distinct academic and administrative functions. The ground floor will house parking and essential services, while upper floors will include classrooms, laboratories, faculty offices, and student amenities. Organisers and Eligibility The competition is jointly organised by IAB and DRMC. Eligible participants must be regular IAB members with at least eight years of professional experience and compliance with the Dhaka Mohanagar Imarat Nirman Bidhimala, 2008. Registration, which requires a Tk 2,000 fee, is open from October 5 to October 11, 2025, at the IAB office in Sher-E-Bangla Nagar, Dhaka. Each participant will receive a unique registration code and may submit only one proposal. All submissions must maintain strict anonymity, with documents marked only by a blank square box and the registration number. Any breach of anonymity or direct contact with jury members will result in disqualification. The design competition is going to be launched on October 5,2025, inviting participants to register by October 12. A query session will open on October 13, and all inquiries will be addressed by October 15. Participants must submit by November 20. Jury Deliberation will take place in November 22 to December 9, followed by an exhibition scheduled for December 9 to December 10, 2025. Submissions must include conceptual sketches, detailed plans, elevations, sections, renderings, and a physical model. Reports on design concepts and estimated construction costs are required in sealed envelopes. Digital copies must be submitted via DVD or pen drive. The brief also requires labelling with the 14-digit registration number and a blank square box. The jury panel comprises five distinguished members: Brigadier General Mohammed Zaber Hossain, PhD – Principal, DRMC, Moshiur Rahman – Acting President, Old Remians Welfare Association, Ar Jalal Ahmed – Principal Architect, JAARCHITECTS, Ar Patrick D’ Rozario – Principal Architect, Synthesis Architects Limited, and Ar S.M. Nazimuddin Payel – Associate Professor, Architecture Discipline, Khulna University. The jury will evaluate entries based on innovation, contextual relevance, sustainability, and feasibility. Their decisions are final and binding, with results to be announced during the exhibition. Awards and Future Engagement The competition offers substantial monetary rewards and professional recognition: First Prize: Tk 2,50,000 and a certificate, Second Prize: Tk 1,75,000 and a certificate, Third Prize: Tk 1,00,000 and a certificate, Special Mentions (3): Tk 25,000 each and certificates, if awarded by the jury. The first-prize winner will be formally appointed as the design architect for the project, subject to compliance with IAB’s Code of Ethics and Professional Conduct. The appointment will follow Rule 111 of the Public Procurement Rules 2008, with consultancy fees set at 6% of the total construction cost (inclusive of AIT, exclusive of VAT). If the first-prize winner is disqualified, the second or third-place winners may be considered. A New Master Plan for DRMC The competition is part of a broader master plan revision for DRMC’s campus. The existing master plan, which did not account for new academic buildings, is being restructured to accommodate future growth and integration with existing facilities. Key components of the revised master plan include: vertical extension of Academic Building-3, extension and renovation of Kudrot-E-Khuda and Joynul Abedin Houses, construction of a duplex principal residence, a G+6 vice-principal residence, renovation of the boundary wall, upgradation of the water distribution system, and installation of a 500 KVA electric substation These developments aim to modernise the campus while preserving its legacy and enhancing operational efficiency. Legal and Ethical Framework Participants must adhere to the competition’s legal and regulatory principles. The organiser reserves the right to cancel the competition, in which case entries will be evaluated and prizes awarded. However, none of the submitted designs may be executed without the architect’s consent. In such cases, the first-prize winner will receive three times the prize money as compensation. DRMC will retain ownership of submitted documents until results are published. Entrants will retain copyright but grant DRMC a perpetual, royalty-free licence

Read More
Partners Regular

Akij Ceramics Opens Exclusive Showroom in Savar’s Hemayetpur

Leading tiles brand Akij Ceramics has opened a new exclusive showroom in Savar’s Hemayetpur, bringing its signature craftsmanship and contemporary designs closer to customers.     Located on Singair Road, the new outlet — Usha Sanitary & Tiles House — offers an enhanced retail experience with immersive displays, modern layouts, and a curated selection of Akij Ceramics’ finest collections.       Mohammad Khourshed Alam, Chief Operating Officer of Akij Bashir Group; Mohammed Ashraful Haque, General Manager (Sales) of Akij Ceramics Ltd; and Md Abul Khayer, proprietor of the showroom, attended the inauguration ceremony on October 12 alongside senior officials of the group.   A six-time Best Brand Award and two-time Superbrands Award winner, Akij Ceramics continues to champion innovation, design excellence, and customer trust — staying true to its timeless promise, “Promise of Perfection.”   With this expansion, Akij Ceramics reinforces its vision of transforming everyday spaces into expressions of elegance, quality, and modern living.   Written By Nibir Ayaan    

Read More
Business Featured

Fortress Group to Feature Leading Product Lines of AkijBashir Group

AkijBashir Group has recently teamed up with Fortress Group to expand the reach of high-quality building materials and improve the standard of premium living in Bangladesh.       The two companies signed a strategic Memorandum of Understanding (MoU) at a programme on October 9.   The MoU outlines plans for enhanced cooperation between the two companies, with Fortress Group set to feature AkijBashir’s leading product lines.   Products from Akij Ceramics, ROSA Sanitaryware, Akij Board, Akij Door, and Akij Glass will be featured by Fortress.   As part of the collaboration, customers will gain access to a complete range of tiles, sanitaryware, bathware, boards, doors, and glass products.   Both companies said the partnership is aimed at providing an integrated offering for modern construction and interior design needs.   AkijBashir Group Chief Operating Officer Mohammod Khourshed Alam and Fortress Group Chairman Lutfur Rahman signed the MoU in the presence of senior officials from both organisations.   “We are delighted to collaborate with Fortress Group in expanding the reach of AkijBashir’s premium product portfolio to a broader customer base,” said Alam.   Rahman said the partnership would allow Fortress Group to introduce a wider selection of quality products to customers, enhancing convenience and lifestyle.   The two companies said the agreement marks the beginning of a new chapter in their efforts to support the creation of elegant, sustainable, and modern living spaces across the country.   Written by Nibir Ayaan

Read More
Business Regular

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

Read More
Spotlight Regular

Bangkok to host ASEAN Ceramics & Stone 2025 expo

Over 200 international companies and brands from the ceramics and natural stone sectors are set to convene at the ASEAN Ceramics & ASEAN Stone 2025 exhibition, scheduled to take place from October 15-17 this year at the IMPACT Exhibition and Convention Centre in Bangkok.           Organised by MMI Asia, the regional arm of Messe München, in partnership with Asian Exhibition Services (AES) Ltd., the event is expected to attract more than 4,000 trade visitors.   It will also facilitate over 400 buyer-seller connections, aiming to generate meaningful connections and commercial opportunities for companies across the region and beyond. Industry professionals can register for free, making the exhibition highly accessible to businesses of all sizes.   The 2025 edition also marks a significant milestone with the official debut of ASEAN Stone in Thailand.   This dedicated segment is being launched with the backing of Confindustria Marmomacchine, the Italian association representing the stone machinery and natural stone industry, and the Mining Council Industry Thailand (MICT), which is expected to bring an influx of global exhibitors to the Thai capital.   Running alongside ASEAN Ceramics, which celebrates its ninth edition this year, the co-located exhibitions position themselves as Southeast Asia’s leading trade platform for sourcing the latest innovations, materials, machinery, and services in both the ceramics and natural stone industries.     While ASEAN Ceramics covers the full spectrum of white-ware, heavy clay, and advanced ceramics manufacturing, ASEAN Stone will focus on cutting-edge tools, technologies, chemicals, and raw stone materials shaping the natural stone industry.   The dual event enjoys strong backing from a wide network of industry associations and government bodies, reinforcing its status as a cornerstone trade fair for the region.   Notable supporters include the Department of Industrial Promotion (DIPROM), Federation of Thai Industries, Ceramic Industry Club of Thailand (FTI-CICT), and the Thai Ceramic Society (TCS). Additional international support comes from ACIMAC (Italy), CCPIT – Building Materials Sub-Council (China), Vietnam Building Ceramic Association (VIBCA), and the Bangladesh Ceramic Manufacturers & Exporters Association (BCMEA).   Conferences, Knowledge Sharing, and Cultural Elements   The exhibition will commence with the ASEAN Ceramics & ASEAN Stone Conference, themed “Pioneering a Sustainable & Innovative Future for Ceramics & Stone in Southeast Asia.”   The conference will bring together over 30 experts, speakers, and panelists to explore the future trajectory of these industries. Sessions will address themes such as sustainable production, digital transformation, regional competitiveness, and the role of advanced materials in future-ready infrastructure.   Adding depth to the programme, exclusive pre-event factory tours will be hosted by leading Thai manufacturers Crown Ceramics and The Siam Refractory Industry Co., Ltd.   These tours are designed to give attendees an insider’s look at state-of-the-art manufacturing processes, innovations in energy efficiency, and the real-world application of materials and automation in ceramic production.   A key feature of this year’s event is the ASEAN Ceramics & Stone Talents Hub, an initiative aimed at bridging the gap between academia and industry.   The Talents Hub will offer an important platform for companies to engage with emerging professionals, recent graduates, and technical specialists. It’s also a response to the growing need for skilled talent across materials science, design, and engineering within Southeast Asia’s fast-growing ceramics and stone sectors.   Celebrating the region’s cultural roots, the event will also showcase live pottery-making demonstrations led by expert artisans from Bangkok and Nakornratchasima.   These demonstrations, which use locally sourced clay, aim to highlight Thailand’s long-standing ceramic heritage, blending tradition with the creative possibilities of contemporary design.   Science, Academia and Industry Collaboration Running concurrently with the trade exhibition is the International Conference for Traditional and Advanced Ceramics (ICTA). Organised by the Thai Ceramic Society (TCS) in partnership with the National Metal and Materials Technology Center (MTEC) and Chulalongkorn University’s Department of Materials Science, the ICTA conference will bring together over 15 universities and top regional researchers.   The conference is expected to serve as a platform for sharing cutting-edge scientific research, university–industry collaboration models, and the latest advancements in materials technology, ceramics chemistry, and industrial sustainability.   With academic and industrial stakeholders under one roof, the ICTA underscores the exhibition’s role as more than just a trade event — it is a convergence point for innovation and intellectual exchange.   International Participation and Technology Highlights   The 2025 edition will host an impressive range of global exhibitors, reaffirming the event’s international appeal. From the ceramics sector, major players include Siam Cement Group (SCG), ECT-KEMA, MCS Portugal, AKW (Amberger Kaolinwerke), Saint-Gobain Formula, Izawa Pigment, Guzman Minerals, Sedlecký Kaolin, Siam Technical Ceramics (STC), and MUNGYO, Gilfair, and Rajasthan Mining & Minerals.   In the natural stone sector, some of the most recognised names confirmed for the show include AKEMI, Breton, Pedrini, Tenax, Italdiamant, Diabu, Chim-Italia, and Abra Iride.   The natural stone industry will be equally well-represented by top-tier names including AKEMI, Midwest, Diabu, Simec, Breton, Pedrini, Tenax, Abra Iride, Chim-Italia, Italdiamant and many more — showcasing cutting-edge technologies, materials, and solutions that are shaping the future of the industry.   Together, these companies represent the cutting edge of product development, fabrication technologies, surface treatments, and sustainability in materials sourcing.   The event will also spotlight national pavilions from Italy (Confindustria Marmomacchine), China (CCPIT), and Thailand (TCS), as well as a dedicated EU Pavilion, which will feature the best of European ceramics and stone innovation.   Attendees can expect to see a wide array of breakthrough technologies, including: 3PowerFlow Centrifugal Pump – a compact, high-efficiency pump designed for spray-drying in ceramic manufacturing, presented by Certech Group. HiCAST – a high-performance gypsum mould system for industrial-scale ceramic casting, showcased by MUNGYO. LK LAB Store – a pioneering mobile robotic warehouse system for managing slab-shaped products, developed by LK Lab. BT Master – an advanced modular system for inspecting and controlling the quality of bricks and tiles, from Ibea GmbH. Quartz Powder – high-purity silica powder with exceptional thermal stability and smooth surface finish, offered by Puresil India. Arabescato Corchia – a

Read More
Business Regular

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

Read More
Business Featured

Paint Bangladesh 2025, an expo on paint industry, set to begin on September 25

Paint Bangladesh 2025, an exhibition on paint industry, is set to take place from September 25-27 this year at the International Convention City Bashundhara (ICCB), Dhaka.     Organised by Rainbow Exhibition & Event Management Services Ltd., the expo is positioned as the largest and most specialized platform in South Asia for surface technology, chemical engineering, and material innovation. Paint Bangladesh 2025 is not just an exhibition; it is a technology transfer platform, the organisers said. Global leaders and local manufacturers will showcase cutting-edge solutions in: Resins, pigments, and additives engineered for higher durability, colour stability, and environmental performance. Advanced laboratory, production, and packaging equipment designed to optimise efficiency, reduce wastage, and enhance precision in coating applications. Testing and measuring instruments that ensure quality assurance and compliance with international standards. High-performance adhesives and sealants, crucial for construction, ceramics, and industrial applications where strength and longevity matter. Sustainable chemical innovations, including low-VOC (volatile organic compound) and eco-friendly formulations aligning with global green building requirements. These technologies are directly relevant for industries beyond paint, where surface coating, glaze chemistry, and bonding materials are integral to product quality. The event goes beyond exhibits. A series of seminars, technical sessions, and product demonstrations will highlight: Breakthroughs in nanotechnology for coatings. Innovations in chemical engineering for durability and performance. Market insights on Bangladesh’s rapidly expanding construction and real estate sectors. These sessions are designed to create direct dialogues between manufacturers, researchers, engineers, architects, and buyers, enabling collaboration across the entire value chain.  In addition, a dedicated space called the ‘Future Paint Corner’ will facilitate the exchange of ideas on future paint systems, integrated manufacturing technologies, and innovative paint experiences of the future.   Key Information Venue: International Convention City Bashundhara (ICCB), Dhaka Dates & Time: September 25 & 26 – 10 am to 7 pm September 27 – 10 am to 6:30 pm Organisers: Rainbow Exhibition & Event Management Services Ltd. and Bangladesh Paint Manufacturers’ Association (BPMA) The exhibition is open to trade and business visitors only.   For the ceramic industry, this event represents an unmissable opportunity to integrate advanced coating solutions, eco-friendly materials, and high-performance adhesives into their production lines. Ceramic Bangladesh strongly encourages all stakeholders — from manufacturers to designers — to attend this landmark event and witness firsthand the future of paints, coatings, and chemicals in Bangladesh.   Written by Arefin Murad

Read More
Spotlight Regular

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    

Read More
Spotlight Regular

Bangladeshi Talents Shine at Global Undergraduate Awards 2025

The Global Undergraduate Awards (GUA) 2025, the most recognised pan-disciplinary undergraduate awards programme in the world, honoured outstanding undergraduate research and innovation at its yearly award ceremony in Dublin, Ireland.   The event united some of the finest students and aspiring academicians from 48 different countries who made original contributions to solving real-world problems. This year, Bangladesh achieved a remarkable milestone as Ridwan Noor Nafis won the Global Award in the architecture and design category. He won with his work, Urban Tune-Up: Architectural Packages of Block-based Rooftop Spaces as Containers of Public Life, which re-visualises the rooftops of Dhaka city as repurposed public spaces where people can meet and socialise and, more crucially, engage with the city and its urban nature. He is a graduate of BUET and was hired as one of the lead illustrators in a local newspaper during his university years—an experience that immensely impacted his design thinking. Nafis does not see architecture as a tool for converting shared stories into space but as a means to fix forms. His design philosophy draws on empathy and inclusiveness to make cities more functional and joyful. In the future, he wishes to investigate the overlap between urban design, the city, and environmental performance, and to be part of building a sustainable and socially presentable city. Bangladesh had another significant achievement in the 2025 Highly Commended segments. Out of 11 nominated individuals, 5 are from Bangladesh, nominated in the architecture and design category: 4 from the Department of Architecture, BUET, and 1 from the Department of Architecture, CUET.   Jahra Jarin Jemi, a Lecturer at Shanto-Mariam University of Creative Technology, was nominated for her project, Life Between the Tides – Building Resilience for Manta Community in Transition. Nusrat Nasrin Ananna, a graduate of CUET, was nominated for her undergraduate thesis project titled “Unveiling Biodiversity: A Natural History Museum Complex for Discovering the Treasures of Bangladesh”. The project serves as an innovative and comprehensive hub for the exploration and preservation of the region’s rich biodiversity.   Maisha Tasnim was nominated for her work “Beyond Shelters: Weaving Resilience, Livelihood, and Identity in Mongla, Bagerhat”. Sakib Nasir Khan, currently working as a part-time lecturer at BUET, was nominated for his work “The Transition: Adaptive Post-Disaster Shelters for Dense Urban Community Recovery”, marking his second consecutive commendation.   Aniqa Ibnat was nominated for her thesis “Cyclic Home: Rethinking Roof as Floating Structure in Flood-Pronounced Bangladesh”. The Global Undergraduate Awards is a non-profit organisation in Dublin, established in 2008 and presided over by Michael D. Higgins, president of Ireland. Top undergraduate work is identified through impartial and collaborative consideration across 25 categories by international academics and industry practitioners. Today, the top 10 percent of entries are named Highly Commended, and each category also declares one paper as the Global Winner—highlighting the dynamic, diverse, and transformative nature of student research.   Written by Afroza Mamtaz

Read More
Business Regular

Akij Ceramics Clinches Superbrands Title for Second Time

Akij Ceramics has once again been named one of Bangladesh’s most trusted and influential brands for 2025-2026 by Superbrands, the world’s largest independent arbiter of branding.       The announcement was made at a glittering ceremony held at Le Meridien Dhaka, celebrating excellence across industries. This marks the second time Akij Ceramics has received the coveted Superbrands recognition, reinforcing its stature as a leader in the ceramics industry. The company, in a statement, credited the award to its unwavering commitment to innovation, quality, and consumer trust. But beyond the accolades, Akij Ceramics has quietly shaped the way Bangladesh lives. Since its founding in 2012, the brand has evolved from a tile manufacturer into a lifestyle visionary. Its collections are not just about surfaces — they’re about stories. Each design reflects a blend of global aesthetics and local sensibilities, transforming homes, offices, and public spaces into expressions of identity and aspiration.     The company’s six-year streak as winner of the “Best Brand Award” from Bangladesh Brand Forum (2019-2024) speaks volumes about its consistency and consumer loyalty. Yet, it’s the brand’s philosophy — to create beauty with purpose — that truly sets it apart. Whether it’s a minimalist matte finish for a Dhaka apartment or a bold geometric pattern for a boutique hotel in Cox’s Bazar, Akij Ceramics continues to push boundaries in design, sustainability, and lifestyle integration. With this latest milestone, the brand renews its promise: to inspire, to elevate, and to remain a trusted companion in the art of living well.   Written By Nibir Ayaan

Read More
Spotlight Regular

Shishir Bhattacharjee Returns with Rekhachitro

With Rekhachitro/Drawing, the ongoing exhibition at the capital’s Kalakendra, the prominent artist Shishir Bhattacharjee is returning after a hiatus of more than a decade. Open to all, the exhibition will run daily from 4:00pm to 8:00pm until September 27.     Shishir Bhattacharjee is a familiar name in Bangladesh’s visual arts scene. He was among the first artists to bring cartoons to the front pages of major newspapers, giving satire a fresh voice. Over the years, his works have not only entertained but also documented Bangladesh’s living history. Alongside his artistic practice, Bhattacharjee has also made his mark as a teacher, mentoring countless students at the Faculty of Fine Arts, University of Dhaka. Despite his long journey, he has often been hesitant to place his own creations at the forefront. That is why, for admirers of his work, this latest solo show is more than just an occasion—it is a celebration. His last solo exhibition, Daag-Tamasha, was held in 2013 at the Dhaka Art Center. The current exhibition features 95 line drawings created over three decades, from the early 1990s to 2023-25. The collection is uniquely Bhattacharjee: restless, fluid, and brimming with rhythmic lines. If his earlier cartoons captured the fleeting realities of society and politics with razor-sharp humour, the works here probe something deeper—mental landscapes. He employs his compositional skills to turn inner visions into imagery. The artworks adhere to the practice of automatic drawing, a method originating in Surrealism in the 1920s, where the artist allows the unconscious to direct the hand without rational control. “What I see, or perceive, emerges through my hand. It is spontaneous, often beyond conscious control. I can think and see countless things at once—perhaps science may never reach that point,” said Bhattacharjee. The pieces demonstrate his mastery of line-making. Each mark travels eagerly across the surface yet finds harmony with the others, forming an organic rhythm. To the viewer, the drawings serve as a doorway into surreal realms where the limits of reality crumble. Fish glide through the heavens, trees sprout from hands, eyes bloom like flowers, and lips open unexpectedly. Humour and uneasiness coexist in these works, expressing the contradictions of human existence. The drawings are rendered on sheets of varying colours—white, grey, and brown—each evoking a distinct atmosphere. The style is minimalist in technique yet rich in imagery, with symbols proliferating and interweaving to create pulsing compositions. Bhattacharjee’s use of local cultural motifs is particularly striking. Birds from folklore, fish from riverine traditions, floral patterns from alpana, and suns from folk art all appear in his work. These themes reflect the traditional while conversing with modern surrealism, resulting in interpretations that feel both timeless and contemporary. His compositions repeatedly feature human traits, eyes, hands, animals, and natural objects. The eye motif appears in diverse forms—sometimes vacant, sometimes erupting from other figures—signifying both surveillance and introspection. Faces, too, shift continually, whether smiling, skeletal, or fragmented, mirroring the complexities of the mind. Birds, fish, and trees merge seamlessly with human figures, reminding us that we are not separate from nature but inextricably bound to it. Alongside vitality, signs of disintegration also surface. Severed limbs, hollow eyes, and lifeless animals evoke apocalyptic undertones, suggesting war, environmental disaster, or human crisis. Yet, odd humour prevails, with grotesque movements and unsettling smiles that recall his incisive wit as a cartoonist. Though he no longer produces newspaper cartoons, sarcasm still infuses his work. Ultimately, Bhattacharjee’s art transcends mere aesthetics. His lines explore the delicate balance between humanity and nature, joy and fear, life and death. With lyrical spontaneity, symbolic richness, and surreal imagination, the ninety-five drawings in this exhibition bring dreams, nightmares, and realities into coexistence.   Written by Shahbaz Nahian

Read More
Business Regular

DHL–The Daily Star honour five entrepreneurs, businesses

    Global logistics service provider DHL Express Bangladesh and Bangladesh’s largest-circulated English newspaper, The Daily Star, honoured five outstanding entrepreneurs and enterprises with the Bangladesh Business Awards on 23 September. The awards were given in five categories: Business Person of the Year, Best Financial Institution of the Year, Best Enterprise of the Year, Outstanding Woman in Business, and Lifetime Achievement Award.     Business icon M Anis Ud Dowla, chairman of ACI Ltd, was bestowed with the Lifetime Achievement Award for his contribution to the Bangladesh economy. His story, like many others celebrated at the event, is a testament to the power of unwavering dedication. Dowla transformed an SME into ACI, one of Bangladesh’s largest conglomerates, employing more than 15,000 people. After a 27-year career in multinationals, he pioneered the local industry and continues to promote ethics, continuous learning, and youth entrepreneurship, seeing Bangladesh’s large population and rising middle class as the foundation of future growth.     Ahsan Khan Chowdhury, chairman and CEO of Pran-RFL Group, was named Business Person of the Year for 2024. Under his leadership, a modest family-run agro venture grew into one of Bangladesh’s most diversified conglomerates, spanning more than 6,000 product lines and employing 167,000 people, with annual revenues exceeding $3 billion—a transformation that mirrors the country’s own economic rise.     The Enterprise of the Year award went to Walton Hi-Tech Industries PLC, which has reshaped Bangladesh’s electronics market, moving from import dependence to global competitiveness. Founded in the early 2000s, Walton now produces refrigerators, televisions, and smartphones, employs thousands, exports to more than 50 countries, and symbolises the nation’s industrial diversification.     City Bank was named Best Financial Institution of the Year 2024. Once considered troubled, City has emerged as one of the country’s leading lenders. Established in 1983, it now records strong asset growth, operates a vast agent banking network, runs gender-focused initiatives, and posts profits of over Tk 1,000 crore—underscoring its financial resilience and governance reforms.     Sadia Haque received the Outstanding Woman in Business award for 2024. After leaving a thriving corporate career, Sadia co-founded ShareTrip, Bangladesh’s leading travel-tech startup. She turned her passion into innovation, pioneering digital booking, loyalty programmes, and fintech services. As a female founder, she champions entrepreneurship and breaks barriers in a male-dominated industry while redefining how Bangladesh travels. Finance Adviser Salehuddin Ahmed presented the awards to the winners at the Radisson Blu Water Garden Hotel in Dhaka, where Commerce Adviser Sk Bashir Uddin was also present. Congratulating the winners, Adviser Salehuddin said Bangladesh’s businesses had shown “remarkable dynamism” in expanding their reach beyond national borders. He recalled being “pleasantly surprised” to find Pran Chanachur on shop shelves as far as Fiji. “This is how Bangladesh goes far away,” he said. Ahmed called on the country’s private sector to prepare for a more competitive global environment after graduation from the Least Developed Country (LDC) bracket. “You have to be competitive, you’ll have to look at the global situation and of course the local. We definitely try to facilitate all kinds of support through policy reforms, through process simplifications and through other support instruments,” he said. “Bangladesh is on a transformation journey, and its private sector continues to be the engine of growth.” At the event, Md Miarul Haque, managing director of DHL Express Bangladesh, said Bangladesh’s private sector must evolve with agility, innovation, and collaboration to remain competitive in a fast-changing global economy. “At DHL, we are proud to celebrate the leadership that drives this progress. Tonight’s awardees are not only shaping industries but also contributing to the nation’s economic advancement and global competitiveness.” Mahfuz Anam, editor and publisher of The Daily Star, also lauded the past winners of the Bangladesh Business Awards. “These individuals represent the best of Bangladesh’s private sector—those who have built with integrity, broken barriers, and moved the nation forward.” Anam underscored that Bangladesh is nearing its graduation from LDC status, yet concerns remain about readiness. He argued that part of the answer lies in the state’s inconsistent support for the private sector. “We must distinguish between honest and dishonest businessmen,” he said. Receiving the Lifetime Achievement Award, Anis Ud Dowla said, “I am honoured and humbled by this recognition. It is truly an inspiration to strive for even greater excellence.” “This is the third time I feel honoured at this platform. In 2011 and 2017, I had the privilege of receiving awards on behalf of ACI and myself. But this Lifetime Achievement Award is profoundly moving,” he said. He ended his speech with a powerful quote: “Be punctual. Time is valuable. Not just yours, but everyone’s.” Pran-RFL Chairman and CEO Chowdhury said, “I must say, I didn’t have to do much in the beginning. It was the people behind Pran-RFL who made it happen. It’s our customers who have carried us forward.” ShareTrip CEO Haque said, “Tourism is not often seen as a key contributor to the GDP or economic growth. I hope this recognition, both for myself and for ShareTrip, marks a turning point for the industry.” Walton MD Alam called the award timely ahead of LDC graduation. He urged continued backing for local industries, saying, “Just as others say ‘Make in India’ or ‘America First’, we say: ‘Bangladesh on Top’.” City Bank CEO Arefin reflected on the bank’s transformation journey. “This was a long-anticipated recognition,” he said. “City Bank’s transformation began in 2007, from what was then considered a problem bank, with two central bank observers on its board, to now being one of the country’s leading financial institutions.” The event was attended by Sarah Cooke, British high commissioner to Bangladesh; Tapan Chowdhury, managing director of Square Pharmaceuticals; Simeen Rahman, group CEO of Transcom Group; AK Azad, chairman and CEO of Ha-Meem Group; Abdul Muktadir, chairman and managing director of Incepta Pharmaceuticals; Zaved Akhtar, president of The Foreign Investors’ Chamber of Commerce & Industry; Naser Ezaz Bijoy, CEO of Standard Chartered Bangladesh; and Syed Mohammad Kamal, country manager of Mastercard. Shaheen Anam, executive director

Read More
Spotlight Regular

9th Bangladesh Buildcon International Expo Begins in Dhaka Sep 25

  The stage is all set for the ninth edition of the Bangladesh Buildcon International Expo, a trade show dedicated exclusively to the building and construction industry. The three-day event, which will begin on September 25 at Dhaka’s International Convention City Bashundhara (ICCB), will integrate the construction industry into a professional meeting, investment, and dissemination of ideas and information.       The Buildcon Expo, launched in 2015, has continuously emerged as one of the most anticipated business events in the construction sector. It has, over the years, become a complete hub of industry meeting points by attracting architects, builders, contractors, engineers, manufacturers, fabricators, interior decorators, importers, dealers, distributors, traders, and government departments. Expected to attract more than 5,000 trade visitors, the event has drawn a wide range of people who are keen on learning about new developments in the industry. With over 200 esteemed exhibitors across an area of more than 1,500 square feet, the expo offers a great opportunity for individuals to network, share ideas, and broker business. Organised by The Buildcon Expo 2025 is organised by Futurex Trade Fair and Events Pvt. Ltd. and ASK Trade & Exhibitions Pvt. Ltd.     Futurex Trade Fair and Events Pvt. Ltd. aims to provide an ideal business platform through exhibitions, seminars, corporate events, and get-togethers. ASK Trade & Exhibitions Pvt. Ltd., which is based in Chennai, Bangalore, Kolkata, and Delhi in India, also has branches in countries such as Brazil, China, and Bangladesh. International and Domestic Participation Both international companies as well as domestic exhibitors will be present at the expo. The organisers ensure that leading firms in the construction sector—specialised in machinery, equipment, and vehicles; mechanical, electrical, and plumbing services; interiors and finishes; building tools and materials; dedicated construction technologies; and special construction solutions—will be present on the exhibition floor. The visitor profile is equally diversified, including but not limited to architects, designers, builders, contractors, engineers, project managers, government officials, investors, real estate developers, hoteliers, and sourcing professionals.     Authorities from airports, seaports, retail malls, and amusement parks, as well as facility managers, industry associations, and consultants, will also participate, ensuring a good cross-sectional representation. Industry Outlook The present valuation of the Bangladesh construction industry at Tk 2,329 billion is expected to increase at a compound annual growth rate of 10 percent up to 2026, when the industry is projected to be worth Tk 3,415.1 billion. Such growth, owing to rapid urbanisation in Dhaka and other urban regions, highlights the future of Buildcon 2025 as an investment and networking hub, besides being a platform for knowledge sharing. The organisers emphasised that the Bangladesh Buildcon International Expo 2025 is meant to be seen and felt: more than the works on exhibit at the fair, it is a forum of partnership where Bangladesh emerges as the most relevant centre in the building and infrastructure sector in South Asia. Written by Afroza Mamtaz

Read More
Business Regular

49 Brands Earn Superbrands Status for 2025-26

  A Night of Prestige On the evening of September 20, 2025, Dhaka’s Le Meridien hotel became the epicentre of brand celebration. Superbrands Bangladesh hosted a gala to honour 49 companies that have earned the coveted Superbrands status for 2025–26.   Bangladesh’s Most Trusted Brands The event brought together Bangladesh’s top corporate minds—executives, marketers, and brand custodians—who gathered to applaud the country’s most trusted and influential names. It was a night of recognition, prestige, and storytelling.   Unveiling the Fifth Superbrands Volume A key moment of the evening was the unveiling of the cover for the upcoming Superbrands Bangladesh publication. This edition will profile the selected brands and serve as a reference for professionals in marketing, media, academia, and advertising.     Global Legacy of Superbrands Superbrands began in the UK in 1994 and has grown into the world’s largest independent arbiter of branding. Its mission is to spotlight brands that offer both emotional and functional advantages over competitors.   What Defines a Superbrand To be named a Superbrand is to be recognised for excellence, reliability, and consumer trust. These brands don’t just sell—they inspire loyalty and command premium value through their reputation.   Rigorous Selection and Evaluation The selection process in Bangladesh was rigorous. A multidisciplinary Brand Council evaluated each contender across five key metrics: brand heritage, relevance, perceived quality, performance, and top-of-mind awareness. Each brand was scored out of 20. Only those with the highest marks and full compliance were invited to join the Superbrands list. The process ensures that only the most consistent and credible brands are recognised.   Insights from the Brand Council Ashraf Bin Taj, managing director of International Distributions Company Bangladesh, elaborated on the jury’s approach. He emphasised that Bangladesh’s evaluation mirrors the global standards upheld by Superbrands worldwide. He noted that only brands demonstrating sustained relevance and trustworthiness make the cut. The multi-stage process filters out anything less than exceptional.   Shariful Islam, managing director of Superbrands Bangladesh, addressed the gathering with a message of pride. He described Superbrands as names that people trust, respect, and feel proud to associate with. He added that these brands stand apart by honouring their values and promises. Their ability to inspire confidence and set industry benchmarks makes them worthy of celebration.   Global Reach and Local Impact Globally, Superbrands has recognised over 45,000 brands across 90 countries. More than 645 publications have documented the journeys of these leading names since the programme’s inception. In Bangladesh, the fifth volume of Superbrands continues this legacy. It highlights brands that go beyond competition to represent quality, trust, and distinction in the marketplace.     Meet the 2025-26 Superbrands The 49 honoured brands span industries from consumer goods and electronics to education and media. Each has carved a unique identity in the Bangladeshi landscape. Among the winners are ACI Nutrilife, Akij Ceramics, Bashundhara LP Gas, Berger Paints, BRB Cable, Channel i, and Eastern Bank PLC. These names are synonymous with reliability and innovation. Others include Energypac, Epyllion Group, Gree Air Conditioner, Hatil Furniture, Igloo Ice Cream, Jamuna TV, Mastercard, Matador Stationery, and Meghna Group of Industries. Tech and education leaders like North South University, Pathao, Samsung Mobile, and Walton were also recognised. Their impact on modern Bangladesh is both deep and wide. Retail and FMCG giants such as Shwapno, PRAN-RFL Group, Rupchanda, and SMC Condoms earned their place through consistent performance and consumer trust. The full list also features Turkish Airlines, The Daily Star, Shah Cement, Shanta Holdings, and ShareTrip. These brands reflect the diversity and dynamism of Bangladesh’s corporate ecosystem. Each brand profiled in the Superbrands publication represents a journey of excellence. Their recognition sets a benchmark for others aspiring to similar heights.   Wtitten by Nibir Nahiyan

