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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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12th 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. Mr. Anwar Haq, General Manager, Corporate and Branding of Pa-Wang Ceramic Industry Ltd. was the keynote speaker and chief guest of the event. The event aimed to connect students and fresh graduates with potential employers and provide mentorship for effective career paths.
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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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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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Rampal Coal-fired power plant – A Major Solution to Bangladesh’s Power Crisis
Bangladesh is at an unprecedented crossroads with power crisis and hyper inflation. At a time when major industries at home suffer an acute power crisis, aggravated by the the Russia-Ukraine war following the Covid-19 pandemic, the recent soft inauguration of the first unit of the 1,320-megawatt Maitree Super-Thermal Power Project, also known as Rampal Power Plant, is believed to have been a relief from the energy crisis. Amid the crisis globally, Bangladeshi stakeholders, especially those involved with the multi billion-dollar export industries, manufacturing sector and the financial sector, are now waiting wholeheartedly for commercial operation of the Rampal Power Plant soon to rid the nation of this power predicament. Domestic energy experts and analysts alongside other stakeholders look optimistic with this project and they are of the opinion that the Rampal power project is economically feasible, sustainable and profitable. Terming it one of the cheapest power plants of its kind in the country, they strongly viewed that the plant will get going with the key objective of generating affordable electricity as a resilient and viable solution to the country’s power crisis. Prime Minister Sheikh Hasina and her Indian counterpart Narendra Modi jointly inaugurated the first unit of the coal-fired super-thermal plant through video conferencing on September 6, 2022. The country’s largest power plant is sited on an area of more than 915 acres of land in Rampal upazilla in south-western Bagerhat district under Khulna division, some 272 kilometres away from the capital Dhaka. The high-efficiency, low-emission supercritical plant site sits 14 kilometres north of the world’s largest mangrove forest, the Sundarbans. About the funders The Rampal power project is a joint venture between India’s state-owned National Thermal Power Corporation (NTPC) Ltd and the state-owned Bangladesh Power Development Board (BPDB). The US$ 2.00 billion joint venture company is known as the Bangladesh-India Friendship Power Company Ltd. (BIFPCL) that builds, runs and operates this power facility. The BIFPCL has been co-promoted by the BPDB of Bangladesh and the NTPC Ltd of India with an equal (50:50) equity investment. According to Bangladesh’s power ministry, the joint venture company will enjoy a 15-year tax holiday. In March 2022, Bangladesh boasted the country’s access to 100 per cent electricity, but the national power grid system failed in July and power outage suddenly began to disturb the nation and the socio-economic activities. The Power Division disclosed that the largest amount of what is technically called load-shedding per day stood at 2,000–2,200 MW during the July-September period. But this shortfall peaked in October, taking it to 2,500–3,000 MW. The start of the project BPDB and NTPC entered into a memorandum of understanding (MoU) instrument in 2010 to implementing this mega power plant project in Bagerhat’s Rampal upazilla that has seen an upturn in economic activities centring this power plant in recent years. An estimated 80 per cent of the project costs will be covered through a long-term loan from the EXIM Bank of India. As the construction of the facility was ongoing, the February 2021 was set as the first deadline for commissioning the power plant’s first unit while the second unit by August 2021, according to competent sources. However, the deadline was extended several times for a number of reasons, including emergence of the Covid-19 pandemic in 2020. Use of coal and technology A coal-fired plant produces electricity by burning coal in a boiler to produce steam. Then the steam, produced under tremendous pressure, flows into a turbine, which spins a generator to create electricity. The steam is then cooled, condensed back into water and returned to the boiler in order to start the process over. Supercritical combustion technology and sophisticated equipment are being used to lessen environmental hazards and thus make this project safe and eco-friendly. Some 6,500 cubic meters of water will be required per hour and minimum 10,000 tonnes of coal will be required to produce 1300 MW electricity every day. The ash content of this imported Indonesian coal is 8-10%. The height of chimney is 275 meters, equivalent to 90 storied building. In its initial stages, there was a strong debate on the red-hot issue of installing this coal-fuelled thermal power facility near a forest and some termed it suicidal with apprehensions of environmental disaster for the forest, which is home to thousands of wild species, flora and fauna. Some environmentalists made a mass call for scrapping of the project. The government, however, showed its determination to go ahead with the project. State energy experts said the project would not be harmful as its supercritical technology will minimise ecological hazards. Eco-warriors demanded that environmental concerns must be given precedence over commercial interest. They called for doing an environmental impact assessment and feasibility study before embarking on the project that may have anthropogenic impacts on environment, including effects on biophysical environments, biodiversity and other resources, let alone emissions of carbon dioxide and other pollutants as well as particulates. The joint venture company has already planted 116,000 different kinds of trees around the project site while the Centre for Environmental and Geographic Information Services (CEGIS) is monitoring the parameters related to the environment of the Rampal site and its adjacent areas, including Khulna and the Sundarbans. Employment opportunities The Rampal power plant project has opened up a job generation opportunity for local people and those affected for construction of this project’s infrastructure and during its operational period. As this region has long remained underdeveloped, opportunity of trade and employment was very limited. The power plant project has come as a relief to some extent. Alongside direct employment in the BIFPCL, there will be a huge opportunity to the locals for business and other indirect employment prospects. Moreover, this industry will usher in economic growth in Rampal in particular and the country in general, creating many downstream and/or related industries. Supply chain The supply chain of coal in all coal-fired power plants, including the Rampal power plant, is the biggest challenge. Technically unique in the plant is the supply chain issue. The Rampal
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A Bridge From Transport Connectivity to Economic Corridor
The opening of the Padma Bridge has created the scope for a new wave of investment in the country’s south and south-western region. The region’s easier road communications with the rest of the country has brought fresh momentum for business growth. New industries are being planned and tourism sector entrepreneurs are hoping for a business boom surrounding Kuakata sea beach and the Sundarbans. Thus, the bridge has offered a new economic corridor in the making. Economists and business leaders believe with remarkable improvement in road network though the bridge trade and business in the region would expand rapidly, raising the people’s income, creating jobs and eradicating poverty. The Padma Bridge is also expected to bring about a massive change in the entire economy. The Ministry of Road Transport and Bridges believes the economic corridor surrounding the Padma Bridge and its adjacent areas would increase the country’s GDP (gross domestic product) growth by 1.27 percentage point. The southern region’s economy will grow at a higher pace. Predicting a higher GDP growth for the Padma Bridge, the Asian Development Bank (ADB) said the rate of poverty reduction will be accelerated by 0.84 per cent every year. However, as many as 53 upazilas out of 133 upazilas in 21 districts on the south-western side of the bridge are of high concentration of poverty, according to Bangladesh Bureau of Statistics (BBS) poverty map. Another 42 upazilas are in the medium poverty risk category and 38 in low poverty risk category. Economist and chairman of Palli Karma-Sahayak Foundation (PKSF) Quazi Kholiquzzaman Ahmad said small entrepreneurs are more enthusiastic about the Padma Bridge and they should be provided with opportunity to make investment and various supports such as gas and electricity supply should be ensured at affordable costs. He observed that the bridge has jointed the southern belt with the rest of the country. The bridge will result in smooth transportation of farm produces from the region, according to Implementation, Monitoring and Evaluation Division (IMED) of the Ministry of Planning. It said farmers’ income will increase 15-20 per cent since direct connections between farmers and the market forces will be established. Transport sector insiders added the time for transportation of goods from Benapole to Dhaka would come down to 6-7 hours from 24-36 hours. The southern region was attractive for low-cost transport of goods by river routes but longer time and uncertainity in ferry services earlier discouraged the entrepreneurs from taking business initiatives. The Padma Bridge has now created the scope for big companies to come forward with investment projects in the region. The companies that have shown interest in setting up factories in the region include Sheltech, Pran-RFL, TK Group, Envoy Group, Hameem Group, Mir Group, Karim Group and Opsonin Pharma. Bangladesh Economic Zones Authority (BEZA) has unveiled a master plan on Padma Bridge that would directly benefit Dhaka, Khulna and Barisal divisions. It is taking steps to establish 17 new Economic Zones (EZ) in 21 districts of the three divisions. In the 1960s, Khulna became one of the few industrial hubs of the country but it has subsequently lost the glory. However, after the launch of Padma Bridge, Khulna is drawing attention of the investors. Abdus Salam Murshedi MP, president of Bangladesh Exporters’ Association (BEA) and former president of BGMEA said, “I definitely want to use this opportunity. I want to set up a new garment factory in Khulna. I also encourage others to invest in the region.” In fact in 2019, Sheltech Group established the country’s largest ceramics industry in the southern district of Bhola. The company invested more than Tk 7 billion taking advantage of local natural gas and cheap land with the hope of opening of the Padma Bridge in 2022. Now, Sheltech is also planning to set up a non-denim garment factory in Bhola, said Engineer Kutubuddin Ahmed, chairman of the group. “We are now looking for land to set up a ready-made garment industry in Barisal. After the inauguration of the Padma Bridge, investing in the south is the most promising one,” he added. Chini Tikri The Inaugural Murals By 15,000 Ceramic Plates One of the two spectacular installations at each end of the Padma Bridge is its inaugural mural – which has been constructed by using 15,000 ceramic plates. The portraits of Father of the Nation Bangabandhu Sheikh Mujibur Rahman and Prime Minister Sheikh Hasina have been made by breaking these 37 coloured plates into ‘Chini Tikri’. One was the dreamer of Padma Bridge and the another one is its implementer. As the ceramic plate is broken and made, it starts to sparkle when the sun shines on it. These ceramic plates are hammered and broken into about half a million pieces. Then different colours of the pieces are arranged one after one to create two beautiful portraits. Designed by architect Fazle Karim Shishir of Drishik, the two murals were created by artists Ashraful Alam Riaz and Didar Ul Alam. Both are graduated from the Fine Arts Institute of Dhaka University. The 90-feet-long and 45-feet-high mural at the Mawa end was done by Didar Ul Alam and the 72-feet-long and 36-feet-high mural at the Janzeera end was done by Ashraful Alam Riaz. They told Ceramic Bangladesh that at first the designer thought of making this mural with ceramic tiles, but later they chose ceramic plates of the highest quality considering the bright colour and durability. A total of 15,000 plates of 37 types of colours have been used here. Among them, 7 types of coloured plates are used to display black and white portrait of Bangabandhu. And 30 types of coloured plates are used to produce colourful portrait of Prime Minister Sheikh Hasina. All of these ceramic plates are customised. Because such a variety of colour plates are not usually produced by ceramic companies. Artisan Ceramics made 8,000 plates used in the Mawa end mural and Monno Ceramics made 7,000 plates used in the Janzeera end mural. This construction work was completed in two months by two
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Ceramic industry has high potential to flourish: Selim RF Hussain
In an Interview with Ceramic Bangladesh, the Brac Bank MD & CEO says the growing industry can help fulfill Bangladesh’s sustainable development goals. Selim RF Hussain is a Bangladeshi career banker with over 35 years of diversified local and international banking experience. He is currently heading Brac Bank Limited, one of the country’s leading full service commercial banks, with an asset base of approximately US$ 5 billion, and one that is known for its particular focus on the SME segment. Mr. Selim joined Brac Bank in November 2015, and within a relatively short period, has led the bank to the top tier of the 60 odd scheduled banks in Bangladesh. He has been elected Chairman of the Association of Bankers, Bangladesh (ABB) for the period 2022-23. He is a member of the Governing Board of the SME Foundation, an apex semi-government institution spearheading SME development. He is a member of the Governing Board of the Financial Alliance for Women, an international network of financial institutions dedicated to championing the female economy. Mr. Selim is also on the Board of the Global Alliance for Banking on Values (GABV), an international network of banks that use finance to serve people and the planet. Mr. Selim also represents Brac Bank in multiple Brac Bank subsidiaries through board directorship – at Brac EPL Investments Ltd, Brac EPL Stock Brokerage Ltd, Brac Saajan Exchange Ltd and Brac IT Services Limited. He is the Chairman of the Board Audit Committee of bKash, Bangladesh’s largest mobile financial service company, and also the Vice-Chairman of the Industrial Infrastructure Development Finance Company (IIDFC), a non-banking financial institute. Ceramic Bangladesh (CB): Would you please tell us something about Brac Bank and its inception? Selim RF Hussain: Brac Bank started its journey in 2001 as a private commercial bank focussing on small and medium enterprises (SMEs). Our visionary founder – Sir Fazle Hasan Abed KCMG established the bank to facilitate easy access to formal f inancing for the grassroots SME entrepreneurs who are usually left out in the traditional banking system. The bank has pioneered small-ticket unsecured loans to bring the unbanked missing middle under the banking umbrella. Over the years, it has emerged as the country’s largest financier of collateral-free SME loans. With a dynamic network of 187 branches, 456 SME unit offices, 373 ATMs, and 800 Agent Banking outlets across the country, Brac Bank offers seamless banking services for Retail, SME, and Corporate segments serving 1.3 million customers. The majority shareholding of the bank belongs to Brac, the largest non-government organisation in the world. CB: What has actually enabled the bank to rise to the top? Selim Hussain: Brac Bank is a different bank altogether in the banking sector. It is the only bank in the country, with most shareholdings belonging to institutional investors. Its Board is comprised of independent directors who are expert professionals in their f ield. This organisational structure gives the bank a solid foundation to become a standard bearer in governance, transparency, ethics and compliance. Brac Bank’s superior performance indicators in the Bangladesh Banking Sector are reflected in the highest market capitalisation, the highest international investor shareholding in the local banking sector, and the highest bank credit.rating of all banks in the country from both international rating agencies, S&P and Moody’s. The bank leads the local banking industry in nearly all financial metrics and is a benchmark for corporate governance and values-based banking. CB: How is Brac Bank different from other banks? Selim Hussain: Brac Bank focusses on SME banking. It provides small-ticket and collateral-free loans to SME entrepreneurs, an attribute that sets the bank apart in Bangladeshi banking sector. The bank plays a vital role in bringing the unbanked missing middle under the banking system. With its SME Banking, Agent Banking and Women Banking propositions, Brac Bank contributes significantly to financial inclusion in the country. CB: What are the services you provide to your premium customers? Selim Hussain: We bring exclusive perks to our high-value customer segment. Premium Banking customers enjoy a host of benefits and privileges, including Dedicated Relationship Managers, Luxurious Lounges, One-Stop Service, Preferential Fees and Charges, Doorstep Service, Lifestyle Benefits, Exclusive Card Privileges, Customer Value Propositions, Priority at Call Centre Service. The customers are entitled to exclusive deals on shopping, dining, entertainment, healthcare, and special Infinite, Signature and Platinum credit card special offers. CB: What facilities are you providing to the local manufacturing industries? Selim Hussain: In its 21 years of operations, Brac Bank contributed significantly to industrialisation in Bangladesh. Our Corporate Banking provides Working Capital, Capital Machinery, Project Financing and Lease Financing, Cash Management and Transaction Banking for large and emerging corporate organisations. Under SME Banking, the bank extends Unsecured Loan, Secured Loan, Women Entrepreneur Loan, and Secured Convenience Loan, leading to small-scale industries’ growth. CB: How do you see yourself as a partner in the growth of Bangladesh’s ceramic industry? Selim Hussain: The ceramic industry has high growth potential. Apart from meeting domestic demand, our ceramic manufacturers also export and earn precious foreign currency. This potential has led to renowned corporates making big investments in this manufacturing sector. Brac Bank provides banking and financing support to large-scale ceramic industries and small-scale ventures with customised solutions. CB: Do you have plans for more investments and providing more facilities to the ceramic industry? Selim Hussain: Being an SME-focussed bank, Brac Bank patronises grassroots entrepreneurs. We have already financed many small-scale ceramic industries and witnessed remarkable success. For example, our finance to Clay Image has created many jobs, especially for women artisans. We know that the growing ceramic industry can help fulfill sustainable development goals of No Poverty, Decent Work and Economic Growth, Industry, Innovation and Infrastructure. So, we stand for this vibrant and potential sector, helping it to flourish further. CB: Where would Brac Bank be in 10 years down the line? Selim Hussain: With modern technology, the banking sector is changing fast. We reckon, in a decade’s time, banking infrastructure will see radical change. The country will go cashless.
