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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.
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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”.
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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”
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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!
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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.
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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!
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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.
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‘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.
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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.
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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.
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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!’
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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.
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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
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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
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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
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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
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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.
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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.
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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
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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
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‘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
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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.
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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
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Made in Bangladesh Built for the World X Ceramics’ Trailblazing Legacy
For over a thousand years, ceramics have shaped civilizations—gracing grand palaces, elegant table settings, and timeless architectural masterpieces. Once a symbol of affluence, these exquisite creations gradually became integral to daily life. Like the rest of the world, Bangladesh embraced ceramics. For years, the country relied on imports to meet its growing demand. But that era is now history. Today, Bangladesh’s ceramic industry stands strong, catering to domestic needs and expanding its footprint in international markets. A Market Leader in Innovation The ceramic sector thrives on three key pillars—ceramic tableware, tiles, and sanitaryware. Among the pioneers driving this evolution is X Ceramics Limited, a company synonymous with innovation and excellence. A subsidiary of Index Group, X Ceramics has played a vital role in positioning Bangladesh as a key player in the global ceramics market. Founded in 2009 by visionary entrepreneur Mahin Mazher. X Ceramics began commercial operations in February 2010 as a Bangladesh-Italy joint venture. From crafting exquisite designs to setting industry benchmarks, X Ceramics continues to push the boundaries of craftsmanship, resilience, and vision. Game-Changing Innovations X Ceramics has been a trailblazer, introducing groundbreaking innovations: Homogeneous 60×60 cm Tiles: Before this, the domestic market mainly featured 30×30 cm and 40×40 cm tiles. X Ceramics pioneered the production of larger homogeneous tiles. Polished Glazed Vitrified Tiles (PGVT): The first company in Bangladesh to introduce PGVT, raising the bar for durability and aesthetics. In 20x30cm tiles x ceramics bring the concept of light, deep and hi liter tiles. Before x ceramics there are concepts of decor & border concept. In 30x45cm tiles x ceramic first introduce digital print tiles. X ceramics is the first company who introduce soluble salt tiles in Bangladesh market. Specialty Tile Ranges: Exclusive collections such as Royal Wall Series, Anti-Slip 30×30 cm, Rock-X Series, Stone Shield, Temp Control Tiles and X Germy Proof—all designed for both functional and decorative excellence. With state-of-the-art manufacturing facilities and a commitment to R&D, X Ceramics has diversified design possibilities and aligned with global architectural trends. Expanding Horizons: Entering the Sanitaryware Market With a stronghold in tiles, X Ceramics is now entering the sanitaryware segment, with commercial production expected to begin in March or April 2025. A Leader in Bangladesh’s Porcelain & Ceramic Tiles Industry X Ceramics is one of the largest porcelain and ceramic tile manufacturers in Bangladesh, focusing on eco-friendly production and customer satisfaction. With cutting-edge technology, it has redefined industry standards, setting a new benchmark for excellence. X Ceramics proudly presents Bangladesh’s first Germi-Proof Jaynamaz tiles, offering 99% protection against harmful germs with advanced antimicrobial technology. Versatility in Design & Durability: Quality That Lasts X Ceramics offers a diverse range of tiles suitable for both residential and commercial spaces. Key features include: Easy to clean Superior durability (lasting over 20 years) Toxin-free composition Weather-resistant, adaptable to extreme conditions Water, moisture, and UV-resistant Sustainability at Its Core Committed to environmentally responsible manufacturing, X Ceramics operates in an industrial zone in Gazipur’s Sreepur Upazila, located nearly 35 kilometers north of Dhaka, the capital of Bangladesh. The company strictly adheres to green practices, including: Rainwater & groundwater conservation Recycling facilities CFC-free cooling systems LED lighting & energy-efficient systems Solar power utilization Workplace Safety & Employee Well-being X Ceramics prioritizes occupational health and safety, ensuring fair wages, timely payments, and employee benefits. The company fosters a responsible work environment with transparency in production. “We are operating a round-the-clock Effluent Treatment Plant (ETP) to minimize the environmental impact and ensure the sustainability of our ceramic production process. By effectively treating wastewater, we aim to protect the local environment while upholding the highest standards of eco-friendly manufacturing,” said Mr Shahturur Rahman, Senior Vice President. “We are also planning to implement recycling initiatives for waste materials. Additionally, heat management is a key concern, and we are exploring solutions to reduce heat emissions in our operations,” he said. The Italian Touch: A Brand Synonymous with Quality X Ceramics is widely recognized as the brand ambassador of Italian ceramic tiles in Bangladesh. After just two years, the company began importing tiles from Italy’s renowned Monika brand, solidifying its position as a premium tile provider in the market. Shaping the Domestic and Export Markets According to Shahturur Rahman, the company prioritizes: Design innovation Quality enhancement Expanded production capacity Research and development Rahman noted that imports are declining due to the current political situation, making locally produced ceramics an increasingly attractive option. “We must break free from the fantasy of using foreign products. Our industry is fully capable of producing ceramics on par with international brands,” he said. The demand for premium-quality tiles has been growing by around 10 percent annually over the past decade, driven by affluent customers. With rising global demand, export opportunities for high-end tiles are expanding. Beyond Business: A Passion for Sports X Ceramics has also made a mark in the sports industry as the proud owner of Sylhet Strikers in the Bangladesh Premier League (BPL), the country’s premier T20 cricket tournament. With an unwavering commitment to excellence, X Ceramics is not just shaping the future of Bangladesh’s ceramic industry but also redefining global standards—one tile at a time. Ceramic Industry Struggles: Urgent Call for Gas and SD Relief Mr Shahturur urged the interim government to ensure a continuous gas supply and to remove the supplementary duty (SD) on local ceramic products to protect the industry. He highlighted that overall production, including that of his company, has sharply declined in recent months due to the ongoing gas crisis. “Challenges such as the gas shortage, price increases, SD, and rising operational costs have severely impacted the ceramic sector, turning it into a struggling industry,” Rahman added. Sajibur Rahman
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Sarah Resort The Evolving Elegance of Journey Beyond a Masterplan
While most architectural marvels begin with a scrupulously crafted masterplan, Sarah Resort took a different path, one of organic evolution. Instead of a rigid blueprint, it grew gracefully, expanding phase by phase through strategic land acquisitions. Nestled in the historic Bhawal Rajabari, Gazipur, just one and half hour drive from Dhaka, the resort is a masterpiece shaped by the creative vision of architect Naim Ahmed Kibria and architect Asia Karim Deepa from the renowned firm Indigenous. The inception of Sarah Resort wasn’t born out of commercial ambitions but rather from a personal desire – to create a retreat for friends and family. Md. Shahadat Hossan, the founder of Sarah Resort, originally owned 1.65 acres of wilderness in Gazipur (where the resort is located now). At the time, the land held nothing but an incomplete structure – mere pillars standing in solitude amidst nature. In late 2015, Md. Shahadat Hossan envisioned transforming this barren space into a gathering haven and set an ambitious goal: to host an event on 16 December, inviting loved ones to celebrate in a newly built retreat. To bring this vision to life, he turned to architect Naim Ahmed Kibria. To meet holiday desires, this initiative from Fortis Group is indeed in a class of its own. “Time was our biggest challenge,” recalls Mr Naim. “We had an incredibly tight deadline, and constructing a structure from scratch was nearly impossible. Instead, we decided to make use of the existing columns and beams.” What followed was a remarkable feat of architecture and determination. Within just one month, the team transformed the skeletal remains into a charming cottage, integrating brick gratings in the roof. The event was a success and everyone loved the cottage which merged effortlessly with the picturesque ambience. The appreciation evoked the desire in Mr Shahadat, to build a resort in the premise so that mass people can enjoy the beauty of the landscape. Md. Shahadat Hossan soon started acquiring neighbouring land, ensuring that every addition felt like a natural extension of the original landscape. The final phase of construction was completed in 2019, expanding the resort from 1.65 acres to an impressive 70 acres, with a built area of 3.21 acres. “It was an extensive project,” says Mr Naim. “We visited the site over 100 times to understand its natural flow, ensuring each expansion felt connected, organic, and immersive.” This fluid, intuitive approach resulted in a resort experience that feels more dynamic than a rigid masterplan could have allowed. We asked the architect what his favourite part from the resort was and he did not take a second to answer: it is the red cottages, arranged along a spiral pathway, forming a shape reminiscent of flower petals when viewed from above. Interestingly, the particular piece of land (where the cottages are located now) once housed an administrative estate of the Bhawal kings, surrounded by a protective moat which was dried up then. Instead of erasing history, the architects revived the moat and built the cottages around it, preserving its essence. Beyond the secluded cottages, Sarah Resort also has a 10-story tower for accommodation, offering a breathtaking panoramic view of the surrounding greenery. “Guests often tell us that waking up in the upper-floor rooms feels like floating in the clouds,” Mr Naim says. One of the most captivating aspects of Sarah Resort is its expansiveness – with nearly 95 per cent of its total area preserved as open space. Rather than altering the landscape drastically, the architects embraced the natural terrain, ensuring that every structure harmonises with its surroundings. Prioritising sustainability and authenticity, they relied predominantly on local materials, reinforcing the resort’s deep-rooted connection to its environment. The architectural philosophy of Sarah Resort bears a striking resemblance to the “Never demolish, always add, from inside out” approach pioneered by Lacaton & Vassal, the renowned French architectural duo. Anne Lacaton and Jean-Philippe Vassal won the 2021 Pritzker Architecture Prize, the most prestigious award in the field of architecture. Other than the aforementioned historic moat, another evidence to this approach is the restoration of the original clay houses found on the property. Instead of replacing them, architect Naim preserved and upgraded these traditional dwellings, equipping them with modern facilities while maintaining their rustic charm. At its core, Sarah Resort embodies an effortless fusion of nature and modern luxury. With an eco-conscious design that meets state-of-the-art facilities, it stands as a family-friendly haven, catering to visitors of all ages. From quaint cottages and restored clay houses to contemporary tower rooms and lodge accommodations, the resort offers a diverse range of stays, welcoming guests from all walks of life to experience its unique blend of heritage, innovation, and tranquility. For those in search of adventure, the resort houses an array of exhilarating activities, including zip-lining over scenic landscapes, boating across natural and artificial lakes, and exploring lush outdoor spaces. Guests looking to unwind can lounge by the swimming pool or take in the serene surroundings from various tranquil garden retreats. “The founder is a passionate sports enthusiast,” adds Mr Naim. “That’s why a significant portion of the resort’s land has been dedicated to outdoor recreation, ensuring guests can engage in a variety of activities while staying connected to nature.” Kaniz F Supriya
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GPH Ispat Revolutionizing Steel Production with Green Practices
GPH Ispat Ltd takes pride in meeting all steel-related needs of its esteemed clients, combining top-notch quality products with unparalleled customer service. As articulated by GPH’s Director (Strategy & Transformation), Salehin Musfique Sadaf, in an exclusive interview to Ceramic Bangladesh, “GPH aims to fulfill all steel-related requirements of its extraordinary clients by offering best-quality products paired with exceptional service.” GPH Ispat Ltd, founded in 2006 and commenced commercial operations in 2008, embodying its guiding principles: God-fearing, Plain living, and High thinking. Conceived by visionary leaders and experienced traders, GPH was established to provide premium-quality steel products to the Bangladeshi market. Since its inception, GPH has relentlessly strived to deliver maximum value to its customers by consistently offering the best steel products available. The company made history in 2020 by introducing the Quantum Electric Arc Furnace—the world’s most advanced process for producing construction-grade steel—marking its debut in Asia. The extraordinary foresight of the founder, Mohammed Jahangir Alam, in establishing this state-of-the-art manufacturing unit, has garnered international acclaim. Industry experts from the USA, Saudi Arabia, and India have visited the facility to replicate its success in their respective countries. GPH has set an exemplary standard in prioritizing people and planet over profit by producing green steel products with minimal greenhouse gas (GHG) emissions. This trailblazing approach to sustainability has established GPH as a benchmark in the steel industry. “I was destined to return to my beloved Bangladesh—settling abroad was never part of the plan. Elevating Bangladesh on global platforms has always been my dream. Of all the sectors in our family business, I chose steel because of its transformative potential. Steel is not only versatile but also has the power to build nations and even reach into space,” shared Salehin Musfique Sadaf. Reflecting on a pivotal moment in 2017, Salehin described a conversation with his father while traveling from Dortmund to Bremen, Germany: “We discussed how developed nations have nurtured industries across generations to sustain their economies. These core industries, alongside their complementary sectors, have matured to surpass even their foundations in profitability. It became clear to me that investing in metals and materials is vital for Bangladesh’s self-reliance and economic resilience. Developing upstream and downstream industries could reduce trade deficits and save significant foreign currency.” At GPH, we produce Steel billets as semi-finished products and 3 different grades of construction grade steel rebar as finished product. Out of 420, 500 and 600 grade rebar, GPH is only able to produce 600 grade rebars in Bangladesh because of its distinct technical capability allowing stakeholders to be able to reduce their consumption while increasing performance. Due to maintaining the highest of the standards GPH was able to export around 125,000 metric tons of steel billet to China which is a net steel exporter country. Along with prime products since last 1 year we have partnered with Leviat Sdn Bhd, a global leader in construction technologies to promote optimized construction techniques and supporting products in Bangladesh. ‘Leviat’ is a part of fortune 500(S&P) company. We also sell medical and industrial grade oxygen and nitrogen to our valuable clients. The people who think about quality will always choose GPH because of its Moral integrity, its capability in utilizing valuable resources more efficiently and obviously visionary leadership behind it. The GPH products not only ensure the best physical property but also ensure the best chemical composition among any other brands. Sulphur and phosphorus being the most challenging elements in any mild steel products, with the help of best technology in steel making only GPH can maintain a proper ratio of these two elements consistently. These are not any claims, this can be easily proven by the test report gained from reputed facilities. When other brands are only being able to match the specification, GPH is passing tests with extraordinary differences compared to others which show our commitment to offer the best products in the market. With the only accredited lab facility in the steel industry, GPH supports stakeholders in realizing their aspirations with pride. The company’s devotion to economic, environmental, and social sustainability is reflected in its operations. For instance, GPH uses 115 kg of steel scrap to produce 100 kg of pure steel, ensuring unmatched quality. In comparison, other brands use only 112 kg of scrap for the same output—a testament to GPH’s pursuit of added purity and customer satisfaction. GPH is capable to produce 1.0 million tonnes of billet and different parts of prefabricated building materials each year. GPH Ispat Limited remains committed to going above and beyond, reshaping the steel industry while upholding its promise of excellence and sustainability.
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Delveinto the kingdom of mountains at Sajek
It’s unlikely not to hear of the name Sajek Valley whenever some tourist spot suggestions pop up these days among Hodophiles. Which makes it one of the most popular tourist spots located in the verdant hills of the Kasalong range of mountains amidst the serene and exotic beauty of nature. Sajek Valley is often referred to as the “Queen of Hills” and the “Roof of Rangamati,” and it has all the right reasons to be titled so. The valley is characterized by lofty mountains, thick forests, expansive grasslands, and miles of winding roads. The Mayni River and Mayni Range must be crossed in order to reach the Sajek Valley. Located in the Baghaichori Upazila of the Rangamati Hill District, the Sajek River, also called the Kasalong River, is the largest union in Bangladesh and divides Bangladesh from India. Sajek Valley, which was previously the scene of insurgencies and is now surrounded by the hills of Mizoram to the east and Tripura to the north, represents Bangladesh’s cultural diversity and encourages people of all ethnic backgrounds to develop tourism there for socio economic advancement. The tribes of the Lusai, Pangkhoa, and Tripura live in Sajek. Here the locals are mostly from Tripura and lusai tribes. The village of Kalank Para, on the last frontier of the Sajak Valley, is inhabited by the Lusai people. Few Chakma also lives nearby. The simple and basic indigenous lifestyle of local people is just fabulous for visitors to spend a good time here. Sajek is now also willing to assist individuals in their pursuit of benefits, whether it be by assisting them in their tourist endeavors or by involving them in them. This is definitely unusual when considering Bangladesh. Unmissable One of the main draws for visitors to Sajek is Konglak Hill. The Lusai community lives in Konglak, the last village in Sajek Valley. From the Konglak Hills, one can witness the origins of the Karnafuli River, the Lusai Hills of India. There is a two-hour journey through Ruilui Para that leads to the Kamalak fountain. This beautiful fountain is also known to many people as Padaam Toisha Jharna or Sikam Toisha Jharna. Whether it’s day or night, Sajek always appears more like a magnificent piece of art made by an artist. One of the wonderful aspects of Sajek is how nature unfolds here in its best forms. A sleek rainbow can often be noticed coming through the piles of clouds right after a good rain. Tourists especially suggested to not miss the dawn. The white clouds and the sunrise/sunset light create an astounding environment to please both the eyes and soul. To see the sunrise, visiting the Hollypad early in the morning is highly recommended. The afternoon’s colour of the setting sun from a high point is guaranteed to entice you. Post evening, the sky is mostly covered with a blanket of stars. Upon your return from Sajek Valley, you can also take in the sights of Dighinala Banbihar, Hazachara Jhorna, and the Dighinala hanging bridge. There are some local 4 wheels drive cars that are used for transportation called Moon Car or Chander Gari. Usually, the moon car has the capacity to carry 10 to 15 passengers. It is claimed that one must try these cars when they visit here. While traveling through the curving hill route to Sajek, a car is suggested be reserved for a hassle-free journey. This place is also considered ideal for trekking. To have a pleasing time here, staying in resorts is highly recommended, as Sajek offers a variety of high-end resorts that are totally worth a visit. They are designed in such a way that they will ensure an unforgettable trip throughout, along with enjoying the natural essence of the place. And to conclude, the most unmissable thing here is the variety of authentic tribal food, which is impossible to find elsewhere. Most of the cuisines are prepared with rare ethnic ingredients by traditional chefs. When and how to get there Sajek is beautiful in all seasons. With the changing of the seasons, it takes on a stunning new hue. So regardless of the season, one can get a new taste of Sajek. But in the rainy season, autumn, and late autumn, you will feel the white clouds more closely. However, the best part of Sajek is the surprise of the weather it has to offer every day. Hence, it’s never a dull moment here. Although Sajek is located in Rangamati district, the communication system is good through Khagrachari. There is no direct connection from Dhaka to Sajek Valley. However, you can take the train to Feni then take the taxi to Sajek Valley or by bus to Khagrachari from Dhaka and then to Sajek. Other transportation options including bus is also available for a comfortable journey overall. Alternatively, you can take the bus to Chittagong then take the taxi to Sajek Valley. It takes two to three hours to travel from Khagrachhari to Sajek Valley across the road’s high peaks and falls. Hence it can be said without a doubt to experience the place’s actual beauty firsthand rather than merely reading and viewing enough evaluations about it.
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PRE-EVENT REPORT CERAMIC EXPO BANGLADESH 2025
The most awaited Ceramic Expo Bangladesh 2025, 4th edition is going to take place from 27th November to 30th November 2025 at International Convention City Bashundhara (ICCB), at the Expo Zone (Tent Hall), Kuril, Dhaka, Bangladesh. It is going to be one of the grandest celebrations in the world of ceramics unlike the previous 3 successful events on 2017, 2019, 2022 consecutively organized by Bangladesh Ceramic Manufacturers and Exporters Association (BCMEA) and supported by Export Promotion Bureau (EPB) of Bangladesh Government. The arrangements of the exhibition and seminars represent the most aspiring & the biggest events in the ceramics community platform to showcase the local manufacturers and exporters world class products globally and also helps to create long term positive impact on the expansion & growth of the ceramic industry in Bangladesh. Bangladesh is considered as the potential booming market for the ceramic industry in South Asia which makes the Ceramic Expo Bangladesh 2025 exceptionally lucrative opportunity and a leading example for the expansion of the industry. The arrangement of Ceramic Expo Bangladesh 2025 is going to be a 4-day long event with many exciting opportunities to interact with the global community & portraying local offerings in the global platform. The exhibition will enhance the chance to exhibit all the sub sectors of ceramic products such as tableware, tiles, sanitary ware, and ceramic bricks. There will also be some representation of ceramic production machinery, advanced ceramics, raw materials & latest innovation of technologies to upgrade the ceramics world. As the Associate Partner Bangladesh Ceramic Society, Real Estate and Housing Association of Bangladesh (REHAB); International Event Partner Unifair Exhibition Services, ACIMAC, Messe Munchen; Support Partner Tecna, Asean Ceramics, Keramika Indonesia, Ceramics China; Knowledge Partner Nanomaterials and Ceramic Engineering, BUET, Ceramic ISC; Strategic Partner Ant Network, Uniceramics; Official Magazine Partner Ceramic Bangladesh Magazine, Asian Ceramics and Media Partner Ceramic Focus and Ceramic India will be there. It is expected that there will be more than 120+ exhibitors, 25000+ visitors, 500+ delegates, 300+ brands will be participating in the exhibition. The event is going to be one of the largest gatherings for the ceramic professionals, architects, engineers and related industry individuals in South Asia biannually. The expo will cover a 17,000 sqm expo area with enthusiastic participation from 25+ countries such as China, Vietnam, India, Malaysia, Italy, Germany, Thailand etc. along with the local manufacturers of Bangladesh. The valued Principal Sponsor of the Ceramics Expo Bangladesh 2025 is going to be Sheltech Ceramics Ltd., Platinum Sponsor are DBL Ceramics Ltd. Akij Ceramics Ltd. and Meghna Ceramic Ind. Ltd. and the Gold Sponsors are Mir Ceramic Ltd., Abul Khair Ceramic Ind. Ltd., HLT & DLT Technology and Sacmi Imola SPA respectively. There will be arrangements of buyer-supplier meet and scope of one to one business networking. The event will be full of new surprises and exciting activities for all the participants and visitors. There will be arrangement of- Day-long meet-up with the Architects Day-long engagements opportunity with the Dealers, Interior Designers & Fitters Seminar of Five Innovative Topics related to ceramic industry One Exclusive Seminar with prominent Architects Raffle draw each day of the event Job Fair Award and recognition for the sponsors and participants Exclusive Gala Dinner Ceramic Expo Bangladesh 2025 is going to the most promising and progressive event of the ceramics world internationally. It will bring a diverse array of exhibitors, suppliers of the raw materials and machineries, related industries, ceramic industry experts, high officials, government entities to enhance the drive of innovation, collaboration and advancement together under a single platform at a time. The event will also enable the opportunities to explore insightful seminars and conferences to share industry related topics, advancement of the ceramic world and future of ceramics from the industry leaders, resource persons and industry experts. There will be multiple b2b meetings, b2c meetings and business networking opportunities to create more long term business relations through expansion of business collaboration. There will be a job fair, award giving ceremony, exciting gifts for the visitors & exhibitors & so on.
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‘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
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Devoted to Architecture that benefits Mother Earth
Architecture is one of the most profound forms of art that turns into reality, where humans and the environment interact. From the outset of Architect Bayejid Mahbub Khondker’s celebrated career, his design inspiration has consistently driven him to create impactful designs that seamlessly integrate with their surroundings, enhancing natural beauty without causing disruption. Bayejid graduated from the Department of Architecture at the Bangladesh University of Engineering and Technology in 1996. Following his graduation, he spent two years contributing to the private sector before transitioning to the government sector in 2000. Up until 2010, he served as assistant chief architect at the Department of Architecture under the Ministry of Housing and Public Works in Bangladesh. “Like any other art form, architecture thrives on creative freedom. The constraints of a government position limited my ability to fully nurture this creativity. Thus, I chose to take early retirement and established my own firm, Nakshabid,” he explained. In the 14 years since the inception of Nakshabid, Architect Bayejid’s career has taken interesting turns. His portfolio now comprises a diverse range of projects, from residential buildings to factories, hospitals to museums, ports to cities, and even cemeteries to mosques. He has truly designed it all. “In developed countries, architecture is practiced in a quite specialized manner. For example, there are distinct architects for aviation facilities or medical centers. Bangladesh, being a very small country, has a more generalized approach to architecture. As a result, as an architect, we get to design a wide variety of structures. This can be seen as both a blessing and a challenge,” he added. As an architect, Bayejid highly prioritizes sustainable and eco-friendly structures for both urban cities and remote areas. The architect emphasizes that global warming has heightened the importance of environmental sustainability, compelling architects to play a crucial role in reducing global carbon emissions and transforming current design paradigms. “I take pleasure in incorporating local and sustainable materials into my designs. For instance, using glass in the exterior of a building is not always essential. I prefer to avoid it unless necessary, opting instead for locally available materials that can significantly enhance the aesthetics. This approach not only supports sustainability but also values local resources. However, I am not opposed to using imported materials; I incorporate them when the situation demands,” he opined. Believing in the aforementioned notion, Bayejid approached the interior design of Hotel Nandini with a focus on minimalist elegance, utilizing locally seasoned materials like Koroi wood, Gaab, sea grass, and bamboo. A touch of imported steel, weathered locally, adds structural integrity. The exterior design effortlessly blends glass with artisanal wooden craftsmanship, giving the boutique hotel a distinctive and visually captivating appeal. A standout establishment in the surroundings. When asked about his favorite projects to date, Bayejid found it challenging to single out any, as each one holds a special place in his heart and has a unique story to tell. Nonetheless, the architect took a moment to highlight a few of his fondest projects, including the Nurpur Graveyard in Rangpur, Karupanya Factory in Rangpur, Aman Mosque in Narayanganj, and Hotel Nandini. “Nurpur Graveyard transcends the conventional boundaries of typical graveyards in our context. This Muslim cemetery includes a compound that houses a primary healthcare facility and a madrasa. The entire premise is funded by nearby local communities,” he added. The graveyard is designed to create spaces for leisure, an uncommon feature in our region. The overarching design philosophy was to create an open, inviting space that encourages local community members to visit and find solace where their loved ones rest in peace. The key concept of the project is to establish a synergy between the graveyard and community amenities. On the other hand, his iconic design, the Karupanya Factory in Rangpur, has set a new benchmark of sustainable architecture. From a distance, with the lush greenery covering all over the front of the factory, it appears like a forest. The factory is designed as an energy-efficient and climate-responsive structure that can save up to 40% on energy consumption. Energy efficiency, water efficiency, optimal use of daylight, plantation, and ecosystem preservation are its sustainable design elements. “Traditionally, industrial spaces are viewed as environments dedicated solely to relentless work. However, this factory was conceived with a different vision. The entire compound, including the workplace, is thoughtfully designed to evoke a sense of homeliness for the workers,” said Bayejid. The Karupannya factory project earned acclaim in the open category of the ‘UIA 2030 Award’ by the International Union of Architects (UIA) and UN-HABITAT. Architect Bayejid Mahbub Khondker received two gold medals in the Industrial Building category and a special award for Socially Responsible Architecture and Sustainability at the ARCASIA Awards for Architecture-2023 for the same project. We asked Architect Bayejid if he has any particular style in his work, just like many profound architects have a signature style that speaks for itself. The architect did not take seconds to answer in the negative and explained his stance. “I do not adhere to any signature style, nor do I aspire to have one in the future. Firstly, I believe that adopting a particular style limits our creativity. Secondly, the previous generation of architects had the luxury of focusing primarily on aesthetics and signature style. However, times have changed, and our natural environment is now in crisis. Our duty is to preach architecture that does not disrupt nature but rather fits in,” he concluded.
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For the Love of Language Nation and Literature
With a new sun, new authorities emerge, revitalising familiar spaces. The 40th Ekushey Book Fair 2025, themed “July Mass Uprising: Building a New Bangladesh (New Bangladesh Deconstruction),” featured over 700 publishing houses at the premises of Bangla Academy and Suhrawardy Udyan. The month-long fair was inaugurated by Dr. Muhammad Yunus, the Chief Adviser of the interim government on 01 February. The Amar Ekushey Book Fair, a fundamental element of Bangladesh’s literary heritage, returned this year with a striking and visually captivating transformation. Uniquely crafted stalls add an architectural charm that sets this year’s fair apart from the previous editions. Visitors are greeted with the richness of literature and an impressive array of architecturally designed stalls, each presenting a unique identity. The influence of the new government is evident in the fair’s structured setup, where each stall showcases unique aesthetics through bold shapes, intricate exteriors, and thematic designs. When visiting this year’s Ekushey Book Fair, the crowd was astounding. People of all ages turned the fair into a true celebration. The entrance was bustling with various food vans, and women and children were all dressed up. The Book Fair has never been this festive and crowded in recent years, even on working days. Whether for recreation or out of love for books, the fair should continue in this spirit for eternity, celebrating Bangla language and literature. Readers and visitors took a moment to admire the aesthetics embraced by publishers who dedicated extra time and thought to beautifully decorate their pavilions. One of the highlights of this year’s book fair is the pavilion by Iti Prokashon, titled ‘Ziar Bari’ (Zia’s House), named after Ziaur Rahman, a prominent army chief, freedom fighter and politician who served as the sixth President of Bangladesh from 1977 to 1981. A key figure in the country’s War of Independence, Zia’s name has often been sidelined in public discourse and textbooks due to the agendas of the previous autocratic regime. In contrast, Onnodhara Prokashon transformed its pavilion into a representation of the Bangladesh Parliament House. The sight of these two distinct symbols coexisting on the same ground truly captivated visitors. Afsar Brothers gave their pavilion a harmonious blend of heritage and functionality, making it an inviting space for book lovers while paying homage to Bengal’s rich architectural traditions. The structure follows a half-timbered design with exposed wooden beams and white infill panels, resembling classic Bengali rural or zamindari house styles. Other notable mentions include Bishwa Shahitto Kendro, which transformed its pavilion into a two-story BRTC bus structure, paying homage to its Moving Library. Bhashachitro Publications adopted a minimal, monochrome palette, giving the pavilion a simple yet elegant look. Bengal Books chose a wooden pavilion, creating a soothing atmosphere for buyers with its well-decorated books and thoughtful lighting. The Puthiniloy stall featured a book-structured roof, while Gronthik designed its stall to resemble a mud house with bamboo. Shaishab Prakash’s stall is shaped like a whimsical castle, inviting readers into a world of children’s literature. These creative designs add a unique visual and conceptual dimension to the fair, making it not just a place for purchasing books but also for cultural and artistic appreciation. The best pavilion design goes to Batighar, designed by artist Shahinur Rahman. The triangular front featured a stained-glass-like panel with motifs from Nakshi Kantha and Patachitra, reflecting Bengali folk art. Inside, a red dome element, inspired by a Chhoto Sona Mosque, highlighted local heritage. The steeply pitched roof with exposed red clay tiles resembled traditional Bangladeshi huts. For its artistic excellence, Batighar won the Kayum Chowdhury Memorial Award for best pavilion in this year. Sadly, the kids’ section lacked vibrancy, with limited space for children to explore and freely roam around. However, a few stalls, including Shoishob Prokash, Mayurpankhi, and EKRI MIKRI, did a decent job of capturing the attention of young visitors. Shoishob Prokash transformed its stall into a castle-like structure, Mayurpankhi adhered to its palette with subtle adjustments, and EKRI MIKRI added a creative touch by placing a horse for children to play on, making the stall an engaging and fun experience for the little ones. This year, the fair included 66 more stalls than the previous year. 99 publishers were located at the Bangla Academy premises and 609 at the Suhrawardy Udyan area. There were 37 pavilions in total, with one at the Bangla Academy premises and 36 at Suhrawardy Udyan. The Little Magazine Corner had been set up in Suhrawardy Udyan, with 130 stalls. In the children’s corner, 74 institutions had been allocated. The fair also featured daily seminars and cultural programmes in the evening, and a special “Children’s Hour” held every Friday and Saturday from 11am to 1pm. As part of the Amar Ekushey celebrations, various children’s competitions, including art, recitation, and music, were organised. The fair had four entrance points: TSC, Doyel Chattar, MRT station, and Engineering Institute. Director General of Bangla Academy Mohammad Azam and Member Secretary of the Fair Management Committee Sarkar Amin said to Ceramic Bangladesh that the fair was entirely polythene and smoking-free, with security provided by the Police, RAB, Ansar, and various intelligence personnel. All participating institutions sold books on a 25% commission basis. The academy published 43 new books and reprinted 41 books for this fair. A total of 3,300 new titles were published in this Book Fair 2025 and Bangla Academy stall alone sold books worth Tk 61 lakh. Several awards were presented at the fair, including the Chittaranjan Saha Memorial Award for the best publisher, the Munir Chowdhury Memorial Award for artistic excellence, and the Rokanuzzaman Khan Dadabhai Memorial Award for children’s literature. These awards recognise the contributions of publishers and authors to the literary and cultural landscape of Bangladesh. Written By Fariha Hossain
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A Fresh Look of WE SPACE with Inclusivity at its Core
In the bustling Gulshan North Avenue of Dhaka, a unique office concept in Bangladesh replaces traditional departmental segregation and hierarchy with freedom of workspace and teamwork. Located in a prime location of Dhaka’s business hub, WE SPACE is Woolworth’s Group’s Bangladesh office, co mprising an area of 6,300 square feet. The entire project was completed in 90 days, which was a challenge in itself. The spaces in this project have been designed with Woolworth’s inclusive concept of “WE” and togetherness in mind. This concept is reflected in the layout, flexible workspaces for users, and an interesting colour palette that complements the brand identity. As per the question, Sudeshna Shireen Chowdhury, the founder and principal architect of Studio.O, explained, “All functions are arranged together in a loop. If you enter the office from one side, you can come back and end up in the same space.” Inspired by the concept of “We Space,” the layout has been developed with a central collaborative social hub and town hall space as the heart of the office. Upon entering, a clean, central circulation spine welcomes the user into the space. This loop leads them towards designated zones, which are specifically marked to enable easy navigation. The design ensures universal access for both circulation and entry into all spaces, promoting proper orientation and mobility. Overall, the office space has been designed to be exceptionally user-friendly, showcasing unique details and features while upholding the brand identity of Woolworth’s Group. Architect Sudeshna explains that there are no designated seats or fixed workstations. The concept is for all functions to be connected in a loop, allowing users to enter from one side and return to the same space upon exiting the loop. The design team did not introduce a traditional reception area, as the other Woolworth’s offices do not have one either. The zoning prioritises common areas, meeting rooms, and a multifunctional room near the entrance for guests. The kitchen, designed more like a coffee pantry, is also placed near the entrance for easy access by guests. Public spaces are readily accessible upon entering the office. “As you move further inside, you’ll find the workspaces located near the terrace space,” as explained by Architect Sudeshna. All the furniture for this project has been locally sourced and designed, making it exclusive to the users and the office. Hatil provides modern, space-saving compactor storage that allows for a significant amount of storage within smaller areas. Height-adjustable tables and workstations were made locally using handmade techniques. The vibrant colour palette within the workstations incorporates orange and green shades. A unique feature is the collaborative table they designed. It can function as a whole table for four people or unfold into individual workspaces. One of the most striking features of the space is the ceiling. The Woolworth’s logo is cleverly incorporated as a ceiling light fixture, adding a unique and memorable touch to the ambiance. The clients loved this detail and are considering replicating it in our other branches to create a consistent and memorable brand experience. Vinyl flooring is used throughout the space, with a colour scheme that complements the blue ceiling light to further highlight the blue colour in the ceiling and the brand association as well. No partitions were used in open spaces; the variation in the texture of the floor materials separates the zones. Biophilic principles were considered throughout the design process. Planters were strategically placed to integrate nature into the workspace. The architect adds, “We always consider biophilic principles. So, we planned where the planters would go and designed accordingly.” The meeting room features a TV panel that doubles as a whiteboard, demonstrating a smart design element. Acoustics were also a priority. To minimise echo, a false ceiling with sound-absorbing panels was installed. Carpets were also used for the same purpose. In the main workspaces with exposed ceilings where talks and town hall meetings are held, sound-absorbing carpet flooring was used. Another unique addition to the project was the soundproof office pods for four people. “These pods are fully furnished, offer 85% sound absorption, and have their own ventilation systems,” explains Architect Sudeshna. She further adds, “Every space has its own identity. There is a focus zone, a collaborative zone, and a social zone, all with different kinds of identities and characters.” Completed in January 2023, WE SPACE is a collaborative project by the eminent architecture firms Studio.O and Binyash, located in Dhaka. The team of architects brainstormed together to come up with a concept that ensures efficiency, comfort, and a positive ambiance for office users. Architect Sudeshna Shireen Chowdhury concludes, “Working with the Woolworths team was an exceptional experience. We appreciate the unparalleled support from our partners.”