Read More
Spotlight Regular

Learning, Unlearning, and the Architecture of Change

  In a world where design often races ahead of reflection, CubeInside Design Ltd. is inviting architects, students, and thinkers to pause—and reconsider. Their upcoming three-day event, Learning & Unlearning, promises not just a series of lectures but a journey into the core of architectural consciousness. Set to unfold from September 25 to 27, the event will be hosted at CubeInside Design Ltd. in Dhaka. It’s not a typical seminar. It’s an exploration—into the craft, the culture, and the contradictions of architecture today. CubeInside, known for its thoughtful design practice, has curated this event with a clear intention: to challenge assumptions, provoke dialogue, and open up new ways of seeing.     The title itself—Learning & Unlearning—signals a dual movement. It’s about acquiring knowledge, yes, but also about shedding the habits and biases that no longer serve. The programme is structured around lectures, discussions, and exhibitions, each designed to engage participants in critical reflection. Over three days, attendees will encounter ideas that stretch beyond blueprints and facades. They’ll be asked to consider architecture not just as a profession but as a cultural act—one that shapes and is shaped by society. The event is open to students, professionals, and enthusiasts alike. It’s a rare opportunity to engage with architectural discourse in a setting that encourages both curiosity and critique. CubeInside’s invitation is clear: come with questions, leave with more. CubeInside’s announcement, shared via its official Facebook page, carries a tone of quiet urgency. “CubeInside invites you to Learning & Unlearning,” it reads. The event’s visual identity, as seen in the post, is minimal yet evocative. It reflects CubeInside’s design ethos: clarity, restraint, and meaning. There’s no excess—just an invitation to think. What makes Learning & Unlearning stand out is its refusal to be didactic. It doesn’t claim to have answers. Instead, it offers a space where answers can be questioned. In a field often dominated by trends and technicalities, this is a refreshing shift.   CubeInside’s initiative is timely. As Bangladesh grapples with rapid urbanisation, climate challenges, and shifting cultural landscapes, architecture must evolve. Events like this help ensure that evolution is thoughtful, inclusive, and grounded. For those attending, the three days will likely be more than an academic exercise. They’ll be a chance to connect—with ideas, with peers, and with the deeper purpose of design. And for CubeInside, it’s another step in its ongoing commitment to architecture that matters. In the end, Learning & Unlearning is not just about buildings. It’s about building understanding. And in that, CubeInside is offering something rare: a space to think, together.         Written by Nibir Ayaan  

Read More
Spotlight Regular

Asian Tourism Fair begins in Dhaka today

  The 12th Asian Tourism Fair (ATF) officially commenced today at the International Convention City Bashundhara (ICCB), marking the largest tourism exhibition ever held in Bangladesh. The three-day event, running from September 18 to 20, features over 200 exhibitors from 20 countries. The ATF Dhaka is organised by Bangladeshi travel and tourism magazine The Parjatan Bichitra. The event is endorsed by Ministry of Civil Aviation and Tourism and government of Bangladesh, and supported by Bangladesh Parjatan Corporation (BPC), Bangladesh Tourism Board (BTB) and tourism trade association at home and abroad.     This year’s expo’s tagline “Connecting Regional Tourism,” aims to strengthen cross-border collaboration and promote sustainable travel across Asia. Countries which took part in earlier editions of the fair include: Bangladesh, India, Nepal, Bhutan, Thailand, Malaysia, Sri Lanka, Indonesia, China, Korea, Sri Lanka, Japan, Jordan, Iran, Qatar, Philippine, Singapore, Lithuania and Maldives. Malaysia returns as a feature country, showcasing its tourism offerings through immersive displays. Mutual Trust Bank is the title sponsor of the fair, where national tourism organisations, airlines, tour operators, and hospitality groups will be the key exhibitors. Bangladesh’s tourism sector is prominently represented, with local operators promoting destinations such as the Sundarbans mangrove forest, Cox’s Bazar—the world’s longest sea beach—tea gardens in Sylhet, and Buddhist heritage sites in the Chittagong Hill Tracts. Bangladesh was recently named one of the best-value destinations by Lonely Planet, and organizers are leveraging this recognition to boost inbound and outbound travel.     The fair includes a series of side events designed to engage both industry professionals and the general public. These include seminars, workshops, skill conventions, cultural programmes, and a dedicated Bangladesh Tourism Night. An award ceremony is scheduled to recognise contributions to the tourism sector. Four tiers are offered: Standard, Semi Pavilion, Pavilion, and Prime Pavilion. Logistical support is available only through nominated agents and for exhibitors with early bird registration. The event also facilitates B2B and B2C networking sessions to encourage commercial partnerships and tourism development. Visitor demographics span leisure travellers, corporate buyers, travel media, and academic researchers. Organisers expect significant footfall over the three days, with the ICCB venue prepared to accommodate large crowds. Bangladesh’s outbound tourism market is expanding rapidly, driven by increased flight connectivity and a growing middle class. The fair aims to capitalise on this trend by promoting regional travel packages and enhancing visibility for participating destinations. The ATF has been held regularly since its inception, with some exceptions. It is considered a key platform for regional tourism stakeholders to exchange ideas, showcase products, and foster economic cooperation. The fair will conclude on September 20 with closing remarks from organisers and government representatives.   Written by Nibir Ayaan

Read More
Business Regular

South Asia Trade Fair 2025 Kicks Off in Dhaka Today

The South Asia Trade Fair 2025 opens its doors in Dhaka today, drawing together businesses from across the region for a four-day showcase of trade and commerce.     This year’s edition will feature an extensive display of products from South Asian countries, covering categories as diverse as readymade garments, textiles, gems and jewellery, cosmetics, footwear and leather items, home and kitchen appliances, processed food, and electronics. Organisers said the wide range is meant to highlight both the industrial strengths and the cultural traditions of the region.   Over a hundred companies are expected to take part, representing a strong presence of entrepreneurs and firms from multiple SAARC member nations. Their participation is aimed at deepening economic ties and opening new trade opportunities among neighbouring countries. The fair is being hosted under the initiative of the SAARC Chamber of Commerce and Industry (SCCI). The Federation of Bangladesh Chambers of Commerce and Industry (FBCCI), the Ministry of Commerce, and the Export Promotion Bureau (EPB) are providing support to make the event successful. An inaugural ceremony marked the start of the fair and Commerce Adviser Sk. Bashir Uddin formally opened the exhibition at the International Convention City, Bashundhara.   The event is being positioned as one of the year’s most important trade gatherings in the capital. Details of the programme were shared earlier this week at a press conference organised at the FBCCI headquarters in Dhaka’s Motijheel. Speaking at the briefing, Zulfiqar Ali Bhatt, secretary general of the SAARC Chamber of Commerce and Industry, explained the scope of the upcoming fair and outlined its objectives. According to Bhatt, the event will include business-to-business matchmaking sessions and dedicated networking opportunities designed to foster trust between entrepreneurs of SAARC nations.   He added that the platform would also enable the exchange of ideas and experiences in business practices, paving the way for a stronger foundation of regional cooperation. “This will play a vital role in promoting regional trade,” Bhatt remarked, underlining the importance of strengthening intra-regional links. He noted, however, that despite significant potential, South Asian economies have not yet managed to expand their trade with each other to the levels seen in other parts of the world. The fair, he stressed, can serve as a step toward correcting this imbalance. The exhibition will bring together companies from Bangladesh, Pakistan, Sri Lanka, and Afghanistan, among others. With more than a hundred firms participating, organisers are confident the event will serve as an effective platform for businesses looking to establish or expand their footprint in South Asia’s growing markets.   Md. Alamgir, secretary general of FBCCI, also spoke at the press conference, focusing on the broader vision of the Saarc Chamber. He emphasised that the institution was created to boost the region’s trade capacity and to promote collaboration across a variety of sectors. Through the fair, Alamgir said, regional potential in industries such as textiles, pharmaceuticals, processed food and agriculture, and electronics will come to the forefront.   At the same time, the exhibition will not only highlight economic strengths but also showcase the rich traditions and cultural identities of the SAARC member countries, creating a more holistic view of South Asia’s shared possibilities. The stakeholders hope the four-day event will set the stage for stronger commercial ties, a more connected region, and a renewed commitment to expanding trade among neighbouring economies.   Written by Nibir Ayaan

Read More
Spotlight Regular

Ridwan Noor Nafis Wins Gold at TOY ARCASIA 2025

BUET graduate bags Asia’s top architecture award In a defining moment for Bangladesh’s architectural community, Ridwan Noor Nafis—a recent graduate of Bangladesh University of Engineering and Technology (BUET)—has been awarded the Gold Prize at “Thesis of the Year” (TOY ARCASIA 2025), one of Asia’s most prestigious platforms for emerging architects.     Held in Incheon, South Korea, the competition drew submissions from leading architecture schools across the continent. Nafis’s winning thesis, “Urban Tune-Up: Architectural Packages for Block-Based Rooftop Spaces as Containers of Public Life”, offers a bold reimagining of Dhaka’s skyline. His vision transforms the city’s fragmented rooftop spaces into vibrant, interconnected zones of public engagement—integrating green infrastructure, social interaction, and urban resilience into the heart of one of Asia’s densest capitals. Guided by supervisors Dr Khandaker Shabbir Ahmed and Maherul Kader Prince, Nafis’s work stood out among submissions from top architecture schools across Asia.   His proposal offers a visionary response to Dhaka’s spatial constraints and social fragmentation, positioning rooftops as platforms for civic life—breathing space in a city that often feels choked by its own growth. TOY ARCASIA, one of Asia’s most respected platforms for architectural students, celebrates innovation, social relevance, and global orientation. The objective of TOY 2025 is to provide an arena for architecture schools in ARCASIA member countries and their undergraduate students to showcase fresh ideas and academic potential on an international stage. It aims to elevate architectural education across Asia by fostering creativity and cross-cultural exchange. This year’s entries were held to a rigorous standard. Submissions were required to demonstrate high social relevance, originality, and a strong global outlook. A key criterion was alignment with the United Nations’ 17 Sustainable Development Goals—or their future roadmap—ensuring that each thesis contributed meaningfully to global challenges.   Nafis’s project met these demands with clarity and conviction, offering a model for sustainable urban transformation rooted in community and ecological awareness. Now a lecturer at BUET, Nafis’s achievement is more than personal—it is emblematic of BUET’s growing influence in architectural thought and research across the region. His win reinforces the university’s reputation for producing graduates who combine academic rigour with visionary thinking. TOY ARCASIA’s mission is to elevate architectural education in Asia by showcasing final-year student work that pushes boundaries and opens pathways for knowledge exchange. In a world where cities are rapidly evolving, Nafis’s rooftop revolution reminds us that innovation does not always require new land—it can begin above our heads. His work is a call to rethink the spaces we overlook, and to design with both imagination and empathy.   Written by Nibir Ayaan

Read More
Spotlight Regular

The Quiet Majesty of Sultan: Through the Eyes of Nasir Ali Mamun

For a long time, Nasir Ali Mamun, who slowly catapulted portrait photography in Bangladesh, photographed S. M. Sultan, one of the finest artistic minds from this soil.     To honor the centennial of the legendary S. M. Sultan (1924-1994), the Bengal Foundation, in collaboration with HSBC Bangladesh, presents “Shotoborshe Sultan,” a unique photographic exhibition by Nasir Ali Mamun. The exhibition began on Friday, August 22, 2025, at 6:00 PM, in the Quamrul Hassan show hall, Bengal Shilpalay, Dhaka, and would run every day (excluding Sundays) from 4:00 to 8:00 PM till September 27, 2025. The show features rare images of S. M. Sultan by Mamun, as well as original negatives, handwritten letters, and souvenirs, many of which are being displayed for the first time in public, presenting an intimate visual journey from Sultan’s rural home in Narail until his latter years.     Portraits of artists are merely portraits of individuals; they are also historical landscapes. What Mamun began decades ago as a photographic testament to a single person is now unfolding as part of a centennial constellation in which Sultan’s photographs, letters, and pieces of existence are made visible again. Sultan’s paintings are counter-historical. He gave peasants colossal stature, men and women with torsos whose muscles bore the silt of millennia. In his works, the agrarian body is not a scenic or colonial decoration, but rather the reality of subsistence. It is a subaltern vision turned myth: peasants are the measure of Bangladesh itself. Seeing them on his painting reminds us that history belongs not only to the financially privileged class but also to people who tilled, carried, and endured. But what does it mean to shoot the man who immortalized others and created counter-histories? The answer, I believe, is to reintegrate him into the life-world he exalted. This is exactly what Mamun did. His black-and-white photographs of Sultan do not elevate him to the artist’s abstract figure status. They instill in him the texture of daily austerity.     Beyond the artist at work, the studio, and the brush, there are subtleties that encompass Sultan sitting on a mat in a broken zamindar’s house (where he lived), painting in the light that spills in through an open door, eating with cats as companions, bent under the weak flame of a hurricane lamp, the shadow of a child at the door, the cat staring as he eats, and the cracked floor that bears his weight. These elements make it impossible for Sultan to be just classified as an eccentric artist. Thus, Mamun’s photographs of Sultan are not just photographic intrusions into his private life. They reject glamor. They reject transforming Sultan into a star divorced from the reality he lived in. Instead, they depict him in frail light, in humble space, and in the rhythms of daily life, and much would have been lost if these images had not existed. Without Mamun, Sultan would only exist as a myth, with his huge peasants in museums and his name perpetuated in art history. But the eccentric man himself would vanish into rumor. These pictures resist the erasing. They claim the artist was here. Written by Shahbaz Nahian

Read More
Spotlight Regular

Bangladesh’s Double Honour at ARCASIA 2025

Enamul Karim and Sharif Uddin Ahammed Redefine Regional Architecture In a week that celebrated architectural ingenuity across Asia, two Bangladeshi architects—Enamul Karim and Sharif Uddin Ahammed—stood out among more than 300 submissions at the ARCASIA Awards for Architecture 2025, held in Incheon from September 7 to 14.   Their winning projects, though vastly different in scale and typology, share a common ethos: architecture as a medium of emotional depth and social responsibility. Karim was awarded the Gold in Category A1 for CHAABI, a single-family residence that transforms domestic space into a poetic landscape of memory and light. Ahammed, meanwhile, received the Special Award for Socially Responsible Architecture for From Industrial Wasteland to Ecological Oasis Bangladesh, a low-budget landscape intervention that reclaims degraded land for biodiversity and community equity. Their recognition marks a significant moment for Bangladeshi architecture, where personal narrative and civic consciousness are increasingly shaping the built environment.   A House That Remembers: Enamul Karim’s CHAABI Located in Berabo, Rupganj, near the river Shitalakha, CHAABI is more than a residence—it is a spatial memoir. Completed in 2023, the 1,035-square-metre home was designed for a family seeking peace, introspection, and connection to nature. Karim’s design orchestrates a series of transitions: from enclosed rooms to open courtyards, from filtered daylight to open skies, from private memory to shared experience.     The house features a water body that runs alongside the living room, open to the south wind and sky. A narrow walkway along its edge leads to a large open field, evoking a sense of spatial release. Inside, the programme includes bedrooms, a home theatre, gymnasium, swimming pool, and a unique “address-desk”—a raised wooden platform with microphones for family speeches. Material choices are deliberate: exposed concrete for structure, mahogany for doors and windows, matte tiles for floors, and grill-less glass for uninterrupted light. Memory traps embedded in the ground hold family memorabilia, turning the home into a quiet archive of generational love. Karim’s CHAABI was praised by the jury—led by ARCASIA President Ar. Saifuddin Ahmad—for its emotional clarity and architectural restraint, a rare balance in residential design.   A Landscape of Equity: Sharif Uddin Ahammed’s Ecological Oasis In contrast to the intimacy of CHAABI, Sharif Uddin Ahammed’s award-winning project operates at the scale of landscape and labour. From Industrial Wasteland to Ecological Oasis Bangladesh reclaims a neglected site through passive hydrological solutions, wildlife habitat creation, and democratic spatial planning.   Developed between 2022 and 2023, the project challenges conventional landscape design by addressing class divisions between corporate officials and labourers. Using existing materials and a minimal budget, Ahammed and his team at Sthapotik crafted a space that serves both ecological and human needs. The jury, which also included Prof. Ken Nah, Ar. Shahid Abdulla, Ar. Anna Kwong, and Ar. Beverly Frank, recognised the project’s layered complexity and its commitment to environmental justice. Convened by Ar. Chun Gyu Shin, the panel awarded Ahammed the Special Award for Socially Responsible Architecture on 10 September. For Ahammed, the recognition affirms a long-held belief: that architecture must respond to its environment—not just physically, but socially and emotionally. His practice, rooted in the philosophy of “responsive environments,” continues to challenge the boundaries of what architecture can do.   A Shared Stage, Divergent Legacies Though Karim and Ahammed work in different registers—one in the quiet intimacy of home, the other in the public urgency of landscape—their projects converge in their refusal to treat architecture as mere form. Instead, they offer it as a language of care, memory, and justice. Their dual recognition at ARCASIA 2025 is not just a win for Bangladesh—it is a signal that architecture in the region is evolving, embracing both the personal and the political, the poetic and the pragmatic. Written by Afroza Mamataz

Read More
Spotlight Regular

Dhara: A New Bi-Monthly Talk Series for Architectural Dialogue

Dhara aims to create a platform where alumni, students, and practising architects can share knowledge   The Department of Architecture at Ahsanullah University of Science and Technology (AUST) launched its new bi-monthly talk series, Dhara, organised in collaboration with the Alumni of AUST Architects, on August 26 this year.     The inaugural session, held at the Jury and Exhibition Space of the department, began with a lecture by Swiss architect Niklaus Graber. Dhara aims to create a platform where alumni, students, and practising architects can share knowledge, ideas, and experiences. By opening up discussions on contemporary architectural practice, the series seeks to broaden perspectives, foster collaboration, and strengthen the link between academia and the profession. As its tagline suggests, Dhara is envisioned as a place “where ideas flow, and architecture speaks”. Niklaus Graber delivered the opening lecture under the title “Enabling Structures: Reflections between Rivers and Mountains”. Drawing on his practice in Switzerland and his long-standing engagement with Bangladesh, Graber spoke about the relationship between architecture and structure, and how this connection shapes meaningful spaces.     He reflected on the contrasts between the landscapes of Bangladesh and Switzerland, while also noting their similarities: in both countries, distinctive geographical conditions have influenced settlement patterns and fostered a shared awareness of caring for scarce resources. For Graber, sustainable and inclusive architecture is most successful when rooted in “enabling structures” that form welcoming environments and encourage vibrant social interaction.   Niklaus Graber studied architecture at ETH Zurich and at the Graduate School of Architecture, Planning and Preservation (GSAPP), Columbia University, New York. The event at AUST began with a welcome address by Architect Shafiul Azam Shamim, General Secretary of the Alumni of AUST Architects. AUST Vice-Chancellor, Professor Dr Md Ashraful Hoque, attended the occasion, along with faculty members, alumni, and students. Following Graber’s engaging presentation, the vice-chancellor expressed his gratitude and presented him with a crest. Reflecting on the event, Asif Salman, an architectural designer and photographer, explained: “This workshop will be held every two months to generate in-depth ideas and get students more involved, as Niklaus Graber suggested that architecture needs to be less romanticised and more focused on safety and security.” He also stressed that the way architecture is perceived must evolve: “Sustainability must be the focus. Architecture has changed from the 20th century to the 21st century, and it will keep changing. The focus of this workshop is to bring new spokespersons, bring architects together, and start a discourse.” With such a vision, Dhara aspires to continue as a living platform where architectural ideas flow freely and dialogue between generations of architects enriches new visions.       Written by Tanisha Kabir

Read More
Spotlight Regular

Marina Tabassum Wins Prestigious ‘Aga Khan Award for Architecture’—Again

Marina Tabassum, one of South Asia’s most distinguished architects, has once again earned global recognition by winning the 2025 Aga Khan Award for Architecture. This marks her second time receiving the honour, a rare achievement that places her among an elite group of architects celebrated for their contributions to socially impactful design.     Tabassum’s winning project, Khudi Bari—meaning “tiny house” in Bengali—is a modular, portable shelter designed for communities displaced by river erosion and climate-related disasters in Bangladesh. Constructed from bamboo and metal joints, the structure is lightweight, affordable, and easy to assemble. Each unit costs less than $300, making it accessible to low-income families living in flood-prone regions. The design reflects a deep understanding of local materials and environmental challenges, offering a dignified solution to one of the country’s most pressing humanitarian issues. The Aga Khan Award for Architecture, established in 1977 by His Highness the Aga Khan, is one of the most prestigious honours in the field.     It is awarded every three years to projects that not only demonstrate architectural excellence but also improve the quality of life in Muslim societies. The award carries a total prize of $1 million, distributed among selected winners. This year’s winners include projects from China, Egypt, Pakistan, Palestine, and two from Iran, each chosen for their cultural relevance, sustainability, and social impact. Tabassum’s Khudi Bari stood out for its simplicity and transformative potential. The project was praised by the award jury for embodying architecture that uplifts and empowers, especially in the face of climate displacement. It offers a scalable model for humanitarian housing, rooted in empathy and resilience. This is not Tabassum’s first time in the spotlight. She previously won the Aga Khan Award in 2016 for the Bait ur Rouf Mosque in Dhaka, a minimalist structure that redefined religious architecture through its use of natural light and brickwork.   Located in a low-income neighborhood, the mosque was celebrated for its spiritual ambience and community-centred design. That recognition marked the rise of a Bangladeshi voice of global significance, and her latest achievement further strengthens that legacy. Among those who celebrated her achievement was Nobel Laureate Professor Muhammad Yunus, Chief Adviser to the Government of Bangladesh. In a public statement, Yunus expressed heartfelt congratulations, calling the award “a source of great pride for Bangladesh.” The chief adviser commended Tabassum’s work on Khudi Bari as “brilliantly demonstrating how architecture can serve humanity with compassion and vision.” He emphasised that her design goes beyond aesthetics, highlighting dignity, resilience, and the power of human ingenuity to address the greatest challenges of our time. Yunus also reflected on her earlier triumph with the Bait ur Rouf Mosque, describing it as “a milestone that celebrated the timeless values of spirituality, community, and simplicity in architecture”. He acknowledged Tabassum’s ongoing service to the nation, including her role as Chairperson of the Bangladesh National Museum Governing Council and her consultancy on the July Uprising Memorial Museum. A photograph accompanying the message shows Professor Yunus speaking with Tabassum during a recent visit to the July Uprising Memorial Museum in Dhaka this year—a moment that underscores her continued engagement with projects of national significance.     Through Khudi Bari, Tabassum has once again placed Bangladesh on the global stage of creativity and social innovation. Her work transforms adversity into opportunity, offering hope and practical solutions to those most affected by climate change. With two Aga Khan Awards and a growing portfolio of socially driven projects, Marina Tabassum continues to redefine architecture—not just in Bangladesh, but globally—as a force for equity, resilience, and human dignity.   Written by Nibir Ayaan

Read More
Business Regular

Experience the Art of Perfect Flooring

Akij Ceramics has introduced the Panora series—a stunning collection of porcelain plank tiles designed for both residential and commercial environments. Panora offers streamlined proportions suited to contemporary interiors, with three sleek sizes: 20 × 80 cm, 20 × 120 cm, and 30 × 120 cm. These tiles feature designs influenced by the textures and elegance of natural wood and incorporate an anti-slip surface achieved through advanced Micro CID technology.     The subtle porcelain matte finish adds refined elegance, making them ideal for living areas, bedrooms, lobbies, kitchens, and exterior spaces. Panora’s design ensures visual harmony, complementing modern décor and architectural elements with clean, linear patterns. Beyond their refined appearance and quality, Panora tiles offer remarkable design flexibility. The sleek tiles can be arranged in a variety of captivating layouts, including: Offset (Brick Pattern): Rows of plank tiles are laid parallel but slightly staggered, creating a brick-like rhythm across the floor. Herringbone: Tiles are laid at 45° angles in a zigzag pattern, creating dynamic visual movement. Double Herringbone: An enhanced version of herringbone, where tiles are arranged in two-by-two blocks, offering a bold, textured effect. Chevron: Tiles are cut at an angle to form continuous V-shaped patterns, giving a sleek, modern appeal.     This versatility allows homeowners and designers to create unique flooring designs or feature areas that reflect individual style and creativity. Whether used for expansive floors or detailed accent areas, Panora stands out as a perfect fusion of function and artistry, transforming interiors into spaces that reflect both modern elegance and thoughtful design. With Panora, Akij Ceramics delivers porcelain plank tiles that combine versatility, sophistication, and contemporary style, making them a compelling choice for a variety of settings.

Read More
17th ISSUE Latest Issue

A Litmus Test for Bangladesh Economy

It began with a verdict. Not a speech, not a scandal—just a quiet ruling from Bangladesh’s judiciary. On June 5, 2024, the High Court reinstated a quota system for government jobs, reserving 56 percent of positions for specific groups, including descendants of freedom fighters. For many students, it felt like a door slamming shut.     Within days, campuses across the country stirred with frustration. The movement that followed—Students Against Discrimination—was born not in fury, but in resolve. Their rallies were orderly, their chants measured. But beneath the surface, tension simmered.   By early July, that tension boiled over. The protests evolved into the “Bangla Blockade,” a sweeping shutdown of roads and highways that paralysed the nation’s arteries. Buses vanished. Containers stacked up at ports. Supply trucks idled outside factories.   Dhaka’s markets emptied as perishables spoiled in the heat. Exporters missed deadlines. Small traders watched their earnings evaporate. What began as a student movement had metastasized into an economic crisis.   DEFINING MOMENTS June 5 | 2024 High Court reinstates quotas June 7-15 | 2024 Students begin peaceful rally, social media activism July 01 | 2024 Nationwide Bangla Blockade begins July 16 | 2024 Violent crackdown, leaving dozens killed Late July | 2024 FDI approvals drop 40%; export delays, gas shortages August 5 | 2024 Interim Government formed Sep–Dec | 2024 Interest hits 10%; ADP spending 49-year low Jan–Mar | 2025 Remittances peak; inflation eases; current account surplus Apr–Jul | 2025 Recovery phase: DSEX up 12.5%; exports rebound; MFS grows 64% August 5 | 2025  One-Year Anniversary     A Nation on Edge   On July 16 of 2024, the calm shattered. Security forces moved in with batons, tear gas, and live ammunition. The clashes were brutal. Ambulances raced through smoke-filled streets. Students lay bloodied on stretchers. Families camped outside police stations, desperate for news.   Independent monitors reported hundreds injured and dozens dead. The government disputed the numbers. But the images—broadcast across television screens and social media—left little room for doubt. The shockwaves were immediate.   Investor confidence collapsed. The Dhaka Stock Exchange saw its sharpest single-day drop in five years. Foreign direct investment approvals fell nearly 40 percent in the second half of 2024, according to the Dhaka Chamber of Commerce and Industry. The city, once buzzing with commerce, fell into a hush.     Three weeks later on August 5, an interim government was announced, led by Nobel laureate Muhammad Yunus along with a panel of technocrats and civil society leaders. Their mandate: restore stability, rebuild trust, and prevent further economic unraveling.   The Economic Aftershocks   The July Uprising, as it came to be known, left no sector untouched. While the garment and ceramic sectors bore the immediate brunt, the ripple effects extended far wider.     The banking system, already strained by years of financial irregularities, teetered on collapse. A post-uprising asset quality review revealed widespread non-performing loans and misappropriated funds, prompting the interim government to initiate recovery drives and liquidity injections. The Bangladesh Bank raised the policy rate to 10 percent to tame inflation and stabilise the exchange rate.   Net foreign direct investment (FDI) dropped to a five-year low in 2024, as global investors cited political instability and opaque regulatory frameworks. The World Bank flagged Bangladesh’s deteriorating investment climate, while local chambers warned that the budget lacked a clear roadmap for restoring investor confidence.   The energy sector faced dual shocks: gas shortages crippled industrial output, while privatisation efforts triggered an 18 percent hike in urban electricity tariffs, sparking fresh protests.   The mental health toll was staggering. A Bangladesh Medical University seminar revealed that 82.5% of injured protesters suffered from depression, and 64% showed signs of post-traumatic stress disorder, underscoring the long-term human cost of the crisis.     In the ceramic industry, 70 factories struggled to stay afloat. The Bangladesh Ceramic Manufacturers and Exporters Association (BCMEA) reported that gas pressure—critical for kiln operations—dropped to as low as 2 PSI in some zones, far below the required 15. Production stalled. Costs soared.   Their demands were precise: uninterrupted gas supply, priority allocation, compressor permissions, a five-year tariff freeze, and duty-free solar imports. None were met.   The garment sector fared no better. The Bangladesh Garment Manufacturers and Exporters Association (BGMEA) confirmed shipment delays averaging two weeks during the unrest.   Export Promotion Bureau (EPB) data showed a 7.8% decline in garment exports in Q3 of 2024. Buyers in Europe and North America have shifted orders to Vietnam and India. Smaller exporters faced penalties and lost contracts, according to the Bangladesh Knitwear Manufacturers and Exporters Association (BKMEA).   The Foreign Investors’ Chamber of Commerce and Industry (FICCI) called for stronger rule of law, faster customs clearance, and smoother approvals. The Bangladesh Chamber of Industries (BCI) highlighted the plight of agro-processors, many of whom faced wastage and layoffs. Their appeal: concessional loans and tax relief.   Even real estate, long seen as a safe haven, stumbled. The Real Estate and Housing Association of Bangladesh (REHAB) reported a sharp drop in property transactions, citing high registration fees, interest rates, and uncertainty over the Detailed Area Plan (DAP) revisions.   Across industries, the message converged: without urgent reform, Bangladesh’s hard-earned gains risked slipping away.   The Numbers Behind the Crisis   The numbers told a sobering story. By late 2024, exports faltered, imports shrank, and growth slowed to its weakest pace in years. The disruptions that began with student protests soon seeped into every corner of the economy, from factories to food markets.     Inflation surged through the summer, eroding wages and squeezing households already under strain. Though the pace of price rises eased the following year, the scars remained.   Construction sites went quiet, housing demand collapsed, and long-promised infrastructure projects were postponed. The slowdown was no longer abstract—it showed in half-finished bridges and shuttered shops.   Private investment also lost its footing. Business registrations dwindled, banks groaned under bad loans, and confidence withered. Even as revenue collection improved, it could not