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Sculpting Skyline: Unwilling contribution to the concrete jungle
Going down one of the most elite avenues of Dhaka city, the count of ones and twos will be less when it comes to the display of architecture by Mustapha Khalid Palash. Mr Palash, principal architect, and his team Vistaara Architects (Pvt.) Limited, have contributed to the new city skyline with significantly designed commercial buildings that are money-making machines for the economy. While passing by, young architects admire those works – this is quite an accomplishment for an architect, right? However, architect Mustapha Khalid Palash does not have a similar feeling. He is dissatisfied with the replacement of Dhaka’s natural landscape with man-made infrastructure, himself being a part of the contribution to the concrete ‘slum’ with added aesthetics. The nostalgic mind of this multi-talented person wanders around the city he was born in. He misses the vista of green and the landscape of Dhaka. All that visual relief has been lost in the name of fast-paced city development. The young Palash, born in the early 1960s on Baily Road, Dhaka, and later shifted to Gulshan in the mid-1990s, has a vivid scenario of life then: the environment, the lush and green of the city, and its cooling effect on the temperature in the good old days. The boom in population with unresolved planning about migration for a better lifestyle in the city is one of the main reasons for the overloaded condition in terms of size and expansion. Yet the lack of road networks and the commute system does not help much with stretching the city further north and south. Mr Palash believes decentralisation can be a solution to making these struggles better. The idea of scaling down architecture while maintaining its grandness is an old practice in this city. From the Mughal period to modern works by Louis I. Kahn and Muzharul Islam, but later it was lost somewhere in the city lines. A breathing space for the building and a gazing distance for the people are needed to observe large-scale architecture. Examples in Dhaka, as such, are the Mughal forts and palaces, the Sangshad Bhaban (parliament house), and a few others. As lifestyle developed, affordability increased. An unorganised building development started as people wanted to buy apartments over land due to a hike in prices. Hence in the last 20 years, the city became a concrete jungle from a greener jungle. Architect Palash brought back this practice in his design again. One can subconsciously understand the difference between standing in front of the Bashundhara Shopping Complex in the Panthapath area of the city, and Rangs Babylonia in Bir Uttam Mir Shawkat Sarak, on the Tejgaon-Gulshan link road. The inviting space in front of these buildings, on the street level, is the visual relief one needs while perceiving. Commercial building owners are keener towards using their well-known reputation in terms of selling spaces, and with reputation comes along building functionality and safety measures. “The architecture we design is not only for visual aesthetics that happens by default. We focus on delivery and timeline because a building is not just a space, it has a significant relation to the economy. Architecture is not just art. The basic system involves proper functional planning and the utmost safety measures for fire and structural factors. To me, architecture is like a tailored ‘coat’, where the inner lining of clothes has to be the most comfortable for the user, and the outer material has to be visually pleasing to the observer. The outer sight can differ from tastes, but the internal functionality has to be accurate,” explained Mr Palash. Architecture is a partial contributor to the destruction of this city, glorifying architecture is a cliché. He does not just design commercial buildings, but apartment buildings as well. His most well-known architecture though being on the prefaces of avenues like Gulshan is mentioned often. In all these years, he never designed a single-unit family residence, deliberately. He has done notable work in Chattogram and is currently working on a mass development project in Rajshahi. “The neo-modernism that our culture and society have gotten into has changed the social morphology to a different extent. The presence of a mobile phone is a distraction in relationships that has a social impact and even a lifestyle impact. Nowadays, apartment projects have ‘his and hers’ separate rooms, and the family living space culture is almost abandoned,” added the architect. Gulshan is already a heat island because of the excessive use of concrete, air conditioning and generator systems to support them. In addition to that the buildings are east or west facing on the avenue. Mr Palash and his team designed screening to reduce the internal effect of temperature. A few buildings even use photovoltaic glasses on the façade to produce renewable energy. “I have a hidden geometry while designing my buildings. I believe in signature, a handwritten signature, not rubber stamping.” “I have a hidden geometry while designing my buildings. I believe in signature, a handwritten signature, not rubber stamping. When I follow my geometric style, the buildings look like they are from the same house, but they are different in variation with visual expression” he mentioned. “The areas like Gulshan, Banani, Baridhara, Bashundhara R/A, Dhanmondi, and Uttara cannot be an example. The population density is much less there, and the distribution of basic commodities is also sufficient. The rest of the areas which are more organic, unsupervised, and ‘unorganised-ly’ growing are more in threat and should be taken care of” he added. Born to an artist couple, Mr Palash had exposure to art and culture since childhood. His confidence was developed in a very nurturing way by his parents, which eventually made his path of journey easy. “When I was 6, I used to assist my father with his commissioned works. If he had any works with letters, he used to draw the outline and ask me to fill it up in
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How National Budget can contribute to Ceramic Sector Growth
The current fiscal year’s national budget, passed by parliament on June 30, eyes taming inflation amid other major challenges to an economic rebound from the Covid-19 pandemic and recovery from impacts of Russia-Ukraine war. The annual outlay has finally stood at Tk 6,78,064 crore, 15.2 per cent of the gross domestic product (GDP) and of it, Tk 4,31,998 crore has been allocated for management cost and other non-development expenses and Tk 2,46,066 crore for annual development programme (ADP), which is also called development budget. The size of the budget for the fiscal year 2021-22 was Tk 6,03,081 crore. In the revised budget, it was brought down to Tk 5,93,500 crore. The revenue income in the new budget has been projected to be Tk 4,33,000 crore. The target of the National Board of Revenue (NBR) has been set at Tk 3,70,000 crore, non-NBR tax at Tk 18,000 crore, and non-tax revenue at Tk 45,000 crore. Foreign grant receipt is projected at Tk 3,271 crore. The budget deficit is Tk 2,45,064 crore (without foreign grant) which is 5.5 percent of GDP. To meet the deficit, Tk 2,41,793 crore will come from local and foreign loans, Tk 1,06,334 crore will be borrowed from local banks and the target of foreign loan is Tk 95,458 crore. Tk 40,000 crore will come from non-bank sources. Also, a projected amount of Tk 35,000 crore will come from savings certificates. An amount of Tk 17,000 crore will be spent on foreign loan repayment. The GDP growth target has been set at 7.5 per cent and inflation projected at 5.6 per cent. The finance minister acknowledged inflation as a concern. The government is committed towards controlling inflation by preventing inconsistencies between supply and demand. However, inflation has risen recently due to external and some internal factors. The finance minister, in his budget speech, said the global causes of inflation include rising inflation among trade partners, rising fuel prices, depreciating currency, disruption of the global supply chain, and the Russia-Ukraine war. But no visible adequate measures have been taken in the budget to control inflation. Deficit budgets are driving inflation. “Certainly, we shall be able to transform Bangladesh into a hunger and poverty-free society by achieving SDG (Sustainable Development Goals) in 2030, a higher-middle income country by 2031, a knowledge-based, happy and prosperous developed country by 2041 and a secured delta by 2100,” said Mustafa Kamal in budget session of parliament. Middle class brought under tax net The finance minister said the country’s middle or upper-class population is about 40 million, most of whom are not paying income tax. Efforts are being made to bring taxable people under the tax net by taking necessary steps to prevent tax evasion. As against a total TIN (taxpayers’ identification number) holder of 7 million, only three million are income taxpayers. The number of TIN holders will be raised to 10 million this year. Return submission will be made compulsory with some exceptions. The income tax exemption limit is Tk 0.3 million a year. “Certainly, we shall be able to transform Bangladesh into a hunger and poverty-free society by achieving SDGs in 2030, a higher-middle income country by 2031, a knowledge-based, happy and prosperous developed country by 2041 and a secured delta by 2100.” Huge trade deficit According to statistics from Bangladesh Bank, the nation’s trade deficit in goods was US$33 billion for the last fiscal year 2021-22 when the merchandise trade deficit was $33.25 billion. The current account deficit crossed $18.5 billion compared to $23.78 billion in the year before (FY21). Amid a huge balance of payments deficit, economists emphasised limiting imports and raising remittances. Recent central bank data show a significant increase in imports has made the trade gap bigger, putting pressure on the foreign exchange reserve and exchange rates. Based on the “free on board” (fob) price, the value of goods imported in FY22 was $82.49 billion, as against only $60.68 billion in FY21. Consequently, imports grew by almost 36% in FY22. Income from exporting goods (on a free-on-board basis) grew by 33.45% and reached $49.24 billion in FY22. In FY21, the sum was $36.90 billion. The overall balance deficit totaled $5.38 billion by the end of FY22 whereas there was a surplus of $9.27 billion in FY2020-21. The country received $21.03 billion in remittances in FY22, showing a 15.12 per cent decline over the previous fiscal. The central bank sold more than $1 billion to banks in July when the country received $2.09 billion in remittances, which was 11.76% higher than the amount received in July last year. Bangladesh’s foreign exchange reserves fell below $40 billion for the first time in two years recently. This was due to higher import costs and a weaker Taka against US dollars. The situation occurred due to the dollar’s rise over the past few months, when the central bank took some steps to discourage imports. Bangladesh Bank also encouraged Bangladeshis living and working abroad to send remittances. Ceramic sector needs budgetary support Mr. Mohammad Shirajul Islam Mollah, President of Bangladesh Ceramic Manufacturers and Exporters Association (BCMEA), in his budget reaction, demanded complete withdrawal of 15% and 10% supplementary duties imposed on domestic tiles and sanitary products respectively. He said if this is done, the price will decrease in the domestic market and the level of its use will increase. As a result, the government revenue will not decrease, rather increase overall. Commenting that ceramic tiles and sanitary products are no longer a luxury item, he said, they are considered essential construction materials. These are popular as eco-friendly products as they are helpful in creating a healthy environment. Ceramic is playing a helpful role in implementing the government’s ‘Sanitation for All’ programme. He said the ceramic sector is a labour-intensive industry with great potential. Machinery, technology and raw materials are not available in the country, so they have to compete with rich countries in procuring raw materials and technology as well as selling products. If a partial bond facility is provided along with
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Business ethics & integrity are key to growing a company: Tanvir Ahmed
Mr. Tanvir Ahmed is the Managing Director of Sheltech Group. He is also the Director of Envoy Group, which includes textiles and garments and the first denim mill in the world to obtain a LEED Platinum certification. Envoy Textiles has recently been awarded the National Export Trophy (Gold). In the year 2014, Mr. Tanvir Ahmed was recognised, by the government of Bangladesh, as the youngest CIP at the age of 29 for his contribution to the national economy. He holds a Master’s degree from Cardiff University, the UK, and a Bachelor of Arts degree (with Honours) from Kingston University, the UK. He also obtained a Diploma from the London School of Economics (LSE). His area of expertise is business management, administration and finance and his entrepreneurship involve real estate, textiles and garments, hospitality service, financial trading, aviation and ceramics. He is currently an Executive Committee member of Bangladesh Employers’ Federation. He is also a Director at the India-Bangladesh Chamber of Commerce and Industry (IBCCI). He shared his present business ventures and future plans during an exclusive interview with Ceramic Bangladesh recently. Sheltech is a trusted name in the country’s real estate sector since 1988. The company has delivered more than 3,800 apartments in about 200 projects in various locations in Dhaka city. For quality management, it has obtained “ISO 9001:2015” as the first Bangladeshi real estate company. Sheltech follows the Bangladesh National Building Code (BNBC) and its projects are playing a vital role in consistent growth overcoming barriers. Designs are prepared following BNBC and all its projects are duly approved. It ensures international safety and quality standards in construction. The company maintains on-time handover of projects and after-sales care. No legal disputes can be found in its projects and that help a hassle-free registration. It believes in continuous innovation and improvement in products and services. “In most of the cases it is a lifetime investment for the clients. So, clients search for a company that is dependable. Timely delivery of real estate projects within budget and to the level of the quality standards specified by the client is an index of successful project delivery for real estate developers. Sheltech understands the scenario and work with full enthusiasm to ensure the clients’ needs,” said Mr. Tanvir Ahmed. However, it is a difficult process for the developer, as many critical issues need to be addressed to complete the project on time, which can only be accomplished by a well-structured and efficiently managed company, he added. On the overall real estate development in Bangladesh and the future of this industry, Mr. Tanvir said, “While the RMG sector and a few more industries are keeping this country’s economy afloat, there is one industry that has continued to grow surprisingly well – The Real Estate. It is one of the fastest-growing sectors in the country.” “Sheltech understands the scenario and work with full enthusiasm to ensure the clients’ needs. It has obtained ‘ISO 9001:2015’ as the first Bangladeshi real estate company” “The sector has seen tremendous growth in recent years, with the establishment of a number of new real estate companies and development of new projects. The present demand and trend for housing in the country allows us to think the future growth of this industry is very promising,” he said. The birth and making of Sheltech were led by Mr. Tanvir Ahmed’s f irst generation. He is the one from the second generation who is now following his ancestor’s footprint. Mr. Tanvir Ahmed started serving the hospitality industry through “Platinum Hotels by Sheltech” in 2008. He got involved with the real estate industry since 2010. Sheltech is always concern to reduce environmental impact of construction. It has set a standard for an environment-friendly construction process. Design of structural elements concerning critical combinations of gravity, seismic and other loads is thoroughly checked. “We maintain strict supervision by site engineers and the quality control team to ensure construction is according to design. We ensure shore protection during foundation. We provide a safe and organised construction environment through safe pedestrian movement, a soundless, dust and garbage-free construction site while ensuring labour safety,” said Mr Tanvir. From land acquisition to after-sales service, Sheltech provides one-stop solutions through architectural and structural design, construction management, interior solution, registration process, resolving legal issues, arrangement of utility connections, customer service after delivery and secondary market dealing through buying, selling and renting. Unlike other industries, the real estate industry has to overcome various challenges. It is a key engine of economic growth since it has a large multiplier effect on other sectors as well. It creates opportunities for its linkage businesses. Focusing on the growth, Mr. Tanvir said, “The real estate industry plays an increasingly significant role in the national economy, accounting for approximately 8% of GDP on average, and along with its 269 associated linkage industries, contributing about 12-14% to GDP. The worldwide lockdown imposed to control the spread of Covid-19 led to a global financial crisis. Bangladesh has also been affected economically. However, the pandemic effects are getting reduced and almost all business sectors are making a rebound.” “Despite the pandemic challenges, the real estate market recovered quite well in 2021. One of the main challenges for real estate developers is the increase in prices of construction materials. Apartment registration cost in Bangladesh is also quite high which becomes a burden for buyers and makes it more difficult to purchase apartments. Besides the home loan process and interest rate are an issue of concern for the sector,” Mr. Tanvir added. The trend and character of real estate development are very significant and this is a positive sign for development of the country. Nowadays housing supply largely depends on private developers. There are some limitations to operate a real estate business in Bangladesh. Sheltech always ensures development of a culture that provides simplicity in work and nurtures growth among the employees. Regarding the company’s culture and collaboration with others, Mr. Tanvir said, “We have an open-door policy among employees and their
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A Snapshot of International Ceramic Expos Worldwide
International Ceramic exhibitions are held worldwide for their distinctive ability to bring industrialists and technologists from different corners of the world into single platforms to serve the common purpose of promoting trade. The world’s most advanced technological innovations, equipment, raw materials, dynamic use of advanced ceramics and the best practices available are showcased in these international ceramic exhibitions. These exhibitions often additionally host B2B (business-to-business) meetings, seminars and conferences which result in strengthening professional networks and create further opportunities in establishing footholds in different parts of the world. Tecna – The Future of Surfaces, is an international marketplace organized at the heart of one of the most creative, innovative and technologically sound countries for surfaces, Italy. The exhibition offers the best innovations in aesthetics and processes for the sector every two years. Tecna, the international exhibition of technologies and surface supplies, is scheduled to be held at the Rimini Expo Centre, Italy, on September 27 to 30, 2022. The event is organized by IEG (Italian Exhibition Group) in collaboration with ACIMAC (Association of Italian Manufacturers of Machinery and Equipment for Ceramics). Today, numerous ceramic exhibitions are held around the world, which help display the latest materials and technologies and provide face-to-face networking and business opportunities to discuss the future challenges and opportunities facing the global ceramics industry. Tecna – The Future of Surfaces, is an international marketplace organized at the heart of one of the most creative, innovative and technologically sound countries for surfaces, Italy. The exhibition offers the best innovations in aesthetics and processes for the sector every two years. Tecna, the international exhibition of technologies and surface supplies, is scheduled to be held at the Rimini Expo Centre, Italy, on September 27 to 30, 2022. The event is organized by IEG (Italian Exhibition Group) in collaboration with ACIMAC (Association of Italian Manufacturers of Machinery and Equipment for Ceramics). Tecna represents a global meeting point for technology and innovation for the production of all types of surfaces and materials, from the most traditional to the most innovative ones. The exhibitors get the opportunity to meet national and international buyers from all sectors in the surface industry. Most participants are from Asia, Middle East, Africa, the Mediterranean Area, Europe and Latin America. CERSAIE – International Exhibition of Ceramic Tile and Bathroom Furnishings, is the foremost international event for designers of ceramic and other surface coverings and bathroom furnishings. The exhibition is due to be held at Bologna Exhibition Centre, Bologna, Italy, from September 26 to 30, 2022. The expo becomes a dynamic hub for architects or designers, retailers, contractors, installers, interior designers and even people looking to renovate homes or offices. One will get the chance to discover design ideas, architecture conferences, training events and meetings with production companies and discover the new offerings proposed by the market. The Foshan Tanzhou Ceramics Exhibition is due to be held from November 16 to 20, 2022 at Foshan Tanzhou International Convention and Exhibition Centre. The exhibition is organized by Foshan Taolian Technology Development Co. Ltd. The 5-day event will host over 400 exhibitors who will showcase the latest products, processes, and application designs. 20 heavy events will focus on the frontier hot topics of the industry. ASEAN Ceramics is Southeast Asia’s leading international exhibition of machinery, technology, raw materials and advanced ceramics. The event takes place in Thailand and Vietnam on alternate years and is organised by MMI Asia Pte Ltd, a full subsidiary of Messe Munchen GMBH (MMG). ASEAN Ceramics 2022 will take place in Thailand at IMPACT Exhibition and Convention Centre, Bangkok from November 30 to December 02, 2022. The exhibition will also host a three-day conference that would include a high-level plenary sessions and feature a series of presentations and panel discussions on topics ranging from new research on global innovations trends to their impacts on the global ceramic industry by globally renowned speakers. ASEAN Ceramics attracts over 4,000 trade visitors from close to 50 countries. The top visiting countries include China, India, Vietnam, Malaysia, Japan and Indonesia. The Highly Functional Material Week is organized by RX Japan Ltd. and has two shows, one held in Tokyo and the other in Osaka. The Tokyo show will be held from December 7 to 9, 2022 at Makuhari Messe and the show in Osaka will be held from May 17 to 19, 2023 at INTEX Osaka, Japan. The material week focuses on a range of matters, from film technology, metal, plastic, adhesion and bonding, paint and coating and also highly functional ceramics. The show will feature innovative structural materials, sustainable materials, materials for antibacterial and antiviral and materials for next-generation battery manufacturing. Indian Ceramic Asia, the 17th Edition of the state-of-the-art annual trade fair, is scheduled to be held at the Helipad Exhibition Centre, Gandhi Nagar, India, from February 15 to 17, 2023. The trade fair is jointly organized by Messe Munchen India, a subsidiary of Messe München GmbH and Unifair Exhibition Service Co., Ltd. The Indian ceramic industry has the potential to become one of the largest producers of ceramics in the world and is looking to double its turnover by 2024. This trade fair and conference for the ceramic and brick industry offers a curated platform for all leading companies to showcase their latest machinery, high-quality raw materials, analysis and laboratory equipment, storage equipment, material handling and much more. This presents the manufacturers or suppliers of raw materials or ceramic production equipment with a platform to meet new partners and clients and help their businesses grow in India. The 8th Edition of Ceramics Expo 2023, co-located with Thermal Management Expo is to be held at Suburban Collection Showplace, Novi, Michigan, USA, from May 1 to 3, 2023. The Ceramics Expo brings together engineers, decision-makers, end-user OEMs and buyers from across the globe to source new materials, components and technologies, network with like-minded professionals, and discuss the challenges and opportunities in the technical ceramics industry. The expo will also host a conference where industry leaders will share their
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Shinepukur Ceramics Export Giant In Tableware Market
Becoming the number one is a challenge, and retaining that position brings about a bundle of never-ending hurdles that very few companies can tackle. Shinepukur Ceramics Limited (SCL) has been in the top position in the tableware segment, in terms of revenue and market share, for the past couple of years. Export is Shinepukur’s strong suit – It has been exporting high-grade porcelain (since April 1999) and bone china (since November, 1999) tableware and has established dominance in the export market. The company’s CEO says quality is the core reason why SCL products are in such demand abroad. It exports products the USA, Canada, the UK, Germany, France, Italy, Japan, Sweden, Norway, Denmark, Finland, Spain, Poland, Mexico, Brazil, Chile, UAE, Australia, New Zealand, Turkey, India, Egypt and Russia. Shinepukur’s “compliant factory” has been audited multiple times by SMETA, BSCI, GMP, and CTPAT, and has received an ISO 9001:2015 certification. Its tableware complies with the Norwegian Standard, California State Prop 65 Standard, and the EU Standard. Dhaka) shelters the SCL, a member company of Beximco Group. Registered in 1997, the company’s plants were commissioned in 1998, and started production in 1999. BEXIMCO Industrial Park (near Dhaka Export Processing Zone, 40 kilometres off Shinepukur is capable of making surreal tabletops with high durability for airlines, hotel ware, and other industrial usage. The versatility of the production houses allows the company to reach out to all demographics of ceramic users all over the world. The glaze is free from lead and cadmium free and of course health hazards, and its designs are demandingly likeable.ecoming the number one is a challenge, and retaining that position brings about a bundle of never-ending hurdles that very few companies can tackle. Shinepukur Ceramics Limited (SCL) has been in the top position in the tableware segment, in terms of revenue and market share, for the past couple of years. Export is Shinepukur’s strong suit – It has been exporting high-grade porcelain (since April 1999) and bone china (since November, 1999) tableware and has established dominance in the export market. The company’s CEO says quality is the core reason why SCL products are in such demand abroad. It exports products the USA, Canada, the UK, Germany, France, Italy, Japan, Sweden, Norway, Denmark, Finland, Spain, Poland, Mexico, Brazil, Chile, UAE, Australia, New Zealand, Turkey, India, Egypt and Russia. Shinepukur’s “compliant factory” has been audited multiple times by SMETA, BSCI, GMP, and CTPAT, and has received an ISO 9001:2015 certification. Its tableware complies with the Norwegian Standard, California State Prop 65 Standard, and the EU Standard. Dhaka) shelters the SCL, a member company of Beximco Group. Registered in 1997, the company’s plants were commissioned in 1998, and started production in 1999. BEXIMCO Industrial Park (near Dhaka Export Processing Zone, 40 kilometres off Shinepukur is capable of making surreal tabletops with high durability for airlines, hotel ware, and other industrial usage. The versatility of the production houses allows the company to reach out to all demographics of ceramic users all over the world. The glaze is free from lead and cadmium free and of course health hazards, and its designs are demandingly likeable. Technology Shinepukur uses machineries procured from Japan’s TAKASAGO, MINO, and SKK. It uses latest technology to produce world class products. For the Bone China Unit, the company uses technology transferred by NIKKO Japan. SCL has over 3,000 skilled workers and the company provides extensive training to all the workers. When it comes to quality control and product testing, SCL has its own laboratories, raw material disposal set up, gas-based power generation plant, water supply from deep tube-well, and sanitary facilities. For safety, it has kept in house doctors for the medical centre. The machineries for porcelain and bone china tableware are sourced from Germany and also Japan. These machines are capable of producing 4.5 million pieces of Bone China and 10 million pieces of Porcelain Tableware annually. Interview with CEO Mr. Humayun Kabir “Companies rise and fall based on how well they can predict and prepare for the future and finally, how accurately they execute their preplanning. Ceramic giants are constantly f ighting never-ending challenges and Shinepukur as a ceramic frontrunner has faced the worst of them. Shinepukur’s current dominance in the market is due to the lion’s share it holds when it comes to export,” the Chief Executive Officer (CEO) of Shinepukur Mr. Mohammed Humayun Kabir FCA told Ceramic Bangladesh. About the growth of the company, he said. “We won the export trophy nine times; of them five are Gold trophies won in five consecutive years from FY 2014-15 to FY 2018-19 while the first gold trophy was won in FY 2000-01.” “We don’t necessarily work to win awards and trophies. Rather, the awards come later in recognition that inspires us for the future,” added Mr. Kabir. One of the driving forces is meeting the stakeholders’ interests. “The company must have sustainability. We have a drive for sustainable growth and that has been the key to winning national export gold trophies so many times,” he pointed out. “Supplying sources of ceramic tablewares shift from one country to another” Mr. Kabir stated that the company management wants all the stakeholders to get their due share from the company. “Since Shinepukur is a listed company and has large number of shareholders, the company practices code of Corporate Governance in true spirit. The board is separate from the management. The board members are representatives of the shareholders and are responsible for framing policies. The management is comprised of professional managers and is responsible for planning and operations of the company within the policies framed by the Board. The management focusses on the return on investment, because, the shareholders who have invested in the company are expecting better return.” Mr. Kabir explained. “In this regard our journey was neither easy nor smooth. Shinepukur has to face the competition, tackle counterforce and survive,” he added. Tackling counter-forces The pandemic period was a struggle for many; it was a prolonged counterforce. During April-June
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Tradition Wrapped In Modernity: Terracotta Tales