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Real Estate Enthusiasts, Innovators Show Grand Confidence At REHAB Fair, Businesses Eye Mammoth Growth in the Ceramic Industry
The Real Estate and Housing Association of Bangladesh (REHAB) organised a five-day REHAB Fair-2024 at Bangabandhu International Conference Centre (BICC) in Dhaka, to bring together all stakeholders related to the real estate sector, including land developers, house builders, buyers, financial institutions, building materials companies, and ceramic companies. The fair concluded on December 27 with an overwhelming response from visitors and prospective buyers. It witnessed significant engagement with real estate enthusiasts and industry stakeholders. RAJUK Chairman Siddiqur Rahman Sarker inaugurated the fair on December 23. The event attracted about 18,000 visitors and buyers, showcasing its popularity among Dhaka residents and highlighting the strong interest in the real estate sector. REHAB leaders expressed satisfaction, stating that the event successfully met its objectives of promoting the housing sector and engaging the public. According to REHAB data, the fair saw flats, plots, and commercial spaces worth Tk 403 crore being sold and booked. Of the total amount, flats accounted for Tk 230 crore, plots Tk 96 crore, and commercial spaces Tk 77 crore. Additionally, bank loan commitments worth approximately Tk 1,090 crore were received for new projects. Sheltech’s Deputy General Manager (Sales) AKM Rafiul Islam highlighted the importance of the fair in showcasing their 50 new projects to customers. He emphasised that such fairs provide an opportunity to communicate with both new and existing clients. “Many clients come here and purchase their desired products after comparing with other companies. We received good customers at the fair,” he observed. Similarly, Mir Real Estate Ltd’s Head of Marketing and Sales, Md Abu Zahid, noted that the fair allowed them to introduce seven new projects to customers. He pointed out the challenges faced by the real estate sector due to the increased cost of doing business and the rising prices of construction materials. Mr Zahid called for government policy support to help the sector thrive. Ceramics : A New Phenomena in Real Estate The ceramic sector is a new phenomenon in real estate. The fair highlighted the growing importance of ceramics in the real estate sector. REHAB President Md Wahiduzzaman stated that the organisation has been arranging the fair for the past 26 years with the goal of bringing all stakeholders, including realtors, developers, buyers, financial institutions, building materials companies, and ceramic companies, under one platform for the industry’s development. He explained that ceramics play a crucial role in the finishing segment of construction, accounting for 60 per cent of a building’s finishing part. Because a building has two segments: 40 per cent construction and 60 per cent finishing. Ceramic is part of the finishing segment. Thus, the prices of apartments depend on the finishing aspect. The fair provided an excellent opportunity for ceramic companies to showcase their products and for buyers to choose their desired items. “I use ceramic tiles in my projects, and thanks to the tile companies, we can finish building works smoothly,” Mr Wahiduzzaman mentioned. In response to a query, he mentioned that realtors seek quality products with good finishing and well-burnt tiles. “I prefer homogeneous tiles, but I have to change them due to client demands,” he said. Buyers looking to purchase plots and apartments can choose their desired properties by visiting different companies’ stalls at the fair. They can also examine products’ quality and legal issues. REHAB assists buyers, as only REHAB members can participate in the fair. Mr Wahiduzzaman also addressed the challenges faced by the real estate sector, including high registration costs, VAT, and taxes, as well as reduced ADP project implementation in the real estate sector due to the economic slowdown. He expressed optimism about the industry’s recovery by 2025 with proper government policy support. “We are working to fulfill the dreams of the citizens,” he stated. However, in the post-Covid-19 period, the business has faced a sluggish situation. Such fairs help grow business and trade. The demand for both tiles and sanitaryware is increasing significantly in the country. “But gas is crucial to ensure quality ceramic products. I planned to manufacture ceramic items but reconsidered due to the gas supply crisis,” he explained Hints at Ceramic Industry’s Growth The Chairman of the REHAB Fair-2024 Committee, Mohammad Akter Biswas said that more than 200 related industries, including rod, cement, tiles, and electrical equipment, and approximately three crore people are directly and indirectly linked to the sector, which accounts for 12%-15% of the GDP. “Various construction materials such as tiles and financial institutions participated in the expo. Buyers have the opportunity to choose their apartments after discussing with many companies at the fair,” he added. The growth of the ceramic industry was also highlighted, as several tiles and sanitary companies have started manufacturing high-quality ceramic products that meet international standards and are exported to different countries. Earlier, imported products were commonly used, but now the ceramic industry has become significant in Bangladesh. He underscored the importance of the REHAB Fair in bringing all buyers and sellers under one umbrella, allowing them to explore various construction materials and financial solutions. The REHAB Fair-2024 was a resounding success, bringing together a diverse range of stakeholders and facilitating significant transactions and commitments. The event highlighted the growing importance of innovation and sustainability in the real estate sector, with a particular focus on the role of ceramics. As the industry continues to evolve, the REHAB Fair remains a crucial platform for promoting growth, fostering collaboration, and addressing the challenges and opportunities faced by the sector. Written by Rafikul Islam
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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.
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AkijBashir Group hosts ROSA Bathware’s Business conference of 2025
AkijBashir Group recently concluded a grand day long ROSA bathware’s business conference of 2025, Evolve Beyond, at the CCULB Resort, Purbachal. The event brought together over 300+ business associates from the Group’s premium bathware brand Rosa. The conference served as a platform to align strategies and set ambitious goals for the upcoming year, while also celebrating the company’s remarkable achievements. Managing Director of AkijBashir Group Mr. Taslim Md. Khan, Chief Operating Officer Mr. Mohammod Khourshed Alam with all sales and marketing officials participated in the event. The conference featured strategic discussions, an award ceremony, and a vibrant cultural gala night, fostering collaboration and inspiration among all attendees. This remarkable event reflects AkijBashir Group's commitment to innovation, growth, and excellence in business.
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Brishtite Roder Kona’ reminisces Kazi Abdul Baset
The ongoing exhibition titled ‘Brishtite Roder Kona’ at Bengal Shilpalay lets new audiences be introduced to the works of one of the finest artists from Bangladesh, Kazi Abdul Baset. In an age when electricity has reached even the most remote corners of Bangladesh and air conditioning is ubiquitous, the image of a woman cooling herself with a traditional handheld fan may appear to be a relic of the past. However, this simple act of seeking relief from the heat was immortalised in the works of Baset. While his works are rarely exhibited these days, the exhibition at Bengal Gallery in Dhanmondi has provided a unique opportunity to view a comprehensive collection of his work. The exhibition features 72 pieces in a variety of mediums, including acrylic, pastel, charcoal, watercolour, and ink drawings. The artworks are all from private collections and have been generously shared to introduce Baset’s genius to a new generation. Kazi Abdul Baset’s legacy is enormous but unappreciated. Baset, a humble and introverted guy, was recognised for his plain pyjama and grey panjabi outfit, as well as his rigorous guidance of his students. He received a Fulbright scholarship and studied in Chicago from 1963 to 1964. Baset’s work has a unique blend of figurative and abstract styles. Despite his modernist approach, Baset’s themes frequently revolved around the simplicity and beauty of rural life, capturing its essence with profound depth. His depictions of rural women and domestic life added a new dimension to modern Bangladeshi art, specially his paintings of woman with a fan becoming almost a trademark of his artistic identity. Baset had a close relationship with fellow artist Mohammad Kibria, another shining light in Bangladesh’s art history, and analogies between their works were frequently made. Their mutual influence and inspiration resulted in considerable artistic synergy, which shaped Bangladesh’s art scene in the 1960’s. Baset began his career as an art teacher at Nawabpur High School, where other notable figures such as Mohammad Kibria and Murtaza Bashir taught. Baset’s artistic development—from his early realistic images of rural life to his later experimentation with abstraction and return to realism—reflects a dynamic and diversified artistic journey. This show at Bengal Gallery is a fitting tribute to the brilliance of Kazi Abdul Baset, providing spectators with a unique opportunity to immerse themselves in the works of a master who caught the soul of Bangladesh with unsurpassed sensitivity. Presented by Bengal Arts Programme, the exhibition walls adorns the works of Baset which he produced between the 1960’s and 1990’s. All the works being showcased are collected from the personal collections of Abul Khair, Abul Hasnat-Nasimun Ara Haque, Matiur Rahman and Luva Nahid Choudhury. Open for all, the exhibition commenced on 8 November 2024 and will run till 11 January 2025. Written by Shahbaz Nahian
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Body and the Map: Of wounds and Hope
Beautifully curated by Sharmillie Rahman, the exhibition “Body and the Map” took place on Bengal Shilpalay between 15 and 28 December, 2024. By engaging viewers to contemplate the interaction of power, identity, and transition, “Body and the Map” was more than just another decent exhibition that had the July-August uprising as its subject matter; the exhibition not only acted as a stark reminder about what must not be forgotten but also intrigued the audiences to introspect. Consisting of the artworks of ten multidisciplinary artists, many of whom were active participants in the mass uprising that overthrew a long-standing regime, “Body and the Map” was a riveting look at societal upheaval in the aftermath of that student-led mass rebellion. The show, based on the collective memory of Bangladesh’s last July-August, is both a reflection and a debate about the force of resistance, the weight of trauma, and the possibility of change. Their work delves into the complicated reality of a country dealing with its old and fresh scars and the tiers of collective psychological state of the mass after the newfound independence. The participating artists were A. Asan, Afsana Sharmin, Ashang Mong, Farzana Ahmed, Mong Mong Shay, Niazuddin Ahmmed, Palash Bhattacharjee, Rasel Rana, Razib Datta, and Ripon Saha. The July-August uprising was characterised by an unprecedented feeling of urgency, as residents defied persecution to demand justice, equality, and dignity. However, the road to liberation came at a high cost, with bodies mutilated, lives lost, and a collective psyche permanently transformed. The show explores this dichotomy, emphasising the body as both a personal and societal vessel for history, pain, and resilience. The artworks that were adorned by the gallery space delve deeply into the concept of the body as a source of memory and resistance. Whether through physical depictions or abstract interpretations, the ten artists highlighted how the human body bears the weight of institutional injustice and governmental violence. The visual narratives starkly remind us about biopolitical disposability, demonstrating how individuals became victims of normalised violence during the authoritarian system. The relationship between body and land appears as a repeating pattern, emphasising identities defined by culture, religion, race, and gender, all of which intersect within a nation’s sovereign borders. However, these links are loaded with tension, since the scars of authoritarian authority and systematic impunity are etched on both the body and map. In the aftermath of this historic movement, “Body and the Map” illustrated the dialectics of trauma and renewal, hopelessness and optimism. The exhibition stressed the importance of open discourse and the reframing of identity and government as centralised power disintegrates and something new emerges. Despite recollections of terror, violence, and loss, the artworks elicit a cautious hope. The collective body politic, though scarred, remains resilient, signalling a determination to redefine itself and the map it inhabits. Written by Shahbaz Nahian
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Liminal Horizon: Body, existence & Introspection
“Liminal Horizon,” the solo exhibition of artist Sanad Biswas that took place between 14 and 7 January at the capital’s Kala Kendra, is one of the most fascinating sculpture exhibitions in recent memory of post-pandemic Dhaka’s vibrantly growing exhibition scene. From quirky humanoid figures and brightly coloured and inflated ballooning bodies to disembodied internal organs, Sanad’s sculptures have an aura of eerie sensuality mixed with humour. They appear visually strange to our eyes, but the feelings we perceive are bizarrely familiar to our soul, and they intrigue questions about our fragility and existence as human beings, living and surviving amongst the complexities of the modern world. Although primarily a sculpture exhibition, it consisted of relevant paintings, drawings, installations, and photographs of performance art by the artist as well. This exhibition is also like a diary of Sanad’s almost two decades of art practice. “The world that we live in right now has its tiers of complications. And as human beings, our immediate surroundings and even global circumstances in this era of a world connected through the devices in our hands always have an effect on us, both mentally and physically. The artworks that are shown in this exhibition are artistic manifestations of my psychological journey, how I reacted to certain contexts. For example, the characters in my works are sometimes satirical, sometimes dramatic and colourful, and sometimes they suffer from existential crises!” said artist Sanad Biswas. Another highlight of this exhibition is the beautifully done curation. Curating a show inside a space like Kala Kendra is always challenging, as it is basically a ground-floor part of a residence and not originally designed to be a gallery. But artist Sanjid Mahmud gracefully accomplished the difficult task of dealing with such a space and devised a neatly designed exhibition. “This exhibition was not pre-planned. Sanad had been devotedly working for a long time now; hence, naturally, he has an assemblage of amazing artworks that has a certain coherence that subtly reverberates that they are Sanad’s works. Later, we decided to organise this exhibition. And as a curator, designing a sculpture show inside a space like Kala Kendra was also a challenging task,” said artist Sanjid Mahmud, who is the curator of the exhibition. “Compared to the existing types of sculpting practice that we see in our local art scene, Sanad’s works are starkly different. His works are compelling even in the standard of global contemporary art,” Sanjid further added. With their few other artist friends, Sanad Biswas and Sanjid Mahmud runs their art collective Daagi Art Garage. Although not a familiar name outside our local art scene, this Dhaka-based young art collective, is one of the finest in their genre in Bangladesh. Daagi’s own space, Studio Bhashkarmi, is in the capital’s Hazaribagh area. Written by Shahbaz Nahian
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REHAB Fair 2024 Concludes with Overwhelming Turnout and Promising Prospects
The five-day REHAB Fair 2024, organized by the Real Estate & Housing Association of Bangladesh (REHAB), concluded on December 27 at the Bangabandhu International Conference Centre (BICC) with remarkable success. Drawing 17,729 visitors, the event showcased the growing potential of the real estate sector, featuring stakeholders such as land developers, builders, financial institutions, and ceramic companies. RAJUK Chairman Siddiqur Rahman Sarkar inaugurated the fair on December 23. REHAB reported sales and bookings worth Tk 403.13 crore, comprising flats (Tk 230 crore), plots (Tk 96 crore), and commercial spaces (Tk 77.12 crore). Additionally, banks committed approximately Tk 1,090 crore in loans. Prominent real estate companies like Sheltech and Mir Real Estate used the platform to showcase new projects and connect with clients. “The fair helps us engage with old and new customers while facilitating direct comparisons across companies,” noted Sheltech’s Deputy GM, AKM Rafiul Islam. The fair also highlighted the ceramic industry’s growing influence in real estate. REHAB President Md. Wahiduzzaman emphasized that ceramics now constitute a significant part of a building’s finishing phase, accounting for 60% of total construction. Ceramic companies had a strong presence, showcasing high-quality tiles and tableware, which are increasingly in demand. The fair committee chairman, Mohammed Akter Biswas, underscored the industry’s impact, with 12-15% of the GDP linked to real estate and related industries like rod, cement, and tiles. He praised the fair’s role in uniting buyers and sellers, offering customers the chance to explore a wide range of products and services under one roof. REHAB leaders expressed optimism about the sector’s recovery by 2025, contingent on supportive government policies addressing challenges like high registration costs, VAT, and the economic slowdown. The event’s success reinforces its importance in fostering growth and innovation in Bangladesh’s real estate industry.
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Brac University’s New Eco-friendly Campus: A Blend of Nature and Innovation
As you travel from Rampura to Badda in Dhaka, the imposing concrete structure in Merul Badda is hard to miss. Initially, it might seem like an industrial or commercial complex due to its sheer size on just 7 acres of densely populated land. However, its true purpose as a university is revealed once you step inside. The ‘triple height space’ design allows for free access to light and air, featuring long escalators connecting various parts, amphitheater-like stairs, and several ‘urban windows’ at the top. The building eschews unnecessary glitter, embracing the raw form of brick and concrete both inside and out. The carefully arranged garden adds a touch of greenery, making it an inviting space for students without any sense of grandeur. Inspired by the Sundarbans ecosystem, Brac University’s new campus seamlessly blends nature with architecture. Designed and constructed by experts from Singapore, China, and Germany, this campus in Merul Badda, Dhaka, stands as Bangladesh’s first eco-friendly and sustainable inner-city campus. Last February, Brac University’s new campus was inaugurated with the theme “In the call of green, the call of the future.” Tamara Hasan Abed, Chairperson of the Board of Trustees of Brac University, highlighted the university’s commitments to academic excellence, cultural prosperity, and environmental conservation. She also spoke about the university’s goals and plans to promote a holistic educational experience through environmentally friendly activities, local performances, and discussions. Founded by Sir Fazle Hasan Abed, Brac has always distinguished itself through various creative and innovative initiatives. Over the past two decades, Brac University has achieved significant milestones in higher education, research, and international competitions. Despite this, the lack of a permanent campus was a major limitation. Although there was a residential campus in Savar, it was only available to students for one semester. All other educational activities were conducted in multiple multi-storied buildings in the Mohakhali area. The new Merul Badda campus now provides a permanent, eco-friendly, and sustainable space for all students. Designed by the r e n o w n e d S i n g a p o r e – b a s e d architectural firm WOHA Designs Pte Ltd., Brac University’s new campus is a marvel of modern architecture. Key figures involved in the project include Professor Fuad Hasan Mallick, Dean of Brac University’s School of Architecture and Design; Zainab Farooqui Ali, Chairperson of the Department of Architecture; and Project Architect Shafiqul Islam Suman. This 13-story building with three basements is designed to accommodate around 15,000 students, reflecting a commitment to environmental consciousness. The design allows natural light and air to flow freely, featuring state-of-the-art facilities. Cutting-edge technologies such as cross ventilation, a hybrid thermal management system, and aerodynamic fins ensure optimal airflow. The greenery covering the building enhances the oxygen supply, while the hybrid cooling system maintains clean air in classrooms, helping students stay focused for longer periods. Impressively, the building saves 40% of its energy by reducing reliance on air conditioning. The campus sits on a transparent reservoir, with rain chains installed to collect and store rainwater, which is used to irrigate the building’s plants, and any excess fills the reservoir. Additionally, the campus boasts an advanced sewage treatment plant for waste management. This energy-efficient design uses a total of 5.5 megawatts of electricity, with 25% sourced from solar panels on the roof. For a facility of this size, this is considerably efficient compared to the usual 8 to 10 megawatts typically required. The interior of this aesthetically pleasing building is mostly open space, encouraging student interaction, extracurricular activities, and co-curricular engagements. Design considerations also include universal accessibility standards, ensuring ease of movement for people with special needs or disabilities. The new campus is not only a hub of academic excellence but also a beacon of sustainability and innovation, paving the way for future educational institutions in Bangladesh. Tamara Hasan Abed, Chairperson of the Board of Trustees of Brac University, emphasized the inspiration behind the eco-friendly campus and the educational philosophy of Brac University’s founder, Sir Fazle Hasan Abed. She explained that Sir Abed envisioned a university where education and free intellect would harmonize with nature. This new campus, a blend of nature and modern architecture, aims to teach future generations to think differently about life. She also highlighted the importance of innovation and creativity in urban development to protect nature. This campus will set a benchmark for students, planners, and stakeholders in urban planning and e n v i r o n m e n t a l conservation. Acting Vice-Chancellor Professor Syed Mahfuzul Aziz expressed his determination to develop Brac University’s new campus as a laboratory of knowledge and science. He stated, “We aim to develop this new campus of Brac University as a laboratory of knowledge and science. We expect that we will develop this university as a flagship university of Bangladesh by providing quality research and high-quality education. We are working towards that goal.” Professor Dr. Fuad Hasan Mallick, Dean of the School of Architecture and Design at Brac University, mentioned that discussions about building a permanent campus began after the establishment of Brac University in 2001. Several discussions with Sir Fazle Hasan Abed led to the selection of Merul Badda as the site for the new campus. One challenge was finding such a large land area in Dhaka, and Sir Abed wanted the campus to be located in Dhaka itself. In 2009, Sir Abed started planning the campus’s construction and selecting who would build it. He aimed for a world-class and exemplary campus that students could be proud of. The responsibility of designing the building was given to Singapore-based firm WOHA, known for their environmentally friendly designs. Sir Abed also appointed legendary Bangladeshi architect Bashirul Haque as an advisor for the project. Once the functional program for the campus was determined, the draft was finalized with key figures, including the dean and chairperson of the university. Fuad Hasan Mallick then visited the WOHA office in Singapore to discuss the campus’s design, and they developed a scheme.
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POETRY IN BRICKS: In Memory of BASHIRUL HAQ
Poetry in brick – is how a happy client described the house that Bashirul Haq had designed for them. This short write-up is an effort to describe this poetry and the process by which it was created. Bashirul Haq (1942-2020) had the good fortune to grow up in an idyllic rural environment, where he, unbeknownst to himself, imbibed how people could live in close harmony with the environs, where human habitation merged seamlessly with its surroundings, without disturbing it in any way. The eastern region of Bangladesh, and Brahmanbaria in particular, where his village lay 6 miles away from the town, is notoriously overpopulated. But from afar, from a car or a bus, the landscape is not crowded by people, and villages are tucked away behind clumps of trees, by paddy fields or water bodies. This is the simple living style that Bashirul Haq, as an architect, tried to adapt and express in his urban buildings. Architecture and architects in Bangladesh are carrying on the quest that Bashirul Haq was on—to find a grammar and an idiom of building that speaks to our landscape, that carries on our building traditions, yet is modern and contemporary, and responds to the needs of its users. Bashirul Haq used to describe his life as a series of happy coincidences. Most prominent amongst these coincidences, he felt, was his choice of profession. He discovered that designing buildings could be a profession as he sat browsing the USIS library as an intermediate student at Dhaka College. This set him out on a search for where he could pursue this subject. BUET had yet to start its department, and this led him to the National College of Arts (NCA) in Lahore and to apply for an interwing scholarship. This was a great career move, as the NCA was in search of a local architectural idiom. Trips to Mohenjo Daro and Harappa organized by the department, studying Mughal building traditions, and being housed in a building that embodied Indo-British architecture, students were encouraged to explore their modes of expression. This early training was honed at the University of New Mexico, where he went for his postgraduate studies. The adobe building patterns there further honed the young architect’s search for design practices that spoke to the environment and a sense of history and tradition. Returning to Bangladesh in 1977, Bashirul Haq felt that he could translate this training and preparation into practice. He began with small projects, and the ‘poetry in brick’ mentioned earlier was a house built for Justice Abu Sayeed Chowdhury. From the beginning, he chose brick as the construction material of choice. It sprung from the soil—nothing else could be more indigenous than brick, he would claim. Brick had a long history as a building material in the region, and he felt that the color of the brick and the green surroundings were in total harmony. His brick buildings were distinctive, but it meant that they appealed to a selective group of clients. However, he stuck to his design principles and always tried to combine the local with the modern. The cost of building was a big concern. In his more institutional buildings, such as the BCIC building, he would look for ways of cutting costs without compromising on aesthetic quality. Glossy materials were not part of his designs. Even the high-rise buildings are quite quiet—they do not draw attention to themselves in any way. The site is used to orient the building as much as possible with its environs. He was a purist in many ways and did not believe in using brick as surface cladding but as the actual structural material. He would emphasize the maintenance-free nature of brick, which does not need to be repainted or plastered. He spent long hours in making this material more resilient to weather conditions, to make it waterproof, or to prevent the salinity that tends to seep through. Architecture and architects in Bangladesh are carrying on the quest that Bashirul Haq was on—to find a grammar and an idiom of building that speaks to our landscape, that carries on our building traditions, yet is modern and contemporary, and responds to the needs of its users. Brick remains prominent in the architectural design practice in the country. This preponderance of brick has led, we are told, to great atmospheric pollution. Bashirul Haq would contend that ethical brickmaking processes would minimize this degradation and had a calculation regarding carbon emissions in the production of brick versus that of cement, where the brick was better. He also thought that more efficient methods of production had to be devised, minimizing the effects on climate. He was interested in building with mud and had designed a mud building, which sadly remains unbuilt. Reinforced bamboo was another material that interested him. He had prepared a book on cyclone-resistant housing in the coastal belt of Bangladesh. This book contains a detailed description of a house in the Cox’s Bazar region, which had withstood the great cyclone of 1991. Bashirul Haq was a thoughtful and creative person who believed that buildings should blend into the existing landscape, rather than stand out as monuments that define the landscape. In today’s world, with environmental issues at the forefront, this is a good architectural principle. Written by: Professor Firdous Azim Photo credit: Al Amin Abu Ahmed Ashraf Dolon | Prantography
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TRAVEL BACK TO THE ROOT WITH JATRA
For now, you forget that you are in Dhaka city and go back to the rural roots. Thankfully, Jatra has made it possible in this city. Amidst the rigid and chaotic city life of Dhaka, if you need a break, miss the rural natural vibe, and want to have a warm and cozy time with a vegetarian meal in a colorful, mesmerizing rural Bengal ambiance with folk music, then surely “JATRA” is the place to visit. Imagine, on a moonlit night, you’re sipping tea under the sky, and a mesmerizing flute is blessing your ear; the breezy sound of the thatched roof plays along with the music. You look around and see the mud-textured wall, bamboo trees, fences, and traditional local art everywhere. For now, you forget that you are in Dhaka city and go back to the rural roots. Thankfully, Jatra has made it possible in this city. Amidst the rigid and chaotic city life of Dhaka, if you need a break, miss the rural natural vibe, and want to have a warm and cozy time with a vegetarian meal in a colorful, mesmerizing rural Bengal ambiance with folk music, then surely “JATRA” is the place to visit. Jatra was created in the year 2000 in Banani by artist and musician Anusheh Anadil to highlight Bangladesh’s folk arts and crafts. Harmony with nature is one principle philosophy of Anusheh. In Bengali, Jatra means ‘journey.’ The people and culture of Bangladesh are vibrant, and everywhere the “Jatra” is visible, that vibrancy and harmony are visible. The art and music lounge of Jatra is “Jatra Biroti.”. In 2023, Jatra was relocated a few buildings away, close to their previous address. The design is done by the “Roofliners_studio of architecture” in association with “Charuta” as the construction partner. Late Ar. Rajib Ahmed, Ar. Tesha Sarawat, and Ar. Monon Bin Yunus played an important part in the design of “Jatra.” They have shared their journey of designing “Jatra” with us. Ar. Tesha Sarawat said, “We are connected to Jatra from the very beginning. As a designer, as a friend, as an acquaintance, we contain the philosophy as well. The harmony of nature and human beings is the philosophy of Anusheh. We also believe that this helped us design the place. Jatra was a fun project. Guidelines were there; also, there was full freedom of designing. The experiment was there too. Adding, eliminating, and adapting from the mistake was the design principle that we’ve followed. We have got a building with a field. We have designed the entry in a welcoming way so that any passerby feels like entering the place without even realizing when they have entered. The performance space is seen from the road. Jatra wants to go closer to people and wants to take people closer to nature. It was all kept in mind while designing.” The main challenge was that the building was very small and congested when they got it. Small rooms, one door, like an old residential house. Also, the structure was brick. So they couldn’t break wherever they felt like. It was impossible without expert engineering advice. Eng. Mashroof Kabir was there, who advised on where to break and where not to, keeping the structure stable. In this way, the whole place became like an interconnected floor. So that, when you go inside, you become confused about the entry and exit, like a maze. Which is strategically good for a showroom design and is intentionally done in this way. The thatched hut, with a mud-textured wall with traditional ìPuthi artî throughout the wall continuing up to the roof in some places, bamboo seating, and a small ìgamchaî patterned flag with cozy and warm light, ensures very selective usage of interior detailing and the right execution of the concept of distinct rural Bengal ambiance. “One big multipurpose hall was added later; one structure of mango wood was added. One kitchen of the restaurant was added on the roof. Structurally, the building was two-and-a-half-storied. It was not very fragile itself. But the addition we were supposed to do could not be mistaken. No technical mistakes could be made while modifying. Keeping the permanent part, many things would be added to the design journey that we have decided on at the beginning of the design. Then we did this. It’s continuing. Every year something will be added. That is the journey. Jatra Biroti is the restaurant part, but the whole philosophy is jatra”, said Ar. Monon bin Yunus. It was just a building with a field. Old, but not very old. There was a plinth in the front, which is the hall room now. The plucked structures are not very permanent. Mango wood, hemp (Shaun), and tin are the types of materials that are used. The hall room is an important function but gives the vibe of a temporary structure. Plus, “jatra biroti,” the restaurant part has an extension on the ground floor, which is also of mango wood structure and hemp (Shaun). The restaurant part also continues on the roof and the top roof. Some interesting elements, like blocks and dice of blocks, are used on the roof. The old staircase is also there as an exhibit. Reusing almost everything from the old “jatra” is seen everywhere. The thatched hut, with a mud-textured wall with traditional “Puthi art” throughout the wall continuing up to the roof in some places, bamboo seating, and a small “gamcha” patterned flag with cozy and warm light, ensures very selective usage of interior detailing and the right execution of the concept of distinct rural Bengal ambiance. The courtyard, or “Uthan, is the most original and core architectural element of every rural Bengal homestead. This courtyard is the main attraction of “Jatra Biroti,” surrounding which is all the thatched-roof lower seating area in a small raised plinth with bamboo-silted woven curtains and colorful artworks. The idea behind it was to recreate a traditional courtyard of the delta. To build a warm, inviting
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The LEGENDS OF CERAMIC INDUSTRY IN BANGLADESH
The ceramic industry in Bangladesh boasts a rich heritage and has produced several legends known for their significant contributions to ceramics and overall company formation. The industry has grown substantially over the past few decades, establishing itself as a leading sector in the country’s economy. In 1992, with the rapidly growing ceramic industry, a nationally recognized trade organization of manufacturers and exporters of ceramic tableware, pottery, tiles, sanitary ware, insulators, and other ceramic products was formed, called the Bangladesh Ceramic Manufacturers & Exporters Association (BCMEA), under the leadership of many of these ceramic legends. Here, we highlight some legendary leaders and key entrepreneurs who have been instrumental in the journey of the ceramic industry in Bangladesh. These pioneers have laid the foundation for the thriving ceramic industry in Bangladesh, which now covers various subsectors such as tableware, tiles, sanitary ware, and ceramic bricks. Their legacies continue to inspire future generations of ceramic entrepreneurs and professionals. Mohammad Abdul Jabbar Known as the pioneer of the ceramic industry in Bangladesh, Mohammad Abdul Jabbar founded Tajma Ceramic Industries. His contributions laid the foundation for modern ceramic manufacturing in the country. The story of Tajma Ceramic Industries Ltd is quite fascinating. In 1958, the ceramic industry took its nascent steps with only one small tableware manufacturing plant in Bogura. Mohammad Abdul Jabbar, instrumental in promoting and advancing the ceramic factory in Bangladesh, was the Managing Director of the company until his death on May 7, 1985. Tajma Ceramic Industries, recognized as the oldest modern ceramic manufacturing plant in Bangladesh, marked the formal beginning of the ceramic industry in the country. It was the first ceramic earthenware plant to produce porcelain tableware using traditional methods. Tajma played a crucial role in pioneering porcelain tableware production using advanced technology for its time, inspiring many other manufacturers to follow suit. Ariff Wali Mohammed Tabani In 1958, Mirpur Ceramic Works Ltd in Dhaka began producing heavy clay products using German plant and technology, gaining a reputation for manufacturing the best quality ceramic bricks in the subcontinent. The late Ariff Wali Mohammed Tabani, known for his contributions to Mirpur Ceramic Works, played a key role in its evolution. Tabani was the founding Chairman and Managing Director until his death on December 7, 1990. Currently, the company manufactures various types of unglazed tiles and has established two more ceramic companies, Khadim Ceramics and Sunshine Bricks. Both Mirpur Ceramic Works Ltd. and Khadim Ceramics Ltd. have been synonymous with ceramic-based construction materials, manufacturing a comprehensive range of products including blocks, bricks, ornamental screens, claddings, pavers, roofing tiles, and floor and wall tiles, along with the necessary mortars. These materials have been pivotal in landmark projects nationwide, showcasing the group’s commitment to quality and innovation. Md. Abdul Hai Mohammad Abdul Hai was a visionary entrepreneur who founded the country’s first ceramic sanitaryware company, Dacca Ceramics and Sanitary Wares Ltd., in 1969. He embarked on a revolutionary journey in the ceramic sector with the aim of advancing the country through innovative ceramic products. Despite facing political unrest and significant challenges during the Bangladesh Liberation War in 1971, which led to the destruction of the factory and the loss of materials, Abdul Hai was determined to rebuild the company. After the war, he successfully revived the company in 1974. Dacca Ceramics became the country’s first non-heavy clay building ceramic plant and started the production of sanitaryware in Tongi, Gazipur. Under his leadership, the company grew to become a leader in the country’s ceramics industry, known for its high-quality, durable, and cost-effective products. Abdul Hai’s dedication and resilience played a crucial role in shaping the success of Dacca Ceramics, leaving a lasting legacy in the industry. Mr. Hai passed away on December 21, 1995. Ansar Uddin Ahmed A key figure in Peoples Ceramic Industries, Ansar Uddin Ahmed significantly contributed to the industry through innovation and quality control, helping the company gain a strong foothold in domestic market. In 1966, Peoples Ceramic Industries Ltd, formerly known as Pakistan Ceramic Industries and located in Tongi, Gazipur, began production using modern porcelain tableware manufacturing technology from Japan and started exporting their products. The late Ansar Uddin Ahmed, a respected entrepreneur, inspired many in the field. He was the Managing Director of Peoples Ceramic Industries and Standard Ceramic Industries Ltd and passed away on August 17, 2005. He served as the first President of BCMEA from 1992 to 2002, revolutionizing the export of local ceramic products Rashed Mowdud Khan As the Managing Director of Bengal Fine Ceramics Ltd, Rashed Mowdud Khan advocated for sustainable practices and modern technologies in ceramic production, enhancing the global reputation of Bangladeshi ceramics. In 1986, Bengal Fine Ceramics Ltd, the first stoneware tableware manufacturer in Bangladesh, entered both domestic and international markets. The late Rashed Mowdud Khan was a prominent figure in ceramics, known for his artistic and technical expertise. He served as the first General Secretary of BCMEA from 1992 to 2002 and President four times from 2003 to 2009. He passed away on January 9, 2011. Iftakher Uddin Farhad Mr. Iftakher Uddin Farhad was the Chairman & Managing Director of FARR Ceramics Ltd and served as the President of BCMEA in the 2011-13 session. Established in 2005, FARR Ceramics is a manufacturer and exporter of Euro Fine Porcelain tableware. The company began as an export-oriented business in 2007, producing hard porcelain tableware for both international and local markets. Located in Gazipur, Bangladesh, the plant is equipped with state-of-the-art European ceramics manufacturing technology from Germany and Italy, and decal printing technology from Japan. FARR Ceramics currently exports to 31 countries, from North America to Europe, the Middle East, and India, with a monthly production capacity of 2 million pieces. Mr. Farhad passed away on December 25, 2012. Golam Sabur Tulu The founder of Madhumati Tiles Ltd, Golam Sabur Tulu introduced advanced technologies and designs in ceramic manufacturing, significantly impacting the market in Bangladesh. He was a visionary entrepreneur who made significant contributions to the ceramic industry.