Read More
17th ISSUE Latest Issue

The Spatial Journey of Architect Naimul Ahsan

Architecture begins with a dream, but its true value lies in design—making buildings easy to construct, comfortable to inhabit, and meaningful for those who live in them. This is the guiding principle of Naimul Ahsan Khan, founder of Spatial Architects, who spoke about his philosophy on a calm evening in his studio.     For Khan, architecture exists for the people. Simplicity is not just aesthetic but ethical—a way to make spaces accessible, functional, and enduring. His career, marked by both imagination and pragmatism, reflects this belief.   After graduating from BUET in 2006, Khan began his professional journey at VITTI Sthapati Brinda Ltd., while teaching at the University of Asia Pacific, later joining S. Islam Consultants to gain formative experience. Yet even before these formal beginnings, in 2005, he co-founded Matra Architects with three friends, working from a small room at Sher-e-Bangla Hall before moving to Kalabagan. Though the firm dissolved in 2009, it set Khan on the path to independent practice. That same year, he and his wife, architect Farzana Rahman, established Spatial Architects, which has since delivered over 200 projects across Bangladesh.     Khan’s design philosophy is rooted in modernist minimalism, inspired by Mies van der Rohe’s dictum “less is more.” But he translates this principle into a distinctly Bangladeshi context, using simple forms, local materials, and designs that respond to everyday life. Tagore’s words— “simple words are not easy to say”—resonate with him; simplicity in architecture is often the hardest to achieve. Influenced also by Arundhati Roy, who abandoned architecture because of its alienating language, Khan strives to make his work understandable to ordinary people.   This approach is evident in his most celebrated project, Shikor. More than a farmhouse, it is a journey back to rural roots, connecting four generations of the family it was designed for. The design process was deceptively simple: reinterpret elements of rural architecture in a universal, contemporary language. The project transformed the surrounding village, too—muddy roads were paved, solar lights brightened the nights, and a community library was built. “A city family reconnecting with their village changed the village itself,” Khan reflects.   In Chattogram, his Chandrapuray Kichukhon project challenges the dominance of isolated urban apartments. The nine-storey residence, designed for an extended family, revolves around courtyards, gardens, and communal spaces, reviving collective living in a dense city. “We won’t be here forever, but the memories will remain,” the clients told Spatial Architects—a vision the design honours.     Even religious projects follow Khan’s principle of restraint. In Narsingdi, the Baitul Mamur Mosque occupies a modest 55 by 25 feet plot. “It’s such a small piece of land—nothing conventional could be built, so we decided not to force anything,” he explains. Instead, perforated brick walls breathe, and a lightweight metal roof allows air and sunlight to flow freely, creating a spiritual space that feels open and alive.   Khan’s influence extends into education architecture. Working with the Education Engineering Department, he is reshaping rigid, prison-like school layouts into environments that foster joy, safety, and learning—a quiet revolution in the country’s classrooms.   His work has earned international acclaim: First Prize in the Fael Khair Programme International Competition (2009), the Gold Diploma at the Eurasian Prize (2021, Russia), Best of Best at the Architecture Master Prize (2021, California), and First Prize in the NESCO Head Office Complex Competition (2024). Yet for Khan, success is measured not in awards but in client satisfaction. “I want to put my clients first. Their satisfaction is my real achievement,” he says.   Sustainability, for him, is local. “Being local is sustainable,” he asserts, advocating for indigenous materials and designs that respond to climate, context, and community. Initially skeptical contractors come to appreciate the clarity of his solutions, and over time, he has built trusted teams of masons and builders who “understand his language”.   Khan is equally outspoken about urban planning in Bangladesh. “We’ve done master plans and detailed area plans, but what we need is urban design,” he insists, warning against overburdening Dhaka and urging development in other cities. He is critical of RAJUK, which he sees as prioritizing promotion over development, emphasizing that regulations must be transparent and serve the public.     Deeply influenced by Bashirul Haque and Mazharul Islam, Khan consults their work when in doubt. He admires contemporaries like Kashef Mahbub Chowdhury and Marina Tabassum, while following global figures such as Tadao Ando. He also champions architectural publications, asking, “A hundred years from now, how will people know what Bangladeshi architecture was like?” For him, publications bridge architects and the wider public.       Optimistic about the younger generation, he says, “They’re smarter than us. They don’t need our advice.” Yet he encourages students to study more about Bangladesh if they intend to practice locally.       Khan’s buildings do not compete for attention—they settle into their surroundings, listening to the land, the people, and the passage of time. For him, architecture is a lived experience, not an abstract statement. By making it easy to build, easy to inhabit, and easy to love, he has created a practice that resonates deeply with the essence of Bangladesh itself.   Written By Arefin Murad

Read More
17th ISSUE Latest Issue

Dhaka’s Moving Tribute to July Revolution

Pedestrians paused in silence, bus conductors gazed from their windows—some recognising familiar faces, others lost in painful memories. A powerful street exhibition in Dhaka displayed haunting images from Bangladesh’s July 2024 Mass Uprising, bringing the city’s recent trauma into public view.     “While traditional galleries in Dhaka often cater to only a certain class of people, a floating street exhibition was envisioned as a way to bring art into public spaces—making it accessible to people from all walks of life,” says Taslima Akhter, the acclaimed photojournalist and activist who organised the event alongside Pathshala South Asian Media Institute.   On August 11-12 of 2025, five exhibition vans set out from the Raju Memorial Sculpture at Dhaka University, bringing the story of the July Uprising to the streets of Dhaka, covering most of the significant spots where the revolution took place.   The key aspects of this floating exhibition were to demonstrate the participation of students, professionals, everyday people—especially women—and the significance of D-Day, August 5.     Creatively set up on vans, photographs and artworks were mounted on temporary house-like structures with striking red roofs, drawing the attention of day labourers, students, office workers, chauffeurs, and people from all walks of life—just as they once came together to free the country from the 15-year authoritarian regime under Sheikh Hasina’s government.   The vans stopped at key sites of the uprising, letting visitors engage with the images. Organisers admitted the street exhibition was challenging—but they were committed to reaching as many people as possible.   Originally planned to honour the martyrs on the uprising’s first anniversary, the exhibition was postponed due to logistical challenges. “What you see now is a collection of the works we were able to gather, with consent from the participating photographers,” said Taslima.     She further said how we’re not only fighting the effects of fascist ideology in our society, but also confronting it within our own thought processes.   In the past, many artists and photographers hesitated to share their work—uncertain whether to publish without captions, or anxious about choosing the right words. But now, we’re seeing more and more artists overcome that fear, driven by a collective urge to tell the truth through their work.     When asked about the downside of everyone having a camera in their hands today, Taslima shared a different perspective. On the contrary, she explained how portable devices have empowered not just photographers but everyday people to document history like never before.   If it weren’t for ordinary citizens, much of the horror of the July revolution across the country would have gone unseen. What was once a tool for personal use has now become a powerful instrument for capturing and sharing the truth.     Exhibitions like this mark a crucial shift in the power dynamics of information. They democratise memory, ensuring the story of the revolution belongs to everyone—not just a privileged few. They also remind us that art and photography are powerful tools of resistance and collective remembrance.   Written by Fariha Hossain Photo: Md. Rasel Ahmed  

Read More
17th ISSUE Latest Issue

Meghna Ceramic’s Fresh brand redefining Bangladesh’s ceramic industry

Sustainability, innovation, and design leadership define Meghna Ceramic Industries Ltd. (MCIL), a concern of Meghna Group of Industries (MGI).     Since its establishment in 2021 under the brand Fresh Ceramics, the company has rapidly grown into one of Bangladesh’s leading tile manufacturers while setting new benchmarks in responsible ceramic production.   Nestled in Ashariar Char of Meghnaghat, Sonargaon, Narayanganj — nearly 39 kilometres from the capital Dhaka — MCIL boasts the highest tile production capacity in Bangladesh at 51,000 square metres per day.     With cutting-edge machinery from the USA, Germany, Italy, and China, and Bangladesh’s longest kiln (261 metres) under a single shade, MCIL reflects both scale and vision.   But what truly distinguishes it is a deep commitment to sustainability and environmental stewardship, ensuring growth aligns with ecological responsibility and worker wellbeing.     Sustainability at the Core   AKM Ziaul Islam, chief operating officer at Meghna Ceramic, explained how Fresh Ceramics is working to remain true to its promise of “A Fresh Start to an Aesthetic Life.”   “We have designed our factory to minimise environmental impact while maximising efficiency.”   MCIL has taken six core initiatives: Zero Groundwater Dependency: Surface water treated in-house through a Water Treatment Plant (WTP). Wastewater is purified in an Effluent Treatment Plant (ETP) and safely discharged — ensuring a closed-loop water cycle. Emission-Free Operations: Kilns release only clean white vapour, with no carbon emissions or black smoke. Advanced Heat Management: Controlled heat systems eliminate external heat emissions, ensuring worker-friendly indoor conditions. Dust-Free Environment: A dust management system ensures minimal discharge, protecting workers and the community. Renewable Energy Integration: Solar panels feed into the company’s grid, reducing fossil fuel dependence. Daylight Optimisation: Architectural features reduce the need for artificial lighting, lowering electricity use.   Together, these initiatives underscore MCIL’s leadership in sustainable manufacturing and its role as a responsible industry pioneer.   “We designed the factory not only to protect the environment but also to ensure a safe, healthy, and efficient workplace for our employees,” Islam added. Vision and Growth   “The vision behind MCIL was to redefine aesthetic living in Bangladesh by offering high-quality ceramic tile solutions that combine durability, functionality, and design,” Islam said.     Fresh Ceramics started with small-sized tiles before expanding across all ranges and surfaces. Known for glossy tiles with exceptional smoothness, it became the first in Bangladesh to introduce a full line of double charge tiles in three market-winning sizes.   Building on that success, MCIL now offers matt and matt-carving tiles, with its R&D team pushing innovation to match modern lifestyles. Nationwide, the brand has built a robust distribution network through dealers, retailers, and exclusive showrooms.   Its flagship display centre, “House of Aesthetics,” opened in Dhaka’s Hatirpool, with another underway in Chattogram.   Innovation and Technology   Meghna Ceramic has invested heavily in advanced laboratories and modern systems, ensuring precision, durability, and design superiority. Its laboratory is currently the most advanced in Bangladesh, capable of analysing raw materials and finished products with extreme precision.   Social Responsibility   “Our parent company, Meghna Group of Industries, is actively engaged in a wide range of CSR initiatives, contributing significantly to community development across Bangladesh,” said the COO.   “Uniquely, we have introduced an insurance policy — the first of its kind in Bangladesh’s tile industry — for over 3,000 tile fitters, recognising their essential role in the sector.”   Along with this, every year the “Eid Express” campaign is organised, through which the group ensures safe travel for lower-income tile labourers, workers, fitters, and store assistants at dealer showrooms. MCIL also takes pride in other efforts that the group undertakes to contribute to society.   “We have currently employed over 1,500 people across our factory, sales, distribution, and support departments. Women are working side by side with men, ensuring an inclusive and diverse workplace,” Islam added.     Meghna Ceramic also maintains a clean, safe, and climate-controlled work environment, where skilled and semi-/non-skilled individuals are hired and provided with on-the-job training to help them gain industry-relevant skills.   Challenges and Resilience   The ceramic industry faces hurdles such as raw material dependency, volatile energy prices, and high taxation.     “Over 90 percent of essential raw materials are imported, making manufacturers vulnerable to global fluctuations,” said Islam. MCIL tackles these challenges by running efficient production lines, sourcing through diversified suppliers, adopting renewable energy, and advocating for supportive policies.   Market Leadership and Future Outlook     Domestically, Fresh Ceramics has become the highest-selling tiles brand in Bangladesh. MCIL is confident of entering global markets soon, backed by international-standard production and competitive pricing. Meghna Ceramic is preparing to expand into sanitaryware alongside new surface technologies and tile sizes. Its strategy balances nationwide reach with a growing focus on metropolitan and cluster markets. “We actively gather market insights and conduct R&D to drive innovation. Our future expansion is designed to make Fresh Ceramics a complete lifestyle solution for customers,” Islam said.   Ready for the Global Market   MCIL is not just building for the local market — it’s thinking globally. Its advanced production lines, strict quality control, and trend-driven designs make it a strong candidate for international success.     “From the ground up, we built MCIL with a global mindset. Our plant layout, automation level, lab testing capabilities, and product design are all geared toward international markets. We’ve already received interest from buyers in the Middle East and Europe,” said Ziaul.   He emphasised the brand’s international readiness and commitment to excellence.   “Fresh Ceramics is not just a local brand — it’s designed for global demand. Whether it’s product innovation or packaging, we’ve benchmarked ourselves against top-tier global producers. Our leadership believes that only those companies that combine innovation with responsibility will survive in the global arena.”   Leading with Purpose   With sustainability at its core, innovation driving its growth, and responsibility guiding its social impact, Meghna Ceramic Industries Ltd. is not just producing tiles — it is shaping the

Read More
17th ISSUE Latest Issue

Driving Tile Innovation in Bangladesh

Introduction: Bangladesh’s Ceramic Industry on the Rise   Over the past decade, Bangladesh has witnessed remarkable growth in its ceramic industry, particularly in the field of ceramic tiles. What was once a modest segment catering primarily to domestic demand has now evolved into a thriving sector, contributing significantly to the country’s industrial output, employment, and exports. With rapid urbanization, rising consumer aspirations, and infrastructural development across the nation, ceramic tiles have become a symbol of both practicality and modern living.     At the heart of this growth story lies a crucial but often less visible factor: the availability of high-quality raw materials, advanced technology, and reliable technical support. Without a steady supply of consistent, innovative, and globally benchmarked inputs, manufacturers would find it challenging to compete on quality, efficiency, and design. This is where Xphere Global has played a pivotal role through its flagship company, Vidres India Ceramics, driving innovation and providing dependable solutions that have reshaped Bangladesh’s ceramic landscape.   Equally important is the role of technology, where Kerajet, Spain, has emerged as a new alternative for world-class digital printing solutions. These advanced technologies are now being introduced to Bangladesh through Trans India Ceramics, the authorized distributor of Kerajet and another group company of Xphere Global. Together, this integrated approach ensures that manufacturers have access to not only the finest raw materials but also cutting-edge printing technology — empowering the industry to deliver tiles and tableware that meet global standards of design and performance.   Our Flagship Presence in Bangladesh: Building Trust Over 5 Years   A key milestone in the evolution of Bangladesh’s ceramic tile industry has been the entry of Xphere Global and Vidres India Ceramics, which forayed into this market five years ago. Since then, the company has established itself as one of the trusted brands in the sector, delivering reliable solutions that empower manufacturers to enhance quality, innovate with confidence, and stay aligned with global trends.   Through a blend of high-quality raw materials, consistency, and innovation-driven partnerships, Xphere Global and Vidres India Ceramics have contributed significantly to raising benchmarks in the Bangladeshi ceramic industry. Our efforts are not just about supplying materials — they are about nurturing long-term relationships and enabling manufacturers to bring world-class surfaces and finishes to both domestic and export markets.   Beyond Supply: Technical Support as a Differentiator   In the competitive world of ceramics, having access to raw materials is not enough. The real edge comes from knowing how to use those materials effectively to produce innovative, market-ready products. This is where our superior technical support sets us apart.   Collaborative Development: Our technical teams work closely with Bangladeshi tile manufacturers, helping them fine-tune formulations, experiment with new surfaces, and troubleshoot production challenges. This collaborative approach ensures that our partners are not just keeping up with trends but setting them.   Training & Knowledge Sharing: We conduct technical workshops, training sessions, and joint development programs to upskill local teams. By transferring knowledge and expertise, we empower manufacturers to push boundaries and explore new market opportunities.   Problem-Solving Expertise: From glaze application issues to kiln performance, our experts provide hands-on guidance, reducing downtime and ensuring smoother operations. For many manufacturers, this level of support is the difference between staying competitive and falling behind.   Technology Partnerships Driving Innovation   Alongside raw material excellence, technology plays a transformative role in defining the competitiveness of the ceramic industry. Here, Trans India Ceramics has emerged as a crucial partner, serving as the official distributor for Kerajet S.A., Spain.   Kerajet is recognized globally as a pioneer in digital printing technology, delivering highly effective printing solutions that cater to both the ceramic tile and tableware industries. By bringing this cutting-edge technology to Bangladesh through Trans India Ceramics, manufacturers are now empowered to produce tiles and tableware with superior design precision, versatility, and efficiency, ensuring they meet the evolving demands of both domestic and international consumers.     This synergy of world-class raw materials, robust technical support, and state-of-the-art printing technology positions Bangladesh’s ceramic sector to compete confidently on the global stage.   Leveraging Global Trends for Local Growth   Ceramics is a truly global industry, with trends often originating in Europe, the Middle East, or Asia before spreading worldwide. Our presence in multiple international markets gives us a unique vantage point to bring global insights into the Bangladeshi context.   Some of the key global trends we have been helping Bangladeshi manufacturers embrace include:   Large-Format Tiles: Growing popularity of slabs and large surfaces for modern architecture and interiors.   Eco-Friendly Production: Increased demand for sustainable, low-carbon processes and recyclable materials.   Digital Printing & Advanced Surfaces: Innovative printing technologies creating wood, stone, and marble-like finishes.   Functional Surfaces: Anti-slip, antibacterial, and easy-to-clean finishes gaining traction with health-conscious consumers.   By aligning our raw materials and technical services with these trends, we enable Bangladeshi producers to compete not only in domestic markets but also internationally, enhancing the reputation of “Made in Bangladesh” ceramics.  

Read More
17th ISSUE Latest Issue

CERAMIC FORUM SPARKS BANGLADESH-CHINA INDUSTRY SYNERGY

In mid-July, Dhaka hosted the Asian Ceramics Technology 50 Forum at Hotel Amari’s Eden Grand Ballroom, marking a pivotal moment for Bangladesh’s ceramic industry.     The event gathered leaders from Bangladesh and China to explore innovation, efficiency, and cross-border collaboration under the theme “Product Quality & Production Efficiency Enhancement and Investment Opportunities in Bangladesh – Win-Win Cooperation.”   Delivering the welcome address, Irfan Uddin, general secretary of the Bangladesh Ceramic Manufacturers and Exporters Association (BCMEA), emphasised knowledge-sharing and sustainable growth.   Praising China’s global leadership in ceramics, he said their participation reflected a shared commitment to regional cooperation.   Chief guest Md Mamunur Rashid FCMA, acting BCMEA president and additional managing director of X Ceramic Group, highlighted the forum’s role in strengthening Bangladesh-China ties through joint ventures, technology transfer, and strategic investment.   “Forums like this serve as a powerful platform for dialogue, innovation, and mutual growth,” he said, citing supportive government policies.   The first technical session, chaired by Mohd Ziaul Hoque Zico, director of BCMEA and CEO of Hua Thai Ceramics, focused on quality and efficiency.   Speakers included consultant Engr. Sadat H. Talukder and Luo Fei of Foshan Uniceramics Development. Discussants Saidur Rahman Khan of Akij Ceramics and Yang Shuilan of Foshan Lang Kun Electromechanical added insights.     Yang noted rising consumer demand and costs, stressing that “quality and efficiency are not trade-offs but the double-helix genes of survival,” citing intelligent kiln control and AI visual inspection.     Talukder pointed out Bangladesh’s low global market share—0.48% in tableware, 0.005% in sanitary ware, and 0.001% in tiles—despite resources, urging advanced kiln technologies, solar integration, and skill development.   Khan said quality depends on customer satisfaction, warning that internal and external failures drive up costs, making productivity gains essential.     The second session, chaired by Mahin Bin Mazher, adviser to BCMEA and MD of X Ceramic, explored cost reduction and tile performance.   Mohammad Bayazed Bashar of DBL Ceramics proposed using locally sourced liquid sodium silicate to cut costs by 50%.   He showcased DBL’s zero-waste strategy and cogeneration initiatives that saved 18.8 million standard cubic metre of gas—worth $1.2 million—with pilots targeting net-zero emissions by 2030.     Liu Zhanjie of Foshan Uniceramics noted Bangladesh’s rising output. In 2023, the country produced 280 million square metre of tiles and 16 million sanitary ware pieces, with per capita tile consumption at 1.65 sqm—far below China’s 6.9 sqm in 2017   He projected tile output could reach 700–840 million sqm and sanitary ware 40–48 million pieces in a decade.   AKM Ziaul Islam of Meghna Ceramic stressed lowering costs and boosting efficiency, citing the sector’s evolution since 1984 and labour advantages.   Sun Bowen of Zibo Huayan detailed high-strength ceramic rollers and shuttle kiln technology, with 1.5 million-piece annual capacity.     The final session, chaired by Dr Md Anwar Ullah FCMA, featured Md Mominul Haque of LankaBangla Investments, who cited GDP growth of 3.8–3.97%, inflation easing to 8.48%, and reserves rebounding to $31 billion.   He noted Bangladesh’s emergence as the 9th largest consumer market by 2030. Muhammad Nazrul Islam of Sandhani Life Finance urged foreign investment, citing high dividend yields.     Joanna Sun of Tangshan Hexiang highlighted sanitary ware expertise and 536 patents, including 37 inventions.     The forum concluded with a shared vision: Bangladesh-China cooperation can drive innovation, reduce costs, and elevate Bangladesh’s ceramics industry to global prominence.   Photo: Courtesy   Written by Sajibur Rahman

Read More
17th ISSUE Latest Issue

Industry Leaders Unite for a Greener Bangladesh

A Call for Sustainable Transformation   On January 30, 2025, the Sheraton Hotel in Dhaka hosted “Shaping Bangladesh: Designing Tomorrow, Building Today”, a landmark event organised by Ceramic Bangladesh Magazine. It brought together leaders from construction, real estate, and ceramics to champion sustainability and innovation in response to environmental challenges.     Thought Leadership for a Greener Future    As part of the series “Innovating for a Sustainable Future II”, the multi-panel format featured experts from ceramics, cement, and real estate.   Moderated by Dr. Amir Ahmed of Daffodil International University, the panels included Muhammad Badrul Hassan (BBS Cables), Salehin Musfique Sadaf (GPH Ispat), Architect Faysal Ahmed (Concord Real Estate), AKM Ziaul Islam (Magna Ceramic), Mohammad Khorshed Alam (Akij Bashir Group), Asadul Haque Sufyani (Metro Cement), and Babor Hossain (Khadim Ceramics).   Key Recommendations for Sustainability      Panelists urged greater investment in R&D to reduce reliance on imports and foster local innovation. They called for collaboration across sectors to promote recycled materials and eco-friendly components.   Suggestions included using fly ash and slag in cement, adopting hybrid or electric furnaces, and implementing energy-efficient manufacturing.   Smart Materials and Policy Reform      Experts advocated for smart glass technologies—low-E, solar, and self-cleaning—to boost building efficiency. They also recommended policy reforms to protect local manufacturers from zero-tariff imports and emphasized the need for government-run clay mines to secure raw materials for ceramic production.   Bangladesh’s Tile Industry Comes of Age    AKM Ziaul Islam highlighted the tile industry’s evolution since 1984. “We started with 100 mm tiles in one color. Now, we export to the USA,” he said. Despite high production costs, innovation has improved working conditions and sustainability, making the industry globally competitive.   Real Estate and Domestic Innovation    Architect Faysal Ahmed reflected on the sector’s overreliance on imports between 2000 and 2015. He stressed the importance of collaboration among architects, engineers, and academics to develop sustainable materials locally and reduce dependency on foreign technologies.   Material Optimization for Environmental Impact  Salehin Musfique Sadaf emphasized that optimized material use can reduce emissions and speed up construction. “Using 15,000 kg of cement instead of 20,000 kg without compromising strength means real sustainability,” he explained.   Rethinking Cement and Energy  Asadul Haque Sufyani discussed the carbon footprint of cement production and promoted fly ash and slag as eco-friendly alternatives. He stressed the need for affordable, sustainable materials and energy-efficient technologies.   Energy Crisis and the Future of Glass      Mohammad Khorshed Alam raised concerns about gas shortages affecting glass furnaces. He urged investment in hybrid furnaces and advanced technologies and called on architects to incorporate more locally produced glass to avoid overcapacity and unsold stock.   Ceramic Bricks: A Smarter, Greener Choice    Babor Hossain showcased ceramic bricks’ advantages over handmade red bricks—lower water absorption, higher strength, and reduced structural load. “They were used in national landmarks and can cut construction costs by 13 percent,” he said, advocating for government-run clay mines to sustain innovation.   A Unified Path Forward    The event concluded with a call for synergy among policymakers, industry, and academia. With rising climate risks and infrastructure demands, embracing innovation is not just strategic—it’s essential.   Photo: Courtesy

Read More
17th ISSUE Latest Issue

Create your story in the alley of Kalabagan

magine walking down a road in a residential area when suddenly an old brick gateway catches your attention. A softly lit alley leads you towards a small, cosy restaurant with a beautiful antique and warm ambience.     Located right beside the popular “Tea & Tea” restaurant and owned by the same person, this place remains crowded most of the time. Youngsters keep the restaurant lively throughout the day, while in the evening and at night families usually come here to dine. The cosy environment, ambience, décor, and food, everything is bound to make your time memorable.     Architect Hashim Reza Opu, principal architect of Arch_Station, is the designer of this beautiful restaurant. He shared with us the design journey, concept, theme, and challenges. Designing a restaurant in such a compact area, only 12 by 23 feet, or 550 square feet in total, while accommodating seating, a counter, a spacious kitchen, an attached toilet, and even a semi-outdoor smoking zone, was a huge challenge.   The building was old, and the designer wanted to keep its essence intact. Creating an antique-themed restaurant within a limited budget and compact space was also demanding. To meet the challenge, he began with the layout plan. By removing partition walls, he created a free-flowing space for the main dining area.   Ar. Opu said, “Creating a memory, creating a story was the main concept of the design. Stories can be of many types — rock story, sad story, soft story, museum story. But what I wanted to tell was an old story. Kalabagan is a nostalgic place for many. People have memories here. I wanted to preserve that memory.”   The walls, with plaster falling off in many places, were preserved in their natural undulated patterns. A basic colour coat was applied to the brick portions, and the lower plastered layer was finished with a thick skim coat in the colour of old lime plaster. This undulation gives the walls the vibe of a broken hill.   Seating was carefully designed with ergonomics in mind. Sofa heights were adjusted for comfortable dining, and circulation was kept clear. Multiple seating modules make the compact space versatile: couple seating, four-person arrangements, and cluster options where two four-person tables can easily host eight.     There’s also a single chair tucked into a corner by a bookshelf, where someone can sip a drink and read; either a book, or simply the whole atmosphere of the place.   The handcrafted, polished tables are beautiful enough to spark curiosity about their story. Every detail starting from the tables to the antiques on the wall, from the windows to the ceiling ribs is thoughtfully designed to capture attention.   The window grills, repurposed from the upper floors, were painted in vintage green and white. The ceiling features wooden ribs reminiscent of old zamindar houses, with concealed lighting that creates a warm ambience. The lighting adapts to the crowd, with three different moods: concealed ceiling lights, hanging lamps above tables, and directional spotlights highlighting the exhibits.     The walls act as canvases, displaying art and antiques: rickshaw wheels with strip lights, a striking wood carving of a woman, an antique clock, a heavy bell, and more. Solid doors were partially replaced with glass, creating curiosity and ensuring visibility of the place.   On one wall, an “urban elevation” was designed with two doors and two windows, and even a vintage grill was placed on a closed wall to continue the elevation effect.   The counter is particularly unique. Built from the bricks of the existing walls, it alternates layers of wood, brick, and lime plaster, with lighted glass voids in between. This experimental design turned out beautifully. Behind it, a compact 8-by-12-foot linear kitchen supports the operation.   One highlight is the “Van Gogh Corner,” where a large Café Terrace at Night painting adorns the wall. This veranda-like space serves as a smoking zone and makes visitors feel as though they are inside the painting.   The artwork extends into the seating area and lighting, with warm illumination falling on stone flooring below. Every small detail contributes to the crafted atmosphere. The walkway, handmade with brass concrete textured using nails, is designed like a landscaped path inside a city alley.   From its entryway to its tiniest detail, the restaurant tells a story; a story of memory and nostalgia, enriched with antiques and thoughtful design. The alley of beautiful memories is waiting for you in Kalabagan.   Written by Sadia Tarannum

Read More
17th ISSUE Latest Issue

A Legacy Written in Brick and Trust

In 1992, when Dhaka’s middle class was just beginning to dream beyond modest apartments, a quiet vision began to take root. It was not about towers or market share but something simpler: “We stand for more than just buildings. We stand for trust, quality, and long-term relationships,” said Wasif Shamsul Alamin, Executive Director of Shamsul Alamin Group.     That ethos, inherited from his grandfather, has since grown into one of Bangladesh’s most enduring real estate legacies.   From its official founding in 2003, Shamsul Alamin Real Estate Ltd. built its reputation project by project, with a principle as straightforward as it was profound—do what you promise.   “Our reputation wasn’t built on advertising slogans; it was built on living up to our core principles of trust and quality, project after project,” Wasif explained.   Today, with more than 50 completed projects across Dhaka, the company’s presence stretches from Gulshan and Banani to Uttara, carrying forward a legacy of care, not just construction.   Resilience in a Changing Market   The journey has not been without challenges. Financing remains a major obstacle, as higher bank rates strain both buyers and developers. Rising costs of steel, cement, and land add further pressure.     Yet the company continues to innovate, exploring modern methods like steel-frame construction and embedding sustainability features such as rainwater harvesting and energy-efficient materials.   “We’re not driven by volume or profit. We’re driven by purpose—to create high-standard, thoughtfully designed living spaces,” Wasif said, underscoring how the firm positions itself in a market projected to reach $3.53 trillion by 2028.   Living Spaces with Soul   In Baridhara’s diplomatic enclave, the company’s philosophy finds expression in Alamin Tonmoy, a residential project that feels more like a sanctuary than a structure. With its lush greenery and private, one-apartment-per-floor design.   Tonmoy embodies what Wasif describes as “homes, not just properties”—spaces where life breathes and privacy thrives.     Back in Gulshan 1, Alamin Angur offers another lens into the company’s vision. Its three-bedroom residences reflect tranquillity and family living, designed for those who value both space and community. Angur demonstrates the company’s sensitivity to everyday life in Dhaka, marrying functionality with understated elegance. Workspaces for a Modern City   If Tonmoy and Angur show the company’s care for private living, its commercial ventures display equal attention to the rhythm of modern business.     In Banani, A&A Alamin Business Bay reimagines what a workspace can be. With thermal glass façades and wellness- oriented design, it is less about corporate square footage and more about creating an environment where businesses flourish holistically.   At Kakrail, Alamin Capital Square rises with quiet confidence. Its design balances aesthetics with longevity, providing corporate tenants not only modern facilities but also a sense of permanence. From prayer spaces to community floors, the tower reflects a corporate philosophy grounded in dignity and practicality.   Further north, in Uttara, Plaza 15 stands as a landmark of accessibility and commerce. Along the wide Gareeb-E- Newaz Avenue, the development’s positioning makes it a hub where business meets community. Its scale and convenience are matched by a forward-looking approach to safety, offering Dhaka’s new commercial class both ambition and assurance.   Problems that Demand Solutions   Yet behind this skyline of promise lies a sector grappling with deep-rooted problems. Financing remains perhaps the most pressing.   As Wasif explained, interest rates on home loans now hover between 9 and 18 percent, making mortgages unaffordable for many aspiring homeowners. Developers, too, feel the squeeze as project financing grows increasingly expensive.     “We saw the positive impact when government pushed for single-digit housing loans,” he recalled. “Those initiatives truly stimulated demand. To keep this growth going, we need a similar approach.”   Land scarcity in Dhaka adds another layer of complexity. Prices continue to soar, putting pressure on companies committed to affordability.   Add to this the volatile costs of raw materials—cement, steel, glass—and the challenge of offering high-quality housing at reasonable prices becomes all the more daunting.   For firms like Shamsul Alamin Real Estate, the task is not only to build but to do so within constraints that demand creativity and resilience.     A Sector of Immense Potential Still, the potential of the sector is undeniable. With rapid urbanisation and a rising middle class, demand for housing remains resilient—even in the wake of global disruptions like COVID-19.   Over the past 15 years, Bangladesh’s real estate market has witnessed remarkable growth, now valued at $2.68 trillion and projected to expand to $3.53 trillion by 2028.   “Urbanisation and rising incomes are driving huge demand for homes. The numbers speak for themselves,” Wasif observed, framing real estate as not just an economic driver but a reflection of the nation’s transformation.       Charting a Way Forward The solutions, according to Wasif, must come from both industry and policy. Innovation in design and construction can help lower costs and speed up delivery. Techniques like steel-frame building, once an experiment, are now becoming viable tools for efficiency. Sustainable features—energy-saving materials, green spaces, rainwater harvesting—are being embedded not just for environmental reasons, but because they reduce long- term living costs for homeowners.   Policy, too, must evolve. Affordable, long-term mortgage schemes would unlock home ownership for middle-income families, while easier access to credit for developers could keep projects moving forward.       Collaboration between state and private sector, Wasif argued, is the key to ensuring that the housing dream remains within reach for millions of Bangladeshis.   Building More than Structures   For Wasif, the mission is deeply personal. “Working in this company means being part of something bigger than just business—it’s about contributing to a legacy of honesty, care, and creating lasting value in people’s lives,” he said.     In his words, real estate is not about concrete alone—it is about the dreams of families, the pride of ownership, and the future of a city that is still writing its skyline.   Shamsul Alamin Real Estate

Read More
17th ISSUE Latest Issue

SACMI Continua+ Veloce: unmatched productivity

Available on all models, this new configuration delivers higher speeds and output rates up to 35,000 square meters per day. Further new features: it’s now possible to produce fired slabs up to 200 cm wide, with all the intrinsic advantages of a technology that sets the industry standard for productivity, versatility and low consumption. The number of solutions sold worldwide is now fast approaching 200.     More productivity, less waste and lower consumption are the hallmarks of SACMI ceramic plants. Now, the Continua+ Veloce configuration takes those advantages to the next level.   With this latest hyper-productive PCR version, the world-leading Continua+ slab and sub-size manufacturing technology now delivers higher speeds and a productivity up to 35,000 m2 per day for single machine.   Now available on all PCR models, the Veloce configuration enhances the intrinsic advantages of this technology: for example, with the increased productivity, specific consumption at the compaction stage – already the world’s lowest – drops to just 0.04 kWh/m2.   And there’s more. It’s also possible to combine the Veloce configuration with a broader compaction front to let manufacturers produce fired slabs up to 200 cm wide, vary thickness from 3 to 30 mm and obtain potentially infinite lengths.   The increasingly popular Continua+ (the number of solutions sold worldwide is fast approaching 200) continues to be the leading ceramic slab and sub-size production technology. On Continua+, in fact, compacted scrap is always less than 1.5% regardless of the size, with all of it able to be recycled back into the process. Recipes and settings can be controlled flexibly via the operator panel, while motor-driven size changeovers maximize efficiency when handling complex, diversified production mixes.   Quiet, easy to manage and with powerful results, Continua+ also reduces hydraulic oil requirements by over 90% compared to traditional or discontinuous presses.   Slow, controlled de-airing ensures product uniformity and consistency, resulting in versatility with all body types and outstanding quality: a vital finishing touch to a solution that lies at the heart of the SACMI ceramic plant.   More power, more control: alongside the latest Continua+ configurations, customers can also enjoy the advantages of new process control devices such as Optima+, part of the broad range of vision systems with which SACMI completes digitalization of the plant, simplifying its running while reducing the need for manual tasks.    