In the fast-moving pace of Dhaka city, do we not all feel the need to slow down, away from the chaos, experience the presence of the surroundings, and stay in the moment? Inside the premises of the Tejgaon branch of Aarong, Terracotta Tales pays homage to the local craftsmanship. It is a place dedicated to the warm and sentimental dishes and the comforting and heartfelt ambiance that make us long for home. Rafia Mariam Ahmed, principal architect of Hive Architects, designed this beautiful restaurant having intimate dialects with details. When an individual experiences space, what does make one recall it? What works there is the phrase: “design is in the details.” The goal of embracing details is to get you to think critically and present the best possible solution —right from the beginning. That is why details are important. They can keep us coming back, or they can keep us from coming back. And definitely, that comes from a good number of researches. Terracotta Tales is one such location where traditional village home details are infused into a minimal modern portrayal. Terracotta Tales and the adjacent bakery, Dough Diaries, are in a joint venture with Aarong. They are one of the restaurants under the Emerald Restaurants, with other operational restaurants being: Thai Emerald, The Red Chamber, Grove, Trouvaille, Gusto, and Emerald Bakery. The structure the restaurant belongs to was initially designed by Vitti Sthapati Brindo Ltd. alongside the Aarong outlet. The outlook of the structure, starting from the large openings, landscape, and interior to the detailed texture on the outer surface – all were later added as the journey of designing this tale began. The theme and menu of the tale were to be Bengali cuisine, from where conceptualisation of the space began. “I started going back to our roots of being a Bengali. I wanted to pick the elements so rich with history, which had been used daily in our culture, for so many years, and blend these elements with modernity. I wanted to design a space that would take us back to where we belong, a place more oriented towards slow living,” Ms Rafia shared. The space is an abstract representation of a mud house, the softness of which is found in the details of rounded corners of walls, doors, and windows. The unevenly matte polished surfaces with raw, warm earthy colours take you to the affection of the rural aura. Even at night, the lighting is as such to create the ambiance of a warm-toned hue of “prodeep” (dimmed fire lamp). The centre light pieces are delicately handwoven cane shades. Terracotta has been used in many details of this space. In the shade of the walkway, with that of the semi-outdoor space on the rooftop, and the centre of attraction is the wall of the stairway that leads to the rooftop dining. The wall is composed of thin slates of terracotta tiles arranged in triangular patterns, which creates dialects with the light from the sky at different hours of the day. The lanterns used in the rooftop space are also custom-made of burnt clay. As clay is a vital component of humans, country, and roots, the concept and name were associated with terracotta to represent its power of affection. Tales of local artists and craftsmen were incorporated into the design by the use of cane lanterns and clay lamp shades and the famous “Tepa Putul” (a local handmade clay doll of a specific style). Potters and artists made larger sizes of these usual small-scale dolls that are placed on niches as commonly seen in the mud houses. Framed rustic metal jewelry and decorative mirror are added to the wall to represent the daily used materials in a rural mud house. The landscape is designed to wrap an individual with nature. The restaurant is pedestrian-only, with no vehicular connectivity directly, focusing on the practice of being close to nature. The walkway has a beautiful line of bamboo trees on one side and specifically selected floral trees on the other. There is also an outdoor sitting area where the hard surface meets the green in an undulating line. A small body of water curves along the structure is an abstract form of “pukur” (a pond) as commonly seen in the rural context. Ms Rafia said, “The mere attempt was to get out of the edged effect of modern city life to a more mellow and soulful experience – Where one can only indulge in the presence of themselves, the company, and, of course, the food. The trees shed flowers and leaves, creating an inviting bed of nature for the people exploring the outdoors. The curved walkways toward Dough Dairies also give you a feel of the rural memories.” The subconscious nostalgia with the cane-woven furniture details makes one reminisce childhood memories from the ancestral homes. The utility area has been partitioned with cane-weaved partitions to camouflage it in the interior. The wooden curtain rails and the door handles add value to the theme, complementing the colour palette. A few subtle colours are added by using a floral print material on the back of the seats, preventing the guests from feeling monotonous. Old ceramic plates are decorated on the wall, making a spectacular composition of colours, history, and belongingness. On a bright sunny afternoon, when the sun kisses the shallow water next to the large window with curtains of translucent softness, the sheening glitter of the rippling water reflecting on the ceiling catches one’s attention while being indulged in the nostalgic local cuisine. The soul runs through the handcrafted details and the softness of the ambiance makes one feel warm, cozy, and at home. The modern city crowd is so much more over-oriented towards a captivated lifestyle that even a natural splash of water becomes a form of irritation. Terracotta Tales is a space to celebrate that naturally unnatural necessity of life that people are slowly getting carried away from. Authored by Rehnuma Tasnim Sheefa
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The Voyage of Bajra and Rangeela’s Mosque
Rangeela is the word which denotes vibrant/joyous, often mixed with quirkiness. So is the tale of Bajra Shahi Masjid, apparently unconnected unless it is told. After all, how many 281 years’ old mosques do you know named after a watercraft! Being a silent witness like a vessel through the waves of time, while breathing over four separate centuries, this Chinni-tikri skinned sublime architecture was built in the middle of a village. It has such a riveting history that it is a bit arduous to decide where one should begin while trying to tell its tales. With Rangeela, shall we, to unravel the ‘mystery’? Abu Al-Fatah Nasir Ud-Din Muhammad Shah was another one-of-a-kind emperor in the collection of Mughal Empire emperors. Passing away at the age of 45 this interesting man lived quite a colourful life whilst having an eventful reign. Born as Roshan Akhtar, and eventually becoming The Muhammad Shah, after ascending to the legendary Peacock Throne, this handsome-looking man had multiple wives. One being a dancer peeks a hint about his time where worldly pleasures were always a priority rather than tensely being busy with bloodshed to protect the reign and expand like most other emperors. Whilst on the throne of a once mighty empire that was at the beginning of its eventual end, he was more glued to orchestrating orders that would vastly contribute to the cultural developments of the region. He was greatly influenced by genres of creative practices and his pen-name was Sada Rangeela which loosely translates as ‘always joyful’. How is Rangeela connected to the story of Bajra Imam Hasan Siddiqui, a simple old man, is Bajra’s current Imam and has been there for the past 27 years. Appointed through a legacy of seven generations, his veins are carrying the blood of the first ever Imam, who was appointed at this vibrant space of worship almost three centuries back, by Rangeela himself. You can read an honour board carrying the names of his forefathers in his office room inside the tiled compound of this graceful mosque. And it is not a sort of unspoken rule for the place; after a time it was the love of the locals, who out of admiration asked for the legacy of the first-ever Imam, Shah Sufi Abu Siddiqui to be continued. Sufi, who was a former resident of the holy city Mecca, was the first and longest-serving Imam for 55 years at his beloved Bajra. According to Imam Hasan Siddiqui, popular stories and recorded history, the story of Bajra’s birth may be something like the following one: Adored representatives of Rangeela, the brothers Amanullah and Sanaullah, were ordered to go on inspection of the reigned regions. They were to build a beautiful mosque, in reflection of The Delhi Shahi Mosque (Masjid-e Jehan-Numa), on the location where the siblings along their troops would run out of food and water, during the expedition. Closer to the location of the mosque that we see elegantly embracing its guests today, is where Amanullah’s water vessel was anchored at the banks of Bulbuli. After offering prayers, this is the site where Amanullah decided to construct a mosque. Hence, the name Bajra became popular. The Bengali word defines a particular type of water vessel, a big-sized boat, that was used mostly by the wealthy elites and royals of the time to travel across this riverine delta. The mosque was named after that eventually, and the village where it homes was formerly known as Umrabadh, which got its new and identical name after the mosque. According to another version of the story, Zamindar Amanullah built his house thereafter, during the stoppage of his inspection tour. Later, by the order of Rangeela, built the mosque there. There are many interesting local folklores attached as well. Till his death, Amanullah was the mutawalli of the mosque and after his demise, younger one Sanaullah was given the responsibility. In the early 1900s Bajra zamindars Khan Bahadur Ali Ahmad and Khan Bahadur Mujir Uddin Ahmad extensively repaired and decorated the mosque. Although an extension has been built in recent years to accommodate increasing number of devotees in congregations. It is still one of those few historically significant monuments in the country that were taken care of over the years and in a surprisingly better state. The Bajra mosque is not a common thing to pop up on a non-local’s mind. Apart from travel and history enthusiasts, how many are aware that one of the comeliest mosque complexes of Bangladesh has been quietly standing with all its gracefulness for almost 300 years inside a not much heard about village in Noakhali? After a long while on tracks, under the soothing shades of green, you will be welcomed by the suavely calm waters of a 30 acres huge pond which not only complements the complexion of the space, but is also special as it was dug to use its earth to construct the elevated platform where Bajra stands beside. Although identical to its other Mughal siblings, having alluring arches, delightful domes, magnificent minarets, and a gorgeous gate on the east, what makes Bajra so special is its enthralling complexity of ornamentation with Chinese ceramics or Chinni-tikri all over its pearl white skin. As if all the ravishing floral and other designs on its body, the dark green ceiling you stare at standing under the marbled dome while inside, has been calligraphed with essences embedded of stories and folklores, often attached to age-old architectures that profusely decorates its already mystic domain of aura, which sends pulses of abstruse serenity to its guests. . A 300-year-old breeze caressing your hair as you sit by Bajra’s pond after Asr, and gazing forever at the kisses of golden hour glistening on Bajra’s surface might make you start counting masjids (mosques) in this country. There aren’t many like Bajra. Written by Shahbaz Nahian
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Balancing Work and Tranquility Brac International Headquarters
With changing generations, the working culture along with its surrounding environment is evolving. As employees’ lifestyles become more comfortable, there is a greater demand for modern work life and space. One such example is the newly renovated headquarters of BRAC International. The office on the 14th level of the BRAC Centre is an exception in itself. BRAC International is an international nonprofit organisation that works to empower individuals and communities affected by poverty, illiteracy, diseases, and social injustice. BRAC’s institutional expertise has successfully implemented programmes across 10 countries in Asia and Africa, impacting the lives of over 100 million people by adapting the models according to the context of the specific country. As an international nonprofit, BRAC International wanted to give a fresh look that reflected their cross-regional work as well as create a space that employees would feel proud to work in. Chinton Architects Ltd. implemented and executed the designing process, closely working with the Executive Director, Shameran Abed. The design draws heavily on BRAC’s values and their core brand DNA. The principal architects, Md Ishak Miah and Neeman Karim, along with the project architect Md Shakiful Islam Proshun and the team, designed a modern yet humble office space that draws heavily on earthy and nature-oriented office interior by using many leafy plants in the indoor office premise. There are also many beautiful photos of programme participants throughout the office to inspire the staff. “Our new contemporary office interior is one of the first of its kind in the BRAC building and several other floors have been inspired to implement similar design elements on theirs. As BRAC International staff, we feel proud of our office and enjoy working here, while welcoming our colleagues from country offices who also feel good to have such a modern and beautiful head office,” Tania Ashraf, Head of Strategy, shared with Ceramic Bangladesh. The eye-dragging view of the whole Banani and beyond is a very complimentary factor and helps the employees to release stress amidst working hours, not making them feel claustrophobic. The offices along the sides of the building are semi-frosted glass partitions with maps and skylines of major cities and countries where the organisation has a presence. The main meeting room features the Dhaka skyline. “We wanted to create a workspace where people feel inspired to come and work. We wanted our colleagues to feel proud about working with Brac International.” A few featured walls are dedicated to showcasing photos of programme participants. The four columns passing through the f loor showcase the organisation’s values – Integrity, Effectiveness, Innovation, and Inclusion. There are separate meeting rooms, which are interestingly named after the working regions. The big meeting room has clocks showing the timing of all the internationally affiliated countries. The office also has standing desks for employees to take breaks from long hours of sitting. Tania Ashraf added, “The lobby area has a collage of photographs from the f ield and reflects our DNA which is very much a part of our daily work. Every morning when we come to work, we feel inspired by seeing these images as soon we get out of the lift. We wanted to create a workspace where people feel inspired to come and work. We wanted our colleagues to feel proud about working with BRAC International. As all of us work very hard, it was important for us to create a beautiful space where we can be productive as well as remember our purpose. Authored by Rehnuma Tasnim Sheefa
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Pottery: Whether To Wither Away Or Survive? – Artisans out to retain this ancient craftwork
Which cultures do the rural Bangladesh represent since the time immemorial? Broadly, the answer might be traditional arts and crafts but what comes first is pottery, the decorative face of Bangladesh. It has a magic that master artisans have been weaving with their wand-like hands. The earthenware or clay-made wares were the essential household articles for centuries. The use of pottery was common in the celebration of various fiestas and festivals. However, is pottery a thing of the past and this fine art going into atrophy, really. Let’s look at an eye-soothing picture at Nolam Palpara, some 38 kilometres off the capital Dhaka. A handful of artisans, men and women, are absorbed in putting strenuous efforts to make pots, pitchers, jugs, glasses, bowls, buckets, small banks, pot covers, dishes, flower vases and dolls. They are out to keep their ancestral profession alive. As time passes, many in their neighbourhood have left this ancient art, yet some are still retaining pottery with profound passion. The potential of pottery is immense and this craftwork is contributing a lot to the country’s nascent ceramic sector. A potter in his late 30s, Palash Pal, told this author during a recent visit to this pottery village, said this very Nolam Palpara, in Savar upazila under Dhaka district, was once famous for the traditional artistic pottery as almost all residents were engaged in the pottery industry. Palpara people have transformed their lifestyle over the years. From the kitchenware to attire, a dramatic shift is seen as they are trying to cope with the changing trends and cultures. But a visit to some makeshift outlets near Doel Chattar adjacent to the Bangla Academy and Dhaka University campus, which stretches all the way to the High Court gate, tells us a different tale. Most of the traders expressed their utter satisfaction with pottery sales after years of stymied growth in the business. According to sector insiders, pottery business is evolving faster these days as enthusiasts from all walks of life prefer a glittery album of aesthetic pottery and terracotta showpieces. From utensils to showpieces, once upon a time their ancestors crafted and used traditional pottery items in their everyday household work. For ages, villagers used earthenware as household tools. With the passage of time, this long-held tradition has shifted drastically. Some craftspeople are exerting their efforts to boom and boost their long-standing business and tradition into a different path. Citing that his ancestors were involved with this occupation for hundreds of years, Mr Pal said in 2005, when he started this trade by acquiring hands-on training from a local artisan, a total of 40 families were engaged in making earthenware. The number has tragically come down to only eight now. Their profession remains on the line for shortage of soil, wood and funds. The oldest art of the country is clay-made crafting, that is pottery. The main raw material of pottery is soil. However, this cannot be crafted with any soil. Clean sticky soil is the key component for this clay art. Business only grows substantially during festivals. Potters struggle to survive with their craft in the rest of the year, said Mr Pal. Those who can prepare items with aesthetic value are doing better business as the demand for such items has dropped. Nobody in his village is making any aesthetic articles due to fund shortages and patronage. A good number of people throng Dhaka’s different sales points, including Doel Chattar, to buy various types of pots and pans, flower tubs, vases, showpieces, lamps, umbrella stands, portraits, toys and wall tiles, Mr Pal acknowledged. Prominent potters from Patuakhali, Dhaka, Narsingdi, Manikganj and some northern districts supply such products across the country, including the metropolis Dhaka. The 69-year-old bearded Abul Kashem Sikder, who has set up a makeshift outlet at Doel Chattar, said this place has become the biggest pottery market. He bought most of the artistic pottery products which are crafted in different parts of the country including Barishal, Cumilla, Faridpur and Dhaka’s surrounding Dhamrai, Savar and Nabinagar areas. Mr Sikder sells more than 150 items which are molded and sculpted by the local Pal community. He does not sell any traditional pottery as they are almost on the verge of extinction, he mentioned. Some foreign tourists often visit his shop and they also cannot resist the temptation of buying articles from a dazzling collection of items. Mr Sikder sells Tk 3,000-5,000 daily and his annual turnover is estimated at Tk 2.0-2.5 million. Dhaka has been the nerve centre of Bangladeshi pottery since time immemorial. The pottery industry has been settled for hundreds of years along the banks of the Banshi, including Kaggiyapara, Palpara of Dhamrai, Nabinagar of Savar, Nalam and Bhagalpur. But this art still survives with bars and barriers. For survival, many people have left their ancient calling. Even if some are trying to hold on, they too are plagued by so many pains, according to the industry people. In 1975, more or less 65 potters in the village were involved in this craftsmanship, but the number has come down to only eight now, indicating the state of the aesthetic art, he said. To mould earthenware, potters have to acquire clay through a strenuous process. They have to collect clay mainly during dry season. Initially, clay was passed through various stages of molding media like wood, stone, shell and metal before reaching the age of ceramic and porcelaina. The sexagenarian Madhob Pal, an artist and sculptor, who has three sons employed at different private organisations, was born and brought up at the same village and started crafting various sorts of pottery items 32 years back in 1990. About soil collection, Mr Madhob said potters have to acquire soil by making 8-10-foot deep holes underground by hand. Due to soil, energy and financial crises, the craft lovers will not be able to find the craft available for long, he warned. Their lifestyle has changed over time with aluminium and plastic products replacing earthenware
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Kuakata: Sea Waves In The South
Something about the white noise of waves, the deep whirl of wind, and the melting, golden hues during the strike of twilight draws people to the affection of the sea. And among a variety of sea beaches that Bangladesh is blessed with, the unique and mesmeric Kuakata wins the hearts of all passionate travelers. Kuakata Sea Beach, the second largest one in the country, is well-known for its picturesque scenery, serene blue skies, and tidal waves. Not many people know that Kuakata has a unique trait that makes it one of a kind; it’s the only sea beach in South Asia that offers travelers a full view of sunrise and sunset. People gather here to relish the therapeutic hours of the sun rising and later disappearing at dusk, reflecting golden highlights in the water of the Bay of Bengal. Origin of the name The name “Kuakata” is derived from the words “Kua,” which means “a well in earth for drinking water,” and “Kata,” which means “the digging of earth.” It’s taken from the legendary well dug on the seashore by early Rakhine settlers in their quest for drinking water after being expelled from Myanmar by the Mughals in 1784. Now home to Hindu and Buddhist communities, the neighbouring “Rakhine Palli” is comprised of a small ethnic group. Spending a few hours exploring there, one can learn about different aspects of the diverse lifestyle of the Rakhine villages; observe the handloom skills of the villagers; and come across handicraft shops at the well-known Rakhine Market. The Buddhist temple and the legendary well are located to its south. It is known that the beauty of the temple was influenced by Chinese architecture. The temple has a statue of Buddha about 30 feet high, claimed to be the highest in Bangladesh. Opening of Padma Bridge & New Opportunities Located 320 kilometres away from Dhaka, the beach is situated in the Lotachapli Union, Kalapara Upazila, Patuakhali administrative district under Barishal division. Earlier, it would take 9-10 hours to travel to all southern destinations by road or river. The bridge over mighty Padma has whittled down the distance between Dhaka and Kuakata to nearly 300 kilometres. The trip takes about six hours, which is almost half the time it used to take earlier. During the time of Eid-ul-Azha in mid-July, every hotel and motel was fully booked and was overcrowded with tourists who traveled long distances to see the magnificent sunrise and sunset at Kuakata. However, the Sundarbans and Kuakata-oriented tourism had faced a decline in the past few years. When asked about this, local businessmen and hotel owners said business has been booming nowadays. They are optimistic about reversing the trend since the global pandemic. They said since Kuakata has become more accessible, thanks to easier conveyance and infrastructural development, the number of tourists would increase in the coming days. Places to Travel Around There are a few nearby tourist attractions with diverse biodiversity. A series of coconut trees and an evergreen thicket of ‘Jhau Bon (forest)’ add to the beauty of the beach. The woodland is within walking distance from the seashore and is an excellent spot for watching the sunrise. There is an eco-park, a fascinating place for a picnic or perfect retreat. The Gangamati Reserved Forest is located to the east of the Jhau Forest. To the east of Kuakata beach, beyond the Gangamati forest, there is a crab island full of red crabs. It is said that the red crabs flock to the beach to look for solitude. Local kids around the beach get thrilled to catch the red crabs and bring them over to the tourists. During the travel season from October to March, speed boats are offered from Kuakata beach to Crab Island. Festivities add more vibrancy to a place. Thousands of devotees gather here during the festivals of “Rush Purnima” and “Maghi Purnima.” On these occasions, they perform holy baths and enact traditional fairs. These festive events make the Kuakata beach more appealing to visitors, adding life to the serene views of the lush forest and colourful sailing boats in the Bay of Bengal. Another beautiful forest, known as Fatra Forest, is found at the extreme east of the Sundarbans forest range as soon as the river is crossed, on the west side of Kuakata beach by an engine boat. Even though this forest contains a majority of the Sundarbans, no wild animals are present. In this forest, one can witness numerous birds, monkeys, and wild hens. In the winter, migratory birds are found around the spot, which is another spectacular feature of Kuakata. There are arrangements to visit these protected forests, including Fatra, Laldia, Harinbaria, and Sonakata Ecopark, which are adjacent to the Sundarbans by boat. Many deer are spotted around the forests, and they are seen as comfortable around tourists. With three to four hours in hand, one can tour these amazing places. An interesting place here is Shutki Palli, or “Dry Fish Village,” located at the western end of Kuakata beach. From November to March, the dry season lasts. The fish gets salt-cured and sun-dried on the beach after being caught in the sea. You can spend time watching the busy schedule and lifestyle of these fishermen and get to buy a variety of dried fish at reasonable prices. Where to Stay For accommodation, many hotels are available nearby, from which one can choose according to comfort, convenience, and cost. Some notable ones are Kuakata Grand Hotel, Hotel Graver Inn, Kuakata Inn, Hotel Nilanjona, Hotel Sea View, Hotel Sea Queen, Parjatan Motel Youth Inn, Beach Haven, and Sikder Resort and Villa. In the case of food, the hotels prepare the meals for the guests in their restaurants. Besides, a variety of local cuisine is also available in local restaurants around. The Best Time to be here The best time to visit Kuakata is when you can fully immerse yourself in the experience without having to worry about the inconveniences. The best month is
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Metro Rail A Reflection of a New Dhaka
Metro Rail will make Dhaka closer to people living in its immediate vicinity. It will change the landscape of the metropolitan city of 20 million people. It will also change the demography in a city where 45,000 people live in per square kilometer area. Motijheel was called the heart of the Dhaka city but thanks to Metro Rail, each station is being developed as a single heart. So, centering the ‘Mass Rapid Transit’ MRT-6 route’s 17 elevated stations, residential and commercial areas are undergoing major changes. Currently, it takes two hours to travel from Uttara to Kamalapur station; the Metro Rail service will bring that down to 40-45 minutes only. During peak hours, the $3 billion Metro Rail will be able to transport around 1800 passengers on each direction in every three and a half minutes on this route, resulting in an average reduction of 15 buses and 100 different types of vehicles on each direction. Traffic congestion is also expected to be reduced and huge working hours will be saved. As per the Minister of Road Transport and Bridges, Mr. Obaidul Quader, five more Metro Rail-routes will be constructed in Dhaka by the year 2030 when the face of Dhaka will change. It will cost about US$ 22 billion. On June 26, 2016, Prime Minister Sheikh Hasina officially inaugurated the construction work of the MRT-6 project. This marked the beginning of the construction work of the Elevated Metro in Dhaka. The elevated Viaduct on which the Trains will run is about 13 meters above the ground. In Dhaka, out of 17 stations on the 21-km-long MRT-6 route, construction of a 12 km railway track from Uttara to Agargaon and construction of 9 stations is nearing completion. Under the construction package CP-3 and CP-4, the stations are Uttara North, Uttara Center, Uttara South, Pallabi, Mirpur-11, Mirpur-10, Kazipara, Shewrapara and Agargaon. The plan to inaugurate the service along this section has been set for December 16, 2022. Each Metro station has a 180 meters long and 25 meters wide Concourse Hall. Passengers will use the stairs, escalators and elevators to purchase/recharge MRT Pass or Rapid Pass from the Concourse Hall and then board the Train from the Platform located above it. Each of these three-storied stations is built on an average 200,000 square feet area. Most of the materials used for constructing these stations have been procured locally. One of which is the use of different types of Tiles. These tiles include floor tiles, wall tiles, glass tiles, tactile tiles (for passengers with special needs), brick claddings for walls, paving blocks for platforms, and stone tiles. And these are special types of vitrified tiles made of high temperature, which do not corrode easily. Only 5 companies in the country are considered eligible to supply these tiles. About 50% cost has been saved due to the use of products manufactured locally. Metro Rail will require about 18 megawatts of electricity to be taken from the national grid. Then it will be converted to DC electricity. For this, eight Traction substations have been installed in Uttara Depot, Uttara North, Uttara South, Mirpur-11, Shewrapara, Bijoy Sarani, Shahbag and Motijheel Stations. The cost of operation and maintenance for Metro Rail is yearly one thousand crore taka will be borne from the fare and other sources such as rental/leasing of commercial and advertisement spaces. The government is thinking about keeping the fare affordable for passengers from all walks of life with subsidies at first. The ministry of Road Transport and Bridges gave an impression that the fare may vary between a minimum of 20 Taka to 100 Taka depending on the length of the journey along the 21-km route. There will be various announcements for passengers in Metrorail in both Bangla and English. From uttara to kamalapur Metro Rail from Uttara to Kamalapur will take about 45 minutes. Although the highest design speed of the Metro Train is 110 kilometers per hour, the actual speed may vary due to the curves on the route and other operating factors. 17 stations in 21 kilometers mean each of the stations are located within one and a quarter kilometers from another. The Trains may stop for a maximum of one minute at each station. During peak hours, trains will run every three and half minutes apart. An estimated 60,000 passengers will be able to commute on both directions per hour from early morning to midnight. Once fully completed, 24 sets of Metro Trains will run from Uttara to Kamalapur. However, 12 sets out of those will be used for the first phase operation from Uttara to Agargaon. Initially each of these trains will have six coaches with an option of adding two more coaches to each of the Train sets if necessary. Each Train will have a total seating and standing maximum capacity of 2,308 passengers. According to this calculation, at the beginning, it will be possible to transport about half a million passengers per day. One of the six coaches on each train will be reserved for women. However, other coaches of the train will also allow men and women to travel together. MRT Line-6 was initially planned to reach Motijheel, but later it was extended by 1.16 km to reach Kamalapur Railway Station. Though, physical work for the extension of Motijheel to Kamalapur section has not started yet, the preparatory works for this extension is ongoing in full swing. In addition to MRT Line-6, 3 other Metro Rail routes (MRT Line-1, MRT Line-4 & MRT Line-2) will also have stations adjacent to the Kamalapur Railway Station. Once completed Kamalapur Railway Station will transform into a modern transit hub. Even though, initially, the timeframe to complete the MRT Line-6 project up to Motijheel was set for 2024, Bangladesh Government is keen to complete the project ahead of that target. If the current pace of work remains unchanged, hopefully, the people of Dhaka will get the much awaited MRT Line-6 by December 2023. Minister Obaidul Quader said
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Reminiscing the memories in new urbanscape SHERATON DHAKA, BANANI