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A Story of Dreams & Determination: South Breeze Housing Ltd.
In the growing heart of Dhaka in the mid-1990s, three brothers stood at the crossroads of ambition and legacy. Aminur Rahman Khan, Anisur Rahman Khan, and M. Ashiqur Rahman Khan were driven by the vision to create something extraordinary—something that would not only honor the legacy of their father, the late M. Abdur Rouf Khan, a pioneering businessman in Bangladesh’s shipping industry, but also transform the way people experienced home. With this dream, South Breeze Housing Ltd. was born in 1995. In their early days, the brothers set their sights on Dhaka’s most coveted neighborhoods—Gulshan, Dhanmondi, and Baridhara. They understood that homes weren’t just structures of concrete and steel but sanctuaries where lives unfolded. They poured their energy into designing residences that offered not just comfort but also an elevated lifestyle. Their first projects quickly gained attention. Each building was a statement of architectural innovation and uncompromising quality. As word spread, South Breeze became synonymous with exclusivity and refinement, setting a new standard for real estate in Bangladesh. “South Breeze is a trailblazer in the real estate industry; they were the first to believe in my vision,” shared Rafiq Azam, the renowned architect of Bangladesh. His firm, Shatotto Architecture for Green Living, has been collaborating with South Breeze Housing Ltd since 1998, being one of the pioneers to facelift the look of the residential real estate. A true artist, Azam seamlessly integrates his creative vision into the buildings he designs, setting his work apart. South Breeze’s ethos was clear: every detail mattered. From meticulously designed single-unit apartments to duplexes with breathtaking views, each project spoke to the company’s relentless pursuit of perfection. Collaborating with the country’s finest architects and engineers, they created masterpieces like ‘South Ripple’ in Gulshan, where residents could wake up to serene lakeside views, and ‘South Terrace’ in Baridhara, a collection of sprawling single-unit homes that felt like a retreat in the middle of the city. This achievement was made possible by Rafiq Azam’s boldness in challenging conventional norms. Reflecting on his inspiration, he shared, “I spent time in Puran Dhaka and noticed how open their houses are—the rooftops are close, the walls are low, and people feel more connected. This inspired me to think, why not use glass walls at the front of my apartments as a breath of fresh air, instead of the usual long concrete walls with barbed wires?” ARCHiTECTURE BEGAN TO CHANGE. PEOPLE STARTED NOTiCiNG THE DiFFERENCE. I BELiEVE WE ARE A COMMUNiTY, AND WALLS ONLY SERVE TO SEPARATE US FROM SOCiETY. THE GROUND FLOOR OF ANY BUiLDiNG iS CRUCiAL—iT SHOULD BE A SHARED SPACE FOR iNTERACTiON, CREATiNG ROOM FOR GREENERY, A PLAYGROUND FOR CHiLDREN, AND A CLEANER, MORE WELCOMiNG WALKWAY Their projects weren’t just buildings—they were homes that told stories, each uniquely tailored to the dreams of their residents. With walls made of glass, lush green porches, and thoughtfully designed playgrounds for children, these spaces fostered a sense of community while blending functionality and artistic vision seamlessly. “My main priority is that the buildings must be green—they need to have grass and plants so that the residents still feel connected to nature. There should also be a waterbody surrounding the building or a pond at its center,” shared Azam. His innovative approach paid off when the company’s out-of-the-ordinary architectural designs caught the world’s attention in 2017. Rafiq Azam won the ‘Cityscape Awards,’ a global accolade for outstanding architecture. This wasn’t just a win for South Breeze but a moment of pride for Bangladesh. Today, South Breeze continues to redefine luxury living. Their portfolio includes stunning developments like ‘South Supreme’ with its rooftop lap pool and panoramic views and ‘South Spring,’ a tranquil haven beside Dhanmondi Lake. Each project reflects the company’s deep understanding of its clients’ needs: privacy, sophistication, and a connection to nature. However, when architect Azam first embarked on his journey, his unconventional approach was met with skepticism. Many doubted the practicality of incorporating nature into buildings, fearing that it would lead to damp walls and significantly higher costs. His innovative requirements, such as large windows for enhanced ventilation, natural light, and expansive views, as well as the use of glass walls and exposed concrete instead of painted surfaces, were considered radical at the time. Despite these concerns, Azam remained steadfast in his vision. “Architecture began to change from that point,” Azam reflected. “People started noticing the difference. I believe we are a community, and walls only serve to separate us from society. For me, the ground floor of any building is crucial—it should be a shared space for interaction, not just a parking lot. That’s why I chose to position the cars at the back, creating room for greenery, a playground for children, and a cleaner, more welcoming walkway.” There was a time when there was no space to add plants in front of the building, so in 2002, I decided to take the garden to the roof—a concept that was considered impossible back then. But I made it happen. I transformed the roof into a thriving garden, which was greatly appreciated by the residents. The innovative decisions taken by South Breeze not only provided them with a significant business advantage but also solidified their reputation as leaders in the industry, thanks to their ability to break barriers and embrace bold ideas,” he added. Rafiq Azam did his job as an architect, but South Breeze took care of his art, making sure they did not lose their value over the years. “I owe it to South Breeze for where I am today and making my architectural dreams come to life,” he concluded. As they continue to expand their portfolio and take on new challenges, one thing is certain: South Breeze isn’t just building homes—they’re shaping the future of living. For those looking for a home that tells a story as unique as theirs, South Breeze offers not just a residence but a legacy. This made South Breeze offer more than a luxury but a lifestyle. Families who move
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Chattogram Hill Tracts Complex: Preserving the values of the people of hills
The complex was designed with one mission in mind: to give visitors the impression that they are experiencing a piece of the Chattogram Hill Tracts right in the heart of bustling Dhaka. The complex serves as a pivot between the people, and architecturally, it has achieved in taking us close to experience Chattogram Hill Tracts without having to travel 300 kilometers. This cultural complex consists of an office building, library, multipurpose hall, amphitheater, restaurant, public plaza, sculptures, and water body in the 2 courtyards, souvenir shops, etc. The public places of this complex are designed in a way to facilitate communal meets, fairs, and cultural events in the public and semi-public zones. Layout, zoning, planning, and construction of the entire complex were modeled after, or at least resembled, structures hailing from the hill tracts, using their common building materials like bamboo, straw, cane, and thatched roofs, which were initially used. A distance of 300 kilometers keeps Dhaka people from experiencing the rich cultures of the Chattogram Hill Tracts (CHT). To bridge that, the Chattogram Hill Tracts Complex has been constructed on Bailey Road, in the heart of the capital city of Bangladesh. This government project has also brought the deeply cultural people of the CHT closer to the Dhakaites. The primary concept behind this 2-acre complex was to serve as a common gathering space where children of hills and city people can come together, as well as exchange intercultural values. To strengthen the complex, modern materials like reinforced concrete and rods were used around it but not to take away its vernacular architectural roots from it. For example, thatched roofs of huts are trussed up with external support struts or buttresses made of very basic material but with superior compressive strength—bamboo. However, the aluminum beams propping up the surrounding top floor serve that symbolic role. The complex was designed with one mission in mind: to give visitors the impression that they are experiencing a piece of the Chattogram Hill Tracts right in the heart of bustling Dhaka. A sloped garden and a fountain mimicking the trickling down of water from a hill face welcome visitors. The sound of water trickling can trick the mind that one is standing next to a natural fountain if they are leaning into the experience. The grand amphitheater is yet another attraction of the Chattogram Hill Tracts Complex. Besides functioning as a venue for plays and shows, this open-air amphitheater can be a wonderful place to sit and enjoy the quiet and spatial experience of this state-of-the-art complex. North of the amphitheater is a crescent-shaped artificial water body. Many beautiful sculptures are displayed between the water body and the amphitheater. These two attractions are joined by a spiraling staircase. The sloped garden on the side of the elevated amphitheater gives a visitor the impression of standing atop a hill. However, visitors will be greeted by beautiful waterscapes at the entrance, even before they reach the best part. The neat waterbody is depressed into the ground, and its step design can remind one of the Rajsthani Chand Baori, although a lot less elaborately. This should give an idea of the extensive care that was spent constructing this complex, which is meant to bolster relations between two peoples. And whether one would like to collect a souvenir, they can do so at the entrance where the souvenir shops are, next to the water body, or they may get their souvenirs at the end of their stay, since the shop would be in the way either way. The number of elements in the complex is high. Yes, there are public spaces that hold all the pretty water bodies and sculptures, semi-public spaces comprising administration buildings, and private spaces that form up a minister’s bungalow, chairman’s bungalow, and dormitories and suites for officials. Yet, the entire complex boasts ample open space through which sufficient air and light flow through without much hindrance. Nooks and crannies of this large project are given room to grow green grass and plants wherever possible. Grass aside, walkways are divided up by lines of pebbles between brick and tile floors, occasionally having concrete stepping slabs. To design freely with nothing held back is one way to go. The designer might as well create something completely fresh and be applauded for it. However, fusion, on the one hand, means staying truthful to each element in the blueprint, and, on the other hand, it also means having to come up with something different by mixing two or more elements. Architects with extensive experience and a clear vision are then responsible for achieving this. Restrictions of conforming to design elements from the hill tracts while embracing modernity were there, but the finished outcome, it seems, has achieved the desired fusion. A fine balance between modern versus nature is evident in this complex. And yet, the interior design of the Chattogram Hill Tracts Complex is a very different picture. Every inch of its interior oozes modernity in every way possible. Hanging staircases supported by high-tensile steel cables, lofty ceilings with wooden panels for ultra-modern design, soft, warm ceiling lights, squeaky clean floor tiles throughout the interior, etc., all add up to the modern style of interior decoration. Since its inception in 2022, the Chattogram Hill Tracts Complex has already hosted two full-fledged Mela (fairs). Culturally, the complex serves as a pivot between the two peoples, and architecturally, it has achieved in taking us close to a CHT experience without having to travel 300 kilometers.
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Noubliez Pas Novera
THE WAYS NOVERA PLAYED WITH FORMS AND SHAPES ON HER BEST SCULPTURES HAVE AN INEXPLICABLE AURA THAT CAPTIVATES AND TAKES YOUR SOUL TO A SPACE THAT IS SOMEWHERE BETWEEN THE VAST ABSTRACT AND YET TANGIBLE. In August of 1960, on the ground floor of the Central Public Library building of the University of Dhaka, showcasing 75 of her artworks sculpted between 1956 and 1960, Novera Ahmed had her first solo exhibition titled “Inner Gaze.” This formidable exhibition arguably sparked the genesis of modern sculpting practice in both West and East Pakistan (now present-day Bangladesh). She was the first-ever sculptor from the undivided Pakistani region. Novera Ahmed was born on March 29, 1939, in Kolkata, British India, and on the occasion of her 85th birthday, this attempt is to reminisce about one of the finest artistic personages from this part of the world. Today, Novera’s importance is cemented in the history of art in this region, and it seems that she has a newly found celebrity status, especially amongst the younger generation of art enthusiasts, but for decades and even today, to a significant extent, Novera’s public repute mostly synonymizes as enigmatic. But Novera should not be important because of her public portrayal that branched from her peers: that she was a good-looking female artist of prodigal calibre who worked and lived independently as a divorcee in a patriarchal society; the way she did her buns and draped herself in black sari and curated her look as Baishnabi wearing Rudraksha garland and tilak on her forehead; that she used to exploit her male peers; that she had a sentiment because of the way she was gazed upon and which is why she eventually left Bangladesh; the list of such narratives that circulated her is pretty long. Novera is important because of her artworks; the quality of her artworks effortlessly transcends the tags she was associated with, which boxed her only as an eccentric rebellious character, undervaluing her art. The ways Novera played with forms and shapes on her best sculptures have an inexplicable aura that captivates and takes your soul to a space that is somewhere between the vast abstract and yet tangible. Novera used to travel around and gradually minimised her activity in the local art scene. Her complete disappearance from the scene in 1970 after she permanently moved to France eventually turned her into a myth. Later, she married the love of her life Gregoire de Brouhns in 1984. Although there is no concrete evidence regarding why she left, it is speculated that the key reasons are monetary and no recognition even from her peers. Belonging to a middle-class background, she almost single-handedly established a medium that was still very new in the region so there were not many commissions for her so she could continue her practice and earn a decent living. There was also an uncanny silence from her peers, which only fueled the collective negligence towards her. Even in the artist community, she was only remembered as an amateur female sculptor. In fact, for a while, it was even established that she was dead, and it was only in late 1998 after a brochure of her 1960 exhibition was found, that it catalysed the rebirth of discussions about artist Novera Ahmed. Although Novera studied in Europe and like many other artists, had that influence on her works in her earliest years, very soon she found her style. If we examine Novera’s available discography of sculptures and paintings, it resembles the wide array of subject matters she had her interests. Notably, in artworks from her formative years, it is very evident how much she was fascistically influenced by her roots. The way she took Bengali folk elements and ethereally blended them within her modernist approach of practice shows how revolutionary she was. Novera’s idea of using cement instead of large blocks of stone or wood, as they are scarce in this region, and sculpting such smooth cement sculptures, which is very difficult to accomplish, shows both her innovativeness and technical prowess. When she started traveling to Southeast Asia, she decided to collect scrap metal from the debris of the U.S. Air Force plane used in the Vietnam War and use it as materials for her newer sculptures at the time. For a long period, little to no care was taken to preserve most of Noveraís works that are in Bangladesh. In fact, for a while, it was even established that she was dead, and it was only in late 1998 after a brochure of her 1960 exhibition was found, that catalysed the rebirth of discussions about artist Novera Ahmed. She was also highly influenced by Indigenous and Buddhist themes; in fact, she once said that the form of the concrete structures of the Shaheed Minar (which she co-designed with another notable artist, Hamidur Rahman—a topic that still has loads of debate regarding who came up with the original idea) is inspired by the idea of an ascending hand of Buddha. The long list of her oeuvres includes works like Cow With Two Figures (1958), Serpent Nommé Désire (1972), Le Djinn (1973), Le Heron (1982), Le Baron Fou (2001), etc. In her France years, even after Novera was wheelchair-bound after a life-altering car accident, she continued working with her forever devotion and love towards art, till she was bedridden due to health complications when she was older and eventually passed away on May 6, 2015. For a long period, little to no care was taken to preserve most of Novera’s works that are in Bangladesh. The whereabouts of many of her works are yet unknown, and the ones that survived did so due to her patrons and private collectors. A collection of her works and memorabilia is at the Musee Novera Ahmed at La Roche-Guyon in northern France which was set up by her dear husband. Currently, only 33 of Novera’s sculptures are in the collection of the Bangladesh National Museum, and the gorgeous frieze that she
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Reviving Our Roots A Journey of Abu Sayeed M. Ahmed From Legacy To Leadership
While many architects push the boundaries of innovation, there have been some who charted a different course. Instead of focusing solely on creating the new, Architect Dr. Abu Sayeed M. Ahmed turned his gaze to the past—reviving forgotten monuments and ancient buildings. A pioneer in conservation architecture, he has dedicated his life to protecting and restoring the architectural jewels of Bangladesh. For Dr. Sayeed, preserving heritage is not just about safeguarding structures; it’s about understanding who we are and how the past shapes our identity today. From restoring historic mosques and colonial buildings to leading the Institute of Architects Bangladesh as president thrice in a row and serving as the elected president of ARCASIA on an international level, his contributions have earned him both national and global recognition. As an educator and author, his efforts in heritage protection continue to inspire future generations of architects. Dr. Sayeed’s legacy as a guardian of Bangladesh’s architectural treasures makes him an enduring force in both the past and future of the nation’s architectural identity. A pioneer in conservation architecture, he has dedicated his life to protecting and restoring the architectural jewels of Bangladesh. For Dr. Sayeed, preserving heritage is not just about safeguarding structures; it’s about understanding who we are and how the past shapes our identity today. From the Water’s Edge: A Childhood in Comilla Long before the architectural world knew his name, there was a young boy in Comilla, Bangladesh, who spent his days by the waterside, watching the reflections of ancient trees shimmer in the lights and ponds. In this quaint town, the city’s water bodies—like Dharmasagar and Rani’s Dighi—were more than mere landmarks; they were playgrounds, gathering spots, and the backdrop to countless moments of childhood joy. Football games often ended with a refreshing dip in the cool waters, and laughter echoed across the banks, blending with the gentle sounds of nature. That little boy, Abu Sayeed M. Ahmed, found joy in simple things like drawing intricate sketches, building models, and creating Eid cards. His love for the technical precision of his creations grew in the quiet corners of his home and school, unknowingly laying the foundation of his future as an architect. Abu Sayeed’s fascination with design was nurtured by his father, Abdur Rashid, a principled educator, and his mother, Helena Begum, whose warmth and love kept the heart of their home alive. The roots of his curiosity about history and architecture grew deep in the soil of Comilla, where he first learned to see beauty in the details around him. Even as a student at Comilla Zilla School and later Comilla Victoria College, Sayeed stood out. His involvement in Scouting allowed him to explore Bangladesh’s landscapes, meet people from different walks of life, and develop a strong sense of leadership. By the time he graduated in 1976, these experiences had shaped his collaborative spirit and a love for discovery—qualities that would define his career for years to come. His bond with his architecture batchmates was legendary. Known as the “batch of talents,” they shared a camaraderie that extended beyond classrooms. From organizing grand tours across India and Bangladesh to planning picnics, Sayeed often emerged as the natural leader. His ability to bring people together flourished during these years, and the friendships he built remain strong to this day. In 1983, he graduated with a Bachelor of Architecture, ready to leave his mark on the world. Stepping Into a New World: The BUET Years In 1976, Abu Sayeed entered BUET’s Department of Architecture, a choice that marked the beginning of a transformative chapter. Life at BUET was unlike anything he had known. Sharing dormitories with students from other disciplines introduced him to diverse perspectives. While his engineering peers were deep in equations, Sayeed and his classmates were sketching, brainstorming, and working late into the night on design projects. The Architect Emerges: Early Projects at ECBL Sayeed’s first professional step was joining the consultancy firm ECBL, where he worked for four years. It was a period of intense learning and growth. He became involved in landmark projects such as the Bangabandhu Hall of Dhaka University, Nagar Bhaban, the Air Force Academy in Jessore, and the Dhaka Cantonment’s central mosque and library. These projects gave him firsthand experience in balancing design with functionality. His natural f lair for leadership and meticulous approach to detail made him an asset to the firm. However, Sayeed knew his journey was far from over—he dreamed of exploring new horizons. A New Chapter in Germany: Rediscovering Bangladesh In pursuit of higher education, Abu Sayeed M. Ahmed embarked on a bold journey to Germany to pursue his master’s degree in architecture. Before leaving, he received two meaningful gifts—one from Lailun Nahar Ikram, the Managing Director of ECBL, who gifted him $1,000, and another from Prof. Abu Haider Imam Uddin, a colleague at ECBL, who presented him with the book Islamic Heritage of Bangladesh by Dr. Enamul Haque. Little did he know, this book would become a faithful companion in his new chapter abroad. The transition was anything but easy. Sayeed had to learn German from scratch, adapt to a foreign culture, and navigate a competitive academic environment. He lived in a hostel with students from all over the world, and conversations inevitably turned to his homeland. “What makes your country special?” his peers would ask. At first, Sayeed found himself at a loss for words, unsure of how to convey the richness of Bangladesh’s heritage. But then, the book he had been gifted came to his mind. The book Islamic Heritage of Bangladesh became his bridge to the world. He started to share Bangladesh’s architectural treasures—the Sixty Dome Mosque, the Small Sona Mosque, then the Paharpur Monastery, Mahasthangarh, and so on. His peers were astounded. “Bangladesh has a heritage this rich?” they asked, their eyes wide with surprise. They had never imagined that such ancient, awe-inspiring architecture existed in a country they often perceived as impoverished. These moments sparked something
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FROM UP ON MAJESTIC HILLS FROM UP ON MAJESTIC HILLS THE PICTURESQUE BEAUTY OF RESORTS
Discovering A Gem Like Sairu, Amidst The Serena Hills Of Bandarban, Will Feel Like Uncovering A Hidden Treasure. The Experience Will Be Nothing Short Of Magical, Blending Natural Beauty With A Sense Of Tranquility That Only The Mountains Can Provide. Sairu is a contemporary eco-resort that blends modern luxury with natural harmony. Designed with sustainability in mind, it incorporates local materials like stone and bamboo to create a rustic yet refined aesthetic that seamlessly integrates with the surrounding environment. If given a choice between the beach and the mountains, I wouldn’t hesitate to pick the mountains. Exploring mountainous terrain has always been a source of joy for me, and discovering a gem like Sairu, amidst the serene hills of Bandarban, felt like uncovering a hidden treasure. The experience was nothing short of magical, blending natural beauty with a sense of tranquillity that only the mountains can provide. The resort is around a 40-minute drive from Bandarban town. Upon entering the compound of Sairu, the f irst thing that will grab your attention is how everything looks in place and blends effortlessly with the surrounding topography. There is not a single element or structure you will find there that is off-putting. To the entrance left of lies the the reception and dining area, nestled beside a tranquil water body. From the hanging balcony of the eating zone, the panoramic view of the towering hills and the Shanghu River is breathtaking, offering a visual feast that captures the essence of Bandarban’s serene charm. To the right of the entrance, cottages are arranged in terraced layers along the hillside, accessible only via steps. For those less accustomed to physical activity, the steep climb might feel challenging, especially with frequent trips. However, the effort is well rewarded with changing, picturesque views at every turn. Mini golf carts are available for transporting luggage and assisting individuals with disabilities. At the hill’s summit lies the infinity pool and jacuzzi, offering unparalleled vistas. Rest stops throughout the resort invite you to pause and enjoy the stunning beauty of Bandarban. Long ago in Bandarban, a Mro princess named Sairu fell in love with a prince from a rival hill tribe, defying tribal rules. Their secret meetings ended tragically when the prince was forced into an arranged marriage. Heartbroken, Sairu disappeared into the hills. The resort is named after this story, with “Sairu Point” marked by entwined trees on a hill, symbolizing their love. The Sairu Hill Resort draws its name and logo from this legend, preserving its memory for visitors to honor. Sairu is a contemporary eco-resort that blends modern luxury with natural harmony. Designed with sustainability in mind, it incorporates local materials like stone and bamboo to create a rustic yet refined aesthetic that seam lessly integrates with the surrounding environment. The cottages at Sairu are thoughtfully priced, offering options tailored to your preferred view. Each cottage features a private balcony and a spacious washroom with a unique, nature-facing concrete bathtub—a rare luxury in the country. The rooms are generously sized and adorned with colorful jute rugs, bamboo curtains, and furniture crafted from tree logs. A standout piece is the giant coffee table, made from a single slice of a tree trunk. Modern amenities such as toiletries, skincare essentials, laundry services, and safes ensure a comfortable stay. The culinary excellence of the resort is also a notable mention if you are into local cuisine. Their downhill restaurant provides all kinds of meals and offers both à la carte menus with diverse cuisines and buffet options. Open to all visitors, not just guests, it welcoming provides space a for anyone looking to enjoy a meal amid the serene surroundings. There is also a badminton court in another part of the downhill. The resort’s design and execution were spearheaded by DOMUS, a renowned architectural consultancy in Bangladesh, with Principal Architect Mustafa Ameen envisioning a “less is more” approach. The master plan was crafted to respect the natural terrain, with structures elevated on steel stilts to preserve the contours and existing trees left untouched. Additional greenery enhanced the landscape, ensuring harmony with the surroundings. Maximizing panoramic views, the design integrates modern luxury with environmental sensitivity, with the only major alteration being the driveway carved into the hill. Water was sourced from a spring 1,200 feet below, showcasing remarkable ingenuity. The mornings at Sairu are invigorating, with a gentle breeze whispering through the trees, while nighttime transforms into a magical spectacle, as the starlit sky casts an enchanting spell, leaving visitors in awe. Once you are inside Sairu, you will not feel the need to go elsewhere, as the tasteful setup with modern amenities will you amazed. But, yet, if you have plans to keep explore the surroundings, Sairu will arrange that for you. You can rent a jeep or CNG from them and explore the nearby tourist attractions like Nilgiri Mountain. Written By Kaniz Supriya
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Akij Ceramics Wins Best Brand Award for Sixth Consecutive Year in 2024
In a remarkable embodiment of consistency and excellence, Akij Ceramics has once again been honored with the prestigious “Best Brand Award” for the sixth consecutive year in 2024. This distinguished achievement solidifies Akij Ceramics as the undisputed industry leader, clearly showcasing that they are far ahead of any other competitor in the ceramic tiles industry of Bangladesh. Since first receiving the Best Brand Award in 2019, Akij Ceramics has continuously won the hearts of consumers, reinforcing its position as a brand that epitomizes quality and trust. The company’s unwavering commitment to its guiding philosophy, “Promise of Perfection,” has been the cornerstone of its unparalleled success, inspiring loyalty and confidence among its customers year after year. The “Best Brand Award”, organized by the Bangladesh Brand Forum, honors brands that have demonstrated exceptional dedication and success in their respective industries. In 2024, this prestigious accolade was awarded to 44 brands across various categories, alongside the Top 15 Overall Brands of Bangladesh. The rigorous selection process, which involved detailed consumer surveys and expert evaluations, highlights the prestige and significance of this honor, and further elevates Akij Ceramics’ status as the undeniable leader in the industry. As Akij Ceramics celebrates this remarkable milestone, the brand remains focused on setting new benchmarks in quality, innovation, and customer satisfaction. With a clear vision to continue redefining the ceramic industry, Akij Ceramics is poised to maintain its legacy of perfection for many more years to come, staying far ahead of its competition and continuing to lead the way in the industry.