Read More
17th ISSUE Latest Issue

Gruppo Tecno Ferrari S.p.A.

Gruppo TecnoFerrari S.p.A. is a leading Italian company with over 55 years of experience in manufacturing and supplying industrial automation for ceramics.     The company’s product range includes – Handling and storage systems – Intralogistics solutions – Digital printers – Vision, quality control, and end-of-line systems   Thanks to the high-quality know-how, TecnoFerrari extends its service to all manufacturing sectors, with a focus on ceramics, automotive, glass, food and beverage, paper and tissue. TecnoFerrari guarantees maximum plant reliability and the efficiency of highly customized solutions.   New Product Details   TecnoFerrari introduces a new way of digital decoration and application. The Decora line-up includes super-rigid monocoque frames with configurations that can accommodate 2, 8 or 12 colour bars, offering flexibility to design an optimized decoration line.   Decora 2 takes the concept of flexibility to the next level by allowing the enrichment of the ceramic surface through the use of functional inks. It offers a new way of digital glazing. Same layout, same raw materials, but different effects.   Unique Features: Compact, Flexible and Movable.   Uses: Ideal for creating special effects and functional surfaces.   Benefits: No more static images: each product becomes a unique, personalized piece. This technique delivers outstanding performance, especially in the production of structured or functional surfaces, combining the mass of material with the definition of the printed design. It can synchronize with existing printing machines, enabling optical centering of the image on tile.

Read More
Business Regular Spotlight Regular

A Showcase That Brings Dreams to Living Rooms

At big housing expos, the noise is usually deafening — developers pitching, buyers bargaining, stalls glittering with scale models of shiny towers. This year, the spectacle has gone quiet. The DBL Ceramics Online Housing Fair, hosted by Prothom Alo Digital, opened on August 25 with only a small ceremony at Hotel Sonargaon, while most of the action unfolds on computer screens and phones.     Over the next ten days, until September 3, prospective buyers can browse more than 256 projects from 38 housing companies on abashonmela.pro. The listings include 283,000 kathas of land, 5,230 flats, and 412,000 square feet of commercial space — all available to explore without leaving home. The fair’s slogan captures the idea simply: “The Opportunity Has Come Again. Find Your Dream Home from Home.”   A Digital Market for a Stubborn Dream   Bangladesh’s appetite for land and housing has never been small. In a country where urbanization runs ahead of infrastructure, the dream of owning a flat in Dhaka remains one of the most powerful middle-class aspirations. Families save for years, often with support from relatives abroad, only to find that prices have risen faster than their savings. With national elections due in February, many are waiting for signs of stability before taking the plunge. Against this backdrop, the launch of an online housing fair offers more than just marketing. It is, for many, a way to keep the dream alive.     “Organising an online housing fair was a new idea in Bangladesh,” said Matiur Rahman, Editor and Publisher of Prothom Alo, at the inauguration ceremony in Dhaka. “Through it, we even gained international recognition.” He acknowledged the pressures the industry now faces. “The housing sector is going through a crisis, largely because of the political transition a year ago,” he said. “Every political change affects business. We hope that after the coming election, a new government will create the stability we need to move forward.”     “The world is moving forward rapidly,” said MA Quader, Deputy Managing Director and Group CEO of DBL Group. “Whether in Dhaka or abroad, you can now search for flats and plots online. That opportunity is a gift.” For many, the gift is convenience. For developers, it is survival. With traditional sales slowing, the fair offers visibility at a time when foot traffic to offices and showrooms has dwindled. Shoppers browsing from London or Singapore can now weigh Dhaka apartments with the same ease as airline tickets. A growing diaspora, sending billions in remittances each year, is becoming a crucial customer base. “Earlier, you had to call an uncle or cousin to check on a property,” said one Dhaka-based banker. “Now you can compare projects in minutes. That changes everything.” “The online housing fair has brought a new wave of enthusiasm to the sector,” said Md Wahiduzzaman, President of REHAB. “Our members   are eager to take part, and interest will only grow in the future as people can now search for their preferred flats from the comfort of home.”     Cracks in the Foundations Yet the optimism is tempered. Executives across the sector point to one persistent obstacle: the Detailed Area Plan (DAP) for Dhaka, which limits the height of new buildings across 80 percent of the city. “Since the new DAP notification, the housing sector has been paralysed,” the REHAB president said. “Our members face restrictions that make new projects difficult.” A recent government meeting on potential revisions has raised hopes, but until decisions are finalised, developers remain cautious. “If the revisions are confirmed next month, businesses will be able to work again,” he added. The debate over DAP is not just technical. It touches on the core dilemma of Dhaka: a city bursting with people but running out of space.   Environmentalists argue that unchecked vertical growth could worsen congestion and strain utilities. Developers counter that without high- rise flexibility, affordable housing will vanish. At the same time, bankers and financiers know the larger picture cannot be ignored. Loans are harder to secure, construction costs remain high, and global uncertainties feed into domestic anxieties. Still, the fair pushes ahead, offering a window into what is possible when policy, finance, and consumer demand align.   A Ballroom of Deals and Dreams     The launch night itself mixed hard economics with ceremony. Executives from IPDC Finance, Eastern Bank, Hatil, Angan Developments, Chhuti Resort, Haque Home and Builders, Onward Developers, and Shopnonibash Group took the stage. Their speeches circled back to the same themes: resilience, innovation, and the promise of stability.   “I am very optimistic,” said Quader of DBL Group. “After every night comes the morning and sunrise. We are waiting for that day.” The fair’s format reflects this optimism in action. Visitors logging on to abashonmela.pro can sift through offerings ranging from compact apartments to sprawling land plots. They can compare financing packages from Eastern Bank and IPDC Finance. They can weigh furniture solutions from Hatil or imagine a holiday escape at Sea Pearl Beach Resort, a co-partner of the fair. It is part commerce, part imagination: the picture of a different life assembled from a grid of images and brochures. For some, that picture might mean a first family flat in Mirpur; for others, a gated community on the city’s northern edge.     A Who’s Who of Builders The roster of participants this year reads like a directory of the sector’s leading names: Amin Mohammad Foundation, Rangs Properties, Edison Real Estate, Tropical Homes, Anwar Landmark, Asian Duplex Town, JBS   Holdings, North South Group, Credence Housing, Swapnonibash Assets, Bhaiya Group, Concord Group, Nest Developments, Doyel Development Properties, Team Developers, Eminence Technologies, Unimass Holdings, Haque Home and Builders, and Pinaki Holdings. For them, the fair is not just a sales platform but a chance to signal staying power. In a fragile market, visibility matters, and buyers often look for reassurance as much as bargains. “We want to show that we’re still here,” said one developer privately. “That continuity matters in

Read More
16th ISSUE Featured Latest Issue

Designing with Light Living with Heart Architecture of Ziaul Sharif

In the narrow lanes of early 1990s Dhaka, a young boy paused in front of construction sites and miniature models displayed on black-and-white television sets. These fragments of the city—raw, unfinished, full of potential—captured his imagination. For Ziaul Sharif, architecture began not in a classroom, but in the rhythm of passing buildings, the dance of light on brick, and a deep curiosity about how spaces are made.     Now the founder and principal architect of Vuu-Maatra Consultants, Ziaul Sharif is shaping a quietly radical vision for contemporary architecture in Bangladesh—one where light, air, greenery, and local wisdom are not design options, but essentials. A Creative Foundation Born in Rajshahi and raised in Dhaka, Ziaul Sharif grew up in a home where intellect and creativity were part of daily life. His father, MM Shahidullah, practised law with conviction; his mother, the late Mrs. Shireen Shahid, fostered a home filled with music, art, and community spirit. From teaching music to children at Ghashful Khelaghar Asor to painting and acting, Sharif’s early exposure to the arts enriched the spatial sensibility that now defines his work. After completing his education at Rayer Bazar High School and Dhaka City College, Sharif pursued architecture at BUET, one of Bangladesh’s most respected institutions. There, he studied under the renowned Professor Shamsul Wares and found himself drawn to the work of Louis Kahn—especially the National Parliament Building, whose poetic use of space and light remains a lasting influence.     Design as Responsibility Sharif’s early professional journey included stints with Bashirul Haque & Associates, Indigenous Architects, and Nandan Architects. In 2006, he took on the resident architect role for Westin Dhaka, a five-star hotel project that refined his understanding of scale and detail. But it was in 2008, with the founding of Vuu-Maatra Consultants, that his practice truly found its voice. Today, the studio is home to 15 designers, architects, and engineers, and their portfolio spans from high-rise commercial buildings to hotel interiors and private residences. But what sets the firm apart isn’t the scale of its projects—it’s the intention behind them.     “We don’t just design buildings,” says Sharif. “We design environments for life. For growing up, resting, healing, thinking. For breathing.” This approach is deeply humanistic, rooted in the belief that architecture has a profound impact on the mental and physical well-being of its occupants. In a city where poorly ventilated, densely packed housing is the norm, Architect Ziaul Sharif advocates for an alternative: buildings that breathe. Vasat Vita: A Living Prototype Nowhere is this philosophy more evident than in Vasat Vita, Architect Ziaul Sharif’s residence and studio in Dhaka’s Aftabnagar. Completed in 2022, this three-storey structure sits on a compact 200-square-metre plot but opens inward to an expansive experience of air, light, and greenery. Built with passive cooling principles inspired by Vaastu Shastra, the building features a central courtyard open to the sky, a waterbody that moderates internal temperatures, and a layered brick façade that filters sunlight while ensuring privacy. A ribbon of plants tucked between the perforated brick shell and the glass wall brings nature directly into the building’s envelope. “Vasat Vita is not just a home or an office,” Sharif explains. “It’s a lab for ideas. A demonstration of how we can live better, even in the tightest corners of Dhaka.” The project was recently featured in ArchDaily, highlighting its relevance not just to local contexts but to global conversations about compact urban sustainability, thermal comfort, and culturally responsive design. Architecture for People Architect Ziaul Sharif’s commitment to accessible design extends beyond his client list. Through Vuu-Maatra, he has initiated a pro-bono programme to offer free architectural services to families who cannot afford professional help. Projects in Khulna and Kushtia, including a residence for Aarti Rani Mandal, are built on this ethos of design as dignity—ensuring that even modest homes receive the same care and thought as luxury hotels. This vision challenges the long-held assumption that architecture is a service for the elite. “Everyone deserves a well-designed home,” Sharif insists. “Good architecture shouldn’t be a privilege. It’s a necessity.”     A Future Rooted in the Past Sharif’s work draws as much from memory as it does from modern techniques. He recalls walking past old brick buildings in Old Dhaka, noticing how they aged gracefully, filtering air and light through intricate jaali patterns. These early experiences now manifest in his façades, his ventilation strategies, and his material choices. In an era obsessed with glass towers and instant spectacle, Ziaul Sharif’s architecture is refreshingly quiet. It invites you to pause. To feel. To notice how the air moves, how shadows stretch, and how a space can hold you gently. With every project, Sharif is not just building structures—he’s building the belief: that architecture can be beautiful, democratic, sustainable, and deeply personal. Vuu-Maatra Consultants is currently expanding its portfolio across Bangladesh, continuing its mission of designing with empathy, responsibility, and rooted imagination. Written by Fatima Nujhat Quaderi

Read More
16th ISSUE Spotlight Regular

Reviving the Roots: Conservation & Restoration Progress Reflections by Conservation Architect Abu Sayeed M Ahmed

At the anniversary celebration of Ceramic Bangladesh Magazine, esteemed conservation architect and heritage specialist Abu Sayeed M Ahmed presented “Reviving the Roots: Conservation and Restoration Progress”—a heartfelt journey through two decades of architectural conservation across Bangladesh. With vivid images and powerful anecdotes, he reminded the audience that conservation is not about romanticising ruins—it is about safeguarding identity, craftsmanship, and cultural continuity in a nation at risk of forgetting itself.       “Every day in Dhaka, a piece of our heritage vanishes. Buildings are bulldozed in the name of development. But without roots, how can we grow a future that is truly ours?” Bringing History Back to Life Nimtali Deuri & Naib-Nazim Museum, Dhaka Abu Sayeed M Ahmed’s first major restoration was the late Mughal-era Nimtali Deuri in Old Dhaka. Hidden under layers of plaster. The restored gateway now houses the Naib-Nazim Museum, commemorating the deputy governors of Dhaka and reflecting a revived connection between the city and its Mughal past.       Uttar Halishahar Mosque, Chattogram This 200-year-old mosque was facing demolition for modern expansion. Upon assessment, its authentic Mughal character became evident. Abu Sayeed’s team removed inappropriate cement layers, dismantled an added veranda, and re-clad it in traditional lime and surki. Locals now call it a “Gayebi Mosque”—as if it reappeared by miracle. Nearby, a new mosque by Architect Kashef Mahboob Chowdhury respectfully contrasts the old, echoing its jali motifs in modern concrete. Hanafi Jame Mosque, Keraniganj Once a modest family-owned mosque, it gained global recognition after restoration—winning a UNESCO Award. A new mosque built adjacent to it by Architect Kashef Mahboob Chowdhury, with full visibility of the old structure—offers a striking example of architectural dialogue between past and present, tradition and transparency. Rediscovering Rural Heritage Buraiich Maulvi Bari, Faridpur Neglected and engulfed by vines, this ancestral home seemed destined for ruin. Through sensitive restoration, it has been transformed into a heritage Airbnb, preserving its traditional character while offering economic sustainability. Period furniture, handpicked materials, and contextual storytelling give visitors a window into Bengal’s rural past. Mithamoin Kachari Bari, Kishoreganj This decaying administrative house—once thought beyond repair—was restored to reflect its original civic purpose. From a wild, overgrown ruin, it emerged as a dignified reminder of regional governance and colonial-era architecture, now serving as an active public building. Urban Civic Revival Narayanganj Municipal Building Among Bangladesh’s earliest municipal structures, it was at risk of being replaced. A dual solution—preserve the old and integrate it into the new. Today, it functions as the entrance to the new Nagar Bhaban (City Hall), and plans are underway to convert its upper level into a civic museum. Baro Sardar Bari, Sonargaon A Mughal-Colonial mansion from the Baro-Bhuiyan era, this structure was revived through corporate social responsibility. South Korea-based Youngone Corporation led the project under the leadership of CEO Kihak Sung, who has familial roots in the region. This model highlights how private sector investment can play a crucial role in cultural restoration.     Reviving Lost Icons Dhaka Gate (Mir Jumla Gate) Once a neglected and overgrown monument, the historic city gate has been revitalised with its original grandeur—complete with a replicated fire cannon that signals its defensive legacy. Rose Garden Palace, Tikatuli, Dhaka A jewel of Dhaka’s architectural heritage, the Rose Garden was meticulously restored—from stained-glass panels to ornamental plasterwork. Where pieces were missing, they were reconstructed based on archival records, ensuring authenticity over imitation. Hammam Khana, Lalbagh Fort Perhaps the most complex restoration, the Mughal-era bathhouse had suffered colonial and post-colonial misuse. Funded by the U.S. Ambassador’s Fund, the project uncovered a breathtaking pavilion structure, restored lighting from above (true to hammam tradition), and reestablished the original spatial and sensory quality of the Mughal bathhouse. Crafting the Future with the Past Reviving Chini Tikri Ornamentation A rare local tradition, Chini Tikri—the use of broken ceramic dinnerware to form decorative motifs—was resurrected. The team digitally reconstructed patterns, reproduced the plates, broke them and reapplied them by hand. This craft was even adapted into a contemporary mosque in Noakhali, designed by Architect Mamnoon Murshed Chowdhury and Architect Mahmudul Anwar Riyaad, using waste ceramic products donated by Monno Ceramics. These projects demonstrate what is possible when craftsmanship, community, and conservation come together. They are not just restorations—they are cultural revivals, offering spaces where memory, faith, and identity continue to live. Written by Samia Sharmin Biva

Read More
16th ISSUE Featured Latest Issue

Clay Dreams Crafted by Hand Ali Ceramic Industry Limited

A Parcel That Changed Everything In the early 1980s, a seemingly ordinary parcel delivered from Italy to a Bangladeshi family quietly set the stage for a life-changing transformation. Inside were handmade clay tiles—simple, earthy, and elegant—that inspired a new industrial journey rooted in tradition.     The arrival of the tiles sparked an unexpected curiosity, drawing the family, engaged in ship management, into the intricate world of terracotta craftsmanship. This newfound passion led them from coastal shipping operations to the rural “Pal Para” villages, where generations of potters lived and worked. Decades later, that spark has evolved into Ali Ceramic Industry Ltd (ACIL), a rising name in Bangladesh’s ceramic sector. The company is now dedicated to producing 100% eco-friendly terracotta tiles, continuing a legacy built over 43 years. Backed by deep experience and a commitment to preserving clay artistry, ACIL is on a mission to blend sustainability with tradition.     However, the ceramic maker had to go through numerous hurdles to reach today’s position. From economic turmoil to energy challenges, Ali Ceramic’s journey has tested its resilience—making its commitment to green craftsmanship truly admirable. From Shipping to Shaping Clay Before entering the ceramic business in 1982, the family of Ali Askar—now the Managing Director of ACIL—was involved in managing ships. Askar himself was just a Grade 9 student when he first began assisting in the family’s factory office. What started as part-time help during his school years gradually grew into a lifelong calling. The pivotal moment came through a surprising phone call. One day, Askar’s father was contacted by an Italian friend who asked if a product could be manufactured in Bangladesh. Without disclosing details, the friend sent a parcel. Inside were handmade clay tiles—a product so visually striking that it would eventually redefine the family’s business path.     In Search of the Perfect Artisan Motivated by the parcel, Askar set out on a mission to find skilled artisans capable of replicating such craftsmanship. He travelled across Bangladesh, visiting various districts and exploring ‘Pal Para’—traditional villages of potters where pottery is not just a livelihood, but a way of life. After surveying several regions, Askar discovered exceptional potters in Satkhira. The Italian friend even joined a visit to the village and was impressed by the quality of work. This validation paved the way for launching an export-oriented business producing 100% eco-friendly handmade terracotta tiles under the name Maa Cottos Inc. Maa Cottos and Nikita International: A Legacy in Clay Maa Cottos Inc. serves as the parent company of ACIL, while Nikita International—another venture under the same umbrella—also manufactures 100% handmade terracotta tiles. Founded in 1982 as a family-run enterprise, Nikita International has grown into the largest handmade tile manufacturer not only in Bangladesh but across Southeast Asia.     Over the past four decades, the company has built a reputation for high-quality structural clay products, including roof tiles, wall cladding tiles, and floor tiles. Their dedicated in-house research and development team continues to innovate, ensuring they remain relevant in both domestic and international markets. While Nikita International specialises in a broad range of traditional clay products, ACIL has taken a more modern approach, focusing on high-end machine-made terracotta tiles designed for contemporary architectural projects. Ali Ceramic’s Battle to Rise “Ali Ceramic was established in 2021, but its commercial production began in July 2024,” said Ali Askar. With a current daily output of 40,000 square feet of tiles and 170 employees, the company has already made a strong start. Its total investment stands at Tk 1.5 billion. However, Askar noted that despite this solid foundation, ACIL’s growth is being hampered by external challenges such as political instability and economic uncertainty. The July Uprising One such challenge emerged shortly after ACIL began full-scale production. Within a year, Bangladesh was shaken by the July Uprising, which brought government development projects to a halt. According to Askar, many of the contractors they had established relationships with were replaced in the wake of political upheaval, severing existing business ties. The re-tendering process for paused projects introduced further delays and added a new layer of unpredictability to ACIL’s business landscape.     Production Challenges: Energy and Raw Materials In addition to political disruption, ACIL has faced ongoing operational difficulties. A key concern is the absence of a Titas gas connection, which has forced the company to rely on liquefied petroleum gas (LPG)—a costlier alternative that significantly raises production expenses. Despite these setbacks, ACIL has managed to maintain product quality. Clay is sourced from regions such as Gazipur and Sylhet, chosen for their reliable natural composition and consistency, ensuring each tile meets the company’s exacting standards. Handmade Tiles: Craft Holds the Crown While machine-made terracotta tiles remain common among Bangladeshi producers such as Mirpur Ceramic Works Ltd. and Khadim Ceramics Ltd., there is a noticeable shift in the global market. Foreign buyers are increasingly drawn to handmade tiles for their aesthetic charm and artisanal value. This growing demand reaffirmed Askar’s decision to launch ACIL as a complement to the handmade offerings already being exported by Maa Cottos Inc. and Nikita International. Reaching 22 Global Destinations Today, Askar proudly notes that handmade tiles produced under the group’s brands are exported to 22 countries—including Germany, France, Italy, Spain, and Japan. The appeal lies in the product’s eco-friendly, handcrafted nature, which resonates strongly with environmentally conscious consumers around the world.     Why Imported Tiles Still Dominate the Market Despite this progress, the local ceramic industry continues to face stiff competition from imports. Around 20–25% of Bangladesh’s ceramic demand is still met by foreign tiles, mainly from China, Spain, Turkey, and Vietnam. This dependence stems from Bangladesh lagging nearly five years behind in design and innovation. Although the country has no shortage of skilled ceramic professionals, much of this talent remains underutilized due to a lack of investment in advanced machinery and modern design capabilities. Until the industry catches up in both creativity and technology, imported tiles will likely continue to dominate the high-end segment of the market. A

Read More
16th ISSUE Business Regular

Export Woes Overlooked in FY26 Budget Ceramic sector left in the cold

The interim government’s Tk 7.9 trillion budgets for FY2025-26 have drawn criticism for lacking bold measures to strengthen export-oriented sectors, including garments, leather, pharmaceuticals, and ceramics—key drivers of Bangladesh’s economy.     Despite persistent demands from businesses, the budget offers no concrete plans to modernize ports, ensure stable gas and electricity supply, or reduce logistical hurdles that cripple competitiveness. The leather sector, struggling with compliance and environmental challenges, finds no support for factory upgrades, while pharmaceuticals—a growing export segment—receive no incentives for R&D or market expansion. Similarly, the ceramic industry, which relies on imported raw materials, sees no relief from high production costs. With private investment stagnant and unemployment high, industry leaders argue that the budget missed a crucial opportunity to implement structural reforms, widen the tax net, and boost global competitiveness—essential steps for sustaining export growth and economic stability. Youth Job Crisis, Poverty Fight Missing in Action The interim government’s first budget has failed to address the core grievances that sparked July 2024’s mass uprising — unemployment and inequality. Despite 20% graduate unemployment and 30% youth disengagement from work or education, the budget offers only token funds for self-employment schemes without structural solutions.     Social safety nets saw marginal increases, while allocations for education and health have remained stagnant. With 40 million below the poverty line—and a World Bank warning of worsening poverty—the budget lacks comprehensive anti-poverty strategies. Economists describe it as a “stopgap budget” that maintains the status quo rather than addressing the employment crisis that fueled last year’s protests. The absence of bold job creation measures suggests continued economic discontent among the youth. Budget Targets Overly Ambitious: Economists Economists have raised concerns over Bangladesh’s proposed FY2025-26 budget, calling its revenue, growth, and inflation targets unrealistic given current economic challenges. While noting some positive measures like reduced VAT on LNG and lower advance taxes, they highlighted structural weaknesses in tax administration and insufficient focus on job creation as key risks.     Revenue & Inflation Doubts The revenue collection goal was seen as unattainable without tackling tax evasion, while inflation projections were deemed too optimistic amid persistent price pressures. Reforms Missing Experts pointed to a lack of meaningful reforms in customs, logistics, and labor markets, with particular concern over stagnant education and healthcare spending despite their importance for long-term growth. Implementation Challenges While some trade facilitation efforts like the National Single Window were acknowledged, economists warned that bureaucratic inefficiencies and resistance to change continue to hinder progress on critical economic reforms. Little to No Relief for Ceramic Sector The ceramic sector received no significant fiscal relief in the recently passed national budget for FY2025–26, despite its growing contribution to import substitution, employment generation, and sustainable construction, according to stakeholders.     The Bangladesh Ceramic Manufacturers & Exporters Association (BCMEA) has expressed disappointment over the government’s failure to address longstanding demands, which could have reduced production costs and made locally produced tiles and sanitary ware more competitive against imports. The BCMEA had proposed that customs authorities allow up to 35% deduction during import-stage valuation for moisture, unusable chemical substances, and volatile components in imported raw materials such as China Clay (HS Code 2507.00.10) and Ball Clay (HS Code 2508.40.10). These clays, entirely import-dependent, naturally contain 30–35% wastage components, and further losses occur during processing—sometimes up to 40%.   However, import duties are still calculated on 100% of the gross weight, significantly increasing costs for producers. The association also demanded the withdrawal of the 15% supplementary duty (SD) on locally produced tiles (HS Code 69.07) and the 10% SD on sanitary ware (HS Code 69.10). According to the BCMEA, these products are no longer considered luxury items but are integral building materials, widely used in both residential and commercial construction.   They also play a vital role in promoting public health and environmental sustainability. “The government talks about affordable housing and sanitation for all, yet continues to impose unnecessary duties on locally made essential products,” said Moynul Islam, President, BCMEA, adding that, “If these unjustified duties are not withdrawn, local manufacturers will lose competitiveness, while consumers will continue to suffer from high prices amid inflation.” He also pointed out that the absence of incentives for value-added manufacturing contradicts the government’s broader goals of economic diversification and green growth. The sector, which heavily relies on imported raw materials, has already been hit hard by the appreciating US dollar and rising freight costs.     The BCMEA reiterated that removing these fiscal burdens would not only lower production costs and market prices but also encourage further investment and expansion in domestic manufacturing, reducing dependence on imports and generating more employment. Economist Questions Budget’s Effectiveness Dr. M Masrur Reaz, Chairman of Policy Exchange Bangladesh, expressed disappointment that the proposed budget lacks clear roadmaps for structural reforms, employment generation, and investment stimulation. He pointed out the absence of bold measures to address the country’s core economic challenges. The economist described the budget’s revenue and growth targets as overly optimistic given the current political uncertainty and post-election economic climate.     “Inflation may have eased slightly, but the government’s projections remain unrealistic without substantial investment and job creation,” Reaz stated. While not opposing the principle, Reaz questioned the timing of proposed salary increases for government employees, suggesting the measure may be premature given fiscal constraints.     Reaz offered targeted recommendations for key sectors: Agri-business / Fast-Moving Consumer Goods (FMCG): Formalize informal trade channels and improve tax compliance. Telecommunications: Reduce tax burdens to accelerate digital inclusion. Tobacco: Maintain current tax structures to combat illicit trade while ensuring revenue stability. The economist acknowledged some positive steps including: Reduced VAT on LNG imports. Lower advance taxes on raw materials. Decreased land registration fees. However, he criticized: Increased VAT on yarn. Higher turnover taxes for loss-making businesses. Lack of initiatives for rural women’s employment. Dr. Reaz concluded that while containing some business-friendly elements, the budget ultimately fails to deliver transformative changes needed to address Bangladesh’s employment crisis and economic stagnation. The absence of comprehensive poverty reduction

Read More
16th ISSUE Featured Latest Issue

Grounded in Wellness: The Story Behind Svadha

Over the past decade, Bangladesh’s spa and salon culture has gone through a quiet but striking revolution. The once-flashy, first-service catered parlours have given way to curated wellness havens that prioritize experience over gimmicks. From Faux-Thai facades, a new design language is emerging.     At the forefront of this transformation is Svadha, the country’s first salon to fully integrate Ayurveda into its core philosophy. But it’s not just their services that set them apart, it’s the atmosphere. Their aesthetic blends the royalty of Mughal architecture with the earthy soul of Marrakesh, creating a space that feels both grounded and luxurious. Svadha is a family-led vision brought to life by Rumjhum Fattah, her brother, Md Golam Rezwan, and sister-in-law, Behtarin Chowdhury Ridma. While the trio has long been a part of Bangladesh’s RMG sector, Svadha marks their first foray into the world of beauty and wellness, and they’re doing it on their terms. The name Svadha, derived from Sanskrit, beautifully translates to “self-care” and “self-love”—an ethos that defines everything the brand stands for.     “At Svadha, we’re not here to sell beauty or grooming services,” says Rumjhum. “We’re here to create a space where people can slow down, tune in, and prioritize their well-being.” Svadha is located in the heart of Gulshan Avenue and comprises a total area of around 3300 square feet. The interior, designed by the creative minds at Studio R.A.R., is a visual and sensory ode to stillness, grounding, and mindful indulgence. “Svadha is a true embodiment of peace and tranquillity,” shares co-founder Behtarin Chowdhury Ridma. “From the lounge to the treatment rooms, we wanted every inch to feel like a retreat, where the stress of daily life simply melts away. To achieve that, we explored a palette of earthy tones and tactile, natural materials.”     She pointed out that most salons in the city are built around speed and efficiency, often at the expense of comfort. “Everything is so fast-paced—walk in, get the service, walk out. There’s hardly ever a moment to truly unwind,” she reflected. At Svadha, the philosophy is deliberately different. The space is intentionally kept open and airy, avoiding unnecessary partitions or a heavy-handed layout. “We wanted to let the space breathe, just like our clients,” she added. There are no false ceilings or forced divisions; instead, the design embraces fluidity, allowing natural light and movement to flow freely. Catering to working women, Svadha brands itself as a wellness retreat. “Our clients come not just to look good, but to feel good. After long hours at work, they deserve to be unrushed, cared for, and truly pampered.” Drawing inspiration from Moroccan and Indian architectural traditions, the space features intricately carved wooden mirror frames, classic oil lamps, and a striking antique doorway that sets the tone from the moment you enter. A gentle water fountain hums in the background, further enhancing the atmosphere of calm. “We wanted to infuse the space with elements of nature and its calming rhythms,” shared Rumjhum. “The water fountain, placed thoughtfully within the layout, is a quiet homage to that intention, a gentle nod to movement and serenity. Throughout the space, you will find indoor plants too” Lighting, too, was carefully curated to complement this ambiance. There’s a deliberate avoidance of harsh, bright lights. Most areas are bathed in soft, ambient illumination, dimmed and mellow to encourage relaxation. However, in zones like the makeup and hair stations, where precision is key, the lighting is thoughtfully intensified to ensure clarity without disrupting the overall calm.   One of the standout features of the salon is the textured wall next to the reception where the metal brand name is hung. There is also a graffiti wall, commissioned by a Fine Art student of Dhaka University where Mughal-themed flowers are painted. Every piece of furniture in the salon has been custom-crafted in-house. Each zone has been thoughtfully planned to serve its specific purpose, whether it’s a quiet waiting lounge, a private treatment room, or a styling station. Every detail, down to the custom-built furniture, typography on the walls, and curated lighting reflects Svadha’s vision of a wellness destination that feels both intimate and elegant. Written by Kaniz F Supriya

Read More
16th ISSUE Featured Latest Issue

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 woodcuts 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 tradition, showcasing his remarkable focus. 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 woodcuts. 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