Since the 90s, Sheraton has been one of the prominent names in the luxury scene of Dhaka city. Many of us have fond memories of weekend morning strolls and fun with parents near the poolside landscapes. As the city grew, so did the urbanscape, the economy, and hence a shift of luxury being more contemporary with the time. Sheraton Dhaka in a new location in Banani is an excellent example of the recall value of a brand. The interesting friction with the prior location is that the city dwellers are still getting familiar with and accepting the nostalgia within the new vertical opulence. The contemporary and trendy expression is a boon to the new generation of entrepreneurs and business enthusiasts, alongside the youth crowd. The location of Banani is in a merging mesh of formal and informal zones, may it be corporate offices with the big business companies or a hub for youth to hang out and collaborate. “The new business model of the brand is to connect these dots,” shared Md. Al Amin, Hotel Manager and In-charge of Sales and Marketing. He also added, “Sheraton’s slogan is ‘Where the World Comes Together’ and Sheraton is community which is about ‘We’ rather than ‘I’.” A premium hotel is not just about a beautiful architecture or posh interiors serving the brand value, but the services and how the functionality works. One of the basic guidelines for any hotel is to design the circulation and utility of the spaces. As we visually experience the front of the house and its ambiance, the back of the house provides smooth services subconsciously yielding ease. Since 2016 the 81 years old operating Sheraton Brand became a part of Marriott International. This shift has been an improved revamping session for the brand protocols. As per the brand guidelines, all the designs are executed. High-end and prominent local architectural consultants and a Singaporean design consultancy firm collaborated with the Marriott International design and management team for the execution process. The active participation and suggestion of the local owner, a seasoned hotelier, added value to the output. The hotel has a gourmet café called Toastina, a buffet restaurant and alfresco named The Garden Kitchen, On the Rocks -a whiskey bar, and a high-end Japanese restaurant, Yumi. One of the biggest column-less ballrooms in the city, spanning approximately 8000 square feet. A club Lounge for Club Room Guests and for top-tier Marriott Bonvoy members, a gym with the best city view, spa facilities, and many other support features of a modern and upscale hotel. Marriott International is specific about the arrangement as they achieved the class over the years. Everything is per the standards, from the washroom amenities, mattress, and bed linen to the kitchen layout and room sizes. The restaurant has all freshly imported ingredients to maintain the quality. The hotel is a no-smoking zone. Due to the new branding value of communal developments, the sitting arrangements are for a larger group of people. “Sheraton being a full-service hotel does not just limit itself to bed and breakfast, but rather the ambiance ambiance and overall experience of the service. Sheraton has one of the largest hotel footprints overall within the Marriott’s Brands. Sheraton considered as a flagship in the Dhaka is region,” shared Mr. Al Amin. In an Exclusive Interview with Daniel J Muhor General Manager, Sheraton Dhaka 1. As per the memories of the 80/90’s people and kids, luxury hotels meant the Pan Pacific Sonargaon (existing) and the Sheraton Dhaka, at the present premises of Intercontinental. That shift of nostalgia from a lawn-based architecture to an urban upraised scraper. How do you feel this change is appropriate? There are advantages and disadvantages. People are experiencing a positive shift, just at times struggling between the present and previous location, but still adaptive. For better reference, we are addressing it more emphasized as Sheraton Dhaka, Banani. People are responding to the recall value of the brand. As the land occupancy is getting concentrated in Dhaka city with land as such from Banani, one of the most expensive ones in the world, it is tough to plan the layout horizontally. The location shifted alongside the architectural style from horizontal to vertical planning. Having the fact of generating revenues, every square foot matters. If land such as in Banani gets used for urban landscaping and ground-level outdoor spaces, it would have been tough for the owner to generate revenues. But we have kept an open alfresco area that serves as an outdoor landscape, and at the top, the poolside area adds to it as well. And the panoramic views as you go up the floors add a new experience. Overall, we feel it is an urban retreat within the hassle and bustle of the city. 2. Most people are observing the contrast between Banani supermarket and a five-star rated hotel. How was the selection of the property made keeping such an interesting combination? Initially, the Banani supermarket was a worrying factor. But the existing structure has been a great fortune. The podium coverage that we have is approximately 44000 square feet. And there are lots of examples of shared land-use systems of commercial spaces worldwide. Many premium hotels are operating this way. The owner is investing to improve the ambiance to smudge the contrast. Hence, the supermarket is getting upgraded, increasing its value and the property value parallel. The lower few levels of the market are louvered from outside. The entrance is more decorated, providing a better experience for the people visiting the market. The roots are important too, and the addition of Sheraton will cocreate the landmark. The users need help to be educated about the usability of the facilities in a better way. 3. Hotel and their hospitality differ in many experiential and served ways. How Sheraton, Dhaka is planning to be exceptional in this developing range of upcoming hotels? The hotel’s one of the best-selling points is one of the biggest pillars less ballroom, in a busy
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Surging Potential of CBC Tiles: In conversation with Sayma Islam
China-Bangla Ceramic Industries Ltd. (CBC) is one of the top ceramic manufacturer companies, founded in 2001, as a joint venture private sector entity between Bangladesh and China. It produces a wide range of Wall and Floor tiles including Homogeneous, Decor and Border tiles. China-Bangla Ceramic Industries Ltd is well-known company as importer, supplier, distributor, wholesaler, retailer and manufacturer of ceramic and tiles products in Bangladesh. Everyone can depend on CBC Tiles for their commercial office, living room, bedroom, kitchen, bathroom, outdoors and stair. All products are wall and floor tiles, and cladding. Annual production capacity of unit-1 is 7.5 million sq. metre and unit-2 is 3.5 million sq. metre. Its total employees are 1200 now. It has manufacturing plants in Tarabo, Rupganj, Narayanganj (unit 1) and Charmadhobdi, Bhatpara, Panchdona, Narsingdi (unit 2). All its technology and machinery were imported from Italy, Austria and China. The Chairman of the company is Ferdousi Islam, Managing Director Mr. Md. Shirajul Islam Mollah, CEO and Director Sayma Islam. China-Bangla Ceramic Industries Ltd. A top ceramic manufacturer of BD CBC is a well-known competitor and a leading brand. Ceramic Bangladesh recently had the opportunity to sit with Sayma Islam, CEO of CBC, for a delightful tête-à-tête and learned about the insights of CBC, their tested strategies and future plans. What is your leadership philosophy in creating that change? “It’s been 10 years since I’ve joined CBC. I was appointed as a CEO but I didn’t know what that meant at the time. I was at my learning stage and it took me 2-3 years to figure out the role. My father grew the business with his own hands, and when I joined, I wanted to introduce something that would make CBC better. I wanted to set the vision. It’s a full Bangladeshi company now since we have taken over but we kept the name. And as the newer generation I wanted to introduce sustainability. I set the vision for the company and inherited the norms and traditions from my father. But I got out of the norm and visualised how I wanted the company to grow. I changed the logo and gave it a new look. Set up another factory that is capable of manufacturing modern tiles. And we focused on competing with foreign products that were doing well locally. The team took instant decisions and found out ways to catch up with the industry’s unceasing changes. Now that everything is more digitised, the technology sector is going through rapid transformation. Just a couple of years ago, the industry lacked skilled manpower and had to import raw materials. Now we have all the gaps filled. CBC hires foreign experts now who mostly work in the R&D (research and development) department. This is one of their strategies that helped them immensely.” What do you think has been the key to its success? “We are raising the bar every time by looking for better technicians, using better raw materials, and researching more and more. We chased better quality and looked at the market to see what was in demand. We worked on the designs and quality according to that demand. We started CBC and it’s been 20 years plus already. And when we started there wasn’t anything called ceramic tiles. We are the second introducers of foreign tiles substitute. One of our biggest contribution would be that we’ve increased the local demand for locally made ceramic tiles. Now there is a huge variety of tiles and we focus on CRM when it comes to selling ours in the market.” How do you smoothly manage such a sensitive part? “Most of the employees we have, have been with us for a long time. We give two days off and provide a friendly, newly introduced corporate environment. We are paying incentives, we provide support system for a deceased employee’s family and we motivate our employees to gladly work with us with diligence.” Ceramic industries should focus on research. Ms. Sayma said, “The more R&D we do the better this sector will get. If we can maintain quality in production then the finished good will be good as well.We need modern solutions and constantly research for updated product designs.The market is growing but it hasn’t reached saturation point. We are focusing on constant growth. We are also thinking about real estate now that we have developed so much. We already have 3 ongoing projects. Our plan is to branch out with real estate, cement factories, and sanitary ware.” She added, “What keeps me focused is my father. He plays a gigantic role in our upbringing. Fifteen years back, women weren’t on this scene. After my joining we expanded to another factory, and we are working on a third plant.
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Transforming Time Embracing The Journey of designing a mother’s courtyard to a community courtyard
Architecture as a profession starts with untold responsibilities, especially from the day an architect realizes their observation about the surrounding necessities. The story of Architect Rafiq Azam starts somewhere there when the young and enthusiastic artist started his architectural school at the Bangladesh University of Engineering and Technology (BUET). Uncertain about coping with architecture, his subconscious mind always wandered towards art school. Being born and brought up in the old town and surrounded by its culture, the young Rafiq developed a lateral mindset. The results of his learning reflect on his work even after 30 years of practice as a Principal Architect with his team, Shatotto architecture for green living. From the fond memories of childhood and presently looking back to the missing pieces built the urge to refurbish the old Dhaka with a better story. But it all started with a sudden step on the realization of responsibility that he felt to hold the memories of his family, his mother, and their childhood ambiance, back when he was a third-year student struggling to survive architecture school. After the demise of his father, they wanted to rebuild their house. His mother and her affectional emptiness of giving away her memories with her husband and adapting to a new built environment made him courageous enough to start his first design project, their residence in Lalbagh, Dhaka. The only requirement from his mother was a garden and an “uthan” (courtyard), like the one they had in their old house, where she could walk around and re-live her nostalgia. The first of its kind, he designed a courtyard on the second floor of a building, gifting his mother the patch of green to cherish. Almost after 30 years, he did similar for the people of Rasulbagh, a small community in Lalbagh, Old Dhaka. He designed a communal park collaborating with the Dhaka South City Corporation, that is more like a courtyard gifted to the built community. According to Rafiq Azam, architecture is not just drawing and construction but more about a merging point of nostalgia and new memories. His inspiration for sticking to architecture, lastly, was to create for the mother, the soil, and the country. As he says, “I learned architecture from my mother.” But this journey was not easy and short. The dedicated practice and research over the last 30 years, the showcase of persistence in public domains, developed trust in people. This reliance helped him influence a struggling community like Rasulbagh to revive and celebrate life. His vast experience allowed him to execute his ideas in a way that was widely accepted and even celebrated by society. ‘Architecture’s main focus should be to improve human life, working with the environment and its habitat. It should not only be limited to accommodating the luxury of elites but that of the public as well. That is how a kinship develops. ‘Urban spaces need to improve in the name of development, not just mega infrastructures; otherwise, the quality of human life will not be enhanced. And I have always been on a mission to bring a positive change,’ expressed Rafiq Azam. Rafiq Azam’s practice has always somewhat had its roots in Old Dhaka. Earlier in his career, the wandering mind wondered about the high-thorny boundary walls of the city. He questioned the level of mistrust and hatred that people built over time. From the culture of the old town, the houses had “mer” (plinth) for people to sit and mingle, at times with mud coolers filled with water to offer the passers-by. Dhaka was a city of love and respect; it was about bonding and mingling. The answer to this subconscious dystopia was to break the boundary walls down and oppose the convention. The practice of using glass boundaries to dissolve the visual barriers between the dwellers started. “The words ‘Kancher Deyal’ from the name of Zahir Raihan drama have inspired me to think about how a boundary can be made fragile and transparent. Hence, I started implementing them in the apartment buildings by adding plantations and benches for the passers-by. I took it as an experimental process to observe the interaction of the society,” he explained. In 1998, Rafiq did his first solo art and architecture exhibition in New York. “People and critics appreciated my arts- a few even bought. However, for architecture, I mainly received praise for my ability to draw to international standards. The architecture was not something extraordinary, but rather the approach was very American. While I was coming back, I wrote in my diary, ‘I am coming back with hope and frustration. I realized the need to learn about my own country and how to incorporate that into modern architecture. Much of my foreign learning had to be unlearnt, which was tough. I felt myself to be intellectually corrupted,” recalled Rafiq Azam. With this thoughtful shift of learning and unlearning, his urban and modern architecture went through an evolution. The gathered knowledge about Bangladesh, its geographical and climatic contexts, history, and culture started influencing his architecture. He showed his clients how to reminisce their childhood, just as he did with himself while designing his residence. His western drawings started getting a layer of Bengaliness, influences of poetry and literature. The rooms were no more spaces with four walls but rather got a concept. ‘Goshsha Ghor’ (a space to release anger), ‘Bristy Ghor’ (a space to enjoy rain), ‘Swimming Pond’ with ‘Ghatla’ (rural ponds with shorelines), Jongla’ (sprawl of shrubs and bushes), all these conceptually structured his architecture in better ways. A lot of pivotal points shaped his journey. Rafiq had learned a great deal from Glen Murcutt, who spoke more about nature, history, heritage, and its association with human life. “His advice was to touch the earth lightly. Architecture is a part of nature, and the alliance between two should always be maintained,” he added. Reflections of his learnings are observed in his translation of imagination into spaces. He connected the dots without the interference of foreign
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The Future of Architecture Lies in the Slab Tiles
Large format tiles are becoming new trend as people prefer large format Slab Tiles. The demand for these tiles, which are several times larger than conventional tiles, is increasing worldwide. The competiting countries of Bangladesh like Vietnam, China and India are grabbing the global markets of slab tiles rapidly. Despite the popularity of slab tiles in the Middle East and European countries, India, China and Vietnam have taken the monopoly of slab tiles’ market. Although the technology started in Italy, it quickly became popular in other countries. The speciality of slab tiles are its large size, very fewer joints, nice to see and high aesthetic value with strength and durability. Since there are fewer joints, it also has less chance of catching dirt. It can be cut as desired and set on the floor or wall. Moreover, slab tiles are much stronger and thicker than normal tiles. Several companies including Akij, DBL, Sheltech, Greatwall and RAK have started manufacturing mini slab tiles in Bangladesh. Only three years ago, slab tiles of 1200cm x 2400cm size were imported from Italy. At that time, the largest size of tiles in Bangladesh was 60cm x 60cm. Now 600cm x 1200cm; 800cm x 800cm and 1000cm x 1000cm size slab tiles are being manufactured in the country. Its size is gradually increasing. Within the next couple of years, various companies will run the process of manufacturing 1200cm x 2400cm size perfect slab tiles in the country. At the one hand, the production cost of slab tiles is lower than the conventional small and medium tiles and on the other hand, its price is relatively high in the market. Companies are more inclined towards these tiles due to market demand. Slab tiles are the new trend in the world tiles market now, because its features and advantages are very attractive and consumer friendly. Wide range of usages: Bathrooms, Kitchens, Countertops, Cabinets, Working tables, Offices, Shopping Malls, Hotels, Restaurants, Community centers and many more places Creating a continuity effect: Due to large size, there is less visibility of tile joint and the effect of tile texture is lively. Reduced installation time :Due to large format the installation time is much easier than traditional tiles. More hygienic & easy to clean : With less joints, there are fewer areas in which dirts can be stored and due to porcelain stoneware, it is itself more hygienic and easier to clean. Benefits of Slab Tiles : Excellent appearance due to the narrow joints ensures a seamless surface and vintage look. Sizes are available from 600cm x 1200cm to 1600cm x 3200cm with 5mm to 14mm thickness. The manufactures can cut this slab tiles as per their desired sizes and shapes. They are suitable for both wall and floor surface. Large format tiles can help enhance the look of the house, working wonderfully well in modern and minimalist houses. Each large wall tile and floor tile covers more square feet than a standard tile, leading to fewer grout lines across floors and walls, more seamless and stylish looks, and easier maintenance. Slab tiles are not themselves a different tile material – only a different manufacturing format. Usually made from porcelain or stone, slab tiles differ from normal tiles only in size. They are much taller and wider, with some variants coming in at a whopping 10-by-5-feet. Slab formats are in demand due to a few advantages that they possess over. normal tiles: chief of them being that they are cheaper and easier to work. There is a huge demand for slab tiles in the Middle East and European countries. At the moment, the demand of Slab Tiles is mostly fulfilled by China and India. Time is not far when this will be done by other Asian countries as well. Mr. Khourshed Alam, Director (Marketing) of Akij Ceramics said if it is not 1200cm x 2400cm, it cannot be called real slab tiles. Akij is now manufacturing tiles in the size of 600cm x 1200cm which are called mini slabs and hopefully by mid of 2023 Akij will produce 1000cm x 1200cm. Moreover, with the new technology that Akij is adding to, it will be possible to produce actual size slab tiles within the next 2/3 years ranging 1200cm-2400cm sizes. Pointing out that these tiles have a huge export market, he said, the world is now rapidly moving out of small tiles. Akij is also targeting huge export markets in Europe and the Middle East. He commented that the market of small and medium tiles in Bangladesh will also shrink soon. Because people are now giving more importance to the aesthetics of slab tiles as it can be cut to any size and fitted. Although there will be a little wastage while cutting these tiles, the beauty makes it all worth it. Besides, thanks to its thickness its durability is higher. Mohammad Bayezed Bashar, GM (Operation) of DBL Ceramics said that the demand for slab tiles has been increasing in the Bangladesh market for the past several years. That is why, various companies are now manufacturing these tiles and adopting the required technology. Its size is also increasing step by step. Currently DBL has started manufacturing tiles of 600cm x 1200cm size. There are plans to make it a size of 1200cm x 2400cm in the next two or three years. But at present, the major obstacle in expanding the market for these tiles is the lack of skilled fitters. That is why, DBL is training fitters across the country. They have helped to create at least 10,000 trained and skilled fitters across the country. It will also increase the income of the fitters. It is expected that as the number of fitters trained to install slab tiles increases, the market for these tiles will also expand rapidly. Mr Bayezed also said that the tiles that are currently being made in Bangladesh are done with “press” technology. But the next upgraded technology is “Roller or Compaction” technology, which will come
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How Tiles can be identified Each type of tiles matches a unique place
Terracotta plaques have been used to decorate the walls of houses since ancient times. In addition to enhancing beauty of walls, it improves durability of the plaque. According to historians, not only terracotta slabs, but also ceramic tiles had been used even 1,000 years before the birth of Christ. They were, however, different in size, shape and design. Archaeologists have found evidence of the use of ceramic tiles during the Egyptian and Chinese civilizations. The making and use of ceramic tiles today are quite different. In the beginning, tiles meant only the earthen slabs used on the roof of a house. Those handmade tiles are still admired all over the world as art works. The quality of tiles has increased along with development of technology and there is a difference in the designs as well. Tiles are now being made by using the latest nano technology. Types of tiles There are various types of tiles in the market. People get confused with different types of tile. You can easily find many kinds of tile description, such as ceramic tile, porcelain tile, glazed porcelain tile, unglazed porcelain tile, through-body porcelain tile, mosaic tile and so on. Where and how the tiles can be used depend on the type of it. Here are some of the types of tiles: Ceramic Tiles Ceramic tile is either porcelain or non-porcelain. Ceramic tiles are the most popular one for wall use. As they are light in weight, they are suitable for mounting on any type of wall. These tiles are available in small and medium sizes. Their price is also relatively low. Homogenous Tiles Homogenous tiles are used on the floor. However, it is much cheaper than mirror polished tiles. For those who want to use smaller tiles on the floor, they can choose homogenous tiles. These tiles are much more durable and can bear more loads as every single tile of this type is made of the same material. Mirror polished Tiles Such tiles are commonly used on floors as they are quite large in size. Due to the gloss, the light reflected on these tiles enhances the brightness of the room. Rustic Tiles The biggest advantage of these tiles is that they can be used on both walls and floors. Its design is quite modern and varied. Thus it is more suitable for outside walls, garden, roof, lawn. Available in small and medium sizes, rustic tiles are easy to use. The use of rustic tiles to decorate the walls on either side of the living room or bedroom is more common. This enhances the decoration of the house. Decorative Tiles Decorative tiles are used to enhance the beauty of other tiles. Separately, it has no use. Decorative tiles of various types, sizes and shapes are available in the market. It is especially used with other tiles to enhance the beauty of kitchen, bathroom and ceiling. Decorative tiles with different designs as well as special colour themes are available in the market. Lapato Tiles Lapato tiles are suitable for use in special places like office, shopping mall and factory. These are called semi-polished tiles. Also known as rugged tiles, lapato tiles are more commonly used in commercial places or public places because, these are very strong and long lasting. These tiles are available in different sizes. Cladding Tiles Cladding is a great way to protect a building from adverse weather elements, as well as other types of irritants that could have a negative effect on the building. Wall cladding is the process of layering one material on top of another material which will create a skin layer over the walls. Stairing/Heavy Traffic Tiles Heavy traffic tiles fit together individually, you can easily replace areas of your floor that are subject to heavy foot traffic. Compared to traditional carpet flooring, replacing carpet tiles is much easier and a lot more affordable. Digital and Mosque Tiles High Definition Porcelain is an exclusive trademarked process tile that utilizes the most technological advanced glazing system in the industry today, digital printing. Mosque Tiles ornately painted ceramic tiles carefully crafted to adorn the interior gallery. Parking Tiles/ Clay Pavers Pavers have a broad range of colours, patterns, texture and shapes, they are sturdy and can withstand extreme weather changes, they are load tolerant, they can be easily replaced in case of damage, installation and maintenance are easy and they are non-skid. Pavers are distinctive match or coexistence between us and the natural environment. Colourful pavers do bring creative visual interest in surrounding to otherwise monotonous surroundings. Matt Tiles If you want to up the safety underfoot in your home, then the traction of matt floor tiles make them an ideal option. With a more textured surface that gives better grip you can avoid slips and trips in your home, rather than the less practical glossy alternative. Limestone Tiles Limestone tiles are made of natural stone, and it’s one of the most affordable options if you want to avoid artificial materials for your flooring. Limestone is a better bargain compared to something like granite or marble. Limestone tiles may show the presence of fossils. Roof Tiles Roof tiles are primarily made to keep water out of a home. However, they differ from traditional asphalt shingle roofs in both their material composition as well as their looks. All of Roof tiles are made from processed natural clay. Over the decades, the companies homeowners, are providing architects, engineers and designers with widest selection of size, shape and colour roofing tiles in Bangladesh. Marble and Granite Tiles Granite is an igneous rock formed at extremely high temperatures and is largely made up of quartz and combination of other minerals like mica, iron ores and feldspar. It is an incredibly hard construction-grade material that can receive a high polish or be left in its natural state. You should not be able to scratch granite with a knife. Although typically resistant to staining and acid damage, it is somewhat porous and requires
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The story Roofing Tiles of a Maker of eco-friendly
Did you know who the manufacturer of eco-friendly roofing tiles in Bangladesh is? He is none other than Farid Hossain who has set a pace in roofing tiles innovation. Having a diploma in ceramics, he had an illustrious career for 10 years between 2006 and 2016. But he got immersed in thought about seeking certain scope to develop entrepreneurship as he never felt comfortable at a job under any employers. Mr Farid Hossain was born and brought up in a village in central Gazipur district adjacent to Dhaka city. He used to dig into different innovative ideas and feats. Now in his 40s, he used to visit his neighbourhood since his boyhood only to see potters busy crafting ancient earthenware round the clock. That craftsmanship interested him in the making of eco-friendly traditional clay products. His inborn passion is imprinted throughout his life and career. After obtaining a higher secondary degree, Mr Farid took a four-year diploma degree in ceramic from Bangladesh Institute of Glass and Ceramics in 2006. Later, he obtained a Bachelor’s degree in electrical and electronic engineering from International University of Business Agriculture and Technology amidst his pursuit of a job. The artisans, who crafted different ancient clay items at his village alongside his long career in the ceramic industry, enthused him greatly to contribute to the growth of the sector as a prolific entrepreneur. Mr Farid, who has a four-member family, has a profound love for soil and he keeps on exploring his passion for the motherland. Mr Farid believes human beings are made of soil and they cannot deny it anyway. So, he always tries to explore the strength of fertile soil. Building up a connection with old-age traditional ceramic items, Mr Farid is poised to reshuffle his plan through expanding his business each year beyond the country and reaching out to people across the globe. His factory now produces an estimated 5,000 units of tiles daily, thus amounting to 750,000 units yearly. His fully eco-friendly products are free from harmful oxide. Although Mr Farid was willing to set himself up as an entrepreneur since his early job career, he could not start it because of an acute shortage of working capital, according to this self-made man. His forefathers had been involved in farming for ages. “So, it was a Herculean task to dream of being an entrepreneur as traditionally and typically most of us in society prefer working under employers as it is regarded as better, secure and protected,” Mr Farid said. Process of Making Roofing Tiles Only soil and silicon oil are the vital components for making tiles. Mr Farid collected soil from his localities and oil from some local importers. There is no dearth of soil in the market. Primarily, he used fuel wood to manufacture tiles. But he now uses a reticulated gas system to halt carbon emissions. Mr Farid, however, seeks piped gas as the existing system is too costly that triggers higher prices of tiles. To get a finished product, Mr Farid first collects suitable soil. Then he does the processing in the production line, including crushing, grinding, screening, moisturising, forming, drying up by a dryer, finishing by kiln and sorting to packing. Mr Farid’s Major Innovations Mr Farid was inquisitive about producing engineering products that also inspired him to develop two vital machines, which are being used to shape roofing tiles at his own factory. He used indigenous technology and locally available equipment to develop them. The machines are cheaper than the imported ones. Through these innovations, Mr Farid has been able to start his business with a paltry capital. Why Market Growing Although roofing tiles are costlier than any traditional rooftop solutions, people are becoming more interested in installing the artistically good-looking system as it keeps houses cosy, cold and comfortable in addition to its heat-proof condition. The system has a deciding effect on the appearance of a building and also shields houses or buildings from rain, noise, wind, fire and hails. Roofing tiles also reduce energy consumption. Local and Foreign Market Expansion In 2017, Mr Farid set up his enterprise with Tk 0. 2 million and 12 workers on a 20 decimal of land after amassing the funds from selling his wife’s ornaments and leasing out his father’s land without taking anything from banks or any state support. After the initial teething trouble, his business has now an outlay of over Tk 30 million with 32 employees working on an acre of land amid Covid-19 fallout and a possible recession mainly caused by the ongoing Russia-Ukraine war. According to Mr Farid, the domestic market could have expanded further with state patronage. Even local entrepreneurs could have grabbed a slice in overseas markets as the global market size is rising fast due to its aesthetic beauty and eco-friendliness. He attributed market growth to multiple state initiatives for infrastructure development in recent times. The global roofing tiles market size was valued at $30,400.0 million in 2019 and it is projected to reach $41,354.9 million by 2027, registering a compound annual growth rate (CAGR) of 5.20 per cent from 2020 to 2027. The market size is growing as the state focus on and public mindset towards eco-friendly household products are shifting fast. Local factories are grabbing nearly 60 per cent of the market, whereas China, India and Vietnam are sharing 40 per cent. Local market leaders include Mirpur Ceramics Limited, Tradexcel Ceramics Limited, and Conforce Ceramic and Refractories Limited. Mr Farid has called upon the government to take effective measures to curb the rising import of roofing tiles and patronise the local industry for the sake of further growth of the nascent ceramic industry.