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The 39th edition of Ceramic China
On December 17, Unifair Exhibition Service Co., Ltd. officially signed the long-term strategic cooperation agreement with ACIMAC (Association of Manufacturers of Machinery and Equipment for Ceramics). From 2025 onwards, ACIMAC, as the Overseas Official Sponsor of CERAMICS CHINA, will bring Italian leading technologies and solutions to be grandly presented as Italian Pavilion at CERAMICS CHINA. Spanning nearly four decades, CERAMICS CHINA has been currently one of the world’s largest industry event for ceramic equipment, technology and materials. With excellent enterprises and industry elites convened, the exhibition provides the super-excellent platform of technical exchange and business cooperation for the whole industry by pooling the innovations and wisdom of global ceramic professionals, driving the sustainable advancement for the ceramic industry worldwide. As the world leader in ceramics technology, Italy is renowned globally for its advanced technologies and design concepts in the ceramic sector. Therefore, the participation of Italian Pavilion is not only a critical focus for the ceramic market in Asia, but also a full recognition of CERAMICS CHINA in the long run. Mr. Gian Paolo Crasta General Manager ACIMAC “As the global ceramic industry is going through the critical period of transformation and high-quality development, the best time for Italian Pavilion to CERAMICS CHINA has become ripe. As the Overseas Official Sponsor, we will fully organize and support more Italian enterprises in attending this important event. The exhibition allow Italian companies for a more comprehensive demonstration of leading technologies and excellent solutions, assisting more ceramic producers in digital transformation, production efficiency, cost reduction and sustainable development.” Ms. Han Xiuping Managing Director Unifair Exhibition Company “CERAMICS CHINA has grown and expanded over nearly four decades, becoming the benchmark for ceramic technology advancement and a booster for industry development. It constantly boasts a large number of exhibitors from home and abroad and a vast global buyer community. The participation of the Italian Pavilion will bring more international attention and innovative vitality to CERAMICS CHINA, while providing brand new opportunities for the integrated development of the ceramic industries in both China and Italy.” To appreciate the technical innovative vitality and explore new path for company development, follow CERAMICS CHINA from June 18-21, 2025 in Area A, Canton Fair Complex in Guangzhou!
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SACMI donates a vehicle to Auser Imola
To mark its 105th anniversary, the company makes a donation designed to support the community’s most vulnerable. The President of SACMI, Paolo Mongardi: “A small yet significant initiative to help improve services available to those with disabilities. On the occasion of this major anniversary – and with the Festive Season approaching – we again renew our close ties with the local community” Imola, 18 December 2024 – On the occasion of its 105th anniversary and with the Christmas holidays fast approaching, SACMI renews its commitment to the local community with a special donation: a specially-equipped vehicle for the Auser Imola association to transport people with mobility difficulties. This latest project is part of a long tradition of solidarity and attentiveness to community needs, particularly as regards services for the most vulnerable sections of society. To meet the requirements indicated by Auser Imola, a VW Caddy – specially adapted for wheelchair users – was chosen. With over 100 active volunteers and more than 7,000 transports completed in 2024, the association provides valuable daily support for citizens who need to access social-healthcare facilities in the city center or at the main regional hospitals. The 105th anniversary offers a major opportunity to reassert our values and our ties with the local populace,” highlights SACMI President Paolo Mongardi. “For us, being an active part of local society means improving quality of life for the neediest. That’s why we’re proud to support Auser Imola and the vital work it does for those who have to deal with mobility and isolation issues on a daily basis.” The vehicle, already in use at Auser Imola, was adapted by a specialized company to transport people with mobility difficulties, ensuring they can count on the highest standards of safety and comfort. This latest SACMI donation will help replace obsolete vehicles and improve the efficiency of services offered by the association, which often transports dialysis patients to hospital and the elderly to local day care centers. “We’re extremely grateful to SACMI for this donation as it allows us to respond effectively to growing demand for transport services for the vulnerable,” explains Ivan Mazzanti, President of Auser Imola. “Following the increase in demand for such services after the pandemic,” observes Mr. Mazzanti, “this latest initiative plays a crucial role in helping us renew our commitment to those in need, guaranteeing dignified, safe transport for those who rely on us every day.”
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Paolo Mongardi receives an Honorary Master’s Degree in Management Engineering
Unimore has awarded an Honorary Master’s Degree in Management Engineering to Paolo Mongardi. The ceremony, held in the Aula Magna of the Reggio Emilia ‘Digital Hub’ and attended by Rector Carlo Adolfo Porro and other key figures from the university, concluded with the graduate’s Lectio Magistralis. The University of Modena and Reggio Emilia has awarded Paolo Mongardi, President of SACMI, an Honorary Master’s Degree in Management Engineering. The ceremony was held in the Aula Magna of the Reggio Emilia Digital Hub and attended by the Rector, Prof. Carlo Adolfo Porro, lecturers and numerous other guests. Born in Imola in 1964, Paolo Mongardi began his career at SACMI in 1985 as a mechanical designer after graduating from the F. Alberghetti Technical Institute with excellent grades. During his career he has held positions of increasing responsibility, working on patent development and coordinating complex projects. He has been a member of the Board of Directors since 2001, first serving as Secretary and subsequently Vice-President. In 2013 he became President of SACMI: in this role, he has guided the company through a period of significant economic and employment growth. During Mongardi’s presidency SACMI’s corporate assets have grown from €436 million to €883 million, sales revenues have exceeded the €2 billion mark and the number of employees has increased from 1,700 to over 5,000. During this time the company has also introduced a Code of Ethics, published Sustainability Reports and promoted ESG-driven policies that focus on innovation and are attentive to the needs of local communities. Throughout his managerial career, Mr. Mongardi has built partnerships with over fifty universities and research facilities. He has also held key positions in national associations and cooperatives, such as Legacoop and ACIMAC The awarding of this honorary degree was proposed by the Department of Engineering Sciences and Methods (DISMI) and approved by the Academic Board. During the ceremony, Prof. Massimo Milani, Head of DISMI, illustrated the reasons behind this recognition, highlighting Mongardi’s contribution to industrial development and the closer ties that now exist between the worlds of academic research and manufacturing. Furthermore, during the traditional laudatio, Prof. Monia Montorsi illustrated Mr. Mongardi’s role in promoting future-focused management models. At the end of the ceremony, the honorary Doctor Mongardi held a lectio magistralis. “This honorary Master’s Degree has been awarded to Paolo Mongardi in recognition of his leadership, which has transformed multiple, complex industrial realities into solutions that look to the future. Mr. Mongardi’s work illustrates why links between academia and business should not be limited to sporadic projects but, rather, based on structured ongoing relationships that aim to share skills and knowledge. His career demonstrates – particularly at a time when the global outlook requires a profound re-think of production models – that sustainability is crucial, a tangible strategy for building economic and social solidity.” “Outstanding business management, a propensity for technical and organizational innovation, the commitment and skills he has brought to high-caliber roles, the sensitivity always shown towards the cooperative aspects of work and his respect for the communities that host industrial development, not to mention his contribution to the development of our own University, all testify to Paolo Mongardi’s personal and professional qualities: qualities that have spurred us to award him an Honorary Degree in Management Engineering”, stated Prof. Massimo Milani. “I have given my entire professional life to this company”, points out Paolo Mongardi. “I dedicate this prestigious award to the wider SACMI family: 5,200 people around the globe whose passion and commitment contribute to extraordinary results every single day. This Degree, awarded to me by one of the oldest and most venerated European universities, offers an opportunity to highlight the history and success of a model that produced the first Italian manufacturing cooperative, a model that is now part of the economic heritage of Emilia-Romagna and, indeed, Italy. All in the name of a principle that has been part of our cooperative since its founding: to deliver a better company and a better society to future generations”.
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Rasheed Islam Elected as the Director of DCCI for 2025-2027
Rasheed Mymunul Islam, Managing Director of Monno Ceramic, has been elected as a Director of the Dhaka Chamber of Commerce & Industry (DCCI) for the term 2025-2027. The newly appointed board of directors officially took charge during the 63rd Annual General Meeting (AGM) of the Chamber, which was held on December 15, 2024, at the Chamber’s Auditorium in the Motijheel area of the capital. Mr. Rasheed Mymunul Islam joined the Monno Group in 2008 as the Operations Director at Monno Ceramic. He began his career on the production floor to gain comprehensive knowledge about tableware manufacturing. As he progressed through the corporate ranks, he was appointed Managing Director in 2019. During his tenure, he has successfully implemented state-of-the-art manufacturing machinery, significantly improving Monno’s product quality, upholding the brand image, and increasing production capacity. He ensures the factory operates at peak efficiency while managing and executing Monno’s global strategy. He is one of the youngest directors of the Bangladesh Ceramic Manufacturers and Exporters Association (BCMEA). This position enables him to collaborate closely with other ceramic manufacturer owners to develop strategies and policies in partnership with the Bangladesh government, aimed at further enhancing the ceramic sector. He was awarded the ‘Ten Outstanding Young Persons (TOYP) Award 2022’ by Junior Chamber International (JCI) Bangladesh, in recognition of his significant contributions to business accomplishment. He is also an active member of Dhaka Club Ltd., Gulshan Club Ltd., and Banani Club Ltd.
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Monno Ceramic Marks 40 Years of Artisanal Excellence
Pioneering and renowned ceramic tableware manufacturer and leading exporter in Bangladesh, Monno Ceramic proudly celebrates 40 Years of Artisanal Excellence by delivering exquisite tableware ceramic products and services to its valued customers for the last four decades. Since its inception in 1984, the company has evolved into a trusted household name, renowned for its design, quality, innovation, perseverance, and unwavering commitment to excellence. With the slogan “সারা বিশ্বে, মুন্নু শীর্ষে“, Monno Ceramic hosted the gala event on 15th November at Factory Bungalow, Islampur, Dhamrai. This event honored the legacy of the company’s founder, the contributions of its workers, and employees, and the loyalty of its customers. The event was graced by the presence of Monno Ceramic’s Chairwoman, Ms. Afroza Khanam, Vice-Chairman, Mr. Moynul Islam, Managing Director, Mr. Rasheed Mymunul Islam, and other senior officials. Monno Ceramic has been a reliable household brand in Bangladesh and achieving such milestones further solidifies the brand image and the vision the company continuously strives to achieve. With a state-of-the-art production facility, intensive research and development, internationally sourced raw materials, and extensive marketing activities, Monno Ceramic has been able to retain its market presence as the most trusted ceramic tableware brand in the world. Speaking about the milestone, Mr. Rasheed Mymunul Islam, Managing Director extends his heartfelt gratitude to everyone who has been part of this incredible journey and looks forward to shaping a brighter and more innovative future. Monno Ceramic team would like to thank all of its customers, stakeholders, and well-wishers for this joyous event, and dedicated this accomplishment to all of them.
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5,000 people join SACMI’s 105th ‘birthday party’
The Open Day held on Saturday 30 November was a huge success. Early in the morning, hundreds of citizens started arriving at the headquarters in via Selice Provinciale, Imola: a unique opportunity to bring the entire community into contact with SACMI’s production and innovation hubs, with tours and even special events for the younger visitor. SACMI President, Paolo Mongardi: “A wonderful way to bring as many people as possible into our world, to have them share in our celebrations and to strengthen the long-standing ties between SACMI and the local community”. On Monday 2 December, in Auditorium 1919, the celebrations were brought to a close with a presentation of the book “SACMI, from workshop to worldwide success. Origins of an extraordinary cooperative experience”, by Valter Galavotti On Saturday 30 November almost 5,000 people celebrated SACMI Imola’s 105th ‘birthday’. Early in the morning, hundreds of citizens began gathering at the entrance in Via Selice Provinciale, eager to take part in an Open Day intended to give everyone a close look at the ‘SACMI world’: a world that spans from manufacturing to the cutting-edge research with which SACMI is building the factories of the future. Guided tours of SACMI’s production and innovation hubs The main event of the day was a 13-stop tour of the factory to explore key areas of SACMI production and innovation: from the Rigid Packaging Lab (where new low-environmental-impact caps in cellulose fiber are being designed) to the department that assembles and tests the industrial presses used to make everyday ceramic and metal items. It was also an opportunity to introduce visitors to some of the lesser-known parts of the factory, such as the machine tool department: 5,000 m2 of pure technology where metal parts (e.g. molds for cap presses) are made with micrometric precision. Needless to say, the tour also covered AI and, more generally, advanced Quality Control systems that simplify workers’ tasks, taking process control into the realm of consistent, worry-free quality. The Ceramic and Whiteware Labs also played key roles. The former showcased novel uses for ceramic, such as the large decorated slabs that can, with SACMI Continua+ technology, be transformed into valuable kitchen tops, tables, etc. or the latest super-thin, sustainable, easy-to-lay tiles that offer new opportunities in furnishing. The Whiteware Lab, instead, is where – with the aid of articulated robots – a wide range of sanitaryware articles are produced inside automatic, unmanned cells that perform automated finishing and achieve near-complete recovery of the water used in the process. The factory through a child’s eyes Many of the day’s activities were designed for families with children or youngsters. In an area set up in the canteen, children were able to dive into the clay-working process and conduct scientific experiments, giving them a fun, hands-on way of exploring the challenges of sustainability, robotics, and artificial intelligence. Older ones had the opportunity to add to the resulting knowledge by completing the tour and seeing the ‘real’ machines in action. The SACMI family: out in force Superb teamwork, with workers’ active involvement, contributed hugely to the event’s success. It was also a good opportunity for all SACMI people, their families, and the local citizens to get together, celebrate and exchange views. Over 100 volunteers ensured the smooth running of access points and guided tours, mingling with visitors and – once their work was done – later refreshing themselves at the numerous food and wine stands. “It was a wonderful day of sharing and celebration on an occasion that’s extremely important to us. Teamwork saw us achieve the aim of the event: to bring in as many people as possible and show them our world and thus strengthen the bond between company and community”, underlined Paolo Mongardi, President of SACMI. «SACMI, from workshop to worldwide success To bring these 105th celebrations to a close, Monday 2 December – the exact anniversary of the company’s founding – saw the presentation of the book “SACMI: from workshop to worldwide success Origins of an extraordinary cooperative experience”. In a packed Auditorium 1919, people gathered to listen to the author of the book, Valter Galavotti, and two former and current SACMI employees, Leo Monduzzi and Cecilia Palmieri. The event was also attended by local institutions: acting president of the Emilia-Romagna Region, Irene Priolo, was there, together with the mayor of Imola, Marco Panieri, highlighting how the ‘SACMI model’ is a crucial part of Imola, the Region and, indeed, Italy’s industrial, economic and social heritage. The meeting ended with words from the President of Legacoop Nazionale, Simone Gamberini. “We’re especially proud”, pointed out SACMI’s President Paolo Mongardi in his opening remarks, “to have turned the spotlight on, for this anniversary, a new interpretation of SACMI’s origins and how it went from being a small workshop to a huge industrial concern while remaining rooted in the communities from which it sprang. We’re not just talking about the history of a company, our history, but about the always-relevant values and principles of being a cooperative, of looking to the future and the coming generations.”
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‘Solastalgia’: Fragments of a fading horizon
From October 19 to November 16, Platforms will host Auntora Mehrukh Azad’s solo exhibition “Solastalgia: Fragments of a Fading Horizon,” at its gallery in Pragati Sarani, Baridhara, Dhaka from 11am to 8pm daily. Her work is inspired by the universal and personal feelings of environmental change, with a particular focus on Bangladesh’s rivers and landscapes. Azad’s art explores the impact of environmental loss, displacement and transformation in rural and urban landscapes from the Sundarbans to Dhaka. All the art enthusiasts, collectors, and connoisseurs are invited to explore Azad’s evocative works.
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14th ISSUE
Kamalapur Railway Station, officially known as Dhaka Central Railway Station, stands as a bustling gateway to the vibrant capital city of Dhaka. Nestled in the heart of the city, this vital transportation hub connects travellers to all major cities in Bangladesh. As the largest and busiest railway station in the country, Kamalapur serves as a crucial link, facilitating journeys both near and far.
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Mentorship Seminar for Effective Career Path
Department of Real Estate and the Career Development Center (CDC), Daffodil International University jointly organized a Job Recruitment and Mentorship Program on 21st September, 2024 in collaboration with Pa-Wang Ceramic Industry Ltd.
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A Brilliant Conclusion with Countless Accolades Ceramic China 2024 Unfolds a New Chapter of Cooperation
On June 18–21, 2024, CERAMICS CHINA 2024, with “Great Minds to Lead, Digital Intelligence for Brilliancy” as the theme, concluded successfully in extensive praise. This edition is jointly organized by seven entities, including China National Light Industry Council (CNLIC), China Building Materials Federation (CBMF), China Building Ceramic and Sanitaryware Association (CBCSA), China Ceramic Industry Association (CCIA), CCPIT Building Materials Sub-Council (CCPITBM), Unifair Exhibition Service Co., Ltd. and Beijing Jianzhan Technology Development Co., Ltd., thereby, the long-standing “Organizing Ceramics China by turns” has concluded, showcasing the strong influence and multifaceted benefits of the partnership between five national associations and two exhibition companies through united cooperation and resource integration. This act of union has drawn widespread industry attention and positive responses. Mr. Chen Guoqing, Executive Vice President of CBMF and President of CCPITBM, highly praised the collaborative efforts of the seven organizers in presenting this unprecedented exhibition and expressed sincere gratitude to all the exhibitors, visitors, buyers, and the media partners for their continued support for CERAMICS CHINA over the years. Mr. Du Tonghe, Vice President of CNLIC and President of CCIA, expressed full affirmation of the seven organizers for jointly holding the exhibition: “This is a powerful measure in line with the forward trend of the new era, promoting high-quality development in the ceramic industry, and giving full play to the role of the ‘national team’ of the ceramic industry. It has gained extensive industry support.” Ms. Han Xiuping, Managing Director of Unifair Exhibition Company urged industry peers to strengthen cooperation, unite efforts, and jointly propel the industry towards premium, smart, green, and integrated transformation for high-quality development.
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Through the eyes of artist Wakilur Rahman
A video shows Mr. Rahman in the hall with his exhibits, elaborating on his interpretations as remnants of his journey. “The exhibits are a reflection of my journey with art at different times,” he said, as the camera moved to show the hanging base of a traditional riverine boat. Wakilur Rahman has been working with social issues through his artwork since the 80s. He has recently hosted an exhibition by the name “Monon Khonon” at Bengal Shilpalay. It visualized through installments, the cultural aspects that portray the life in the delta regions. The acclaimed artist often ponders over the contour of our thoughts, imaginations, and emotions, and digs into this diversity in people from different regions. Going through the artwork in the exhibition one noticed a dark theme over three earthly elements: A fragment of the exhibition focused on wet mud and imprints on wet mud. The artist believes that mud is instilled in our physical molding and is a crucial part of life. Upon entrance one is greeted by the bottom half of a boat which depicts the enthusiasm of the artist as “Tori” is widely used in Bengali culture and its music. The final material in use is language which is represented by 3 dimensional prints and represents communication.
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Sustainability Summit 2024 and SDG Brand Champion Award Night Presented by AkijBashir Group
On 10th September, 2024, AkijBashir Group took center stage as the proud presenter of the Sustainability Summit 2024, an event that brought together thought leaders, industry experts and key stakeholders to discuss and promote sustainable development practices across various sectors in Bangladesh. The summit focused on the challenges and opportunities in achieving the United Nations Sustainable Development Goals (SDGs), emphasizing the role of businesses in driving sustainable growth. The day-long event featured a series of insightful panel discussions, keynote speeches, and Case Study, where experts shared best practices and innovative approaches to sustainability. Topics ranged from sustainable supply chains and green manufacturing to the role of technology in driving environmental stewardship. The summit provided a platform for meaningful dialogue, fostering collaborations that are essential for the country’s progress towards achieving its sustainability targets. As the day transitioned into the evening, the atmosphere was charged with anticipation for the SDG Brand Champion Award Night, also presented by AkijBashir Group. This prestigious awards ceremony recognized and celebrated the exceptional efforts of many Organizations and individuals who have made significant contributions to advancing the SDGs in Bangladesh. The SDG Brand Champion Awards honored companies who have demonstrated leadership in sustainability, from reducing carbon footprints to enhancing social equity and economic inclusion. The winners were selected based on their innovative strategies, measurable impact, and commitment to creating a better future for all. Our honorable Managing Director, Sk Bashir Uddin, spoke at the Sustainability Summit 2024, proudly hosted by AkijBashir Group. He addressed how our Group is emphasizing its dedication to sustainability and its vision for a prosperous and sustainable Bangladesh. He highlighted how he integrated Zero Net to his factories and the importance of collaboration between the private sector, and civil society in achieving the SDGs, and reiterated AkijBashir Group’s commitment to leading by example in the journey towards sustainability. The event was a resounding success, leaving attendees inspired and motivated to continue their efforts in promoting sustainability in their respective fields. AkijBashir Group’s role as the presenter of both the Sustainability Summit 2024 and the SDG Brand Champion Award Night underscored the Group’s leadership and commitment to sustainable development, setting a benchmark for others to follow in the years to come.
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Akij Ceramics Introduces 100×100 cm Large Tiles
In response to the growing global demand for large-format tiles, Akij Ceramics proudly introduces its new Kathena premium series, featuring 100×100 cm (1000×1000 mm) tiles. These grand tiles, designed to deliver a seamless and luxurious aesthetic in both residential and commercial spaces. Previously, consumers had to rely on costly imports with limited design choices. Now, Akij Ceramics brings a solution that not only meets but exceeds international standards in design, durability, and performance. Produced locally, these tiles provide an affordable and superior option, enhancing the landscape of the Bangladeshi tile industry. Akij Ceramics’ 100×100 cm tiles, known for their high gloss finish, add an unparalleled sense of space and elegance to interiors. With fewer grout lines, these tiles deliver a clean, expansive look that perfectly complements modern design trends. The diverse range of designs ensures that there’s something for every style preference, making them ideal for both residential and commercial application By launching these large-format tiles, Akij Ceramics continues to set new industry benchmarks, reinforcing its reputation for innovation, quality, and craftsmanship. Their “Promise of Perfection” shines through in every product, solidifying their status as one of Bangladesh’s top ceramic brands. Whether you’re transforming your home or commercial space, Akij Ceramics’ new 100×100 cm tiles offer the ultimate combination of beauty, performance, and luxury.
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AkijBashir Group and Edison Real Estate Forge Strategic Partnership to Enhance Customer Experience
AkijBashir Group and Edison Real Estate Limited, have formed a strategic partnership to
enhance customer value and offer exclusive benefits. This collaboration will provide exclusive
perks to members of the Edison Royal Club, a loyalty program designed for Edison Real
Estate's esteemed clients.