Read More
16th ISSUE Featured Latest Issue

KARMASANGSTHAN BANK: Vision for Inclusive Growth

Karmasangsthan Bank is a unique state-owned social bank in Bangladesh, established in 1998 to turn unemployed youth into entrepreneurs. Its mission is to extend financial services to underserved communities and foster sustainable businesses. Literally translated as the “Employment Bank,” it empowers aspiring entrepreneurs to transform their ideas into sustainable ventures. Born from a national vision for inclusive economic development, the bank has dedicated itself to bridging the financial gap for underserved segments of society, particularly in rural areas. This focus on inclusive growth sets it apart from conventional commercial banks and makes it an essential instrument for national development.     Under a government mandate and with initial capital of Tk 300 crore, Karmasangsthan Bank was created to tackle unemployment by funding small enterprises. Over time, government backing has expanded its loan pool to around Tk 4,500 crore, amplifying its reach. Its core purpose remains nurturing grassroots entrepreneurship and uplifting marginalised groups. Karmasangsthan Bank tailors its products to the needs of unemployed youth and small-scale entrepreneurs. Its flagship offerings include: Low-interest and interest-free loans for start-up ventures, microcredit schemes designed for first-time borrowers and special financing packages for persons with disabilities. The bank’s board unites professionals from financial and administrative backgrounds, ensuring strategic oversight and mission alignment. In November 2024, Dr AFM Matiur Rahman took the helm as the 14th chairman, while Arun Kumar Chowdhury guides daily operations as Managing Director. Their stewardship has driven both stability and innovation. With over 285 branches and 1,800 employees spanning every district and most upazilas, Karmasangsthan Bank brings its services to urban centres and remote villages alike. This footprint underscores its commitment to rural financial inclusion and fuels broader socio-economic development across Bangladesh.     Beyond financing, Karmasangsthan Bank serves as a catalyst for community uplift. Its operations blend government policy, entrepreneurial mentoring, and localised development initiatives—proving that a bank can be a powerful tool for social transformation. To reach the unbanked, the bank is rolling out mobile banking apps, digital payment gateways, and online portals. These technologies bridge geographic divides, making services more accessible to rural and marginalised populations.     Through initiatives like this, Karmasangsthan Bank continues to fulfil its mission of fostering a balanced economic structure by converting the population into productive manpower and reducing unemployment. Currently, Bangladeshi citizens aged 18 to 50 are eligible for loans up to Tk 5 lakh without collateral and up to Tk 75 lakh with collateral. Thanks to its outstanding performance across key indicators, Karmasangsthan Bank ranked first among state-owned specialised banks for the last two consecutive fiscal years. The government approved the construction of a 25-storey multi-purpose building atop a four-storey basement at a cost of Tk 260 crore. This project will be built on 37 decimals of land formerly belonging to the Times-Bangla Trust in Motijheel, Dhaka, now registered under the bank’s name.     Since Karmasangsthan Bank operates under a similar model as Grameen Bank, the government should consider granting it full tax exemption. This measure would enable the bank to lower its interest rates further, providing greater support to unemployed and poor borrowers. Additionally, the nation would benefit from more affordable products, fostering a competitive market environment. Bank’s Performance Karmasangsthan Bank has lent Tk 18,000 crore to over 1.2 million youth, indirectly benefiting some 4.2 million people. Its recovery rate is about 96%. Currently, approximately 2,25,000 entrepreneurs—30% of whom are new each year and 40% of whom are women—tap into its schemes, with a total of about Tk 4,300 crore in outstanding loans. In the last fiscal year (July 2024–June 2025), Tk 2,838 crore was disbursed in self-employment loans to 1,25,000 entrepreneurs. Tracking job creation and enterprise growth provides clear evidence of its social footprint. The breakdown includes: Cattle fattening: Tk 1,595 crore (56.2%) to 76,744 individuals. Dairy farms: Tk 525.36 crore (18.5%) to 24,712 individuals. Fisheries: Tk 126.75 crore (4.5%) to 5,832 individuals. Poultry farms: Tk 15.43 crore (0.6%) to 745 individuals. Agro-based industries and nurseries: Tk 11.28 crore (0.4%) to 530 individuals. Commercial sector: Tk 160.35 crore (5.65%) to 7,309 individuals. Service sector: Tk 76 crore (2.65%) to 3,669 individuals. Small and cottage industries: Tk 53.84 crore (2%) to 2,531 individuals. Other sectors: Tk 275 crore (9.5%) to 2,100 individuals. During the same period, the bank earned Tk 408.37 crore in revenue against operational expenses of Tk 270.33 crore. Its pre-tax profit stood at Tk 138.04 crore, and it paid Tk 19 crore in advance corporate income tax. Customer Success Stories Rezaul Haque, a 45-year-old resident of Sundarpur in Paba Upazila (Rajshahi), transformed his life through commercial fish farming. With an initial loan of Tk 50,000 from the Rajshahi branch of Karmasangsthan Bank, Rezaul received subsequent training from the Department of Fisheries and the Department of Youth Development. Starting modestly, his venture expanded over 95 bighas of water bodies. Today, his investment has soared past Tk 1 crore, and he earns an annual income of about Tk 10 lakh. His journey not only provided him with financial stability but also inspired many local youths to explore similar opportunities, contributing to the region’s growing protein demand. Broadening Horizons in Aquaculture Another remarkable example is Borhan Uddin from Bagsara village. After securing a loan from the bank, Borhan invested Tk 75 lakh in a fish-farming business. With clear prospects for future expansion, his investment is expected to hit Tk 1 crore in the near future. His success story is a testament to how specialised loan products, combined with financial guidance, can spur rapid growth and foster entrepreneurship at the grassroots level. Retail and Small Business Beyond aquaculture, Karmasangsthan Bank has also empowered entrepreneurs in the retail and small-business sectors. For instance, Shahajahan Ali, owner of a local enterprise in Nawhata Municipality Market, has been utilising the bank’s credit support for over a decade to sustain and grow his business. Similarly, Mokbul Hossain, who runs a shoe store in the same market, successfully expanded his operations with consistent financial backing. Beef Fattening and Dairy To promote food security and create

Read More
16th ISSUE Featured Latest Issue

CERAMIC EXPO BANGLADESH 2025 EXPLORE THE WORLD OF CERAMICS

Ceramic Expo Bangladesh 2025 is fast approaching, promising to be the largest and most prestigious exhibition in the country. The event will bring together a wide range of manufacturers, innovators, professionals, and enthusiasts from both the local and global ceramic industries. The Bangladesh Ceramic Manufacturers and Exporters Association (BCMEA) will organize the event at the International Convention City Bashundhara (ICCB). This four-day event is more than just an expo – it’s a celebration of innovation, networking, and excellence in ceramics.     Key Highlights of Ceramic Expo Bangladesh 2025 B2B & B2C Networking Opportunities Business-to-business (B2B) and business-to-consumer (B2C) sessions will allow exhibitors to showcase new products, technologies, and innovations to their target audiences. These sessions will help businesses explore opportunities for strategic collaboration and expansion.   Awards & Recognitions An exciting feature of the event is honouring exhibitors with the Best Pavilion and Stall Design Awards. Exhibitors will design their pavilions and stalls based on their brand identity or how they wish to portray it to their target audience. Winners will be selected by a distinguished jury. A Lifetime Achievement Award has been introduced to honour an individual who has made a significant contribution to the development and growth of Bangladesh’s ceramic industry.     Knowledge-Driven Seminars & Conferences The 2025 edition of the expo will host five insightful seminars and panel discussions. These sessions will feature prominent industry experts, architects, engineers, and thought leaders. Topics will focus on the future of ceramics, technological advancements, sustainability, and design innovations.     Job Fair For job seekers, students, and professionals, Ceramic Expo Bangladesh 2025 offers a golden opportunity to connect with leading ceramic companies. Visitors will be able to submit their résumés to explore job opportunities with prominent ceramic manufacturers in Bangladesh. Visitor Engagement & Raffle Draw BCMEA will distribute exciting gifts and organise a raffle draw to appreciate and encourage maximum visitor participation. These activities aim to celebrate the continued support for the industry’s growth. Ceramic Expo Bangladesh 2025 proudly invites all to explore, exhibit, network, and learn through the event. It is a gateway to the future of ceramics and a grand opportunity for the ceramic industry to grow further. Written by Preety Dey

Read More
16th ISSUE Featured Latest Issue

A Legacy of ABC Group Trust, Tenacity and Timeless Vision

In a business landscape where many joint ventures of the past century faltered under fractured trust and unchecked ambition, ABC Group shines as a beacon of integrity, resilience, and generational continuity. For over five decades, the organisation has not only transformed skylines but also redefined the very essence of partnership—proving that enduring success is built not solely on ambition, but on unwavering principles, a shared vision, and an unshakable commitment to people both within and beyond the company.     “Partnerships rarely fail because of market forces,” reflects Subhash Chandra Ghosh, Chairman of ABC Group. “They collapse when trust erodes—when dishonesty, greed, or envy take root. Our survival has been anchored in three simple values: transparency in every transaction, fairness in every decision, and respect in every relationship.” This philosophy has guided ABC Group through the passing of its five founding partners, enabling a seamless transition of leadership to the next generation while preserving the spirit of its origins. Today, the group stands as a diversified conglomerate with four core divisions: ABC Limited (Construction), ABC Real Estate Limited (Property Development), ABC BPL (Ready-Mix Concrete Manufacturing & Supply), and the newly launched ABC FL (Facility Management Services). Each division plays a pivotal role in Bangladesh’s infrastructural and economic growth. Beyond construction and real estate, the group’s influence extends into the financial sector. The directors of ABC have been prominent founding shareholders of Mutual Trust Bank Limited (MTBL), one of Bangladesh’s most successful and trusted private banks. Rashed A. Chowdhury, the son of ABC’s founding chairman, Saifuddin Ahmed Chowdhury, now serves as Chairman of MTBL, further cementing the ABC Family’s legacy in nation-building across industries.     The Genesis: Building Dreams from the Ground Up The story of ABC Group is intertwined with the birth of a nation. In 1972, in the stirring aftermath of Bangladesh’s independence, a bold vision took shape. Amirul Islam, his brother Nazrul Islam, and Saifuddin Ahmed Chowdhury—along with two associates—laid the cornerstone of Associated Builders Corporation (ABC) Limited. Soon thereafter, civil engineer Subhash Chandra Ghosh and architect Mostaqur Rahman joined the venture, forming a partnership that would one day redefine the country’s urban fabric. In those early days, ABC was not an empire—it was a dream defined by determination. With no heavy machinery, limited skilled labour, and scarce capital, the founders relied on resilience, strategic alliances, and sheer perseverance. Subhash Chandra Ghosh, then a young engineer, had begun his career at Yakub Limited earning a modest salary of 350 taka. When the company’s West Pakistani owner fled post-independence, Subhash and a colleague assumed leadership, keeping the operations afloat. It was during those turbulent times that fate brought him together with Amirul Islam—a meeting that would sow the seeds of an enduring legacy. Mr. Ghosh recalls with pride that his stake in the company was secured not through capital but through the strength of a handshake, a testament to an era when a man’s word was his bond. Forging a Future: The Rise of an Empire ABC’s first major breakthrough came with a two-crore-taka contract for the Bangladesh Machine Tools Factory, marking the beginning of its ascent. Landmark projects soon followed—Ashuganj Fertilizer Factory, Khulna Thermal Power Plant, and the Gorai Bridge—all setting new benchmarks in engineering excellence.   Over the decades, ABC Group’s portfolio expanded to include national icons such as the Grameenphone Headquarters, North South University, BRAC University’s New Campus, and the Third Terminal of Hazrat Shahjalal International Airport. Currently, ABC Limited is building the prestigious Aga Khan Academy campus at Basundhara. By the late 1980s, ABC’s vision expanded beyond construction into real estate. In 1988, ABC Real Estate Limited (ABC REL) was born—a bold move at a time when the concept of apartment living was still in its infancy in Dhaka. From Concrete Foundations to Living Communities Challenges abounded: land scarcity, public skepticism toward apartment living, and the absence of clear registration laws. Yet, through meticulous planning, superior design, and uncompromising transparency, ABC Real Estate earned trust—one project at a time. The company has always approached the market with caution to avoid overambitious trading, a common pitfall in the real estate industry. Today, it has delivered more than 1,880 apartments across 70 projects in prime locations such as Uttara, Banani, Dhanmondi, Gulshan, Baridhara, and Chittagong. A crowning achievement is The Oasis at Ispahani Colony, an international-standard gated community in Moghbazar that spans 14.5 bighas. Completing 457 units within 70 months—despite various crises induced by the pandemic—is a true testament to ABC Real Estate’s planning and resilience.   A New Vision: Affordable Excellence Beyond Dhaka Under the leadership of Srabanti Datta and Shougata Ghosh, ABC Real Estate is shifting its focus toward large-scale residential projects in mid-cost areas of Dhaka and its suburban localities. Their vision is clear: to provide quality housing with modern amenities accessible to the upper-middle class at reasonable prices. “Dhaka’s land prices have made premium housing unaffordable for many,” explains Srabanti Datta. “By developing well-planned communities in emerging zones, we can offer spacious living, green spaces, and modern facilities—without the exorbitant costs of the city center. With The Oasis, we are now confident that ABC has the best set of pragmatic ideas, skilled people, and strategic planning tools to successfully deliver massive projects beyond mere flashy brochures.” Upcoming projects like The Orchard exemplify this strategy, combining affordability with international standards. Additionally, the group is exploring expansion to Narayanganj, ensuring sustainable urban growth beyond the capital’s high value yet densely populated areas.     Diversification & Innovation: The ABC Ecosystem Beyond construction and real estate, ABC Group has strategically diversified into ready-mix concrete (ABC BPL) and facility management (ABC FL), ensuring control over quality and service delivery across the board.   ABC BPL is one of the country’s leading suppliers of ready-mix concrete, known for its precision, durability, and efficiency in high-rise constructions. ABC FL—the newly launched division—provides high-quality facility management services in Bangladesh, offering maintenance, security, and operational excellence for both residential and commercial properties. The Heart Behind the Helm: A Symphony

Read More
16th ISSUE Featured Latest Issue

You Actually Want to Hang Out in! Brutown’s Got a Funky New Friend: Say Hello to Nervosa.

For those who enjoy café culture, a delightful spot has opened its doors to Dhaka’s vibrant crowd. Nervosa is a cafe located on Siddheswari Road, Dhaka, at the edge of a bustling neighbourhood—just above Brutown, which has long been a favorite in the heart of Bailey Road.     Why Nervosa The name, “Nervosa,” is a deliberate nod to the beloved sitcom Frasier, where a fictional coffee shop of the same name served as a backdrop for the characters’ daily lives. Sabeel Rahman, CEO and Proprietor of BruTown and Nervosa, explains his choice with a playful intrigue: “The question of ‘Why Nervosa?’ is what makes it captivating. It draws attention, it’s a memorable name.” Consider Nervosa as the upscale, fancy, artistic neighbor of the popular cafe, BruTown, finding its niche in the community. Behind the Scenes Rehnuma Tasnim Sheefa, the principal architect of Parti.studio elaborates on the design philosophy: “Every design develops from a concept or a vision and if for a restaurant or a cafe, the branding has its influence as well. For Nervosa, that concept was built on strong character and a vibrant color palette, designed to draw a younger crowd into the cafe, as envisioned by the owner. When working in a public realm like cafes, as an architect I also had to focus on the psychological impact a person would have with the colors and the characters.”     The color palette evolved gradually. Pale Orange took precedence, aligning with the theme initially, with striking illustrations bringing life to the walls. To make the illustrations stand out, a monochrome backdrop was introduced for the floors, ceilings, and other walls, allowing the boldly patterned and colored furniture to shine truly. The exposed brick on some of the walls adds a touch of urban grit, while the wooden flooring brings warmth and texture; keeping them aligned with the basic pale orange color. The cafe culture in Dhaka thrives on connection. Comfortable seating arrangements encourage heartfelt conversations, from an upcycled plush couch perfect for intimate gatherings to communal tables fostering spontaneous interactions. Nervosa goes a step further with cozy bookshelves stocked with comics and novels, perfect for anyone who wants to settle in with a good read. Instagrammable Spots Several strategically placed elements aim to create visually captivating ‘Instagrammable’ moments. The journey begins at the entry staircase, where a whimsical illustration introduces the cafe’s personality. Upon entering, a prominent neon light sign immediately catches the eye. Inside, a one-of-a-kind waffle mirror greets you at the entrance for your mirror selfies with your friends.     Track lights are incorporated here to highlight specific areas, making them ideal for photos. “You will also find the neon lights in different spots around the cafe”, shares Architect Sheefa.   The use of neon lights is an interior design trend in restaurants targeting younger crowds, particularly Gen Z. They create a visually appealing and Instagram-worthy atmosphere, making restaurants more attractive to social media-conscious customers, to create a unique and memorable visual experience.   illustrations that speak to you To add character to the interiors, the beams and walls are filled with vibrant illustrations. In the beam above the counter, the illustrated characters resemble the target audience of the cafe, and how they interact and behave.     Describing the artworks, Mashqurur Sabri, the artist, shares, “Nervosa walls are a burst of young energy and Dhaka madness — messy, loud, and full of heart. The hand-drawn, sketchy art style mixes raw lines with pops of bold, chaotic color — think warm reds, electric yellows, moody teals — capturing the city’s wild rhythm. From buzzing rickshaws to rooftop chill scenes, it’s the city on caffeine — vibrant, warm, and wide awake.” “When I think of Nervosa as perceived by the public, I wish it to be known as the most happening place in Siddeshwari,” says the owner, Sabeel Rahman.   The vibrant interior, the playful name, and the strategic use of social media-friendly elements all point to a well-thought-out strategy. Nervosa isn’t just serving coffee; it’s serving an experience. And if the initial buzz is anything to go by, it’s an experience that Dhaka’s café-goers are eager to embrace.   Written by Samira Ahsan

Read More
Business Regular

Ceramic Forum sets stage for stronger Bangladesh-China collaboration

With an emphasis on quality enhancement, efficiency improvement, and deeper cross-border collaboration, the Asian Ceramics Technology 50 Forum – Dhaka commenced on Saturday, drawing together leading figures from Bangladesh and China’s ceramics industries.   Held at the Eden Grand Ballroom of Hotel Amari Dhaka, the forum was jointly organised by the Bangladesh Ceramic Manufacturers & Exporters Association (BCMEA) and Foshan Uniceramics Expo, under the theme: “Product Quality & Production Efficiency Enhancement and Investment Opportunities in Bangladesh – Win-Win Cooperation.” The day-long event served as a platform for industry leaders, technical experts, and stakeholders to explore strategies for improving production standards, reducing costs, optimizing performance, and boosting investment in Bangladesh’s ceramics sector. Participants from both countries stressed the urgency of embracing technological innovation and forging stronger partnerships to sustain growth and remain competitive in the evolving global market. Delivering the welcome address at the opening session, Mr. Irfan Uddin, General Secretary of BCMEA, welcomed the international delegates and highlighted the significance of events like this in strengthening industry ties between Bangladesh and China. “Together, let us explore new ideas, connect industries, and work toward a more vibrant future for ceramics in Asia,” he said. Mr. Irfan also acknowledged the contributions of the Chinese delegation, noting, “China’s technological advancements and global leadership in ceramics have long inspired us. Their participation here today reflects a mutual commitment to knowledge-sharing, sustainable growth, and regional cooperation.” Delivering his keynote address as chief guest, Mr. Md. Mamunur Rashid FCMA, Acting President of BCMEA and Additional Managing Director of X Ceramic Group, echoed similar sentiments.   He underscored how the presence of Chinese industry leaders underscores a strong bond between the two industries and paves the way for joint ventures, technology transfer, and knowledge exchange. “Forums like this serve as a powerful platform for dialogue, innovation, and mutual growth,” he said, further highlighting Bangladesh’s investment opportunities and the government’s supportive policies and incentives for investors amid the country’s evolving socio-economic landscape. The forum’s technical sessions reflected its ambitious agenda. Technical Session 1: Product Quality & Production Efficiency Enhancement   The first technical session focused on Product Quality and Production Efficiency Enhancement and was chaired by Mr. Mohd Ziaul Hoque Zico, Director of BCMEA and Deputy Managing Director & CEO of Hua Thai Ceramics Industries Ltd. Engr. Sadat H. Talukder, a consultant in the ceramic sector, and Mr. Luo Fei, a ceramic equipment technology expert from Foshan Uniceramics Development Co. Ltd., served as resource persons. Mr. Saidur Rahman Khan, Director of Operations at Akij Ceramics Ltd., and Ms. Yang Shuilan, General Manager of Foshan Lang Kun Electromechanical Equipment Co. Ltd., contributed as discussants. The session concluded with an engaging floor discussion. Technical Session 2: Cost Reduction, Efficiency Improvement & Optimization Mechanisms   The second session, which explored two key topics—(i) Cost Reduction and Efficiency Improvement and (ii) Optimization Mechanisms for Tile Performance—was chaired by Mr. Mahin Bin Mazher, Advisor to BCMEA and Managing Director of X Ceramic Group. For Topic (i), Mr. Mohammad Bayazed Bashar, Chief Business Officer of DBL Ceramics Ltd., presented strategies for cost reduction and enhanced operational efficiency. For Topic (ii), Mr. Liu Zhanjie, a ceramic process and formulation technology expert from Foshan Uniceramics Development Co. Ltd., delivered technical insights on optimizing tile performance. The session’s discussants included Mr. A.K.M. Ziaul Islam, Chief Operating Officer of Meghna Ceramic Industries Ltd., and Mr. Sun Bowen, Sales Manager of Zibo Huayan Industrial Ceramics Co. Ltd.. Like the first, this session also concluded with a floor discussion. Technical Session 3: Investment Opportunities in Bangladesh     The final session focused on Investment Opportunities in Bangladesh under the Changed Socio-Economic Scenario. It was chaired by Dr. Md. Anwar Ullah FCMA, former Secretary to the Government of Bangladesh. Mr. Md. Mominul Haque, Vice President of LankaBangla Investments PLC, served as the resource person for this session. Mr. Muhammad Nazrul Islam, Managing Director and CEO of Sandhani Life Finance Ltd., Mr. Li Xinliang, President of Ceramic Town Weekly and General Manager of Foshan Uniceramics Development Co. Ltd., and Ms. Joanna Sun, General Manager (Asia Market) of Tangshan Hexiang Intelligent Technology Co. Ltd., joined as discussants. Throughout the day, speakers from leading Bangladeshi companies such as Akij Ceramics, DBL Ceramics, Meghna Ceramic Industries, and LankaBangla Investments underscored the importance of strategic collaboration with China, especially in areas like technology integration, production management, and investment facilitation.   The event concluded with a vote of thanks from Mr. Abdul Hakim Sumon, Senior Vice President of BCMEA and Managing Director of Excellent Ceramic Industries Ltd., who expressed gratitude to all guests, speakers, and participants for their contributions. He remarked that the forum marked a significant milestone in advancing regional partnerships and securing a sustainable future for Bangladesh’s ceramics industry. Participants wrapped up the day with a networking session over evening refreshments, celebrating the successful exchange of ideas and reaffirming commitments to long-term collaboration.

Read More
Partners Regular

CERAMICS CHINA 2025 Concludes with Record Global Participation

CERAMICS CHINA 2025, the world’s leading trade fair for ceramic equipment and materials, successfully concluded on June 21st in Guangzhou, marking an exceptional edition characterized by unprecedented international engagement and vibrant business exchange. The event solidified its position as the indispensable global marketplace for innovation, collaboration and networking across the entire ceramics value chain.     This year’s exhibition achieved remarkable scale and reach, attracting 786 outstanding exhibitors from 21 countries and regions, including mainland China, Belgium, Germany, France, Korea, Malaysia, Japan, Slovenia, Turkey, Spain, Italy, India , Indonesia, UK, Vietnam, Bangladesh, Russia, USA, Brazil, Taiwan China and Hong Kong China. The extensive participation validated the exhibition as a truly global microcosm showcasing advanced products, cutting-edge technologies and innovative solutions spanning intelligent production equipment, eco-friendly materials, digital manufacturing processes and end-to-end service system.     The exhibition highlighted three defining trends within the ceramic industry development: the comprehensive AI-driven intelligence integrated throughout production workflows to enhance efficiency and strengthen quality control; the sprouting compact equipment designed for eco-friendly operations, cost reduction, and flexible manufacturing; the cross-sector diversified expansion dominated by traditional equipment manufacturers to cultivate sustainable market growth in different sectors. The evolving products and technologies showcased on-site also gave visitors insights into the latest industry trends and market dynamics, informing their purchasing decisions and strategic planning.     From June 18-21, CERAMICS CHINA 2025 welcomed totally 80,240 visits of industry professionals from 94 countries and regions in the 4-day exhibition. Key visitor delegations this year represented major manufacturing hubs, industry associations, leading ceramic manufacturers and import/export giants. The expansive participation this year signified a significant leap in the global influence and appeal of the event.   Building on the record participation and vibrant exchange of CERAMICS CHINA 2025, the highly anticipated next edition is now scheduled for June 24-27, 2026, in Guangzhou, where the global ceramics community will reconvene to build on this momentum and drive further industry advancement.  

Read More
Partners Regular

Ceramica Alberdi kickstarts a new ceramic manufacturing era with SACMI Continua+

Winner of ‘best new ceramic plant in South America’ at the Tecna Awards 2024, the company has introduced two new Continua+ lines to manufacture ultra-high quality products: an ambitious project that aims to build a smart, sustainable ceramics factory, with SACMI providing all the key production technologies     Ceramica Alberdi has selected SACMI Continua+, installing – for the first time in South America – two parallel lines for the manufacture of ultra-high-quality slabs and tiles. Founded in 1907 and based in José C. Paz near Buenos Aires, the company has always been at the forefront of innovation: now, with this project, it’s taken another huge technological leap forward. The supplied plant, the first of its kind in South America, consists of two Continua+ presses (PCR 2120 model) operating in parallel to feed a single drying, glazing and firing line. Alberdi has taken a bold step here and has, with this new plant, targeted a specific segment: thin tiles and slabs (6 mm thick) that combine outstanding quality, practicality and aesthetics with low environmental impact, also significantly reducing the transportation costs of the finished product.     A smart, high-quality ceramic plant that requires less energy, reduces handling/storage costs and streamlines installation: to build it, the only realistic choice was the PCR 2120, the compact ‘smart’ version of the SACMI Continua+ that delivers outstanding flexibility and productivity with the market’s most popular slab sizes (1200×2400, 600×1200 and related sub-sizes). In addition to the two Continua+ presses, SACMI supplied all the other key plant technologies, from body preparation – a new ATM140 spray dryer and a MMC 120 modular mill – to the new 5-tier dryer. Completing the order, the 300-meter-long FMA Maestro kiln offers a modulated air-gas solution with cutting-edge features that reduce consumption and emissions and retrieve heat to maximize efficiency.     In this configuration – and thanks to the dual Continua+ line – Ceramica Alberdi has boosted plant productivity to over 25,000 square meters per day on all sizes, with a sharp focus on manufacturing extremely high-quality products to keep ahead of market trends.     This outstanding inventiveness saw the company awarded the prestigious Tecna Award at the Tecna trade fair for ‘best new ceramic plant in South America’. The award acknowledges the company’s recent investments in technology that have allowed it to excel in terms of product and process innovation, strengthening its leadership on the Argentinian floor and wall tile market.

Read More
Spotlight Regular

Dissonance Of Debris

From May 17th to 31st, the solo painting exhibition titled “Debris” by Kazi Salahuddin Ahmed adorned the walls of La Galerie, Alliance Française de Dhaka, Dhanmondi. The two-week-long, thought-provoking exhibition featured nearly 30 works on board paper, providing spectators with a glimpse into the artist’s most recent studies.     Remembering is a kind of rebellion in Kazi Salahuddin Ahmed’s universe. His solo exhibition, “Debris,” was an uncompromising documentation of human vulnerability. The artist’s recollections of Bangladesh’s 1971 Liberation War seep into modern tragedies—Gaza’s annihilation, the Rohingya exodus, and Kashmir’s stifled cries. The paintings didn’t merely show ruins; they also resurrected spirits. Ahmed’s life had several eras of turmoil. Born within a world transformed by partition and war, his early work in the 1980s was abstract, but the twenty-first century tightened his emphasis. The song “Debris” captures this progression. Each piece is a palimpsest, with layers of pigment representing the strata of history, where erasure and evidence fight silently.     Ahmed’s use of board paper as canvas makes a statement in and of itself. Board paper repels, as opposed to ordinary canvas, which absorbs, forcing the artist to handle surface tension. The resulting sculptures have a temporary quality, as if they would disintegrate like the makeshift shelters in Cox’s Bazar’s refugee camps. Though anchored in Bangladeshi stories, “Debris” speaks to a lexicon of global migration. The exhibition’s centerpiece, “Babel Fragment” (2024), depicts the mythological tower as a jagged silhouette against a sulfurous hue. Its shattered planes evoke both bombed-out Aleppo and the decaying tenements of Old Dhaka. Ahmed, who has flown from Paris to Islamabad, appears to imply that rubbish knows no boundaries. In “Eclipse of Return” (2024), a skeletal stairway rises into the emptiness, its steps fractured like vertebrae. Nearby, “Archive of Dust” displays a child’s sneaker half-buried in a thick texture that mimics charred dirt     “The utter erasure of Gaza, which was once full of life; the ongoing miseries of people in Kashmir; or the hopelessness faced by displaced Rohingyas attempting to make a living in camps in Chattogram—all of this jostles the mind as one attempts to ponder the future of the human race. Furthermore, it is difficult to leave behind the legacy of Bangladesh’s repeated failures to shape a future. The people’s desire for political stability has always been a never-fulfilled dream in our country. The demise of the authoritarian dictatorship has undoubtedly allowed everyone to focus on a future beyond the current system, but it appears that things are still breaking apart, leaving us with only emotional rubble,” observed famous art critic Mustafa Zaman. The intimacy of “Debris” sets it apart from other forms of protest art. In “Letters Unsent,” bits of Urdu and Bangla letters emerge behind layers of gray, like voices muted by time. The piece is similar to Ahmed’s 2018 series on refugee diaries, but the language is virtually illegible—a metaphor for history’s selective memories. Written By Shahbaz Nahian  

Read More
16th ISSUE Featured Latest Issue

Where Nature Teaches: The Story of Aga Khan Academy

In Dhaka’s Bashundhara Residential Area, the Aga Khan Academy immediately catches your eye. Its warm brick walls, softened by greenery and a sparkling water channel, glow in the morning light. The building feels like a historical monument—orderly courtyards, intricate brickwork—yet the lively chatter of students reminds you this is a school—a place where learning blends seamlessly with nature’s rhythms. Bangladesh’s heritage that make it truly remarkable. Here, architecture becomes a canvas, interiors breathe with narrative, and every art installation stands as a tribute to the nation’s soul.     Spanning in 17 acres, the award-winning Aga Khan Academy in Dhaka was developed through a collaboration between SHATOTTO Architecture for Green Living and Feilden Clegg Bradley Studios. The design draws inspiration from the region’s ancient Buddhist Mahaviharas, incorporating their architecture and philosophy into the campus. A clay model was used to visualise the design, helping stakeholders understand the campus’s spatial organisation before construction. Covering 74,150 square metres, this is Shatotto’s largest school project to date. The campus provides a green sanctuary within Dhaka’s urban environment. This academy represents a significant investment by the Aga Khan Development Network in Bangladesh’s future. As the fourth institution in a planned network of 18 Aga Khan Academies across Africa, South and Central Asia, and the Middle East, the Dhaka campus connects students to a wider academic and cultural community. Other campuses are located in Mombasa, Hyderabad, and Maputo, forming a global network focused on pluralism, leadership, and excellence.     To support education from nursery to diploma level, Aga Khan Education Services required a permanent campus. This presented a challenge in a dense city like Dhaka. The project is designed to be scalable and sustainable, planned in seven construction phases. Since its first phase launched in September 2022, the academy has offered an integrated environment that connects nature with education, providing a calm setting within Bashundhara’s urban area. The Dhaka campus currently enrolls 750 students, with plans for expansion to 1,200. The masterplan includes residential facilities designed to accommodate students and staff from across Bangladesh and other countries. This lays the foundation for a diverse and inclusive learning environment upon full implementation.     The vision for this project was led by Architect Rafiq Azam of Shatotto Architecture for Green Living, who incorporated Bangladesh’s heritage into the design. He conceptualized it as an “archaeological site, like our ancient monasteries.” Co-lead Architect Peter Clegg of Feilden Clegg Bradley Studios contributed global standards and technical precision. A central amphitheatre serves as a space for performances and gatherings. The adjacent Maidan, a large open playground, accommodates student activities, serving recreational and social functions. Brick buildings surround these shared areas on a planted base, offering unobstructed views of the Maidan from all directions. The Maidan functions as the campus’s central point, reflecting the spirit of ancient Buddhist Mahaviharas. These elements collectively support an environment where the physical space contributes to the educational process. “The school itself teaches,” says Rafiq Azam, lead architect of the Aga Khan Academy. “Students learn from books inside the classroom, but when they step outside, they begin to notice surroundings on their own — how water flows, how flowers bloom, how the sun moves across the sky, and how the breeze blows from a certain direction.” He adds, “This kind of learning happens naturally, guided by the environment rather than just by the teacher. The process encourages students to learn independently, beyond what is taught in the classroom.” Rafiq Azam emphasised the local context influencing the design, noting the significance of greenery, water, and rain in Bangladesh’s fertile landscape. This sensitivity is integrated into the campus layout, where natural elements are part of daily student life.     The academy’s design heavily features brick, chosen for both its practical and aesthetic qualities, consistent with Bangladesh’s architectural history. Each brick is carefully positioned. According to Feilden Clegg Bradley Studios, brick was selected to revive local craftsmanship and to contrast with the render and concrete common in surrounding new buildings. The construction method involves deeply embedded mortar between brick pairs, a technique seen in historical sites, ensuring longevity and a timeless appearance. This strategic use of locally sourced brick, combined with Bangladeshi brick patterning, creates a cohesive campus. It establishes a hierarchy of spaces through its brickwork. Facade perforations allow daylight into interior corridors, using traditional techniques. Recessed windows, screens, and protruding brick columns provide shading for classrooms and create covered balconies and walkways. Classrooms are oriented to minimise solar gain in summer, with external walkways and adjacent buildings providing passive solar shading from the morning sun throughout the year. This ensures adequate daylight and outdoor views. Architects designed these spaces for passive heating and shading year-round to minimise energy consumption. This climate responsiveness was achieved through extensive sun pattern analysis and wind flow direction studies, optimising light and ventilation. The academy’s character reflects many original Buddhist universities in Bangladesh. It is defined by the massing and materiality of brick buildings located on a sculpted and planted landscape base surrounding the central Maidan.     Alongside the main field, the complex includes smaller connected areas featuring concrete canopies for shelter, along with brick benches and planters. These peripheral spaces serve as transitions between the central Maidan and more intimate interior areas. Spaces are tailored for different age groups; for example, the senior courtyard offers shaded zones under planted trees for focused group activities. The assembly court is simple, with four ‘Dhaak trees,’ which inspired Dhaka’s name. The primary central courtyard accommodates larger gatherings and includes an amphitheatre built around a sand pit. This pit is designed to collect rainwater during heavy rainfall, holding up to 170 mm of water for approximately 10 to 30 minutes. The campus masterplan organises spaces into four zones—Intellectual, Moral, Physical, and Spiritual—supporting a holistic educational philosophy. Each block is designed for a specific function. The Academic Block, a central hub, contains administrative workstations, learning centers, group study areas, and a lecture hall, along with a terrace. Its white-walled classrooms vary in

Read More
Featured Latest Issue Partners Regular Spotlight Featured Spotlight Regular Testimonial Text Testimonial Video

“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

Read More
Featured Latest Issue Partners Regular Spotlight Featured Spotlight Regular Testimonial Text Testimonial Video

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.