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The Tales of Terracotta Temple
A embodiment of the weirdly mysterious vibe that ancient structures often procure, Kantaji is undoubtedly the most colossal example of terracotta architecture in the region. Often, it’s the grandiosity or beauty of religious space and/or the stories attached that give an inexplicable feeling of peace to believers, and even to the visitors when they enter the space. Kantaji is not only a Hindu temple dedicated to Lord Krishna, but this sublime piece of architecture meditating on the banks of Dhepa for three centuries, consisting of almost 15,000 pieces of delicate terracotta on its skin, and has its list of stories and myths attached as well. These, when combined, give the space a mysterious character that it tenderly holds. But even if you do not know much about Kantaji, being present at the site at the right time when the wind charmingly flows, you will understand that the atmosphere has suddenly taken you to a place where you do not know how old the time is. The story of Kantaji’s initiation blooms from a bud consisting of conspiracies. It was 1862, the reign of the last mighty Mughal ruler, Aurangzeb, the youngest son of Shahjahan who built the iconic TajMahal. It was also a time when the zamindari of the Dinajpur region was going through a rough phase. The then zamindar, Prannath Roy, was perched on the throne after the consecutive deaths of his two elder brothers. Unlike many of his contemporaries, Prannath was loved by his people. And within a few years, just like many other royal rivalry stories straight out of a novel, enters King Raghbendro Roy, zamindar of Ghoraghat. There was already a rivalry in existence between both the zamindar families of Dinajpur and Ghoraghat. Raghbendro plotted a conspiracy to take advantage of the situation and sent a letter to Aurangzeb, blatantly lying that Prannath had perched on the throne by killing his two elder brothers, Ramdeb and Joydeb. That he was not only a tyrannical zamindar, but also refused to obey the authority of Delhi’s ruler, Aurangzeb, and was irregular in sending the required tax. The plot worked. A furious Aurangzeb ordered a show cause and Prannath eventually traveled to the palace of the emperor with gifts. A while after they met, coming across the integrity of the kind-hearted Prannath, Aurangzeb realised his mistake and, out of kindness, gave Prannath the title of King and ordered him to carry on his usual zamindari of Dinajpur. The story of Kantaji’s initiation blooms from a bud consisting of conspiracies Here comes the most interesting part. As a devotee to Lord Krishna, when Prannath got out of this danger and received the title of King, as a devotee to Lord Krishna, he decided to do something out of love for his religion. While on his journey back to Delhi, he decided to visit Brindaban for a while and set up a Krishna temple in Dinajpur once he returned. During his stay in Brindaban, he was blown away by a beautiful Krishna statue, and he wanted to bring it back home for the temple he wanted to build. But, as said, he had a dream where Lord Krishna himself appeared and asked him not to take this particular statue as the feelings of the local devotees would be hurt. Instead, Krishna was said to have told Prannath to be patient because he was about to receive a Krishna statue identical to the one he desired during bath the next day, and that Krishna would travel with him on that statue. Soon after the divine dream, the next day, as Prannath was having his bath, he found an identical Krishna statue, beaming with its entire godly aura. This is what Prannath brought back Dinajpur to install in Kantaji. But that mysterious Krishna statue is not there anymore. It is believed that after the massive earthquake of 1897, when the temple was badly damaged and lost its original nine spires, for which it was also called “Navaratna”, the statue was stolen from the disastrous site. There is also a myth that Aurangzeb himself ordered Prannath to set up a Krishna temple, whereas Aurangzeb was a Muslim. And speaking of that, the architects Prannath commissioned for Kantaji were all Muslims. You can still find the brick mosque they built for themselves a few minutes distance from Kantaji. Another interesting fact is that just outside Kantaji’s premise; you will find an abandoned temple-like structure. That was the temporary temple that Prannath originally built, but he eventually wanted a grander one, hence he began the construction of Kantaji in 1704. Sadly, Prannath could not live long enough to witness the completion of this terracotta masterpiece. Every inch of the walls is embedded with a highly sophisticated opera of art, composed in a rhythm. Beautiful floral designs, amazing stories depicted from Ramayana-Mahabharata, and many extremely fascinating contemporary local stories, etc. Perhaps the most fabulously interesting ornamentation on the skins of Kantaji would be the depiction of erotic scenes. All these stories say so much about spirituality, about what is pious and what is not, about togetherness between human beings of different religions and so on. King Prannath Roy passed away in 1722. His adopted son, Ramnath Roy, took charge of the throne and, according to the last wish of his beloved father, finished the construction in 1752, which stands till date. With no tickets required, the temple is open at any time of the day and is open to all, regardless of faith. It’s one of the major archeological sites in Bangladesh.
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Pursuing Prestige: The Radisson blu water garden
We rarely find a person acquainted with Dhaka who has not heard the name Radisson Blu Dhaka Water Garden or has not seen the iconic pitched roof building on the airport road. For years the name has carried the essence of luxury, exclusivity, and prominence to mass people. Just paying a visit to Radisson is enough to make someone feel special. Since 2006, Radisson Blu Dhaka Water Garden has been a prominent name in the luxury hotel market. The luxury and exclusivity with a touch of nature make it the perfect blend for people who want to experience proper five-star hospitality in Dhaka. Radisson Blu Dhaka Water Garden is between the city center and the airport area, making it easy to locate and access, especially for international travelers, including most of the target group. Being situated away from the urban chaos gives it a spacious room to breathe, making it worth battling through the Dhaka traffic to spend quality time with the city dwellers. The building stands as an icon of a five-star hotel in Dhaka city amidst water bodies and green landscapes. The whole area comprises 7-acre of land, but the building stands only on 2.5 acres, leaving the rest to embrace the natural landscape. It becomes hard to miss due to the fusion of Modernist architecture with the nostalgia of our traditional pitched roof. The project is a partnership between the property owner, Sena Hotel Developments Limited, and the multinational corporation, Radisson Hotel Chains, which provides quality management. International and local consultants worked together to develop the building by the brand criteria. Every element, from service, food, room amenities, comfort, building materials, and local experience to security and safety, is carefully designed to provide guests with a meaningful and unforgettable experience. The grand ramped driveway is one of its kind in this hotel. It is rare to find such a spacious approach in Dhaka due to the congestion and scarcity of land. One can see the unhindered view of the cityscape of Dhaka from the drop-off area, overlooking the wide airport road. After a careful security check, the ceiling height change to the lounge is awestriking. This open salon is visible from all floors above. Its height has been scaled down to human proportions by chandeliers of various sizes and height levels, which creates a more inviting atmosphere. The visual drama of the lounge and its modernist design, circular shape, and strategically placed features give the space an impressive appearance. It provides an interactive space for both the visitors and the occupants. The main entrance is from the first floor, and all the public functions comprise the ground floor and first floor, making it easily accessible without any contact with lift buttons or door handles- which proved to be highly useful during the Covid-19 situation. Radisson Blu Dhaka Water Garden, is one of the prominent names in arranging national and international high official Government and private events, particularly in terms of its security and hospitality. They offer versatile conference rooms that can accommodate up to 1,100 attendees, ensuring the success of events of all sizes covering approximately 3,000 square meters. The Grand Ballroom’s 990 square meters can accommodate a memorable wedding celebration or buffet. The Utshab Banquet Hall is available for product-launching-style events. Several boardrooms are also accessible for personal meetings, training courses, breakout sessions, and other smaller events. Healthy food over taste is a primary priority at Radisson Blu Dhaka Water Garden. The four restaurants and one bar named Blaze Entertainment Lounge & Bar, try to maintain the international standard in every dish. One can enjoy fresh, wholesome Bangladeshi cuisine at ‘Sublime’- a restaurant perfect for a romantic evening or an important client meeting. ‘The Water Garden Brasserie’ can be a perfect option for breakfast, lunch, or dinner, and choose from the international buffet and cook-to-order stations. ‘Spice & Rice’ offers a contemporary twist on Asian food, and ‘Chit Chat’, a deli café, can satisfy the cravings for savory snacks and sweet treats. They also have a dedicated space for smoking called ‘the Cigar bar’. The hotel business is going through a period of transition. The market has been divided into subsets to cater to a wide range of potential clients. Radisson Blu Dhaka Water Garden strives to appeal to locals and tourists by incorporating local cultural elements into its decor and the standard they promise. Radisson Blu Dhaka Water Garden offers accommodation services with its 200 five-star standard hotel rooms and suites. All the rooms have a balcony that offers stunning views of the hotel’s pool, rich landscape, and bustling city streets. In addition, they offer non-smoking floor services for the convenience of their customers. A significant feature of this hotel is the abundance of positive natural light seen throughout. At different times of the day, the play of light and shadow produces contrasting yet complementary effects. The garden, pool, and pond create sublime atmospheric peace. The pond area’s natural splendor lies in the fact that it has been preserved in its original setting, thus enhancing the genuineness and significance of the overall experience. The significance of this pond is enhanced by the jogging path that circles it. The open lounge area next to the pool, surrounded by organized nature, is a beautiful spot to spend some quiet time in the fresh air. The entire garden is planned such that there are always blooms to be seen, no matter the time of year. Radisson Blu Dhaka Water Garden, tries to encourage energy conservation and an eco-friendly environment. They reduce water waste by rainwater harvesting. The hotel promotes low and efficient water and electricity use by creating awareness whenever possible. They utilize as much natural light as possible indoors, given that most of the space is outdoors. The day light-sensitive technology used in light fixtures ensures minimal or no waste of energy. Radisson Blu Dhaka Water Garden promises to provide the best when it comes to service. However, finding skilled human resources who can meet the
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Ceramic Industry will be Sick if Gas Price Hiked
BCMEA REPORT When the world economy is in turmoil due to the effects of the Corona virus and the Russia-Ukraine war, and the Bangladesh economy is in the grip of inflation and runs risk of recession but expecting to make a rebound, the process of raising gas and electricity prices has started in the country. A proposal is made to increase the price of gas by 117 per cent and that of electricity by 66 per cent. Six gas distribution companies have applied to the Bangladesh Energy Regulatory Commission (BERC) to raise the tariffs. The BERC held a public hearing on 21-24 March 2022. Its technical committee has approved a 20 per cent hike in gas price and a 45 per cent increase in electricity wholesale price. However, the country’s industrial entrepreneurs said if the price of gas is raised again at this point in time, the country’s industrial sector will lose its competitiveness. Exports and employment will be challenged. The country will be filled with foreign products. Mr. Irfan Uddin, General Secretary of the Bangladesh Ceramic Manufacturers and Exporters Association (BCMEA), vehemently opposed the move to increase gas prices, saying fuel costs account for 20 to 22 per cent of the total expenditure on ceramic products. Ceramic is essentially an energy-dependent and labour-intensive industry. Now, if the price of energy or gas increases, the cost of production will increase. But it will not be possible to sell ceramic products at higher prices. Such a situation will make many factories sick and reduce employment. Some may also default in repaying bank loans. “This will be the eighth time in the last 10 years that the government has planned to increase gas prices by an average of 117 per cent. Another hike will raise production cost by 18-20 per cent.” He said the price of gas had been increased more than once earlier with a pledge to resolve the gas crisis. In the past 10 years, the price of gas has been raised by 400 per cent, with promise every time of uninterrupted supply and proper pressure of gas. However, that did not happen so far. So, the gas price should not be raised without implementing the pledge. Moreover, while Titas made a profit of Tk 1,500 crore in the last four years, there is no moral basis of increasing gas price. On the other hand, system loss of Titas is still 12%, where 1% system loss is equivalent to Taka 300 crore. Mr. Irfan Uddin further said the country’s ceramic sector is paying more than Tk 1,200 crore in gas bills annually. For half of a day there is very low pressure of gas or even no gas and as a result, most of the kilns have to be shut down and running products in these kilns are wasted. According to the conditions, gas will be supplied at a pressure of 15 PSI, but it dropped from 3 to maximum 5 PSI after 11:00 am to 11:00 pm. Almost 50-60 per cent of the production capacity of many factories remain utilised due to the gas crisis. Titas is taking bills with ‘air’ instead of gas. In order to deal with this situation, Titas authorities are importing EVC (electronic valve control) meters but not supplying them to the factories. He said most of the factories had to set up captive power plants at a huge cost. The entrepreneur pointed out that some of investments are not coming to the country only because of the energy crisis. Ceramic makers urge Govt. not to raise tariffs The Bangladesh Ceramic Manufacturers and Exporters Association has urged the government not to hike the price of gas. “This will be the eighth time in the last 10 years that the government has planned to increase gas prices by an average of 117 per cent,” association president Mr. Shirajul Islam Mollah told a press conference recently. He urged the government not to increase the price of gas used in manufacturing ceramic items to protect the gas-dependent industry and thus help it stay competitive in the global market. He mentioned that, in 2019, production cost of ceramic products per kilogram increased by 10-12 per cent on average as a result of about 33 per cent increase in gas prices. Another hike will raise production cost by 18-20 per cent and will also have a cascading effect on all areas, transportation cost, he added. Mr Shirajul Islam said they need to keep kilns or chimneys turned on 24 hours a day in a ceramic factory. Even if gas pressure goes down frequently, they have to pay bills for full pressure. “We demand immediate installation of EVC meters to stop injustice in gas supply.” He said ceramics is one of Bangladesh’s largest industries. “We need to keep kilns or chimneys turned on 24 hours a day in a ceramic factory. Even if gas pressure goes down frequently, we have to pay bills for the full pressure. We demand immediate installation of EVC meters to stop this injustice in gas supply.” – Mr. Shirajul Islam Mollah CAB calculations have shown that the price of gas can be reduced by 16 paisa more per unit. There is scope to reduce gas price: CAB Professor Shamsul Alam, an energy adviser at the Consumers Association of Bangladesh (CAB), said the gas distribution companies were all profitable. At present the people cannot afford to pay extra. And companies have failed to justify price increases. CAB calculations have shown that the price of gas can be reduced by 16 paisa more per unit. The crisis is not over yet because of Covid-19. At a time when subsidies were supposed to increase, there was no provision for subsidies. About Tk 6,000 crore was supposed to be subsidised, but so far only Tk 3,000 crore has been given. Although the government has said no to subsidiesm the BERC technical committee unjustly calculated it and recommended a 20 per cent price increase. He said the government is taking
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Engr. Md. Faruque Ali How a Ceramic Icon made his Journey
Md. Faruque Ali’s journey is a long and memorable one but it never stops. It’s his journey in the ceramic industry that started in the 1980s – three decades after the inception of ceramics in Bangladesh. He is still a living icon in the sector. Graduating in engineering, Mr. Faruque Ali came to Dhaka in search of a job, and ended up at Power Development Board (PDB). He was posted at Kaptai, Rangamati. It was a lonely job then and two months of service there felt heavier than a decade. So he decided to switch jobs and joined the insulator and sanitary ware industry of Bangladesh Chemical Industries Corporation (BCIC) as an assistant engineer. He worked closely with the production team and his daily routine was to list the machines, know their names, learn how they worked, and how sanitary ware and insulators are produced. Thus came the commencement of Mr. Faruque Ali, now a delightful man with profound experience in the field, who has turned into a true patron of the ceramic industry. In an interview with Ceramic Bangladesh on a Friday morning, he, currently Executive Director at Shinepukur, shared the insights of his journey. Ceramic Bangladesh (CB): Why did you choose the ceramic sector for your career? Faruque Ali (FA): Initially I wasn’t planning to work here. But during my first posting at BCIC, I realised the whole process of production is very amusing. I found it interesting to see how we are producing elegant ceramic products using simply, clay. I instantly fell for the whole process and wanted to remain in the industry. CB: How has your journey been at Shinepukur? FA: I had been in the insulator department for four years. I knew a chemical engineer from the production team there who suggested for the two of us, to join Monno’s new tableware factory. We were in a dilemma when it came to changing from the public sector to the private sector and didn’t think it would be a good idea. So my companion went to join Monno at the time and I did it a bit later. I was there for nine years, took a break for two years and joined Shinepukur afterwards at the end of 1996. I’ve been at Shinepukur for 25 years now. CB: Regarding technological advancement, do you think the industry is moving forward? FA: There are different grades – earthen ware, stone ware, porcelain, and bone china. The modern face of earthen ware is stoneware in the table ware sector. Porcelain and bone china are even better versions. All these products need technological support to come to shape. And the necessary technology was mostly adapted in the European industry and came to us later. Automation came about mainly because we had lack of manpower. But the basics for the body glaze and formula are still the same. Technology has made it all seem much less complicated. For example, imitating the glaze and the formula consistently is remarkably done by the advanced technology we have now. And machine dependency has grown now more than ever. CB: What would you say is the future of the ceramic industry? FA: Ceramic products are a necessity and a fashionable item. The formula of the products is made to be reaction-free and pro-health/safety. When it comes to health, porcelain and bone china are the safest compared to kasha and melamine. Moreover, after 2001 lead and cadmium restrictions have been introduced. These products are the safest because they comply with all the health and safety policies. The future is moving towards similar products. ‘In 22 years of working in the ceramic industry, no two problems I faced were alike. We faced different challenges every day and had to come up with a unique solution for each individual problem we encountered.’ CB: What inspired you to keep going when things got hard? FA: There is a story to best answer this question. Around 2015/16, I worked with a man who said to me ‘In 22 years of working in the ceramic industry, no two problems I faced were alike. We faced different challenges every day and had to come up with a unique solution for each individual problem we encountered.’ My ceramic journey has been likewise. CB: Shinepukur won several export trophies; what is the reason behind Shinepukur’s continuous winning? What are your expectations for Shinepukur’s future? FA: It was the collective effort from everyone, starting from the workers to the top level. And in Shinepukur we are always planning to move forward with our ideas. The team works diligently, and we look for advancement every step of the way. Written by Chisty Rahim
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How BERC Can Rationalise Gas Price
The proposals put forward by Petrobangla companies to the Bangladesh Energy Regulatory Commission (BERC) for a 117 per cent increase in the price of natural gas supplied to various categories of subscribers on the plea of the LNG price spiral in the spot market. As a statutory body, the BERC is mandated to determine fuel and electricity tariffs considering all aspects of price structure, efficiencies of different actors and protecting the interest of consumers. In the backdrop of executive authority in administering energy prices different stakeholders have emphasized a fully functional BERC. Because everybody knows BERC is not an extension of bureaucracy of the government. The recent price hike proposal has been tabled at a time when, amidst the Covid-19 pandemic, users of gas – industrial, commercial and domestic – are suffering from chronic shortage of gas supply. The President of Bangladesh Ceramic Manufacturers and Exporters Association (BCMEA) Md. Shirajul Islam Mollah complained about paying for ‘air’ supplied instead of gas. Many domestic users have to use alternate fuel. Gas deficit was there for a long time but from mid-December 2021, RLNG supply came down due to a technical glitch. Petrobangla companies supply 2,850 mmcfd against a coincident peak demand of 4,200-4,300 mmcfd. Some 78% of the supply comes from local source (Petrobangla companies operated fields and International Oil Companies), 17% from RLNG purchased under long-term contract and only 5% from spot purchase. No change of price has been reportec for 95% of the gas supplied. Only for this 5%, there has been price impact and that too was from a few cargoes purchased at higher price. For this, there is no reason why Petrobangla can submit a proposal for 117% increase of gas price. Petrobangla supply has come down from 2,760 mmcfd to below 2,350 mmcfd. There has been hardly any effective steps by the Petrobangla companies to augment gas production from own fields. Even moves for maintaining production through secondary and tertiary recovery are slow. We are not mentioning about failure in expediting exploration for gas in onshore frontier areas and offshore. Consequently, proven reserve of gas is fast depleting and many are apprehending that major depletion may trigger from 2023 and local production may even deplete below 2,000 mmcfd. The government has taken steps to import LNG by setting up floating storage and regasification units (FSRUS) in 2010. Under business as usual, such an FSRU usually takes 18-24 months to come into operation. But for Bangladesh, the first one came into operation in 2018 followed by another one in 2019. These two together has a capacity of supplying 1,000 mmcfd. At peak, they supply up to 750-800 mmcfd. Petrobangla after prolonged negotiations with Qatar and Oman could conclude long-term contracts for supplying up to 75-80 per cent of LNG supply. The remaining supply came from spot market. The government could not take advantage of very low LNG spot price during early stages of the pandemic. It has shown lack of experience of price hedging cr future purchase. As such Petrobangla ran into crisis as soon as LNG price at global market skyrocketed. Poor Sectoral Management and Corruption Added to Crisis Apart from lack of perspective planning for exploration and development, the Petrobangla companies could not arrest rampant theft and pilferage of gas from hundreds of thousands of illegal connections, illegal use of a section of legal users through meter tampering, and meter bypassing. A section of corrupt officials is engaged in the process. About 8-10 per cent of 300 mmcfd gas allegedly remains unaccounted for, causing revenue losses. This also makes distribution system unsafe as accidents prove. Moreover, Petrobangla and companies have huge overhead expenditures for heavy management. They lack adequate technical persons in boards and this goes against the provisions of Company Act. BERC can police against such irregularities by carrying out technical and management audit. By controlling systems loss, inefficiencies and colossal wastage, it is possible to reduce gas deficit. Even a 50 per cent success could offset the requirements of gas price at this critical stage when Bangladeshi industries are struggling to retain competitiveness. What BERC Can Do? It appears that the present catch22 situation with gas price has arisen from about 200 mmcfd LNG import from the global spot market at exorbitantly high price. It is well known that about 200-250 mmcfd gas goes unaccounted for in the distribution system. BERC must advise its gas distribution licensees and Petrobangla to address the issue. BERC should ask Petrobangla to seek NBR for adjusting tax, Vat and import duty of primary fuel. Petrobangla must be advised to ensure that all gas and energy companies are governed strictly in accordance with the relevant act. Offficials who are included in the company boards, cannot claim additional remunerations and benefits. BAPEX has innovated Gas Development Fund (GDF) out of gas sales proceeds for exploration and development of petroleum resources. BERC should make gas consumers know how and where this fund has been used. Bangladesh has laws, rules and policies for regulating electricity, gas and other utility agencies. BERC should monitor and overview ccmpliance. A well-crafted reporting format with all mandatory requirements can be developed for utilities to prepare and submit to BERC on monthly basis. Based on these reports, BERC can assess the performance of licensees and whenever necessary can carry out auditing. BERC can set key point indicators (KPI) as performance metrics. Among others, system loss and account receivables must feature there. Roles of Stakeholders in Enhancing Efficiencies All stakeholders have roles in creating efficiencies and eliminating illegal use of fuel and electricity, and other utility services. Regulators usually retain the right to create provision for licensees for taking permission for making major investments in infrastructure development. If that could be done, many less priority investments and wastage could be avoided. Some over ambitious projects of BAPEX and over investments of GTCL could be avoided if BERC could review these beforehand. BERC should have a team of qualified and trained energy auditors for carrying out audits