A stunning display of architectural grandeur, welcoming students
We are all familiar with the Dhaka University and its grandeur. Even now, when major infrastructures shroud the beautiful campus, its thousands of students still enjoy a little retreat among greeneries in, for example, Muktamancha or Suhrawardi Udyan. The same can also be said for all public universities. It’s on one such campus where BUET alum Khandaker Ashifuzzaman Rajon, Principal Architect of Cubeinside Design Limited, studied architecture. Of course, Rajon’s idea of a campus vastly differs from that of private university students. Thus, when tasked with designing a campus for Southeast University (SEU) well within the hustle-bustle of Dhaka, Rajon had to tumble down all his cards and think of fresh ways to give the students of Southeast University some taste of his own campus-going experience. The project being the permanent campus came with the additional worry of how to design the structure that would inspire students to enrol just looking at the place years, even decades, after its novelty factor has worn off. But before we go further into Rajon’s and the Southeast University permanent campus story, allow us to tell you what it is about all private universities competing to move to their permanent campuses. Competition here is particularly good, as all private universities want a permanent campus that is the most student-friendly while being attractive. UGC, the University Grants Commission, recently stipulated that all private universities, without fail and exception, move to a permanent campus that facilitates students with open space, interactive classrooms, and all the amenities that university students abroad enjoy from a campus. So, that triggered the mass relocation of private universities to actual campuses in place of stuffy buildings. Rajon opened his story with the mandatory 50% open space policy in the rulebook for building a new permanent campus. “The idea of a cubic volume in the centre of the campus came from this rule. I wanted the rest of the structure to look over the open space as the centerpiece of the campus. As a by-product, a central courtyard would help dissipate light and aerate its surroundings, like the classrooms, for example. However, the Board wasn’t initially unanimous about the central open space idea, but it was up on completion that they saw my vision behind this design choice, and this later became everyone’s favorite part of the entire campus,” began the architect. But beyond the Board’s stamp of approval, the campus just had to be completed and made fully functional within a very limited window of time, set by the UGC. If you happen to be a current student of SEU or have even visited the place, you may have taken a moment’s pause and thought of how it was even possible to erect an edifice as such in such a constricted amount of time. This is where the seasoned, but young, architect’s ingenuity just begins. If my memory serves well, I remember seeing in the popular cartoon show “Popeye: The Sailor Man” Popeye stacking floors upon floors of a skyscraper with steel I-beams, all in one shift, of course with the help of his special formula spinach, but steel I-beams were the actual hero that allowed for construction at such mind-boggling speeds. I am not inferring that Rajon got his hands on Popeye’s spinach, but being the well-bred architect that he is, he knew that I-beams would be an ideal instrument in his race against time. He explained how: “All the brick and concrete facades of the entire complex give it the impression of an RCC (reinforced cement concrete) structure, but its basic skeleton is made of I-beams. This bought me time! I-beams, like Lego, just have to be joined together using nuts and bolts without trading modern looks for time or structural integrity, but we did trade off some extra money to be able to complete construction in time.” The mission he had in mind to let light dance around the entire complex with the help of a central open space was a massive success. As the structure was shaping up rather quickly, it was instantly visible that the same campus took on different faces because of the changing sunlight that entered at different angles at different hours of the day. As a creator, the play of light and shadow had Rajon all emotional when he laid eyes upon the outcome. “The place would change its look at the change of each season too,” he said. “A few of my acquaintances who study at SEU find the campus quite photogenic. As climates change, they post photos and reels of different parts of the campus on their social media, and from there, I get to observe, from an onlooker’s perspective, how the most important beneficiaries of the campus—who are the students—are lovingly accepting it and are also low-key boasting it on their socials.” All this is to say that a structure made exclusively out of complex mathematics and engineering can also evoke emotions when made with the human angle in the mix. Ever since the permanent campus opened its doors to students in early 2023, the entire place teems with students in any direction imaginable. Not only is that the proper utilisation of space, but it also points towards the inevitable fact that students love their new campus. Everyone is doing what a student does: going in and out of class, singing, laughing, teasing, playing with classmates between classes, and most importantly, enjoying their newfound freedom in such a capacious facility that can house over 12,000 students at once! The former campus building is in the backyard of the new campus. It will be demolished soon and replaced by a new building to house the School of Engineering. It is to be designed by Cubeinside Design Limited as well. “But looking at the design of the new building and the one we just completed, no one will be able to say that the same architecture firm was behind the drawing board of the second one; it’s that different from the
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Paragon Ceramic, Pioneering Innovation and Sustainability in a Challenging Global Market
The global ceramic industry, including Bangladesh, is navigating a period of uncertainty due to economic slowdowns, fuel shortages, and inflation. However, Paragon Ceramic Industries Limited (PCIL) has managed to stand out as a leader in this competitive sector, driven by an unwavering commitment to quality and resilience. Below is a closer look at the company’s journey, challenges, and future plans as discussed by its Managing Director, Farian Yusuf. A Journey of Resilience and Early Success Founded in June 2008, Paragon Ceramic began commercial production in December 2010. Remarkably, within just two months, the company achieved its first export, a significant milestone that set the stage for its future success. Despite the current oversupply in the domestic market, Paragon continues to thrive internationally, with exports showing considerable growth. “Our entry into exports soon after production was a major accomplishment,” said Yusuf. “Although the local market is challenging, we are seeing tremendous growth internationally.” Paragon Ceramic: A Leader in High-Definition Porcelain Tableware Manufacturing Located in Mirzapur, Gazipur, approximately 50 kilometers from Dhaka, Paragon Ceramic benefits from a strategic location with access to all necessary infrastructural facilities. With a total investment of over US$ 16 million, PCIL has established itself as a key player in the porcelain tableware industry in Bangladesh. Cutting-Edge Technology and Skilled Workforce PCIL specializes in manufacturing and exporting high-definition porcelain tableware, utilizing state-of-the-art machinery sourced from renowned global suppliers like SKK and TAKASAGO from Japan, TCK from Taiwan, Modena and COTO from China. The factory is supported by a workforce of approximately 1,600 highly skilled and motivated employees, ensuring the highest quality in every product. “In a market where competition from China is fierce due to low pricing, Paragon Ceramic has adopted a strategy of prioritizing product quality over competing on price. China, with its advanced technology and domestic resource pool, offers products at far lower costs than Bangladesh.” Durability and Performance Paragon Ceramic decorated tableware combines vibrant colors and unique shapes that endure even the most demanding dining kitchens. Our proprietary clay recipe, infused with alumina, ensures strength, durability and a pure white finish. Yusuf said “Tested for quality, our products resist fading, chipping, and scratching, even after 500 dishwasher cycles. With advanced shape engineering and glazing techniques, we guarantee functionality, hygiene, and impact resistance”. Innovation and Global Reach Through cutting-edge technology and constant design innovation, Paragon Ceramic stays ahead of trends, offering high-performance tableware. With a robust global distribution network, we ensure timely deliveries worldwide. State-of-the-Art Manufacturing and Quality Assurance PCIL operates with cutting-edge technology, from its porcelain plant to its decal and packaging units. With modern equipment from Japan, Taiwan and China, and a highly skilled workforce, PCIL produces high-definition porcelain tableware for global markets like IKEA and H&M. The company excels in custom designs, meeting clients’ diverse requirements with unmatched flexibility and service. Precision and Excellence in Every Step PCIL’s advanced Mould unit and dedicated Quality Assurance (QA) team ensure every product meets strict international standards. With over 25,000 Mould produced monthly, the team delivers high-quality ceramics while adhering to ISO 9001:2015 standards for superior customer satisfaction. Overcoming the Industry’s Biggest Challenges Paragon has faced its fair share of challenges, from fuel shortages to a shortage of skilled workers. The company’s resilience in overcoming these hurdles speaks volumes. According to Yusuf, the biggest obstacle remains the gas crisis, which has severely impacted production costs and supply. “Fuel costs have skyrocketed by over 250 per cent, yet gas pressure remains very poor, affecting overall production,” he explained. “We’ve had to turn to alternative energy sources but that increases our costs, making us less competitive and facing global challenges to survive” Despite these difficulties, Paragon has continued to expand and evolve, focusing on maintaining its stronghold in international markets while also striving to meet local demand for Porcelain tableware. Quality over Price: A Global Strategy In a market where competition from China is fierce due to low pricing, Paragon Ceramic has adopted a strategy of prioritizing product quality over competing on price. China, with its advanced technology and domestic resource pool, offers products at far lower costs than Bangladesh. However, Paragon’s superior quality remains a competitive edge. “While China has access to its own resources, we rely heavily on imports, which raises our costs,” said Yusuf. “But in terms of quality, we’re second to none and that’s what has helped us to secure buyers internationally.” Reducing Import Duties: A Key to Growth Yusuf believes that reducing import duties on raw materials could significantly boost Bangladesh’s Ceramic industry and its global competitiveness. Since the sector relies entirely on imported raw materials, lowering these costs could fast-track growth and innovation. “If the government offers duty benefits, the sector will see accelerated development. We have the potential, but policy support is crucial to our future,” said Yusuf. Attracting Foreign Direct Investment (FDI) for Expansion Paragon Ceramic is also focused on attracting foreign direct investment (FDI), which Yusuf sees as essential for broadening the scope of the industry. More FDI could increase the number of companies in the sector, giving buyers more options and boosting confidence in Bangladeshi ceramics. “In the same way that Bangladesh’s garment industry grew with increased foreign investment, the ceramic sector can also be benefited,” Yusuf explained. “The more companies we have, the more options buyers have, leading to better overall industry growth.” The Gas Crisis: A Major Production Bottleneck The ongoing gas crisis has led to a surge in fuel prices and decreased availability, creating a substantial challenge for Paragon and other industries. Low gas pressure in industrial areas like Gazipur has severely impacted production as well as quality that reflects on financial statement. “The entire industrial area is affected by this, and it’s not just us—garment and other industries are also facing disruptions,” Yusuf said. “We need long-term solutions for energy security if we are to continue growing.” Technological Advancements: A Path Forward Yusuf emphasizes the need for technological innovation to enhance production efficiency and maintain competitiveness. While inflation has dampened local demand for
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The Unfinished Mughal Fortress
Lalbagh Kella is perhaps the most quintessential remnant of the Mughal era in Bangladesh. Also known as Lalbagh Fort or Fort Aurangabad, it is a majestic historical site located in the heart of the old town of Dhaka. Built during the 17th century, Lalbagh Fort is a testament to the grandeur of this region’s rich history. Commissioned by Prince Muhammad Azam, the third son of Emperor Aurangzeb, it is also one of the most renowned Mughal structures in the subcontinent. Although Prince Azam initiated its construction, it was left incomplete due primarily to untimely death of his beloved wife, Pari Bibi. Iran Dukht Rahmat Banu, more known as Pari Bibi, was the daughter of Shaista Khan and grandniece of Nur Jahan, the consort of the Mughal Emperor Jahangir. Prince Muhammad Azam’s dream of creating a magnificent fort was left incomplete due to his wife’s untimely death and his own departure to join his father’s military campaign. This poignant episode in the prince’s life is an integral part of the fort’s history. The incomplete status, frozen in time, grips the guests within an aura of wonder about what it might have looked like had it been finished. In 1678, Mughal Prince Muhammad Azam Shah embarked on the construction of Lalbagh Fort along the bank of Buriganga in the southwestern part of Dhaka city. At the time, he held the position of Subedar (Provincial Ruler) of Bengal. However, his tenure in Bengal was only 15 months. His father Emperor Aurangzeb called him to Delhi to suppress the Maratha rebellion. Despite this setback, significant progress had been made, including construction of a mosque and the Darbar Hall. In 1680, Shaista Khan assumed again the role of Subedar of Bengal and took up the mantle of completing the fort. Under his guidance, the construction resumed. However, tragedy struck when Shaista Khan’s daughter, Pari Bibi, passed away prematurely within the fort in 1684. Grief-stricken, Shaista Khan deemed the fort is inauspicious and halted further construction, leaving it forever incomplete and abandoned. Shaista Khan ruled Bengal in Mughal period for a total of 22 years, from 1664 to 1678 and from 1680 to 1688. He was the maternal uncle of Emperor Aurangzeb. During his reign Dhaka prospered greatly and the best period of Mughal rule passed. He built Chota Katara Mosque and Seven Dome Mosque near Lalbag fort. Chittagong victory is one of his notable achievements. He also defeated the British in the Anglo-Mughal war. The architecture of the fort reflects the distinctive style, characterised by its typical grandeur, symmetry, and meticulous attention to ornamented details. Built primarily with brick, it showcases the finesse of Mughal-era craftsmanship. The fort’s main gateway is a three-story structure that embodies the classic Mughal arch. The gateway features ornate floral motifs and Quranic inscriptions, a sublime fusion of Islamic art and architecture. With its symmetrical design and elegant arches, the southern gate of the fort is another splendid example of Mughal architecture. The fort is adorned with massive corner towers, each with a distinctive style. These towers served both decorative and defensive purposes, and they provided an excellent vantage point to appreciate the entire site and its surrounding landscape. Tomb of Pari Bibi: A Testament to Love and Tragedy The tomb of Pari Bibi stands as one of the three primary structures within Lalbagh Fort — a silent witness to love, loss, and architectural beauty. In 1684, tragedy struck when Pari Bibi, the beloved wife of Prince Muhammad Azam and daughter of Subedar Shaista Khan, passed away prematurely. Her final resting place became the under-constructed Lalbagh Fort, where a tomb was erected to honour her memory. As visitors enter through the main gate of Lalbagh Fort, Pari Bibi’s tomb immediately captures their attention. In fact, the iconic image associated with “Lalbagh Fort” is none other than the exquisite tomb of Pari Bibi herself. The tomb boasts a quadrangular design, crafted from pristine white marble adorned with delicately carved screens and intricate floral motifs. Inside, nine rooms reveal a symphony of materials: marble stones, rough stones, and glazed tiles adorned with colourful flowers and leaves. The central chamber houses Pari Bibi’s burial site, surrounded by eight additional rooms. Among them, the southeast room cradles another small tomb — the resting place of Pari Bibi’s daughter, Samsad Begum. The tomb’s roof, fashioned in the corbel style, features four octagonal minarets at the corners and a central octagonal dome. Once gilded, the dome now wears a covering of brass and copper sheets. The interior, too, gleams with white marble stones. This 20.2-square-meter tomb was constructed before 1688 AD, but fate had other plans. After Subedar Shaista Khan’s departure from Dhaka, the fort lost its significance, eventually falling into abandonment. The shift of Bengal’s capital to Murshidabad (West Bengal) further contributed to Lalbagh Fort’s decline. In 1844, following the end of the Mughal Empire, the area was renamed from “Aurangabad” to “Lalbagh” (Red Garden) Lalbagh Fort: A Fusion of History and Architecture The Lalbagh Fort, a captivating blend of heritage and design, encompasses three distinct structures: a mosque, the tomb of Pari Bibi, and the Dewan-e-Aam. Alongside these focal points, two grand arcades and a partially ruined fortified wall contribute to the fort’s allure. Recent archaeological excavations, led by the Bangladesh Directorate of Archaeology, have unveiled additional hidden treasures within the fort’s grounds. Among these discoveries was a sizable dome situated at the southwestern corner of the southern fort wall. To the north of this wall stood various edifices — buildings, stables, and administrative structures. On the western side, a picturesque terraced garden adorned with reservoirs and fountains graced the landscape. Residential quarters occupied the space between the western and eastern sections of the fort, primarily clustered southwest of the mosque. The southern fort wall boasted five towers, each rising two stories high at regular intervals. Meanwhile, the western fort wall featured two towers, with the largest guarding the southern main entrance. Beneath one of these towers lay an underground tunnel that traversed
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Art Collection & Beyond
Folk art, music, and other forms of art practices have a fairly long history and tradition in Bangladesh. However, there is still a lot of inconsistency about how we properly institutionalise, engage, and treat our own important art and artists, even though a lot of young people go to major exhibitions, mass concerts, and festivals every once in a while. Although there has been a noticeable improvement in the scene that developed in the past few years, especially in the post-pandemic era, the majority of the prominence that we see in social media is still inside a Dhaka-based bubble. Historically, there always had been a lack of responsible actions from the state or government regarding the endorsement of the overall art scene and practice. Not enough quality art education for everyone in schools and even not enough quality art education at universities, the fact that most people are interested in and involved in mainstream art, and facts like some people don’t take part in art responsibly and certain forms of art can be hard to get to are all things that contribute to the problem. In this reality, passionate art collectors and patrons are very rare breeds in Bangladesh. For a long time, Durjoy Rahman had quietly been a prominent figure in the Bangladeshi art scene. He has been personally collecting art for roughly three decades now; it was only in 2018 that he decided to go for a more institutionalised format for further contribution to the local art scene and founded the Durjoy Bangladesh Foundation. Despite the pandemic years and Durjoy’s preference of operating the foundation with very selective personnel, the foundation is promisingly making a name for itself within the niche of the local scene, the Global South, and the wider international art arena. “Many people misinterpret that the foundation is named after me, but the word Durjoy roughly translates as indomitable or invincible in Bengali. I had that in mind while naming the foundtion. Invincible/indomitable Bangladesh is the spirit of DBF,” said Durjoy to Ceramic Bangladesh Magazine at his office for a short but engrossing conversation about art, business, and life over cups of tea and biscuits. Soft-spoken, a bit formal with conversations, and always a well-dressed gentleman with a fatherlike old-school discipline, Durjoy carries a distinct eccentric aura—perhaps like that of many artists. Durjoy’s persona transcends the boxes of notions that are typically associated with the term “rich businessman turned art collector.” Speaking of art collection, he is also known for his amazing collection of various vintage cars. With his businessman father, who was a prominent name in the Jamdani trading scene back in the day, and a mother who was a doctor in the army and a freedom fighter who contributed to the liberation war of 1971, his knack towards business and having a soft corner for Bangladesh is perhaps unsurprising. You grew up in Dhaka cantonment. Do you remember your earliest influence of art— that intrigued you deeply? Absolutely! When we were young, there was a popular weekly literary magazine called ‘Bichitra’. I used to admire its design and the published cartoons. It was the timeline when the famous “Tokai” series by our very own modernist Rafiqun Nabi started getting published in the weekly, and I became a big fan of it. Later in life, when I started collecting, Nabi’s work was my first ever purchase, and now I have over 70 works produced by him. This gives me intense joy; it is as if I am satisfying my inner child. How was the local art and exhibition scene back then, given the type of crowd, their engagement, and the collectors? Furthermore, if we compare the eras of Muzharul Islam, Novera, S M Sultan, Murtaja Baseer, and the other renowned figures practicing the contemporary art scene of Bangladesh, it seems that what they did, considering time context, we still haven’t reached that level of quality despite having a lot more privileges now. There was always a very few collectors and patrons. Given the popularity of cinemas back then, there was always a regular crowd at the theatre shows, but it wasn’t often that we got to see a large number of crowds at exhibitions. The people of the crowd were not as young as those of today. If we talk about the number of people engaging, overall it is a lot more now. These are the big differences if we compare. Speaking about the improvement, I think the quality of contemporary art in Bangladesh is still pretty strong and not something to be undermined. We tend to think that artworks produced during those times are superior compared to contemporary Bangladeshi art, but I don’t entirely agree with that. I think some artworks produced these days are also timeless and very important. In the early 90’s, you entered the design and textile industry and had been successful with your entrepreneurial venture, Winners Creations Ltd. The company has a valuation of over 40 million USD. As a veteran businessman, what are your thoughts regarding the ceramic industry of Bangladesh? If we look at the financial reports, I think they are doing fabulous. It’s a growing industry, and ceramic-based products will always have their demands globally because of how we use them in our day-to-day lives. In my opinion, I think there is always room for improvement in the design. We usually don’t incorporate our local motifs; we don’t utilise our local artisans and talented young designers properly. For example, using elements from rickshaw art. Notably, when I visited Spain and Japan, I saw how beautifully they brought their influence of art into their ceramic products.
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JBS Holding making Green Buildings
JBS Holdings Limited, a Japan-Bangladesh joint venture company, has been in the business of real estate industry, infrastructure development, commercial, and condominium ventures with the association and experience of professional experts and investors from Japan and Bangladesh. Since its inception in 2020, JBS has handed over more than 15 projects, till the end of 2023, to the satisfaction of customers. More than 300 engineers and employees are directly working in the company. The company’s maximum investment came from Japan. The company has 25 ongoing projects and additional 38 upcoming projects across the country. The company is a member of Real Estate and Housing Association of Bangladesh (REHAB) under approval of Rajdhani Unnayan Kartripakkha (RAJUK) or capital development authority. According to Abdul Haque, Managing Director of JBS Holding Ltd, the company within this short span of four years, has been able to occupy a prestigious space in the arena of real estate sector for its commitment and quality. In the past three years, it has completed 15 projects. Most of features of green building were included in those projects. As per requirement of green building it tried to include green building’s features in the buildings. He stated, “JBS Holdings is committed to offering the best investment opportunities to buyers through innovation, continuous improvement, quality and reliability. We believe in a strict Code of Ethics, integrity and commitment to excellence, professional attitude and personalized care.” The country’s real estate sector has been playing a significant role in gross domestic product (GDP). The sector contributes 8-10 per cent to GDP and with related business account 15-17 per cent to the GDP. Thousands of developers, engineers, architects, technicians, MEP experts and workers are engaged directly in this sector. The sector is also supporting the country’s construction-related industries such as rod, cement, ceramic tiles, sanitary ware, paints, woods, glass, cables, aluminium and bricks industry. A lot of products are consumed by the developers helping these industries to sustain, grow and expand. “We want to continue our support to boost the sector in future,” the Managing Director pointed out. Green Building The green building is also known as green construction or sustainable building. The buildings refer to saving resources to the maximum extent including energy saving, land, water, and material saving. Besides, it protects environment and reduces pollution, and provides people with healthy, comfortable and efficient use of space, in harmony with nature. “Those who live in green building get maximum benefits – in terms of health, internal quality environment, resource efficiency, and energy saving. We have the intention to include all features in future, and take international certifications,” Mr Abdul Haque added. He said the commitment is very important in the industry. “We ensure the commitment, complete the buildings before the deadline, ensure quality construction, and maintain compliance. Our clients are also very satisfied. Customer’s satisfaction is our main goal in business.” Location is also important for sustainability. “The site of the building should have good communications network, good atmosphere, and all civic amenities such as healthcare facilities, school, and market. These issues are considered when we take a project,” he explained. “When we design a building, we follow the government’s rules and regulations properly. We keep 50 per cent open of total space of the building site, according to DAP. So, the buildings get enough air, light, oxygen, rainfall, water supply and energy efficient. We look into maximum air and light as well as ventilation system taking a project,” Abdul Haque said. “We consider it while constructing a building. As wind is available there is no need to run AC and fan all times. Besides, solar panel on rooftop of the building helps energy efficiency too. We use the brand’s equipment like lifts, generator, and it helps save energy for operation. We provide a lot of plantations in rooftop, verandahs and terrace of a building. It helps us get adequate oxygen. It keeps cool environment.” Green Building saves 30-40 per cent Energy The demand for the green building is increasing gradually but it has not been popular yet in the country. We have to construct green building as it is a demand of the day. As energy crisis is now across the world, green building needs to ensure naturally benefits like winds, light and energy efficiency, Mr Haque also said. Challenges and recommendations There are a lot of challenges including scarcity of land, and its high cost, urban planning, high registration cost, floor area ratio (FAR), policy complexity, VAT and tax, as well as high living cost now, and land owner’s high demand. He said, “We need a proper real estate-friendly policy which would further boost the sector. So, the government should take a strategy engaging private sector here. The government can take many projects like Purbachal and give it to private developers to develop it. Then, there will be a quick and sustainable development in real estate sector.” Written by Rafik Hasan
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SOLARIC GROUP – DEVELOPS WORLD LARGEST SINGLE-SITE ROOFTOP SOLAR PROJECT
SOLARIC Group installed the world’s largest industrial rooftop solar system in the Korean EPZ of Chattogram in 2020. The company has already completed 120 MWp of rooftop solar projects in the country and has created employment for more than 100 engineers and other professionals. In association with Infrastructure Development Company Limited (IDCOL) through multiple NGO’s, SOLARIC Group supplied more than 5 lakhs solar home systems in villages across the country. The most iconic project that has been developed at KEPZ-50MWp in Chattogram by Youngone Corporation. And, Solaric is the EPC partner of the world’s largest single-site project. They basically started to work with Youngone Corporation in 2019. They already completed 40 MW which will be enhanced to 50 MW by June 2025. As Bangladesh faces energy crisis, Didar Islam, founder Solaric, tried to learn how to utilize the unutilised rooftops of the industries. Now, different industrialists of ready-made garments (RMG) and textiles, ceramic, plastic, and footwear are eager to use the solar panels on their rooftops. Solaric installed 21 rooftop projects of different companies and organisations from 2015 in industrial zones like Dhaka, Gazipur, Narsingdi, and Savar. Of these, the company installed solar panels on Bangladesh Bank’s rooftop in 2015, Markup Accessories Ltd and Debonair Group in 2018, Youngone Corporation and AKH Group in 2020, IRIS Fabrics, Tasniah Fabrics and Palmal Group in 2021, Khantex Fashion in 2022, BSEZ, Micro Fibre Group, FM Plastic Industries, Coats BD, Amanat Shah Group, Blue Ocean Footwear, and Masco Group in 2023, Ha Meem Group (Phase-2), Mondol Intimates, Checkpoint System, Nexus Sweater Industries and Logos Apparels in 2024. Average investment cost for every megawatt renewable energy is Tk. 10 million. With a vision to resolve the energy crisis in Bangladesh through renewable energy, Solar Intercontinental (Solaric) Limited was founded in early 2009 by Didar Islam, an electrical engineer and a scientist. Didar, also a former teacher at the Bangladesh University of Engineering and Technology (BUET), founded Solaric, a research and development (R&D)-driven technology company in Bangladesh focusing on developing appropriate technologies for both on-grid and off-grid solar applications, and has been awarded nine patents in the USA. The company developed its technology and system in 2010 and went into commercial operation in 2011. In an exclusive interview with Ceramic Bangladesh, the Director of Solaric Group, Engineer Naznin Akther said that Solaric PLE Ltd. is registered in Singapore in 2015 as a group of renewable energy development companies and a subsidiary in Bangladesh to implement large-scale industrial rooftop solar projects based on both CapEx and OpEx models. She, also the younger sister of Didar, said “we are the only solar company in Bangladesh with a private equity investor (OSIRIS), which helps the company grow exponentially by offering industrial rooftop solutions to factory owners with appropriate financial solutions.” “In 2000, Didar invented the world’s only CMOS single chip radio, known as QWIKRADIO, with 13 US patents. Then, he explored different ways it could be utilised in Bangladesh’s power sector. Later on, he started working on Analog IC design for portable power applications and launched a firm named after Power IC Ltd. with young engineers from BUET,” Naznin also said. She informed that her brother invented the Solar Optimizer, a single device to combine all solar electronics. Renewable energy solutions for industry She also informed that the company completed 15 projects on households. Earlier, people used 3% of their demand from rooftop solar following the government rule. But they did not think about the potential of an energy solution. Now they realise that an entire industry’s demand for power supply can be met by solar. In 2018, Solaric installed a 300 KW solar panel through the OpEx model (by own investment) on the rooftop of Debonair Group. Now, they sell electricity to the company. They are now working with 10 big companies, including Palmal Group, Micro Fibre, and Coats BD. “We now have 7.5 MWp in operation under the OpEx model. In addition, 30 MW is coming under the model”, she also informed. “We have developed more than 100 MWp of rooftop solar on-grid power plants with few of them under net metering all over Bangladesh. Under net metering, consumers with solar panels or other renewable energy systems can generate electricity and feed any excess energy back into the grid. Unlocking Rooftop Renewable Energy Potential Bangladesh, with its limited land availability, has experienced a surge in demand for rooftop renewable energy (RE). The market potential is substantial, boasting a total capacity of 6000 MW due to the country’s expansive rooftop space. Notably, the agriculture sector significantly contributes to this growing demand. Furthermore, the Mujib Climate Prosperity Plan mandates that industrialists ensure 40% of their energy comes from renewable sources. This commitment aligns with the global push toward sustainable practices and underscores the urgency of transitioning to cleaner energy alternatives. Surprisingly, only 5% of industrial rooftops have been utilized for solar installations, leaving more than 95% of rooftops untapped. Solar energy emerges as the most viable and cost-effective option for RE adoption. The ceramics industry also holds promise for RE adoption. Several major ceramic companies have engaged in discussions and responded positively. To establish a comprehensive solar project, approximately 15 types of products—such as solar modules, inverters, cables, structures, and communication devices—are essential. However, managing dust risks prevalent in Bangladesh’s cities remains a significant challenge for solar panel. Bangladesh stands at the cusp of a renewable energy revolution, and proactive measures can propel us toward a greener and more sustainable future. Advantages of Solar Energy Usage By using solar power, individuals can save up to 15% compared to relying solely on the existing grid. Solar energy provides a green alternative at a lower cost. When the off-peak grid electricity rate stands at Tk 9.75, solar energy can be harnessed at Tk 8.50. A seventy-thousand-square-foot rooftop can accommodate a 1-megawatt solar installation. This capacity translates to generating power equivalent to Tk 1 million per month. Solar projects typically span 30 years, with a maximum payback period of 5
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7 Ceramic Events worldwide
The Ceramic exposure and trade fair events across the globe have always been the best mean to interconnect the ceramic verse. The expos are usually a few days long, and as seen in Bangladesh and globally, they are jam packed with buyers, industrialists, business officials, architects and real estate personnel, along with visitors who are enthusiasts. The stalls are local and international businesses showcasing the best and the latest. Visitor count in such an event can reach up to and beyond 20k in Bangladesh, and in China, we’ve seen that number reach six figures. Expos bring about an infusion and adds to the dynamics of the market. The world becomes smaller under one roof, the market gets bigger as global companies collaborate, thus enriching the market place. To name a few of these impactful events, here are noteworthy 7 from around the world: Asean Ceramics (11-13 December, 2024) The 2024 Asean Ceramics exhibition is coming up on the 11th of December and will end on the 13th. It will be hosted at the Saigon Exhibition and Convention Centre in Ho Chi Minh city of Vietnam and will showcase the latest technology, advanced Ceramics, technology used in the manufacturing process, and much more. Asean Ceramics Exhibition had 3000 visitors in 2023, had 200 brands participating, and had more than 200 delegates for the conference. The event was a grand one and a sizable networking hub. Indian Ceramics Asia (5-7 March, 2025) Centered around ceramics and bricks, Indian Ceramics Asia in Gujrat is a one of a kind annual event that brings in key players from around the world. We’ve seen one of the events being hosted at the Helipad Exhibition Centre of Gandhinagar, Gujrat, on 6th March 2025 and continued till the 7th March. The 17th annual event in 2023 was three days long as usual and had 100 companies from 11 countries catering to 6440 visitors. Visitor count for 2024 event was 8200 approx. and there were more than 200 exhibitors. Indian Ceramics Asia is a B2B platform that harbors suppliers and buyers of raw materials and machineries. This event is the ground for two events jointly taking place: India Brick and Roof Tiles Expo and Engineering and Technical Ceramics Exhibition. Indian Ceramics Asia also featured workshops, seminars, and discussions from esteemed Indian officials who talked about improving and increasing trained labour force in India, innovative solutions for the energy and raw material crisis, waste disposal technology, and much more. Foshan Uniceramics Expo (18-22 April, 2025) With over a 100,000 sq.m of exhibition space and 1200 exhibitors, Foshan Uniceramics Expo is a spectacular joint event in Foshan, China, and a leading event in Asia as well. The event welcomes some 150,000 visitors each year, as the two Expos collaborate- Technology Expo and Ceramics Expo. Going through the array of companies lined up at one of the expos, one could see abundance of ceramic tiles, some of Italian and Spanish origin. Products with wear resistance and antique features were also amongst the catalogue of participating companies. SACMI displayed the latest technology in their allocated space, playing an integral role at the event. Asian largest Expo and an esteemed event, Foshan Uniceramics Expo is ever-growing. Ceramic Expo USA (April 28– 30, 2025) USA have had a substantial contribution to global ceramics and the Michigan Expo is a great place to see a cluster of it. Technical ceramics and innovation, both unleashes at this event, highlighting machineries and technology for efficiency and growth and connecting engineers with state of the arts equipment. Product developers and engineers connect with businesses at the event, and it turns to a buzzing ground. North America’s leading technical ceramics exhibitions and conference, Ceramic Expo is held at Michigan, USA, at the Suburban Collection Showplace. Exhibitors such as Bosch, Lithoz, Fiven, among others, participate in the event. Besides finding the latest technology at the event, a visitor goes through an immersive experience where they get to learn from experts, do face to face meetings and much more. Ceramics China (18-21 June, 2025) Another grand event, an expo that welcomes a whopping 80,000 visitors every year, is the Ceramics China, hosted in 2023 at the Canton Fair Complex in Guangzhou, China. The event fosters ‘new’ when it comes to technology and materials for the manufacturing process , and encompasses elite high end companies within its body. The 38th edition of this event aims to gather global innovations for a holistic development of the industry. Other focal points include new generation hydrogen hybrid combustion technology, waste heat recycling technology, AI visual technology, industrial robotics, and much more. The permeability of participating in such an event depends on awe so many factors. The event allows a lions share of its space to machines and spare parts, accounting to 45% of exhibitors. Visitors from beyond borders attend the event adding up to 9.2% of the entire visitor count. CERAMIC EXPO Bangladesh (27-30 November, 2025) 4th Edition of CERAMIC EXPO Bangladesh-2025 is an international exhibition on the global ceramic industry will held in Bangladesh. It brings the local and international manufacturers, exporters, and suppliers of ceramics and related products onto a single platform to showcase their achievements earned through creative entrepreneurship and hard work, to the world. The Expo will be held at the International Convention City Bashundhara (ICCB), at the Expo Zone (Tent Hall) from 27th November to 30th November 2025. The international exhibition is expected to be attended by representatives of more than 300 global brands, manufacturers, and suppliers of ceramic raw materials and machinery from 25 countries. Bangladesh, being a high-quality producer of ceramics and having skilled manpower, low labour cost, and sufficient supply of Sulphur-free natural gas, is perfectly placed to be a strategic partner in the production and supply of ceramic goods on a global scale. As a result, the Expo creates ample scope for foreign ceramic manufacturers, buyers, and investors to explore and invest in the
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Meet Architect Salauddin Ahmed- UN HOMME AVEC DU PANACHE
Many people spend their entire lives believing that the arts and music are completely different from the hard sciences, which include physics, chemistry, engineering, and even architecture. But are they really? Enter architect Salauddin Ahmed’s Atelier Robin Architects (ARA) in Hazaribagh and marvel in the atelier’s (French for studio) all-white, lofty, and expansive interior. You will see that architecture is not truly that far from art, if at all. Walking into Salauddin’s studio was in part equivalent to getting a glimpse of his inner workings: neat, geometrically perfect, and symmetrical. Aside from the conference room, which doubles as a miniature gallery, paintings and his sketchbooks are neatly spread out in the spatial atelier, where voices echo. Salauddin, a creator as well, designed most of the fixtures and furniture in the studio. But what sets ARA’s principal architect apart from the other practitioners in the industry? His schooling is in the US. His decade-and-a-half-long stay in the US, where he studied architecture at the University of Pennsylvania, in his career-forming phase exposed him to elements of his trade that are otherwise tough to attain in Bangladesh. “I didn’t come here to settle down. I came here to try it out. During my time away from here and being involved academically, I met architect, urbanist, and architectural historian Kazi Khaleed Ashraf. He influenced me to try out my trade in Bangladesh, as there were many opportunities here when I was starting out professionally, circa 1995. Then I did discover the vastness of the architectural practice in Bangladesh,” Salauddin said, explaining why he stayed back. Then he went on to compare architecture with music, alluding to how Wolfgang Amadeus Mozart perfected music from the age of four for the love of music—not commercialisation or leaving behind a vast collection but simply a legacy. “If an architect is just building buildings at an existential level, then,” he retorted, “it’s not architecture at all. Architecture is in the conscious and the subconscious; that is the vastness of architectural practice.” As Dhaka expands northward, homogenous residential buildings are popping out everywhere. People need a place to live, yes, but these buildings are just mere cages with the most basic elements that do not remotely enhance the art of living. The schooling our young architects are receiving just deals with hyper-commercial ways of living—ways in which more buildings and apartments can be crammed into the ever-so-dwindling space of Dhaka. “The application of laws, codes, and the conduct of architecture are barely taken into consideration by the authority. All the authority cares for, almost in a military fashion, is that the buildings conform to straight lines and extremely basic designs. They are not bothered by the emotional contact that architecture bears with the art of living. Habitats that enhance the beauty of living are underscored as a passion project, and they simply don’t make a lot of money. The number of architects presently practicing is sky-high, but that number needs to be threefold as high. However, they also have the mammoth task of dictating to society how architecture works. Bangladeshi architect and urban planner Muzharul Islam embodies that ideal concept of architecture. Later on, a school was set up to learn and then unlearn Muzharul Islam to create room for fresher ideas. That has been a successful way forward, a tried and tested system through which many contemporary architects of renown have come forward. But a few exceptions cannot be an example. In a country like Bangladesh, one or two exceptions will not do,” he explained it in detail. In all sincerity, Salauddin stressed emphatically the importance of ‘averageness’. “The word average carries a negative meaning in our society. But it has been proven that a person who carries themselves with the average air is the most attractive. However, the importance of averageness is not taught at an academic level. For example, all circles don’t have to be spherical. There is beauty in a slightly elliptical and average circle as well.” This city should represent an old ‘kantha’ that is average and not gaudy, so that everyone feels a level of comfort and familiarity, thus explaining averageness. Most Dhaka residents cannot afford such luxury, which makes an average approach go hand in hand with architecture: turning an empty lot into a home. “Dhaka is growing, but as an orphan,” Salauddin said morosely. Although much opportunity is not there to salvage Dhaka anymore from its systematic ruination, “possibilities” are, however, still there. His atelier is proof of that! Walking through the mazes of what used to be the heart of the now-removed tannery industry in Hazaribagh leads to his studio. A 15-foot gate, which could almost function as a castle drawbridge, welcomes you into the imposing interior. One would be left in awe that such a magnificent studio can be set up in a relic of a retired tannery. To Salauddin, it is the will and temperament that matter. “It’s a part of my ensemble: I take immense personal struggle to show someone the possibility.” Getting back on the matter of urban design, he spoke briefly about how it is done in successful cosmopolitan cities, one in which he once resided for a while. He elaborated, “Everybody here wants a south-facing veranda. Okay, but his neighbour might be deprived of the southern wind if he takes up all the space. In New York, for example, there’s a code: your building cannot project two hours of shadow on any surface in an eight-hour window. If you cast a shadow long enough, the adjacent building will need more heating capacity in the cold and get much less sun during the day. Your design form has to respect the many constituencies of urban design. This is impossible to even imagine in Dhaka.” The long conversation ended on a beautiful note. He said, “Ninety
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Graffiti Of Revolution
The essence of what Bangladesh witnessed last July-August, during a student-led protest, which emerged to a mass rage, turned into a blood-shading revolution. Eventually, it brought us what we now call a new Bangladesh. All that went through is difficult to put into words. Every single individual who was somehow part of the revolution—the ones who were out in the streets and directly witnessed both the brutalities and the togetherness of people; those who gave shelter and food to the protestors, took the injured for medical aid, and even those who kept the spirit alive in social media—the memories of July are firmly etched in everyone’s hearts, with their fair share of bitter sweetness. Given that visual communication is very impactful, visual materials played a vital role as a monumental catalyst in this revolution. While cartoons, photographs, and videos of the atrocities instantly circulated in social media almost every day, the graffiti mostly consisted of revolutionary and populist slogans on the city’s concrete, which acted as a source of constant inspiration for the ones who were on the street during the protest and even after the chaos was over. Graffiti, as an art form, has its own distinct raw flavour. Using graffiti as a tool for protest has always been a part of the biggest revolutions and mass uprisings in contemporary world history. The role of graffiti in the July-August revolution in Bangladesh is no different. Bangladesh has a long history of using graffiti as a form of protest. Graffiti was a common tool utilised by dissenting parties to express their disapproval throughout the Liberation War in 1971 and the political unrest of the 1980s. However, the pattern of graffiti we witnessed in July-August was comparatively unique, primarily because it represented a generation that many had assumed to be politically disengaged. Graffiti, or wall paintings, first emerged in New York in the ‘60s before spreadi ng worldwide. However, it has not taken root globally as profoundly as in Bangladesh. Reflecting on 53 years of post-liberation discrimination and turmoil, young students have distilled its essence through their art. During the anti-discrimination movement, Dhaka earned the title of the “graffiti capital” of the world. The walls became vast canvases of protest, adorned with creative and heartfelt slogans and poems that delivered powerful messages to the government. Furthermore, their graffiti themes did not only address particular political complaints but also lurking issues of social justice and human rights in Bangladesh. A significant number of these graffitis were direct one-liners spray painted by the students with a lot of risk during the tense times of the revolution. Even after achieving the desired victory through the revolution, new graffiti kept emerging, depicting the scenes of revolt, resistance, victory, and even more, including portraying the most memorable events and lines with humor. With utmost care, the concrete of the metropolis proudly holds these graffitis that reverberate the spirit of the revolution, acting as a memoir and constant reminder of what must not be forgotten.