Read More
Featured Latest Issue Partners Regular Spotlight Featured Spotlight Regular Testimonial Text Testimonial Video

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.

Read More
Business Regular Featured Latest Issue Partners Regular Spotlight Featured Spotlight Regular Testimonial Text Testimonial Video

SACMI Group 2024: revenues surpass €1.7 billion

The yearly financial statement – approved yesterday, 16th May, during the Parent Company Shareholders’ Meeting – highlighted a net equity of more than one billion euros, growing margins and financial solidity. 2024 also saw the drafting of the first Group Sustainability Plan. Paolo Mongardi, President of SACMI, states: “Sustainability is the fuel of future competitiveness. We continue to invest in people and remain focused on the values that have guided SACMI’s enduring worldwide success”     Imola, 17th May 2025 – SACMI closes 2024 with sales revenues of 1.728 billion euros. Despite the complex international economic and geopolitical backdrop, the company’s economic and financial fundamentals proved to be sound. For the first time, net equity exceeded one billion euros (1.055 billion, +172 million compared to 2023) while EBITDA settled at over 323 million euros and EBIT at 236 million. Net profit exceeded 200 million. These were the highlights of the Consolidated Financial Statement, presented yesterday evening, 16th May, at the Parent Company’s (SACMI Imola) Shareholders’ Meeting. “2024 was a solid year that went beyond expectations”, pointed out the President, Paolo Mongardi. “SACMI’s forward-thinking strategy rests on solid foundations and fully embraces the global drivers of digitalization and sustainability”. The year saw a continued focus on the core businesses, confirming the sterling reputation of – and customers’ confidence in – SACMI products across all sectors. In parallel with the to-be-expected slowdown in the ceramic sector – the result of international tensions and the sluggish global construction market – the Rigid Packaging, Advanced Technologies, Packaging & Chocolate sectors all performed excellently, driven by highly dynamic markets receptive to innovation. Investment remained consistently high in 2024 at 71 million euros, in line with the previous year, with a strong focus on innovation (276 new patent applications in 2024 alone, over 6,200 in the Group’s history) and training (over 94,000 hours). In parallel, SACMI confirms its role as a key player in the manufacturing industry’s ecological transition: during the year it presented innovative firing processes (e.g. electric), new process control solutions (thanks also to the acquisition of a majority share in Italvision in 2024), plus new eco-compatible standards, processes and materials in the packaging sector. “Sustainability is the key to future competitiveness”, explains President Paolo Mongardi. “We continue to invest in people by focusing on our values, which have consistently guided SACMI to worldwide success.” The green commitment is also evident at Governance level: the obligations of the new European CSRD (Corporate Sustainability Reporting Directive) were brought forward to 2024 and the first Group Sustainability Plan – an ambitious project that details actions and goals along the entire value chain, from suppliers to local communities – was drawn up. In the ESG sphere, SACMI has strengthened monitoring of indirect emissions linked to the use of its products and plants: this is part of an approach that centers on eco-design and the entire product life cycle to ensure processes are truly circular and impacts are minimized. The share of self-produced renewable energy is also growing (2.6 million kWh), the goal being to progressively decarbonize production facilities. On the employment front, the Group had a total of 4,756 employees at the end of 2024, with over 50% of new hires aged under 30. Close collaboration with universities and research facilities also continued. Ties with local communities – a part of SACMI’s DNA since its founding – became even stronger in 2024, with 90% of procurement networks consisting of local suppliers. Over the three-year period, the company also donated 2.4 million euros to healthcare, educational, safety, inclusion, sports and cultural projects. The year 2024 was a special one for SACMI, with the company reaching the milestone of its 105th anniversary. “We enter 2025 aware of not just the challenges but also the opportunities”, concludes the President, Paolo Mongardi, “with all the confidence that only a long history of innovation, solidity and responsibility can provide”.

Read More
Spotlight Regular

For the Love of Language, Literature and Nation

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.

Read More
Featured Latest Issue Partners Regular Spotlight Featured Spotlight Regular Testimonial Text Testimonial Video

Inauguration of “Selections” at Kishoreganj

AkijBashir Group has recently expanded its footprint with the launch of a new showroom of its brand emporium, Selections, in Kishoreganj. Guided by the motto – “Select from the Best”, Selections was first introduced in October 2022, with the vision of offering customers a one-stop destination for all products under the AkijBashir Group umbrella.     Prior to this, six flagship showrooms were inaugurated in key locations across the country—Banani in Dhaka, Agrabad Access Road in Chittagong, Gazi Burhan Uddin Road and Pathantula in Sylhet, Shimultola in Savar, and Keya Hall Road in Tangail. Since its inception, Selections has steadily earned the trust and attention of a wide customer base. To carry forward this momentum, the latest showroom has been launched in Dubail More, near Gaital Bus Stand, Sadar Kishoreganj. The store showcases a wide-ranging collection of ceramic tiles, boards, doors, sanitaryware, bathware, and tableware —bringing all of AkijBashir Group’s renowned brands under one roof. The inauguration ceremony was graced by the presence of Mohammod Khourshed Alam, Chief Operating Officer of AkijBashir Group, who officially inaugurated the showroom by cutting the ribbon. Distinguished guests from the group were also in attendance, including Mohammed Ashraful Haque, General Manager of Sales at Akij Ceramics; Md. Shahriar Zaman, Head of Marketing; Bishwajit Paul, Head of Sales at Rosa; and Md. Hamidur Rahman, proprietor of HS Tiles and Sanitary Gallery. During the event, Mr. Mohammod Khourshed Alam shared, “Our vision with ‘Selections’ has always been to bring the finest AkijBashir Group products under one roof, helping customers elevate their interiors. The Kishoreganj showroom is another step in that direction, offering a wide selection of premium tiles, sanitaryware, faucets, boards, and doors—all curated for discerning buyers”

Read More
Featured Latest Issue Partners Regular Spotlight Featured Spotlight Regular Testimonial Text Testimonial Video

Global Spotlight: CERAMICS CHINA 2025 Debuts First 720+ Exhibitors List!

Marking its 39th edition, CERAMICS CHINA—the world’s largest annual event for ceramic equipment and materials—will grandly open in Guangzhou on June 18th-21st Hundreds of exhibitors from over 20 countries and regions will be spread across SEVEN exhibition halls in Area A of the Canton Fair Complex, strategically organized by product categories and business types. Hall 1.1 and Hall 2.1 feature decorative materials, raw and auxiliary materials, refractories, and wear-resistant materials; Hall 3.1 is a concentrated display of foreign pavilions, international enterprises, and well-known brands; Hall 4.1 and Hall 5.1 mainly focus on digital and intelligent technologies, automation equipment, abrasive, tools, and spare parts; Hall 6.1 gathers the most representative equipment enterprises for ceramic tableware and sanitaryware; Hall 8.1 will highlight tile design, innovative processes, and advanced materials.   By late April, Halls 1.1-6.1 are fully sold out, and Hall 8.1 is 90% booked with limited space remaining. SECURE YOUR BOOTH NOW!   CERAMICS CHINA is not only the exhibition of the largest scale of its kind in the world, but also the most comprehensive in terms of exhibit variety. It offers an all-encompassing range of equipment, materials, accessories, and services—covering the entire production process from raw material processing to finished product packaging and warehousing. One can find advanced equipment, cutting-edge technologies, and innovative solutions tailored to their production needs at CERAMICS CHINA whether it’s for building ceramics, ceramic sanitaryware, ceramic tableware, art ceramics, garden ceramics, or even electrical ceramics, high-tech ceramics, glass, or stone product. As of May 5th, the total number of registered exhibitors has exceeded 720. To facilitate visitors in accessing exhibitor information and planning itineraries in advance, the organizer has decided to release the first batch of exhibitor list to global ceramics industry professionals ahead of schedule. Click to download CERAMICS CHINA 2025 Exhibitor List   CERAMICS CHINA attracts industry professionals from across China and around the world annually with its massive scale, numerous exhibitors, diverse exhibits, and exciting events. The previous edition (2024) accommodated 81,858 visits of visitors  and buyers from 72 countries and regions. It is projected that this year’s exhibition will draw attendees from over 80 countries and regions, with total participation expected to reach 100,000 visits. June 18-21, Join us in Guangzhou. Don’t miss out!

Read More
Featured Latest Issue Partners Regular Spotlight Featured Spotlight Regular Testimonial Text Testimonial Video

RAK Ceramics Unveils Flagship Showroom in Chittagong

RAK Ceramics, the world’s number one multinational tiles brand, has inaugurated a flagship showroom in Kazir Dewri, the heart of Chittagong. With a unique combination of world-class premium tiles, sanitary ware and modern bath solutions, RAK Ceramics is ready to transform customers’ dream homes or modern workplaces. RAK Ceramics’ new showroom is designed to offer a unique experience of sustainable quality, a touch of luxury, and cutting-edge design. Location: H. Tower, 889, Noor Ahmed Road, Kazir Dewri, Chittagong.

Read More
Business Regular Featured Latest Issue Partners Regular Spotlight Featured Spotlight Regular Testimonial Text Testimonial Video

Akij Tableware Art of Plating: Season 2 Premieres on April 25, 2025

Get ready for Akij Tableware Art of Plating: Season 2, premiering April 25, 2025, and turning food into art! Airing weekends on Bangla Vision at 8:15 PM, RTV at 7:10 PM, Deepto Television at 9:30 PM, and streaming on Chorki with new episodes every Friday and Saturday, this vibrant reality show celebrates Bangladesh’s culinary soul. Rooted in Bengali traditions of family and hospitality, contestants transform dishes like fish curries and creamy dal into visual poetry, blending heritage with modern flair. Following its 2022 debut, Season 2 brings high-energy challenges and showcases local talent, from aspiring chefs to home cooks, competing for the “Plating Maestro” title. The grand prize includes BDT 10,00,000, a professional culinary course, national media exposure, and an exclusive Akij Tableware dinner set. With a BDT 20,00,000 prize pool, runners-up and top participants earn cash, certificates, and recognition. Guided by renowned chef Daniel C. Gomez, contestants craft edible masterpieces, judged on aesthetics, technique, and culinary insight after auditions at Hatirjheel Amphitheater. Tune in to Art of Plating: Season 2 to witness a movement redefining dining as a feast for the eyes and soul, where every plate tells a story!

Read More
Featured Latest Issue Partners Regular Spotlight Featured Spotlight Regular Testimonial Text Testimonial Video

Akij Ceramics Inaugurates another New Exclusive Showroom at Banglamotor, Dhaka

Akij Ceramics, the leading brand in Bangladesh’s ceramic tile industry, has reinforced its market presence with the grand opening of another exclusive showroom at Banglamotor, Dhaka—a prime hub for the country’s tile market. A six-time consecutive winner of the Best Brand Award and Super Brand Award, Akij Ceramics continues to set industry benchmarks through innovation, superior quality, and an unwavering commitment to its “Promise of Perfection.” Staying true to its customer-centric approach, the brand has inaugurated its newest business associate showroom, “N. Alam Ceramic Centre,” located at 2/1 Poribagh Road, Banglamotor, Dhaka. The inauguration ceremony was held on April 17, 2025 (Thursday), with Mohammad Khourshed Alam, Chief Operating Officer of Akij Bashir Group, presiding as the chief guest. Distinguished attendees included Mohammed Ashraful Haque, General Manager (Sales) of Akij Ceramics; Md. Shahriar Zaman, Head of Marketing, AkijBashir Group; Bishwajit Paul, Head of Sales (ROSA); and Mohammad Noor A Alam Bhuyan, proprietor of N. Alam Ceramic Centre. Designed to offer an unparalleled customer experience, the showroom features cutting-edge product displays showcasing Akij Ceramics’ latest tile designs and size variations. Enhanced with modern furniture and innovative display tools, the spacious outlet ensures a premium in-store experience. With over 130 state-of-the-art showrooms across Bangladesh—both company-owned and business-associated—Akij Ceramics stands as the largest tile manufacturing and distribution brand in the country. The inauguration of the Banglamotor showroom marks another milestone in the brand’s journey to deliver flawless service and excellence to its valued customers.

Read More
Featured Latest Issue Partners Regular Spotlight Featured Spotlight Regular Testimonial Text Testimonial Video

‘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.

Read More
Featured Latest Issue Partners Regular Spotlight Featured Spotlight Regular Testimonial Text Testimonial Video

Foshan Uniceramics Expo — Asia’s Largest Industry Showcase Concludes with Resounding Success

2025 Foshan Uniceramics Expo Concludes Successfully, Global Ceramic Industry Gathers for the Event.   From April 18 to 22, the 2025 Foshan Uniceramics Expo was successfully held at the Foshan Tanzhou International Convention and Exhibition Center. As the biggest ceramics expo in Asia and a benchmark for the industry, this year’s event brought together over 600 brands from the ceramic, sanitary ware, and equipment & materials sectors, covering the entire industrial chain and showcasing the world’s most cutting-edge new products, designs, technologies, equipment, and materials.   For this year’s exhibition, the international participation reaches new heights. 2025 Foshan Uniceramics Expo attracted overseas brands from Italy, Turkey, Japan, Germany, Australia, and other countries, with Indonesian ceramic brands making their debut as a group. The equipment and materials section highlighted its international appeal, featuring continued participation from leading companies in Italy, Germany, Turkey, and other nations, along with new exhibitors from additional countries. Moreover, professional buyers from 85 countries and regions attended, including distributors, traders, engineering firms, and ceramic manufacturers, further solidifying the exhibition’s global influence.   Foshan Uniceramics Expo remains committed to its mission of “Bridging world ceramics to China, and China’s ceramics to the world.” Moving forward, it will continue to foster deeper exchanges and cooperation in the global ceramics industry, injecting new vitality into its international development. Stay tuned for the next edition!

Read More
Featured Latest Issue Partners Regular Spotlight Featured Spotlight Regular Testimonial Text Testimonial Video

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 Juise’s psyche when he was a child. Later in life, deeply touched by the Sundarbans’ environmental deterioration, he created this body of work as a lament and devotion to nature. This anthology, with its recurring themes of environmental concern and political overtones, combines lyrical extracts from folklore or shloks related to Bon Bibi with his own storytelling. The birth of these artworks dates back to the COVID pandemic. A time when despair loomed large. It was during this emotional upheaval that the artist Juise channeled his sorrow, frustration, and fear into a series of expressive sketches. Using vibrant shades of black, green, red, and blue— which are reminiscent of traditional Bangladeshi folk pottery— Juise stained his pages with raw emotion. Later, by combining various materials, such as twisted metal wires, paint, ink, handmade paper, newspaper pieces, etc., Juise enhanced the series even further. He was able to convey Bon Bibi’s holy force and the forest’s ethereal essence through these components. His line drawings smoothly blend with his pen and ink pieces to create complex collages that have a vibrant yet delicate vibe. In the meanwhile, the collection gains a tactile, even unearthly quality from his wire sculptures. The series gives viewers a deep feeling of Bon Bibi’s pervasive atmosphere. Along with his technical finesse, Juise added a unique Bengali flavor to the pieces. He skillfully combined the forms of people, animals, and insects to create flowing silhouettes that convey both motion and motionlessness. These shapes convey a duality: sadness that is subdued yet evident and fury that is controlled but strong. In doing so, Juise creates a collection of work that is both visually pleasing and profoundly significant by balancing artistic form with emotional weight. “In Quest of Bono-Bibi” stands much like an artistic diary that procures the artist’s personal reflections, cultural memory, and the urgent call for ecological reverence. It bridges folklore and modernity, spirituality and artistry—ultimately offering a visual testament of healing and harmony between humans and the natural world.

Read More
Featured Latest Issue Partners Regular Spotlight Featured Spotlight Regular Testimonial Text Testimonial Video

Institute of Architects Bangladesh Brings Pohela Boishakh to Life on Its Premises

The Institute of Architects Bangladesh (IAB) welcomed the Bengali New Year in vibrant style, hosting its first-ever Pohela Boishakh celebration on its premises. Titled “Esho Mati Notuner Ahobane”, the event was a colourful and cultural affair that reached beyond the architectural fraternity. Architects’ spouses, children, and extended family were warmly welcomed. The idea was simple: to celebrate the new year and the people who stand behind the scenes of every great architect. Festivities began at 3 PM, as the rhythmic beat of traditional dhol set the tone. Architect Asif M Ahsanul Haq, Convener of the Bengali New Year Celebration Committee, opened the event, inviting everyone into the heart of the celebration. With warm smiles and colorful attire, attendees embraced the spirit of community and enjoyed the laughter and tradition with their extended family. The IAB grounds were transformed into a festive fair, with interactive cultural corners drawing crowds throughout the day. Children gathered around clay artists and potters, their hands deep in clay, learning to mold traditional shapes. Nearby, shitol pati (cooling mat) weavers demonstrated their age-old techniques, encouraging young participants to try their hand at weaving. A painting zone was also set up, where children were free to create without the pressure of competition. Their artwork was later displayed, showcasing unfiltered creativity and color. Laughter echoed from the crowd gathered around the Putul Nach (puppet dance) and magic show, where entertainment delighted audiences of all ages and reminded everyone of the charm of folk performances. At the heart of the event was a bustling Meena Bazaar, alive with the flavors of tradition. Stalls served familiar favorites—muri, murki, naru, moya, samosa, beguni, lemonade, and kacha aam er shorbot—while architects and their families showcased their creative talents through stalls featuring homemade food, traditional sarees, books, paintings, and handmade crafts. It was a beautiful blend of personal passion and cultural pride. Major industry sponsors, including Berger Paints Bangladesh, Italiano Marble and Granite, Indigo Marble and Granite, Tilottoma Group, and Space Couture, added their own festive touch. Their vibrant booths offered free face art, portrait sketches, and a variety of Bengali snacks and refreshments, contributing to the lively spirit of the day. As the sun began to set, the stage came alive with folk songs and traditional dances performed by members of the architectural community. The soulful performance by Sadhu Songo, a renowned Lalon music troupe, captivated the audience with its spiritual melodies. The evening came to a heartfelt close with a collective rendition of “Esho He Boishakh,” followed by heartfelt closing remarks from Professor Dr. Abu Sayeed M Ahmed, President, and Professor Dr. Masudur Rashid, General Secretary of the Institute of Architects Bangladesh. The night concluded with a warm, memorable dinner under the open sky—an evening to remember.   This landmark celebration was not just about welcoming a new year, it was about embracing shared roots, honouring cultural expression, and celebrating the bonds that make up the architectural community.

Read More
Featured Latest Issue Partners Regular Spotlight Featured Spotlight Regular Testimonial Text Testimonial Video

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!’

Read More
Featured Latest Issue Partners Regular Spotlight Featured Spotlight Regular Testimonial Text Testimonial Video

A City’s Story in Stitches and Strokes

Dhaka’s rapid urbanization is impossible to ignore. This city of relentless energy and transformation is a place where tradition and modernity collide amidst its bustling streets and ever-changing skyline. As the economic heart of Bangladesh, it draws thousands seeking better opportunities. But this comes at a cost: overcrowding, strained resources, and a growing disconnect between the old and the new. Against this backdrop, ShohorNama Dhaka Episode II sought to explore the city’s complexities through art. Launched in early 2024, the project brought together visual artists, architects, artisans, and students from the University of Dhaka’s Faculty of Fine Art to create a tapestry of urban narratives. And the exhibition of this project took place from February 15 to 25 at the level 4 under construction space of the capital’s Bengal Shilpalay. The exhibition was inaugurated by H.E. Marie Masdupuy, Ambassador of France to Bangladesh, on February 15, 2025. Titled after the project name, the multidisciplinary exhibition wove together the threads of urban life, resilience, and creativity. Presented by the Bengal Arts Programme in collaboration with the Britto Arts Trust, ShohorNama II was a visual love letter to Dhaka, its people, and their stories. From large appliqué tents to wood-cut prints, installations, and performance art, it was a celebration of Dhaka’s artistic topography. At its core, ShohorNama was about storytelling. One of the standout features is the Pakghor Project, a community kitchen born out of necessity during the devastating floods of 2024 in the Khulna region. Pakghor provided warm meals to 500 villagers for a week. But it became more than just a kitchen—it became a space for shared stories, resilience, and hope. The Dorjikhana Project takes a different approach, focusing on textiles and their cultural significance. Through appliqué and embroidery, artists explore the connection between traditional practices and the modern garment industry. The project also draws inspiration from Bangladesh’s fading circus traditions. Resulting in a stunning collection of textile art that speaks to both the past and the present. Another striking element of ShohorNama is its use of tents. Historically, tents have symbolized temporary shelter for nomadic communities, and in this exhibition, they represent the fluidity of migration—whether due to natural disasters, economic hardship, or political unrest. The Big Tent installation captured this impermanence, reflecting the challenges faced by marginalized communities. The exhibition also highlighted the collaborative spirit of the project. Workshops with the University of Dhaka’s Department of Printmaking and Department of Craft allowed students to contribute to large-scale works, such as woodcut prints and appliqué pieces. These workshops not only honed technical skills but also fostered a sense of shared purpose, blending individual creativity into a cohesive vision. The exhibition was a feast for the senses! As Dhaka continues to evolve, exhibitions like “ShohorNama Dhaka Episode II” remind us of the importance of preserving our stories and traditions. Through art, we can find common ground, build resilience, and imagine a better future.

Read More
Featured Latest Issue Partners Regular Spotlight Featured Spotlight Regular Testimonial Text Testimonial Video

Where Artist and Audience Intertwined

Amidst the quietness of Lalmatia’s Block F lies Shunno Art Space—like multidisciplinary artists, it’s also multidisciplinary in character. Limited in floor area but with an illimitable heart, the space adorns exhibitions, has a printing workshop set up, and has a café—intertwined. From February 15 to 22, this cozy space hosted artist Sanjid Mahmud’s solo exhibition “Tracing The Distance.” The week-long exhibition witnessed a vibrant crowd, and the inauguration was graced by eminent artistic figures Hamiduzzaman Khan and Mustafa Zaman. “Exhibition visitors observe art passively, only admiring the finished works. They only view; they don’t paint. But here, they were active participants. They picked up brushes and poured their emotions into the canvasses. Even those who don’t know how to draw found themselves painting. Their raw, unfiltered expressions became the foundation. Then, I stepped in, adding my artistic intervention, blending their spontaneity with my vision.” These words from the artist Sanjid himself perfectly procure the zeitgeist of “Tracing the Distance.” Sanjid Mahmud’s “Tracing the Distance” was an artistic co-production between the artist and the exhibition visitors that prioritized real-time cooperation and process over finality. Art, being a collaborative enterprise, carries remnants of prior forms by combining individual expression with common experiences. However, Sanjid Mahmud’s initiative changed the attention away from linguistic borrowing and toward overlapping artistic expressions in the moment, resulting in a dynamic interplay between creator and participant.   Visitors at Shunno Art Space were greeted with empty canvases and encouraged to add spontaneously. The act of production was valued over passive viewing, encouraging people to leave their mark on the canvasses however they liked, be it sketchy motions or painterly strokes, regardless of their creative ability. This fun and engaging method relieved the pressure of normative practices, allowing for raw, unfiltered expression. Sanjid Mahmud then stepped in, responding to these inputs without striving for a certain style result. The end result was a body of work that defied decisive conclusion, undermining modernist conceptions of linear progression and chronological time. The title of the exhibition, “Tracing the Distance,” emphasized its purposeful break with the logic of modernity, which minimizes artists’ territorial consciousness and frequently limits them to historical circumstances. Through the process of collaborating with his audiences, Sanjid Mahmud challenged the conventional understanding of art as a “significant form” or a refined praxis. In order to reveal the fluid, communal character of creativity, he instead opened the gallery’s “white cube.” By means of this collaborative approach, the artist stimulated a reconsideration of the connections among art, artists, and the art community. Thus, Shunno Art Space transformed into a place of reflection where both appreciation and creation are rethought. By emphasizing the act of doing rather than observing, “Tracing the Distance” questioned established hierarchies and honored the beauty of group, unplanned expression while providing a novel viewpoint on the ever-changing conversation between shared and individual artistic languages.   Written By Shahbaz Nahian

Read More
15th Issue Featured Latest Issue Partners Regular Spotlight Featured Spotlight Regular Testimonial Text Testimonial Video

Aarong Flagship Store A Symphony of Architecture, Design and Craft

Aarong, the flagship brand of BRAC, has long been a beacon of Bangladeshi craft and heritage. Since its founding in 1978, it has evolved from a humble platform supporting rural artisans into one of the most iconic lifestyle retailers in the country. At every stage of its journey, Aarong has remained dedicated to preserving traditional crafts while embracing innovation in design and retail. This commitment culminates in its latest and most ambitious endeavor: the Aarong Flagship Store in Dhanmondi. This isn’t just a new store; it’s a monumental celebration of Bangladeshi craftsmanship, culture, and creativity.     With its grand opening, the Aarong Flagship Store has become the world’s largest craft store. Yet beyond the scale, it is the thoughtfulness of the design, the intricacy of the artistry, and the profound connection to Bangladesh’s heritage that make it truly remarkable. Here, architecture becomes a canvas, interiors breathe with narrative, and every art installation stands as a tribute to the nation’s soul. Weaving a Legacy in Concrete At the heart of Dhanmondi, where tradition meets the rhythm of urban life, stands a building that does more than offer products—it tells a story. The Aarong Flagship Outlet, designed by the visionary team at Synthesis Architects, is not merely a retail space—it is a woven fabric of heritage, memory, and movement. The design draws its soul from an age-old practice: weaving. For generations, Bangladeshi artisans have mastered the loom, interlacing threads into forms that embody both beauty and utility. This fundamental craft became the architectural metaphor—fluid, connected, and timeless. A singular, sweeping ribbon—symbolic of woven fabric—emerges from the ground, bends, flows, and re-emerges, wrapping the building in a gesture that is both gentle and bold. This ribbon, meticulously cast in handcrafted concrete, intertwines tradition with contemporary expression. It shields and shelters, filters light and air, and gracefully performs the roles of both skin and soul.     Designing for Aarong, a brand synonymous with preserving and promoting Bangladeshi craftsmanship, was an exercise in alignment. It was about giving architectural form to a cultural mission. The interior was choreographed as an experience. Color, texture, and flow were orchestrated to tell stories of rural hands, tribal patterns, and generational skill. The internal movement—voids, escalators, panoramic lifts—echoes the interlacing of threads on a loom. The building doesn’t simply house craft; it embodies it. There were challenges—limited plot size, urban code restrictions, and the complex layering of customer experience. But like the imperfections in a handwoven textile, these constraints added to the character. The architects embraced a rare construction process involving custom shuttering techniques that fused handcrafted care with structural innovation. It was, in many ways, architecture as craft—thoughtful, tactile, and deeply human. The Aarong Flagship Outlet is more than a commercial destination—it is a living artifact. A building where the spirit of Bangladesh rises through poured concrete, where ribbons of history and modernity interlace, and where the vision of Synthesis Architects comes alive in every curve, corner, and corridor. Narratives in Space: Designing Aarong’s Interior Stepping inside Aarong’s Dhanmondi flagship store is like entering a carefully curated journey through the textures, colors, and stories of Bangladesh. The interior design—an inspired collaboration between DWm4 Intrends Ltd, KNMR Ltd – Quirk & Associates JV, and Aarong’s in-house team—transforms the space into something far more than a retail outlet. It becomes a living, breathing storybook. From the outset, Aarong’s internal creative team played a vital role in shaping the vision. With deep roots in the brand’s philosophy and a nuanced understanding of its audience, they ensured the design remained authentically rooted in Bangladeshi heritage while pushing the boundaries of modern retail aesthetics.     Guided by a philosophy rooted in transparency, movement, and nature, the space invites exploration. A rich interplay of materials, tones, and layers creates a rhythmic flow throughout the store. The tactile warmth of crafted surfaces, the strategic use of natural light, and the organic integration of greenery collectively form an ambiance that is both calming and dynamic. Each area reveals a distinct narrative, woven through thoughtful transitions that guide visitors from one crafted world to another. Every detail reflects a broader intention: to connect the threads of past and present, tradition and innovation, artisans and their audience. The space becomes part of the product’s story, amplifying its meaning and value. Executed with precision and artistry by the expert team at Charuta Limited, the interior fit-out brings this collective vision to life. At the heart of this journey was the dedicated team of architects and designers from Aarong, whose cultural insight and creative vision shaped an environment that celebrates both legacy and innovation . Art Installations: Where Stories and Spaces Intertwine Beyond architecture and interiors, the Aarong Flagship Store stands out for its large-scale art installations—transforming it from a retail space into a cultural landmark. Each piece, created by a blend of independent artists and Aarong’s in-house team, captures a different facet of Bangladeshi life and heritage. The Great Arena: A Monumental Nakshi Kantha Designed by Samiul Alam Himel in collaboration with Aarong’s in-house team, this towering four-story installation reimagines the storytelling tradition of Nakshi Kantha in architectural form. Traditionally stitched by rural women to document everyday life, these narrative quilts are here translated into flowing sculptural lines and vivid, layered colors. Titled “MohaArongo: The Great Arena,” the piece stretches 44 feet high and 10 feet wide, handcrafted over six months by 250 artisans from rural Bangladesh. The work is not only monumental in scale but also in meaning. Created from repurposed fabrics, salvaged beads, and discarded ornaments, it embodies a philosophy of renewal and resilience. The piece weaves a narrative journey through rural life, folklore, urban aspirations, and cosmic imagination—stitched in intricate Nakshi Kantha techniques drawn from Aarong’s archives and reinterpreted across various fabrics. Orange threads guide the eye through this swirling story, culminating in motifs like peacocks, trees of life, and village fairs, each carrying hidden stories within their forms. Rising through the central atrium, the installation invites viewers to look upward and

Read More
15th Issue Featured Latest Issue Partners Regular Spotlight Featured Spotlight Regular Testimonial Text Testimonial Video

PEOPLES CERAMIC INDUSTRIES Clay, Fire, Art: A Story of Dreams

As the morning sun gently illuminates glass windows and casts playful shadows on the floor, a new day’s story unfolds. Beyond the city’s hustle and bustle, skilled hands at Peoples Ceramic Industries Limited (PCI) work tirelessly to craft each perfect piece—an extraordinary fusion of clay, fire, and creativity. Today, Bangladesh’s ceramic industry has evolved far beyond home décor into a globally recognised brand. At the forefront of this transformation is PCI. Established in 1962—originally known and registered as Pakistan Ceramic Industries Ltd.—the company has grown over 63 years into one of the nation’s oldest and most respected ceramic manufacturers. Its reputation for high-quality porcelain tableware, sustainable technology, and a robust international presence speaks for itself. In this edition of Ceramic Bangladesh, we sat down with Lutfur Rahman, the Managing Director of Peoples Ceramic Industries Ltd. A visionary in his own right, Lutfur has both preserved and expanded his father’s legacy, positioning PCI as a key player in Bangladesh’s industrial evolution. A Legacy Built on Vision and Integrity Lutfur Rahman began the interview by proudly showing a photograph of his father, Ansar Uddin Ahmed—the mastermind behind Peoples Ceramic. A civil engineer who graduated from Ahsanullah Engineering College (now BUET) in 1947, Ansar Uddin was driven by an enduring desire to serve his country—not through bureaucracy but by creating something truly meaningful. After a brief stint in the government sector, he pursued his entrepreneurial dreams. In the early 1950s, he founded United Engineers, securing a first-class license from the government. His firm was responsible for several prominent constructions that still stand today, including the Ceramic Institute in Tejgaon, Dhaka Polytechnic Institute, and Chittagong Medical College and Hospital. It was during his frequent visits to the Ceramic Institute that the idea for a ceramic factory was born. Reflecting on his father’s journey, Lutfur shared, “The relationship between children and their parents has always been special. I grew up watching my father work relentlessly, with my mother by his side supporting every step. His singular desire was to create a new industry and leave behind porcelain tableware as a legacy to improve the quality of life for our people. To realize this dream, he embarked on a long, challenging journey filled with obstacles. He always said, ‘To achieve something, one has to give up something, and there is no shortcut to building a solid foundation.’” The Birth of Peoples Ceramic In 1962, Peoples Ceramic Industries Ltd. was established with a clear and powerful vision—to provide affordable porcelain tableware for ordinary people. At a time when ceramic products were considered a luxury, Mr. Ahmed aimed to bring dignity and elegance to everyday dining. The company chose to manufacture European-style tableware, targeting both local tastes and future export opportunities. By 1982, PCI had successfully entered the international market, with its porcelain products welcomed in Holland and the United Kingdom. Located in the Tongi Industrial Area—a prominent industrial zone in Gazipur, just 20 kilometers from Dhaka—PCI started with basic housewares, tea cups, and saucers designed primarily for restaurant use. Over time, the product line expanded to include institutional ranges catering to hotels, restaurants, and the broader hospitality sector. Reflecting on the company’s humble beginnings, Lutfur recalled, “Peoples Ceramic was established in 1962, with the technical support of Sone Ceramic, Japan. At that time, Japanese engineers stayed in Dhaka to supervise the installation and production process. In the early days, our factory ran on furnace oil, and our products gained popularity right from the start.”   Mr. Ansar Uddin Ahmed, who served as managing director of both Peoples Ceramic Industries and Standard Ceramic Industries Ltd., passed away on August 17, 2005. He also served as the first President of the BCMEA from 1992 to 2002, playing a vital role in revolutionising the export of local ceramics. “Tajma Ceramics, established in 1959, was the pioneer in manufacturing earthenware. However, PCI was the first to introduce porcelain production in Bangladesh,” Lutfur explained. According to him, PCI was formally inaugurated by then Industries Minister Dewan Basit and the Japanese Ambassador, with commercial production beginning on June 23, 1966. Overcoming Challenges and Embracing Innovation Marketing large-scale production in the early years posed a significant challenge. To overcome this, Mr. Ahmed ventured into the Pakistani market, successfully competing against two established factories. PCI’s hard-grade porcelain quickly won acceptance, carving out its niche within the subcontinental market. The company has consistently invested in state-of-the-art technology, global raw material sourcing, and upgraded machinery to guarantee quality and cost-effectiveness. This forward-thinking approach has enabled PCI to stay ahead of industry trends for decades. In 2009, the company introduced decal printing—initially using basic logos—and by 2012 had established a fully automated decal printing facility, expanding its design capabilities and reinforcing its brand identity.   Aesthetic Diversity: Designs That Tell a Story Today, PCI offers a diverse range of tableware, neatly categorized into housewares, hotelware, and giftware. The company produces approximately 13 million pieces of porcelain tableware annually and employs nearly 712 people. These milestones stand as a tribute to its commitment to quality and innovation. The Road Ahead: Legacy and Vision Under Lutfur Rahman’s leadership, PCI continues to honor his father’s legacy with dedication and innovation. The company has adopted sustainable production practices and is actively exploring new export markets. As Lutfur puts it, “We still hold on to the principles my father set—quality, integrity, and making ceramics accessible for all. Our goal is not only to serve our customers but also to contribute to the country’s economic and industrial growth.” Looking to the future, PCI is exploring renewable energy integration, digital production processes, and expanding its footprint into emerging markets in Asia and Africa. As Bangladesh’s ceramic industry gains global prestige, Peoples Ceramic Industries Ltd. remains at its heart—a symbol of dreams forged in clay and fire, shaped by vision, and driven by a commitment to excellence. Maximizing Waste Utilization in Ceramic Production PCI is also a leader in sustainable practices. “We actively reclaim ceramic scraps at various stages of production—including the green (unfired), bisque