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Developers can offer affordable housing for all, should Govt. allot land : REHAB
Interviewed by Rafikul Islam Alamgir Shamsul Alamin says the UN goal of leaving no one behind won’t be attained if people remain homeless. In view of scarcity in housing facilities in both urban and rural area of Bangladesh, it is quite a complicated task for the government alone to provide housing for all. So, here comes the contribution of the private sector to ensuring affordable housing for all. “We are keen to support the government here but land has to be allotted by developers to facilitate construction for affordable accommodations,” President of Real Estate and Housing Association of Bangladesh (REHAB) Alamgir Shamsul Alamin said in an exclusive interview with Ceramic Bangladesh. The demand for housing is going up in the country as the population is increasing. The country has a vast areas of khas land, which, he argued, can be utilized for building homes at reasonable costs. The REHAB leader insisted that special fund should be created under the national budget to help low-income group of people to own house. Mr Alamgir Shamsul Alamin, serving REHAB for the fourth time as its President, mentioned that since its inception in 1991, the REHAB has been playing an important role in the sector and contributing to economic development. The real estate sector is expanding gradually, thanks to the economic growth under the leadership of Prime Minister Sheikh Hasina, he pointed out, “But we had to deal with many problems in the recent past. The Covid-19, the Russia-Ukraine war, and the price rise of construction materials hit hard the sector. Now we are trying to go ahead overcoming all these challenges,” the REHAB president said. The REHAB has nearly 1,000 members and there is a total of around Tk 1200 billion investment in the sector. “We have 269 linkage industries including rod, cement and ceramic products. Around 4 million people are directly engaged in the sector,” he added. Ceramic Bangladesh (CB): What is your consistent success in integrating and strengthening REHAB? Alamgir Shamsul Alamin : I have been elected the REHAB’s President for the fourth time. I am serving the organisation with reputation. I am also a Director of the Federation of Bangladesh Chambers of Commerce and Industry (FBCCI). After becoming the REHAB President, I have contributed much to the sector, such as reducing registration costs, and legalising undisclosed investments. As the President, I have to maintain a lot of issues of the REHAB. I try to resolve the problems of our sector. I am always thinking about the future of our industry. CB: How did you engage in trade body politics? Alamgir Shamsul Alamin: I wanted to be at the top of domestic trade bodies so that I could influence trade policies/rules. Business is our main goal. Generally the business leaders help policymakers to make policy. If we can’t play role here, we don’t have personal issue. So, we think always to develop organisation and sector as well. Actually it is tough to do business if we can’t bring facility for the sector. If I can contribute here, our business would grow. Besides, I obtained degree from abroad so our thinking is different compared to others. So, our contribution should be counted in economy. In such a context, I engage myself in the trade body politics. CB: What are the current challenges in the real estate sector? Alamgir Shamsul Alamin: Real estate is a big and complex sector. It is a very challenging business in Bangladesh. There are different classes of business in the country. Many segments have different challenges and demands. Like every other sector, there are some good and bad businesses in real estate. Sometimes developers can’t complete projects when clients don’t pay properly. Sometimes projects are not completed due to developers’ negligence. It’s tough to meet all of the challenges. As the leader, I have to take care of these issues. Our problems were at peak after the Covid-19 pandemic made landfall in Bangladesh. Amid the challenges, we managed to save our sector by working together. All had to understand that the situation was not under our control. It was not easy to satisfy customers and developers both. But we did that successfully. Being the REHAB President, I have resolved many of them by discussing them with the government and other stakeholders. Meanwhile, flat prices went up 30 per cent due to price-hike of raw material. And it has impact on our costing. So, prices of apartments go up – 30 per cent a year, which is a big challenge for the real estate sector. After becoming the REHAB president, I have worked hard to contribute as much as I can. All I think about is further development of our sector and its future. CB: Would you please tell us something about the success story of your own business? Alamgir Shamsul Alamin : Now, I am engaged in multiple businesses. Actually, I entered into business through my family hand. I was born in a family of businessmen. My father was a well-known businessman back in the Pakistan days. So, I always dreamt of becoming a businessman. Jute, tea, leather, textiles, and transportation were our primary business. We got into the real estate business in 1995. During my student years, I became involved in politics. I studied in several countries, including Scotland, the United Kingdom, and the United States. On completion of my education, I returned home. And, I maintained the family business by expanding and diversifying. Our business has grown 10 times. I want to ensure further growth in future. Now, I plan for a new joint venture investment of Tk 10 billion in the IT sector. CB: What are the current projects of Shamsul Alamin Real Estate Limited (SARE)? Alamgir Shamsul Alamin: The SARE is a sister concern of Shamsul Alamin Group. I am Managing Director of the company. We have a good number of projects which are ongoing at different sites of Dhaka. Our ongoing projects are Alamin Tonmoy at Baridhara Diplomatic Zone; Alamin Angur at
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In today’s globalised world, trade is considered the lifeline of a nation. Not only does it contribute to flourishing an economy, but it a so allows cultural integration promoting enrichment and development at both micro and macro level. It allows for technology transfer, presenting the nations lagging behind with opportunity to gain momentum for attaining growth. And the global community acknowledging its significance and impact has devised various tactics to encourage trade. To this end, international exhibitions have proved to be one of the most fruitful approaches time and again. The international community lauds and celebrates such exhibitions that bring industrialists from different corners of the globe onto a common platform, for a common purpose, promoting trade. In Bangladesh, the ceramic industry is one of the burgeoning manufacturing sectors. As the country experiences steady economic growth and urbanisation, the local demand for ceramic products too continues to grow. Catering to 75 per cent of the local demand, the sector also exports quality products to many countries, thanks to its exquisite designs and multifarious functionalities. The industry has seen production growth of 200 per cent in the past 10 years. The growth trend is an indication of the industry’s potential to be one of the top foreign exchange earners in the country. The total investment, both local and international, in the sector is about US$1.58 billion with tiles accounting for 62 per cent, tableware 23 per cent and sanitaryware 15 per cent of the share respectively. The ceramic sector has made a significant contribution to the country’s GDP with exports worth over US$50 million in the 2020-21 fiscal year. Even though this export level is owed to the high-quality products manufactured here in Bangladesh, it is also owing to the flexibility in Minimum Order Quantity, capability to export in bulks and the GSP facilities that Bangladesh enjoys. The industry has seen production growth of 200 per cent in the past 10 years. The total investment, both local and international, in the sector is about US$1.58 billion with exports worth over US$50 million in the fiscal year 2020-21. Bangladesh ceramics have touched the lives of many high-profile users. It has carved its place in the Buckingham Palace of the Great Britain, the British Parliament, the Presidential Palaces of India and Pakistan, the Royal Palace of Bhutan and many more. Our global buyers from different parts of the world are: USA: Crate&Barrel, Libbey, Pottery Barn, Williams-Sonoma, Michael Aram, 10 Strawberry Street UK: Royal Doulton, Wedgwood, Portmeirion Group, Rosenthal, Goodfellows, Churchill, waitrose, Sophie Conran, Jersey Pottery, John Lewis EUROPE: ZARA Home, Monoprix, Villeroy & Boch, XXXLUTZ, loria, Rosendahl, LPP, Habitat, Taitu, H&M, Kasanova, Migros, Schonhuber Franchi Asia: Noritake, Good Earth, DLF, ICA, Pure, Westside, INV Home Currently Bangladesh exports to over 50 countries, which are: The USA, Canada, the UK, Germany, France, Italy, Sweden, Switzerland, Norway, Greece, Ireland, the Netherlands, Spain, Austria, Belgium, Denmark, Finland, Poland, Australia, New Zealand, Japan, Russian Federation, the UAE, Saudi Arabia, Kuwait, Egypt, Libya, Turkey, Jordan, Iran, Qatar, Oman, Syria, Lebanon, Pakistan, Sri Lanka, Nepal, India, the Maldives, Taiwan, Malaysia, Singapore, Brunei, Myanmar, Thailand, Indonesia, Argentina, Chili, Peru, Colombia, and Brazil. Bangladesh is exploring beyond the traditional usage of ceramics and tapping into a much wider array of applications, namely Advanced Ceramics. The value-added features of Advanced Ceramics allow it to be used to address issues like energy conservation, water purification, electronic and biomedical applications. Companies and universities are coming together getting deep into research and development to explore the potential of advanced ceramics as global market for these products is experiencing a high growth momentum which comes as an opportunity for the ceramics community. But to make use of this, it is essential to be exposec to the modern cutting-edge technologies used in production It is important to transfer technology on a global scale to meet the burgeoning demand for ceramics in all its forms. And to promote technology transfer and improve global trade performance, several international ceramic expos are held around the world. Advanced ceramics is also being manufactured on a mass scale which has a lot of potential not only in the markets but also in the lives of people. The 3rd edition of the state-of-the-art international trade fair and B2B platform for ceramic industries around the world, Ceramic Expo Bangladesh-2022 is scheduled to take place from 24-26 November 2022. This year the expo will be bigger and cover four halls of International Convention City Bashundhara (ICCBI on Purbachal Expressway, Dhaka. Living up to its motto ‘Gateway to Explore Ceramics World’, the Ceramic Expo offers just that to the industry. It attracts an impressive gathering of international manufacturers, suppliers, experts and delegates promoting trade. This year the expo will host 120 exhibitors from 20 countries who will showcase their finest ceramic products and top-tier technology emerging in the world of ceramics. Some 200 hosted buyers and 150 brands from both home and abroad will participate and about 500 delegates are expected to join from different parts of the world. Industry leaders like Akij, Sheltech, DBL, Stella, Mir, DLT, SACMI, CBC, Shinepukur, FARR, ABG, Astral, Bridge Chemie, Foshan, Floorex, Modena Technology, Monte Bianco, NJC, and Torrecid will showcase tiles, sanitaryware, tableware, advanced ceramics and machinery. There will be multiple insightful seminars and B2B meetings among local and international delegates on the advancement and potential of ceramics globally. In the next five years, about 20 new companies are in the pipeline to be introduced to this rapidly growing sector. Export is predicted to rise up to around US$100 million and investment will grow to become US$1.0 billion. The future of the ceramic sector in Bangladesh looks very promising in the coming years. Special investment is being made to enhance the skill-set of the workers involved in the ceramic sector. The use of modern technology also keeps on growing and so does the procurement of quality raw materials. Advanced ceramics is also being manufactured on a mass scale which has a lot of potential not only in the
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CHARU-The Luxurious Sanitary Ware Brand
CHARU Ceramics has offered a new choice for decorating bathrooms in Bangladesh. CHARU has been able to make the use of luxury bathroom materialls easily possible go the mass people. Whereas it used to cost around Tk. 4,00,000 on an average earlier to build a luxurious bathroom, CHARU can supply the same quality of luxury products for Tk. 50,000 to Tk. 1,00,000 only. This is the great achievement of the Bangladeshi brand. CHARU Ceramic Industries Limited was incorporated as a company in March 2012 and started its journey from 2017 by producing world-class sanitary ware in the country. It is the first international major standard sanitaryware manufacturing plant in Bangladesh with the assistance of the best consultants from Europe and Asia. This sanitary ware manufacturer, certified by ISO 9001:2015, has collaborated with COTTO, one of the most popular brands in the world. Some 1,800 skilled workers are working in the CHARU Sanitary ware factory established in Madhabpur, Habiganj. The plant is equipped with state of the art technology such as robot glazing, high pressure casting, advance kiln and molder and the latest and advanced manufacturing machinery of sanitary wares from SACMI, UNIMAK and HEXIANG with production capacity of 1.5 million pieces a year. Machineries of the world’s most renowned companies such as Gaiotto, Riedhammer and Unimak are installed to produce the best quality of sanitary ware in CHARU Ceramic Industry. It is remarkable in the history of Bangladesh’s sanitaryware industry that CHARU manufactures one of the most internationally recognised sanitary ware brand ‘COTTO’ in Bangladesh with technical collaboration of Siam Sanitary Ware Industry Co. Ltd., Thailand. COTTO is helping it to achieve the best quality by providing technological support, knowledge transferring and trained employees. Currently, a wide range of water closet, wash basin, urinal and squat pan are produced by both the brands CHARU and COTTO – and these are manufactured in the country with utmost care and skills. CHARU ceramic wants to become the number one sanitary ware brand in Bangladesh with the finest products and efficient services. CHARU Ceramic Industries Limited has been set up initially to fulfill the domestic market demand for products and then to export. Manufacturing products of higher standarcs, CHARU gives the customers with proper value and extreme durability of the products. The products have unique designs and it upgrades products range every year with hot designs. CHARU is manufacturing products using the latest technology. While showing internationally recognised innovativeness and proving technological ability, flexibility and adaptability, CHARU can meet the demand of mass production. Interview with Managing Director Quality, Design and Plumbing services are the main pillars of CHARU’s success The name ‘Charu’ itself associates with the meaning of finesse. Although the local sanitary market in Bangladesh is still very young, the sector is growing rapidly, thanks to the growth of middle class, change in their taste and rapid urbanization process,” said Mohammad Shamsul Huda, Managing Director of CHARU Ceramics. He told Ceramic Bangladesh that the current market for sanitary ware in the country is in a range of Taka 1,000 crore to Taka 1,200 crore a year. CHARU owns 20 per cent of the market share, he said and added that because of the construction boom, this market is growing at a rate of 15-20 per cent every year. The demand for sanitary products is increasing in the villagesas well. And thedemand for commodes is increasing in the cities, he pointed out. The managing director mentioned that CHARU continues to compete with the imported foreign products of similar quality. However, CHARU is keeping an eye on the price so that it is more affordable than the imported products. Mr. Shamsul Huda said that although the annual production capacity of CHARU is 1.5 million pieces, its current production is 60 per cent of its capacity. It will increase to 80 per cent this year, he mentioned. However, production is also being affected due to the gas crisis. Mr. Shamsul Huda has about 40 years of experience in the business of sanitary products in Bangladesh. He got involved with this business by setting up Bengal Agencies in the early 1980s. At first there was the business of mosaic, granite marble and white cement. From the import-dependent trading business, he gradually developed the Great Wall Ceramics Industry, CHARU Ceramics, Elephant Brand White Cement and Siam-Bangla Industries in the country. the country. The bathroom fittings industry will also start soon under the group, he said. In all cases it has retained the international standard and taste. As a result, there is a huge demand for these sanitary products at home and abroad. However, due to increase in domestic demand, it can’t meet the full demand of the domestic market. CHARU and Great Wall products are being exported to countries like the US, India, Pakistan and the countries of the Middle East. It is especially in high clemand in the ‘Seven Sister’ states of north-east India. Participating in fairs in Qatar, Pakistan and India, this Bangladeshi company has recently received huge response, the managing director said. Mega projects like Rooppur Nuclear Power Plant, Matarbari and Payra Power Plant, Karnaphuly Tunnel and Metro Rail in Bangladesh have received huge supplies of CHARU, COTTO and Great Wall products. Talking about the success and popularity of CHARU, Mohammad Shamsul Huda said that CHARU is working jointly with the COTTO brand of Thailand. Dwelling on the shortage of designers in the sanitary ware industry, Mr. Shamsul Huda said that design is changing rapidly. “In order to increase exports, we have to create more diverse products and increase the number of designers in the country” he said. He added that to help brand Bangladesh’s own industry, the government should provide more assistance in this sector. “Number of ceramic institute should be increased. Emphasis should be given on finding world class designers by opening ceramic faculty in Art Colleges.” Tejgaon Ceramic Institute in Dhaka is not enough to meet the demand of the time, he said, adding that only diploma
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NSDA wants to enhance Private Sector Engagement in meeting 4IR Challenges
Creating skilled human resources is the key vision of National Skills Development Authority (NSDA). Aiming to train up 86,13,000 people by the next five years, the authority has adopted the National Action Plan for 2022-27 approved by the governing board meeting on July 31, 2022. “So, my aim is to assist implementation of the vision and mandate of the NSDA to achieve the goal of a developed and prosperous Bangladesh by 2041 declared by Honorable Prime Minister Sheikh Hasina,” the NSDA Executive Chairman Mrs. Nasreen Afroz said in an exclusive interview. Ceramic Bangladesh (CB): Despite a huge demographic dividend, Bangladesh lacks skilled manpower. On the verge of the fourth industrial revolution (4IR), what does NSDA think to move forward? Nasreen Afroz (NA): The NSDA has already prepared more than 35 CS’ on ICT-related courses. We are incorporating 4IR into its curriculum gradually. In addition to that, NSDA will adopt some measures like identify and assess the skill requirements, develop a digitised skills database, incorporate ICT-related skills into the training courses, upgrade the digital skills and knowledge of the instructors, building capacity of the Skills Training Provider (STP) institutes to deliver training on digital and emerging technologies, online training, use of digital technologies for monitoring and assessing performance of STPs and tracking of graduates. CB: How is NSDA focusing on expanding domestic and foreign training opportunities? Do you plan to create opportunities for exports to developed countries? NA: NSDA is working on creating manpower export opportunities to developed countries. For this, we have already received technical guidance from the European Union Delegation which included the qualifications and skills recognition issues between Bangladesh and the EU in different angles. We hope we’ll succeed to set common, simplified rules for all professionals through the agreement, and thus eliminate the inconsistencies inherent to qualifications recognition processes between Bangladesh and EU countries. We’ll create export opportunities in developed countries. CB: Bangladesh has to hire a lot of foreign skilled people to meet the industry demand. How is NSDA working to reduce shortage of skilled manpower here? NA: The NSDA has adopted National Skills Development Policy-2021 and National Action Plan 2022-27. We have a huge demographic dividend that’s good. But, now we need to train them up to the mark matching to the demand in industries in the country. NSDA has almost 350 registered STP institutes. We develop and update curriculum for STPs. After course accreditation when training started we monitor training and conduct assessment neutrally and impartially. We emphasize quality training and quality assessment. So, the trainees are qualified once they are certified by NSDA. The young workforce thus will be skilled and ready for the industries. Thus NSDA is working to reduce shortage of skilled manpower. CB: What are the 5-year plans of NSDA to improve workforce growth, management and development? NA: The NSDA has adopted 5-year National Action Plan 2022-27 approved by the governing board meeting on July 31, 2022. There are some other ministries/ divisions/ agencies that are involved in that action plan where there are some specific targets to achieve. However, the number of total targeted trainees is 86,13,004. Of them, 49,38,870 are under fresh skilling; 9,48,925 under re-skilling; 6,44,485 under up-skilling; 10,83,785 under apprenticeship; 3,43,383 under recognition of prior learning (RPL); and 6,53,556 under entrepreneurship. CB: How does NSDA want to increase involvement of the trainees? What are the prime criteria of the trainees to engage in the training process? NA: I always believe that skills development is a shared responsibility among a number of actors playing their respective roles towards a well-functioning national skill system. The actors include NSDA, various government ministries and departments delivering skills training, public sector training providers, private sector training providers and not-for-profit or NGO training providers, ISCs, trade bodies and employers and employees associations. We want to increase involvement of the trainees through these actors. The prime criteria of the trainees to engage in the training process are passion for technical education, devotion to learn new skills, well–constructed ideas and learning capacity. There is no such barrier like age, prior learning, prior institutional recognition etc. CB: How is NSDA working to meet organisational goals for the betterment of workforce? NA: We are making competency standard and other learning materials for skills training to meet organisational goals. We also register training institutes to conduct training on the basis of those learning materials. Then NSDA conducts assessment impartially by third party assessors and provides certificate to the trainees. Besides, the NSDA formulates skills policy and action plan, strategies and guidelines; forecast demand of skilled labour in domestic as well as overseas job market; identify skills gap; raise awareness on skills training and establishing mutual recognition agreement with destination countries for the migrant skilled workers etc. Basically it is making the youth and marginal people ready as workforce through an effective skills development system. CB: How does NSDA assist the skill development programmes at the national level? NA: NSDA has developed ‘National Skills Portal’ (NSP) offering all its services through online with an aim to collect, organise, analyse and publish data systematically related to skills ecosystem of the country. We want to support the training agencies with competency-based training curriculum and with other technical assistance whereever required. In terms of capacity development, NSDA wants to support training agencies and ISCs with financial assistance from various government funds like NHRDF or any other project if available. CB: How does NSDA want to channelise focusing on academic or institutional support? NA: Through NSP, NSDA is offering all its services online and thus increasing effectiveness, transparency and accountability. Though NSDA focuses on institutional support, as we have our new workforce, we’ll try to focus on academic part as well through them. CB: For the ceramic industry, what kind of skill development programmes will you suggest? NA: I will suggest for technical skills enhancement programme; Reasoning; Analytical and Problem-solving skill enhancement programme; Trending Technology; and Interpersonal skills-related programme. CB: What is the way to develop up-skill management that can provide
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Freshly Baked Paris In The Heart Of Dhaka- Delifrance