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A Journey Of a Thai Culinary Excellence of and Artistic Innovation
We are sure that there are times when you crave some good tangy Thai flavours and also miss the vibrant experience of street life in Thailand. Naming from the famous street of Bangkok, Khao San is such a place where you can meet both. Founded by four friends – Bushra Haque Sarah, Syed Sameem Shahriyar, Taposh Ghosh, and Mustafid Raiyan Khan—Khao San is more than just a dining spot; it’s a passion project. After gaining popularity in Dhanmondi, Khao San has now made its mark in the heart of Gulshan. Despite being open for only a few months, the restaurant has already captured the hearts of diners with its delectable taste and unique interior. With the air infused with tantalising Thai flavours and the atmosphere adorned with bold hues with a pinch of earthy colours, the restaurant interior pays an ode to its famous Thai street namesake, Khao San Road. As guests step into this new branch, they might subconsciously reminisce about the interior of Dhanmondi and immediately be enveloped in a newer enchantment. The restaurant not only draws its name from the famous road but also matches the vibes of the lively and bustling area renowned for its vibrant nightlife and dynamic energy. Through careful design interventions, the restaurant’s interior captures this spirited ambiance, blending the bustling vibe of Khao San Road with a serene touch of nature. We designed Khao San Gulshan with the Dhanmondi branch in mind. We tried to maintain a similar essence,” said Sheefa. Like the debut branch, the interior has been done by Rahnuma Tasnim Sheefa, the principal architect of Parti.Studio. Once you’re inside Khao San Gulshan, you will consciously notice the wooden motifs on the main door, inspired by the lotus flowers of Thailand. The same motif is also reflected in the door knobs of washrooms and a partition door, creating a cohesive design throughout the space. The designer has carefully merged the wooden motifs with the glass, creating a screening that added a modern touch to the usual traditional design element. Upon entering the space, you will be greeted by a vibrant, real tuk-tuk. The dining area is mostly an open plan divided into several zones that are connected visually yet spaced out with mesh dividers and plants. There’s also a private room for larger groups. One of the seating zones features an elevated floor space where you will discover a wall composed of a wooden window with a stunning mural painted inside and designed beside a rustic doorframe. As the architect described, the entire space is very “instagrammable.”. You will find corners or elements to take dope pictures. With splashes of vibrant hues, warm tones, and moody ambient lighting, each nook and cranny has been designed to capture the eyes of the visitors, inviting them to take a closer look and explore the decor. The restaurant design mimics the scenic nature and happening city life of Thailand, interpreted to fit into the theme. Through closer inspection, you will be able to decipher that the city-influenced part of the restaurant has warm tones of orange, red, and yellow. On the other side, the nature part has an upper hand with cool tones of blues and greens. “Throughout the space, we introduced natural plants to keep the nature found. On a wall, you will find a huge illustration with an elephant, which is a vital character from the branding. The story goes like the elephant, after exploring the city, is moving from city to jungle,” added Sheefa. To keep up with the traditions of murals in the Khao San restaurants, the architect had to face some challenges. In the Dhanmondi branch of Khao San, you will find hand-painted murals; however, due to the building’s age and damp walls, hand-painting wasn’t feasible in the Gulshan branch. As a creative solution, Sheefa introduced illustration murals in sticker format, ensuring the same artistic touch while overcoming the challenges posed by the building’s condition. The amazing representation of the ideas was displayed in the form of illustrations by Mashqurur Belal Sabri. The architect took special care to include the implementation of our local craftsmen. All the furniture used in the restaurant is designed and crafted by local artisans. The decorative items, including the metal hanging lights, are also customised and locally made. One of the major setbacks of the restaurant space was its ceiling height, which is quite lower than the average. As a result, a false ceiling was barely an option. “Though I highly oppose using false ceilings, but at rare times when necessary for concealing wiring, considering the already limited height of the ceiling, installing them would only make the space feel cramped and claustrophobic. Therefore, we minimised the use of false ceilings and chose grid wiring in the original ceiling,” explained Sheefa. The architect designed the wiring grids on the original ceiling very innovatively. Some of the grids are functional; a few are added only to make the grid design complete. The decorative items are hung carefully, keeping careful alignment with the grids. The ACs have been camouflaged very interestingly, merged with the backgrounds, allowing the murals to flow seamlessly through the space without interruptions. The murals are very artistic, reflecting the hustle and bustle of Thai city life and its nature. Within a few months of its operation, the restaurant gained unparalleled popularity in the area and is mostly packed to capacity during the peak meal hours. The vibrant and colourful décor with artsy and picturesque style combined with affordable yet authentic Thai cuisine beckons customers from far and near to Khao San to enjoy a truly enjoyable gastronomic experience
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Of trinkets, chandeliers and everything be dazzling
Your home decor is an extension of your personality and style. It’s a reflection of your tastes, preferences, and values. Believing in the notion, Satori started its journey in 2012, to provide city dwellers with start-of-the-art home decor items. Conceptualized and founded by Shaon Tanvir, Satori is a pioneering brand in the world of high-end home decor items. All of its products are handpicked and imported from Dubai, Thailand & China based on customers’ demand. Currently, they have three branches in the city, two in Banani and the other one in Gulshan. Stepping into any Satori showroom, anyone is immediately enveloped in an aura of opulence. Majestic chandeliers, installed in intervals, illuminate the space, guiding your path, while framed mirrors capture and reflect your presence, enhancing a sense of warm welcome. Everywhere you look, there are countless trinkets and treasures. Feels like you have entered into the celebration of art, aesthetics, and all things visually captivating. “As pioneers in the industry, we specialise in importing and curating modern luxury home décor items that stand as a testament to our commitment to quality and style. More than a selling platform Besides selling retail home decor items, Satori provides complete home décor solutions according to individual clients’ needs or architectural design They also offer complete lighting solutions for residences, developers,’ corporates, resorts, boutique hotels, and more. “We specialise in providing customised lighting and total lighting solutions and often collaborate with architects and interior designers,” added Shaon Tanvir. The brand offers a wide array of unique design products, starting from miniature sculptures to grand chandeliers. One of its focused categories is lighting like table & floor lamps, wall lights, chandeliers, ceiling lights, track, spot and LED lights, ambiance lights, etc. Fast-moving gifts and small décor items like candle stands, showpieces, flowers, vases, cushion covers, runners, mirrors, metal wall art, and paintings are also some of the most sought-after items by the brand. Additionally, you will also find carefully selected signature small furniture like consoles, coffee and side tables, and other feature pieces at Satori. Adapting to Dynamic Trends As urbanisation and contemporary living redefine our lifestyles, Satori stands at the forefront, attuned to the evolving demands of its clientele. According to Shaon Tanvir, Satori has been playing a pivotal role in reshaping customer perceptions regarding home decor, transforming once-deemed luxuries into modern-day essentials. “What was once considered a luxury is now deemed a necessity,” she remarked, highlighting the brand’s role in reflecting and accommodating shifting consumer needs. Tanvir also emphasises the profound impact of travel and social media on consumer preferences. With increased exposure to diverse lifestyles and design aesthetics, customers now seek to replicate the lavish home decor they encounter online, demanding accessibility to such lifestyle elements within their own homes. Satori takes pride in popularising numerous unconventional decor items, introducing novel concepts to the local market. What distinguishes Satori and maintains its stronghold in the competitive home decor segment is its product offerings in the dynamic market landscape. The brand’s success lies in its ability to curate a selection of unique and trendy items, renowned for their aesthetic appeal. Satori not only introduces fresh decor concepts to the local market but also sources distinctive designs of established items, offering exceptional value to its customers. If you are looking for interesting items to bring added dynamics to your space, or simply looking for an ideal gift for someone’s housewarming party, Satori certainly deserves your attention.
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TANGUAR BLUES
If you have ever had the blessing to travel extensively in Bangladesh, there is something in particular about her geography that you must have noticed: the plethora of her beautiful waters. Being the largest delta on earth, perhaps it is unsurprising that Bangladesh has her own unmatched collection of breathtaking, fericious, and soothing wetlands, rivers, and other different types of water bodies, and of course the mighty Bay of Bengal, where every drop meets. A notable part of Bangladesh’s water bodies are wetland ecosystems in the north-eastern part of Bangladesh, which are physically a bowl or saucer-shaped shallow depression, locally called a “haor”, which is basically known as a backswamp. During monsoons, haors receive surface runoff water from rivers and canals to become vast stretches of enchanting, turbulent waters. Over the course of the past few years, Tanguar Haor, located in Dharmapasha in Tahirpur upazila, Sunamganj district of greater Sylhet region, and the foothills of India’s Meghalaya, have cemented their place as a sensation amongst the minds of all types of tourists and travelers. Especially with the rise of travel vlogs and other types of travel-related videos in this time of social media and influencer culture, the popularity of spaces like Tanguar Haor skyrocketed. Even in off seasons, tourists and travelers of all types flock to Tanguar Haor to immerse themselves in it or to simply witness its allure. But what makes Tanguar Haor so addictive is the essence of its inexplicable aura of spirituality. Shutting your eyelids and just listening to the sounds of Tanguar Haor’s bluest of waters will engulf you and take you to a serene wonderland that is impossible to encapsulate with words. Spaces like Tanguar Haor always have their own stack of mythical tales and different kinds of histories. One such thing that goes hand in hand is music. The original stories of local music genres and the backdrops of many legendary creations are closely related to water. One such is a type of folk music called “Ghetu Gaan”, which originated from such types of wetland areas where parts of the year were dry and everyone was busy working in the fields, taking care of livestock etc. and had nothing much to do during the entire monsoon, is when the inhabitants, especially the boatmen and local poets and musicians, organically started crafting such music. Another very interesting fact about this art practice is that teenage boys were dressed up as girls to perform and dance in Ghetu Gaan. In fact, the plot of the last ever movie made by the legendary Bangladeshi novelist and filmmaker Humayun Ahmed, “Ghetuputro Komola,” revolves around the practice of Ghetu Gaan. The practice itself has a lot of very interesting and tragic histories. Although this particular practice is almost extinct now, other kinds of music are still an integral part of our lives. Tanguar Haor is also one of the largest natural water reservoirs in South Asia. This natural wonder is the second largest freshwater wetland in Bangladesh spread over an area of about 126 square kilometres, and is a reservoir of trees, fish, birds and natural biodiversity. More than 30 fountains from the world’s rainiest Meghalaya hills merge in this haor. The Tanguar Haor is called the mother of all haors and the mother of fisheries as well, with a catchment area of 12,665 hectares (31,275 acres) of land. Tanguar Haor is the largest wetland consisting of 51 haors in 18 mauzas of two upazilas (sub-districts) in Sunamganj. 30 square kilometers of water-logged main haor and the rest is residential and agricultural land. There are 88 villages in and on the banks of the Haor area. When the water dries up in the winter season, the banks (‘kanda’ in local language) of about 24 beels wake up, only the inner part of the kanda (banks) has the original beel, and the local farmers cultivate winter crops and boro paddy in the dry part. During this time the area was also used as a pasture. Migratory birds take shelter in the high banks (kanda) of Haor, submerged in water during monsoons. The haor is also known in Bangla as “Naikuri Kanda’s Chaikuri Beel” to the local people. IUCN is working to protect the biodiversity of this region. Tanguar Haor’s landscape is characterised by its seasonal flooding and drying cycles, creating a dynamic and ever-changing environment. During the monsoon season, the haor swells as it receives water from the surrounding hills and rivers, covering the land in a shimmering expanse of water. In contrast, the dry season reveals a mosaic of shallow lakes, marshes, and lush green fields, exposing the intricate network of channels and water bodies that define the region’s unique ecosystem. This cyclical transformation is a key feature of Tanguar Haor’s nature, influencing its diverse flora and fauna and contributing to its rich biodiversity. The haor is home to a rich variety of aquatic and terrestrial flora that thrives in the wetland ecosystem. Its waterlogged environment supports a profusion of aquatic plants, including water lilies, lotus, and various submerged grasses. These plants play a vital role in providing habitat, shelter, and food for the area’s diverse aquatic fauna. Along the highway’s edges, you’ll find an assortment of riparian vegetation, such as reeds and sedges. These plants help stabilise the shoreline, prevent erosion, and offer refuge to various small mammals and birds. Mats of floating vegetation, including duckweed and water hyacinth, are common sights on the lake’s surface. These mats provide a crucial food source for herbivorous aquatic animals and create hiding places for fish. During the dry season, the area’s submerged grasslands emerge, providing feeding grounds for waterfowl and grazing areas for cattle. These grasslands are also important for the farm’s agricultural activities. It is home to over 200 species of fish. The seasonal flooding provides an ideal breeding environment for many of these fish, sustaining local fishing communities. The wetland is also home to various reptiles and amphibians, including snakes, turtles, and frogs. Some of these species
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Cartoon e Bidroho’- A bloodshot rebellion portrayed in art!!
Cartoon e Bidroho’- A bloodshot rebellion portrayed in art!!
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A palace on the bank of Buriganga
An integral part of Dhaka’s image in terms of historical architecture that still remains and has been renovated and preserved is the Ahsan Manzil. And like many of common folks who grew up in Dhaka, they have always wondered, at least once in their lives, the reasons behind why this iconic landmark is painted pink. Perhaps unsurprisingly, Ahsan Manzil’s history is even more colourful. This iconic building was built on a property that has a rich history dating back to the Mughal era at the southern part of Dhaka. During the Mughal Empire, Sheikh Enayet Ullah, Zamindar of the Jalalpur Porgona (Faridpur-Barishal), who was the original owner of the land, built a palace called Rong Mahal (which loosely translates as ‘Colourful Palace’) in 1720 for his amusement, a typical practice amongst wealthy elites at the time. He also had a garden house and a cemetery on this site. After he passed away, his son Sheikh Moti Ullah sold the property to the French traders in Bengal at the time. The new owners soon established a trading house next to the palace. Later, after being defeated in the Palashy War by the British East India Company in 1757, they had to leave their possessions behind. After changing hands a number of times, the property was purchased by Khwaja Alimullah of Begambazar in 1830, who was a prominent merchant and an important figure of Dhaka’s Muslim community at the time. Alimullah renovated the property, turning the trading house into a residence. He also built a mosque and some other important structures in this area. After his death in 1854, his son Khwaja Abdul Ghani inherited the property and named it Ahsan Manzil after his son Khwaja Ahsanullah. He continued renovations; the old building was renamed Ondor Mohol (ladies quarters) and the new building was called Rangmahal (pleasure palace) and was later renamed Ahsan Manzil. Khwaja Abdul Ghani was one of the most influential Nawabs (Zamindar) of Dhaka. Known for his generosity and patronage of arts and culture, he expanded his estate by acquiring more lands around Ahsan Manzil and also played an important role in improving the infrastructure, education, healthcare, trade, and social welfare of Dhaka. In 1859, he built a new building on Ahsan Manzil’s property that resembled European architecture because of its domes and pillars. The Nawab named it Rangmahal and painted it with different colours every year according to his mood. On 7 April 1888, Ahsan Manzil suffered severe damage from a tornado that impacted most of its buildings, except for Rangmahal and it was temporarily abandoned. Khwaja Abdul Ghani then decided to rebuild Ahsan Manzil with more vigour and decorations than previous ones. He hired Martin & Co., a British construction and engineering f irm, who designed Ahsan Manzil with an Indo-Saracenic style, blended with Islamic and European elements. In 1872, the reconstruction work continued under Khwaja Abdul Ghani’s supervision, what was previously the French trading house was rebuilt as a two-storey building similar to the Rangmahal. A wooden bridge connected the first floors of the two buildings. After he died in 1896 at the age of 87 years, his son Khwaja Ahsanullah continued his father’s legacy by taking care of the palace. He added new features like electric lights, gas lamps, and water pumps as part of modernization. The palace was repaired again following the 1897 Assam earthquake. The Nawab family played crucial roles in the modernisation of the Dhaka city, particularly in the development of educational systems, healthcare, and urban infrastructure, including the f iltered water supply system that served the city population. They occupied important positions as Commissioner of Dhaka Municipality. Today, within the hyper-congested and cacophonous urban growth of Old Dhaka, it is difficult to imagine how this majestic edifice once dominated the riverfront skyline of Dhaka. The landmark is a unique fusion of architectural styles, reflecting the rich cultural influences that shaped Bengal it over the centuries. The main palace building showcases a harmonious blend of Mughal and European architectural styles. The Mughal influence is evident in the structure’s domes, arches, and intricate decorative motifs. The ornate design of the palace’s entrance and interior chambers reflects the opulence that was characteristic of the Mughal era. European influences, on the other hand, are seen in the high ceilings, broad staircases, and expansive verandas. The palace’s central ballroom, adorned with crystal chandeliers and European-style furniture and tableware, exudes an air of sophistication that was imported from Europe during the late 19th century. The building faces the Buriganga River and Buckland Dam. On the riverside is a stairway leading up to the 1st floor. A fountain previously sat at the foot of the stairs but was not rebuilt. Along the north and south sides of the building are verandas with open terraces. Ahsan Manzil is ostentatiously European in its architectural expression, even though the building’s recessed verandahs may recall the Mughal treatment of buildings in a tropical climate. Its triple-arched portal, Greco-Roman column capitals, pilasters, and arched windows—all suggest that it is mostly a European-style building, meshed with some decorative Indian motifs. The palace’s soaring dome appears to be more about impressing the viewer on the exterior, rather than within the interior. The dome is at the centre of the palace and is complex in its design. The room at its base is square with brickwork placed around the corners to make it circular. Squinches were added to the roof corners to give the room an octagonal shape and slant gradually to give the dome the appearance of a lotus bud. The dome’s peak is 27.13 metres (89.0 ft) tall. The palace is divided into the eastern side, the Rangmahal, and the western side, the Andarmahal. The Rangmahal features the dome, a drawing room, a card room, a library, a state room, and two guest rooms. The Andarmahal has a ballroom, a storeroom, an assembly room, a chest room, a dining hall, a music room, and a few residential rooms. Both the drawing room and
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An Ode to Resilience: Shaheed Minar’s Chronicle of Revival
In the Bengali calendar, the month of Falgun signifies new journey of life and a sense of rejuvenation. The month which marks beginning of the spring brings forth joy, vivid hues, and a feeling of renewal. During this time, Bangladesh comes to life with the mesmerizing songs of cuckoos and various f lowers that are in bloom. Urban streets and rural roads are painted with colours of fallen leaves and shades of flowers. However, on the eighth day of Falgun, February 21, 1952, the Dhaka city’s streets were transformed into haunting canvases as the vibrant hues of nature gave way to a chilling shade of dark red. In defiance of the curfew imposed, courageous students took to the streets, passionately demanding that Bangla and only Bangla be recognised as the nation’s state language. The police opened fire on the students. Salam, Barkat, Rafiq, Jabbar, and a few others tragically lost their lives in the incident. Many people were injured. The news of the shooting spread like wildfire in every corner of the city. Soon after, the office court, secretariat, and wireless centre employees decided to collectively refrain from attending work. A wave of frustration swept through the city, drawing people towards the Dhaka medical hostel premises. After a day of fervent protests and demonstrations, the leaders of the student community agreed as a group to honour the language martyrs by constructing a monument. The information quickly got to Badrul Alam, a 24-year-old artist who is well-known for his artistic talents. He knew they needed his creative touch in designing the monument. As soon as the design was approved, something extraordinary happened. The whole night, a dedicated team of people, including medical students, hostel staff, and volunteers, worked on building a Shahid Smriti Stambha. The funding for the monument came from Pearu Sardar, who was a well-known and respected Dhaka panchayet sardar. The symbolic structure, dedicated to honouring the language martyrs, was unveiled to the public on the morning of February 24, a testament to an exceptional display of unity and support. In poignant recognition of his pivotal role in the language movement, Dr. Badrul Alam received the Ekushey Padak in 2014; he was the designer of the First Shahid Minar (Martyrs’ Monument) in 1952. This narrative unfolds as a tale of community solidarity, with the tireless efforts of diverse individuals coming together to construct an 11-foot-tall monument that stands as a lasting tribute to the language martyrs. However, the Pakistani Army and the police demolished it on February 26, 1952. In 1956, the students once again constructed the Shaheed Minar. It was inaugurated by Maulana Bhasani. But it was also disassembled afterward. Novera and Hamid’s grand design In the autumn of 1956, a pivotal meeting unfolded between Zainul Abedin, a luminary in the artistic realm, and Mr. Jabbar, the Chief Engineer of C&B, convened with the esteemed artist Hamidur Rahman and sculptor Novera Ahmed. The duo’s grand design took shape — a sprawling Shaheed Minar complex teeming with symbolism and significance. At its heart stood a semi-circular column, a poignant tribute to the eternal bond between mother and child, forever united in sacrifice. Adorning this column were symbols of watchful eyes, crafted from yellow and dark blue glass, poised to catch the sunlight and cast an ethereal glow upon the square below. The vision extended beyond mere architecture; it wove together threads of history and emotion, with every detail meticulously planned. A railing, adorned with Bangla alphabets, traced the perimetre of the seminar, while painted footprints, some stained with blood, others dark as night, marked the path of opposing forces, forever etched into the stone as a testament to the struggle for freedom. The Selection Committee, presided over by the venerable Greek architect Doxiadis, along with luminaries like Zainul Abedin and Mr. Jabbar, lent their discerning eyes to the fray. As Novera and Hamid poured their hearts into the design, they envisioned a space where memory and meaning intertwined — a sanctuary for reflection and remembrance. The government appointed Jean Delora as an architect at that time, who was in charge of keeping an eye on this work. Yet fate had other plans, and the grandeur of their vision remained but a dream, halted by the tumult of political upheaval and Ayub Khan’s martial law. Barkat’s mother inaugurated in 1963 In 1962, a committee under the direction of the vice-chancellor of Dhaka University suggested altering the original plan and speeding up the construction of the minaret. At that time, they did not even consider informing the designers about the alterations. Shaheed Barkat’s mother inaugurated it on February 21, 1963. In 1971, during the Operation Searchlight, Pakistani invaders descended upon the Shaheed Minar. They ravaged the monument. After independence, the government of Bangladesh took charge of the restoration of the Shaheed Minar. A fresh competition was announced, summoning the nation’s most esteemed artists and architects to present their visions for the revered monument. In a scene of anticipation and hope, the Central Hall of the Government House became a canvas for creativity as presentations adorned its walls. The committee, the media, and the general public all shared a mutual admiration for the design that Novera Ahmed and Hamidur Rahman’s team submitted. After that, its construction was f inished, though it failed to follow the design properly. In the mid-1980s, the Shaheed Minar underwent significant renovation again. The new design for the Shaheed Minar featured four small and one large column symbolising the mother and her fallen children on a 1,500-square-foot basis with a red sun backdrop. However, it was hastily executed, with the columns ending up shorter than planned and the main column’s head being bent more than intended. The Shaheed Minar took its present form in 1983, with marble stones used for repairs. The current Shaheed Minar stands at 14 meters (48 feet) tall. Unparallel significance of UNESCO recognition Since 1952, Bangladesh has embraced February 21st as National Martyr’s Day. On November 17, 1999, UNESCO, recognising its unparalleled significance,
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The Aesthetic Affair of Ekushey Book Fair
Followed by the fragrance of the spring, February in Bangladesh is a month of turning grief into power. Hence, this month is a glowing time for the citizens, with revelries surrounded by various occasions, and Amor Ekushey (Immortal 21) Boimela (Book Fair) is one of them. Started with only 32 books on a mat under a tree in front of Bangla Academy back in 1972, the legacy of Boimela continued till date. This year (2024), too, “Amor Ekushey Book Fair” at Bangla Academy premises opened its doors for literacy and knowledge enthusiasts to commemorate the glorious history of the Bangla language movement. While it’s the love for book that might grab readers to the fair, it is the unique eye-catching design that will pull people towards the book stalls and take a look at the books. This year, Anyaprokash showcased a unique rickshaw theme stall design, featuring a square pavilion with two vault-like structures inspired by rickshaw hoods. Designed by architect SM Rahman, the pavilion features murals and Humayun Ahmed’s portrait, using steel, bamboo, and plywood for its structure. The owner of Anya Prokash Mazharul Islam previously decorated pavilion along with Humayun Ahmed celebrating Ahsan Manzil, Lalbagh Fort, Curzon Hall, the Intellectual Memorial, and this year he chose UNESCO-recognised cultural heritage rickshaw of Bangladesh as the theme. The most interesting stall design has to be Akash Prokashoni’s. At first glance, people might misconstrue it as the traditional wooden houses of Bikrampur. The owner and designer, Alamgir Sikder Loton’s love for folk culture is well-echoed in the pavilion. There are three doors on three sides of the pavilion, along with windows. Books were displayed both inside and outside the house, offering an amusing experience for the customers. The younger generation can thus become more accustomed to Bangladesh culture with such thoughtful designs. The 39th Ekushey Book Fair has 635 stalls and pavilions this year, many of which are appealingly decorated. Things that look attractive tend to draw people in. They love connecting with them, are drawn to them, and want to learn more about them. Even though books are the heart of the book fair, a brilliant mind behind the design of those book stall plays an equally significant role. Every year, the top organisation receives the Artist Qayyum Chowdhury Memorial Award for their aesthetic pavilion design. Last year, Puthiniloy bagged the very award. The book fair’s main attraction, the kid’s section, remained colourful and exciting like always. Mayurpankhi’s stall at the book fair, designed by architect and designer Reesham Shahab Tirtho, stands out with its vibrant theme and arched doors, providing a fun walk for children. Journeyman Book’s stall, designed by interior designer Nazneen Haque Mimi, is another example of simplicity and efficiency. They have arranged a free Wi-Fi zone for the visitors and also used a modern book shelf outside the stall for an artistic appeal and a comfortable visit for book lovers. Sabyasachi Hazra’s signature simple and classy design is reflected on both the pavilions, Katha Prokash and Kobi Prokashoni. The choice of colours and fonts for Katha Prokash is minimal yet catchy. The surface is covered with layers of laterite soil, which gives it an even more fun context. Whereas the white folk motifs on the complete black surface of Kobi Prokashoni attract visitors effortlessly. Bangla Prakash remained unparalleled with its wooden pavilion, which looked more like a wooden box filled with books. The modest design rather appealed as classy, and the books have been kept skilfully on book shelves, which gives off a typical bookshop vibe. The pavilion looks equally great in the evening when the pendant lights it up. This year the prize was awarded for aesthetic and artistic stalls and pavilion and publishing maximum number of books in quality. In the pavilion category, “Anyaprakash” and “Nimphia Publication” and “Bengal Books” in the stall category received the Artist Qayyum Chowdhury Smriti Award as the best organisation in aesthetic decoration among the participating publishing houses. Kathaprokash received the Chittaranjan Saha Smriti Award for publishing the highest number of quality books. In the best book category in artistic and quality judging, Prothoma Prakashan got the prize for “Bangladesh in 21st Century: Transformation of Education” written by Manzoor Ahmed, and Oitijjhya for “Jatratihas: Bangler Jatra Shilper Adi Anta” written by Moeen Ahmed and Journeyman Books got the Munir Chowdhury Smriti Award for publishing “Kilo Flight” written by Alamgir Sattar. And Roknuzzaman Khan Dadabhai Smriti Award-2024 was given to Mayurpankhi for publishing the most books for children in terms of quality. Cultural Secretary Mr. Khalil Ahmed said that efforts are being made to bring the book fair into a permanent structure. Almost every stall and pavilion of this year’s book fair was well-decorated, every stall was well-organised and many stalls had a touch of modernity. Books worth Tk 50 crore were sold in the book fair and as many as 3,751 new books had been published. Written by Fariha Hossain
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Ceramics Bangladesh magazine has quality and depth of information
Since subscribing to Ceramic Bangladesh Magazine, I’ve been incredibly impressed by the quality and depth of information it provides. Ceramic Bangladesh Magazine is an essential resource for anyone involved in the Bangladeshi ceramic industry. It’s informative, and inspiring, and keeps me connected to the local ceramic community. Mr. XXX Japan
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Partners – The Ornaments of The Ceramic Expo 2022
The Ceramic Expo Bangladesh-2022 was an event that brought in some 25,000 visitors and the ceramic verse under one roof. Customers and brands were connected throughout all day during the three-day-long expo, and at the end, the organising authority, Bangladesh Ceramic Manufacturers and Exporters Association (BCMEA), was overwhelmed by the tremendous response it received from the industry and the community. It was the third expo which was initiated with sponsorship support from renowned national and international brands. Locally, BCMEA was blessed with three co-sponsors for the Ceramic Expo Bangladesh 2022 – Mir Ceramic, BHL Group, and Stella Luxury Sanitaryware. Dressed in their brand colours, the sponsors decorated their pavilions with the best from their catalog, hoping to gather leads, showcase exclusives, and connect one business to another and directly with customers. BHL Ceramic Company Ltd. introduced PERLA Sanitary ware at the Ceramic Expo Bangladesh-2022 BHL Group, a conglomerate with its flagship concern BHL Ceramic Company Ltd., having four ceramic brands under its housing, was a co-sponsor of the Ceramic Expo 2022. During the event, they showcased products from four of their brands, and the front-runner was the newly introduced Sanitaryware brand, Perla Sanitaryware. The conglomerate manufactures for BHL Ceramic, KONGFU Ceramic, VINCI Ceramic, and PERLA Sanitaryware, all of which were featured at the event. With a production capacity of 33,000 sq.m/a day, expected to become 40,000-sq.m/a day manufacturer soon, the emerging brands from BHL Group have stepped into the world of ceramics, and they hope to see the subsidiaries flourish. Entering into BHL Ceramic Company Ltd. Pavilion at the expo, visitors saw the ambiance being set by a cadet grey overall backdrop. They saw their subtle blue logo above one entrance, elegantly carrying the name of the parent company. Under it reads “Driven with Integrity”. The basins from their newly introduced Perla Sanitaryware, along with commodes, and their tiles of varied sizes, were placed on walls and floor, as well as persuasively displayed to show how it would be when fitted. The front runner/star of the pavilion, the products from Perla Sanitaryware, shined throughout the event and had uniqueness in design and shape. The products from this segment are innovative, eco-friendly, extremely hygienic, and saves water. Furthermore, the company showcased its best sellers, and among its different products, there were 60×60mm High Glossy Tiles that had a shine like no other. The BHL Company Ltd. Pavilion received a special mention for one of the best pavilions decided by the jury during the awarding ceremony of the 2022 Ceramic Expo. The event went by smoothly as visitors poured in. The director of BHL Group, Mr. Sifat Arman, along with the Managing Director Mr. Shahedul Islam, graced the event with their presence. The pavilion brought in approximately 9,000-10,000 visitors in all three days providing representatives with countless leads that were later converted. Mir Ceramicof the reputable Mir Group showcased some of the bests A subsidiary of the esteemed Mir Group, Mir Ceramic is one of the largest tile manufacturers in the country, and has embarked on a mission to introduce the strongest and longest lasting tiles in the market since 2001. The company was a Co-sponsor for 2022 Expo, and decorated their pavilion with outstanding products from their catalogue. Mir Ceramic has a pool of talent with years of experience behind the manufacturing process. And with that and more, consumers have seen them turn to a ceramic leader over the past two decades. The company uses SACMI technology in its Mawna factory and sources raw materials from across the world, fine picking for every aspect of the products it manufactures. At the Ceramic Expo 2022, Mir Ceramic had a pavilion dressed in green and white. A “20 years” ceiling-high structure commemorating Mir Ceramics’ 20 years of business and achievements stood proudly at an entrance. The first few products to attract the attention were floral and checkered designs on the walls. Among the products displayed, were the SERENA, portraying dark shades of grey in matte, and DORA with its floral design, both 30×60cm in dimensions. The pavilion showcased two sizes, a rectangular shape with size 60×120cm and a square 80×80cm size, of the product REVENA which was the front runner at the pavilion alongside ALMINA. The products were beautifully showcased for the eyes of the visitors, which constituted of not only enthusiasts, but also designers, architects, and officials from real-estate companies. The Mir Ceramic pavilion won Silver for Best Pavilion of the Year and Bronze for the Most Interactive Pavilion by people’s choice during the award-giving ceremony. Thousands of visitors came in during the event, and conversations were struck. The event proceeded towards an end, and countless leads gathered. From Mir Ceramic, Mr. Anwar Hosen (Asst. Manager, Sales and Marketing), Mr. Nirmal Shah (Deputy Manager, Sales and Marketing), Mr. Mizanur Rahman (Asst. Manager, Sales and Marketing), Mr. Faisal Mahmud (Executive, Sales and Marketing), Mr. Shamshuddin Ali Ahsan (Business Development Manager), Kazi Md Abdullah Faruq (GM Sales and Marketing) and Abdulla Al Zaman (Deputy Manager, Brand) graced the event with their presence. Co-Sponsor Stella Luxury Sanitaryware introduced Italian inspired designs and more Stella Luxury Sanitaryware is a renowned brand and a trusted manufacturer of traditional and modern-day-minimalistic ceramic sanitary ware. The company ventured into the ceramic market in 2011, and ever since, has been introducing world-class products at affordable prices. The factory of the company is located in Kaligonj, Gazipur, and in partnership with SACMI, uses European technology to make their products, offering features such as water-saving, anti-scratch, soft-closing seat covers, dual flush technology, and 44 per cent stronger than local standards. The 2022 Ceramic Expo saw Stella Luxury Sanitary Ware highlight the products from the premium segment out of the catalog in their pavilion. We saw different shapes and sizes, from rectangular to oval counter basins, wash basins, high commodes, and a range of products in five light colours and two premium colours. Stella stands out when it comes to resourcefulness, as they always have replacement parts available. The market is saturated
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Partners – A Historical Breakthrough in Ceramic Industry!