Read More
15th Issue Featured Latest Issue Partners Regular Spotlight Featured Spotlight Regular Testimonial Text Testimonial Video

Celebrating 5 Years of Success of the Sponsors and Patrons Recognition

Shaping Bangladesh was one of the most prestigious events of Ceramic Bangladesh Magazine, organized by BCMEA (Bangladesh Ceramic Manufacturers and Exporters Association). The event gathered many renowned and well-known architects, engineers, industry leaders, and industry personnel from different sectors under one roof. It was a different way of introducing the new ways of rebuilding and reshaping Bangladesh with many unique and extraordinary ideas and thinking of brilliant minds and visionary individuals of the country. Without the support of the sponsors, the event would never have happened in reality. It was the encouragement, support, and dedication of the valuable sponsors who have come forward to make this event successful and create a new buzz in the town. On that note, special thanks to all the sponsors and partners of the event for making a special and notable contribution to the event and playing their part crucially. Valued Sponsors of Shaping Bangladesh Special recognition and deepest gratitude to the valued sponsors and partners for providing their invaluable support. Their generous contribution has played a significant role in making this event possible and helping BCMEA bring all the valuable communities together to promote a meaningful experience. The valued sponsors of Shaping Bangladesh were: • Platinum Sponsor: Akij Ceramics Limited • Powered by Sponsors: Meghna Ceramic Industries Limited. and X Ceramics Limited • Associated Sponsors: Sheltech Ceramics Limited, DBL Ceramics Limited, Mir Ceramic Limited Event Partners: • Gift Partner: RAK Ceramics (BD,) Ltd. • Media Partner: The Business Standard • Hospitality Partner: Dhaka Regency and Chuti Resort • Wardrobe Partner: Fiero   • Other Supporting Partners: 01. BHL Ceramic Co. Ltd., 02. Mirpur Ceramic Works Ltd., 03. Ali Ceramic Ind. Ltd., 04. Adroit Swimming Ltd., 05. Nupami BD Ltd., 06. Amber Board Mills Ltd., 07. Lonon BD BCMEA and Ceramic Bangladesh Magazine are extremely grateful and honored by their presence and collaboration for the event, and they also look forward to continuing these valuable relationships in the future by working together. Top 5 Contributors in 5 years journey of Ceramic Bangladesh Magazine Shaping Bangladesh was not only an event to gather the brilliant minds, but it was also a remarkable celebration for the 5-year successful journey of Ceramic Bangladesh Magazine. BCMEA and Ceramic Bangladesh Magazine expressed their heartfelt gratitude to the constant supporters of the publication. Here are the top 5 contributors of the Ceramic Bangladesh Magazine in last 5 years who have helped to sustain the publication and allowed the magazine to grow, evolve, and continue delivering quality content to the readers, and showcase unique and extraordinary stories through the lenses of writers and photographers. Moreover, the continuous and unwavering belief in the publication was the cornerstone of this event’s success. The partnership has made the event more meaningful. BCMEA and Ceramic Bangladesh Magazine are truly honored to have all the sponsors, partners, and contributors by their side and look forward to continuing this journey together by building more impactful and significant years ahead.

Read More
15th Issue Featured Latest Issue Partners Regular Spotlight Featured Spotlight Regular Testimonial Text Testimonial Video

Kromosho Beyond ‘Belonging’

In the mid-2000s, a young- Munem Wasif began exploring the hidden corridors of Old Dhaka alongside his trusty, timeworn companion, Zenit—a mechanical relic from the Soviet era. This journey eventually culminated in his 2012 photographic masterpiece Belonging, a work that revolutionized visual storytelling in Bangladesh’s art scene. Much like the dark, ever-flowing waters of the Buriganga that have witnessed Dhaka’s transformation, Wasif’s artistic journey has traversed many phases—each urging audiences to look beyond the surface. From `Seeds Shall Set Us Free’ to `Collapse’, his work continuously invites deeper reflection, all while retaining an unbreakable bond with Old Dhaka.     After nearly 16 years, Munem Wasif returns to Dhaka with a solo exhibition titled `Kromosho’, now on display at Bengal Shilpalay in the capital. The show, which runs until May 31, 2025, features contributions from curatorial advisor Tanzim Wahab, project assistant Iftekhar Hassan, and architectural designer Dehsar Works, and is open to everyone. Reflecting on his previous work, Wasif explained, “I felt something was lacking when Belonging was released. It merely touched upon the surface of the people and their celebrations—I couldn’t capture the core of their daily lives, the very ‘life’ of Puran Dhaka. That realization gave birth to Kheya’l. This exhibition is a testament to my transformation over the past two decades.”     The opening at Bengal Shilpalay buzzed with energy as art enthusiasts gathered to witness what promises to be one of the most memorable exhibitions in recent memory. Kromosho unfolds in three movements: it begins with Wasif’s ethereal black-and-white photographs from the Belonging era, which converse with his fresh, vibrant color works from Stereo. This juxtaposition creates a dynamic tension between past and present, memory and reality. In Kheyal, a cinematic meditation captures the pulsing rhythm of Old Dhaka, while the installations Shamanno and Paper Negative blend documentation with imagination, challenging our perceptions of what is real versus what is remembered.     Critically, Old Dhaka may seem like a ticking time bomb—overcrowded, decaying, and a bitter relic of collective neglect. Yet, Wasif’s work reveals the hidden vitality amid this chaos, unearthing a poetry rarely seen by the casual observer. Kromosho does more than display images of a place; it captures its very essence. The exhibition serves as a mirror, prompting us to consider what we preserve and what we forsake in our relentless march toward modernity. In an age of rapid urbanization and cultural amnesia, Wasif’s work stands as both an archive and an elegy—an enduring reminder that some stories transcend what can be captured by cameras or words. To fully appreciate its depth, one must experience it both in person and with an open, reflective heart. As visitors wander through the gallery, they are invited not only to observe but also to introspect. In this way, Kromosho transcends the role of a mere art exhibition—it becomes a conversation, a homecoming, and ultimately, a call to bear witness. Written by Shahbaz Nahian

Read More
15th Issue Featured Latest Issue Partners Regular Spotlight Featured Spotlight Regular Testimonial Text Testimonial Video

Puthia’s Purls

Nestled in northern Bangladesh in the heart of Rajshahi, the Puthia Rajbari (Palace) Complex stands as a vivid reminder of the region’s storied past. This captivating ensemble of temples and palaces—set against a backdrop of tranquil water bodies and lush greenery—offers visitors a rare glimpse into the majesty of Bengal’s bygone eras     Puthia’s rise to prominence dates back to the late 16th century, evolving by the 18th century into a bastion of wealth and influence. Originally part of the Laskarpur Pargana and named after Laskar Khan Nilamber—the brother of the first zamindar, who earned the title of Raja from Mughal Emperor Jahangir—the estate underwent a significant division in 1744. This partition split the zamindari into four co-shares, with the Panch Ani (five annas) and Char Ani (four annas) shares emerging as particularly influential. The Panch Ani estate, skillfully managed by Maharani Sarat Sundari and Maharani Hemanta Kumari, became celebrated for its efficient administration and enthusiastic patronage of the arts.     In 1895, Maharani Hemanta Kumari Devi commissioned the construction of the two-storied Puthia Rajbari—an architectural marvel dedicated to her mother-in-law, Maharani Sarat Sundari Devi. A fine example of Indo-Saracenic Revival architecture, the palace harmoniously blends European neoclassical ideals with indigenous Bengali design.     Strategically located along the Rajshahi–Natore highway (approximately 30 km east of Rajshahi town and 1 km to its south), the palace is surrounded by protective ditches and sprawls over 4.31 acres. It is organized into four distinct courts: the Kachhari (office) courtyard, the Mandir Angan or Gobindabari (temple court), the Andar Mahal (private quarters), and the residence of Maharani Hemanta Kumari Devi. Today, the palace also functions as a museum, offering insights into the rich tapestry of Puthia’s history. Under British colonial rule, the Puthia family continued to play a pivotal role in Bengal’s governance. Eager to integrate local elites into their administrative framework, the colonial authorities relied on influential zamindars such as the Puthia royals. This collaboration enhanced their economic wealth and social standing while cementing Puthia’s reputation as an architectural and cultural beacon during the 19th century—a remarkable melding of Mughal elegance with European influences that produced a unique heritage.     The palace rooms are arranged around several courts, all of which are single-storeyed except for the Kachari Angan. This section features Palladian porticos with four semi-Corinthian columns on both the western and eastern ends—one leading to the Kachari Angan and the other to the Temple (Gobindabari) courts. The porticos and central section include arcaded loggias on the first floor, while a wooden staircase on the east side ascends to three varied rooms (two of which once served as treasuries) on one side and four rooms with verandahs on the other. The northern block is double-storeyed, with a wide hall measuring 21.95 m x 7.16 m, a verandah with side balconies, and six additional rooms upstairs. In the Andar Mahal, the western section comprises two rooms and several bathrooms, while the eastern section houses a one-storeyed residence of Rani Hemanta Kumari. This residence includes a porch, a central reception hall with nine rooms, extended arch-adorned verandahs, and a roof supported by iron and wooden beams. Overall, the palace primarily served as the administrative and residential hub of the Puthia estate. The complex is also home to several iconic temples that epitomize its architectural grandeur: Bhubaneshwar Shiva Temple (1823): Constructed by Rani Bhubonmoyee Devi, this temple is the largest Shiva temple in Bangladesh. Built in the Pancha Ratna (five-spired) style, it enchants visitors with intricate stone carvings and houses a massive black basalt Shiva Linga—the largest of its kind in the country.   Govinda Temple: Erected in the mid-19th century by the queen of Puthia and dedicated to Lord Krishna, this temple is famed for its exquisite terracotta ornamentation. Its five imposing spires, detailed with depictions of divine figures, epic battles, and mythological narratives, showcase the fervor and artistic talent of the region.     Jagannath Temple: In a striking departure from conventional designs, this two-storied octagonal temple—dedicated to Lord Jagannath—features four pillars crowned with domes. Its unconventional shape highlights the infusion of European neoclassical elements into traditional local design.   Chauchala Chhota Govinda Mandir: Dating to the late 18th or early 19th century, this temple adheres to the Char Chala style, characterized by its distinct four-cornered roof. Its terracotta façade vividly narrates rich tales from Hindu mythology, including cosmic battles between gods and demons. Bara Anhik Mandir: Representing an intriguing fusion of styles, this temple combines a central two-chala structure with two flanking four-chala wings—a rare architectural combination scarcely seen elsewhere in Bangladesh. Choto Shiv Mandir: Tucked behind the Rajbari, this humble yet finely crafted temple exemplifies the refined skills of Bengal’s artisans and provides a serene retreat for those seeking a private space for reflection. As Bengal’s social and political landscapes evolved under British influence, complexes like Puthia became more than centers of worship—they grew into symbols of local identity. The sacred grounds of the Puthia Temple Complex evoke an era when devotion, artistic brilliance, and effective governance merged to create a legacy that continues to inspire awe. Even amid challenges such as the Bangladesh Liberation War and other periods of political upheaval, dedicated preservation efforts by local authorities and heritage organizations have maintained the complex’s original splendor. In safeguarding its stone and clay, they preserve not merely a collection of monuments but a living cultural heritage that speaks volumes about the spirit of Bengal. Exploring Puthia’s legacy invites further discovery—from delving into the nuanced artistic details of terracotta carvings to understanding how colonial and indigenous influences converged to shape regional identity. This complex remains a beacon for anyone passionate about history, art, and the enduring human endeavor to immortalize culture through architecture. Written by Shahbaz Nahian

Read More
15th Issue Featured Latest Issue Partners Regular Spotlight Featured Spotlight Regular Testimonial Text Testimonial Video

Indian Ceramics Asia

Announces New Dates for 2026 Edition: To Be Held from January 28–30, 2026 in Gandhinagar, Gujarat, India     Indian Ceramics Asia, India’s only B2B trade fair for the ceramics and brick industry, has announced the dates for its landmark 20th edition. The upcoming show will take place from January 28–30, 2026, in Gandhinagar, Gujarat. Organised by Messe Muenchen India and Unifair Exhibition Services, the 2026 edition is strategically scheduled earlier in the year to better align with the industry’s annual planning and investment cycles. The new dates are expected to deliver enhanced value for exhibitors and visitors alike—unlocking fresh business opportunities, accelerating decision-making, and setting the tone for innovation-led growth across the industry. The announcement follows the successful completion of the 19th edition, held from March 5–7, 2025, at the same venue. This edition attracted over 250 brands and more than 8,000 trade professionals from 32 countries, marking a vibrant convergence of ideas, technology, and global best practices.     The 2025 edition stood out for its focus on energy innovation, logistics optimization, and global competitiveness. Exhibitors like SACMI, KEDA, Sibelco, Systems Ceramics, and Modena showcased advanced machinery and raw materials aimed at making ceramic manufacturing more cost-effective and sustainable. The Live Demo Zone and Ceramics Career Connect initiatives offered real-time learning and talent engagement, further enriching the visitor experience. International pavilions from Italy and Germany brought in automation-centric solutions and sustainable practices, strengthening cross-border collaboration. As the industry continues to navigate challenges around energy, supply chains, and global demand, Indian Ceramics Asia remains the sector’s most trusted platform for innovation, networking, and growth. Join us from January 28–30, 2026, in Gandhinagar—and be part of the ceramics industry’s defining event in South Asia. For more details, visit www.indian-ceramics.com

Read More
15th Issue Featured Latest Issue Partners Regular Spotlight Featured Spotlight Regular Testimonial Text Testimonial Video

Bangladesh Investment Summit 2025 A New Dawn for Economic Growth?

Bangladesh now stands at a critical crossroads. As the country prepares to transition from a least-developed nation (LDC) to a middle-income economy in 2026, it grapples with significant hurdles. Despite years of economic resilience, enduring issues—such as import dependency, skill shortages, stagnant private investment, and declining foreign direct investment (FDI)—continue to slow progress. In this challenging environment, the Bangladesh Investment Summit 2025 emerged as a pivotal event, unveiling initial investment proposals worth Tk 31 billion (3100 crore) and igniting cautious optimism among policymakers and investors.     Convergence of Promise and Challenges Organized by the Bangladesh Investment Development Authority (BIDA), the four-day Dhaka summit, held from April 7 to April 10, 2025, brought together over 550 investors and business representatives from more than 50 countries. Inaugurated by Chief Advisor Dr. Muhammad Yunus, the summit sought to reimagine Bangladesh’s global investment identity even as it faced structural challenges. Ultimately, the success of these initiatives will hinge on whether early commitments evolve into sustained and tangible investments.     For years, Bangladesh’s investment landscape has remained largely stagnant. Overall investments have hovered between 24–28 percent of GDP, with private investment stuck at 22–24 percent and FDI persistently below 1.0 percent. Recent declines in private investment in FY2023 and FY2024, along with a continuous drop in FDI since FY2018, have been attributed to bureaucratic hurdles, policy unpredictability, and macroeconomic instability—particularly in managing exchange rates. Yet, amid these challenges, the summit has sparked a renewed sense of hope.   Global Multinationals Betting on Bangladesh Three major international companies announced expansion plans during the summit: Inditex (Spain): The retail giant behind Zara reaffirmed Bangladesh’s role as a key sourcing hub and hinted at increased procurement. Lafarge Holcim: The cement leader discussed plans to broaden operations and explore carbon capture initiatives. Handa Industries (China): The company committed $150 million to develop textile, dyeing, and garment units in designated economic zones. In addition, Dubai-based DP World expressed interest in investing in Chattogram’s new Mooring Container Terminal. Celebrating Local Champions Local enterprises also received significant recognition at the event. Four Bangladeshi firms were honored for their contributions: bKash (Excellence in Investment): The trailb lazing mobile financial services provider backed by IFC, Ant Group, and SoftBank. Fabric Lagbe (Innovation Award): A digital marketplace that empowers traditional weavers. Walton (ESG Award): A leading local electronics manufacturer exporting to over 40 countries. Square Pharmaceuticals (Investment Excellence): A company that has grown from modest beginnings in Pabna to a globally recognized pharmaceutical powerhouse. These success stories underscore that, despite systemic challenges, Bangladeshi enterprises can thrive on the international stage. Global Investors Show Confidence There is growing international faith in Bangladesh’s revised approach to investment. Foreign investors have commended the interim government for taking proactive measures to attract FDI—a marked departure from previous administrations. A delegation of 60 investors from the U.S., South Korea, China, Japan, India, Australia, and the Netherlands toured key hubs such as the Korean Export Processing Zone (KEPZ) in Chattogram and the Japani Export Processing Zone (JEPZ) in Narayanganj, exploring opportunities in textiles, IT, and manufacturing.     KEPZ: A Model Investment Hub Operated by South Korea’s Youngone Corporation, KEPZ has become a shining example of Bangladesh’s readiness for FDI. Investors were impressed by its well-established infrastructure, efficient licensing procedures, and worker-friendly amenities—including a hospital, a textile institute, a 40MW solar project, and an effluent treatment plant. With $700 million already invested, KEPZ now hosts 48 factories and employs 30,000 workers, 75 percent of whom are women. Forging Sustainable Partnerships The summit also facilitated key agreements. Notably, BIDA, the Commerce Ministry, ILO, and UNDP issued a joint declaration to promote sustainable and inclusive growth through targeted trade reforms. Additionally, UK Trade Envoy Baroness Rosie Winterton highlighted long-term opportunities in healthcare and education, paving the way for enduring global partnerships. Navigating the Road Ahead: Can Bangladesh Overcome Its Investment Slump? Despite the summit’s positive momentum, Bangladesh’s investment climate continues to face obstacles: High bank interest rates that deter private borrowing. Policy inconsistencies under the interim government create uncertainty. Weak FDI performance compared to regional competitors like Vietnam and India. Analysts stress that without significant structural reforms—streamlining bureaucracy, ensuring policy stability, and stabilizing the macroeconomy—Bangladesh may struggle to sustain the anticipated investment surge. Execution is Key The Bangladesh Investment Summit 2025 has successfully rebranded the country as an emerging investment destination. With multinationals such as Inditex, Lafarge Holcim, and Handa Industries pledging expansion and local leaders like bKash and Walton proving their global competitiveness, there is considerable cause for optimism. However, the real challenge now lies in execution. Only if Bangladesh addresses its business environment hurdles, refines regulatory frameworks, and maintains macroeconomic stability can this new momentum herald a transformative economic chapter. For now, the world watches closely—will Bangladesh seize this moment, or will these early promises fade away? Only time will tell. Written by Sajibur Rahman  

Read More
15th Issue Featured Latest Issue Partners Regular Spotlight Featured Spotlight Regular Testimonial Text Testimonial Video

A City’s Story In Stitches and Strokes

Dhaka’s rapid urbanization is impossible to ignore. This city of relentless energy and transformation is a place where tradition and modernity collide amidst its bustling streets and ever-changing skyline. As the economic heart of Bangladesh, it draws thousands seeking better opportunities. But this comes at a cost: overcrowding, strained resources, and a growing disconnect between the old and the new.     Against this backdrop, ShohorNama Dhaka Episode II sought to explore the city’s complexities through art. Launched in early 2024, the project brought together visual artists, architects, artisans, and students from the University of Dhaka’s Faculty of Fine Art to create a tapestry of urban narratives. And the exhibition of this project took place from February 15 to 25 at the level 4 under construction space of the capital’s Bengal Shilpalay. The exhibition was inaugurated by H.E. Marie Masdupuy, Ambassador of France to Bangladesh, on February 15, 2025. Titled after the project name, the multidisciplinary exhibition wove together the threads of urban life, resilience, and creativity. Presented by the Bengal Arts Programme in collaboration with the Britto Arts Trust, ShohorNama II was a visual love letter to Dhaka, its people, and their stories. From large appliqué tents to wood-cut prints, installations, and performance art, it was a celebration of Dhaka’s artistic topography.     At its core, ShohorNama was about storytelling. One of the standout features is the Pakghor Project, a community kitchen born out of necessity during the devastating floods of 2024 in the Khulna region. Pakghor provided warm meals to 500 villagers for a week. But it became more than just a kitchen—it became a space for shared stories, resilience, and hope. The Dorjikhana Project takes a different approach, focusing on textiles and their cultural significance. Through appliqué and embroidery, artists explore the connection between traditional practices and the modern garment industry. The project also draws inspiration from Bangladesh’s fading circus traditions. Resulting in a stunning collection of textile art that speaks to both the past and the present.     Another striking element of ShohorNama is its use of tents. Historically, tents have symbolized temporary shelter for nomadic communities, and in this exhibition, they represent the fluidity of migration—whether due to natural disasters, economic hardship, or political unrest. The Big Tent installation captured this impermanence, reflecting the challenges faced by marginalized communities.   The exhibition also highlighted the collaborative spirit of the project. Workshops with the University of Dhaka’s Department of Printmaking and Department of Craft allowed students to contribute to large-scale works, such as woodcut prints and appliqué pieces. These workshops not only honed technical skills but also fostered a sense of shared purpose, blending individual creativity into a cohesive vision.     The exhibition was a feast for the senses! As Dhaka continues to evolve, exhibitions like “ShohorNama Dhaka Episode II” remind us of the importance of preserving our stories and traditions. Through art, we can find common ground, build resilience, and imagine a better future. Written by: Shahbaz Nahian Photo:  Bengal Art Foundation | Courtesy

Read More
15th Issue Featured Latest Issue Partners Regular Spotlight Featured Spotlight Regular Testimonial Text Testimonial Video

Where Nature Literature and Architecture Converge

Every person envisions a path uniquely their own. For Mesbah-ul-Kabir, the visionary force behind Kabir and Associates, that path was rooted in literature—especially Bangla literature, which continues to capture his heart. Picture a building as if it were a poem: its floors serve as verses, its design the underlying rhythm, and within the interplay of these elements unfolds the poetic vision of its creator. Though destiny steered him away from writing verses, it set him on the course of designing ones conceived in concrete, glass, and steel.     When asked about his design philosophy, Mesbah replied, “I don’t follow a singular style. Instead, I draw inspiration from nature—the master designer. Nature effortlessly embraces the path of least resistance, creating a harmonious, albeit imperfect, balance. Unlike manmade objects that often adhere to strict forms, every new project demands its own innovative treatment. I learn and evolve with each undertaking.” This commitment to constant reinvention has defined his career and led him to craft iconic structures like the Sena Kalyan Bhaban—which redefined Dhaka’s skyline—and Mirpur’s National Stadium, among many others.     In Bangladesh, Mesbah-ul-Kabir’s name is synonymous with architectural excellence. Yet, he always reminds fellow architects that the learning process never truly ends. He laments that only a handful of his peers still embrace the hands-on method of constructing scale models with simple, analog tools—a practice increasingly eclipsed by computerization. “I purposely avoid relying on computer software,” he explains firmly. “By drawing perspective sketches and building scale models by hand, I retain total control over my creative process.” He recalls how, during his studies at BUET, a chance encounter with the legendary Dr. Fazlur Rahman Khan left a lasting impression: “When I envision a building, I feel its weight as if it were part of me.” Such experiences underscore the importance of imagination—a quality he fears is slowly being overshadowed by digital methods.     Reflecting on his earlier days, Mesbah recounts a time when understanding a client’s desires led to rough sketches, known as ‘functions,’ followed by detailed perspective drawings imbued with vanishing points, horizons, and everyday elements like trees or vehicles. These handcrafted visualizations offered a glimpse of a project’s future long before modern tools like AutoCAD existed. Even the laborious process of constructing scale models gave him a satisfaction akin to a poet reveling in a freshly composed verse. Today, a visit to the Kabir & Associates office in Dhanmondi reveals a gallery of these cherished drawings and models—a living history of a lifetime dedicated to craftsmanship. Despite the encroachment of digital design, Mesbah holds a hopeful vision that emerging architects will rediscover the profound joy of traditional creation. For him, architecture is boundless. “Some choose this profession out of necessity; I embraced it with passion,” he reflects. His academic journey spanned literature, history, physics, mathematics, philosophy, and even music during his time at BUET’s Department of Architecture. Even within the scientific rigors of his field, literature remained a wellspring of inspiration—a force that uplifted him from isolation and exposed him to a vast ocean of creativity.     While celebrated for his monumental public works and commercial edifices, some of Mesbah-ul-Kabir’s most treasured designs are the modest homes of the 1970s and 1980s in neighborhoods like Gulshan, Banani, and Baridhara. These projects, though simple, exuded warmth and personality—whether through rooftop gardens, multi-story green spaces, or even rooftop swimming pools—offering a style of luxury living that contrasts sharply with today’s prevalent, box-like apartment blocks. He fondly recalls a whimsical project for the former vice president of Summit Group—a full-glass house in Savar Cantonment. Enchanted by a monsoon season enlivened with blooming red lotuses, the client once declared, “I want to present this glass house to my wife.” When pressed about privacy, particularly in intimate areas and restrooms, he quipped about using curtains, noting humorously that the secluded setting made privacy a minor concern. Notably, Mesbah introduced the curtain wall system on the Sena Kalyan Bhaban for the first time in Bangladesh—a testament to his innovative spirit, which is also reflected in designs for national stadiums and even the previous Gulshan Club.     Mosques occupy an especially sacred space in Mesbah’s repertoire. Having designed and refined over a hundred mosques, he approaches these projects not as commercial ventures but as acts of ‘khidmah’ (service)—an opportunity to contribute selflessly to the community. “Designing mosques is both a duty and a passion, a way to express gratitude for the gifts of life and our own abilities,” he explains. His first mosque, the Azad Mosque—more widely known as Gulshan Central Mosque—was a landmark project that spanned nearly 18 bigha and featured striking geometric designs with circles and triangles. Drawing on decades of experience, Mesbah elaborates on the cultural significance of religious structures. While domes, arches, and minarets have transcended their practical origins—minarets, once essential for calling worshippers to prayer, now serve largely symbolic roles—they remain vital in linking a building’s design to its cultural and spiritual roots. Architecture, in his view, acts as the binding force that enshrines ideological meanings across diverse cultures, even as building materials and techniques evolve.   The evolution of mosque design is an ever-unfolding process. Take the Baitul Aman Mosque on Dhanmondi Road 7, which began as a humble prayer space enclosed by bamboo fencing. Over time, enhancements like the addition of balconies, multiple floors, and modernized interiors—with steel window frames, marble finishes, and wooden elements—have transformed it into a communal haven that harmonizes with its upscale neighborhood and the nearby natural charm of Dhanmondi lake. For Mesbah, each mosque should feel inseparable from its surroundings, a tribute to both its community and its environment.   Today, Bangladesh’s architectural scene is thriving—high-rise, elegant, and meticulously streamlined structures now dot the landscape. Young architects enjoy the profession far more than in earlier times, even as government projects, though commendable, sometimes lack the incentives necessary to retain top talent. Yet, despite these challenges, he remains confident that given the right opportunities and motivations, these architects will

Read More
15th Issue Featured Latest Issue Partners Regular Spotlight Featured Spotlight Regular Testimonial Text Testimonial Video

Exhibitors of Ceramic Expo Bangladesh 2025

The 4th edition of Ceramic Expo 2025 is going to be held from November 27 to November 30, 2025, at the International Convention City Bashundhara (ICCB) in Dhaka. The event is one of the most prestigious and premier B2B events focused on the ceramic finished products of the local manufacturers and foreign companies with new machinery, raw materials and innovation. There will be 40+ local manufacturers of ceramic products, such as tiles, tableware, sanitaryware, ceramic bricks, pottery etc. and 75+ foreign exhibitors from more than 25+ countries along with 300+ brands and 500+ delegates.     The local and foreign exhibitors both will enhance the quality and standard of the Ceramic Expo 2025 by showcasing their latest products and innovation. The expo is not only promoting the growth and development of the business but also expanding the opportunities to going global for the business expansion.   Written by Preety Dey

Read More
15th Issue Featured Latest Issue Partners Regular Spotlight Featured Spotlight Regular Testimonial Text Testimonial Video

FOSHAN DONGHAI TECHNOLOGY CO. LTD. Ceramic Body Decoration Technology | Digital Powder-Jet System

Digital Powder-Jet System | Precise Alignment, Full-Body Texture Donghai Technology’s Digital Powder-Jet System is an advanced feeding technology that utilizes intelligent control systems and multi-channel coordination to impart vibrant patterns and textures. Each channel carries different colored powder, precisely applying the desired designs through digital nozzles. This advanced technology not only enhances production efficiency but also customizes to meet the diverse clients’ need, showcasing a full-body effect from the surface to the bottom.     Digital Powder-Jet System’s Advantages: (1) Superior compatibility, seamless Integration with all types of press, (2) Feeding Channel from 6-12 (optional). (3) High-speed feeding, up to 10m/min, achieving both production and efficiency. (4) High precision and accuracy, with positioning accuracy controlled within 2-3mm.     Ceramic Surface Decoration Technics | Dry Applicator Dry Applicator | Digital Grit, Premium Finish Donghai Technology’s Dry Applicator is a specialized equipment used for the surface decoration of ceramic tiles. It mainly through the technology of glue and dry grit. By evenly spreading various dry granular materials on the surface of the tiles, it significantly enhances the decorative effect of the tiles. Its advanced technics technology, bringing brand-new possibilities to the surface decoration of ceramic tiles.     Dry Applicator’s Advantages: (1) Perfect combination with ink-jet technology, tile surface with rich effect of concave & convex. (2) Italian imported belt, precise control of grit, feeding uniformity. (3) With heating device, remove the humidity of grit during recycling. (4) With automatic recycling system, grit can be reused. (5) Provide professional process technical support, design effect can be realizable.