Almost everyone who watched Western movies felt compelled to sample the aroma and atmosphere of a Frenchstyle bakery. Del france in Dhaka is the right place to get tapped on that subconscious note. Abid Mansur, Managing Director, Les Bleus Ltd., and the conveyor of Delifrance in Bangladesh, has been enticed by the healthcare and wellness sector as a squash enthusiast, but by the influence of memories, filling the gap of a perfect French bakery in town happened. The basic rule of the house is to make room for a improvements every day. The previous airline business of the family was a good help with the catering services taken as experience. Yet restaurant is not just about food but the experience of service and ambiance. Athula Priyankara, the CEO, leads a team that provides promised services. The ultimate happiness of customers is what their motto has been; that is what brings them back. Delifrance’s baked items are made with flour from the Grands Moulins de Paris, a major French milling company operating since 1919. The recipes served follow the franchise standards, and the new recipes also get approved by Paris. Hence, the international-quality chefs bring to the table a range of savoury dishes alongside croissants and other finger foods. The requirements and interior designing instructions came from a European interior design company, followed and designed by a local architectural consulting company, Chinton Architects Ltd. Starting from the colcur codes to the variation of sitting arrangements, the company has been under international protocols of the franchise. The play of experiences within the space has been the main focus and desire. Neeman Karim and Md. Ishak Mia and their team had previous experience designing for international companies, which eventually helped them implement the work gracefully. A very chic yet welcoming environment, defined by the themed colour palette consisting of bright orange and shades of blue, looks prominent. The basic layout provided by the European company had been well fitted and adjusted within the space. The materials are sourced locally and customised to the desired details, making the process sustainable. The segmentation and zoning of the restaurant are very noticeable and organised with the variation of chairs, lighting and flooring. “Our lifestyle is mostly oriented around fast food and visiting” The walls have intricate details, different textures, paneling, and branding posters. Ceramic tiles were cut and customised on the floor to achieve the desired effect. The ambient light has also been curated with a variation of pendant lighting and contemporary chandelier styles. The lingering aroma of the buttery delights, the buzz of the youthful city crowd, and the everlasting French discernment combine to create a packaged affair that anyone walking past Gulshan Avenue would relish. Authored by Rehnuma Tasnim Sheefa
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The Journey of Ceramics in Bangladesh
The origin of pottery in Bangladesh dates back to the later or post Mohenjo-daro and Harappa civilization and to the Indo-Aryan Vedic age, according to the research on ceramic earthenware and artifacts found after excavation of the ruins in Mahasthangarh of Bogura and Wari-Bateshwar in Narsingdi. Discoveries in Wari-Bateshwar included two millennium old potteries and terracotta. The potters then used traditional methods to make water vessels and sculptures for worshipping and as household utensils and showpieces. In the medieval age, the potters were popularised by the Hindu and Buddhist rulers and zamindars when they used to make statues of gods and goddesses, Buddha, plates, other aesthetical items and terracotta plaques in the temples and monasteries. The potters made everyday household items for sale in the local markets to earn a living. In the past century, the white clay deposits were first found in Mymensingh, Sylhet and Netrokona, the largest of which was discovered at Bijoypur of Mymensingh in 1957. Since the discovery of the white clay reserves in Bangladesh, the ceramic industry has come a long way. ‘Ceramic’ comes from the Greek word meaning ‘Pottery’. The journey of ceramics started through pottery and was initially only a mixture of inorganic, non-metallic clay which could be heated at very high temperature to make it hold its shape. Since then, mankind has found multifarious uses for this clay and the quality of the clay has been improved. Ceramic in this era has much hardness and strength, is heat resistant, is a good insulator, unreactive to other chemicals and long-lasting and hard-wearing. Among its many uses, the ceramics industry started in Bangladesh with just the manufacture of tableware and now covers four broad subsectors: Tableware, Tiles, Sanitary ware and Ceramic Bricks. A brief review of the journey of ceramics in Bangladesh is portrayed below. In 1959 the industry took its nascent steps with only one small tableware manufacturing plant in Bogura, Tajma Ceramic Industries Ltd. Tajma Ceramics is the first ceramic earthenware plant to produce porcelain tableware using traditional methods. In 1962, Mirpur Ceramic Works Ltd in Dhaka started to produce heavy clay products using German plant and technology and developed a reputation of manufacturing best quality ceramic bricks in the subcontinent. In 1966, Peoples Ceramic Industries Ltd, formerly known as Pakistan Ceramic Industries, located in Tongi, Gazipur, started production using modern porcelain tableware manufacturing technology procured from Japan. They started exporting their products In 1974, the country’s first non-heavy clay building ceramic plant came on the stream, Dacca Ceramic & Sanitary-wares Ltd. The company was the first to start production of sanitary ware at Tongi, Gazipur. In 1985, Monno Ceramic Industries Ltd transformed and revolutionised the exports of local ceramic products by branding Bangladesh ceramic products on an international level, using West European and Japanese plants and machinery. Monno Ceramic is the first industry to use ultra-modern technologies to produce porcelain tableware aimed at exporting worldwide. Later it added its bone china tableware unit also aimed at improving the exports of ceramic tableware from Bangladesh. In 1986, Bangladesh Insulator & Sanitary ware Factory Ltd. (BISF) started manufacture of ceramic tiles at Mirpur, Dhaka, with Czech machinery and technology. In the same year, Bengal Fine Ceramics Ltd, the first stoneware tableware manufacturer in Bangladesh, located in Dhaka, entered the domestic and international markets. In 1992, with the exponentially growing ceramic industry, a nationally recognised trade organisation of manufacturers and exporters of ceramic tableware, pottery, tiles, sanitary ware, insulator and other ceramic products was formed, called Bangladesh Ceramic Manufacturers & Exporters Association (BCMEA) In 1993, Madhumati Tiles Ltd. became the country’s first tile manufacturer to use modern German and Italian technologies to produce the latest standard ceramic tiles that domestic consumers see and use at present. In 1999, Shinepukur Ceramics Ltd. started production of porcelain and bone china tableware with Japanese, German and French machinery and technology. It earned a reputation for being one of the major exporters in Asia. Ceramic Industry Scenario (FY 2021-22) An industrial revolution has resulted in a burgeoning Ceramic Industry since the start of its journey with just one small tableware manufacturing plant. Today, there are more than 70 ceramic manufacturers in operation in the country with core products being tiles, tableware, sanitary ware and bricks. As the country experiences steady economic growth and urbanisation, the local demand for ceramic products too continues to grow. These ceramic bricks, tiles and sanitary ware have been used in several mega projects by the government to ensure overall infrastructural development. The growth trend is an indication of the industry’s potential to be one of the top foreign exchange earners. And the tableware made in Bangladesh, both Bone China and Porcelain, is famous around the world for its eminent quality and design. Here is a snapshot of Bangladesh’s ceramic industry: Quality Raw Materials: The exponential growth in the ceramic sector is owing to the high-quality ceramic products manufactured in Bangladesh. The ceramic sector has the availability of uninterrupted Sulphur-free natural gas and the latest cutting-edge technologies imported from Germany, which make our products shinier and more durable. The glaze and pigments are lead and cadmium-free and 100 per cent halal ingredients are used in the production process. The other factor in favour of the industry flourishing is the relatively low labour cost yet availability of skilled manpower. The direct manpower involvement in the industry is about 52,000 whilst the indirect involvement is over half a million. The industry is considerably compassionate towards the women and people with disability. The industry works to train women and physically challenged workers for inclusivity. Around 20 per cent of the workforce is highly-skilled women. Today owing to these favourable conditions, the industry is distinguished around the world. Investment: The total investment, both local and international, in the industry is about US$ 1.70 billion. The investment share of tiles is 62 per cent, tableware 23 per cent and sanitary ware 15 per cent. The sector has lured foreign investment mainly from China and the Middle East. These
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Bangladesh a huge investment potential in ceramic sector
With the growing demand for different type of ceramic products in local and international markets, investors are leaning towards big investment in the industry that has a huge potential. Since 1995, six foreign companies have jointly invested worth Tk 1950.07 crore in Bangladesh’s ceramic sector. Production of the ceramic items grew 200 per cent in the past 10 years. However, there is a total investment of around $ 1.70 billion in the country. Industry insiders said nowadays the demand for ceramic tableware, pottery, tiles, sanitary ware, insulators and others products got popular, thanks to changing taste and lifestyle of people. Once people wanted to construct only a simple building but now they try to add materials like tiles. These products are now used in residential and commercial buildings, mosques, educational institutions and hospitals. Foreign investment rising gradually Foreign companies are keen to invest in the sector. So, the industry is awaiting huge investment, thanks to the government’s policy support, and availability of low cost labour. Fu-wang Ceramic industry Ltd, RAK Ceramics (BD) Ltd, BHL Ceramic Co. Ltd, Star Porcelain Ltd, South East Union Ceramic Ind. Ltd, and Sun Power Ceramics Co. Ltd have already invested in joint venture projects in Bangladesh. Most of companies came from China and the UAE that invested in Gazipur, Habiganj and Khulna. Ceramic tableware, tiles and sanitary ware are being produced by these companies, according to Bangladesh Ceramic Manufacturers and Exporters Association (BCMEA). Talking to this scribe, RAK Ceramics Company Secretary Muhammad Shahidul Islam said the ceramic products are being used in residential and commercial buildings, mosques, educational institutions and hospitals. Now the items turned as essential products. “Most of our buyers are middle and upper middle class people. We produce over 1,000 types of products including high valued ones. There is no difference between our manufactured products and imported ones considering quality but we sell our products at 20-30 percent less,” he said Why is the ceramic sector perfect for investment? Bangladesh is one of the fastest growing economies in the world that has a big domestic market of around 163.8 million people. Cheap labour, skilled manpower, government policy support, political stability and perfect geographical position for producing and supplying all ceramics products made it an attractive sector for investment. BCMEA findings say that the ceramic sector offers a good number of facilities including lead and cadmium-free glaze as well as pigments; Sulfur-free natural gas supply; and flexibility in minimum order quantity. Capable of exporting bulk quantity, Bangladesh also enjoys GSP (Generalised System of Preference) facilities for exporting ceramic products. Now Bangladesh is exporting the ceramic products to more than 50 countries including the USA, Canada, the UK, Germany, France, Italy, Sweden, Switzerland, Norway, Greece, Ireland, the Netherlands, Spain, Austria, Australia, New Zealand, Japan, Russian, the UAE, Saudi Arabia, Kuwait, Egypt, Turkey, India, Pakistan, Singapore, and Brazil. BCMEA President Md. Shirajul Islam Mollah said the ceramic is an emerging sector. Bangladesh is an investment-friendly country for foreign investors so, he added, the ceramic sector has a bright prospect. Domestic ceramic market booming The country’s first ceramic factory named Tajma Ceramic Industries was established in Bogura in 1958 for manufacturing porcelain tableware. Primarily, the small company started with 3-4 types of cups but now the factory produces around 70 types of tableware. Later, Pakistan Ceramic Industries (now Peoples Ceramic Industries) started production in 1962. Monno Ceramics was established in 1985, Bengal Fine Ceramics in 1986 and Shinepukur Ceramics in 1997. Foreign investment came to this sector in Bangladesh through Fu-Wang Ceramic Industry Limited in 1995. RAK Ceramics was incorporated in 1998 and its commercial production started in 2000. BCMEA data showed that the demand for ceramic products increased at least 22 per cent in the last five years. However, a total of 71 companies invested Tk 15,356.50 crore in 2021-22 f iscal year. Of them, 20 tableware companies invested Tk 3,174.25 while 33 tiles companies invested Tk 10,151.86 crore and 18 sanitary ware companies invested Tk 2,030.39 crore. The country earned Tk 385.21 crore through export during the period. It gave revenue to the exchequer amounting to Tk 3500 crore. Value addition was 65 per cent. More than 500,000 people are directly and indirectly involved in the sector. Its production growth increased 200 per cent in last 10 years. According to a report of the business research company, the global ceramics market went up $114.11 billion in 2022 which was $107.72 billion the previous year. The company also projected that the global ceramics market size would reach $145.93 billion in 2026 at a compound annual growth rate of 6.34 per cent. Industrial Challenges There are some temporarily problems including gas supply in the country. Policymakers said these will be resolved soon. The BCMEA president said there is a gas crisis in the industry that was triggered by the Russia-Ukraine war. Bangladesh can attract more foreign investment in the ceramic sector ensuring an uninterrupted supply of gas and electricity. “Besides, we need a 20 per cent cash incentive, instead of the present 10 per cent, on the export of all types of ceramic products to boost the sector further,” he pointed out Ceramic Expo Bangladesh 2022 BCMEA is going to organize a three-day-long biggest international exhibition at International Convention City Bashundhara (ICCB) in Dhaka on November 24-26 to bring local and international manufacturers, exporters and suppliers of ceramics into a single platform. The RAK Ceramics Company’s secretary said, “The exhibition is a better place to promote a company’s products. So, we will take part in the ceramic expo to market our products.” BCMEA President Mr. Md. Shirajul Islam Mollah stated that the exhibition is expected to be attended by representatives of more than 300 global brands, manufacturers and suppliers of ceramic raw materials and machineries from 20 countries. “The expo will create ample scope for foreign ceramic manufacturers, buyers and investors to explore and invest in the emerging ceramic industry of Bangladesh,” he added Written by Rafikul Islam
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Becoming one with a Clay
You perhaps didn’t think you could come closer to clay in this crowded and bustling city of Dhaka in a manner that is both therapeutic and entertaining at the same time. However, there is a cozy little pottery studio hidden away on the periphery of Dhaka city, for you to escape to and rejoice in the fluidity of clay. Clay Station Dhaka, the pottery studio, which is a brainchild of Sharmin Ahmed and Co-founded by Sayeed Chowdhury, is a gift to Dhaka dwelers in the form of a healthier entertainment choice. Growing up, we had many outdoor entertainment options like going cycling, playing, venturing into adventures with comrades, but then our options are condensed into just being restaurants, cafes or a screen at home. Clay station emerged from the unfulfilled need of a creative source of amusement or even distraction of the good kind. From traveling around the world, both Ms Sharmin and Mr Sayeed experienced the abundance of recreational activities, to choose from, in the developed countries. In contrast to which they felt a stark lack of recreational choices would aid in unveiling one’s creativity or imagination, here in Dhaka. The founders stumbled upon the idea while visiting a pottery studio in the United States of America, where they laid witness to the magical property of clay in bringing people of all ages, gender, race or ability together in a fun and engaging way. Ms Sharmin recalls a couple in their 60s on a blind date getting to know each other through an engaging pottery painting session. She says, “Pottery could be a great choice for ice-breaking. It is calming yet it could be interactive too.” Neither being from the Ceramics background, they embarked upon this testing journey of creating a platform for the youth of Dhaka city, to indulge in creative activities that resonate with nature. The two spotted an untapped potential in the entertainment industry in Bangladesh which led them to put their business acumen and professional experience into play to build the pottery studio. They gathered ceramic graduates from Charukola and Santiniketan, India to provide and guide the patrons with the services and products they offer today. Being the pioneer in setting up a pottery studio in Dhaka, they both had to face numerous challenges. There being no pre-existing market for pottery meant sourcing for the ingredients and machines was difficult. They learnt that even the most basic of pottery ingredients like the china clay cannot be found in the local market and using the red clay found in abundance at the riverbanks would reduce the functionality as they could not be painted on or put under high temperature. So they started to source the imported clay from local suppliers and the ceramic glaze for tableware is imported from the USA, the UK or India as it is not available here in a safe composition and contains lead which can lead to lead poisoning. The wheels are imported from Japan, as these automated Japanese pottery wheels are more user-friendly and convenient. They also started to procure porcelain clay from a leading ceramics manufacturing company, Artisan Ceramics Ltd., to make the small keepsakes to paint on at the studio. Clay Station was created to offer cherished and memorable experiences to its patrons. And they wanted to ensure the experience would be the safest they could offer. But as a result of having to import the ingredients in use, the price of the sessions with clay at the studio goes up. Ms Sharmin says, “We wanted to create the safest environment for people to come and indulge in our services. And while ensuring the safety of our patrons and the sustainability of Clay Station, we have to keep the pricing as is and work to create awareness among the people of the therapeutic properties of clay.” “The inspiration to keep pushing forward with Clay Station, honestly, comes from our patrons. They are so appreciative of our initiative that we feel very hopeful about the work we’re doing and get the courage to take it further” Clay Station’s studio was initially located at the heart of Banani, over by the picturesque lake to complement the beautiful experience as a whole. Since then, the studio location has changed but without compromising on the experience. Ms Sharmin adds, “A pottery studio I believe should be closer to nature to enhance the whole experience.” Today, the studio is located at Chef’s Table Courtside which ensures a closeness to nature and also a family-friendly environment. Sunlight pours into this tranquil studio through the big glass windows. And as you look outside you discover yourself surrounded by greenery and the vast blue sky. And to preserve the authenticity of the studio, no plans of opening new branches are on the horizon. But instead, to make pottery more popular, small franchises at different offices or schools could be seen in the future. Even though the target audience were the youth, it was later found out that families with young children responded really well to the captivating activities that went on at the studio. Their three services, Pick and Paint, Pay with Clay and Throw at Wheel are innovative and a great way to relax, learn and explore. It is loved by the parents as it is so rare to find fun activities to do with kids. For Pick and Paint you pick one the cutest pre-made bisques from a range of shapes of a unicorn, puppy, airplane, cactus, and rainbows among many more and paint them in the brightest of colours and your imagination. It’s such a fun and creative activity for children and adults who want to feel young too. Play with Clay will allow you to get creative with a soft doughy clay ball and bring your imagination to life. You can follow your heart and see where that takes you. Chances are, you’ll end up with a meaningful keepsake of your own design which you can later in a week, come
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Sygmaz’s Charismatic Anecdota
“A legacy of 20 years was not an easy journey, it’s easy to get on the peak, but the challenge was to hold on to that,” avowed Sigma Mehdi, Founder, and Creative Head of Sygmaz, a company with complete wedding solutions. It all started back in 2001 when young-newly married Sigma used to work half day for their family business, and the other half seeding this one-of-a-kind company along with a partner, which merely had any industry at that time. Enthusiast about sharing her journey, she segmented the two decades of an odyssey into four enthralling parts. In an industry that had no exposure and only a couple of executors, it was an act of courage to proceed without the availability of public or social platforms. In that time frame of 2001-2015, there had been no internet exposure to browse for ideas or look up to the international market for inspiration. It all happened with clusters of small thoughts and the urge to work in detail, which is still very prominent in the works of Sygmaz’s even after so many years. It is never to be in easy to the pioneer line of industry and keep a hold on it. The phases were not always smooth as her partnership broke in 2010, which partially helped the development due to her sole decision-making ability. In this timeline, the influence of social media boomed up the business. People were more interested in spending money as there started an online space to showcase their events. More companies came within the industry interested in collaborations; all these connectivities were hailed to the internet. “This idea of providing a complete solution is a new concept and will always provide a first mover’s luck,” said Sigma. Recently they started to introduce a 360-degree experience service for the clients, starting from invitations design to catering and entertainment, altogether running as a group of companies. It’s always the experience for the guests which matters more. The job is very taxing as the responsibility for someone’s dream day is never easy. Experience needs aesthetical approaches, starting from the buffet counter to the presentation of the tableware. There are customizations and requirements from the clients needed to be taken care of. This industry is in a constant procedure of improvement. “The mantra is to read the client’s mind. My clients are more comfortable because they can easily explain to me their desires,” added Sigma. “When I started, there was acceptance for the amateurs. But now the scenario has drastically changed due to the competition for betterment. It is never easy to be in the pioneer line of industry and keep a hold on it,” explained Sigma. She is from a complete business background and pulled off this creative profession gracefully. Currently, nine architects are working as a part of the design team. Extravagant and glamourous is what one feels and experiences attending the events curated by this extraordinary team of talented people, which is yet to have upcoming up-gradation with the next generations, maybe letting Sigma plan an early retirement from Sygmaz at its silver jubilee. Sigma Mehdi, Founder and Creative Head of Sygmaz Authored by Rehnuma Tasnim Sheefa
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Delineating Palpable Dreams