China’s ceramic industry has achieved a historic milestone in the goal of carbon neutrality. After nearly one year’s hard research work, the world’s first piece of ceramic tile fired with zero-carbon fuel was successfully produced in Oceano Test Center, giving a great technological support to the building ceramic industry in realising the target of Carbon Peak and Carbon Neutral. It was announced at a press conference in Foshan Xianhu Lab on December 23, 2022, the world’s first piece of ceramic tile f ired with zero-carbon pure ammonia fuel has successfully exited the Ammonia-fueled Roller Kiln at Oceano Test Center. The Associated R&D Center on Advanced Zero-carbon Combustion Technology was jointly established by Foshan Xianhu Lab, Oceano Ceramics and DLT Technology on December 27, 2021. HLT & DLT are the world’s leading suppliers of complete plant equipment for the ceramic sector. To provide turnkey project solutions to the global ceramic industry, Foshan HLT DLT Technology has been the first tunnel kiln that integrated green, low-carbon, and intelligent automation for the Chinese ceramic machinery industry to enter. Headed by Academician Mr. Cheng Yibing, a strategic scientist working at Foshan Xianhu Lab, as Chief Director of the center, the lab was aiming at the key technology of zero-carbon combustion in ceramic kilns to explore new solutions for Chinese ceramic industry. By giving full play to the advantages of the three parties in terms of production, developing and research, the center has developed the “ammonia-hydrogen fusion zero-carbon combustion technology” as well as key systems and solutions for the industrialisation. The center has developed a new series of pure ammonia type and natural gas – ammonia mixture type industrial burners with related auxiliary technologies, having realised stable ignitions in DLT industrial experiment kiln fueled with mixed ammonia and pure ammonia, showing good control of nitrogen oxides emission in compliance with the national standards. This achievement has confirmed for the first time the practical feasibility for the ceramic industry to achieve carbon peak and carbon neutral technology’s industrialisation in the future, marking an important milestone for the industry. The f iring of ceramics with zero-carbon fuel is a disruptive technical innovation, having filled up blanks of both domestic and international, showing a new energy technological path for the ceramic industry as well as for the whole of building material industry to achieve carbon peak and carbon neutral goal with great practical significance. While developing the zero-carbon combustion technology, the team also established a set of safety system and emergency management measures suitable for ammonia-fueled ceramic kilns, including operating procedures, ammonia storage, transportation and other important aspects. Based on this, the team successfully completed the update of Oceano’s ceramic roller kiln by converting the kiln from natural gas fueled mode into pure ammonia and natural gas – ammonia mixture fueled mode. Moreover, it has also developed a precision control system for liquid ammonia evaporation and supply, which is monitoring system for residual ammonia in the fume, and has jointly developed a complete set of high-efficiency liquid ammonia SCR de-nitrification system as well as other technologies and equipment. suitable for the pure ammonia combustion, an online On December 18, 2022, the kiln fueled with 100% ammonia (NH3) successfully produced glazed and unglazed tiles with continuous tile feeding and production. Tested by Oceano Research & Development Center, the quality of finished tiles is above the national standard. According to the on-site test by a third-party environmental assessment agency, the exhausted fume emission of the kiln complies to the national standard. As the first thermal equipment manufacturer to participate in the research and development of Ammonia-Hydrogen Zero-Carbon Combustion Advanced Technology, DLT has been focusing on the energy saving and emission reduction of kilns and dryers for the ceramic industry, and has been contributing greatly to the industry’s carbon consumption reduction in order to undertake its social responsibility. In future, the Associated R&D Center on Advanced Zero-carbon Combustion Technology will be further utilised in the application of mass production in the industry on the basis of the results from this pilot production, and will keep breaking through and optimising the new technology adapting with mass production, as a contribution to the ceramic industry as well as the building material industry to achieve the goal of carbon peak and carbon neutral, in order to create a disruptive technological path leading from “0” into “1” as being the first time in the world. Project Initiation: Ammonia-Hydrogen Zero-Carbon Combustion Tech When the zero carbon combustion chemical equation appeared on the screen of the launch ceremony, it marked a significant breakthrough in carbon neutrality technology. On December 28, the “Advanced Ammonia-Hydrogen Zero-Carbon Combustion Technology Demonstration Project for Ceramic Slab and Tile Mass Production Line” (“Ammonia Hydrogen Zero Carbon Combustion Project”) was officially launched at the headquarters of Monalisa Group. This is a new path explored by Monalisa in collaboration with Foshan Xianhu Laboratory, DLT, Oceano, Guangdong Anqing Technology and other companies to build ceramic zero carbon manufacturing and green development, which marks a major step forward for the industrial application of carbon-neutral technology in China’s ceramics industry, and is of great significance for accelerating the green and low-carbon transformation and development of the industry. Ammonia-hydrogen Zero-Carbon combustion technology to explore the optimal solution for the path of carbon neutrality and emission peak. With the current carbon neutrality and emission peak strategy, hydrogen energy and ammonia energy, as renewable green energy sources with high energy density, good storage and transportation convenience, clean and efficient energy, have gradually become an important part of the future energy system and are energy terminals. At present, the ammonia-hydrogen zero-carbon combustion technology has successfully completed technical tests and demonstration production in the Oceano’s experimental kiln. In order to promote the industrial application of ammonia hydrogen zero carbon combustion technology, Monalisa has joined the industrialisation research project of this technology and launched the demonstration project. Based on the developed advanced ammonia hydrogen zero carbon combustion pilot test and pollutant emission detection and control pilot test, the advanced ammonia hydrogen zero carbon
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Basking in Rome’s Sun In Dhaka
Residing in a quiet corner in Dhaka’s Gulshan area, one can find a mini-Europe as soon as s/he spots Raffinato. “Raffinato Ristorante Italiano” – just by seeing the name, one can already sense its Italian essence. At the first glance, I noticed a cozy, two-story white house with an L-shaped stairway leading to a small balcony, which gave more of a European home vibe.
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Business -Of Verdant Backdrop Red Brick Surface and A Memorial Of Pride.
Architecture, in its own language, has the power to narrate stories, forge distinctive perspectives, and evoke profound emotions. The National Martyrs’ Memorial in Savar is one of those powerful architectures that bear the history and bravery of the nation with its grandeur and glory. Located in Savar, an industrial hub on the outskirts of Dhaka, the monument stands tall as an emblem of reverence, embodying the nation’s profound gratitude to those brave souls who made the ultimate sacrifice in the pursuit of self-determination for the Bengali people. After taking a short tour around it, visitors can’t help but feel a sense of awe and pride as they contemplate the nation’s immense history and resilience. The vast landscape, the luscious greenery surrounding it, and the soaring height of the establishment will remind of its relative insignificance in the grand scheme of things. The month of March in Bangladesh is a time of remembrance and reflection. For millions of Bangladeshis, Independence Day is a day of extraordinary sentiments, containing both happiness and grief as the country earned its sovereignty 54 years ago at the cost of 3 million lives. Three phases of construction: The National Martyrs’ Memorial is designed by architect Syed Mainul Hossain (1952-2014). With a distinguished jury, including architect Muzharul Islam, a national design competition for the monument took place in 1978. (The previous attempt didn’t yield any satisfactory results.) Among 57 contenders, the young 26-year-old architect Mainul emerged victorious with his standout design. The inception of the project dates back to 1972, marking the acquisition of approximately 110 acres by the government. Of this expanse, 84 acres were dedicated to the construction of the main complex, while the remaining land was set aside for a verdant land-water greenbelt. The initial phase saw the creation of access roads, laying the foundation for subsequent development. In the second phase spanning from 1974 to 1982, significant infrastructural elements such as mass graves, helipads, parking facilities, and pavements were meticulously established. Finally, the third phase in 1982 witnessed the realisation of the main monument, along with the establishment of the greenbelt and a cafeteria, concluding the completion of this national monumental endeavour. The main monument was built by Concord in 1982 in only 89 days. In 1988, architect Syed Mainul Hossain received the Ekushey Padak, one of the highest civilian honours of the country, in recognition of his profound contribution to Bangladesh’s cultural heritage. A sneak peek into this architectural marvel: The central structure of the National Martyrs’ Memorial comprises seven pairs of triangular shapes, each representing pivotal events that propelled Bangladesh towards its independence. Starting with the outermost and shortest triangle, the structures progressively increase in height, leading up to the innermost peak. This architectural metaphor symbolises the nation’s ascent despite formidable challenges. The monument is made of concrete, in contrast with the rest of the structures and pavements, which are made of red bricks. Its design offers a multifaceted viewing experience, presenting a symmetrical pyramid-like formation when observed from afar. However, closer inspection reveals a dynamic interplay of angles and perspectives, inviting visitors to explore its intricate details firsthand. Notably, the surface of the structure is intentionally uneven, mirroring the tumultuous journey towards freedom and independence. This tactile representation serves as a poignant reminder of the sacrifices made and the resilience required to overcome adversity. The whole campus is adorned with trees, walkways, an artificial lake, and a cafeteria. Interplay of numbers: Numerology serves as a hidden vital factor behind the intricate design of the National Monument, reminiscent of ancient architectural wonders like the Athenian Parthenon, where numbers were revered as the essence of aesthetic perfection and cosmic harmony. At the heart of this establishment lies the mystical number 7, symbolising the seven pivotal movements that shaped Bangladesh’s path to independence between 1952 and 1971. The first of these 7 historical contexts is the language movement of 1952. This was followed by the United Front elections of 1954, the Constitution Movement of 1956, the Education Movement of 1962, the Six-Point Movement of 1966, the People’s Uprising of 1969, and then the final victory through the Great Liberation War of 1971. However, these 7 pillars or the number 7 also have different implications if we look at them from different facets. For example, among others, the Language Movement in 1952 contains 5+2=7; December 16, the day of independence in 1971, has 1+6=7; and there were 7 Birsreshto (war heroes) who sacrificed their lives for the cause of liberation. Written Kaniz F. Supriya
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Business – Smart Fire Safety is a must for SMART BANGLADESH.
A three-day 9th International Fire Safety and Security Exhibition-2024 concluded with a focus on bolstering Bangladesh’s fire safety measures and aims to reduce fire risks, utilise modern equipment for safety, and raise awareness among the mass people. In the expo held on February 17-19, the people engaged in the industry underscored the need for amending the Bangladesh National Building Code (BNBC) 2020 as part of ensuring preventive measure of fire incidents and maintaining fire safety compliance in factories, housing and public infrastructure including mega projects. Held at the Bangabandhu International Conference Centre (BICC) in Dhaka, the expo was organised by Electronics Safety and Security Association of Bangladesh (ESSAB) in association with Bangladesh Fire Service and Civil Defence (BFSCD), Fire Fighting Equipment Business Owners Association of Bangladesh (FEBOAB), Federation of Bangladesh Chambers of Commerce and Industries (FBCCI), Bangladesh Garment Manufacturers and Exporters Association (BGMEA), Bangladesh Knitwear Manufacturers and Exporters Association (BKMEA), Bangladesh Textile Mills Association (BTMA), Dhaka North and South City Corporations, the Ministry of Commerce, and the Ministry of Home Affairs. More than 100 organisations from 30 countries including the USA, the UK, EU, China, India, the United Arab Emirates, and other Middle East countries took part in the expo. And more than 15,000 local and foreign visitors visited the expo. Salman F. Rahman, Private Industry and Investment Adviser to the Prime Minister, inaugurated the expo on February 17 while Fire Service and Civil Defence Director Brigadier General Mohammad Main Uddin, FBCCI President Mahbubul Alam and BGMEA President Faruque Hassan were present, among others. Brig. Gen. Main Uddin informed a seminar during the expo that the Fire Service and Civil Defence (FSCD) received 22,300 fire incidents per year but last year it was increased to 28,703 while on an average 150 deaths are recorded every year. In these incidents, an average loss was Tk 368 crore each year and the loss amounted to around Tk 793 crore last year. About 36 per cent fire incidents was caused by electricity last year, he added. Architect Iqbal Habib said using technology harnessing data from every level is a must to monitor and manage city infrastructure to build smart city and provide facilities to citizens. He also said if the soft copy of the building design is on the device, it will reach the fire fighters at the premises within a second. The PPP model will ensure smart safety and security solution to make sure that fire incident would not take place. Investment required for boosting the industry: With the expansion of industrialisation, the demand for fire safety and security equipment is rapidly growing in Bangladesh. But the country is still highly dependent on imported products. Industry insiders say Bangladesh has to depend on around 95 per cent import of the products. So, the country has a scope of attracting a huge investment, and also export the products meeting domestic demand for around Tk 15,000 crore market, if investors get adequate policy support from the government. ESSAB Safety Excellence Award 2024: A total of 13 organisations have been awarded at the expo for ensuring building code compliance and fire safety measures in residential, industrial, commercial buildings. Among them, Rancon Artisti Residences stood first in the residential building category, while Sheltech Rubynur stood second, and Concord Shapla third. In the Commercial Building Category, Shanta Forum, Concord MK Heritage and BGMEA Complex received the award as the First, Runner-Up and Second Runner-Up. Six companies jointly won the excellence award in the Industrial (RMG) category. Among them, Glamour Dresses Ltd. and Designtex Knitwear Ltd. were named the top winners. Tasniah Fabrics Ltd. and SQ Birichina Ltd. came next, followed by Sterling Denims Ltd. and Silken Sewing Ltd. Besides, BM Container Depot Ltd. received the award in the industrial other category. ESSAB also gave special recognition to five fire service personnel for their brave role in fire fighting and rescue operations. They are Deputy Assistant Director of Fire Service and Civil Defence Department Md. Faisalur Rahman and Mohammad Safiqul Islam, Senior Station Officer Md. Nazim Uddin Sarkar, Warehouse Inspector Md. Zahirul Islam and Fire Fighter Alhaj Miah. PPP required to explore untapped market: ESSAB: The ESSAB Secretary General, Zakir Uddin Ahmed, said the sector is important to protect people’s lives and properties from fire and earthquake incidents, and ensure sustainable economic development. So, what are needed include significant awareness, regular checks of the fire safety equipment, and use of quality materials. Mr. Zakir, also Chief Executive Officer of ZM International, stated that PPP is required to explore the untapped market. “We are ready to help investors here. So, policy assistance is the main issue to bring more investment. To create awareness, he fires safety issue should be included in textbooks,” he said adding that high import duty on the products is a key challenge in the industry. In this context, the government should provide all necessary facilities such as policy support, duty cut, and incentive so that investors come to invest in the sector.
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Business – A Glimpse of Timeless Elegance in the British-Pub Revival named BAGHA Club
Located in the Gulshan, Dhaka, the newly renovated bar of The British Aid Guest House Association (BAGHA) Club is a renovation project designed by Zero Inch Interiors Ltd. The British-Pub-inspired interior design of the BAGHA Club’s bar is conceptualised to transform the space into a comfortable and cozy space. The guiding vision for the interior design of the bar has aimed to offer club members a sanctuary – a place where they could briefly detach from their demanding routines, relax, and recharge in a welcoming atmosphere following a day of work. The British Aid Guest House Association (BAGHA) Club was established in 1979. It is a part of the British High Commission estate and proudly serves a wonderfully diverse mix of European Union nationals. Among various amenities that the club offers, including a tennis court, children’s play area, all-day restaurants, swimming pools, and a library, the bar stands out as a focal point of social interaction and relaxation. Recently undergoing a remarkable renovation by the design team of Zero Inch Interiors Ltd., the British-Pub-inspired interior now exudes a timeless charm that seamlessly blends the traditional British pub environment with modern aesthetics. The Concept Behind the Renovation Project The interior embodies a distinctive British Pub aesthetic, interpreting traditional British elements in a contemporary style. Sharing the concept of the BAGHA club, Architect Ariful Islam says, “The idea was to renovate the bar in resemblance to British pubs, while, at the same time, doing it with minimal intervention to make the space inviting, cozy, and long-lasting.” A wall was dismantled, which, in fact, made the most visible change and expanded the space. This step in design resulted in lightening up the atmosphere of the club. After rethinking the space, the modified open-plan layout ensured that the bar counter was transformed into a rectangular shape, making it interactive and interesting. The renovation overall, therefore, achieves a delicate balance between reflecting the charm of British pubs and infusing a modern, vibrant dynamism into the space. Challenges in the Interior Design Designed by architect Muhammad Ariful Islam and his team in a remarkably brief two-month timeframe, this 2800-square-foot contemporary renovation stands as a one-of-a-kind endeavour in Bangladesh. “We’re confined to some challenges as the site was a rental space, which dictated that major demolitions were not permissible here,” added the architect. The primary challenges faced by the design team during the construction phase of the bar interior design were centred around the principles of minimal design intervention, budget constraints, and the necessity to execute the design within a notably short timeframe. Balancing all these constraints required careful consideration and strategic decision-making to ensure the success and execution of the envisioned space. Color Palette and Materiality In this interior project, wood has been selected as the primary construction material, complemented by glass and metal details. The utilisation of wooden panels, intricate carvings, and carefully curated lighting collectively contribute to creating a cozy, warm, and inviting ambiance. Furthermore, the extensive collection of bar accessories enhances the overall visual appeal, adding a layer of sophistication to the space. A new bar counter along with bar stools have been incorporated into the bar interior design, and this rendition perfectly completes the bar. The stunning stools with red-wine upholstery add a dash of colour to the interior and complement the wooden tone. Lastly, the sophisticated chandeliers add a dramatic charm to the entire British Pub ambiance. Architect Ariful Islam explains, “We preferred Challenges in the Interior Design Designed by architect Muhammad Ariful Islam and his team in a remarkably brief two-month timeframe, this 2800-square-foot contemporary renovation stands as a one-of-a-kind endeavour in Bangladesh. “We’re confined to some challenges as the site was a rental space, which dictated that major demolitions were not permissible here,” added the architect. The primary challenges faced by the design team during the construction phase of the bar interior design were centred around the principles of minimal design intervention, budget constraints, and the necessity to execute the design within a notably short timeframe. Balancing all these constraints required careful consideration and strategic decision-making to ensure the success and execution of the envisioned space. Color Palette and Materiality In this interior project, wood has been selected as the primary construction material, complemented by glass and metal details. The utilisation of wooden panels, intricate carvings, and carefully curated lighting collectively contribute to creating a cozy, warm, and inviting ambiance. Furthermore, the extensive collection of bar accessories enhances the overall visual appeal, adding a layer of sophistication to the space. A new bar counter along with bar stools have been incorporated into the bar interior design, and this rendition perfectly completes the bar. The stunning stools with red-wine upholstery add a dash of colour to the interior and complement the wooden tone. Lastly, the sophisticated chandeliers add a dramatic charm to the entire British Pub ambiance. to choose wood as the primary material because when warm light falls on wood, it creates a golden effect. The red hues further enhance the vibrancy and liveliness of the space.” The ceiling is kept simple and devoid of (intricate) details, maintaining a blackout effect. The flooring features darker tones with rustic tiles adorned with wooden patterns. This careful selection of materials and design elements contributes to the overall coherence and elegance of the bar’s interior. Zero Waste Design Philosophy One mentionable feature of this renovation is the Zero Waste Design Philosophy of the design team. In adherence to this design philosophy, they embraced creative methods to repurpose furniture in the design of this bar. Through a commitment to sustainability, repurposed and recycled furniture, along with other items, were integrated into the overall design. Each furniture piece underwent resizing and repainting to align with current functional needs. Another key aspect of the sustainability initiative involved the replacement of all damaged glass windows, which were previously allowing rainwater to infiltrate the interior. By incorporating new, weather-resistant windows, they not only addressed the structural issues but also contributed to the energy efficiency of the
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Spotlight Of Verdant Backdrop Red Brick Surface and A Memorial Of Pride
Architecture, in its own language, has the power to narrate stories, forge distinctive perspectives, and evoke profound emotions. The National Martyrs’ Memorial in Savar is one of those powerful architectures that bear the history and bravery of the nation with its grandeur and glory. Located in Savar, an industrial hub on the outskirts of Dhaka, the monument stands tall as an emblem of reverence, embodying the nation’s profound gratitude to those brave souls who made the ultimate sacrifice in the pursuit of self-determination for the Bengali people. After taking a short tour around it, visitors can’t help but feel a sense of awe and pride as they contemplate the nation’s immense history and resilience. The vast landscape, the luscious greenery surrounding it, and the soaring height of the establishment will remind of its relative insignificance in the grand scheme of things. The month of March in Bangladesh is a time of remembrance and reflection. For millions of Bangladeshis, Independence Day is a day of extraordinary sentiments, containing both happiness and grief as the country earned its sovereignty 54 years ago at the cost of 3 million lives. Three phases of construction: The National Martyrs’ Memorial is designed by architect Syed Mainul Hossain (1952-2014). With a distinguished jury, including architect Muzharul Islam, a national design competition for the monument took place in 1978. (The previous attempt didn’t yield any satisfactory results.) Among 57 contenders, the young 26-year-old architect Mainul emerged victorious with his standout design. The inception of the project dates back to 1972, marking the acquisition of approximately 110 acres by the government. Of this expanse, 84 acres were dedicated to the construction of the main complex, while the remaining land was set aside for a verdant land-water greenbelt. The initial phase saw the creation of access roads, laying the foundation for subsequent development. In the second phase spanning from 1974 to 1982, significant infrastructural elements such as mass graves, helipads, parking facilities, and pavements were meticulously established. Finally, the third phase in 1982 witnessed the realisation of the main monument, along with the establishment of the greenbelt and a cafeteria, concluding the completion of this national monumental endeavour. The main monument was built by Concord in 1982 in only 89 days. In 1988, architect Syed Mainul Hossain received the Ekushey Padak, one of the highest civilian honours of the country, in recognition of his profound contribution to Bangladesh’s cultural heritage. A sneak peek into this architectural marvel: The central structure of the National Martyrs’ Memorial comprises seven pairs of triangular shapes, each representing pivotal events that propelled Bangladesh towards its independence. Starting with the outermost and shortest triangle, the structures progressively increase in height, leading up to the innermost peak. This architectural metaphor symbolises the nation’s ascent despite formidable challenges. The monument is made of concrete, in contrast with the rest of the structures and pavements, which are made of red bricks. Its design offers a multifaceted viewing experience, presenting a symmetrical pyramid-like formation when observed from afar. However, closer inspection reveals a dynamic interplay of angles and perspectives, inviting visitors to explore its intricate details firsthand. Notably, the surface of the structure is intentionally uneven, mirroring the tumultuous journey towards freedom and independence. This tactile representation serves as a poignant reminder of the sacrifices made and the resilience required to overcome adversity. The whole campus is adorned with trees, walkways, an artificial lake, and a cafeteria. Interplay of numbers: Numerology serves as a hidden vital factor behind the intricate design of the National Monument, reminiscent of ancient architectural wonders like the Athenian Parthenon, where numbers were revered as the essence of aesthetic perfection and cosmic harmony. At the heart of this establishment lies the mystical number 7, symbolising the seven pivotal movements that shaped Bangladesh’s path to independence between 1952 and 1971. The first of these 7 historical contexts is the language movement of 1952. This was followed by the United Front elections of 1954, the Constitution Movement of 1956, the Education Movement of 1962, the Six-Point Movement of 1966, the People’s Uprising of 1969, and then the final victory through the Great Liberation War of 1971. However, these 7 pillars or the number 7 also have different implications if we look at them from different facets. For example, among others, the Language Movement in 1952 contains 5+2=7; December 16, the day of independence in 1971, has 1+6=7; and there were 7 Birsreshto (war heroes) who sacrificed their lives for the cause of liberation. Written Kaniz F. Supriya
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Spotlight Smart Fire Safety is a must for SMART BANGLADESH
A three-day 9th International Fire Safety and Security Exhibition-2024 concluded with a focus on bolstering Bangladesh’s fire safety measures and aims to reduce fire risks, utilise modern equipment for safety, and raise awareness among the mass people. In the expo held on February 17-19, the people engaged in the industry underscored the need for amending the Bangladesh National Building Code (BNBC) 2020 as part of ensuring preventive measure of fire incidents and maintaining fire safety compliance in factories, housing and public infrastructure including mega projects. Held at the Bangabandhu International Conference Centre (BICC) in Dhaka, the expo was organised by Electronics Safety and Security Association of Bangladesh (ESSAB) in association with Bangladesh Fire Service and Civil Defence (BFSCD), Fire Fighting Equipment Business Owners Association of Bangladesh (FEBOAB), Federation of Bangladesh Chambers of Commerce and Industries (FBCCI), Bangladesh Garment Manufacturers and Exporters Association (BGMEA), Bangladesh Knitwear Manufacturers and Exporters Association (BKMEA), Bangladesh Textile Mills Association (BTMA), Dhaka North and South City Corporations, the Ministry of Commerce, and the Ministry of Home Affairs. More than 100 organisations from 30 countries including the USA, the UK, EU, China, India, the United Arab Emirates, and other Middle East countries took part in the expo. And more than 15,000 local and foreign visitors visited the expo. Salman F. Rahman, Private Industry and Investment Adviser to the Prime Minister, inaugurated the expo on February 17 while Fire Service and Civil Defence Director Brigadier General Mohammad Main Uddin, FBCCI President Mahbubul Alam and BGMEA President Faruque Hassan were present, among others. Brig. Gen. Main Uddin informed a seminar during the expo that the Fire Service and Civil Defence (FSCD) received 22,300 fire incidents per year but last year it was increased to 28,703 while on an average 150 deaths are recorded every year. In these incidents, an average loss was Tk 368 crore each year and the loss amounted to around Tk 793 crore last year. About 36 per cent fire incidents was caused by electricity last year, he added. Architect Iqbal Habib said using technology harnessing data from every level is a must to monitor and manage city infrastructure to build smart city and provide facilities to citizens. He also said if the soft copy of the building design is on the device, it will reach the fire fighters at the premises within a second. The PPP model will ensure smart safety and security solution to make sure that fire incident would not take place. Investment required for boosting the industry: With the expansion of industrialisation, the demand for fire safety and security equipment is rapidly growing in Bangladesh. But the country is still highly dependent on imported products. Industry insiders say Bangladesh has to depend on around 95 per cent import of the products. So, the country has a scope of attracting a huge investment, and also export the products meeting domestic demand for around Tk 15,000 crore market, if investors get adequate policy support from the government. ESSAB Safety Excellence Award 2024: A total of 13 organisations have been awarded at the expo for ensuring building code compliance and fire safety measures in residential, industrial, commercial buildings. Among them, Rancon Artisti Residences stood first in the residential building category, while Sheltech Rubynur stood second, and Concord Shapla third. In the Commercial Building Category, Shanta Forum, Concord MK Heritage and BGMEA Complex received the award as the First, Runner-Up and Second Runner-Up. Six companies jointly won the excellence award in the Industrial (RMG) category. Among them, Glamour Dresses Ltd. and Designtex Knitwear Ltd. were named the top winners. Tasniah Fabrics Ltd. and SQ Birichina Ltd. came next, followed by Sterling Denims Ltd. and Silken Sewing Ltd. Besides, BM Container Depot Ltd. received the award in the industrial other category. ESSAB also gave special recognition to five fire service personnel for their brave role in fire fighting and rescue operations. They are Deputy Assistant Director of Fire Service and Civil Defence Department Md. Faisalur Rahman and Mohammad Safiqul Islam, Senior Station Officer Md. Nazim Uddin Sarkar, Warehouse Inspector Md. Zahirul Islam and Fire Fighter Alhaj Miah. PPP required to explore untapped market: ESSAB: The ESSAB Secretary General, Zakir Uddin Ahmed, said the sector is important to protect people’s lives and properties from fire and earthquake incidents, and ensure sustainable economic development. So, what are needed include significant awareness, regular checks of the fire safety equipment, and use of quality materials. Mr. Zakir, also Chief Executive Officer of ZM International, stated that PPP is required to explore the untapped market. “We are ready to help investors here. So, policy assistance is the main issue to bring more investment. To create awareness, he fires safety issue should be included in textbooks,” he said adding that high import duty on the products is a key challenge in the industry. In this context, the government should provide all necessary facilities such as policy support, duty cut, and incentive so that investors come to invest in the sector.