Read More
15th Issue Featured Latest Issue Partners Regular Spotlight Featured Spotlight Regular Testimonial Text Testimonial Video

The Story Behind Decathlon Dhaka’s Stunning New Office

In the center of Dhaka’s relentless urban sprawl, Decathlon’s new liaison office has carved out an unexpected oasis. Designed by Studio one zero, the two-floor, 20,000-square-foot workspace is a lively yet calming blend of nature, sport, and smart design — a triumph achieved under the intense pressure of a compressed timeline.     One floor of the office is devoted to a sprawling seminar and multi-purpose event space, while the other flourishes as a vibrant open-plan workspace. Together, they embody Decathlon’s global brand ethos: movement, accessibility, and connection to the environment. From the first step inside, the design immediately surprises. Natural light pours in from every angle, with open workstations, informal seating zones, and collaborative spaces stretching toward the glass walls. But what truly distinguishes the space is its deliberate, sensitive incorporation of natural elements into an otherwise urban setting — a concept that chief architect Jafor Hoq and Partner Architect Humaira Binte Hannan at Studio One Zero were determined to bring alive.     Challenge Against Time “The biggest challenge for us,” says Jafor Hoq, “was the design decision against time. From the initial concept to execution, we had a very short period. And it wasn’t just about filling a space — Decathlon wanted something meaningful, experiential, and true to their brand spirit.” Working under intense deadlines and changes meant that decisions on materials, layouts, and designs had to be made rapidly but thoughtfully. “We had no time for second-guessing. Every material, every design move had to be purposeful and achievable within the timeframe,” Hoq recalls. Instead of battling the constraint, Studio one zero leaned into it, focusing on a few strong ideas and executing them meticulously.   Bringing Nature Indoors — A Different Way While biophilic design is no longer a novelty, Studio one zero’s approach for Decathlon’s office is refreshingly nuanced. Instead of merely placing potted plants in corners, nature was embedded into the structure itself. The most striking feature — the tree-inspired columns — originated from a need to solve a technical problem with artistic flair. Existing structural columns, often seen as obstacles in open-plan offices, were transformed into vertical wooden sculptures. “These columns are not just cladded structures,” Hoq explains. “We intentionally gave them the form of large tree trunks, expanding outward at the top, creating a canopy-like feeling. Under these ‘trees,’ we placed high seating zones, making them natural gathering points where people can sit, stand, and connect. It’s about reinterpreting indoor nature — not just bringing in greenery but evoking the experience of being under a tree.” Materiality: Warmth in an Industrial Frame The material palette reflects a thoughtful balance between modernity and warmth. Light oak wood cladding runs through the flooring of common pathways and wraps around key architectural elements, providing a sense of warmth and continuity.   “The idea was to humanize the space,” says Hoq. “We were working with an exposed ceiling — which gives that industrial look — but we didn’t want it to feel cold or impersonal. Using wood, texture and incorporating  green , was the answer.”   Meanwhile, the furniture choices favored light-colored wood and clean lines to complement the architecture without overwhelming it. Lush green walls filled with planters further softened the industrial base, offering breathing spaces that look and feel alive. Even the lighting played into the natural narrative. Angular, dynamic geometric light fixtures, seemingly random yet deliberate, mimic dappled sunlight filtering through tree canopies, casting a playful rhythm of light and shadow across the workspace.     Functionality at the Core Of course, Decathlon’s office needed to be more than beautiful; it needed to work. Beyond the seminar space and open workstations, Studio One Zero integrated a variety of amenities including a gym, prayer rooms, a sick room, and a restaurant-style café. The café, with its relaxed seating and natural materials, encourages casual interaction — a deliberate attempt to break down formalities and foster an easy, collaborative culture. Flooring materials shift subtly from wood to textured carpet tiles to indicate different zones without physical barriers, preserving the openness.   Every design choice speaks to movement, flexibility, openness and wellness — values at the heart of both Decathlon and Studio one zero’s architectural philosophy. A Space That Moves People In the end, Decathlon’s Dhaka office is more than a workplace. It’s a living, breathing environment, where the boundaries between indoor and outdoor, formal and informal, structured and free-flowing, are beautifully blurred. Studio One Zero’s bold vision — executed under a limited timeframe — has resulted in a space that isn’t just seen; it’s felt. A place where employees can experience the spirit of sport, the calm of nature, and the excitement of innovation, every single day. “We didn’t just design an office,” Jafor Hoq smiles. “We designed an experience.” Written By Fatima Nujhat Quaderi Photo: Truphoto Studio

Read More
15th Issue Featured Latest Issue Partners Regular Spotlight Featured Spotlight Regular Testimonial Text Testimonial Video

Rickshaw Art A Living Canvas of Culture and Tradition

Dhaka’s wheel The rickshaw is the quintessential three-wheeler of Dhaka. If one were to encapsulate the spirit of the city with a single vehicle, it would undoubtedly be the rickshaw. Even in an era dominated by modern transport and ride-hailing services, the rickshaw remains a beloved tradition. Riding in a rickshaw, one can experience a serene immersion in nature—a reflective calm—despite the bustling chaos of Dhaka outside.     More than a means of transport, rickshaws are mobile masterpieces. Handcrafted by skilled artisans, they feature oil paintings adorned with vibrant floral patterns, birds, animals, movie stars, and scenes from folk tales, effectively transforming the streets into a roving gallery. On December 6, 2023, UNESCO recognized Bangladesh’s rickshaw art as part of the Intangible Cultural Heritage of Humanity—a distinction that has gripped global attention and sparked renewed domestic interest. Galleries across the country are now hosting exhibitions to celebrate this unique cultural tradition. History throughout The three-wheeled rickshaw has been a part of Bangladeshi life since the 1940s. By the late ‘40s, decorative elements such as movie star portraits and intricate floral designs began to appear, heralding the birth of what is now known as rickshaw art. Originating in Rajshahi and Dhaka, this art form evolved with each district contributing its own unique stylistic influences. Artist Syed Ahmad Hossain has been a devoted practitioner of rickshaw art since 1969. A self-taught talent, his works have not only graced exhibitions around the world but also served as a visual chronicle of his era. During the Liberation War, for instance, he vividly captured scenes of conflict on rickshaws, transforming them into moving narratives of historical events.   In 1975, political unrest led to fears of a ban on rickshaw painting, prompting many artists—including Syed—to shift their focus to signboard painting. Concurrently, rising religious sensitivities rendered the portrayal of human faces and film scenes controversial, ushering in a new era where artists gravitated toward universally acceptable subjects such as trees, animals, and nature. Gradually, human faces were replaced with symbolic imagery that communicated profound stories without uttering a single word. Syed recalls a time when cheap, mass-produced prints of rickshaw art flooded the market, selling for merely 60–70 taka. Although these replicas lacked the detail and artistry of the originals, their affordability made them popular. This oversaturation, however, contributed to a devaluation of authentic rickshaw art. During Pohela Boishakh, rickshaw art transforms from vehicle decoration into a marketable commodity. Artisans create posters, canvas prints, postcards, and figurines that feature iconic rickshaw designs; these items are cherished as souvenirs, home décor, or thoughtful gifts. Such initiatives underscore the collective effort required to preserve and celebrate this cultural tradition. Wheels got heavier! Today, the art of hand-painted rickshaws teeters on the brink of extinction. The rise of motorized rickshaws—lacking the space for detailed artwork—and the advent of digital printing have contributed to its decline. With only a few traditional rickshaw artists remaining, there is growing concern that this vibrant form of pop art may be lost. Innovative artists are finding new expressions for rickshaw art beyond the vehicles themselves. Syed, for example, has successfully translated this living art onto handcrafted items like hurricane lamps, trunks, and portraits. Meanwhile, contemporary artists like Hanif Pappu express worry over the waning interest among the younger generation, who are often discouraged from pursuing this craft due to its limited financial rewards. Photo: UNESCO, DBF, Courtesy Written by Fariha Hossain

Read More
Featured Latest Issue Partners Regular Spotlight Featured Spotlight Regular Testimonial Text Testimonial Video

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.   Written By Anonno Aziz Nibir

Read More
Featured Latest Issue Partners Regular Spotlight Featured Spotlight Regular Testimonial Text Testimonial Video

The state-of-the-art pavilions draw huge crowds at DITF-2025

With a view to attracting local and foreign visitors, the exhibitors of the month-long 29th Dhaka International Trade Fair (DITF)-2025 brought innovative architectural view at their pavilions and stalls made of various materials such as steel, board, wood, bamboo, electric cables, lights, colour and ceramic items.  Chief Adviser to the Interim Government Prof Dr Muhammad Yunus inaugurated the fair at the Bangladesh-China Friendship Exhibition Centre in Purbachal, Narayanganj on 1 January, 2025. Commerce Adviser Sk Bashir Uddin and Export Promotion Bureau (EPB) Vice-Chairman Md Anwar Hossain also attended the opening ceremony. This year, 343 domestic and foreign companies took part in the fair, including 11 companies from India, Pakistan, Turkey, Singapore, Indonesia, Hong Kong and Malaysia in addition to Bangladesh. Last year, 304 companies participated in the fair, including 9 foreign companies from 5 countries. The companies set up premium pavilions, mini pavilions, and reserved pavilions at the fair venue to display various products including textiles, furniture, electrical and electronics, jute and jute products, leather products, machineries, cosmetics, home furnishings, toys, stationery, crockery, plastics, melamine, herbal and toiletries, imitation jewellery, processed food, fast food, and handicrafts. Of them, many exhibitors also offered discounts ranging from 5 to 50 per cent as well there to attract more buyers. The Ministry of Commerce and EPB have organised DITF since 1995 to promote export growth and market diversification. This is the third edition at its new venue in Purbachal, following the relocation from Sher-e-Bangla Nagar in 2022. Pavilions and stalls were awarded due to innovative architectural view The best pavilions, stalls and organizations participating in various categories were recognized by presenting crests at the closing ceremony of the fair. The first prize was awarded to 22 best companies in different categories (Kiam Metal Industries Limited, Akij Plastics Limited, RFL Plastics Limited, Prisons Department, Pran Agro Limited, M/s. Helal & Brothers, Sena Kalyan Sangstha, JDPC, BGMEA, BKMEA, Hatil Complex Ltd., Jamuna Electronics & Automobiles Ltd., Navana Furniture Limited, Vision Electronics, SME Foundation, BSCIC, Orijinal Istanbul Kristal, Turkey, Pentel (Singapore) PTE Ltd., Singapore, Kewpie Malaysia SDN, BHD, Malaysia, Sonali Bank PLC, Islami Bank Bangladesh PLC and People’s Leather Industries. The second prize was awarded to 16 companies in different categories (Savoy Ice Cream Factory Ltd., Square Food & Beverage Ltd., KY Two Tone Ltd., Alloy Aluminum Furniture Limited, Exclusive Home Tex Industries Limited, Bangladesh Machine Tools Factory Limited, Bangladesh Tea Board, Nadia Furniture Limited, Minister Hi-Tech Park Limited, Brothers Furniture, Hatim Steel Structure Limited, JMG International, Hadeks Hali DeriTekstil Dis Tic A.S., Turkey, PT Nissin Foods, Indonesia, Rabab Trading International, Hong Kong and Dutch Bangla Bank PLC. The third prize was awarded to 13 companies in different categories (Delhi Aluminium Factory, Abul Khair Milk Products Limited, SKB Stainless Steel Mills Limited, Abdul Monem Limited, BRB Cable Industries Limited, Leathergoods and Footwear Manufacturers and Exporters Association of Bangladesh, Rangpur Metal Industries-Regal Furniture, Walton Hi-Tech Industries PLC, Joyita Foundation, Messrs. Nurul Textile, M/S Tarique Carpet Industries, Indian Carpet Industries, and Indian Oriental Carpet, India). Touhiduzzaman, Deputy General Manager [Public Relations] PRAN-RFL Group said, “We have a lot of products like food stuffs, plastics items, furniture, and electronics. We display the products for customers at the exhibition every year. We receive the best pavilion awarded each year due to innovative architectural view.’ He pointed out that they always try to build their pavilion at the fair venue with excellent architectural views in new shapes to draw large crowds. “As there is a limited space and it is a temporary place, so we build our stalls considering it. After getting tender from the EPB, we talk to different firms of interior designers and architects. Basically they set up the pavilion as per our direction,” he added.    Touhiduzzaman stated that the stalls are set up by different construction materials like wood board, steels, tiles, bricks and others. He remarked that their main goal is to attract more customers. We decorate our stalls focusing our products. We will try to make the best pavilions in coming days as well,” he also commented. Mahin Sarker, Pavilion In-Charge of Square Food & Beverage, noted that their stall has been a hotspot for visitors due to excellent architectural views. Our pavilion got the second best pavilion award this year. “We offered up to a 50% discount on our food and beverage items, so a lot of people purchased our products. Additionally, as our company set up an attractive pavilion so visitors drew largely here,” he added. Another a-three day fair only for exportable items in October/ November   Talking to the Ceramic Bangladesh, CEO and Vice-Chairman of the EPB Md. Anwar Hossain said they tried to bring excellent architectural view in the DITF-2025. At the first time, we introduced innovative features and enhance the fair’s experience for visitors, particularly after the historic student-led revolution on 5 August, 2024. “We introduced new attractions like the 36-July Chattar and Mugdha-Sayyed Corner to showcase the revolution’s impact. Additionally, visitors enter the fair with e-tickets, eliminating the hassle of manual ticket collection.” Hossain emphasised the fair’s role in supporting local businesses and diversifying products to boost foreign currency earnings. “We invited many ceramic companies but they did not give positive response in the fair. We hope that in the next year fair, we can attract many ceramic companies in the expo as it is the potential and exportable products.   “We try to organize another a-three day expo at the first time at Purbachal venue in October or November where only exportable products will be displayed. It will help to attract more foreigners. We have no actual data on foreign visitors that how many foreign visitors visited the DITF-2025 and export orders too but many foreign visitors came here,” he highlighted.

Read More
Featured Latest Issue Partners Regular Spotlight Featured Spotlight Regular Testimonial Text Testimonial Video

The Book Launch of ‘Next50: Collective Futures

A significant milestone in shaping Bangladesh’s future was marked today with the official launch of Next50: Collective Futures at BRAC University’s Multipurpose Hall. This landmark publication—the largest edited volume on Bangladesh’s built environment—brings together 81 authors, including many from the Bangladeshi diaspora, to explore the nation’s next five decades of progress, innovation, and connectivity. Spanning 49 chapters across nine major themes, the book examines urban and rural transformation, infrastructure, climate resilience, housing, governance, and technological innovation. Written in accessible language for policymakers, practitioners, and the general public, it bridges cutting-edge research with real-world impact, making complex ideas actionable for those shaping the nation’s future. The event was attended by some of Bangladesh’s most prominent architects, planners, and urbanists from both academia and professional practice. Distinguished guests included Dr. Syed Ferhat Anwar, Vice-Chancellor of BRAC University, and Mohammad Azaz, Administrator of Dhaka North City Corporation, who underscored the urgency of visionary thinking in driving sustainable and inclusive development. The program featured a compelling book introduction by Professor Fuad H. Mallick, Editor-in-Chief of Next50 and Dean of the School of Architecture and Design at BRAC University, followed by an insightful review from Dr. Mohammed Zakiul Islam, Professor at BUET, who highlighted the book’s interdisciplinary approach and its relevance to Bangladesh’s rapidly evolving urban landscape. Adding to the discussions, key stakeholders, including representatives from Shah Cement, reflected on the private sector’s role in shaping the built environment. The event concluded with remarks from the book’s executive editors, Dr. Tanzil Shafique and Dr. Saimum Kabir, who emphasized the collaborative effort behind the publication and its potential to influence future policies and practices.  Shah Cement also expressed interest in future collaborations. Beyond the discussions, the launch served as a key networking platform for scholars, policymakers, and industry leaders, fostering dialogue and collaboration on the country’s long-term development. Attendees engaged in meaningful conversations over Iftar and dinner, reinforcing the event’s role in strengthening professional and intellectual ties. Organized by Open Studio and Context BD, with support from Shah Cement, the event also reached a wider audience through a live stream, ensuring broader engagement with the book’s mission.

Read More
Featured Latest Issue Partners Regular Spotlight Featured Spotlight Regular Testimonial Text Testimonial Video

Rabiul Hussain in Architectural Narratives

On February 28, 2025 Bangladesh Institute of Architects (IAB) and the Bangladesh Liberation War Museum organized a day-long program to tribute architect Rabiul Hussain through visiting 3 of his projects-  Bangladesh Agricultural Research Council (BARC),  Jalladkhana Killing Ground and Jahangirnagar University. and taking a vow to protect the diversified works of the architect. Architect Rabiul Hussain (January 31, 1943 – November 26, 2019) was a prominent Bangladeshi architect, poet, art critic, short story writer, essayist, and cultural activist. A person of multifaceted talent, honored by the Government of Bangladesh with the Ekushey Padak for his contributions to language and literature in 2018, received the Bangla Academy Literary Award for his contributions to poetry in 2009, and the Bangladesh Institute of Architects (IAB) awarded him the Gold Medal for his outstanding contribution to architecture in 2016. He served four times as the President of the Bangladesh Institute of Architects, Vice-Chairman of the Architects Regional Council of Asia (ARCASIA), Vice-President of the Commonwealth Association of Architects, and President of the South Asian Association for Regional Cooperation of Architects. In addition, he was a trustee of the Liberation War Museum, an executive member of the 1971 Ghatok Dalal Nirmul Committee (Committee for Elimination of Martyrs’ Assassination), and made significant contributions to the preservation of the memories of the Independent War of Bangladesh. Although he was born in the village of Ratidanga in Shailkupa Upazila, Jhenaidah District, he completed his secondary and higher secondary education in Kushtia District. Later, in 1968, he earned his Bachelor degree in architecture from the then East Pakistan University of Engineering (now Bangladesh University of Engineering and Technology). After obtaining the graduation, he began his professional career as an architect working with architect Mazharul Islam and later joined Shahidullah Associates. Alongside his architectural practice, he also maintained a strong passion for writing. Throughout his career, he served as a life member of the Bangla Academy, and was involved in various organizations, including the Central Kachi-Kachhar Mela (a children’s and youth organization), the National Poetry Council, the Bangabandhu Sheikh Mujibur Rahman Memorial Museum, the International Film Critic Association of Bangladesh, and the Bangladesh Institute of Architects. Notable buildings designed by him include the Jalladkhana(Execution House), the Bangladesh Agricultural Research Council building, the entrance gate of Dhaka University, the Liberation and Independence Arch, the Jahangirnagar University gate, the Bhashani Hall, the Bangabandhu Hall, the Sheikh Hasina Hall, the Khaleda Zia Hall, the Wazed Mia Science Complex, the auditorium and academic building complex of Chittagong University, and alongside architect Mazharul Islam, the Bangladesh Agricultural Research Institute in Gazipur, Haji Mohammad Danesh Science and Technology University in Dinajpur, and polytechnic institutes in Chittagong and Khulna, among others. Bangladesh Agricultural Research Council (BARC) The Bangladesh Agricultural Research Council (BARC) was established in 1973 with the aim of conducting agricultural research and coordinating various related institutions in Bangladesh. Almost a decade after its founding, in 1982, architect Rabiul Hussain designed its current building. The design process, which began in 1978, spanned nearly four years. In a remarkable way, he crafted a unique architectural design using red brick masonry that harmonized with Bangladesh’s climate, nature, and way of life. This building is a symbol of post-independence architecture, reflecting a search for an architectural style; that is free from the burden of colonization in a newly liberated land. Each detail of the building echoes the same vision. The regional architectural influence of Maestro Mazharul Islam, the pioneer of Bangladesh’s regional architecture, is evident in the design, which he was fortunate to experience starting from his third year of architectural education. The building, located on a site shaped like the letter ‘L’ in the English alphabet, is easily noticeable among surrounding roads and structures. It stands at the junction of Airport Road and Khamar Bari Road, near Farmgate and Bijoy Sarani. The design symbolizes various aspects of aesthetic gravity, marking an early effort in the evolution of post-independence Bangladeshi architecture and the search for a Bengali “identity” in the country’s-built environment. The location of the building, near the capital’s main international airport at Tejgaon, limited the building’s height to four floors. The rectangular building, measuring 223 feet in length and 63 feet in width, has a total built-up area of 32,700 square feet. It is aligned along the east-west axis and is equipped with optimal provisions for cross-ventilation and prevailing south winds. The three-story building is vertically divided into three functional zones. The first floor is allocated for administrative offices; the second floor houses the executive branch. The third floor features a 7,500-square-foot conference room with seating for 280 people at its center, along with a 1,350-square-foot library and a meeting room. The first and second floors are organized along a double-loaded corridor, with two staircases at the eastern and western ends of the building. In harmony with local traditions, the roof was projected to protect the building from torrential rain and scorching sun. The BARC building essentially consists of two parts: one is the brick-clad inner shell that spans the main area, while the additional levels moderate the harsh tropical sun and protect the building during the monsoon season. Architect Mazharul Islam’s office- Vastukalabid was a key influence in experimenting with such a critical combination of climate consideration and modernist aesthetics along with that of brick mason for architect Rabiul Hussain and many young architects in the early 1970s. To give an example, his designs, including the National Institute of Public Administration (1964), encouraged a generation of architects to explore “critical regionalism” through a lens that considered climatic aspects in the visual language of architecture. Since stone is rare and fired bricks can be produced in abundance from local clay, architects saw bricks as an unprecedented symbolic representation of the delta and its culture. Representing the soil of the riverine country, bricks were the purest or most organic building material believed by the Bangladeshi architects. The “poetry” of bricks is hard to miss in the concept and construction of the BARC headquarters building. Also, the influence of

Read More
Featured Latest Issue Partners Regular Spotlight Featured Spotlight Regular Testimonial Text Testimonial Video

Next-Gen Real Estate Summit: A Brilliant Showcase of Talented Youth

To discuss the development and future prospects of the real estate sector, the Department of Real Estate, Daffodil International University organized the “Next Gen Real Estate Summit 2025”. This grand summit took place on February 23 and 24 at the Ashulia campus of Daffodil International University, where key figures from various government and private organizations were present. Representatives from BUET, RAJUK, House Building Finance Corporation, REHAB, the National Housing Authority (NHA), and various other industrial institutions participated in the event. The two-day summit featured formal sessions, cultural programs, and a Mezban feast. The formal session was held at the International Conference Hall of Daffodil International University, where expert speakers discussed the future development of the real estate industry and the importance of sustainable housing. The panel discussion was attended by Professor S. M. Mahbub Ul Haq Majumder, Pro Vice-Chancellor, Daffodil International University; Professor Mustafa Kamal, Dean of Academic Affairs; Professor Mohammad Masum Iqbal, Dean of the Faculty of Business & Entrepreneurship; M. Mahbubur Rahman, CEO of Rupayan City Uttara; Md. Mobarak Hossain, Director, REHAB; Kamrul Hasan, Deputy Town Planner, RAJUK; and Md. Golam Mostafa, Deputy General Manager and Chief Engineer, House Building Finance Corporation. The welcome speech at the conference was delivered by Dr. Amir Ahmed, Head of the Real Estate Department at Daffodil International University. A lively cultural event took place at the Student Lounge and the Independence Conference Center, while the Mezban feast was held at Golap Gram. One of the main attractions of the summit was the Poster Presentation Competition. The theme of the competition focused on innovative ideas in the real estate and housing sector, which are expected to play a crucial role in improving future living standards. A total of 10 teams from Dhaka University, CUET, Khulna University, Jahangirnagar University, KUET, and Daffodil International University participated in this competitive event. Each team consisted of two members from the Urban Planning, Architecture, Civil Engineering, and Real Estate departments of their respective universities. Participants presented their research-based ideas, designs, and plans for the future development of the real estate sector. At the end of the competition, the judges selected the top three teams as winners. The judging panel consisted of Nizam Ahmed, Major General (Retd.), Engineer Mujahid Monir, Major (Retd.), and Anwar Haque, Senior Journalist and Brand Communication & Corporate Head of Pa-Wang Ceramics. The first-place winners were jointly Mirajul Islam Alif and Tasnuha Pasha Tonu from Daffodil International University, and Abrar Muhtasim Pathan and Souda Samiha from Khulna University. The second-place winners were Fauzan Anowar and Fathan Anowar from Daffodil International University. The third-place winners were Minhazur Rahman Shafin and Hamim Mubtasim from Dhaka University. At the award ceremony, the distinguished guests highly praised the participants’ innovative ideas and creativity, wishing them success in their future research and development efforts in the housing sector. Dr. Amir Ahmed, Head of the Real Estate Department at Daffodil International University, stated that competitions like this inspire students to engage in new ideas and research. He added that the application of technology and innovative concepts in the real estate industry will play a vital role in the future development of housing systems. The “Next Gen Real Estate Summit 2025” was not just a conference; it served as an open platform for discussions on the role of technology in future urban planning and the real estate sector. Experts believe that student participation, research, and innovative presentations will open new horizons for the development of the real estate industry. Written by Anonno Aziz Nibir

Read More
Featured Latest Issue Partners Regular Spotlight Featured Spotlight Regular Testimonial Text Testimonial Video

‘The Story of Art’ exhibition: Of art and altruism

Organized by Dhaka Storytellers from February 8 to February 13, the lush gallery space Aloki Greenhouse in the capital’s Gulshan hosted an exhibition titled The Story of Art. The exhibition boasted a stunning collection of 80 to 90 artworks, captivating audiences for a week. Curated by Syeda Adiba Hussain, co-founder of Dhaka Storytellers, The Story of Art was more than just a display of artistic excellence. This was Dhaka Storytellers’ second art event, following the charity exhibition Art for Charity in August 2024. In the same vein, The Story of Art supported a larger cause, with a portion of the proceeds donated to five schools and one college in Sylhet, demonstrating the power of art to create tangible change beyond gallery walls. Beyond the beauty of its displays, the exhibition underscored the immense power of art to inspire and drive change. By merging artistic excellence with humanitarian efforts, it aimed to uplift communities, empower individuals, and support crucial social causes. Having been in the making for almost a year, the exhibition was carefully planned to bring together some of Bangladesh’s most celebrated artists. The lineup included some of the country’s most notable names, such as Rafiqun Nabi, Monirul Islam, Hamiduzzaman Khan, and Kanak Chanpa Chakma. Furthermore, the exhibition commendably featured artworks by several emerging artists, creating a dynamic collection that bridged generations of artistic expression. From simply beautiful paintings to thought-provoking sculptures, The Story of Art was also an opportunity for both seasoned and budding collectors to acquire unique pieces while contributing to a noble cause. The grand opening on Friday, February 7, set the tone for the week-long exhibition. The launch was attended by an invitation-only audience, including the participating artists, their families, media professionals, and notable guests. As the exhibition drew to a close, it left behind more than just a collection of breathtaking visuals; it also left an indelible impression on those who visited. The fusion of artistic expression with social commitment deeply moved attendees, inspiring them to consider the vast potential of art beyond aesthetics. The exhibition carried a narrative that extended far beyond the gallery walls, reinforcing the idea that art is not merely to be observed but to be experienced, felt, and acted upon. The event was about more than just admiring artworks—it was about creating a shared vision where artists, curators, and spectators all committed to a cause bigger than themselves. It demonstrated that art has the ability to transcend traditional boundaries, reaching into the hearts of individuals and communities, sparking conversations, and inspiring action. Ultimately, The Story of Art was a celebration of creativity’s ability to inspire, connect, and transform lives. The week-long show was a powerful testament to the transformative synergy between art and altruism. It showcased how art exhibitions, when intertwined with a greater purpose, can spark meaningful change. Written By Shahbaz Nahian

Read More
Business Featured Featured Latest Issue Partners Regular Spotlight Featured Spotlight Regular Testimonial Text Testimonial Video

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, and Deepto Television, with availability on popular OTT platform Chorki. Participants are required to submit photos of their best food plating through the official website. From there, experienced and renowned chefs will select the top 30 contestants based on their creativity and skills, providing them with the opportunity to showcase their talents on national television. At a press conference held on Tuesday, February 4, 2025 at a renowned hotel in the country, the chief judge of the show Chef Daniel C. Gomez, Head of Marketing of AkijBashir Group Md. Shahriar Zaman, and Chief Operating Officer of the company Md. Khorshed Alam, and officials of Akij Tableware were present. They shared insights into the upcoming season, underscoring its mission to celebrate food plating as an art form and provide a platform for local talent to shine on a national stage.

Read More
14TH ISSUE Featured Latest Issue Partners Regular Spotlight Featured Spotlight Regular Testimonial Text Testimonial Video

Celebrating 5 Years of Success

The soft glow of chandeliers illuminated the polished ceramic tiles as industry leaders, architects, and innovators gathered at the Sheraton Hotel in Dhaka. The air was filled with excitement as enthusiasts and professionals came together to celebrate the 5th anniversary of Ceramic Bangladesh Magazine. The event, styled “Shaping Bangladesh: Designing Tomorrow, Building Today,” was more than just a conference — it was a call to action for Bangladesh’s construction, real estate, and ceramic industries to embrace sustainability, innovation, and resilience. This milestone event marked a significant achievement for the publication, which has become a cornerstone of the ceramic industry in Bangladesh. Held on 30 January 2025, the event brought together experts to discuss the evolving landscape of architecture, engineering, and sustainable building materials. From leading ceramic manufacturers to top architects, the gathering aimed to chart a vision for a greener, more efficient Bangladesh. Preparing for the Future and Post-LDC Impact One of the central themes was Bangladesh’s upcoming graduation from its least-developed country (LDC) status in 2026. Chief guest SK Bashiruddin, Commerce Adviser to the interim government, emphasised the need for businesses to prepare for the challenges ahead. “In the coming years, Bangladesh will face numerous challenges following the LDC graduation. Innovation is crucial for progress. Corruption and bureaucratic complexities have hindered business growth over the past 15 years, but our focus should be on sustainability to foster industrial growth,” he said. He called for collaboration among stakeholders to lower operational costs, innovate, and create a more business-friendly environment. He acknowledged the ceramic industry’s contributions, commending entrepreneurs for their innovative products that enhance both aesthetics and functionality in modern infrastructure. Special guest, RAJUK Chairman Major General (retd) Mohammad Siddiqur Rahman Sarker, stated that even 100-storey buildings would be permitted if built in an environmentally friendly manner. Hence, the DAP (Detailed Area Plan) is being amended. The seminar commenced with a grand welcome address by Mr. Irfan Uddin, the Editor-in-Chief of Ceramic Bangladesh Magazine, who reflected on its journey over the past five years. He expressed gratitude to the readers, contributors, and industry partners who have supported the magazine’s mission to promote and celebrate the country’s ceramic industry. Innovation & Sustainability in Construction The event featured two thought-provoking panel discussions. The first session, “Innovation for a Sustainable Future: Exploring Material Innovations & Sustainability,” moderated by Dr. Amir Ahmed, Associate Professor and Head of the Department of Real Estate at Daffodil International University, focused on cutting-edge sustainable materials and circular economy principles in the real estate and construction sector. The second session, “Building a Greener Future: The Role of Sustainability in Architecture,” led by Architect Zannat Jui, explored green building certifications, passive design strategies, and the role of technology in climate-resilient infrastructure. Several notable speakers included esteemed professors and architects, such as former BUET Prof. Dr. M Shamim Z Bosunia, Architect Prof. Abu Sayeed M Ahmed, Ar. Prof. Rafiq Azam, Ar. Jalal Ahmed, Ar. Nazli Hussain, Ar. Bayejid Mahbub Khondker, Ar. Didarul Islam Bhuiyan Dipu, Ar. Khondoker Asifuzzaman Rajan, RAJUK Chief Engineer Mohammad Nurul Islam, Engr. Shamsul Alam, Executive Director (Design) of Concord Real Estate Limited Ar. Faisal Ahmed, Managing Director of BTI Engr. Faizur Rahman Khan, Chief Operating Officer of AkijBashir Group Mohammad Khourshed Alam, Chief Operating Officer of Meghna Ceramics Industries AKM Ziaul Islam, Director of GPH Ispat Salehin Musfique Sadaf, Chief Business Officer of Metrocem Cement Ltd. Asadul Haque Sufyani, Consultant of Khadim Ceramics Babor Hossain, and Senior Vice President of BCMEA Mohammad Mamunur Rashid emphasized on the vital role Ceramic Bangladesh Magazine has played in showcasing architectural innovations. Ar. Professor Rafiq Azam, the Principal Architect of SHATOTTO Architecture for Green Living, and Ar. Professor Dr. Abu Sayeed M. Ahmed, the President of the Institute of Architects Bangladesh (IAB), delivered two distinct keynote speeches titled “The Art of Social Changes” and “Reviving the Roots: Conservation and Restoration Progress in Bangladesh,” respectively. Chief Operating Officer (COO) of AkijBashir Group Mohammad Khourshed Alam said the crisis of gas and electricity is the biggest challenge for industries in the country right now. Gas is crucial for the ceramic industry’s development. “However, we have to focus on solar energy to continue industries. Technology adaptation should be focused as well,” he added. AKM Ziaul Islam, Chief Operating Officer (COO) of Meghna Ceramic Ind. Ltd, said the ceramic industry has huge opportunities. There is a need to increase the interaction between industries and academia. Salehin Musfique Sadaf, Director of Strategy & Transformation at GPH Ispat, emphasized that Bangladesh lacks sufficient raw materials to meet its demands. He pointed out that energy sources such as gas or coal are also considered raw materials. Therefore, the country must focus on adequate coal as a locally cheaper energy source and adopting recycling methods to increase the use of recycled construction materials. He stressed the importance of research and development (R&D) in achieving these goals. Role of the Ceramic Industry BCMEA President Moynul Islam reiterated the ceramic industry’s commitment to sustainability, highlighting the need for government support and private sector collaboration to foster long-term growth and global competitiveness. Industry leaders stressed the need for increased research and development (R&D) in using recycled construction materials and ensuring sustainable building practices. As Bangladesh moves toward rapid urbanisation and economic transformation, “Shaping Bangladesh: Designing Tomorrow, Building Today” underscored the need for innovation, sustainability, and resilience. The discussions at the event served as blueprints for a more sustainable Bangladesh. Moynul Islam also said, “Bangladesh’s upcoming LDC graduation in 2026 presents many challenges for the local ceramic industry. With the loss of preferential market access, export tariffs are likely to increase, making our products less competitive in global markets. In addition, imports will also increase due to trade liberalization and FTAs in the post-LDC period. To maintain our position, we must focus on innovation, quality enhancement, and cost efficiency. Strengthening partnerships, investing in modern technologies, and adopting sustainable practices will be key to navigating this transition and positioning Bangladesh as a trusted ceramic exporter in the region.” Sustainability Efforts Mohammad Mamunur Rashid, Senior

Read More