Have you ever wondered who usually designs these beautiful buildings while crossing roads? The term architecture might not yet be practiced frequently in our society, but the changing skyline in a few parts of the city shows how architects are being acknowledged in recent years. Years back, it was mostly the peers of architects who knew about them or offered works and planned to get their building designed by an architect. People are more concerned and aware of better designs and well-functioning buildings nowadays. The dreams of architects to be in the business have somewhat taken shape. One of those dreamers is architect Mohammad Foyez Ullah, Principal and Managing Director of Volumezero-Spacezero Ltd.\ Since school times, Foyez Ullah was associated with extracurricular activities alongside studies. After completing school, he joined a cadet college, where he experienced a lot more opportunities. He was overwhelmed by the capacity of being engaged in multi-disciplinary activities and the doors they open. Performing many leadership opportunities encouraged him to be more confident and made him a better learner. He admired and idolized ex-students who topped the tire and studied architecture. The glamour of studying architecture fancied him since then, and he made his deliberate decision. He dropped biology and took a unique subject, Technical drawing, and a workshop under the industrial works to skill himself up before getting into the architectural arena. Drawing the sleek buildings out of concretes, Foyez prefers himself to be a master builder. He happily accepts to be a mason master rather than called an architect. Enjoying his work and learning more from the construction sites satisfies him more. Belongingness to the practice has made him more sensitive toward his colleagues and co-workers. A proper studio culture, where the architects collaborate, has always been his top priority. He mostly believes in investing in making a better working environment for the next generation of practicing peers and setting an example. A structured professional practice, where a career path exists, is rarely practiced in the architectural field. Looking over the benefits and well-being of the employees have mostly lacked behind. But in Volumezero, the architects tend to stick around for a longer period of time. “I have colleagues who have been working with me since the very early of this firm. They hardly shift jobs. The people who left were mostly moving abroad for higher studies. A few countable ones started their own practice. Only self-growth never seems sustainable to me. I want my fellow architects who work alongside me to be in a better state of health and mind through their working experience. We have a proper HR development with many employee benefits besides salary, and constantly try to improve over time,” shared Foyez. The overall system of the filter process of becoming a professional practicing architect has become hard. Hence the quality of the built environment is improving. The architects are better aware of the rules and regulations of the construction laws. Architecture being a sensitive discipline does not only deal with external beauty that we admire. A building is only sustainable when its usability aspects are taken care of properly. The satisfaction and well-being of the user should be the primary concern, as also the neighborhood of the associated building. With the collective responsibility that the profession owns, it should be a trustworthy practice. “Praising architecture is not a contribution to the mass people. The social impact and acknowledgment are very recent. That is because of how we individually pull it up from each end. Our focus should be as a part of society because randomly designing private projects never have any mass impact or societal improvement. Architects add value and contribute to the culture. If we explore our practices and mingle with a community of other practices, our perspective of thinking gets mended and shaped in better ways. Being social helps to be a better professional in terms of different benefits,” explained Foyez. Starting his early career as an academician, he always wanted to be a full-time practicing architect and left academia in 1998. His practice is a design and makes studio. At times they construct a few exclusive projects, and for a few, they go with the development model. This process has empowered the studio and the collaborating architects. They get the chance to visit the construction sites and learn better. The improvement is also excelling because of the era of the information age. The learning process is easy, and professionals keep themselves updated. The ones who are eager and enthusiastic to learn and develop more skills are progressing. “The upcoming generation has a lot of potential and can perform better than us if the talents get tapped correctly. Family support and upbringing are essential parts of this process of grooming. But I believe these new young lives have belongingness to Bangladesh, which is very inspiring. Big opportunities are waiting for them for a very bright future ahead. If you think I am living in a dream, I happily agree to that,” he added very hopefully. “Lead as an example” is the phase that merges with Foyez Ullah in aspects of his professional practices. His thinking process is to live by what he is preaching, and the appreciations from his fellow colleagues and externals encourage him to move forward with this motto and even get better as time goes on. To him, open-mindedness and acceptance are important as dynamics of an architect because architects depend on both critical thinking and execution. Architecture can be a noble profession to many. A lot of architects tend to judge architecture of a city, even if the city is in peril. He is more concerned with “the city as the architecture rather than the architecture of the city” Authored by Rehnuma Tasnim Sheefa
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Symbolizing the elements of space and time
Son of an engineer, but never performed satisfactorily in mathematics. The journey of artist Alak Roy to the Institute of Fine Art, University of Dhaka, was somewhat for that reason. Though it was in a family legacy as his father’s cousins’ studied in the Government Collage of Arts a n d Crafts in Kolkata, West Bengal. He was never an amateur practitioner, but from a very young age, he admired and appreciated artworks. According to him, his luck has always been favored in any way or another; starting with getting scholarships from the very first year to exhibiting works and attending residencies in different countries along with many other internationally renowned artists. The boost to his confidence and self-esteem started when he achieved his very first full free scholarship, which inspired him to look forward to working hard and better. As he used to admire paintings, he took the subject as a major. The scholarship provided the opportunity to learn in India. The guidance of an amazing teacher, who used to work with clay and ceramics, inspired him too. He grew interested to express Bengali culture through murals and reliefs. “We artists who were fresh graduates right after the independence had always wanted to establish the deep culture and belongingness of Bangladesh in our works. It mainly started in the year 1969 and is a milestone in the history as it might be called a cultural revolution of Bangladesh. The country got its self-identification which made us different from Pakistan. Something which we Bengalis are always proud about” shared Alak Roy. They contributed in different ways to being a student at that time, by writing posters late at night, which helped him to improve his handwriting skills, and was very much active in various activities of the liberation movement. He has been influenced by many local works of artists like Kamrul Hasan, Joynul Abedin, and S. M. Sultan, and how they expressed the folklore and culture in their works. That was not an era of the internet, hence exposure to international works or platforms was very limited. Alak Roy found joy in working with clay and ceramics with inner satisfaction. “People have hidden talents and aptitudes. But most fail to realize or explore that side. Hence keeping the world out of their abilities and their self-belongingness,” he added. His courage in working with clay increased gradually exploring different opportunities while observing potters’ work and witnessing multiple terracotta temples in Bishnupur, Bankura, West Bengal, and also in Moynamoti Shalbon Bihar and Cumilla. His first relief exhibition was named “Matir Kana”, and ‘Aboddho’ another high relief work exhibition was also organized. Gradually started progressing with three-dimensional work. He believed in stepping up and not jumping to risks. He always believed that soft clay has a character of its own and there is a lot of potentials to express through this material in form of artwork. He thought of working with clay and ceramic because his native country itself is made of fertile soil which relates him to Bangladesh. People have hidden talents and aptitudes. But most fail to realize or explore that side. Hence keeping the world out of their abilities and their self- belongingness. Being a university teacher, he had his earning source fixed. Sculptors throughout the world are very less in number because their works are not being bought and their setups are costly. He is no different, but this never kept him from producing beautiful sculptures and working for them. There is his early time work in the national museum, a very expressive one. Winning many awards international exposures encouraged him to think bigger and better, to take risks to keep going forward. As he studied murals which in basic terms are artwork related to architecture, that helped him to be liked by architects as well. “I try developing my own clay. I never thought of working with any synthetic materials. I wanted to explore organic materials as it goes with my personality. I also worked with stones and bronze on international platforms, with their help and support. Being a sculptor needs its own form of support and setup. I always spent my earnings developing my working setup to keep improving. For me, my representation was always through my work. As I did not study ceramics, I know little about it. If it was my field of study I might have achieved differently,” shared Alak Roy. His works had been collected by Fukuoka Asian Art Museum. At the Museum of Modern Ceramic Art in Gifu, Japan, 85 sculptors were invited to exhibit, and he was one of them. Similar work was also exhibited at Incheon Centre in South Korea. He did many works and residencies in China, Vietnam, South Korea, America, and many other countries. His last solo exhibition was in France. And did many successful exhibitions in Bangladesh as well. According to him, his biggest achievement is the chance to explore and observe a lot of different artworks and get to meet different artists. While starting his professional practice his first big exposure was doing a sculpture for the Grameen Bank. Worked for the Bangladesh Army as well, initially with the condition of getting the freedom to express himself through his work even sacrificing the negligible honorarium. Personally designed random sculpture gardens as well. Many people complain about the drawbacks of being an academic, but he enjoys learning from young minds, their positive vibes provide active energy to him. There’s a lot of scope in modern art. In his early works, there were many full figures of humans, but later he started concentrating on faces, as the symbolization of more simplified and concentrated human expressions. From facial emotions to more detailed expressions are portrayed in his artworks which are symbols of eyes. “There are a lot of eyes in my works, as me being a visual artist, and we see with eyes. But we all see very differently with our subconscious mind. It’s the matter of perspective
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Prologue to Paerns Emerald Bakery and Cafe
As muffled conversations and. farewell notes of jazz float up to the sky – the baker gets to work. The bassline and flour have charted a path; the stage has been set. Somewhere in the throes of dawn, the musician and baker find harmony. Lost in their fundamental desire to put together ingredients that make magic; they make something anew. The aroma of bread and notes of the accordion dance together; inspiring and emulating. Food and music universal languages that speak to us all. While crossing the busy street of Banani 11 in Dhaka city, you can randomly walk into the recently launched Emerald Bakery and Café. Owned by the family behind Emerald Restaurants, the Emerald Bakery started its journey with a small shop in Uttara back in 2018. It was initiated by Shamima Rahman with her dream of stepping into the bakery market, and moved to a bigger space within the food court at Chef’s Table in Gulshan. But overall Emerald Restaurants is co-owned by Shamima Rahman (mother), Aminur Rahman (father), Shaker Ibne Amin, Sabbir Ibne Amin and Ayeman Ibne Amin (sons). Shaker Ibne Amin found a gem of a location; one of the very few independent houses left that can be used commercially. This opportunity encouraged them to dream of a street-side venture, not confined within a tall structure made of steel, glass, and concrete. Hence with this new thought process, the Emerald Bakery and Café went through a rebranding. The new branding has a core value of using patterns, as suggested by Prianka Ameen, who worked along with the designing firm, Inked Studio, to wrap this concept throughout the whole café and packaging. “Bakery is science, where measurement is the key and patterns are very mathematical by nature. However, we also wanted to make our place cozy and homely, creating an ambiance that one experiences in a family-run bistro. Therefore, perfectly made patterns would be too rigid and organised for us. Therefore, we decided to go with handmade/drawn patterns, where each motif is flawed yet unique. We have taken this concept to drive the whole design process; from branding and our menu to the architecture,” Sabbir Ibne Amin said while explaining his wife’s concept. Before intervening with the venture in a new location they surveyed and studied a lot of human behaviour. That is mostly how Inked Studio works, being a human-centered design studio. Hence, they tried to build a place where one can work individually, plan office meetings, hang out with office colleagues or friends, have family dinners, or just spend a lazy afternoon with a book. These use cases helped generate the design, the seating layouts, lighting, and sound panels, and Parisian-influenced subtle and muted colour palettes, mostly inspired by nature and the colours from their dishes. Patterns have been made on feature walls using simple and rudimentary techniques. Blocks used for drawing patterns on the f loor have been repurposed to see thru panels that separate open spaces. There is a conscious repetition of elements but in a very organic and uneven way. The paintings of different sizes have been printed and framed first before deciding which walls they belonged to, just as the way one buys paintings for our homes. Mostly the paintings chosen are of classic female painters, although famous among art enthusiasts, are not fairly represented to the masses as opposed to their male contemporaries. Therefore, about half the paintings are works of female artists such as Tamara de Lempicka, Irma Stern, Emily Carr, and Suzanne Valadon. Prianka Ameen, the food consultant for Emerald Bakery, worked closely with Mr Ayeman and the chefs to design and develop the menu. As the cafe business is competitive where they have established The Grove Bistro, Gusto, and Trouvaille, Ms Prianka was tasked with designing a menu that could differentiate “us”. “Studying European and North American cafes and bistros, we came up with our very own twist of a concise, healthy, and diverse menu. Our dishes reflect the comfort and homeliness while strengthening the identity of being both a cafe and bakery,” Mr Sabbir added. The architectural project was led by Inked Studios, a design firm where team members from different fields and expertise work collaboratively to design, develop and execute ideas. Designers who worked on this project from Inked including Zehra (anthropology and literature), Auhona and Navid (Architecture), Redwan (Hospitality Management and Client Servicing), Nashad (Art and Visual Design), Ayeman (Business Administration and Entrepreneurship), Sabbir (Mathematics and User Centered Design) and Zara (Business Administration). The brand line for the bakery and café is the food that syncs. Every project under Inked Studio and Emerald Restaurants has a concept and story behind it. As the venture grows old, it changes but the core concept always remains the same, just as a human. Authored by Rehnuma Tasnim Sheefa
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Enchanting Echoes from an Ancient Ancient Metropolis
In an early winter evening, the sun is about to say the shimmery adieu for the day to those on the bank of the mighty Meghna. And you walk along the alleys of serenely silent Panam, trying to chat through your curious eyes with the architectural relics on both sides. They will slowly start engulfing you with their memoirs about witnessing time. A melting pot of architectural influences from the Mughal, the Sultanate and the European eras, but ardently crafted by local artisans and architects of the Bengal in their techniques, Panam City is a living specimen of the timeline. The comeliest of Chinni-tikri ornamentations made of broken ceramics brought from the Dutch, the scroll-shaped Greek stuccos, cast iron railings first produced in the 19th century Britain, and those alluring arches that you can eye on every Mughal era structure – the list goes on. The city is not only a pristine example of architecture but also has a finely designed urban plan, especially in terms of its utilisation of water. There are two large canals, parts of the land are slightly slanted towards one of the canals for drainage, and the city also has five big ponds. If we look at the remains of the buildings, it is noticeable that there are open spaces inside each compound and a well for household water supply in the backyard. Built almost five centuries ago by one of the legendary Baro Bhuiyas (12 Bhuiyas), Isa Khan, Panam City is the oldest capital of Bengal. Although it is one of the most popular tourist sites, many people still make the mistake of interchanging Sonargaon and Panam City. Whereas Sonargaon is a thousand years’ old, Panam is roughly 500 years of age. At the time, Sonargaon consisted of three cities: Boro Nagar, Khas Nagar and Panam Nagar. History says Panam started gaining colossal importance with the gradual decline in the prominence of the then-port city of Sonargaon, which was one of the most important trading points in the world. Bengal was the fourth largest exporter of goods at the time, and a golden era of the finest Bengal Muslin was vastly being exported to Europe, and various foreign goods were imported. Sonargaon was one of the most sought-after places for international merchants at the time. Later, with the arrival of the East India Company and the British sun gradually rising on the Bay of Bengal colonising the land, the plot drastically changed. The business didn’t stop at the site but it changed a lot with the British, making Panam a hub of their notorious indigo farming. As the demand for blue dye grew in the West for various usage purposes, so did the greed of the colonisers here for making more profit resulting in an ever more ill fate for the local indigo farmers. Although after a series of constant resistance later, the gruesome industry here gradually fell, the stains from the royal blue inked scars remained for a long time. Located 20 kilometers off the capital Dhaka, Sonargaon currently is an Upazila of the Narayanganj administrative district where Panam proudly rests. The remains of the beautifully built single to three-storied buildings on both sides of its roughly 600-meter-long main road, were mostly constructed from investments by the wealthiest local Hindu merchants and aristocrats of the time. The city containing multi-purpose buildings including places of worship, halls, guest houses for foreign merchants, libraries, and so on, was also a cultural hub with twinkling sounds of baijis (professional dancers) dancing in a courtyard full of guests consuming the finest of booze and tobacco, after the sunset. It is said that the Sultan of Bengal, Giyasuddin Azam Shah once invited the world-famous Persian poet Hafiz, but he was unable to make the long trip due to his old age. Hafiz instead wrote a beautiful poem about the beautiful city he only knew through word of mouth and texts. After reading his poetry, many Persians made their trip to the city, only to be enchanted by its aura. After a series of gruesome phases of riots, lootings of the site, and situations during the 1971 liberation war being the final nails in the coffin, the once-loved and bustling city was gradually being abandoned by its very dear residents. The buildings stayed like that, slowly rotting, welcoming new inhabitants outside human beings. For a time being many of them were being leased out by the government, followed by heavy protests from conservationists. In 2004 it was declared a protected site. Amongst the most significant buildings on the site, perhaps the most popular and notable one is the magnificent Baro Sardar Bari. Staying in a dying state for years without care, the once multi-purpose building, which still has hooks on certain ceilings inside, reminds us of how Muslin fabrics were hung. It recently went through a major painstaking restoration process as part of a conservation project funded by a Korean company in collaboration with the Ministry of Cultural Affairs. The remains are what in a comparatively well-state are 52 other structures as well. You can still walk on their marvelous checkered pattern floors of black, red and white marbles and mosaics with risks of plasters falling on your head from any of the walls above. But there are reasons to smile as part of the same conservation programme led by the Bangladeshi conservation architect, Dr. Abu Sayeed M Ahmed, the whole site will be gradually restored. Within a walking distance, in one of the restored old buildings, there is also a museum showcasing artifacts and the history of local handicraft practices. The museum, currently consisting of 10 galleries, was established by the legendary artist Zainul Abedin in 1975. From a broader perspective, Panam is much more than just being pertinent to the discussion of being an eccentric tourist site fantasised by the mass and delving into a peculiar sense of pride in the name of heritage. Panam is also a hushed yet piercing testament about how the nature
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History
The growth of the ceramic industry can also be attributed to historic back ground of the country, especially the people’s choice for attractive tablwares and show pieces. Records say, potters were actually popularised during the zamindars (landlords). They used to be patronised for making staues of goddesses, plates and other aesthetical items. Sometimes they were made to sculpt statues of the zamindar themselves. After the end of the zamindar system, they started making everyday household items for sales in the local market to earn a living. As pottery was the tradition, a section of people called kumar (potters) had for generaions embraced the occupation of making pottery items of household use. Their hand-made products could catch interest of the rural buyers. However, these proucts could neither meet demand of urban customers nor could they sustain because of their fragility, sun or oven baked products could not make a big headway outside the country. Recent history shows it was the initiative of an entrepreneur in the late 1950s that began production of earthen-ware using machine and thus machine-made clay craft appeared in the market. In fact, modern ceramic industry (machine-made) took a formal start with the functioning of Tajma Ceramic industry in Bogra in 1958. It was a small plant for porcelain tableware, and so production capacity of the factory was limited. Then came other entrepreneurs. The next to come was Mirpur Ceramic Works in 1962. Then Pakistan Ceramic Industry (later People Ceramic Industry) joined the market in 1966. After a gap of nearly two decades Monno Ceramics started production (tableware) in 1985. In the following year Bengal Fine Ceramics came to the scene. In 1997 Shinepukur Ceramics started production. As more entrepreneurs stepped in, they startd producing diversified items such as tiles, sanitary ware adopting new technology and using latest machinery and fine clay brought from abroad. Bangladesh Insulator and Sanitaryware Factory (BISF), Modhumoti Ceramics, Fu Wang Ceramic Industries and RAK Ceramics have placed themselves at the front in production of the items, not traditional, like tea-set or dinner sets. According to available statistics, about 95 per cent of raw materials for producing items are imported from different sources to maintain standards. The raw materials are imported mostly from China, Japan, Germany, New Zealand, Australia, Italy, Spain, Bulgeria, Vietnam, Thailand, South Korea and India. LOCAL CERAMIC INDUSTRY This is an industry that has experienced 200 per cent growth in production in the past ten years. Currently, there are 66 ceramic plants in three categories (Tableware 20, Tiles 28 and Sanitary ware 18) of products, operational in the country. Their products range. from table wares to tiles, sanitary wares to insulators and heavy and from clay to reflectors. The number of firms increased from 29 in 2010 to 66 in 2019. Investment in the sector amounts to more than US$1.1 billion, according to the Bangladesh Ceramics Manufacturers and Export- ers Association’s (BCMEA’s) estimate. More than half a million people, 40 percent of who are women, are directly and indirectly involved in the ceramic industry. Given the growth and demand of the sector, there has been a national focus on building skilled human resources for the ceramic industry. Now, Bangladesh Institute of Glass and Ceramics, Depart- ment of Glass and Ceramic Engineering at BUET and Rajshahi University of Engineering and Technology, and Faculty of Fine Arts at Dhaka University, offer various courses relating to ceramic products. The base of the industry is strong as the sector caters to 85 percent of the local demand and around 90 per cent of its 2018 turnover of Tk. 60 billion involved domestic market. The sector has seen a phenomenal local market growth from Tk 1225 billion in FY2010 to Tk 53.38 billion in FY2017. The industry’s production growth was record- ed at around 30 per cent in the past ten years. The country’s ceramics industry has also attracted foreign investments that have mainly come from China and the Middle-East countries. One foriegn and six joint venture companies include RAK Ceramics, Fu-Wang and China-Bangla Ceramics. Exports of ceramic products Although the country’s export volume is still not high in comparison to potential, about 20 companies are currently exporting ceramic products with 65 per cent value addition, according to available information. An amount of Tk. 4801 million came from the export market in 2018. It has maintained average 18 per cent growth in last 10 years. The sector attained a 32 per cent export growth in the year after the previous year’s growth of 16.6 per cent. The export market of ceramic products covers 63 countries. Main export destinations are EU countries, USA, Canada, New Zealand, Australia, Turkey and the Middle East. Industry insiders say the demand for Bangladeshi ceramic products in the international market is strong and there is reasonable scope for increasing exports of ceramic items. China and India are among major competitors in the international market for Bangladeshi ceramic manufacturers. However, labour cost has put Bangladesh in a strong position. Bangladeshi exporters can enhance exports if they are provided with supports to become more competitive in the international market. Given the global market of ceramic products worth US$400 billion, Bangladesh’s ceramic industry, if proper plans are taken and executed, has the potential to emerge as the ‘next RMG industry. Bangladesh’s expport share of the global ceramics market is less than 0.10% CHALLENGES AND WAY FORWARD Industry leaders say the country’s ceramic industry is facing some challenges, that are constraining its growth at home and in the export market. Of course, there is a scope for improve the production process making it more energy efficient. For that more funds need to be injected into the sector. Use of Nano-technology could be a good choice for entrepreneurs in Bangladesh. However, uninterrupted supply of natural gas, which is the main energy source for the industry, is a prerequisite for increasing production, according to sector leaders. Bangladesh’s domestic market for ceramic products is expanding due mainly to quality of products and price competitiveness. So supports should be
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