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A Glimpse of Timeless Elegance in the British-Pub Revival named BAGHA Club
Located in the Gulshan, Dhaka, the newly renovated bar of The British Aid Guest House Association (BAGHA) Club is a renovation project designed by Zero Inch Interiors Ltd. The British-Pub-inspired interior design of the BAGHA Club’s bar is conceptualised to transform the space into a comfortable and cozy space. The guiding vision for the interior design of the bar has aimed to offer club members a sanctuary – a place where they could briefly detach from their demanding routines, relax, and recharge in a welcoming atmosphere following a day of work. The British Aid Guest House Association (BAGHA) Club was established in 1979. It is a part of the British High Commission estate and proudly serves a wonderfully diverse mix of European Union nationals. Among various amenities that the club offers, including a tennis court, children’s play area, all-day restaurants, swimming pools, and a library, the bar stands out as a focal point of social interaction and relaxation. Recently undergoing a remarkable renovation by the design team of Zero Inch Interiors Ltd., the British-Pub-inspired interior now exudes a timeless charm that seamlessly blends the traditional British pub environment with modern aesthetics. The Concept Behind the Renovation Project The interior embodies a distinctive British Pub aesthetic, interpreting traditional British elements in a contemporary style. Sharing the concept of the BAGHA club, Architect Ariful Islam says, “The idea was to renovate the bar in resemblance to British pubs, while, at the same time, doing it with minimal intervention to make the space inviting, cozy, and long-lasting.” A wall was dismantled, which, in fact, made the most visible change and expanded the space. This step in design resulted in lightening up the atmosphere of the club. After rethinking the space, the modified open-plan layout ensured that the bar counter was transformed into a rectangular shape, making it interactive and interesting. The renovation overall, therefore, achieves a delicate balance between reflecting the charm of British pubs and infusing a modern, vibrant dynamism into the space. Challenges in the Interior Design Designed by architect Muhammad Ariful Islam and his team in a remarkably brief two-month timeframe, this 2800-square-foot contemporary renovation stands as a one-of-a-kind endeavour in Bangladesh. “We’re confined to some challenges as the site was a rental space, which dictated that major demolitions were not permissible here,” added the architect. The primary challenges faced by the design team during the construction phase of the bar interior design were centred around the principles of minimal design intervention, budget constraints, and the necessity to execute the design within a notably short timeframe. Balancing all these constraints required careful consideration and strategic decision-making to ensure the success and execution of the envisioned space. Color Palette and Materiality In this interior project, wood has been selected as the primary construction material, complemented by glass and metal details. The utilisation of wooden panels, intricate carvings, and carefully curated lighting collectively contribute to creating a cozy, warm, and inviting ambiance. Furthermore, the extensive collection of bar accessories enhances the overall visual appeal, adding a layer of sophistication to the space. A new bar counter along with bar stools have been incorporated into the bar interior design, and this rendition perfectly completes the bar. The stunning stools with red-wine upholstery add a dash of colour to the interior and complement the wooden tone. Lastly, the sophisticated chandeliers add a dramatic charm to the entire British Pub ambiance. Architect Ariful Islam explains, “We preferred Challenges in the Interior Design Designed by architect Muhammad Ariful Islam and his team in a remarkably brief two-month timeframe, this 2800-square-foot contemporary renovation stands as a one-of-a-kind endeavour in Bangladesh. “We’re confined to some challenges as the site was a rental space, which dictated that major demolitions were not permissible here,” added the architect. The primary challenges faced by the design team during the construction phase of the bar interior design were centred around the principles of minimal design intervention, budget constraints, and the necessity to execute the design within a notably short timeframe. Balancing all these constraints required careful consideration and strategic decision-making to ensure the success and execution of the envisioned space. Color Palette and Materiality In this interior project, wood has been selected as the primary construction material, complemented by glass and metal details. The utilisation of wooden panels, intricate carvings, and carefully curated lighting collectively contribute to creating a cozy, warm, and inviting ambiance. Furthermore, the extensive collection of bar accessories enhances the overall visual appeal, adding a layer of sophistication to the space. A new bar counter along with bar stools have been incorporated into the bar interior design, and this rendition perfectly completes the bar. The stunning stools with red-wine upholstery add a dash of colour to the interior and complement the wooden tone. Lastly, the sophisticated chandeliers add a dramatic charm to the entire British Pub ambiance. to choose wood as the primary material because when warm light falls on wood, it creates a golden effect. The red hues further enhance the vibrancy and liveliness of the space.” The ceiling is kept simple and devoid of (intricate) details, maintaining a blackout effect. The flooring features darker tones with rustic tiles adorned with wooden patterns. This careful selection of materials and design elements contributes to the overall coherence and elegance of the bar’s interior. Zero Waste Design Philosophy One mentionable feature of this renovation is the Zero Waste Design Philosophy of the design team. In adherence to this design philosophy, they embraced creative methods to repurpose furniture in the design of this bar. Through a commitment to sustainability, repurposed and recycled furniture, along with other items, were integrated into the overall design. Each furniture piece underwent resizing and repainting to align with current functional needs. Another key aspect of the sustainability initiative involved the replacement of all damaged glass windows, which were previously allowing rainwater to infiltrate the interior. By incorporating new, weather-resistant windows, they not only addressed the structural issues but also contributed to the energy efficiency of the
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Spotlight Artisan Ceramics at the forefront (04)
Amongst the Royal collection in the Buckingham Palace resides gold-covered renditions of Artisan Ceramics. From a company struggling to export, to winning the national export trophy five times in a row, Artisan Ceramics has seen 3 times expansion over the past few years. The entirety of a company’s growth and success inevitably relies on the decisions made internally. Artisan Ceramics Ltd. suffered significant loss until 2011. With new leadership under Finlays, and a change in the modality of business and redesigning, it now has a factory constructed across six acres of land in Sreepur, Gazipur, and a capacity of producing 10 million pieces of assorted premium quality porcelain tableware annually. The current expansion will raise this capacity to 22 million. Artisan Ceramics is an export-oriented tableware company that supplies to over 20 countries across Europe, America, and Asia, and has evolved into a leading manufacturer with no stop to its growth. The company has a contribution of 12-15 percent in the national export revenue. Surely, success in such a short time is a wonder on its own. To find out more, Ceramic Bangladesh Magazine author recently had the opportunity to discuss the adaptations of Artisan Ceramics that led to its success, with M. Mamunur Rashid, CEO of Artisan Ceramics Ltd. Here’s what we’ve learned: The first adaptation Artisan knew Saggar firing was wasteful Saggar or Saguaro is a covering used over ceramic ware when under intensive firing in the kilns. This protection helps safeguard the ware from coming in direct contact with the Kiln, debris inside the kiln, and other gases and smoke. The problem with saggar firing is that the saggar heats up first and then transfers the heat to the product; this makes the process 15-hour long cycle. With Artisan’s adaptation, open and fast firing, it’s a six-hour firing process. “Time-wise and price-wise, Saggar is inefficient. Again, there is the cost of the man behind the machine,” says Mr. Rashid. Fired three times for a longer life! “I have traveled across more than 10 countries just to see the technology companies have adopted, and learned, that the type of products we tend to manufacture are widely unavailable,” said Mr. Rashid. “We have products that have been fired three times, which make them much more durable. These products are more popular in Europe since they are more durable and can withstand knives and forks,” he added. At Artisan, products are fired at high degrees of temperatures — 1330°C to 1350°C, about 100° higher than the global rivals. Discussing global demand with relevance to this particular firing process, we find: “The hard glaze we are using, makes the product stronger, more scratch-proof, and absorption free,” said Mr. Rashid. The global demand has shifted towards such products because of such features. Raw materials sourced from around the world Artisan Ceramics sources its raw materials from almost every corner of the globe –the UK, Germany, Italy, New Zealand, Vietnam, Japan, China, and India are some of them. The two types of minerals that make up for 50% of the body, feldspar, and quartz, are brought in from Rajasthan, India. The company also imports alumina which is used to make the body stronger and helps meet HoReCa standards. “Using the best quality raw material with a natural colour is important because the glaze is translucent and the body colour is what you see,” he said. These designs are in trend now and a personal favourite of Mr. Rashid. The company even imports from specific mines. Furthermore, Artisan buys the best quality gold from Heraeus Germany and colors from Izawa Pigments, Japan. Innovative Designs that go well with the trend, and the technology behind it. Artisan is constantly working on new designs. “We are innovating and have recently created double-layer body tea cup that keeps tea & coffee warm for a longer period of time,” Mr. Rashid mentioned. The design depends on customer trends and comes in cyclic order, says Mr. Rashid. Something that is currently trending are reactive glazes where you allow the finishing to be exactly how the kilns are making them fascinate many people. “Keeping up with the ever-evolving trends is a constant challenge, but traditional designs have resurfaced and are a popular preference now,” said Mr. Rashid. Artisan will be introducing a certain collection inspired by the Rajasthani culture. A designer from Sri Lanka by the name of Sudath Fernando is also coming in to train employees. Stay tuned with us for future features. Regarding technology, he said: “We want to make our factory fuel efficient. Our dryers are like ovens that collect heat and reuse it. I have visited a few factories in Europe and have seen how they are doing things, we have called SACMI, Italy, to help us upgrade.” The machines at Artisan’s factory are from the USA, the UK, Japan, Taiwan, and China. Artisan has taken green initiatives- they refine and reuse 90% of wastewater, collect rainwater in underground tanks, and reuse heat from the ovens. The company purifies water to the extent that it can be used for irrigation. “Every factory is concerned and the government is putting emphasis on sustainable approaches,” stated Mr. Rashid. Artisan’s plan to sell in bulk Following the recent expansion, Artisan is now concentrating on bulk buyers- examples would be hypermarkets. The marketing team is also trying to bring about a trend change by promoting the use of porcelain over bone china. This is because the water absorption of Bone China is high, it loses colour, and porcelain survives longer. Ultra Bone Porcelain: the newest innovation from Artisan Some customers are price-centric and some look for quality. That is why Artisan needed to innovate a new product retaining the same mechanical strength of pure porcelain and exceptional whiteness that was sure to win people over. Henceforth, came the Ultra Bone Porcelain. Mr. Rashid introduced a special body that can beat the competition and customers are willing to pay premium price for it. Artisan performs CSR Artisan gives education
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Artisan Ceramics at the forefront
Amongst the Royal collection in the Buckingham Palace resides gold-covered renditions of Artisan Ceramics. From a company struggling to export, to winning the national export trophy five times in a row, Artisan Ceramics has seen 3 times expansion over the past few years. The entirety of a company’s growth and success inevitably relies on the decisions made internally. Artisan Ceramics Ltd. suffered significant loss until 2011. With new leadership under Finlays, and a change in the modality of business and redesigning, it now has a factory constructed across six acres of land in Sreepur, Gazipur, and a capacity of producing 10 million pieces of assorted premium quality porcelain tableware annually. The current expansion will raise this capacity to 22 million. Artisan Ceramics is an export-oriented tableware company that supplies to over 20 countries across Europe, America, and Asia, and has evolved into a leading manufacturer with no stop to its growth. The company has a contribution of 12-15 percent in the national export revenue. Surely, success in such a short time is a wonder on its own. To find out more, Ceramic Bangladesh Magazine author recently had the opportunity to discuss the adaptations of Artisan Ceramics that led to its success, with M. Mamunur Rashid, CEO of Artisan Ceramics Ltd. Here’s what we’ve learned: The first adaptation Artisan knew Saggar firing was wasteful Saggar or Saguaro is a covering used over ceramic ware when under intensive firing in the kilns. This protection helps safeguard the ware from coming in direct contact with the Kiln, debris inside the kiln, and other gases and smoke. The problem with saggar firing is that the saggar heats up first and then transfers the heat to the product; this makes the process 15-hour long cycle. With Artisan’s adaptation, open and fast firing, it’s a six-hour firing process. “Time-wise and price-wise, Saggar is inefficient. Again, there is the cost of the man behind the machine,” says Mr. Rashid. Fired three times for a longer life! “I have traveled across more than 10 countries just to see the technology companies have adopted, and learned, that the type of products we tend to manufacture are widely unavailable,” said Mr. Rashid. “We have products that have been fired three times, which make them much more durable. These products are more popular in Europe since they are more durable and can withstand knives and forks,” he added. At Artisan, products are fired at high degrees of temperatures — 1330°C to 1350°C, about 100° higher than the global rivals. Discussing global demand with relevance to this particular firing process, we find: “The hard glaze we are using, makes the product stronger, more scratch-proof, and absorption free,” said Mr. Rashid. The global demand has shifted towards such products because of such features. Raw materials sourced from around the world Artisan Ceramics sources its raw materials from almost every corner of the globe –the UK, Germany, Italy, New Zealand, Vietnam, Japan, China, and India are some of them. The two types of minerals that make up for 50% of the body, feldspar, and quartz, are brought in from Rajasthan, India. The company also imports alumina which is used to make the body stronger and helps meet HoReCa standards. “Using the best quality raw material with a natural colour is important because the glaze is translucent and the body colour is what you see,” he said. These designs are in trend now and a personal favourite of Mr. Rashid. The company even imports from specific mines. Furthermore, Artisan buys the best quality gold from Heraeus Germany and colors from Izawa Pigments, Japan. Innovative Designs that go well with the trend, and the technology behind it. Artisan is constantly working on new designs. “We are innovating and have recently created double-layer body tea cup that keeps tea & coffee warm for a longer period of time,” Mr. Rashid mentioned. The design depends on customer trends and comes in cyclic order, says Mr. Rashid. Something that is currently trending are reactive glazes where you allow the finishing to be exactly how the kilns are making them fascinate many people. “Keeping up with the ever-evolving trends is a constant challenge, but traditional designs have resurfaced and are a popular preference now,” said Mr. Rashid. Artisan will be introducing a certain collection inspired by the Rajasthani culture. A designer from Sri Lanka by the name of Sudath Fernando is also coming in to train employees. Stay tuned with us for future features. Regarding technology, he said: “We want to make our factory fuel efficient. Our dryers are like ovens that collect heat and reuse it. I have visited a few factories in Europe and have seen how they are doing things, we have called SACMI, Italy, to help us upgrade.” The machines at Artisan’s factory are from the USA, the UK, Japan, Taiwan, and China. Artisan has taken green initiatives- they refine and reuse 90% of wastewater, collect rainwater in underground tanks, and reuse heat from the ovens. The company purifies water to the extent that it can be used for irrigation. “Every factory is concerned and the government is putting emphasis on sustainable approaches,” stated Mr. Rashid. Artisan’s plan to sell in bulk Following the recent expansion, Artisan is now concentrating on bulk buyers- examples would be hypermarkets. The marketing team is also trying to bring about a trend change by promoting the use of porcelain over bone china. This is because the water absorption of Bone China is high, it loses colour, and porcelain survives longer. Ultra Bone Porcelain: the newest innovation from Artisan Some customers are price-centric and some look for quality. That is why Artisan needed to innovate a new product retaining the same mechanical strength of pure porcelain and exceptional whiteness that was sure to win people over. Henceforth, came the Ultra Bone Porcelain. Mr. Rashid introduced a special body that can beat the competition and customers are willing to pay premium price for it. Artisan performs CSR Artisan gives education
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Smart Fire Safety is a must for SMART BANGLADESH
A three-day 9th International Fire Safety and Security Exhibition-2024 concluded with a focus on bolstering Bangladesh’s fire safety measures and aims to reduce fire risks, utilise modern equipment for safety, and raise awareness among the mass people. In the expo held on February 17-19, the people engaged in the industry underscored the need for amending the Bangladesh National Building Code (BNBC) 2020 as part of ensuring preventive measure of fire incidents and maintaining fire safety compliance in factories, housing and public infrastructure including mega projects. Held at the Bangabandhu International Conference Centre (BICC) in Dhaka, the expo was organised by Electronics Safety and Security Association of Bangladesh (ESSAB) in association with Bangladesh Fire Service and Civil Defence (BFSCD), Fire Fighting Equipment Business Owners Association of Bangladesh (FEBOAB), Federation of Bangladesh Chambers of Commerce and Industries (FBCCI), Bangladesh Garment Manufacturers and Exporters Association (BGMEA), Bangladesh Knitwear Manufacturers and Exporters Association (BKMEA), Bangladesh Textile Mills Association (BTMA), Dhaka North and South City Corporations, the Ministry of Commerce, and the Ministry of Home Affairs. More than 100 organisations from 30 countries including the USA, the UK, EU, China, India, the United Arab Emirates, and other Middle East countries took part in the expo. And more than 15,000 local and foreign visitors visited the expo. Salman F. Rahman, Private Industry and Investment Adviser to the Prime Minister, inaugurated the expo on February 17 while Fire Service and Civil Defence Director Brigadier General Mohammad Main Uddin, FBCCI President Mahbubul Alam and BGMEA President Faruque Hassan were present, among others. Brig. Gen. Main Uddin informed a seminar during the expo that the Fire Service and Civil Defence (FSCD) received 22,300 fire incidents per year but last year it was increased to 28,703 while on an average 150 deaths are recorded every year. In these incidents, an average loss was Tk 368 crore each year and the loss amounted to around Tk 793 crore last year. About 36 per cent fire incidents was caused by electricity last year, he added. Architect Iqbal Habib said using technology harnessing data from every level is a must to monitor and manage city infrastructure to build smart city and provide facilities to citizens. He also said if the soft copy of the building design is on the device, it will reach the fire fighters at the premises within a second. The PPP model will ensure smart safety and security solution to make sure that fire incident would not take place. Investment required for boosting the industry: With the expansion of industrialisation, the demand for fire safety and security equipment is rapidly growing in Bangladesh. But the country is still highly dependent on imported products. Industry insiders say Bangladesh has to depend on around 95 per cent import of the products. So, the country has a scope of attracting a huge investment, and also export the products meeting domestic demand for around Tk 15,000 crore market, if investors get adequate policy support from the government. ESSAB Safety Excellence Award 2024: A total of 13 organisations have been awarded at the expo for ensuring building code compliance and fire safety measures in residential, industrial, commercial buildings. Among them, Rancon Artisti Residences stood first in the residential building category, while Sheltech Rubynur stood second, and Concord Shapla third. In the Commercial Building Category, Shanta Forum, Concord MK Heritage and BGMEA Complex received the award as the First, Runner-Up and Second Runner-Up. Six companies jointly won the excellence award in the Industrial (RMG) category. Among them, Glamour Dresses Ltd. and Designtex Knitwear Ltd. were named the top winners. Tasniah Fabrics Ltd. and SQ Birichina Ltd. came next, followed by Sterling Denims Ltd. and Silken Sewing Ltd. Besides, BM Container Depot Ltd. received the award in the industrial other category. ESSAB also gave special recognition to five fire service personnel for their brave role in fire fighting and rescue operations. They are Deputy Assistant Director of Fire Service and Civil Defence Department Md. Faisalur Rahman and Mohammad Safiqul Islam, Senior Station Officer Md. Nazim Uddin Sarkar, Warehouse Inspector Md. Zahirul Islam and Fire Fighter Alhaj Miah. PPP required to explore untapped market: ESSAB: The ESSAB Secretary General, Zakir Uddin Ahmed, said the sector is important to protect people’s lives and properties from fire and earthquake incidents, and ensure sustainable economic development. So, what are needed include significant awareness, regular checks of the fire safety equipment, and use of quality materials. Mr. Zakir, also Chief Executive Officer of ZM International, stated that PPP is required to explore the untapped market. “We are ready to help investors here. So, policy assistance is the main issue to bring more investment. To create awareness, he fires safety issue should be included in textbooks,” he said adding that high import duty on the products is a key challenge in the industry. In this context, the government should provide all necessary facilities such as policy support, duty cut, and incentive so that investors come to invest in the sector.
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Of Verdant Backdrop Red Brick Surface and A Memorial Of Pride
Architecture, in its own language, has the power to narrate stories, forge distinctive perspectives, and evoke profound emotions. The National Martyrs’ Memorial in Savar is one of those powerful architectures that bear the history and bravery of the nation with its grandeur and glory. Located in Savar, an industrial hub on the outskirts of Dhaka, the monument stands tall as an emblem of reverence, embodying the nation’s profound gratitude to those brave souls who made the ultimate sacrifice in the pursuit of self-determination for the Bengali people. After taking a short tour around it, visitors can’t help but feel a sense of awe and pride as they contemplate the nation’s immense history and resilience. The vast landscape, the luscious greenery surrounding it, and the soaring height of the establishment will remind of its relative insignificance in the grand scheme of things. The month of March in Bangladesh is a time of remembrance and reflection. For millions of Bangladeshis, Independence Day is a day of extraordinary sentiments, containing both happiness and grief as the country earned its sovereignty 54 years ago at the cost of 3 million lives. Three phases of construction: The National Martyrs’ Memorial is designed by architect Syed Mainul Hossain (1952-2014). With a distinguished jury, including architect Muzharul Islam, a national design competition for the monument took place in 1978. (The previous attempt didn’t yield any satisfactory results.) Among 57 contenders, the young 26-year-old architect Mainul emerged victorious with his standout design. The inception of the project dates back to 1972, marking the acquisition of approximately 110 acres by the government. Of this expanse, 84 acres were dedicated to the construction of the main complex, while the remaining land was set aside for a verdant land-water greenbelt. The initial phase saw the creation of access roads, laying the foundation for subsequent development. In the second phase spanning from 1974 to 1982, significant infrastructural elements such as mass graves, helipads, parking facilities, and pavements were meticulously established. Finally, the third phase in 1982 witnessed the realisation of the main monument, along with the establishment of the greenbelt and a cafeteria, concluding the completion of this national monumental endeavour. The main monument was built by Concord in 1982 in only 89 days. In 1988, architect Syed Mainul Hossain received the Ekushey Padak, one of the highest civilian honours of the country, in recognition of his profound contribution to Bangladesh’s cultural heritage. A sneak peek into this architectural marvel: The central structure of the National Martyrs’ Memorial comprises seven pairs of triangular shapes, each representing pivotal events that propelled Bangladesh towards its independence. Starting with the outermost and shortest triangle, the structures progressively increase in height, leading up to the innermost peak. This architectural metaphor symbolises the nation’s ascent despite formidable challenges. The monument is made of concrete, in contrast with the rest of the structures and pavements, which are made of red bricks. Its design offers a multifaceted viewing experience, presenting a symmetrical pyramid-like formation when observed from afar. However, closer inspection reveals a dynamic interplay of angles and perspectives, inviting visitors to explore its intricate details firsthand. Notably, the surface of the structure is intentionally uneven, mirroring the tumultuous journey towards freedom and independence. This tactile representation serves as a poignant reminder of the sacrifices made and the resilience required to overcome adversity. The whole campus is adorned with trees, walkways, an artificial lake, and a cafeteria. Interplay of numbers: Numerology serves as a hidden vital factor behind the intricate design of the National Monument, reminiscent of ancient architectural wonders like the Athenian Parthenon, where numbers were revered as the essence of aesthetic perfection and cosmic harmony. At the heart of this establishment lies the mystical number 7, symbolising the seven pivotal movements that shaped Bangladesh’s path to independence between 1952 and 1971. The first of these 7 historical contexts is the language movement of 1952. This was followed by the United Front elections of 1954, the Constitution Movement of 1956, the Education Movement of 1962, the Six-Point Movement of 1966, the People’s Uprising of 1969, and then the final victory through the Great Liberation War of 1971. However, these 7 pillars or the number 7 also have different implications if we look at them from different facets. For example, among others, the Language Movement in 1952 contains 5+2=7; December 16, the day of independence in 1971, has 1+6=7; and there were 7 Birsreshto (war heroes) who sacrificed their lives for the cause of liberation. Written Kaniz F. Supriya
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A Historical Breakthrough in Ceramic Industry!
China’s ceramic industry has achieved a historic milestone in the goal of carbon neutrality. After nearly one year’s hard research work, the world’s first piece of ceramic tile fired with zero-carbon fuel was successfully produced in Oceano Test Center, giving a great technological support to the building ceramic industry in realising the target of Carbon Peak and Carbon Neutral. It was announced at a press conference in Foshan Xianhu Lab on December 23, 2022, the world’s first piece of ceramic tile f ired with zero-carbon pure ammonia fuel has successfully exited the Ammonia-fueled Roller Kiln at Oceano Test Center. The Associated R&D Center on Advanced Zero-carbon Combustion Technology was jointly established by Foshan Xianhu Lab, Oceano Ceramics and DLT Technology on December 27, 2021. HLT & DLT are the world’s leading suppliers of complete plant equipment for the ceramic sector. To provide turnkey project solutions to the global ceramic industry, Foshan HLT DLT Technology has been the first tunnel kiln that integrated green, low-carbon, and intelligent automation for the Chinese ceramic machinery industry to enter. Headed by Academician Mr. Cheng Yibing, a strategic scientist working at Foshan Xianhu Lab, as Chief Director of the center, the lab was aiming at the key technology of zero-carbon combustion in ceramic kilns to explore new solutions for Chinese ceramic industry. By giving full play to the advantages of the three parties in terms of production, developing and research, the center has developed the “ammonia-hydrogen fusion zero-carbon combustion technology” as well as key systems and solutions for the industrialisation. The center has developed a new series of pure ammonia type and natural gas – ammonia mixture type industrial burners with related auxiliary technologies, having realised stable ignitions in DLT industrial experiment kiln fueled with mixed ammonia and pure ammonia, showing good control of nitrogen oxides emission in compliance with the national standards. This achievement has confirmed for the first time the practical feasibility for the ceramic industry to achieve carbon peak and carbon neutral technology’s industrialisation in the future, marking an important milestone for the industry. The f iring of ceramics with zero-carbon fuel is a disruptive technical innovation, having filled up blanks of both domestic and international, showing a new energy technological path for the ceramic industry as well as for the whole of building material industry to achieve carbon peak and carbon neutral goal with great practical significance. While developing the zero-carbon combustion technology, the team also established a set of safety system and emergency management measures suitable for ammonia-fueled ceramic kilns, including operating procedures, ammonia storage, transportation and other important aspects. Based on this, the team successfully completed the update of Oceano’s ceramic roller kiln by converting the kiln from natural gas fueled mode into pure ammonia and natural gas – ammonia mixture fueled mode. Moreover, it has also developed a precision control system for liquid ammonia evaporation and supply, which is monitoring system for residual ammonia in the fume, and has jointly developed a complete set of high-efficiency liquid ammonia SCR de-nitrification system as well as other technologies and equipment. suitable for the pure ammonia combustion, an online On December 18, 2022, the kiln fueled with 100% ammonia (NH3) successfully produced glazed and unglazed tiles with continuous tile feeding and production. Tested by Oceano Research & Development Center, the quality of finished tiles is above the national standard. According to the on-site test by a third-party environmental assessment agency, the exhausted fume emission of the kiln complies to the national standard. As the first thermal equipment manufacturer to participate in the research and development of Ammonia-Hydrogen Zero-Carbon Combustion Advanced Technology, DLT has been focusing on the energy saving and emission reduction of kilns and dryers for the ceramic industry, and has been contributing greatly to the industry’s carbon consumption reduction in order to undertake its social responsibility. In future, the Associated R&D Center on Advanced Zero-carbon Combustion Technology will be further utilised in the application of mass production in the industry on the basis of the results from this pilot production, and will keep breaking through and optimising the new technology adapting with mass production, as a contribution to the ceramic industry as well as the building material industry to achieve the goal of carbon peak and carbon neutral, in order to create a disruptive technological path leading from “0” into “1” as being the first time in the world. Project Initiation: Ammonia-Hydrogen Zero-Carbon Combustion Tech When the zero carbon combustion chemical equation appeared on the screen of the launch ceremony, it marked a significant breakthrough in carbon neutrality technology. On December 28, the “Advanced Ammonia-Hydrogen Zero-Carbon Combustion Technology Demonstration Project for Ceramic Slab and Tile Mass Production Line” (“Ammonia Hydrogen Zero Carbon Combustion Project”) was officially launched at the headquarters of Monalisa Group. This is a new path explored by Monalisa in collaboration with Foshan Xianhu Laboratory, DLT, Oceano, Guangdong Anqing Technology and other companies to build ceramic zero carbon manufacturing and green development, which marks a major step forward for the industrial application of carbon-neutral technology in China’s ceramics industry, and is of great significance for accelerating the green and low-carbon transformation and development of the industry. Ammonia-hydrogen Zero-Carbon combustion technology to explore the optimal solution for the path of carbon neutrality and emission peak. With the current carbon neutrality and emission peak strategy, hydrogen energy and ammonia energy, as renewable green energy sources with high energy density, good storage and transportation convenience, clean and efficient energy, have gradually become an important part of the future energy system and are energy terminals. At present, the ammonia-hydrogen zero-carbon combustion technology has successfully completed technical tests and demonstration production in the Oceano’s experimental kiln. In order to promote the industrial application of ammonia hydrogen zero carbon combustion technology, Monalisa has joined the industrialisation research project of this technology and launched the demonstration project. Based on the developed advanced ammonia hydrogen zero carbon combustion pilot test and pollutant emission detection and control pilot test, the advanced ammonia hydrogen zero carbon
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Kamalapur Railway Station: A Gateway to Journeys in Bangladesh
Kamalapur Railway Station, officially known as Dhaka Central Railway Station, stands as a bustling gateway to the vibrant capital city of Dhaka. Nestled in the heart of the city, this vital transportation hub connects travellers to all major cities in Bangladesh. As the largest and busiest railway station in the country, Kamalapur serves as a crucial link, facilitating journeys both near and far. Its rich history, architectural significance, and constant activity make it an iconic landmark. With a unique design and historical roots, Kamalapur Railway Station weaves together the fabric of Bangladesh’s rail network. The station’s significance has increased following the opening of the Padma Bridge. Kamalapur Railway Station (KRS), steeped in history, stands as Dhaka’s historic gateway. Its iron-clad colonial-era architecture evokes memories of a bygone era, a bridge between past and present. But Kamalapur is more than just a transit point; it embodies the spirit of a nation on the move—a pulsating heartbeat that reverberates across Bangladesh. Kamalapur Railway Station stands as a vital link in Bangladesh’s transportation network, connecting people, cultures, and commerce. As trains arrive and depart, the passengers weave intricate stories etched into the very walls of this magnificent station. Here, hope mingles with anticipation, dreams find their rhythm, and reunions unfold. The station’s bustling platforms witness resilience—the quiet strength of travellers forging ahead despite life’s twists and turns. And within its echoing halls, new beginnings take root, fueled by the promise of distant horizons. Kamalapur Railway Station, standing tall against the passage of time, is a living testament to Bangladesh’s architectural ingenuity. It’s not merely a physical structure; it’s a gateway to aspirations, connections, and the beating heart of a nation. As passengers step onto its platforms, they become part of a grand narrative—a journey that transcends mere destinations and becomes an enduring legacy of rail travel in Bangladesh. Architectural Marvel Kamalapur Railway Station stands as a captivating blend of modernity and tradition. More than a mere transportation hub, it represents an architectural marvel that seamlessly connects the past with the present. Designed by the renowned American architects Daniel Dunham and Robert Boughey (Bob Buie) of Louis Berger and Consulting Engineers Ltd. in the 1960s, Kamalapur Railway Station serves as a symbolic gateway to Dhaka. Daniel Dunham, a young architect fresh from completing his studies at Harvard’s Graduate School of Design (GSD), took charge of Berger’s fledgling Dhaka office. His task was to tackle an extensive backlog of new projects. The station’s architecture draws inspiration from both modernist principles and traditional neo-Islamic influences, as well as Bengali styles. It stands as a testament to Dhaka’s modern architectural spirit. Architect Daniel Dunham skillfully blended modernist elements with traditional Bangladeshi architecture. The station’s most striking feature is its parabolic shell roof—a true engineering masterpiece. Stretching over the platforms, this roof provides shelter to passengers. The lattice-like concrete structure fosters openness and allows natural light to filter through, creating a welcoming ambiance. Kamalapur Railway Station officially opened on May 1, 1968, during President Ayub Khan’s tenure. Its construction cost at the time was Taka 5 crores 30 lakh. When the value of one vori of gold stood at only 100 takas, A year after its inauguration, the Provincial Office of the Railway Postal Service found its new home within this remarkable station building. Design Features The station building is well-suited for tropical climates, providing protection from rainwater like an umbrella. It incorporates various functional spaces, including ticket booths, administrative offices, passenger lounges, waiting areas, and restrooms, all under an integrated canopy-based roof. The structure comprises 36 square domes supported by a total of 49 columns. Above these columns stands a roof featuring 36 slender concrete umbrella-type domes. Each column extends 59 feet high, branching out to support the roof. The open-air design capitalises on Dhaka’s cross breezes while safeguarding interior spaces from monsoon rains. The Kamlapur Railway Station’s thin concrete shell dome-umbrella design, completed by the consultants, has become a local icon, cherished by prominent architects as a cultural heritage piece. The parasol roof continues to define the station’s unique skyline. Architect Dunham immersed himself in Bangladeshi culture, learning Bengali and adapting to local craftsmanship and construction practices. Instead of designing an enclosed monolithic structure with mechanical heating and cooling systems, Dunham leveraged Dhaka’s tropical climate. His innovative roof system provides shade over the station’s offices and facilities, supported by a versatile field of columns. The construction technique involves thin concrete shells, which Dunham explored during his thesis at the GSD. After Dunham’s departure, architect Robert Boughey took over the post, designing tessellating concrete shells for the roof, reminiscent of pointed arches seen in Islamic architecture. These shells were cast on-site using reusable materials. Kamalapur Railway Station, with its remarkable parabolic shell roof, stands as an engineering marvel. This expansive structure spans the platforms, providing shelter to passengers. The station’s circular layout, boasting a diameter of 186 metres, centres around a soaring dome that reaches a height of 26 meters. Eight radial wings extend from the central hub, housing platforms, and tracks. The station’s architecture seamlessly blends modernist elements with traditional Bangladeshi motifs, reflecting the nation’s spirit. The concrete lattice structure allows natural light to filter through, creating an airy and open ambiance. High ceilings and spacious interiors enhance the feeling of grandeur. Kamalapur’s design prioritises functionality while maintaining aesthetic appeal. Geometric patterns, arches, and intricate details evoke the essence of Bengali culture. As a testament to Bangladesh’s identity and heritage, Kamalapur Railway Station stands proudly. The station is an engineering marvel that spans the platforms, providing shelter to passengers. Additionally, in other parts of the country, the Sylhet Railway Station in the north-eastern region and the Chilahati International Rail Station in the north-western part also feature a similar umbrella-like structure. These stations use national flower-shaped “shapla” shells supported by a forest of columns to cover their facilities. Historical Context Bangladesh Railway has been operating in the British period since 1862 in the eastern and western parts of the country, divided by the great river
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Kamalapur Railway Station: A Gateway to Journeys in Bangladesh
Kamalapur Railway Station, officially known as Dhaka Central Railway Station, stands as a bustling gateway to the vibrant capital city of Dhaka. Nestled in the heart of the city, this vital transportation hub connects travellers to all major cities in Bangladesh. As the largest and busiest railway station in the country, Kamalapur serves as a crucial link, facilitating journeys both near and far.
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